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During the first half of the Nineteenth Century the dynamic of public commemoration was largely played out in the Parisian cemetery rather than in the capital. Particularly at Père Lachaise, most of the social and political changes of the capital below were mirrored and to a certain degree, the political identities of the living were actively being formulated through the erection of monuments. The purpose of this work is to illustrate, through a number of examples, that dynamic between city and cemetery. Late eighteenth-century legislation and debates evolved to allow a variety of socio-political groups the opportunity of carving out their own spheres of identity and status in the cemetery. Like ideas about death and religious beliefs, previously used as the basis for a collective analysis of funeral monuments, this establishment of socioeconomic and political identities may be perceived as a unifying function for a seemingly disparate group of monuments. During the Restoration, Parisian monuments dedicated to Louis XVI, urban and religious in nature, functioned in direct contrast to the essentially secular, extra-mural and relatively democratic space of Père Lachaise promoting the cemetery as a space for political oppositional groups to identify themselves, illustrated by the monument to the liberal opposition leader General Foy and the tombs of a growing military enclave. Nonetheless the cemetery was also used for the presentation of official identities, illustrated by the monument to Prime Minister Périer, whose iconography can be linked to July Monarchy ideology through comparisons with official Parisian public sculpture. Even more encompassing aspects of identity and appurtenance were reflected in the rising bourgeoisie's establishment of imposing family mausoleums.

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L’objet de la présente thèse, soutenue sur la sociabilité des salons du XVIIIe siècle, vise dans un premier temps à interroger, à la lumière d’un témoignage du temps – Le Tableau de Paris – choisi pour son réalisme, son authenticité et sa fidélité à l’histoire, les chroniques et les représentations léguées à la postérité par Louis-Sébastien Mercier pour décrire la vie de société dans la France de l’Ancien Régime, afin d’en dégager les spécificités françaises. Le regard critique posé par le chroniqueur sur la vie parisienne nous sert tout d’abord de guide pour pénétrer ces cercles de rencontre, de conversation et de convivialité à l’aune de sa propre fréquentation du bureau d’esprit de Fanny de Beauharnais. Dans un second temps, on aborde le contexte historique et culturel ayant conduit à l’avènement de ces assemblées depuis le XVIIe siècle, voire antérieurement, non seulement pour en marquer les phases d’évolution successives, mais aussi pour tenter d’en dégager les traits distinctifs, les constantes et les variantes au temps des Lumières. XVIIe et XVIIIe siècle interagissent dans une dynamique historique permettant la mise en perspective des enjeux de la sociabilité dans leur continuité, depuis le siècle de Louis XIV jusqu’aux Lumières, voire au-delà. Toutes les idées reçues sont débusquées, puis passées au crible. Plusieurs méthodes viennent renforcer l’arsenal de la critique interne et externe des sources. L’outil informatique scrute méthodiquement les fonds insuffisamment explorés en permettant des rapprochements inédits. L’enquête comparatiste et l’exégèse sociolinguistique des sources polyglottes à l’échelle européenne viennent rendre leur verdict après la confrontation des sources françaises, anglaises et allemandes. Si Paris est la capitale européenne de la société élégante et polie, ce paradigme prévaut surtout pour la noblesse, la bourgeoisie et les élites cultivées, car les provinces de l’Hexagone se singularisent par leur idiome propre et par leur bilinguisme affiché, même au salon. En Angleterre, en Allemagne, en Suisse, les langues nationales, dont le français, véhiculent une vie de société locale, imitée certes, mais pas toujours fidèlement, du modèle parisien. Les témoignages du temps remettent au goût du jour la conversation, l’esprit, les gens de lettres, les petits-maîtres, les grandes dames, les soupers, les bureaux d’esprit, les bureaux de philosophie, les bureaux de littérature et les bureaux d’insurrection, naguère relégués au ban des curiosités par les historiens de la sociabilité et restituent sans conteste leur spécificité au sein de l’espace culturel français des Lumières. De nouveaux éclairages jettent une clarté nouvelle sur les débats ravivés depuis une vingtaine d’années autour des salons en France. / The purpose of this dissertation on 18th century salon culture aims at questioning the chronicles and representations of Le Tableau de Paris (Panorama of Paris) by Louis-Sébastien Mercier in the light of his realistic, genuine and faithful eyewitness accounts of Paris life, in order to depict society life in Ancien-Régime France and to show any French peculiarities. The critical look taken by the chronicler of Parisian life as a regular frequenter of Fanny Beauharnais’ bureau d’esprit serves as a guide to get into these meeting, conversation and conviviality circles. Secondly, the historical and cultural background leading to the advent of such assemblies as early as the 17th century, and even before, is discussed, not only to mark their specific development, but also in a attempt to allow their dominant features, invariants and variations to be identified during the Enlightenment. Both the 17th and 18th centuries interact in a historical dynamics that provides a perspective of sociability stakes as part of a continuous process from the Century of Louis XIV to the Enlightenment and subsequently. All misconceptions were screened and subjected to rational investigation. Various methods were used to produce a full battery of internal and external criticism. Computerised tools methodically scrutinised unexplored resources, allowing novel associations to be made. Comparative survey and sociolinguistic analysis of European multilingual sources provided positive feedback as a result of comparative assessments of French, English and German texts. While Paris appeared to be the European capital of the elegant and polite society, such a paradigm has been found to apply mainly to the nobility, upper classes and educated elites as the rest of the French population in the provinces was found to speak local idioms and display bilingualism, even in salons. National languages including French conveyed local society lives in England, Germany and Switzerland, which, although imitated from the French model, were not always a faithful copy of it. Textual evidence revives the conversazione, esprit, petits-maîtres, ladies of the world, suppers, literati, bureaux d’esprit, ‘philosophical bureaux’, ‘literary bureaux’ and ‘insurrectional bureaux’, although relinquished by historians of sociability, and provides unambiguous demonstration of their specificity in the French cultural sphere of the Enlightenment. New light is shed on the current debates that have been on-going for twenty years about salon culture in France during the Enlightenment

