Academic literature on the topic 'Parisian owners'

This article is devoted to the analysis of owners’ stamps and inscriptions on manuscripts from the Günzburg family collection stored in the Russian State Library (RSL). The author did not set out to provide exhaustive information about the previous owners, part of whom still remains unidentified. The purpose of the article is to highlight the blocks of manuscripts that were previously part of other private libraries and later were acquired by the Günzburgs, as well as to focus on the most famous former owners of books. Information about them can be discovered in the owner’s inscriptions or, less often, stamps, which are usually found on the fly-leaf or the first folio of the manuscript. Sometimes, however, you can find out who owned a particular book by studying the catalogues of private libraries that were sold out after the death of their owners. This method let to discover among the previous owners of the Günzburg manuscripts such names as Nathan Nahman Koronel, scholar and book publisher, and Fischl Hirsch, bibliophile and bookseller. Based on information from the owners’ inscriptions, we learned that a number of manuscripts from the Günzburg collection were owned by such scholars as Seligmann Baer, Elyakim Carmoly and Shlomo Dubno. Some manuscripts of the collection bear inscriptions of Parisian bookseller Menahem Lifshits with the date and information to whom this particular manuscript belonged earlier. Almost all of them originated from various private libraries on the territory of modern Italy and pertained to more or less known now Italian rabbis or bibliophiles. It is worth noting that the surnames of Italian Jewish families, such as Segre, Finzi, Foa and Travis, are more often found in the owners’ inscriptions on the manuscripts from the Günzburg library than Jewish names from other regions. Among the famous owners of Italian origin is Abraham Yosef Shlomo Graziano, who was Rabbi, scholar and poet and was known for his rather wide view of the Jewish religious laws — Halakha. Separately, it should be noted a few female names and their ownership inscriptions found among the owners of the manuscripts. The article presents the original spelling of some of the names of the owners of manuscripts.

Abstract In light of the large number of Chinese immigrants in Paris originally from the Wenzhou region in China’s Zhejiang Province, this research focuses on two case studies of Wenzhou restaurants situated in different Paris Chinatowns. It seeks to identify the ways in which the Wenzhou owners mark their presence in the Parisian linguistic landscape through the signage of their shopfronts and premises. By infusing existing multimodal analysis with ethnographic linguistic landscape analysis (ELLA), this study examines the ways in which two Wenzhou restaurateurs display their specific cultural and ethnic identity in the linguistic landscape. The analysis of the signage of their premises, combined with ethnographic interviews, unveils the restaurateurs’ strategies to enact their cultural and ethnic Wenzhou identity through their shopfront signs, menus and premise decorations, and how they distinguish themselves from their Chinese competitors.

Marcel Proust knew how to write fashion. A fashionable dress makes a fashionable woman, and vice versa; a gorgeous, elegant woman makes her dress fashionable. The outfits of the best-dressed women in Parisian society are at one with their beautiful owners. As a result, the description of fine clothing in Marcel Proust’s novel “In Search of Lost Time” (A La Recherche Du Temps Perdu) is much more than just the accurate recreation of various dress codes and popular fashions of the time. The aim of the article is to explore how a costume “performs” in a work of literature. We assume that the attire does not simply highlight the natural beauty of a woman, but also gives a glimpse of her inner self, accentuating its strong and weak points. Through the agency of how she is clothed, we learn a lot about a woman, though the importance of Proust`s detailed descriptions has often been underestimated in academic literature.

A brief introduction summarizing the author's professional career and his literary style and procedure precedes this annotated translation of the chapter “The Restaurants of Paris” from Eugène Briffault's 1846 text, Paris à table. Along with an historical discussion and a look back at the glorious days of the Empire's establishments, the chapter examines the specialties, the décor, and the patrons of the grand restaurants of the author's time and before. Looking at the changing restaurant scene since the fall of Napoleon, Briffault criticizes, in particular, the contemporary preference for the opulence of the surroundings over the quality of the food. Along with several anecdotes about specific meals and peculiar characters, he also observes restaurant owners and their staffs, with particular regard to the skills and temperament of the Parisian waiter. Briffault considers such celebrated restaurants as the Cadran bleu, Rocher de Cancale, and Chez Véry—restaurants famous for their cuisine, the lively crowds, and the novelists (along with many of their characters) who dined there. But he does not ignore the role of the mid-range restaurants and bourgeois tables, and he descends as well into the lower depths, visiting the eateries catering to workers and the students on the Left Bank, the gargotes, the tapis francs, the prix fixes, the Flicoteaus and Rougets.

