L'intérêt scientifique pour l'image de Louis XV et Louis XVI a été jusqu'ici bien moindre que celui manifesté pour celle de leur glorieux ancêtre, Louis XIV. Cette situation a pu être encouragée par une historiographie inclinant à l'hypothèse de la désacralisation de la monarchie au XVIIIe siècle. Il en aurait résulté une dégradation de l'image royale, la monarchie étant incapable de faire face au rôle de plus en plus déterminant joué par la sphère publique. Or, ce travail cherche à montrer que c'est précisément en raison de la prise en compte de l'opinion que cette image royale se redéfinit à cette période, une redéfinition qui apparaissait d'autant plus nécessaire après la défaite dans la Guerre de Sept Ans. C'est bientôt la représentation d'un roi simple et bienfaisant, inspirée par Stanislas Leszczynski, qui s'impose et qui contribue à la popularité de Louis XVI pendant son règne. Ainsi, la représentation royale évolue en se donnant de nouveaux modèles. Elle tire en outre parti d'une multiplicité de supports de diffusion dont la démocratisation permet de toucher un large public. Enfin, cette image ne se conçoit plus sans un nouvel acteur : la presse qui sert à la fois à promouvoir l'iconographie royale, à préciser son sens et à lui donner consistance. / Up to now, scholarly studies have shown less interest in the image of Louis XV and Louis XVI than in the one of their glorious ancestor, Louis XIV. This situation may have been encouraged by a historiography fostering the hypothesis of the desacralization of the monarchy in the 18th century. It would have led to a degradation of the royal image, with the monarchy being unable to face up to the growing influence of the public sphere. Yet, this dissertation tries to show that it precisely was because public opinion was taken into account that the royal image was redifined at the period. It appeared all the more necessary after the defeat in the Seven Years War. Soon afterwards, the representation of a simple and benevolent king, inspired by Stanislas Leszczynski, began to prevail and contributed much to the popularity of Louis XVI during his reign. Thus, the royal representation evolved and refered to new models. It also made good use of the democratization of multiple diffusion mediums enabling it to reach a larger public. Finally, the royal image could not be contemplated without paying attention to a major new actor: the press. It was used to promote the new royal iconography but it also precised its meaning and gave it some intellectual substance.

No / Munro Price has meticulously researched the mood, atmosphere and personalities behind the palace walls. At the heart of this research is a cache of letters that sheds new light on the lives of the royals, as the monarchy was gradually stripped of its power and revolutionary fervour called for their execution. The central character in this new evidence is the Baron de Breteuil, Louis's ambassador in exile, who orchestrated doomed escape plans and co-ordinated the international response to the revolution.This new book reassesses a perennially interesting period of history and will shed fresh insight into one of the real tuning points in European history

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Ce mémoire rend compte d'un long processus qui trouve son origine dans le travail du théâtre : décors, costumes, textes, voix, acteurs et représentations, processus qui puise dans les caprices, les anecdotes, les vérités et les mensonges de la grande histoire. Il fait état de la recherche qui a mené à la réalisation d'une vidéo mettant en scène le lent déshabillage d'un personnage célèbre, Marie-Antoinette d'Autriche, et à l'exposition recontextualisant les costumes et les accessoires utilisés pendant le tournage. En plus de mettre Marie-Antoinette en relation avec sa mère, Marie-Thérèse de Habsbourg, ce récit vidéographique a fait appel à d'autres personnages qui portent le récit: les Archivistes, les Bornes et les Africaines. À travers ces personnages secondaires, le corps du personnage-actrice Marie-Antoinette, surexploité par la culture populaire, est décortiqué, classifié, classé, reclassé et conceptualisé avant d'être utilisé comme point d'ancrage d'une création théâtrale. Dans la construction de cette histoire, le costume, réel et conceptuel, a servi de trame au texte, qui a ensuite guidé la gestuelle de l'actrice une fois le costume endossé. À travers un effeuillage menant au corps de l'actrice, le présent texte fait, couche après couche, état de cette réflexion sur le corps mis en scène et sur les capacités et limites de celui-ci à raconter une expérience sensible. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : apparence, image, corps, vêtement, peinture, vidéo, théâtre, costume, jeu.

This thesis examines the portraiture and patronage of Marie Thérèse Louise de Savoie-Carignan, the princesse de Lamballe (1749-1792). It is the first comprehensive and detailed study to be undertaken of the princess's activities as patron. Lamballe was Marie-Antoinette's longest-serving confidante and Superintendent of the Queen's Household. Through close formal analysis of the portraits combined with careful consideration of the sitter's personal circumstances and the wider cultural and historical context, the thesis challenges scholarly assumptions that the princess had only negligible influence as a sitter and patron. As a case study of an independent, professionally ambitious and childless widow, it identifies a wider range of motives and cultural meanings than has previously been ascribed to female court patronage of this period. The first chapter demonstrates that the early depictions of Lamballe as a docile and grieving princess were largely dictated by her father-in-law, an identity the princess subsequently discarded when she assumed a professional role at court. Chapter two examines portraits executed during the princess's rise to political and social prominence and shows that her attachment to the queen and the length of time she spent in her company and service, together with her publicly visible roles as freemason and salonnière, made her a figure of considerable renown and influence and thereby a highly significant patron at the French court. This was enhanced by the princess's international reputation as a talented amateur artist in her own right and by her financial and social support of aspiring artists and art institutions. The princess's engagement with the cult of sentiment and advocacy of women artists is allied to the sorority encouraged by Marie-Antoinette within the women of her select circle. Complementary chapters on the princess's previously unknown anglophile inclinations (discussed in Chapter three) and her private collections, library, and musical and literary patronage (considered in Chapter four) further reveal that Lamballe was an informed and cultivated female patron who operated at the very centre of Marie-Antoinette's circle.

