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1	L'image de Louis XV et Louis XVI entre tradition et création : statégies figuratives et inscription dans l'espace public, 1715-1793 / The Image of Louis XV and Louis XVI, between Tradition and Creation : strategies of Representation and Inscription in the Public Space, 1715-1793 Chéry, Aurore 30 November 2015 (has links) L'intérêt scientifique pour l'image de Louis XV et Louis XVI a été jusqu'ici bien moindre que celui manifesté pour celle de leur glorieux ancêtre, Louis XIV. Cette situation a pu être encouragée par une historiographie inclinant à l'hypothèse de la désacralisation de la monarchie au XVIIIe siècle. Il en aurait résulté une dégradation de l'image royale, la monarchie étant incapable de faire face au rôle de plus en plus déterminant joué par la sphère publique. Or, ce travail cherche à montrer que c'est précisément en raison de la prise en compte de l'opinion que cette image royale se redéfinit à cette période, une redéfinition qui apparaissait d'autant plus nécessaire après la défaite dans la Guerre de Sept Ans. C'est bientôt la représentation d'un roi simple et bienfaisant, inspirée par Stanislas Leszczynski, qui s'impose et qui contribue à la popularité de Louis XVI pendant son règne. Ainsi, la représentation royale évolue en se donnant de nouveaux modèles. Elle tire en outre parti d'une multiplicité de supports de diffusion dont la démocratisation permet de toucher un large public. Enfin, cette image ne se conçoit plus sans un nouvel acteur : la presse qui sert à la fois à promouvoir l'iconographie royale, à préciser son sens et à lui donner consistance. / Up to now, scholarly studies have shown less interest in the image of Louis XV and Louis XVI than in the one of their glorious ancestor, Louis XIV. This situation may have been encouraged by a historiography fostering the hypothesis of the desacralization of the monarchy in the 18th century. It would have led to a degradation of the royal image, with the monarchy being unable to face up to the growing influence of the public sphere. Yet, this dissertation tries to show that it precisely was because public opinion was taken into account that the royal image was redifined at the period. It appeared all the more necessary after the defeat in the Seven Years War. Soon afterwards, the representation of a simple and benevolent king, inspired by Stanislas Leszczynski, began to prevail and contributed much to the popularity of Louis XVI during his reign. Thus, the royal representation evolved and refered to new models. It also made good use of the democratization of multiple diffusion mediums enabling it to reach a larger public. Finally, the royal image could not be contemplated without paying attention to a major new actor: the press. It was used to promote the new royal iconography but it also precised its meaning and gave it some intellectual substance. Louis XV Louis XVI Image du roi Iconographie Presse Stanislas Leszczynski Opinion publique Louis XV Louis XVI Image of the king Iconography Press Stanislas Leszczynski Public opinion 900
2	Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760) Yapp, Francis Anthony January 2012 (has links) When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself. basse de violon violoncello violoncelle cello cellists eighteenth century concert spirituel salons opéra vingt-quatre violons du roi french france paris louis xv orleans angers stanislas leszczynski stück l'abbé barrière berteau patouart giraud spourny françois martin boismortier corrette masse bowing double stopping double stops thumb position boivin leclerc sonata sonatas baroque

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L'image de Louis XV et Louis XVI entre tradition et création : statégies figuratives et inscription dans l'espace public, 1715-1793 / The Image of Louis XV and Louis XVI, between Tradition and Creation : strategies of Representation and Inscription in the Public Space, 1715-1793

Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)