{"id":4372,"date":"2024-03-27T11:30:45","date_gmt":"2024-03-27T10:30:45","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=4372"},"modified":"2024-03-27T15:03:30","modified_gmt":"2024-03-27T14:03:30","slug":"cahier-textuel-anciennes-parutions","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/cahier-textuel-anciennes-parutions\/","title":{"rendered":"\u00ab\u00a0Cahier Textuel\u00a0\u00bb : anciennes parutions"},"content":{"rendered":"

[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_4″][et_pb_image _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2021\/02\/Ta\u0302che-poe\u0301tique-du-traducteur.jpeg\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][et_pb_divider _builder_version=\u00a0\u00bb3.22.1″ z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _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″]<\/p>\n

Ao\u00fbt 2020<\/h2>\n

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La T\u00e2che po\u00e9tique du traducteur<\/h3>\n

Alors que les \u00e9tudes sur la traduction litt\u00e9raire n\u2019ont cess\u00e9 de s\u2019enrichir ces derni\u00e8res ann\u00e9es, ce livre n\u2019entend pas se positionner dans les d\u00e9bats th\u00e9oriques les plus r\u00e9cents, mais propose plut\u00f4t de les accompagner en faisant un pas de c\u00f4t\u00e9. Il laisse en effet la parole aux traducteurs et \u00e0 ceux qui enseignent ou promeuvent la traduction litt\u00e9raire, lesquels offrent \u00a0\u00a0ici \u00a0\u00a0des \u00a0\u00a0textes \u00a0\u00a0portant \u00a0\u00a0sur \u00a0\u00a0leurs pratiques. C\u2019est donc \u00e0 partir de cet ancrage concret que se d\u00e9ploie une r\u00e9flexion collective sur ce que peut signifier aujourd\u2019hui la \u00ab\u00a0t\u00e2che du traducteur\u00a0\u00bb, selon l\u2019expression de Walter Benjamin. Si l\u2019essentiel d\u2019une \u0153uvre d\u2019art n\u2019est pas \u00ab\u00a0communication\u00a0\u00bb, sa traduction exige d\u2019inventer une po\u00e9tique se confrontant \u00e0 l\u2019illisible, \u00e0 l\u2019agonique, \u00e0 l\u2019\u00e9trange, afin de faire entendre une langue singuli\u00e8re, qui ne soit pas celle de la nation, et qui puisse alors contribuer \u00e0 faire monde.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb1_4″][et_pb_image _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2021\/02\/Ateliers-de\u0301criture-de-loulipo.jpeg\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][et_pb_divider _builder_version=\u00a0\u00bb3.22.1″ z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _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″]<\/p>\n

Mai 2020<\/h2>\n

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Les Ateliers d\u2019\u00e9criture et l\u2019Oulipo<\/h3>\n

L\u2019Oulipo est couramment associ\u00e9 aux ateliers d\u2019\u00e9criture. Il est pourtant arriv\u00e9 \u00e0 ses membres d\u2019exprimer certaines r\u00e9ticences \u00e0 l\u2019\u00e9gard d\u2019une telle assimilation\u00a0: les contraintes \u00e9taient cens\u00e9es, dans l\u2019esprit des fondateurs, s\u2019adresser aux \u00e9crivains seulement. D\u00e8s lors, l\u2019animation d\u2019ateliers par le groupe constitue une inflexion, celle-ci allant de pair avec les lectures publiques, qui d\u00e9butent dans les m\u00eames ann\u00e9es \u2013 et faisant suite \u00e0 l\u2019assimilation par les p\u00e9dagogues de ses outils \u2013, une ouverture influen\u00e7ant sa r\u00e9ception. La publication cherche encore \u00e0 d\u00e9terminer ce que l\u2019Oulipo a apport\u00e9 aux ateliers\u00a0: en particulier, quel b\u00e9n\u00e9fice ces derniers tirent-ils de la contrainte ? et quels types de production suscite-t-elle\u00a0? Les contributions rassembl\u00e9es dans ce volume \u00e9valuent enfin l\u2019influence actuelle du groupe sur ces pratiques, et ce qu\u2019implique d\u2019y faire r\u00e9f\u00e9rence, ou pas.<\/p>\n

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F\u00e9vrier 2020<\/h2>\n

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Small Stories : un nouveau paradigme pour les recherches sur le r\u00e9cit<\/h3>\n