La parodie dramatique du XVIIIe siècle est un thème qui a bien souvent été traité. Il existe en effet de nombreux travaux sur le sujet, s'attachant à aborder la question d'un point de vue littéraire ou scénique. La particularité de mes travaux réside dans l'appréhension de la discipline à laquelle ils se rattachent : la musicologie. À travers l‟analyse musicologique et la réhabilitation des airs populaires ainsi que l'étude et la classification des timbres selon leur dramaturgie, la finalité de cette thèse sera de comprendre comment les parodies sont élaborées du point de vue musical. L'étude de sources primaires a permis de théoriser la compréhension littéraire et musicale du genre. Par ailleurs, ces recherches ont donné naissance à de nouveaux outils tels qu'une typologie des timbres ou un catalogue des airs, classés par incipits métriques et rythmiques. Car finalement, la parodie est-elle un genre musical si dilettante qu'il y paraît ? Le corpus des oeuvres étudiées sera par conséquent très diversifié, les parodies ciblant en effet plusieurs genres, tels que la tragédie lyrique, le ballet, l‟opéra-comique et déjà la parodie / The dramatic parody in the XVIIIth century is a theme which has often been tackled with. Indeed, there are numerous works about this subject, approaching the question in a literary or scenic point of view. What makes my work being special is identifying the subject which it belongs: musicology. Through the musicological analysis and popular airs rehabilitation, so as the study and the classification of the timbres according to their dramaturgy, the purpose of this thesis will be to understand how the parodies are built in a musical way. The study of the primary sources made possible the theorization of the literary and the musical understanding of this genre. Besides, these researches gave birth to new tools such as a typology of timbres or a catalogue of these airs, filed in metric and rhythmic incipits. Eventually, the point is: is the parody a so dilettante musical genre as it sounds? As a consequence, the musical works studied through this corpus will be very eclectic, the parodies aiming at several genres, such as the lyric tragedy, the ballet, the comic- opera and even the parody

