The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

The pamphleteers popularized the mythology of despotism by denouncing lettres de cachet and other supposed abuses of power that had little effect on most people. Historians like Funck-Brentano may be correct in arguing that the government was really moderate at this time, but it is important to show that radical propagandists were quite successful in convincing Frenchmen that thousands of innocent victims huddled miserably in <em >cachots for having inflamed the despotic passions of a minister. Moreover the prisons that were mythological for most Frenchmen had been terribly real for Brissot, Carra, Gorsas and many other writers, and this consideration also suggests the importance of the biographical approach. The Bastille may have been nearly empty, but it was a powerful symbol, effectively exploited by pamphleteers who dealt in symbols, declamation and distortions of political realities. They were highly successful in dominating public opinion, which exerted an influence on events that has been unappreciated in relation to the weak, irresolute rule of Louis XVI. The thesis attempts to develop this interprettion of the political importance of radical propaganda with reference to the scientific, financial and literary history of the period. It may seem weak on some ponts of these specialized fields, but it is hoped that it assimilates them successfully in its main attempt to contribute to an understanding of the last years of the Ancien Regime: its analysis of the character of radical propaganda in relation to the men who created it.

Les fêtes et les cérémonies, de Cour, publiques ou privées, firent partie des grandes heures du règne de Louis XIV. Charles Le Brun, le Premier peintre du roi, magnifia quelques-unes de ces brillantes célébrations, associant apparat, musique, danse ou feux d’artifice. Les peintures, sculptures, tapisseries ou grandes structures, telles que des arcs de triomphe, étaient conçues ou disposées afin de s’adapter aux divertissements ou aux cérémonies, métamorphosant pendant quelques heures les édifices ou les jardins. Détruites à la fin des événements qu’elles accompagnaient, ces œuvres ont reçu peu d’attention jusqu’à présent. L’analyse des sources contemporaines et des images des décors permet de restituer ces ouvrages, mais également de les replacer dans leur contexte. La genèse de ces œuvres, leur conception et leur fabrication sont étudiées, redessinant les liens que Le Brun avait tissés avec les hommes d’État (le roi, Séguier, Fouquet et Colbert), avec les hommes de lettres, ainsi qu’avec ses principaux collaborateurs, notamment à la Manufacture des Gobelins. L’une des particularités de Le Brun dans ce domaine fut d’ordonner lui-même des fêtes et des cérémonies, ce qui constitue peut-être un cas unique pour un peintre à cette période. Ces œuvres oubliées complètent donc le portrait d’un des plus grands artistes français du XVIIe siècle. Plus que tout autre ouvrage, les décorations ordonnées par Le Brun donnent l’image la plus juste de ses recherches et de ses goûts. Enfin, l’étude de ces fêtes et de leur réception offre une meilleure compréhension de ces moments éphémères, tout en leur conférant la pérennité qu’ils méritent. / Religious ceremonies and festivals, courtly, public or private, constituted the most glorious moments of the reign of Louis XIV. Charles Le Brun, the King’s First Painter, enhanced some of these brilliant celebrations, involving pageantry, music, dance or fireworks. The paintings, sculptures, tapestries or great structures, such as triumphal arches, were designed or arranged to adapt to entertainment or ceremonies, transforming for a few hours gardens or buildings. Destroyed at the end of the events that required them, these works have received little attention until now. In this study, contemporary descriptions and reproductions of Le Bruns decorations are analyzed and brought to light to set them in the context of their day. The origin of these works, their conception and their making are studied, showing Le Bruns connections with statesmen (the King, Seguier, Fouquet and Colbert), with men of letters, and with other artists and workers, in particular those at the Gobelins Manufactory. One of the particularities of Le Brun in this domain was to commission himself festivals and ceremonies, which was perhaps a unique case for an artist at that time. These forgotten works round out the portrait of one of France’s greatest XVIIth Century artists. More than any other work, the decorations commissioned by Le Brun give the most accurate image of his research and taste. Finally, the study of these festivals and their reception offers a better understanding of these ephemeral moments, while giving them a permanence they deserve.

