Ce travail analyse l'origine des notions d'éthique de conservation parmi les employé(e)s de trois bibliothèques nationales (Nouvelle-Zélande, Wellington ; France, Strasbourg ; Suisse, Berne). Dans chacun de ces pays on dénote que, dans ce domaine, les notions d'éthique de conservation les plus vivantes sont liées à des contextes spécifiques à chaque pays. Partant du principe que les connaissances basées sur une expérience empirique ou collective sont fortement ancrées dans chaque individu, on peut en déduire qu'un apprentissage de l'éthique de conservation utilisant ce type d'expérience a plus de chance de porter ses fruits. Dans le cas présent cela conduirait à améliorer la réponse des bibliothèques nationales aux engagements légaux auxquels elles sont liées. Ces mandats leur demandent de conserver leurs collections pour la postérité. Un questionnaire en ligne a permis de récolter des informations auprès des employé(e)s de ces trois institutions. Les contextes spécifiques de chaque pays ont ainsi pu être localisés. En utilisant ces spécificités, il est proposé d'adapter l'enseignement de l'éthique de conservation au niveau de la formation professionnelle, de responsabiliser les employé(e)s aux problèmes de conservation dès leur entrée en fonction et d'assurer le maintien à jour des connaissances dans les institutions.

This study examines the thirteenth century Artesian trouvère Adam de la Halle in the manuscript Paris, Bibliothèque Nationale f.fr 25566 as it pertains to the oral/literate model for explaining characteristics of musical traditions. The fortuitous collaboration of a single scribe with a single composer on a musical collection encompassing a cross-section of thirteenth-century styles and idioms make this repertoire uniquely appropriate to a comparison of musical oracy and literacy.

Not available / text

This dissertation examines the procedure of musical borrowing, in which melodies are recycled or reworked, in the sung, vernacular poetry of the troubadours. Their usage of the practice (specifically, that of contrafacture, wherein pre-existing melodies are retexted) is attested to in poetic treatises, confirmed by a small number of examples transmitted with musical notation, and further supported by a large body of poems that share a versification structure. The paucity of extant melodies, however, has prevented scholars from fully exploring the musical implications of the technique. Through close and multidisciplinary analysis of music, text, image, and material object, this study uses intermusicality as an entry point to address larger questions about the musical practice of the Occitan poet-composers: how were songs crafted, and what is the relationship between music and text? How was this repertoire spread, and what roles did oral and notated transmission play? How would audiences have interpreted the songs of the troubadours? To that end, I examine a series of case studies drawn from Paris, Bibliothèque nationale de France, f. fr. 22543. Throughout, I characterize musical borrowing as a generative procedure used commonly by the troubadours, and foreground the connections (aural and otherwise) that arise as a consequence. As such, the dissertation offers a new way of understanding the musico-poetic practice of the troubadours, with respect to both mechanics and meaning, through the lens of a well-attested but largely-silenced compositional practice.

Among the considerable manuscript production of the twelfth and thirteenth centuries, the Bible moralisee stands out by the number of miniatures and by the conception of the manuscript itself. The composition and many iconographical themes recall stained glass windows of contemporary cathedrals, such as Chartres, Sens, Bourges, or Canterbury in England. / The manuscript of the Bible moralisee to which this study is partly dedicated, is located in the Treasury of the Toledo cathedral chapter in Spain. This study deals also with the duplicate copy which was realized soon afterwards. The interpretation and illustrations of the verses vary in number according to the books of the Bible. Though being one of the smallest biblical books, the Song of Solomon is given outstanding consideration, more than any other book in the Bible. The central theme--the espousal of the Bride and the Bridegroom, Christ and Ecclesia being its allegory--enjoyed a considerable success in medieval theology. It corresponded to the courtly love atmosphere of its time. Abundant commentary literature and the development of mariology made this book even more popular. About a quarter of the commentary illustrations are dedicated to the theme Christus-Ecclesia. Ecclesia, always crowned, holds the chalice which confirms her sacramental significance. In no other known iconographical medieval programme has Ecclesia such a position. / The question raised by the problematic around this Bible is the eventual intention being at the origin of this order which, without any doubt, emanates from French royalty. Has it been produced to enhance the prestige of royalty? Is it a pedagogical work intended for the education of the royal children? Was it meant to be a royal political gift? The Ecclesia theme in the Bible is the exaltation of, or an hommage to the Church, spiritual or temporal, by the French royalty of the thirteenth century.

No description available.

