Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective. / This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France.

A presente tese estuda a produção arquitetônica e artística nas Missões Jesuíticas situadas no território do antigo Estado do Maranhão e Grão-Pará (criado em 1621), com particular destaque à região da Capitania do Grão-Pará. O arco temporal compreende os anos de 1653 (estabelecimento da Companhia de Jesus em Belém) a 1759 (expulsão dos jesuítas das colônias portuguesas). A tese enfoca, em particular, o trabalho artístico de jesuítas e índios nas oficinas que funcionaram no Colégio Jesuítico de Santo Alexandre em Belém a partir do século XVIII; procurando identificar a irradiação de modelos criados nas mesmas em direção às igrejas e capelas implantadas pelos jesuítas ao longo do Rio Amazonas e seus afluentes; sobretudo, àquelas que estavam localizadas em vilas, aldeias ou fazendas jesuíticas mais próximas a Belém (Vila de Nossa Senhora de Nazaré da Vigia, Vila Souza do Caeté, Mortigura, Gibirié, Mamaiacú, Jaguarari, entre outras). É colocada a hipótese de que Belém, como um pólo criador de modelos (também pólo econômico e comercial), alimentou toda a produção artística dos jesuítas no Grão-Pará, ao difundir seus métodos de trabalho e suas experiências técnicas. O título Tintas da Terra, Tintas do Reino sintetiza a idéia central da tese, de que o legado dos jesuítas na arquitetura e na arte nas missões do Grão-Pará é resultado do trabalho de europeus e de índios, e do emprego de suas tradições culturais. / This thesis is a study of the artistic and architectural production of the Jesuit Missions in the former State of Maranhão and Grão Pará, which was established in 1621, with a special emphasis on the Captaincy of Grão Pará. The period under study spans the time from 1653, when the Society of Jesus settled in the city of Belém, to 1759, when the Jesuits were expelled from Portuguese colonies. This thesis focuses in particular on the artistic work of both jesuits and indians carried out in the workshops at the Jesuit School of Santo Alexandre in Belém in the 18th century. The thesis seeks to trace the dissemination of the models created in such workshops throughout the Jesuit churches and chapels that were built along the borders of the River Amazon and its tributaries, especially those located in the Jesuit aldeias, vilas and fazendas closer to Belém (Vila de Nossa Senhora de Nazaré da Vigia, Vila Souza do Caeté, Mortigura, Gibirié, Mamaiacú, Jaguarari, among others). The hypothesis under investigation in this study is that Belém, in addition to being an economic and commercial hub, was also an artistic center providing models, working methods and technical expertise for the entire Jesuit artistic community in the Grão Pará. The title Tintas da Terra, Tintas do Reino summarizes the core idea underlying this thesis, namely that the Jesuit legacy in the art and architecture of the Grão Pará missions is the result of the work of europeans and indians, who in doing so resorted to their respective cultural traditions.

A la fin du 19° s. les écrivains grecs créent un genre littéraire original, la nouvelle paysanne : une intrigue simple sert de base à la description de la vie et des moeurs dans des petits villages grecs. Ce mouvement a été appelé « étude de moeurs » (ithographie) [ηθογραφία]. Les bouleversements historiques et économiques au tournant du siècle entraînent une crise des valeurs traditionnelles et conduisent les auteurs à élargir leur questionnement. Dans Le Mendiant, Andréas Karkavitsas montre les déterminismes qui font agir les personnages collectifs que sont les paysans du village et les autorités venues les juger. L’individu est le représentant d’un groupe :Tziritokostas représente la classe des mendiants, Valachas la classe aristocratique déchue, Croustallo le groupe des paysannes. Quand ces deux derniers personnages prennent conscience de leur aliénation, le poids de la société est tel qu’il les écrase. Si la liberté est possible, c’est dans la mort. Francoyannou, l’héroïne de La Femme meurtrière d’Alexandre Papadiamandis, est responsable de l’enfer dans lequel elle s’enferme en multipliant les meurtres de fillettes. Le déterminisme, l’aliénation sont les fausses raisons qui lui permettent de se complaire dans ce que le récit révèle être la rumination de son âme froide et dure ; elle persiste dans le mal parce qu'elle refuse sa liberté de créature de Dieu. / At the end of the 19th century, Greek writers created an original genre, the rural novel : a simple plot is the basis for the description of the life and mores in small Greek villages. This movement was called "study of mores" (ithografie) [ηθογραφία]. The historical and economic upheavals at the turn of the century lead to a crisis of traditional values and lead the authors to expand their questioning. In The Beggar, Andreas Karkavitsas shows determinisms which act collective characters that are the peasants of the village and the authorities who came to judge them.The individual always represents a group: Tziritokostas represents the class of beggars, Valachas the aristocratic class toppled over, Croustallo the peasant women. These last two figures are partly aware of their alienation; but the weight of society is such that it crushes them. The freedom is possible just in death. Francoyannou, the heroine of The Murderess of Alexander Papadiamandis, is responsible for the hell in which she locks herself by multiplying little girls murders. Determinism and alienation are the false reasons that allow her to wallow in rumination of her soul cold and hard; she persists in evil because she refuses her freedom of God’s creature.

