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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en question. / In France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question.

F. Scott Fitzgerald was a product of the era he was at his zenith: the roaring 1920s. By the time he arrived in Los Angeles, he was short on money and the audience for his novels and writing was waning. This work explores his time in L.A., his attitude toward cinema & the Hollywood system, and how he incorporated what he learned from screenwriting into The Last Tycoon, the unfinished novel that Fitzgerald aimed to revive his own career with.

At the height of her career, Norma Shearer was the Queen of Metro-Goldwyn-Mayer and the First Lady of the silver screen. She starred in sixty films in twenty-three years, beginning her career as an extra in 1919 before dominating the box office in the 1930s and retiring in 1942. Shearer's husband was the ''Boy Wonder” producer, Irving Thalberg, the man responsible for overseeing many of the studio's greatest successes, although he preferred to remain uncredited for his work. When Shearer and Thalberg married in September 1927, they became Hollywood's golden couple. Throughout their nine-year marriage, rumors circulated that Shearer married Thalberg for the sake of her career, while Thalberg was accused of unfairly casting Shearer in key film roles for which other stars may have been better suited. In interviews that appeared in screen magazines, Shearer denied the validity of this gossip, and sources close to the couple often reported their marriage was full of love and happiness. Although Thalberg did not publicly deny any rumors, he assured bis colleagues that his casting choices did not result from favoritism. Shearer and Thalberg had great influence and power within the film industry, but studio executives felt they both held too much power-especially Thalberg. Using archival research from Los Angeles, California, and information collected from within the state of Florida, this thesis explores the rumors that circulated about Norma Shearer and Irving Thalberg and the couple's methods to reveal the truth. It provides the personal histories of both artists and an examination of the circumstances surrounding one of early Hollywood's most powerful couples. It was their success that brought about the rumors and the attempts to undermine their marriage.