[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 mercredi 10 janvier de 16h \u00e0 19h<\/p>\n
Biblioth\u00e8que Jacques Seebacher<\/p>\n
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S\u00e9minaire organis\u00e9 par A. Kalentzis et N. Verdier (Paris-Saclay)<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Blaise Wilfert (\u00c9cole Normale Sup\u00e9rieure) : <\/strong>Le Droit d’auteur<\/em><\/strong>, \u00ab\u00a0organe officiel du bureau de l’Union internationale pour la protection des \u0153uvres litt\u00e9raires et artistiques\u00a0\u00bb (1888-1919) : de la litt\u00e9rature europ\u00e9enne comme transnationale et comme march\u00e9<\/strong><\/p>\n Le Droit d’auteur<\/em>, qui fut l’\u00e9manation du Bureau de l’Union internationale de la protection intellectuelle, le bureau de l’Union dite de Berne, \u00e0 l’origine de l’OMPI. Ce p\u00e9riodique \u00ab\u00a0technique\u00a0\u00bb, qui se pr\u00e9occupait d’informer sur les l\u00e9gislations du monde entier concernant le droit d’auteur et sa protection, mais aussi d’appuyer les efforts d’une \u00ab\u00a0communaut\u00e9 \u00e9pist\u00e9mique\u00a0\u00bb d’\u00e9crivains, d’\u00e9diteurs, de hauts fonctionnaires, de diplomates, de juristes et de journalistes pour unifier et mondialiser une conception particuli\u00e8re de la propri\u00e9t\u00e9 intellectuelle, est un observatoire passionnant pour comprendre l’arri\u00e8re-cour \u00e9conomique, \u00a0juridique, g\u00e9opolitique et technique de la \u00ab\u00a0litt\u00e9rature europ\u00e9enne\u00a0\u00bb, en la comprenant comme un march\u00e9 et une transnationale.<\/p>\n Julien Schuh (Universit\u00e9 Paris-Nanterre, CSLF)\u00a0: <\/strong>R\u00e9guler collectivement la circulation des textes et des images : protocoles \u00e9mergents de contr\u00f4le des flux de contenus dans les \u00ab\u00a0petites revues\u00a0\u00bb fin-de-si\u00e8cle<\/strong><\/p>\n \u00c0 qui appartiennent les textes et les images qui apparaissent dans les revues \u00e0 la fin du XIXe si\u00e8cle, et comment leur circulation est-elle r\u00e9gul\u00e9e ? Nous nous int\u00e9resserons \u00e0 l\u2019exemple de quelques \u00ab\u00a0petites revues\u00a0\u00bb (en particulier le Mercure de France<\/em>) de la fin du XIXe si\u00e8cle, et aux relations entre les acteurs qui les font vivre, pour comprendre la mani\u00e8re dont les flux de contenus (reproduction, citation, mention) sont trait\u00e9s de fa\u00e7on toujours plus normalis\u00e9e, gr\u00e2ce \u00e0 des n\u00e9gociations qui se mettent en place de mani\u00e8re plus ou moins intentionnelle par les interactions entre acteurs de ces p\u00e9riodiques. Nous ferons l\u2019hypoth\u00e8se que les contenus en revue, en particulier dans de petites structures, sont trait\u00e9s comme des sortes de communs. La gestion collective, par le biais de comit\u00e9s r\u00e9dactionnels, de ces contenus tend \u00e0 produire des effets d\u2019auctorialit\u00e9 diffuse permettant des r\u00e9utilisations et des circulations assez libres entre revues \u2014 des pratiques mises sous tension par la professionnalisation de ces p\u00e9riodiques et l\u2019institutionnalisation de certains auteurs, qui visent \u00e0 garder le contr\u00f4le de la diffusion de leurs \u0153uvres.