Projet professionnel personnel de bibliothécaire : gestion de projet : Bibliothéconomie : Villeurbanne, ENSSIB : 2006. / Texte intégral. Bibliogr. f. 60-66.

Projet professionnel personnel de bibliothécaire : dossier d'aide à la décision : Bibliothéconomie : Villeurbanne, ENSSIB : 2007. / Texte intégral. Bibliogr. f. 73-81.

Rapport de stage diplôme de conservateur des bibliothèques : Bibliothéconomie : Villeurbanne, ENSSIB : 2004.

Habilitationsschrift--Munich. / Includes bibliographical references (p. [222]-230).

Czech painter František Kupka (1871-1957), who spent his active years in Paris, remains one of the most under-researched artists, given his important status as one of the first painters of totally abstract works of art, beginning in 1912. As such, his philosophical and iconographical sources have yet to be fully discussed. This thesis examines how three of Kupka's sources, Buddhism, Theosophy, and science, demonstrate his belief in the existence of an immaterial reality, which shaped his art and theory. In the late nineteenth and early twentieth centuries, the notion of invisible realities was a widespread concern of individuals aware of science and/or interested in mysticism and occultism. In this context, Buddhism would have offered another model for new ways of envisioning existence and consciousness. Two of Kupka's early works, The Soul of the Lotus (1898) and The Beginning of Life (1900), show his knowledge of Buddhist, and possibly Hindu, iconography. The Musée Guimet in Paris offered a rich supply of material by which an individual could learn about Buddhism, and Kupka's imagery likely drew upon such sources. In addition to the Musée Guimet, it is likely Kupka also encountered Buddhism through popularized Eastern thought--in part through books published in Paris on that subject as well as on Theosophy. The writings of Theosophical authors regularly addressed themes related both to Buddhism and to contemporary science, which was equally concerned with the invisible and the immaterial. Discoveries such as the X-ray, for example, affirmed the inaccuracy of human vision and the existence of a reality beneath surface appearances, which supported Theosophy in its reaction against materialism. I argue that Kupka's 1909 painting The Dream serves as a culmination of his concern for alternative conceptions of reality. Painted using a formal language of transparency, The Dream demonstrates Kupka's interest in Buddhism, Theosophy, and science and represents his belief in the immaterial as a critical stage in his philosophical and artistic evolution. / text

No description available.

This thesis proposes an interpretation of the Musée des Monuments français in Paris (1795-1816) in conjunction with Quatremère de Quincy's contemporary writings on the museum in general. The aim of this is twofold: Firstly, to identify and explore the significance of the Musée as an important instance in the history of the modern museum institution; and, secondly, to offer new insight into Quatremère's celebrated critique against the institution in general, and the Musée des Monuments in particular. Through an examination of the Musée's history and its intellectual context, alongside a detailed description of its layout/ its collections and their arrangement, informed by contemporary reports and criticism, as well as the lengthy writings of its creator and curator Alexandre Lenoir, the project's key features are identified and analysed. Subsequently, the main aim of the Musée is seen as a quest for identity and order in history, through the medium of art. Furthermore, the Musée is identified as ultimately transcending its historicist basis, through a poetic engagement with its various fragments - both literal and metaphorical. At the same time, a close reading of Quatremère's texts relating to the museum reveals that, across considerable ambiguity, the concerns which led him to address the institution in the first place also centred around the problem of history and its representation in art. Through an examination of numerous points of rapprochement, the conflict between Quatremère and the Musée des Monuments is revealed as largely circumstantial, while a final difference emerges through this reconciliation, pertaining to the Musée's ultimately poetic character.

No description available.

This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.

Diss. Paris : Universit́e V, 1975.