[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row][et_pb_column type=\u00a0\u00bb1_2″][et_pb_text admin_label=\u00a0\u00bbQuand, o\u00f9\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb||25px|\u00a0\u00bb]<\/p>\n
A partir du 19 octobre 2023 de 18h \u00e0 20h<\/p>\n
Grands Moulins (salle 682C), Besan\u00e7on et Poitiers<\/p>\n
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S\u00e9minaire ATE : \u00ab\u00a0Les r\u00e9inventions de l’Antiquit\u00e9\u00a0\u00bb<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Prenant l\u2019\u00e9cart comme piste herm\u00e9neutique pour explorer notre rapport contemporain \u00e0 l\u2019Antiquit\u00e9, le prochain cycle de s\u00e9minaires organis\u00e9 par Antiquit\u00e9 Territoire des \u00c9carts propose d\u2019explorer en quoi la r\u00e9f\u00e9rence \u00e0 l\u2019Antiquit\u00e9 peut \u00eatre l\u2019occasion d\u2019une (re)mise en jeu de nos imaginaires et en quoi il constitue un d\u00e9tour cr\u00e9atif dans des strat\u00e9gies de d\u00e9marcation. Comment l\u2019Antiquit\u00e9 se r\u00e9invente dans l\u2019actualit\u00e9\u00a0? Deux grands axes sont ainsi envisag\u00e9s. Premi\u00e8rement, au travers des milieux scolaires et \u00e9ditoriaux, il s\u2019agira d\u2019adopter une perspective m\u00e9tadiscursive sur les pratiques p\u00e9dagogiques et sur les enjeux marketing qui dirigent le march\u00e9 du livre. Comment enseignants et \u00e9diteurs m\u00e8nent-ils un v\u00e9ritable travail sur les mat\u00e9riaux anciens pour s\u2019\u00e9carter des sentiers balis\u00e9s \u00e0 l\u2019avance\u00a0? Deuxi\u00e8mement, les diff\u00e9rents domaines de la cr\u00e9ation (danse, th\u00e9\u00e2tre, musique, bande-dessin\u00e9e, marionnettes, arts plastiques, cin\u00e9ma mais aussi jeux vid\u00e9os) sont souvent l\u2019occasion de convoquer l\u2019Antiquit\u00e9. S\u2019agit-il de simplement recevoir et reproduire un imaginaire ou au contraire de le remettre en jeu\u00a0? Au-del\u00e0 des images h\u00e9rit\u00e9es comme un tr\u00e9sor antique, quelles sont les lignes de d\u00e9marcation qui permettent de r\u00e9inventer la place de l\u2019Antiquit\u00e9 dans le monde actuel au travers des arts\u00a0? Et comment ces cr\u00e9ations r\u00e9pondent-elles aussi \u00e0 des enjeux p\u00e9dagogiques\u00a0?<\/p>\n
Jeudi 19 octobre \u2013 Pierre M. H. Diouf<\/strong> (Universit\u00e9 Cheikh Anta Diop, Dakar)\u00a0: \u00ab\u00a0Regard africain sur les civilisations occidentales antiques : le cas de la plateforme afrosciences-antiquity\u00a0\u00bb (Besan\u00e7on)<\/p>\n Jeudi 23 novembre \u2013 Laury Nuria Andr\u00e9<\/strong> (docteur de l\u2019ENS de Lyon)\u00a0: \u00ab\u00a0Usages et m\u00e9susages de l’Antiquit\u00e9 dans la photographie du XIXe<\/sup> si\u00e8cle au XXIe<\/sup> si\u00e8cle\u00a0\u00bb (Paris)<\/p>\n Jeudi 21 d\u00e9cembre \u2013 Camille Trouv\u00e9<\/strong> et Brice Berthoud<\/strong> (Compagnie Les Anges au plafond, CDN de Normandie)\u00a0: \u00ab\u00a0Mythe et marionnette : territoires de nos imaginaires intimes et politiques\u00a0\u00bb (Paris)<\/p>\n Jeudi 25 janvier \u2013 Blandine Le Callet <\/strong>(Universit\u00e9 Paris-Est Cr\u00e9teil, romanci\u00e8re, essayiste, sc\u00e9nariste de BD) et Nancy Pe\u00f1a<\/strong> (autrice de BD et illustratrice)\u00a0: \u00ab\u00a0M\u00e9d\u00e9e en BD: figure antique, enjeux contemporains\u00a0\u00bb (Poitiers)<\/p>\n Jeudi 29 f\u00e9vrier \u2013 M\u00e9lanie Bost-Fievet<\/strong> (C\u00e9R\u00e9Di, Rouen)\u00a0: \u00ab\u00a0Antiquit\u00e9 et agentivit\u00e9. Le jeu vid\u00e9o comme terrain d\u2019exp\u00e9rimentation de l\u2019imitatio\u00a0<\/em>\u00bb (Paris)<\/p>\n Affiche t\u00e9l\u00e9chargeable<\/a><\/p>\n Le jeu vide\u0301o contient une profusion parfois confuse de renvois et clins d\u2019\u0153il a\u0300 l\u2019univers de la mythologie qui contribue paradoxalement a\u0300 l\u2019immersion dans le monde secondaire du jeu : plus la contaminatio des mode\u0300les est grande, plus elle gomme l\u2019e\u0301vidence de chaque re\u0301fe\u0301rence singulie\u0300re, renforc\u0327ant l\u2019impression d\u2019explorer un univers a\u0300 la fois de\u0301codable et nouveau. Ma re\u0301flexion autour de ces re\u0301fe\u0301rences se situera au carrefour des e\u0301tudes sur la re\u0301ception et des analyses du medium vide\u0301oludique, puisque sa spe\u0301cificite\u0301 est de reposer sur l\u2019implication du joueur dans l\u2019interaction avec le monde et ceux qui le peuplent. J\u2019espe\u0300re donc esquisser quelques pistes autour de ce questionnement : comment l\u2019imitatio antique est-elle mise au service du sentiment d\u2019agentivite\u0301 dans la progression du joueur ?