Le concept de\u00a0small stories\u00a0a \u00e9t\u00e9 introduit dans la discussion scientifique par Michael Bamberg et Alexandra Georgakopoulou. Il d\u00e9signe \u00ab un ensemble d\u2019activit\u00e9s narratives sous-repr\u00e9sent\u00e9es, comme les r\u00e9cits d\u2019\u00e9v\u00e9nements en cours, d\u2019\u00e9v\u00e9nements futurs et hypoth\u00e9tiques, d\u2019\u00e9v\u00e9nements partag\u00e9s (connus), mais aussi les allusions \u00e0 des r\u00e9cits, les r\u00e9cits diff\u00e9r\u00e9s ou encore les refus de raconter\u00a0 \u00bb. Le but de la\u00a0small stories research\u00a0est de d\u00e9placer l\u2019attention, auparavant centr\u00e9e sur les r\u00e9cits de soi, r\u00e9cits longs, pris en charge par un narrateur unique, consacr\u00e9s \u00e0 des \u00e9v\u00e9nements pass\u00e9s non partag\u00e9s, vers les r\u00e9cits courts et fragment\u00e9s que l\u2019on trouve dans les environnements interactionnels de tous les jours.<\/p>\n

Cet ouvrage vise \u00e0 pr\u00e9senter au public fran\u00e7ais les principaux d\u00e9veloppements de la\u00a0small stories research\u00a0et \u00e0 encourager la collaboration entre les chercheurs fran\u00e7ais et anglo-saxons, de m\u00eame qu\u2019entre les chercheurs de diff\u00e9rentes disciplines.<\/p>\n

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Novembre 2019<\/h2>\n

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Parr\u00easia et processus de v\u00e9ridiction de l’Antiquit\u00e9 aux Lumi\u00e8res<\/h3>\n

Le terme parr\u00easia signifie en grec ancien \u00ab\u00a0franc-parler, libert\u00e9 de parole, courage de dire la v\u00e9rit\u00e9\u00a0\u00bb. Il met en \u00e9vidence le lien qui peut unir le langage, le courage et la v\u00e9rit\u00e9. Il insiste sur la dimension \u00e9thique dans l\u2019acte de parler et de penser, autrement dit l\u2019implication de celui qui parle dans un \u00e9nonc\u00e9 qui pr\u00e9tend \u00e0 la co\u00efncidence du discours et de la v\u00e9rit\u00e9. La parr\u00easia est une mani\u00e8re de dire la v\u00e9rit\u00e9 qui fait fi des conventions et de la retenue que requi\u00e8rent les biens\u00e9ances. Elle inflige \u00e0 l\u2019autre ou \u00e0 l\u2019institution le constat parfois amer d\u2019une v\u00e9rit\u00e9 qui n\u2019est jamais bonne \u00e0 dire. Elle peut causer une souffrance et plonger dans la honte.<\/p>\n

Les \u00e9tudes r\u00e9unies dans ce volume explorent plusieurs aspects de la parr\u00easia telle qu\u2019on a pu la consid\u00e9rer et la vivre dans l\u2019Antiquit\u00e9, \u00e0 la Renaissance ou au si\u00e8cle des Lumi\u00e8res.<\/p>\n

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Novembre 2019<\/h2>\n

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Ecrits, images et pens\u00e9es de prison<\/h3>\n

Qu\u2019est-ce que l\u2019exp\u00e9rience de l\u2019incarc\u00e9ration\u00a0 ? Comment peut-on l\u2019approcher, dans les murs ou hors les murs\u00a0 ? Cette \u00e9preuve a suscit\u00e9, et suscite toujours, nombre d\u2019\u0153uvres et de t\u00e9moignages qui tentent d\u2019en rendre compte. \u00c0 c\u00f4t\u00e9 des \u00e9crits de grands \u00e9crivains, qui ont \u00e9t\u00e9 incarc\u00e9r\u00e9s et ont laiss\u00e9 des traces saisissantes de l\u2019enfermement (Th\u00e9ophile de Viau, Sade, Dosto\u00efevski, Martchenko\u2026), sont \u00e9galement ici analys\u00e9s certains \u00e9crits de ceux qui se sont pench\u00e9s sur cette question (les Goncourt, Henri Calet, Truman Capote\u2026) et ont pr\u00e9sent\u00e9 des textes ou des films t\u00e9moignant directement de l\u2019exp\u00e9rience de la prison.<\/p>\n