“Selling Paris” explores the cultural, economic, and spatial parameters of private construction in the French capital at the turn of the twentieth century. In contrast to the state-centered accounts that currently characterize our understanding of Paris as a capital of modernity, this project looks to private property owners, real estate brokers, and speculative developers, as well as the moral economy in which their projects took place, in order to understand the elaboration of the built landscape of the modern metropolis. I argue that new classes of market intermediaries—namely estate agents, market-oriented architects, and small-scale joint-stock firms—emerged in this period to build and market residential spaces, establishing apartments and buildings as merchandise and tenants as clients. Focusing on the activities of these commercial actors reveals the existence of a French culture of commerce centered on speculation and risk-taking, a business culture that profoundly affected the production of residential space during of one of the city's greatest periods of expansion. Thus, in contradistinction to scholarly accounts of both French entrepreneurialism and Parisian urban development, this project reconstructs the activities of a dynamic capitalist class whose uncoordinated projects were the main authors of the capital city's urban fabric. Tracing the manner in which housing and property operated as a commercial object during a crucial period of urbanization, moving between and among the economic activities of investment, speculation, production, and consumption, this project seeks to present a research agenda for both the cultural history of markets and the economic history of cities.

In this paper we study a new kind of option, called hereinafter a Parisian barrier option. This option is the following variant of the so-called barrier option: a down-and-out barrier option becomes worthless as soon as a barrier is reached, whereas a down-and-out Parisian barrier option is lost by the owner if the underlying asset reaches a prespecified level and remains constantly below this level for a time interval longer than a fixed number, called the window. Properties of durations of Brownian excursions play an essential role. We also study another kind of option, called here a cumulative Parisian option, which becomes worthless if the total time spent below a certain level is too long.

In this paper we study a new kind of option, called hereinafter a Parisian barrier option. This option is the following variant of the so-called barrier option: a down-and-out barrier option becomes worthless as soon as a barrier is reached, whereas a down-and-out Parisian barrier option is lost by the owner if the underlying asset reaches a prespecified level and remains constantly below this level for a time interval longer than a fixed number, called the window. Properties of durations of Brownian excursions play an essential role. We also study another kind of option, called here a cumulative Parisian option, which becomes worthless if the total time spent below a certain level is too long.

The article offers a general description of the contents of a 19th century photo album belonging to Maria de Bonneval née Gerlicz, the niece of Konstancja Górska. Along with the history of photography and CdV photos, which revolutionised the market and customs at that time, the figure of the owner of the album is presented – with the use of previously unknown materials. Norwid had been guest to her Parisian house for several decades, almost as a household member. It turns out that in this 200-photograph album currently owned by the Bloch Family Foundation, more than 70 people were known to Norwid. We have thus the opportunity to see the images of many of them for the first time, while the album can be treated as a document belonging to Norwid himself.

Marina Vidas: Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth-Century Book of Hours (Copenhagen, Royal Library, Ms Thott 534 4º) Made for a French Noblewoman
 The focus of this article is Ms Thott 534 4º, a small Parisian early fourteenth-century illuminated Book of Hours in the collection of the Royal Library, Copenhagen, about which up until now, very little has been published. Firstly, the textual and pictorial contents of the manuscript are listed. Secondly, the specific elements in the book which indicate that it was made for a woman are analysed. The article pays particular attention to the representation of the book’s owner and to other images of women in Ms Thott 534 4º. Additionally, possible readings of the juxtaposed images and texts relevant to the original owner of the manuscript are explored. Thirdly, the significance of the presence of Norman saints in the Calendar and memoriae, as well as of hagiographic material invoking saints that had a cult following in France and England are discussed. Fourthly, the components which reveal that the original book owner had connections to Paris are enumerated and analysed. It is shown that there are stylistic and iconographic similarities between Ms Thott 534 4º and two other Parisian personal devotional manuscripts, the Psalter and Hours of Blanche de Bourgogne (New York, New York Public Library, Ms Spencer 56) and a Psalter-Hymnal (Baltimore, Walters Art Gallery, W. 115) which, in all likelihood, was made for Blanche de Bretagne (c. 1270–1327). These similarities suggest that the three manuscripts are likely to date from around the same time. Drawing on the hagiographic and pictorial material in Ms Thott 534 4º, it is concluded that the Book of Hours was executed around 1310 for a lady with connections to Paris, Evreux, and possibly England. More specifically, Marguerite d’Artois, Countess of Evreux (1285–1311), is proposed as a possible candidate as the original owner of the manuscript.