Émile Augier, Alexandre Dumas fils et Victorien Sardou figurent parmi les dramaturges les plus importants du Second Empire (1852-1870). À travers cette étude, nous nous proposons d’examiner les comédies de mœurs de ces auteurs sous l’angle de la sociopoétique pour ce qui concerne les règles du savoir-vivre et les bonnes manières, examinées dans leur fonction dramatique et théâtrale. Nous nous sommes attachée à l’étude de l’esthétique théâtrale du savoir-vivre qui englobe le lieu (Paris), les personnages (les mondaines et demi-mondaines, les mondains et les domestiques) et les moyens de communication à distance (la lettre et les cartes). Nous nous sommes ensuite penchée sur le caractère spectaculaire du savoir-vivre, à savoir la «distinction» ou la mise en scène de soi, la gestuelle des salutations, les «toilettes tapageuses» et les arts de la table. Les composantes des codes de politesse permettent de parler d’une dramaturgie du savoir-vivre qui caractérise les comédies de mœurs. Cette dramaturgie, que d’aucuns estiment surannée, reflète toutefois les usages représentatifs d’une époque. / Émile Augier, Alexandre Dumas fils and Victorien Sardou appear among the most important dramatists of the Second Empire era (1852-1870). In this thesis, comedies of manners of these authors are considered from a “socio-poetical” point of view. Rules of etiquette and good manners are analyzed in their dramatic and theatrical function. Theatrical aesthetic of manners which includes locality (Paris), characters (mondaines and demi-mondaines, mondains and servants), and media of communication (letters and cards), is examined first. Afterwards, spectacular aspects of good manners are studied : “distinction”, greeting’s gesture, outfits and “arts de la table”. Components of rules of etiquette lead to think of a certain dramaturgy of good manners which are characteristic of comedy of manners. This dramaturgy, which is considered as ‘old fashioned’ by some people, reflects however typical manners of an epoch.

[pt] A presente Dissertação tem por objetivo realizar uma leitura da poesia de Cesário Verde, observando os seus pontos surrealizantes e a influência que exerceu sobre a de Alexandre ONEILL. Por este motivo, abrangerá um período histórico compreendido entre a segunda metade do século XIX e a segunda metade do século XX. Os pontos de encontro entre a poesia de Cesário Verde, o surrealismo e a poesia de Alexandre ONEILL são muitos. O trabalho propõe-se a considerar aqueles pontos de maior relevo, como, por exemplo, os que se apresentam como uma espécie de resistência à opressão manifestada no espaço urbano. / [en] The aim of the present dissertation is to analize Cesário Verdes poetry, focusing its surrealizing points and its influence upon Alexandre ONEILLs poetry. For this reason, the present work comprehends the historical period between the second half of the XIX century and the second half of the XX century. There are many commun points among Cesário Verdes poetry, the surrealism and Alexandre ONEILLs poetry. The present work considers only those points that are more relevant, such as the ones which present kind of resistance to the opression that takes place in the urban area.