La variabilité spatio-temporelle de l’évolution morpho-sédimentaire du fond de la vallée de la Choisille (bassin versant : 288 km²), affluent de la Loire moyenne dans le sud-ouest du Bassin parisien (37), a été étudiée par 78 forages (8 transects), prospection géophysique, analyses sédimentologiques et datations 14C et OSL. Huit phases d’évolution du système fluviatile depuis le début Weichsélien ont été définies et corrélées avec les données palynologiques et archéologiques locales, afin de comprendre l’impact des facteurs forçants : climat ou/et anthropisation. Du Weichsélien jusqu’au début du Subatlantique, l'activité d'incision ou de sédimentation de la Choisille a évolué sous contrôle climatique strict. Depuis l’Allerød, cette évolution a été différente de celles observées sur d’autres rivières en Europe du Nord-Ouest, indiquant des spécificités climatiques et géologiques régionales. Dès l’Âge du Bronze, la rivière a évolué sous contrôle climatique et anthropique ; l'impact anthropique sur la sédimentation fut prépondérant, mais très variable dans le temps et l'espace au sein du bassin selon les potentialités agricoles des secteurs considérés. / The spatio-temporal variability of the Choisille valley morpho-sedimentary evolution (catchment: 288 km²), a tributary of the middle Loire River in the south-western Parisian Basin (37), was studied through 78 core-drillings (8 transects), geophysical prospecting, sedimentological analyses and 14C and OSL dating. Eight phases of fluvial system evolution were defined and correlated with palynological and archaeological dataset, in order to highlight the impact of forcing factors: climate and/or human activity. From the Weichselian up to the Subatlantic, the fluvial incision or sedimentation activity has strictly evolved under climate control. Since the Allerød, this evolution was different from what has been observed on other rivers of north-western Europe, indicating regional climatic or geological specificities. Since the Bronze Ages, the river has evolved under climatic and human control; the anthropogenic impact on sedimentation was dominant, but spatio-temporaly variable in the catchment, in relationship with the agricultural potentialities of the different areas.

Au siècle de la restriction des naissances en France, la capitale et sa région est un cadre d’analyse privilégié pour approfondir la connaissance sur la transition démographique. A travers une analyse agrégative appropriée aux sources et aux problématiques envisagées, ce travail a pour but de comprendre le mouvement de la fécondité à Paris (à l’échelle de la ville, des arrondissements et quartiers) et dans sa région (à l’échelle départementale puis communale) au XIXe siècle en distinguant fécondité légitime et illégitime (et les couples concubins des « filles-mères » pour cette dernière) ; puis de le confronter aux déterminants économiques, sociaux, culturels ou démographiques afin de comprendre, à travers la distribution spatiale, la différenciation sociale des comportements féconds. / In the century of birth control in France, the capital and the surrounding region is a privileged analytical framework for deepening knowledge on demographic transition. Through an aggregative analysis appropriate to the sources and the issues examined, this work aims to understand the movement of fertility in Paris (at the district, borough and city level), and the surrounding region (at the departmental and municipal level) in the nineteenth century, to distinguish legitimate and illegitimate fertility (and cohabiting couples from unwed mothers for the latter); and then to consider it in relation to economic, social, cultural or demographic determinants in order to understand, through the spatial distribution, the social differentiation of fertility behaviours.

