MODELS, MOUSNIER AND QUALITE: THE SOCIAL STRUCTURE OF EARLY MODERN FRANCE

1996 ◽  
Vol 10 (3) ◽  
pp. 375-398 ◽  
Author(s):  
J. M. HAYDEN
Keyword(s):  
Early Modern ◽  
Social Structure ◽  
Early Modern France ◽  
The Social ◽  
Modern France

scholarly journals The Economic Theory of Sharecropping in Early Modern France

1984 ◽  
Vol 44 (2) ◽  
pp. 309-319 ◽  
Author(s):  
Philip T. Hoffman
Keyword(s):  
Early Modern ◽  
Economic History ◽  
Early Modern France ◽  
Quantitative Evidence ◽  
Qualitative And Quantitative ◽  
Contract Choice ◽  
The Social ◽  
Modern France ◽  
History Of ◽  
Simple Economic

This paper uses a simple economic model of contract choice to explain the growth of sharecropping in sixteenth- and seventeenth-century France—a topic that figures in much of the social and economic history of the period. The theory turns out to fit both qualitative and quantitative evidence, and although the results are as yet only preliminary, the theory does provide a better account of the spread of sharecropping than the explanations upon which early modern historians have tended to rely.

History of Peasant Revolts: The Social Origins of Rebellion in Early Modern France.

1992 ◽  
Vol 23 (1) ◽  
pp. 151
Author(s):  
Thomas Robisheaux ◽  
Yves-Marie Berce ◽  
Amanda Whitmore
Keyword(s):  
Early Modern ◽  
Social Origins ◽  
Early Modern France ◽  
The Social ◽  
Modern France ◽  
History Of

History of Peasant Revolts: The Social Origins of Rebellion in Early Modern France

1992 ◽  
Vol 22 (3) ◽  
pp. 497
Author(s):  
Sharon Kettering ◽  
Yves-Marie Berce ◽  
Amanda Whitmore
Keyword(s):  
Early Modern ◽  
Social Origins ◽  
Early Modern France ◽  
The Social ◽  
Modern France ◽  
History Of

The Music Room in Early Modern France and Italy

2012 ◽  
Keyword(s):  
Early Modern ◽  
Major Theme ◽  
Early Modern France ◽  
Music Printing ◽  
Music Making ◽  
Social Scale ◽  
The Social ◽  
Modern France ◽  
Family Recreation

This book investigates the use of secular space for music-making in Early Modern France and Italy. This era is remarkable for the growing importance of music in domestic life, ranging from elaborate court festivities to family recreation. In parallel with the emergence of the theatre as a separate building type, music-making in elite circles became more specialised through the employment of paid musicians, as opposed to amateur participation by the inhabitants and their guests. Meanwhile, however, music printing and the mass-production of instruments, especially lutes, allowed music-making to diffuse down the social scale. The book shows how spaces specifically designed for music began to appear in private dwellings, while existing rooms became adapted for the purpose. At first, the number of rooms specifically identifiable as ‘music rooms’ was very small, but gradually, over the following 150 years, specialised music rooms began to appear in larger residences in both France and Italy. A major theme of the book is the relationship between the size and purpose of the room and the kinds of music performed – depending on the size, portability and loudness of different instruments; the types of music suited to spaces of different dimensions; the role of music in dancing and banqueting; and the positions of players and listeners. Musical instruments were often elaborately decorated to become works of art in their own right.

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