Made available in DSpace on 2016-08-03T12:19:13Z (GMT). No. of bitstreams: 1 SILAS ANDRE FIOROTTI.pdf: 3733347 bytes, checksum: f4c616e7fb536e42b73032c93af55dcb (MD5) Previous issue date: 2012-03-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Colonialism produced several speeches about local cultures, and the discourse of the missionaries is one of its variants and, in turn, are included in this speech the missionary ethnographies. We present a critical reading of two missionary ethnographies produced in Portuguese colonies, the territories of Angola and Mozambique. The first, entitled Usos e costumes dos bantos: a vida duma tribo sul-africana [The Life of South African Tribe], by Henri-Alexandre Junod (1863-1934); the second entitled Etnografia do sudoeste de Angola [The Ethnography of Southwestern Angola], by Carlos Estermann (1896-1976). We problematize the relationship between the missionary action, the Portuguese colonialism and local cultures of these territories of Angola and Mozambique, through the analysis of these missionary ethnographies. These ethnographies, besides presenting the richness of life forms of native societies, signal as they conducted the negotiations between the missionaries in their practices and the natives. / Resumo: O colonialismo produziu diversos discursos sobre as culturas locais, sendo que o discurso dos missionários é uma de suas variantes e, por sua vez, neste discurso estão inclusas as etnografias missionárias. Apresentamos uma leitura crítica de duas etnografias missionárias produzidas nas até então colônias portuguesas, os territórios de Angola e Moçambique. A primeira, intitulada Usos e costumes dos bantos: a vida duma tribo sulafricana, cujo autor é o missionário Henri-Alexandre Junod (1863-1934); a segunda, intitulada Etnografia do sudoeste de Angola, cujo autor é o missionário Carlos Estermann (1896- 1976). Problematizamos a relação entre a ação missionária, o colonialismo português e as culturas locais dos territórios de Angola e Moçambique, através da análise destas etnografias missionárias. Destacamos que estas etnografias, além de apresentarem a riqueza das formas de vida das sociedades nativas, sinalizam como se efetivaram as negociações entre estes missionários em suas práticas de missionação e seus interlocutores nativos.

A presente tese estuda a produção arquitetônica e artística nas Missões Jesuíticas situadas no território do antigo Estado do Maranhão e Grão-Pará (criado em 1621), com particular destaque à região da Capitania do Grão-Pará. O arco temporal compreende os anos de 1653 (estabelecimento da Companhia de Jesus em Belém) a 1759 (expulsão dos jesuítas das colônias portuguesas). A tese enfoca, em particular, o trabalho artístico de jesuítas e índios nas oficinas que funcionaram no Colégio Jesuítico de Santo Alexandre em Belém a partir do século XVIII; procurando identificar a irradiação de modelos criados nas mesmas em direção às igrejas e capelas implantadas pelos jesuítas ao longo do Rio Amazonas e seus afluentes; sobretudo, àquelas que estavam localizadas em vilas, aldeias ou fazendas jesuíticas mais próximas a Belém (Vila de Nossa Senhora de Nazaré da Vigia, Vila Souza do Caeté, Mortigura, Gibirié, Mamaiacú, Jaguarari, entre outras). É colocada a hipótese de que Belém, como um pólo criador de modelos (também pólo econômico e comercial), alimentou toda a produção artística dos jesuítas no Grão-Pará, ao difundir seus métodos de trabalho e suas experiências técnicas. O título Tintas da Terra, Tintas do Reino sintetiza a idéia central da tese, de que o legado dos jesuítas na arquitetura e na arte nas missões do Grão-Pará é resultado do trabalho de europeus e de índios, e do emprego de suas tradições culturais. / This thesis is a study of the artistic and architectural production of the Jesuit Missions in the former State of Maranhão and Grão Pará, which was established in 1621, with a special emphasis on the Captaincy of Grão Pará. The period under study spans the time from 1653, when the Society of Jesus settled in the city of Belém, to 1759, when the Jesuits were expelled from Portuguese colonies. This thesis focuses in particular on the artistic work of both jesuits and indians carried out in the workshops at the Jesuit School of Santo Alexandre in Belém in the 18th century. The thesis seeks to trace the dissemination of the models created in such workshops throughout the Jesuit churches and chapels that were built along the borders of the River Amazon and its tributaries, especially those located in the Jesuit aldeias, vilas and fazendas closer to Belém (Vila de Nossa Senhora de Nazaré da Vigia, Vila Souza do Caeté, Mortigura, Gibirié, Mamaiacú, Jaguarari, among others). The hypothesis under investigation in this study is that Belém, in addition to being an economic and commercial hub, was also an artistic center providing models, working methods and technical expertise for the entire Jesuit artistic community in the Grão Pará. The title Tintas da Terra, Tintas do Reino summarizes the core idea underlying this thesis, namely that the Jesuit legacy in the art and architecture of the Grão Pará missions is the result of the work of europeans and indians, who in doing so resorted to their respective cultural traditions.