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The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

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Ce travail aborde la question des lieux d'art non pas, comme c'est souvent le cas, pour leurs répercussions sur leur voisinage, mais pour leur apport à la création plastique elle-même. Dans sa première partie sont précisés les termes de la recherche : le mot "stratégie" à la fois dans le contexte artistique et dans d'autres contextes ; les "quartiers d'art" selon leur usage: création, exhibition et habitation ; les "gens de l'art", considérés comme le groupe qui crée, conceptuellement, l'œuvre d'art. La deuxième partie présente, en plus d'une synthèse historique, six territoires de l'art contemporain : le Fbg Saint-Denis (Paris), qui constitue la colonne vertébrale de ce travail, la Macarena (Bogota), San Telmo (Buenos Aires), Belleville (Paris), le Red Hook (New York) et la ville de Berlin. La troisième partie analyse le travail individuel de sept personnalité de l'art ayant habité le Fbg Saint-Denis depuis l'année 2000 : Nathalie Heinich, Nicolas Bourriaud, Jean-Philippe Antoine, Thomas Hirschhorn, Esther Shalev-Gerz, Pierre Huyghe et Olga Kisseleva. La dernière partie relie cette recherche avec l'œuvre de son auteur. La conclusion met en évidence une série d'hypothèses qui se dégagent de cette étude : les lieux d'art comme instrument d'identification des différents groupes œuvrant dans l'art ; la notion de débat comme forme de stratégie, avec un niveau interne (qui participe et à quel titre) et un niveau global (le rôle de l'art dans la société) ; les artistes considérés non pas comme une catégorie socio-professionnelle, mais comme "produits" de chaque groupe social ; l'art comme une forme de participation à un territoire commun plus que comme un espace en soi. / This work concerns the question of art territories, but not, as is often the case, for their repercussions on their neighbourhood, but for their contribution to the plastic creation itself. In the first part, the terms of the research are defined: the word "strategy" in the artistic context as well as in other contexts; the "art districts". according to their use: creation, exhibition and residence; the "people of art", considered as the group that creates, conceptually the artwork. The second part presents, in addition to a historical synthesis, six territories of contemporary art: Faubourg Saint-Denis (Paris). which is the backbone of this work, Macarena (Bogota), San Telmo (Buenos Aires), Belleville (Paris), the Red Hook (New York) and the city of Berlin. The third part analyses the individual work of seven contemporary art personalities who lived in Faubourg Saint­Denis since 2000: Nathalie Heinich, Nicolas Bourriaud, Jean-Philippe Antoine, Thomas Hirschhorn, Esther Shalev-Gerz, Pierre Huyghe and Olga Kisseleva. The last part links this research with the work of its author. The conclusion highlights a series of hypotheses emerging from this study: places of art as an instrument of identification of the different groups working in art; the notion of "debate" as a form of strategy, with an internal level (who participates and in what capacity) and a global level (the role of art in society); artists considered not as a socio-professional category, but as "products" of every social group; art as a form of participation in a common territory more than as a self-space.

Ce mémoire étudie comment Condorcet, Hegel, Durkheim, Parsons, Bourdieu et Passeron conçoivent les fonctions respectives de la famille et de l’école en matière d’éducation. Depuis la Révolution française, les idées modernes sur ce partage ont beaucoup évoluées. C’est à titre de témoins éminents de cette évolution que ces auteurs sont interrogés. Toutes héritières des principes issus du siècle des Lumières, les conceptions étudiées varient selon le rapport à l’ordre social et selon l’intention qui les guide ; le bonheur universel qui fait autorité sur la liberté de l’individu en formation devient de moins en moins abstrait. En tant que finalité, cet idéal se fait supplanter, presque, par la question du bonheur individuel, pourtant soumise aujourd’hui à l’exigence de la réussite scolaire. La responsabilité individuelle s’en trouve accrue, puisque, depuis que les structures sociales inégalitaires ont été sévèrement critiquées, l’ordre social ne doit plus reposer sur des déterminations de classe. / This study examines how Condorcet, Hegel, Durkheim, Parsons, Bourdieu and Passeron perceive the roles of both the family and the school with regard to upbringing. Since the French Revolution, these perceptions have greatly evolved. We refer to these authors since they clearly represent the context of this evolution. Although these perceptions have inherited principles originating from the Enlightenment, they vary according to the relationship with society and the intentions by which they are guided. Universal happiness, which has an impact on the freedom of the growing individual, becomes less and less abstract. In the end, this ideal is almost surpassed by the freedom of personal happiness, which still depends today on success in school, as it is a generally accepted requirement. The responsibility of each individual is amplified, because, ever since unequal social structures have been highly criticized, social order shall no longer be based upon class determination.

This thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French. The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects. In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features. Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators. Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere. Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.