En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiques. / Photography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-04-07T13:27:04Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-04-07T13:28:04Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) / Made available in DSpace on 2017-04-07T13:28:04Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_MilUmaTransfiguracoes.pdf: 1420893 bytes, checksum: 725093e2b2f590f1e5eb89cbe25a55f6 (MD5) Previous issue date: 2016-04-29 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / Ponson du Terrail foi considerado um dos principais romancistas populares franceses da segunda metade do século XIX. Tendo circulado amplamente em folhetins e no formato livro em seu país de origem, teve seus romances traduzidos para a língua portuguesa e, ainda naquele século, publicado por inúmeros editores portugueses. Parcela das edições portuguesas de seus romances foram enviadas à Belém do Pará e passaram a fazer parte do acervo do Grêmio Literário Português do Pará, gabinete de leitura fundado na capital da Província em 1867. Considerando que um dos principais sucessos de público do autor foi a série Rocambole, na qual são narradas as aventuras do personagem de mesmo nome em 12 romances, esta dissertação teve por objetivo descrever, do ponto de vista bibliográfico, as edições dessa série que constam no acervo dessa instituição até o presente momento. Para tanto, foram coletados os dados editoriais dos exemplares do gabinete de leitura paraense, os quais foram comparados com os exemplares de edições francesas disponíveis na Bibliothèque Nationale de France, de modo a verificar os diferentes arranjos editoriais da série, no que diz respeito à organização das partes que a compõe. Feito isto se empreendeu a síntese do enredo dos romances que compõe a série como um todo, bem como a análise da narrativa com foco nas transformações físicas e psicológicas da personagem, enfatizando a importância do disfarce e reconhecimentos para a economia do enredo. / Ponson du Terrail was considered one of the leading French popular novelists the second half of the nineteenth century. Having circulated widely in serials and in book form his country of origin, he had his novels translated into Portuguese language and, that century, published by numerous Portuguese publishers. Part of Portuguese editions of his novels have been sent to Belém of Pará and became part of the Grêmio Literário Português of Para collection, reading room established in the capital of the province in 1867. Whereas one of the main author of blockbusters was Rocambole series, which are narrated the adventures of the eponymous character in 12 novels, this work aimed to describe the bibliographic point of view, the issues of this series contained in the collection of this institution to date. Therefore, we collected the editorial data of the copies of paraense reading room, which were compared with specimens of French editions available at the Bibliothèque Nationale de France, so check the different editorial arrangements of the series, with regard to the organization the parts that compose it. Done this was undertaken the synthesis of the plot of the novels that compose the series as a whole, as well as the analysis of the narrative focused on the physical and psychological transformations of character, emphasizing the importance of disguise and recognition for the plot economy.

Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.

Depuis son écriture en 1480, le Baratre infernal de Regnaud le Queux reste, à ce jour, une œuvre méconnue, dont l'aspect littéraire est principalement étudié. Cet imposant volume rassemble les informations relatives à l'enfer de l'Antiquité au Moyen Age, créant une véritable encyclopédie de l'enfer où se mêlent prose et vers, latin et moyen français, antique et médiéval. Nous proposons une recherche multidisciplinaire concentrée sur un extrait défini, à savoir les folios 127 à 143, dans lesquels le poète discute de la structure de l'enfer et fait une description du diable et des démons. Nous avons effectué une analyse codicologique et paléographique du manuscrit Paris, BnF, fr. 450, en plus d'une analyse littéraire en deux temps consacrée aux folios 127 à 143 : nous nous intéressons dans un premier temps à la structure du passage à l'étude et la stylistique de l'auteur ; nous examinons dans un second temps les auctoritates déployées par Regnaud et leur usage au sein de son discours. L'objectif, après avoir réalisé une édition des folios à l'étude, est d'approfondir la connaissance acquise sur ce manuscrit et d'exposer l'harmonie délicate entre la séparation et le mariage d'éléments opposés qu'instille l'auteur. Le fruit de notre recherche est donc une édition partielle du manuscrit, ainsi qu'une analyse détaillée du prosimètre et des sources employées par Regnaud pour soutenir son discours. Le choix de restreindre l'étude à un extrait qui n'a pas été étudié jusqu'à aujourd'hui permet un nouvel angle précis d'interprétation qui contribue à la compréhension globale de l'œuvre. On comprend soit dit au passage que les opportunités de recherches relatives à cette œuvre médiévale ne manquent pas. / Since it has been written in 1480, Regnaud le Queux's Baratre infernal remains, to this day, a relatively unknown work. The studies are mainly on its literary aspect. This imposing volume gathers information about hell from Antiquity to the Middle Ages, creating an authentic encyclopedia on hell, in which prose and poetry, Latin and French, the antique and the medieval coexist. We suggest a multidisciplinary research dedicated to a studied excerpt of the manuscript Paris, BnF, fr. 450 : the folios 127 to 143, in which the poet elaborates on hell's structure and describes the devil and demons. We use three different approaches: codicology and paleography help us understand the manuscript's context of production and its purpose. We also do a literary analysis around the folios 127 to 143 in two steps: firstly, we observe the poetic structure and the author's style ; secondly, we examine the auctoritates used by Regnaud, and their application in his discourse. The objective, after rendering an edition of the studied passage, is to gain knowledge about this manuscript. Furthermore, we expose the intricate harmony between the union and separation of disparate elements infused by the author : prose cohabits with poetry, the Ancients coexist with the medieval authors, just as Latin and French. Thus, this study's results is a partial edition of the manuscript, and a detailed analysis of the prosimetra and the sources deployed by the poet. Focusing on a delimited and until now unstudied passage gives place to a new and precise interpretation, which contributes to the global comprehension of the volume. Ultimately, so much more can still be done regarding this medieval opus.