Cette thèse vise à analyser, préciser et évaluer quel fut le rôle exact joué par Alexandre Koyré dans l'institutionnalisation de l'histoire des sciences aux Etats-Unis. Il s'agit de comprendre comment Koyré a renouvelé le paysage intellectuel dans lequel il s'insère au début des années 1940 et comment les historiens américains se sont approprié ses idées pour servir à la professionnalisation de l'enseignement de l'histoire des sciences aux États-Unis. / This dissertation aims at analyzing, specifying and estimating the exact role played by Alexandre Koyré in the institutionalization of the history of science in the United States. The goal is to understand how Koyré renewed the intellectual landscape in which he was inserted at the beginning of the 1940s, and how a number of American historians and philosophers did appropriate his ideas in their efforts to professionalize the history of science teaching in the United States.

Comme le titre le suggère, la thèse s’inspire du "Lucien écrivain. Imitation et création de Jacques Bompaire". Dans l’introduction nous reparcourons l’histoire de l’Hellenismus de Droysen et nous surlignons le poids du mélange culturel gréco-oriental dans la vie et dans l’œuvre de Lucien. Le premier chapitre consiste en un corpus commenté de passages lucianesques contenant des éléments hellénistiques évidents. Dans le deuxième chapitre nous analysons plusieurs aspects de la civilisation hellénistique présents dans l’œuvre de Lucien comme la politique, l’art, le mythe, les programmes littéraires. Dans le troisième chapitre nous étudions l’influence de la poésie alexandrine dans l’œuvre de l’A., alors que le quatrième chapitre analyse l’influence que des formes littéraires relevant d’un substrat culturel de sagesse populaire ont eue sur l’A. L’approche textuelle et philologique adoptée permet d’affirmer que Lucien connaissait la civilisation hellénistique et sa littérature. / As the title suggests, the thesis takes inspiration from Jacques Bompaire’s Lucien écrivain. Imitation et creation. In the introduction we retrace the history of Droysen’s Hellenismus and we detect the importance of the greco-oriental cultural fusion in Lucian’s life and works. The first chapter consists of a commented corpus of lucianic passages containing evident hellenistic elements. In the second chapter we analyse different aspects of the hellenistic civilisation which are detectable in Lucian’s works such as politics, arts, myth or literary programs. In the third chapter we compare Lucian’s literary production with Alexandrian poetry, while the forth chapter focuses on the literary influence that hellenistic philosophical and historiographical productions had on Lucian’s composition. This research makes it possible to state that the author of Samosata had a deep knowledge of hellenistic civilisation and that hellenistic literature influenced his way of writing.

O volume de literatura secundária sobre o conceito aristotélico de noûs produtivo é proporcional à brevidade e à obscuridade com que ele é apresentado no quinto capítulo do terceiro livro do \"De Anima\". Esta dissertação visa investigar as razões que fazem deste texto terreno fértil para as mais diversas interpretações. Para tanto, este estudo parte do comentário analítico de DA III 4-5, destacando as possibilidades interpretativas de cada passagem e as variantes textuais mais significativas. Procurou-se explorar outras passagens do corpus aristotélico que podem ser utilizadas para elucidar o conteúdo desses capítulos, considerando as opções adotadas pelos principais comentadores antigos. Após mostrar que o texto comporta igualmente as leituras mais díspares, buscou-se evidenciar como elementos extratextuais, tais como a filosofia e o método exegético predominante no tempo de cada interprete podem ser identificados nas opções adotadas. Para tanto, adotou-se a obra de Alexandre de Afrodísia como objeto de exposição e análise, uma vez que sua identificação do nous produtivo à Causa Primeira de Met. XII 7-9 é a mais influente e polêmica das exegeses deste conceito. Para tanto, foram apresentadas suas principais teses e contrastadas com a base textual aristotélica, de modo pôr em relevo as características do método do Exegeta. / The amount of secondary literature on the Aristotelian concept of productive nous is proportional to the briefness and obscurity of its presentation in the fifth chapter of the Book Three of the De Anima. This thesis aims to investigate the reasons why this text offers a fertile ground for the most varied interpretations. Therefore, this text begins with an analytical commentary on DA III 4-5, highlighting the interpretative possibilities and the most significant textual variants of each passage. We searched for other passages of the Aristotelian corpus that could help us elucidate the content of these chapters, considering the options adopted by the main ancient commentators. After showing how the text equally accepts the most disparate readings, we tried to evidence how extra-textual elements, such as the philosophy and exegetical method predominant in the time of each interpreter can are present in the adopted options. For this, the work of Alexander of Aphrodisias was adopted as object of exposition and analysis, since its identification of the productive nous to the First Cause of Met. XII 7-9 is the most influential and polemical exegesis of this concept. His main arguments were presented and contrasted with the Aristotelian textual background, to highlight the characteristics of the Exegete\'s methods.