Dans le Paris partiellement alphabétisé des XVIIe-XVIIIe siècles, caractérisé notamment par la multiplication des usages sociaux de l'écriture, l'écrivain public gagnait sa pitance en écrivant pour autrui. Pour le menu peuple familier de ses services, il jouait volontiers les rôles de confident, d'avocat, de commis ou de faussaire. Exercé à tout vent, sans contrainte corporative et par des scripteurs aux profils variés, le métier se révèle irréductible à un état socio-professionnel singulier, si ce n'est de se fondre au paysage de la rue. Ces considérations permettent de situer la place et la fonction des écrivains publics dans la société. Elles ont agi sur les représentations partagées du personnage —tantôt loué tantôt persiflé—, différemment perçu par ses contemporains selon la position qu'ils occupaient —gens de lettres, autorités, voisins d'échoppe. Pour atteindre ces visions du scribe et le scribe lui-même, il faut s'adresser aux sources judiciaires et ecclésiastiques, aux nombreuses descriptions pittoresques et littéraires du vieux Paris, en observant de concert la scène publique où évoluait l'écrivain dans son rôle d'intermédiaire. Maillon entre l'histoire des pratiques citadines de l'écrit et celle des moeurs populaires urbaines, l'écrivain public ouvre donc aussi une voie de compréhension au mode de vie et à la sociabilité des classes populaires. Pratiquant dans le cimetière des Saints-Innocents, qui fut également l'une des places marchandes les plus animées des quartiers laborieux de Paris, l'écrivain «des charniers» permet à la fois de porter un éclairage accru sur le personnage public et de pénétrer dans l'espace social et culturel de son appartenance. C'est ainsi qu'il se propose enfin pour interroger le rapport, sous l'Ancien Régime, entre les multiples vocations de l'enceinte sépulcrale et les modalités de l'intégration sociale au sein du peuple parisien; les règles d'adhésion à une communauté; les gestes et les comportements qui traduisaient cet attachement et ceux qui supportaient l'affirmation d'une identité distincte, notamment celle du secrétaire des humbles. / Québec Université Laval, Bibliothèque 2013

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Charles Meryon is considered to be among the most skilled etchers in the history of French printmaking. Born in 1821, Meryon reached professional maturity during the French etching revival. His most ambitious and well-known project is his Eaux-fortes sur Paris (1850-1854), a suite of 22 etchings comprising twelve large views of Parisian landmarks and ten smaller prints of poems and other images. What is perhaps most remarkable about Meryon's representations of Paris is that they seem to show objective, detailed views of the city while also conveying the artist's subjective, uncanny perceptions of it. This tension between the real and the metaphysical is often interpreted as an indication of Meryon's mental illness, which was well known by critics of his time. One of the most frequently touched on but least developed themes in the scholarship on Meryon is his connection with Edgar Allan Poe, who was widely read and embraced in France beginning in the 1840s. The first French translation of Poe's work was published in 1844 and by the time that Meryon began the Eaux-Fortes suite, several of Poe's short stories had been translated in French journals and newspapers. Meryon began the suite in 1850, just a year after Poe's death, and had completed at least the first state of all of the etchings by 1854. Meryon's suite, like Poe's tales, has an ominous mood and, when considered as a whole, tells a story of a city haunted by corruption and evil and by its own history. In his depictions of the city's architecture and landscape, Meryon penetrates beneath Paris's surface into what he sees as its character and his treatment of his subject aligns closely with Edgar Allan Poe's representations of the modern world. The urban environment's metaphysical underpinnings that are evident in Meryon's Eaux-Fortes sur Paris merit a thorough examination, and a consideration of Meryon's representation in conjunction with Edgar Allan Poe's tales that were popular in France during the years in which Meryon was working makes it possible to put Meryon's work and his perceptions of Paris into a larger context. / text

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IT’S ALWAYS SOMEBODY’S PARIS: AN EXAMINATION OF PLACE IN NONFICTION WRITING By Jessica E. Sculthorpe This thesis examines the importance of place in nonfiction writing, using both the author’s personal experience as a student in Paris and the writings of other Americans in Paris, including members of the Lost Generation. The first two chapters examine the author’s experience as a young student in Paris. The third and fourth chapters contain the author’s reflection on the process of writing the thesis and an examination of the ways in which other writers have written about Paris in their own nonfiction writing.

This thesis provides the first detailed study of the jury of the Paris Fine Art Salon under the July Monarchy and Second Republic. In 1831, Louis-Philippe delegated the role of jury to the members of the first four sections of the Académie des Beaux-Arts. This thesis analyses the diverse composition of the July Monarchy jury and offers the first account of its procedures and decisions based on a rigorous examination of archival sources. It also examines the nature and extent of the growing opposition to the jury, its eventual abolition in 1848 and the decisions taken in forming a new jury under the Second Republic. In so doing it reveals the failure of the king and his arts administration to respond to the aspirations and expectations of the artistic community under the post-revolution constitutional monarchy. It also shows how the jury’s diverse membership sparked conflict, notably between a conservative group of architects and certain more open-minded members of the painting section, as it sought to adjust its academic values and expectations in response to the artistic developments of the period. My examination of the opposition to the jury among artists and art journalists during this period brings to light the key issues surrounding admission to the Salon at the time. Finally, the analysis of the Second Republic reveals the ways in which this opposition was temporarily satisfied by reforms to the jury, examining the significance of changes not only to its composition, but also to its procedures. At each stage the thesis challenges the simplistic misrepresentations of the Salon jury’s procedures and decisions prevalent during the July Monarchy itself and subsequently in the history of the emergence of modern art in France during the nineteenth century.

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Texte remanié de: Th. doct.--Paris 1, 1997. Titre de soutenance : Les figurines hellénisantes de Suse : contribution à l'histoire culturelle de Suse aux époques hellénistique et parthe. / Bibliogr. p. 828-845. Glossaire. Index.