L’objectif de cette thèse est de repenser la relation entre l’évolution du tissu urbain parisien et une forme d’architecture domestique mal connue : la maison urbaine. Il ne s’agit pas de revenir sur la genèse de cet habitat, mais de questionner sont état à un moment précis : 1780-1810. Cette étude contribue à faire connaître des praticiens oubliés, à faire émerger les pratiques constructives les plus répandues, ou encore à démêler le lien entre l’image des maisons publiées et leur réalité bâtie. Les lotissements engagés à la fin de l’Ancien Régime sont davantage considérés pour leur remplissage à travers le procédé du sous-lotissement et les petites transactions qui s’en suivirent. Les architectes déjà célèbres en leur temps sont étudiés au regard du pendant le moins visible de leur production. Celle de leurs confrères est observée sur un pied d’égalité, en partant du principe qu’un Michel Duval ou qu’un Guireaud de Talairac produisait des ensembles aussi intéressants que la triade Bélanger, Brongniart et Ledoux. Les caractéristiques de ces maisons urbaines protéiformes émergent de l’analyse du corpus réuni – à l’image des terrasses aménagées en jardin – et illustrent les capacités d’adaptations des maîtres d’œuvre. La prolifération d’images et de commentaires dont elles sont l’objet permettent de saisir la place qu’occupaient ces demeures non plus dans la ville, mais dans l’espace public. Ce travail favorise la réévaluation de cas d’études tantôt inconnus, tantôt lacunaires, à l’aune d’une mise en contexte nouvelle<br>This thesis rethinks the relationship between the Parisian urban fabric and a lesser known form of architecture – the urban housing - that evolved between 1780 and 1810. This work sheds new light on forgotten practitioners, distinguishes the most widespread building practices and untangles the ties between the published images of houses and the realized buildings. The study observes the filling and densifying of the district divisions (lotissement) through subdivision (souslotissement) and their respective small real-estate transactions, that started at the end of the Ancien Régime. Renowned architects of those times were studied through the less visible part of their production, and their not so well known colleagues were treated as their equals, assuming that Michel Duval or Guireaud de Talairac produced buildings as appealing as the triad of Bélanger, Brongniart and Ledoux. The corpus study highlights the characteristics of these protean urban houses – such as terraces laid out as gardens and illustrate the adaptability of the architects. The abundance of pictures and commentaries on these buildings allows us to grasp the importance of these residences not only in the city but in the public space. This work fosters the re-evaluation of the unknown, understudied urban spaces, viewing them in a new perspective

Chapter 5 brings Kierkegaard’s contrast of a joyful and dismal economics of thinking into contact with the writers of the Parisian bohème, and with Murger most of all. The transfiguration of the commonplace is now a constant reckoning with the marketplace. The common sign, often carved with a knife of prejudice, becomes a shared contribution to a philosophical furniture art and to a modern discourse on property as theft, where the deepest theft is of a person’s selfhood. An existential thesis dominates, whereby, through unresolved patterns and paradoxes about artworks and thoughts, artists and philosophers constantly turn back to how they are living their lives. The patterning turns borrowed materials into thoughts owned, into a property for the self. Once owned, how are the thoughts expressed to render them public for others, if keeping thoughts to oneself cannot be the answer for the one who chooses to be a writer? How does talk about owning one’s self become a claim of one’s liberation from an external possession experienced as a servitude, and with what social and artistic results?