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.

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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.

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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.

Cette thèse est une réédition semi-diplomatique de trois manuscrits copiés dans le dialecte sahidique du copte : Berlin, Papyrussammlung, P. Berol. 22220; Strasbourg, Bibliothèque Nationale et Universitaire, Copte 4-7a; Aswan, Nubian Museum, Special Number 168, ff. 12v-17r. L’édition est accompagnée d’index complets des mots grecs et coptes, d’une introduction détaillée visant à faire la lumière sur le contexte littéraire et culturel dans lequel les textes ont été produits, et d’un commentaire. P. Berol. 22220 est un manuscrit de parchemin d’origine inconnue. Les données paléographiques suggèrent qu’il aurait pu être copié durant le 7e ou le 8e siècle de notre ère. Les fragments de Strasbourg, aussi d’origine inconnue, proviennent d’un codex de papyrus daté approximativement de 600 de notre ère. Enfin, le codex Aswan est un petit manuscrit de parchemin découvert en 1965 à Qasr el-Wizz, en Nubie. On date ce codex aux environs de l’an 1000 de notre ère. Les manuscrits de Berlin et de Strasbourg contiennent la version complète du texte édité ici, mais sont aujourd’hui très fragmentaires. En revanche, le manuscrit de Qasr el-Wizz contient seulement un extrait retravaillé d’une partie du texte. L’ouvrage est connu jusqu’à maintenant comme l’Évangile du Sauveur, l’Unbekanntes Berliner Evangelium ou Strasbourg Gospel Fragments. Toutefois, comme ces titres ne rendent justice ni au genre ni au contenu réel du texte, j’ai choisi de l’appeler l’Apocryphon Berolinense/Argentoratense. Le texte est un discours de révélation de Jésus à ses apôtres, écrit à la première personne du pluriel. Une partie importante du texte est dévolue à un hymne de la Croix. L’hymne est chanté par le Christ alors que les apôtres semblent danser autour de la Croix en répondant « Amen ». Cette section est semblable à l’hymne au Père des Actes de Jean 94-96. L’introduction et le commentaire explorent le cadre littéraire et culturel dans lequel l’Apocryphon Berolinense/Argentoratense fut rédigé. Je propose ici que le texte constitue un des nombreux mémoires pseudo-apostoliques probablement composés en copte au cours des 5e-6e siècles. Ma lecture du texte améliore enfin en plus d’un point les précédentes éditions des trois manuscrits. / The present dissertation is a semi-diplomatic reedition of three manuscripts written in the Sahidic dialect of Coptic: Berlin, Papyrussammlung, P. Berol. 22220; Strasbourg, Bibliothèque Nationale et Universitaire, Copte 4-7a; Aswan, Nubian Museum, Special Number 168, ff. 12v-17r. The edition is accompanied by complete indices of the Greek and Coptic words, an extensive introductory study concerning the literary and cultural context in which the text was written, and commentaries. P. Berol. 22220 is a parchment manuscript of unknown provenance. Paleographical data suggests that it might have been copied during the 7th-8th century CE. The Strasbourg fragments, also of unknown provenance, came from a papyrus codex tentatively dated around 600 CE. Finally, the Aswan codex is a small parchment manuscript discovered in 1965 at Qasr el-Wizz, in Nubia. The codex is roughly datable around 1000 CE. The Berlin and the Strasbourg manuscripts contained the full version of the text edited here, but they have survived very fragmentarily. On the other hand, the Qasr el-Wizz manuscript contains only a reworked extract from a portion of the text. The work has been known until now as the Gospel of the Savior, the Unbekanntes Berliner Evangelium or the Strasbourg Gospel Fragments. However, as these titles fail to conform to the genre and the real content of the text, I have chosen to call it the Apocryphon Berolinense/Argentoratense. The text is a revelation discourse of Jesus to the apostles, written in the first person plural. An important part of the text is occupied by an extensive hymn of the Cross. The hymn is sung by Christ while to apostles are apparently dancing around the Cross answering “Amen.” This section is similar to the hymn to the Father from the Acts of John 94-96. The introductory study and the commentary explore the literary and the cultural setting in which the Apocryphon Berolinense/Argentoratense was written. Here I suggest that the text is one of the numerous pseudo-apostolic memoirs probably composed in Coptic during the 5th-6th century. Finally, my reading of the text contains several improvements to the previous editions of the three manuscripts.