<\/p>\n Trois me\u0301caniques vide\u0301oludiques font appel a\u0300 cette agentivite\u0301 : l\u2019exploration, le combat et le choix. Pour chacune s\u2019ope\u0300re la re\u0301activation des re\u0301fe\u0301rences antiques telles que les Enfers, la me\u0301tamorphose ovidienne et la le\u0301gion romaine. D\u2019abord, je m\u2019inte\u0301resserai a\u0300 la manie\u0300re dont le RPG d\u2019action-aventure Assassin\u2019s Creed : Odyssey et le rogue-like Hades s\u2019emparent des catabases e\u0301piques pour en bouleverser la carte, passant d\u2019une description line\u0301aire a\u0300 une logique de que\u0302tes dessinant des trajectoires complexes dans un de\u0301cor aux dimensions nouvelles ou\u0300 le joueur devient he\u0301ros actif et non spectateur de passage. Ensuite, j\u2019esquisserai les he\u0301ritages diffus de la me\u0301tempsychose qui me semblent a\u0300 l\u2019\u0153uvre dans le temps fort vide\u0301oludique que constituent les combats de boss, dont l\u2019e\u0301conomie joue sur la reviviscence de l\u2019ennemi sous une forme nouvelle, souvent hybride\u0301e. Quand ce ne sont pas le joueur et, en me\u0302me temps que lui, le monde qui se trouvent pris dans un cycle apparemment sans fin de re\u0301incarnations amne\u0301siques, comme dans The Forbidden City, jeu de time-loop en huis clos. Enfin, j\u2019essaierai de de\u0301gager quelques emprunts a\u0300 une histoire militaire antique fantasme\u0301e dans deux RPG se de\u0301roulant dans des univers a priori e\u0301loigne\u0301s de toute re\u0301fe\u0301rence antique, l\u2019un de fantasy me\u0301die\u0301valisante (Skyrim) et l\u2019autre de post-apo (Fallout : New Vegas), pour montrer comment ces signifiants sont convoque\u0301s pour informer les choix que doit ope\u0301rer le joueur dans les conflits qui ravagent le monde avec lequel il interagit.<\/p>\n<\/div>\n<\/div>\n<\/div>\n Jeudi\u00a028 mars \u2013 Maxime Pierre<\/strong> (Cerilac, Universit\u00e9 Paris-Cit\u00e9) et Karen\u00a0Twidle<\/strong> (artiste-chercheuse)\u00a0: \u00ab\u00a0La r\u00e9invention de M\u00e9d\u00e9e par l\u2019utilisation de deux traditions sc\u00e9niques contrast\u00e9es\u00a0: le n\u00f4 et le kathakali \u00bb (Paris)<\/p>\n Affiche de la s\u00e9ance<\/a><\/p>\n En prenant comme point de d\u00e9part deux cr\u00e9ations distinctes de M\u00e9d\u00e9e, l\u2019une tir\u00e9e d\u2019Euripide et des arts performatifs du Kerala en Inde, l\u2019autre de S\u00e9n\u00e8que et du th\u00e9\u00e2tre n\u00f4<\/em> du Japon, nous souhaitons explorer les rouages et enjeux d\u2019une pratique artistique interculturelle. Comment le mythe et le personnage de M\u00e9d\u00e9e prennent-ils forme dans la cadre d\u2019une pratique extra-europ\u00e9enne ? Quelle lumi\u00e8re ces formes th\u00e9\u00e2trales peuvent-elles jeter sur le personnage, la trag\u00e9die grecque ou romaine ? Quels sont les enjeux d\u2019adaptation et de traduction dans ce type de cr\u00e9ation ?<\/p>\n M\u00e9d\u00e9amorfosis<\/em> a \u00e9t\u00e9 cr\u00e9\u00e9 suite \u00e0 de nombreuses r\u00e9sidences artistiques et de recherche ethnographique en Inde et en France entre 2012 et 2017. L\u2019adaptation, tir\u00e9e d\u2019Euripide, met en sc\u00e8ne le passage \u00e0 l\u2019acte de M\u00e9d\u00e9e, son dialogue int\u00e9rieur et le dialogue de sourds entre elle et le ch\u0153ur. Prenant comme source le kathakali<\/em> (dans la structure de la pi\u00e8ce et la pratique corporelle), et puisant dans d\u2019autres traditions rituelles ou performatives du Kerala (Kutiyattam<\/em>, Teyyam<\/em> et Bharani<\/em>), la cr\u00e9ation est un seul-en-sc\u00e8ne sur toile de fond filmique, chant\u00e9 en grec ancien. Il s\u2019agira notamment d\u2019explorer comment arriver \u00e0 un distill\u00e9 de sens sans perdre la polys\u00e9mie, ni du mythe, ni du personnage, ni de la forme.