This dissertation is cumulative and encompasses three self-contained research articles. These essays share one common theme: the probability that a given stochastic process crosses a certain boundary function, namely the boundary crossing probability, and the related financial and statistical applications. In the first paper, we propose a new Monte Carlo method to price a type of barrier option called the Parisian option by simulating the first and last hitting time of the barrier. This research work aims at filling the gap in the literature on pricing of Parisian options with general curved boundaries while providing accurate results compared to the other Monte Carlo techniques available in the literature. Some numerical examples are presented for illustration. The second paper proposes a Monte Carlo method for analyzing the sensitivity of boundary crossing probabilities of the Brownian motion to small changes of the boundary. Only for few boundaries the sensitivities can be computed in closed form. We propose an efficient Monte Carlo procedure for general boundaries and provide upper bounds for the bias and the simulation error. The third paper focuses on the inverse first-passage-times. The inverse first-passage-time problem deals with finding the boundary given the distribution of hitting times. Instead of a known distribution, we are given a sample of first hitting times and we propose and analyze estimators of the boundary. Firstly, we consider the empirical estimator and prove that it is strongly consistent and derive (an upper bound of) its asymptotic convergence rate. Secondly, we provide a Bayes estimator based on an approximate likelihood function. Monte Carlo experiments suggest that the empirical estimator is simple, computationally manageable and outperforms the alternative procedure considered in this paper.

Chopin’s artistic philosophies were heavily indebted to his love of vocal music and his staunch belief that vocal expression represented the supreme essence of musical declamation. To his contemporaries in the Parisian salons, his veneration of the vocal ideal illuminated the expressive significance of Chopin’s musical language. Influenced by the dramatic function of operatic and vocal works, and by interpretive trends that associated literary programs with instrumental (textless) music, Chopin’s contemporaries searched for concealed narratives within his piano nocturnes. This thesis considers the narrative function of Chopin’s late nocturnes within the sociopolitical and musical culture of the Parisian salons, and utilizes a modern approach to narratology that resonates with a prominent facet of historical interpretation. The study reveals a specific reception in which audiences, influenced by the philosophies of Polish messianism, heard national narratives, sung pronouncements of his Polish nationality, and political support for the Polish nation in Chopin’s nocturnes. / Graduate

Dans le cadre de cette étude, deux catalogues ont été établis : le premier dresse une liste critique et mise à jour des éditions attribuées à Antoine Vérard ; le second répertorie toutes les gravures figurant dans ces dernières, ainsi que leurs occurrences. Cette double recension a permis de mettre en évidence le travail de treize dessinateurs, dont le Maître de Robert Gaguin et, peut-être, le Maître de la Chroniques scandaleuse. Vérard, qui était vraisemblablement déjà libraire avant de se lancer dans l'édition, se serait surtout inspiré de l'œuvre des imprimeurs-libraires parisiens, lyonnais et strasbourgeois plutôt que des manuscrits. La façon dont il fit usage des gravures évolue au cours du temps. Cette évolution est probablement l'expression d'une mutation des attentes des lecteurs, toujours plus nombreux et possédant des bibliothèques de plus en plus fournies aux XVe et XVIe siècle. Le génie de notre libraire fut de s'adresser concurremment à toutes les catégories sociales de lecteurs, quelle que soit leur richesse (en particulier grâce à la personnalisation des exemplaires). Il contribua donc largement à la diffusion de l'art parisien du livre illustré. / For the purpose of my study, two catalogues were put together. The first one is a critical list of the editions attributed to Vérard (updating those of John Macfarlane and Mary Beth Winn). The second one is a list of all the cuts used in those editions with their occurrences. My analysis shows that these cuts were based on drawings of at least 13 artists. The Master of Robert Gaguin and, perhaps, the Master of the Chroniques scandaleuse were among them. Vérard probably sold books some time before he started publishing. The study shows that his use of woodcuts was inspired by bookseller-publishers from Paris, Lyons and Strasburg instead of following the manuscripts. The way Vérard used the cuts changed during his career. It could indicate an evolution in the way people read illustrations. Indeed, during the XVth and XVIth centuries, the number of book owners was continuously increasing, and so was the amount of books possessed by each of them. Vérard was probably one of the very few publishers able to produce books for every kind of reader (merchants, nobility, clergy, scholars, women), regardless of their wealth (thanks to the customisation of the copies). That is why we can say that he contributed greatly to the growing popularity of the Parisian art of illustrated books.