\u00a0<\/p>\n \u00a0<\/strong><\/p>\n Nathalie Simonnot (chercheur du minist\u00e8re de la Culture, directrice du laboratoire de recherche de l\u2019\u00c9cole nationale sup\u00e9rieure d\u2019architecture de Versailles)\u00a0: \u00ab\u00a0Les revues mus\u00e9ales\u00a0: un objet de recherche polymorphe\u00a0\u00bb<\/strong>\u00a0<\/strong><\/p>\n Les revues mus\u00e9ales forment un domaine de recherche encore lacunaire d\u00fb \u00e0 leur typologie hybride, \u00e0 la confluence entre revue d\u2019art, revue de technique et revue d\u2019actualit\u00e9 professionnelle. Destin\u00e9es aux conservateurs des mus\u00e9es, elles rendent compte de l\u2019\u00e9tat des collections, des acquisitions et des am\u00e9nagements r\u00e9alis\u00e9s. \u00c0 vocation \u00e0 la fois th\u00e9orique, pratique et didactique, elles sont un support majeur pour assurer la diffusion de l\u2019actualit\u00e9 mus\u00e9ale. Cette conf\u00e9rence sera centr\u00e9e sur les revues mus\u00e9ales fran\u00e7aises au lendemain de la Seconde Guerre mondiale, au moment o\u00f9 les contenus et les formats de ces revues ont \u00e9volu\u00e9 pour accompagner le renouveau des mus\u00e9es pendant la Reconstruction. En exp\u00e9rimentant plusieurs formules \u00e9ditoriales dans un laps de temps parfois tr\u00e8s court, ces revues sont pass\u00e9es pour certaines d\u2019un simple bulletin de quelques pages \u00e0 de v\u00e9ritables revues professionnelles. Cette \u00e9tude permet de contribuer \u00e0 une histoire des acteurs, des r\u00e9seaux professionnels, des exp\u00e9riences mus\u00e9ographiques et de leurs modes de diffusion dans la presse sp\u00e9cialis\u00e9e. En fournissant quantit\u00e9 d\u2019images d\u2019int\u00e9rieurs aujourd\u2019hui disparus, ces revues retracent une certaine id\u00e9e du mus\u00e9e et de ses missions. Petits et grands mus\u00e9es s\u2019y c\u00f4toient, quel que soit leur statut, dans un \u00e9lan g\u00e9n\u00e9ral faisant des innombrables contributions des conservateurs qui y publient \u2013 plusieurs centaines d\u2019articles et de documents graphiques \u2013 un corpus hors du commun pour comprendre l\u2019esprit d\u2019une \u00e9poque.<\/p>\n Paul Edwards (Universit\u00e9 Paris Cit\u00e9, LARCA)\u00a0: \u00ab\u00a0Revues photographiques et soci\u00e9t\u00e9s photographiques autour de 1900 : la photolitt\u00e9rature, le spectacle et la socialisation\u00a0\u00bb<\/strong><\/p>\n This paper explains how French photoliterature could appear in the 1890s not only as a crafted, bibliophilic object involving multiple participants but also as an activity of cultural distinction within the socialising practices of provincial photographic societies, in close relation to the ritual of lantern-slide story-telling, at a time immediately preceding the birth of cinema (1895) when there was already an interest in the narrative power of serial photography and what might be called the \u201ckinetic\u201d effect of juxtaposed images on the page. This paper also shows how literary illustrations could double as architectural views that provided documentary evidence of a cultural heritage that was perceived as fragile and in need of preservation, since the members of photo clubs were leisured amateurs who participated actively in different cultural and patrimonial associations. Drawing on local photography club journals, national photography magazines, and recently discovered correspondence, this paper aims to show how photoliterature was collectively produced within a context of bourgeois sociability in a quest for cultural distinction and social recognition at a time when photography was popularly associated with commerce, industry and science, not with fine art and culture; it will show how it forms a continuum with photo-club activities, and that the historical interest of these productions today lies not only in their witty reinterpretations of popular literature,\u00a0but in what they reveal about photography\u2019s social function.