Th.--Géographie physique--Reims, 1985.

Diss.--Rechts- und wirtschaftswissenschaften--Mainz--Johannes Gutenberg-Universität, 2003. / Bibliogr. p. 1793-1830. Index.

Dissertation--Gießen, 2006. / Bibliogr. p. 355-382.

Thèses (M.A.)--Université de Sherbrooke (Canada), 1999. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Habil.-Schrift Univ. Giessen, 2008.

In this thesis I consider Henry Scheffer's Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429 (1843) in relation to female audiences of the July Monarchy. As a part of the larger Galerie des Batailles in the Musée Historique instituted in 1837 by Louis-Philippe, Entrée de Jeanne d'Arc has been addressed relative to the political objectives of the monarchy. Limited scholarship surrounding the Galerie des Batailles has focused on its evolution from royal apartments in the château de Versailles to public museum. However, the broadening of audiences during the July Monarchy and potential points of engagement between viewer and artwork have remained largely overlooked, especially in relation to Scheffer's Entrée de Jeanne d'Arc. Though feminist scholars have addressed the formation of the female spectator in post-revolutionary France, women in the art world during the July Monarchy remain understudied. This thesis discusses the expanding of audiences to whom Salon artists and Louis-Philippe were trying to appeal. The emergence of books and periodicals directed towards women during the July Monarchy, as well as the renewed interest in historicism affected female viewers' interaction with Scheffer's Entrée de Jeanne d'Arc. Additionally, the unrecognized fervor surrounding women of the July Monarchy who sought to emulate noble women of the past reflects these opportunities for women viewers. The emergence of contemporary women who were associated with the historical heroine, including Marie d'Orléans, expanded women's understanding of their place in history and their engagement in political, religious, and literary change within the public sphere. I attempt to show how all of these overlooked contextual circumstances empowered the viewing position of the female viewer in relation to Scheffer's Entrée de Jeanne d'Arc.

No description available.

(in English): The aim of the thesis is to analyze three selected works of Charles Péguy: Le Mystère de la charité de Jeanne d'Arc, Le Mystère du porche de la deuxième vertu and Le Mystère des saints Innocents. The particular Mysteries will be divided into main thematic units and their primary development lines will be researched. Subsequently, there will be observed the thematic evolution of all three works and their interconnection. Both their differences and their common topics will be assessed. It will be reflected what suffering and hope mean to the author and in which manner are these key themes expressed in the text. Then the concentration will be focused on the nature and development of the main characters, and their connection to the author's life. Equally, it will be necessary to mention the author's theology, his attitude towards the church practice of that time and the resulting influence on his work. Finally, there will be synthesized the message of this three selected works.

<p>The following essay is named <em>The canonization of Joan of Arc, a Church political strategy or the creation of a national symbol? </em>Joan of Arc, the French heroine of the Hundred Years War, was canonized as late as 1920, in a process that began already in 1869. In the following essay I am trying to work out if this canonization is a work of the Vatican in order to gain popularity in France after the breakup with the state in 1905. The Catholic Church had, since the French Revolution, faced difficulties withstanding its position of power in the presence of the upcoming Secularism and Liberalism and their growing public support. The Catholic Church had been fighting for its members and at the same time fighting the new ideas of Socialism, Communism and Liberalism. Due to the lack of direct sources as well as the inability of being able to retrieve them I have used a variety of sources and documents. By using different history books and documents regarding the actual canonization of Joan of Arc and the Roman Catholic Church, I have been able to retrieve the information needed to answer my three folded question. The main question regarding the political strategy was as my hypothesis says, true, as far as this work concerns.</p><p>Joan of Arc’s case was not in a starting phase initiated by the Vatican but instead by a liberal bishop in France but as the case continued my result showed that the Vatican saw a chance to gain not just the trust of its members, but also a chance to strengthen its bounds to the French state. The reason that it took more than five hundred years (after Joans death) to canonize her is probably that nationalism with all its meaning was developed and used in a wider sense during the late 19th century. This ”back to the roots” philosophy made the pressure to canonize her more vivid and at last, after the First World War, she became the national saint that France forever longed for.</p> / En artikel baserad på denna uppsats har senare publicerats i Gusem: Gutilandorum Universitas Scholarium et Magistrorum: tidskrift för Högskolan på Gotlands historiska förening, Årgång 1 (2009): nr 1.

The following essay is named The canonization of Joan of Arc, a Church political strategy or the creation of a national symbol? Joan of Arc, the French heroine of the Hundred Years War, was canonized as late as 1920, in a process that began already in 1869. In the following essay I am trying to work out if this canonization is a work of the Vatican in order to gain popularity in France after the breakup with the state in 1905. The Catholic Church had, since the French Revolution, faced difficulties withstanding its position of power in the presence of the upcoming Secularism and Liberalism and their growing public support. The Catholic Church had been fighting for its members and at the same time fighting the new ideas of Socialism, Communism and Liberalism. Due to the lack of direct sources as well as the inability of being able to retrieve them I have used a variety of sources and documents. By using different history books and documents regarding the actual canonization of Joan of Arc and the Roman Catholic Church, I have been able to retrieve the information needed to answer my three folded question. The main question regarding the political strategy was as my hypothesis says, true, as far as this work concerns. Joan of Arc’s case was not in a starting phase initiated by the Vatican but instead by a liberal bishop in France but as the case continued my result showed that the Vatican saw a chance to gain not just the trust of its members, but also a chance to strengthen its bounds to the French state. The reason that it took more than five hundred years (after Joans death) to canonize her is probably that nationalism with all its meaning was developed and used in a wider sense during the late 19th century. This ”back to the roots” philosophy made the pressure to canonize her more vivid and at last, after the First World War, she became the national saint that France forever longed for. / En artikel baserad på denna uppsats har senare publicerats i Gusem: Gutilandorum Universitas Scholarium et Magistrorum: tidskrift för Högskolan på Gotlands historiska förening, Årgång 1 (2009): nr 1.