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[pt] Mais de duzentos anos se passaram desde o início da Revolução francesa, será que já se falou demais sobre ela? Creio que não. Por ser um dos eventos fundantes das sociedades modernas, sua história é continuamente disputada. A sua complexidade vai além da simples categoria de revolução burguesa e autoriza ver neste evento um verdadeiro laboratório de experiências, não modelos, já que não se prestam a serem imitados, mas podem inspirar o presente para imaginar – e construir – o futuro. Assim, o presente trabalho se debruça sobre um período específico da Revolução francesa: o julgamento de Luís XVI; nesta cena, um personagem é principal, não Luís, mas o jovem revolucionário Saint-Just. Sendo o mais jovem membro da Convenção nacional, sobe à tribuna da assembleia e afirma de maneira contundente: Para mim, não vejo meio-termo, este homem deve reinar ou morrer. Segundo Saint-Just, um rei é um inimigo, deve ser combatido e não julgado. Para explorar esse corte em meio aos debates de quem e como julgar Luís XVI, apresento o seguinte trajeto: na primeira parte, investigo a biografia desse jovem revolucionário, os caminhos de sua formação e obras anteriores a seu début na carreira parlamentar. Na segunda parte, traço um breve histórico dos acontecimentos que precipitaram o fim da monarquia constitucional na França, para em seguida mergulhar na cena principal, o julgamento de Luís XVI. Apresento as teses jurídicas em questão, pró e contra a acusação e condenação no ex-monarca, as questões constitucionais, e busco mostrar a radical ruptura introduzida pela fala de Saint-Just, tendo em conta suas obras teóricas que nos foram legadas como fragmentos o Da natureza, do estado civil e da cidadania ou Regras da independência de Governo e o Instituições Republicanas. / [en] More than two hundred years have passed since the beginning of the French Revolution, have we talked too much about it? I think not. As one of the founding events of modern societies, its history is continually disputed. Its complexity goes beyond the simple category of bourgeois revolution and allows to see in this event a real laboratory of experiments, not models, since they do not lend themselves to be imitated, but can inspire the present to imagine - and build - the future. Thus, the present work focuses on a specific period of the French Revolution: the trial of Louis XVI; in this scene, the main character is the young revolutionary Saint-Just. Being the youngest member of the National Convention, he stands in the tribune of the assembly, and he sharply states: For myself, I can see no mean, this man must reign or die. According to Saint-Just, a king is an ennemi that must be fought, not tried. To explore this cut amid the debates of who and how to judge Louis XVI, I present the following route. In the first part, I investigate the biography of this young revolutionary, the paths of his formation and works before the beginning of his parliamentary career. In the second part, I trace a brief history of the events that precipitate the end of the constitutional monarchy in France, and then dive into the main scene, the trial of Louis XVI. I present the legal theses in question, pro and against the accusation and conviction in the former king, the constitutional issues, and I seek to show the radical rupture introduced by the speech of Saint-Just, keeping an eyes in his works De la nature, de l état civil et de la cité ou les règles d indépendance du gouvernement and Institutions républicaines. / [fr] Plus de deux cents ans se sont écoulés depuis le début de la Révolution française, en a-t-on déjà trop parlé? Je crois que non. Étant l un des événements fondateurs des sociétés modernes, son histoire est continuellement contestée. Sa complexité va au-delà d une simple catégorie de révolution bourgeoise et autorise à voir dans cet événement un véritable laboratoire d expériences, non pas desmodèles, car ils ne se prêtent pas à être imités, mais ils peuvent inspirer le présentpour imaginer – et construire – l avenir. Ainsi, le présent travail se penche sur unepériode spécifique de la Révolution française : le jugement de Louis XVI; dans cette scène, un personnage est principal, non pas Louis, mais le jeune révolutionnaireSaint-Just. Étant le plus jeune membre de la Convention nationale, il monte à la tribune de l Assemblée et affirme de manière tranchante : Pour moi, je ne vois point de milieu, cet homme doit régner ou mourir. Selon Saint-Just un roi est un ennemi et doit être combattu et non pas jugé. Pour explorer cette coupe au milieu des débats de qui et comment juger Louis XVI, je présente le chemin suivant : dans la première partie, j étudie la biographie de ce jeune révolutionnaire, les voies de sa formation et les œuvres antérieures à son début dans la carrière parlementaire. Dans la deuxième partie, je trace un bref historique des événements qui précipitent la fin de la monarchie constitutionnelle en France, pour ensuite plonger dans la scène principale, le procès de Louis XVI. Je présente les thèses juridiques en question,pour et contre l accusation et la condamnation dans le ci-devant monarque, les questions constitutionnelles, et cherche à montrer la rupture radicale introduite par le discours de Saint-Just, en prenant compte de ses œuvres De la nature, de l état civil et de la cité ou les règles d indépendance du gouvernement et Institutions républicaines.