\u00a0<\/p>\n Eleni Stavroulaki (Princeton University, Department of Art and Archaeology), \u00ab\u00a0La Pens\u00e9e moderne de la Pr\u00e9histoire. Le cas des Cahiers d\u2019Art<\/em> (1926-1969)\u00a0\u00bb<\/strong><\/p>\n Entre 1926 et 1969, Cahiers d\u2019art, la revue et la maison d\u2019\u00e9dition de Christian Zervos, s\u2019identifie \u00e0 la d\u00e9fense des courants post-cubistes et \u00e0 une promotion \u2013 au moins dans l\u2019entre-deux-guerres \u2013 de l\u2019esth\u00e9tique rationaliste du purisme et du fonctionnalisme. \u00c0 c\u00f4t\u00e9 de ces aspects, Cahiers d\u2019art manifeste une ouverture pour la Pr\u00e9histoire et les arts extra-occidentaux. C\u2019est ainsi que de r\u00e9centes recherches ont envisag\u00e9 la revue, donnant plus de consistance au poids anticlassique de celle-ci. Dans cette intervention je vise \u00e0 relativiser cette approche longtemps privil\u00e9gi\u00e9e, montrant que le r\u00e9cit de Zervos sur les arts pr\u00e9- et protohistoriques ne s\u2019\u00e9tablit pas sur l\u2019id\u00e9e d\u2019une rupture \u00e9volutive avec l\u2019Antiquit\u00e9 classique, mais au contraire sur celle de temporalit\u00e9s continuistes. Bref, je vais montrer que Zervos a combl\u00e9 – \u00e0 la fois sur le plan arch\u00e9ologique et visuel \u2013 l\u2019\u00e9cart entre la pr\u00e9histoire, la Gr\u00e8ce classique et la production moderne.<\/p>\n The promotion of post-Cubist artists and the rationalist aesthetics of Purism and Functionalism were the main focuses of Christian Zervos’ art magazine and publishing house Cahiers d’art (1926-1969). However, in addition to these aspects, Cahiers d’art also showed a multi-cultural<\/strong> openness covering both non-European cultures and the pre- and protohistoric arts of the Mediterranean. In this context, recent scholarly work often highlighted the journal’s anticlassical stance. In this presentation, I will attempt to relativize this approach, by showing that Zervos’ account of pre- and proto-historic art was not founded on the notion of an evolutionary split and on a univocal anti-classical stance, but rather on the continuity between the classical and deep past. In this way, I will make the case that Zervos bridged – both archaeologically and visually – the gap between prehistory, classical Greece, and modern production.\u00a0<\/strong><\/p>\n Jean-Michel Galland (docteur en histoire, \u00c9cole des Chartes)\u00a0: \u00ab\u00a0Le \u2018retour \u00e0 l\u2019antique\u2019 en France pendant l\u2019entre-deux-guerres au travers des revues d\u2019art et des livres<\/strong><\/p>\n Il est g\u00e9n\u00e9ralement question, en litt\u00e9rature ou en art, d\u2019un \u00ab\u00a0retour \u00e0 l\u2019antique\u00a0\u00bb pendant l\u2019entre-deux-guerres, et d\u2019un \u00ab\u00a0retour \u00e0 l\u2019antique\u00a0\u00bb appr\u00e9hend\u00e9 en tant qu\u2019une composante d\u2019un \u00ab\u00a0retour \u00e0 l\u2019ordre\u00a0\u00bb qui se serait produit \u00e0 cette p\u00e9riode. Nous questionnons pr\u00e9cis\u00e9ment ces deux notions de \u00ab\u00a0retour\u00a0\u00bb dans cet expos\u00e9 dont l\u2019objet est de pr\u00e9senter un panorama et une analyse, textes et images, des recours, pendant l\u2019entre-deux-guerres, \u00e0 l\u2019antiquit\u00e9 au travers des