Inaug.-Diss.--Würzburg. / Lebenslauf.

Th.--Lettres--Varsovie, 1973. / Bibliogr. p. 310-312. Index.

Th.--Pharm.--Paris 5, 1981. N°: 55.

Premier quotidien français, le Journal de Paris innove la périodicité de la presse à la fin de l’Ancien Régime. A sa parution quotidienne et à la recherche de la diversité de l’information le Journal ajoute sa forme épistolaire, censée le tranformer dans une “correspondance familière et journalière des citoyens d’une même ville”. C’est à la fois sa périodicité quotidienne qui assure son succès et lui attire de nombreux ennemis, dans le contexte d’une presse en pleine expansion et lourdement soumise à la censure. Si le domaine politique lui est interdit, le Journal de Paris se concentre, dès sa parution, sur le thème de l’utilité publique et sur les beaux-arts. Il accorde une place importante au discours sur les arts visuels (peinture, sculpture, gravure, architecture, urbanisme) et propose à ses abonnés un tableau de l’actualité artistique, sous la plume d’un correspondant pour les arts stable, dans la personne d’Antoine Renou, peintre et secrétaire adjoint de l’Académie de peinture et de sculpture. Malgré la censure imposée à la presse par l’institution académique, qui possède le monopole d’une grande partie du domaine des arts visuels, le débat sur les arts mené dans le Journal de Paris révèle un public des arts plus large et plus varié, passionné par l’expression critique et la circulation des idées. / The “Journal de Paris” first French newspaper renews the press standards at the end of the Old Regime.Through its daily publication and its research for a different type of information, the newspaper aims at becoming a more familiar correspondence among the citizens of a same town.Thanks to its daily publication it has been successful drawing lots of enemies as well due to a widely spreading press hardly submitted to censorship.The “Journal de Paris”, being the political field strongly forbidden, focuses its attention on public services and fine arts and architecture.It gives a very important place to visual arts (painting, sculpture, engraving, architecture, town planning) proposing to its subscribers a portrait of the artistic panorama carried out by one of a stable correspondent for arts, Antoine Renou, painter and assistant secretary for the Academy of paintings and sculpture.Despite the censorship imposed to the press by the academic institution, having the monopoly of a large part of the visual arts field, the debate upon the arts carried in the “Journal de Paris” shows a larger and more varied arts-oriented public, fascinated by the critical expression and the spreading of ideas.

Établi en 1983, le Plan Programme de l'Est parisien a souvent été considéré comme le point de départ d'une reconquête architecturale et urbaine de cette partie de la capitale. Depuis la fin du XIXᵉ et jusqu'aux années 1970, l'Est parisien a été perçu comme le pendant industriel et populaire de l'Ouest parisien, souffrant pour le prestige de la capitale d'un retard esthétique et fonctionnel. Cependant, depuis la renaissance de l'urbanisme parisien en 1919 et jusqu'au milieu des années 1970, lorsqu'aménageurs et promeneurs redécouvrirent les charmes de ces quartiers, l'Est parisien a été l'objet d'une politique urbaine de reconquête et fut partiellement reconstruit dans une tentative restée vaine d'homogénéisation et de modernisation. Considérant que l'ampleur des démolitions a depuis été analysée et mise en avant, nos travaux tendent à comprendre les enjeux et à réévaluer les réalisations induites par cette politique. / Most historians described the master plan established in 1983, in Paris, as the first attempt to reshape the Eastern part of the town. From the turn of the 19th century to the 1970's, the districts east of the city were considered as the realm of industry, of workers and cheap housing. These districts did not match the overall prestige of the French capital and their development was miserably lagging behind the rest of the city : public spaces as well as buildings and urban planning could not bear comparison with the luxury of the Western districts, not to mention the city centre. However, between 1919, when urban planning received a new impetus, and 1975, when the developers and the public understood the real value of the underestimated neighbourhoods, the districts east of the city were occasionally rebuilt. During this process, one often stressed the destruction resulting from a modernization process effort. It is time to reassess the full consequences of the last century.

No description available.

No description available.

Charles Tournemire’s (1870–1939) L’Orgue Mystique is a cycle of solo organ pieces composed for use in the Roman Catholic liturgy. It is subtitled: “51 Offices de L'année liturgique inspirés du chant grégorien et librement paraphrasés” (“51 Offices of the liturgical year inspired by Gregorian chant and freely paraphrased”). Each office is approximately fifteen minutes in length and consists of five pieces based on the Gregorian Propers for the day: Prélude a l’ Introït, Offertoire, Élévation, Communion, and Pièce terminale, using nearly three hundred chants. This essay provides historical background for L’Orgue Mystique, including a short biography of Tournemire and the place of L’Orgue Mystique in it, a brief history of liturgical music in France, an overview of the Solesmes method and Tournemire’s adaptation of it for use in L’Orgue Mystique, and a description of the Cavaillé-Coll organs that Tournemire had in mind when composing L’Orgue Mystique. It also provides a guide for performers of the work, including copies of all the chants Tournemire used, their English and French translations, and descriptions of Tournemire’s use of each chant, for performers’ reference, in order that they may make informed decisions in playing L’Orgue Mystique.

This thesis is a study of English-language media opinion in relation to Canada’s involvement in the Paris Peace Conference of 1919. Using The News Record, The Globe and the Manitoba Free Press, this thesis will examine how the English Canadian press presented the Paris Peace Conference to Canadians from November 1918 to its signing in June 1918. Historians have traditionally presented the Peace Conference as a turning point in Canadian history that accelerated Canada’s maturity from a colony to a fully-fledged nation. This paper will argue that Canadians’ understanding of the Paris Peace Conference of 1919 was far more complex than the orthodox interpretation would suggest. While Canadian newspapers were concerned with Canada’s status, they devoted far more attention to other matters. Canadian newspapers spent time discussing reparations, the Kaiser, old diplomacy and the future League of Nations.

This thesis is a study of English-language media opinion in relation to Canada’s involvement in the Paris Peace Conference of 1919. Using The News Record, The Globe and the Manitoba Free Press, this thesis will examine how the English Canadian press presented the Paris Peace Conference to Canadians from November 1918 to its signing in June 1918. Historians have traditionally presented the Peace Conference as a turning point in Canadian history that accelerated Canada’s maturity from a colony to a fully-fledged nation. This paper will argue that Canadians’ understanding of the Paris Peace Conference of 1919 was far more complex than the orthodox interpretation would suggest. While Canadian newspapers were concerned with Canada’s status, they devoted far more attention to other matters. Canadian newspapers spent time discussing reparations, the Kaiser, old diplomacy and the future League of Nations.