<\/p>\n Cr\u00e9\u00e9 en juin 2023 par la compagnie Sangaku, Medea<\/em> est une adaptation de la trag\u00e9die de S\u00e9n\u00e8que sous forme de n\u00f4<\/em> en fran\u00e7ais. Il s\u2019agissait pour les artistes de r\u00e9insuffler de la vie au texte en retrouvant dans l\u2019art du n\u00f4<\/em> les techniques perdues de la trag\u00e9die : le rituel, la danse, la musique, les masques, la choralit\u00e9. Faire passer M\u00e9d\u00e9e<\/em> dans des techniques japonaises en fran\u00e7ais, c\u2019\u00e9tait \u00e9galement r\u00e9p\u00e9ter le geste romain consistant \u00e0 incorporer les techniques grecques dans la langue latine : une traduction interculturelle. Travail dont nous retracerons les \u00e9tapes : transposer le texte de S\u00e9n\u00e8que par la composition d\u2019un livret et d\u2019une musique de n\u00f4,<\/em> puis entrainer des chanteurs et des acteurs \u00e0 discipliner leur corps et leur voix dans cette forme in\u00e9dite en fran\u00e7ais.<\/p>\n Jeudi 25 avril \u2013 Ga\u00eblle Bourges<\/strong> (danseuse, chor\u00e9graphe, Association Os<\/em><\/strong>) et Charitini Tsikoura<\/strong> (chor\u00e9graphe et docteure en \u00e9tudes th\u00e9\u00e2trales, Universit\u00e9 Paris-Nanterre)\u00a0: \u00ab Danse contemporaine et Antiquit\u00e9 classique : chim\u00e8res, d\u00e9tournements, pillages \u00bb (Paris)<\/p>\n Jeudi\u00a023 mai \u2013 Charles Delattre <\/strong>(HALMA, Universit\u00e9 de Lille)\u00a0: \u00ab\u00a0Insatisfactions et rancunes : 200 ans de r\u00e9formes de l\u2019enseignement des langues anciennes en France\u00a0\u00bb<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb1_2″][et_pb_text admin_label=\u00a0\u00bbInformations pratiques\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb25px|||\u00a0\u00bb]<\/p>\n Informations pratiques<\/strong><\/p>\n https:\/\/labantique.hypotheses.org<\/a><\/p>\n Les s\u00e9ances seront organis\u00e9es en format hybride, avec retransmission simultan\u00e9e en visioconf\u00e9rence, et seront localis\u00e9es \u00e0 l\u2019Universit\u00e9 Paris-Cit\u00e9 (site des Grands Moulins, salle 682C), \u00e0 l\u2019Universit\u00e9 de Poitiers et \u00e0 Besan\u00e7on, dans l\u2019Universit\u00e9 de Franche-Comt\u00e9.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bb\u00c0 lire aussi\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″]<\/p>\n [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.22.1″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Quand A partir du 19 octobre 2023 de 18h \u00e0 20h O\u00f9 Grands Moulins (salle 682C), Besan\u00e7on et Poitiers <\/p>\n S\u00e9minaire ATE : \u00ab\u00a0Les r\u00e9inventions de l’Antiquit\u00e9\u00a0\u00bb <\/p>\n ProgrammePrenant l\u2019\u00e9cart comme piste herm\u00e9neutique pour explorer notre rapport contemporain \u00e0 l\u2019Antiquit\u00e9, le prochain cycle de s\u00e9minaires organis\u00e9 par Antiquit\u00e9 Territoire des \u00c9carts propose d\u2019explorer en… Lire la suite S\u00e9minaire 2023-2024 \u00ab\u00a0Antiquit\u00e9, territoire des \u00e9carts\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":2015,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[27],"tags":[],"class_list":["post-4015","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-seminaire"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4015","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=4015"}],"version-history":[{"count":8,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4015\/revisions"}],"predecessor-version":[{"id":4019,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4015\/revisions\/4019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/2015"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=4015"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=4015"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=4015"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u00c0<\/span> lire aussi<\/h2>\n