revues d\u2019art et des livres illustr\u00e9s publi\u00e9s en France \u00e0 cette p\u00e9riode. Une pr\u00e9sentation rapide est d\u2019abord faite de l\u2019approche choisie pour mener cette recherche, une approche r\u00e9cemment d\u00e9velopp\u00e9e sur la base de la th\u00e9orie des champs du sociologue Pierre Bourdieu. Nous justifions ensuite le choix des neuf revues d\u2019art s\u00e9lectionn\u00e9es pour cette \u00e9tude, telles que L’Esprit nouveau<\/em>, Les Cahiers d\u2019art<\/em> ou Minotaure<\/em>, puis nous d\u00e9crivons les diff\u00e9rentes bases de donn\u00e9es \u00e9tablies dans ce cadre. La base couvrant les revues d\u2019art compile et analyse tous les articles ayant trait \u00e0 l\u2019antiquit\u00e9 gr\u00e9co-romaine publi\u00e9s dans ces revues au cours de la p\u00e9riode consid\u00e9r\u00e9e. Nous rendons compte ensuite des r\u00e9sultats de l\u2019exploitation de ces bases en identifiant, pour chacun des quatre secteurs du champ artistique, les formes de recours \u00e0 l\u2019antique (univers grec ou latin, orientations esth\u00e9tiques et id\u00e9ologiques, etc.) v\u00e9hicul\u00e9es par les livres illustr\u00e9s et par les revues \u00ab\u00a0positionn\u00e9s\u00a0\u00bb sur la zone consid\u00e9r\u00e9e, dressant ainsi un panorama \u00e0 travers le champ de ces recours. Nous mettons alors en \u00e9vidence la coh\u00e9rence de ce panorama, en montrant que les formes de recours se r\u00e9partissent dans la structure en concordance avec les valeurs esth\u00e9tiques et soci\u00e9tales qui la sous-tendent. Nous montrons \u00e9galement comment cette r\u00e9partition spatiale s\u2019inscrit dans l\u2019histoire, r\u00e9cente ou plus lointaine, du champ, corroborant ainsi la \u00ab\u00a0loi du changement\u00a0\u00bb observ\u00e9e pour tous les champs culturels. Nous revenons en conclusion sur les notions de \u00ab\u00a0retour \u00e0 l\u2019antique\u00a0\u00bb et de \u00ab\u00a0retour \u00e0 l\u2019ordre\u00a0\u00bb pendant l\u2019entre-deux-guerres et sur les raisons de leur succ\u00e8s critique.<\/p>\n In literature and art, we generally talk of a \u00ab\u00a0return to antiquity\u00a0\u00bb during the interwar period, and of a \u00ab\u00a0return to antiquity\u00a0\u00bb understood as part of a \u00ab\u00a0return to order\u00a0\u00bb that occurred during this period. We will examine these two notions of \u00ab\u00a0return\u00a0\u00bb in this presentation, which aims to provide an overview and analysis, in text and image, of the use of antiquity in art magazines and illustrated books published in France between the two wars. We begin with a brief presentation of the approach chosen to conduct this research, an approach recently developed on the basis of sociologist Pierre Bourdieu’s field theory. We then justify the choice of nine art magazines for this study, such as L’Esprit nouveau, Les Cahiers d’art and Minotaure, and describe the various databases established for this purpose. The database covering art magazines compiles and analyzes all articles on Greco-Roman antiquity published in these magazines during the period under. We then report on the results of using these databases, identifying, for each of the four sectors of the artistic field, the forms of recourse to antiquity (Greek or Latin universe, aesthetic and ideological orientations, etc.) conveyed by the illustrated books and magazines \u00ab\u00a0positioned\u00a0\u00bb in the area, thus drawing up a panorama across the field of these recourses. We then highlight