The material for the study came primarily from the F 17 series of the National Archives, where the documents of public education are dispersed through a number of liasses. and in the T series of the archives of the Maine-et-Loire, the Mayenne, and to a lesser extent of the Sarthe. Forays into the departmental archives of the Morbihari, Ille-et-Vilaine, Seine-Atlantique, the Nord and Cher were of great help as well. In the National Archives, the chief type of document was the correspondence of the recteur of Angers with Paris, either in the form of single reports or pacquets that contained the letters and petitions of principals, professors and local notables. This correspondence was scattered through boxes seemingly unrelated to the Academy as well as through the liasses of the municipal schools. The research was by no means limited to this one jurisdiction; much work was done on the correspondence of other academies in the attempt to make a comparative analysis. The departmental archives of the Maine-et-Loire contained the papers of the old rectorate and were indispensable in providing details on the more human side of life in the Academy. Those of the Mayenne and the Sarthe offered less information.

This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.

Orientador: Joaquim Brasil Fontes Junior / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-22T12:43:17Z (GMT). No. of bitstreams: 1 Demarchi_Cristiane_D.pdf: 6294661 bytes, checksum: b5b23399dcebfbfd52b1defeaf801bf0 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa realiza uma leitura de representações da poeta grega do período arcaico, Safo, em três imagens pictóricas, na França do século XIX. Para isso, buscou a compreensão do processo que conectou a construção de sua biografia a uma tradição ficcional, segundo a qual a poeta teria se suicidado por amor, um ato espetacular, fruto de interpretações da narrativa de Ovídio, poeta latino do século I a.C. Ao tripartir essa vontade de narrar o salto de Safo, a pesquisa aceita a imagem enquanto epifania singular de seu corpo. A primeira delas, do pintor neoclássico Pierre-Narcisse Guerin, está atualmente exposta no Museu do Hermitage de São Petersburgo. No centro do tríptico, uma imagem caricatural, produzida para Le Charivari, um semanário de grande circulação na Paris de meados do século XIX. Por fim, uma aquarela, dentre inúmeras pinturas e desenhos de Gustave Moreau sobre a poeta. Ao enfatizar a relação entre o corpo figurado e a construção da identidade-memória de Safo que, no século XIX, está vinculada à materialidade do corpo, a leitura estabelece uma geografia discursiva que envolve representações do feminino, do homoerotismo, da Ilha de Lesbos e do exótico que representa a relação entre elas e Safo. A tese sustenta que o erótico constituinte de Safo, atravessado por elementos simbólicos da fictio ovidiana, possibilitou a proliferação das imagens do salto na França do século XIX. Imagens que, por sua vez, refletem um campo de tensões entre o desejo de "ver" a personagem histórica no meio dos rastros e o choque entre narrativas antigas e mecanismos de controle do prazer entre os modernos. / Abstract: This research realize a reading of the representations of the greek poetess of the archaic period, Sapho, in three pictorical images on the France of the XIX century. Thereunto, seek the comprehension that conected the building of her biograph to a fictional tradition, according to, the poetess would have commited suicide by Love, a spectacular act, fruit of the interpretations of the Ovidian narratives, latin poet from century I B.C. Triparting this wish of narrate the Sapho transition, the research accept the image while a singular epiphany of her body. The first of them, from the neoclassic painter Pierre-Narcisse Guerin, that is actually exposed on the Hermitage Museum at St. Petersburg. At the triptical center a caricaractural image that was produced to Le Charivari, a weekly newspaper of a great circulation in Paris of the XIX century. Ultimately, a watercolour among the several paintings and draws from Gustave Moreau about the poetess. When emphasized the relation between the figured body and the build of the identity memory of Sapho, that in century XIX is connected to the materiality of the body, the reading offer a discursive geography that involves representations of the female, of the homoerotism, of the Lesbos island and from the exotic, that represents the relation between them and Sapho. The thesis support that the Sapho erotic constituent, crossed by simbolical elements of the Ovidian fictio allowed the proliferation of images in the XIX century France transition. Images that reflect a field of tensions between the desire of 'see' the historical personage among the vestige and the impact between ancient narratives and mechanisms of pleasure control among the moderns. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.

Five French organ composers, representative of the period from Widor to the present time, are identified in this study, and a comparative analysis of the works of each is made. The introduction includes the source of the data, the scope of the problem, the purpose of the study, the method of procedure, a brief historical background of the new French school of music, general characteristics of modern French music, and specific idioms of contemporary French organ composers, as exemplified in the works of the organists selected: Charles Marie Widor, Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The compositions and musical contributions of Widor, Vierne, Tournemire, Dupre, and Bonnet, respectively, are discussed in Chapter II through Chapter VI. Chapter VII states a summary of the study and the conclusions drawn,

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.

Orientador: Cláudia Valladão de Mattos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1 Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5) Previous issue date: 2014 / Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX / Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France / Mestrado / Historia da Arte / Mestra em História

The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.