the coherence of this panorama, showing that the forms of recourse are distributed throughout the structure in accordance with the aesthetic and societal values that underpin it. We also show how this spatial distribution is part of the field’s recent or more distant history, thus corroborating the \u00ab\u00a0law of change\u00a0\u00bb observed for all cultural fields. In conclusion, we return to the notions of \u00ab\u00a0return to antiquity\u00a0\u00bb and \u00ab\u00a0return to order\u00a0\u00bb during the interwar period, and the reasons for their critical success.<\/p>\n \u00a0<\/p>\n H\u00e9l\u00e8ne V\u00e9drine (Sorbonne Universit\u00e9, CELLF 19-21)<\/p>\n Norbert Verdier (Paris-Saclay, EST-GHDSO)<\/p>\n Alexia Kalantzis (UVSQ, CHCSC et CERILAC, Universit\u00e9 Paris Cit\u00e9)<\/p>\n Jean-Charles Geslot (UVSQ, CHCSC)<\/p>\n Axel Hohnsbein (Universit\u00e9 de Bordeaux, SPH)<\/p>\n Alexia Kalantzis (UVSQ, CHCSC & Paris Cit\u00e9 Universit\u00e9, CERILAC)<\/p>\n Catherine Radtka (CNAM PARIS, HT2S)<\/p>\n Viera Rebolledo-Dhuin (UPEC, CRHEC)<\/p>\n Evanghelia Stead (UVSQ, CHCSC)<\/p>\n H\u00e9l\u00e8ne V\u00e9drine (Paris-Sorbonne, CELLF 19-21)<\/p>\n Norbert Verdier (GHDSO\/EST)<\/p>\n \u00a0<\/p>\n Contacts\u00a0<\/strong>:<\/p>\n alexia.kalantzis@wordpress-test.app.u-pariscite.fr<\/p>\n norbert.verdier@universite-paris-saclay.fr<\/a><\/p>\n \u00a0<\/p>\n Avec le soutien de la MSH Paris-Saclay & du CELLF 19-21<\/strong><\/p>\n \u00a0<\/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 Biblioth\u00e8que Jacques Seebacher, Universit\u00e9 Paris Cit\u00e9, Campus des Grands Moulins, 5 rue Thomas Mann, 75013 Paris, b\u00e2timent A, 2e<\/sup> \u00e9tage, 16h-19h<\/span><\/p>\n La s\u00e9ance sera accessible \u00e9galement en ligne. Les demandes d\u2019inscription pour la s\u00e9ance en ligne sont \u00e0 adresser \u00e0 norbert.verdier@u-psud.fr<\/a> et alexia.kalantzis@wordpress-test.app.u-pariscite.fr<\/a>.<\/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":" QuandA partir du mercredi 10 janvier de 16h \u00e0 19hO\u00f9Biblioth\u00e8que Jacques Seebacher\u00a0 <\/p>\n S\u00e9minaire organis\u00e9 par A. Kalentzis et N. Verdier (Paris-Saclay) <\/p>\n ProgrammeMercredi 10 janvierBlaise Wilfert (\u00c9cole Normale Sup\u00e9rieure) : Le Droit d’auteur, \u00ab\u00a0organe officiel du bureau de l’Union internationale pour la protection des \u0153uvres litt\u00e9raires et artistiques\u00a0\u00bb (1888-1919) : de la litt\u00e9rature… Lire la suite S\u00e9minaire 2023-2024 \u00ab\u00a0P\u00e9lias : Les p\u00e9riodiques comme m\u00e9diateurs culturels\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":4203,"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-4201","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\/4201","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=4201"}],"version-history":[{"count":7,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4201\/revisions"}],"predecessor-version":[{"id":5293,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4201\/revisions\/5293"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/4203"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=4201"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=4201"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=4201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Mercredi 7 f\u00e9vrier<\/h4>\n
Mercredi 22 mai<\/h4>\n
Organisateurs\u00a0:<\/h3>\n
Comit\u00e9 scientifique\u00a0:<\/h3>\n
\u00c0<\/span> lire aussi<\/h2>\n