Cet ouvrage interroge les fronti\u00e8res entre le \u00ab\u00a0 dedans\u00a0 \u00bb et le \u00ab\u00a0 dehors\u00a0 \u00bb, les \u00ab\u00a0 coupables\u00a0 \u00bb et les \u00ab\u00a0 innocents\u00a0 \u00bb ; il examine le paradoxe de la cr\u00e9ativit\u00e9 en situation d\u2019extr\u00eame contrainte, et fait entendre la voix de d\u00e9tenus dont nous pouvons nous sentir proches.<\/p>\n

La perspective interdisciplinaire porte sur une p\u00e9riode allant du XVIe si\u00e8cle aux prisons syriennes actuelles, ou aux prisons fran\u00e7aises France en passant par Guantanamo.<\/p>\n

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Novembre 2019<\/h2>\n

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Acteurs et Architectes<\/h3>\n
Alain Guiheux<\/div>\n
\u00a0<\/div>\n
Architecture et cin\u00e9ma auront \u00e9t\u00e9 d\u00e8s l\u2019origine encha\u00een\u00e9s l\u2019un \u00e0 l\u2019autre.\u00a0 Chaplin, Lang, Vidor, Truffaut, Resnais\u00a0 rev\u00eatirent des habits d\u2019architecte, car le plus proche parent du cin\u00e9ma est l\u2019architecture, la machine cin\u00e9matographique ne pouvant se passer d\u2019architecture et simultan\u00e9ment en d\u00e9montrant la puissance. Il n\u2019y a pas de cin\u00e9ma sans architecture, sans porte \u00e0 claquer ni escalier \u00e0 d\u00e9valer, sans terrasse o\u00f9 promener sa solitude, sans fen\u00eatre, sans balcon. Le cin\u00e9ma d\u00e9montre \u00e0 quoi sert l\u2019architecture, ce que nous devrions savoir de ce qui s\u2019y peut produire. R\u00e9ciproquement, la bonne architecture est celle qui a choisi le cin\u00e9ma, elle fait sc\u00e8ne avant le cin\u00e9ma, elle s\u2019invente comme sc\u00e9nario et sc\u00e9nographie, la promenade architecturale qui d\u00e9bouche sur l\u2019horizon de l\u2019oc\u00e9an Pacifique. L\u2019architecture comme le cin\u00e9ma transforme chaque sujet en acteur.<\/div>\n

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Juin 2019<\/h2>\n

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Textuel – une anthologie: 1976-2016<\/h3>\n

En 1976, paraissait le premier num\u00e9ro d’une revue nomm\u00e9e de fa\u00e7on un peu obscure\u00a034\/44<\/em>. Cette publication qui deviendra\u00a0Textuel\u00a0<\/em>partage les traits communs avec d’autres revues, n\u00e9es comme elle de l’\u00e9nergie th\u00e9orique des ann\u00e9es 1960. Elle s’en distingue aussi par son caract\u00e8re libertaire. Plus interdisciplinaire que\u00a0Litt\u00e9rature<\/em>, elle s’ouvre d’abord aux \u00e9tudiants. Aussi th\u00e9orique et textualiste que\u00a0Po\u00e9tique,\u00a0<\/em>elle ne dispose pas du soutien d’un \u00e9diteur ayant pignon sur rue. Mise en place dans les librairies pas ses animateurs, fabriqu\u00e9e avec les moyens du bord, elle accueille pourtant, au long des soixante ann\u00e9es num\u00e9ros de sa premi\u00e8re s\u00e9rie, de grands noms des lettres et des sciences humaines, \u00e0 commencer par celui de Julia Kristeva, sa premi\u00e8re directrice. Cette anthologie esquisse son histoire et s’efforce de donner une vivante image d’un mo(nu)ment inaper\u00e7u de l’histoire intellectuelle fran\u00e7aise.\u00a0<\/p>\n

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Nouvelles parutions<\/a><\/h4>\n

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\u00c0<\/span> lire aussi<\/h2>\n

[\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ 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":"

<\/div>\n

Ao\u00fbt 2020 La T\u00e2che po\u00e9tique du traducteur Alors que les \u00e9tudes sur la traduction litt\u00e9raire n\u2019ont cess\u00e9 de s\u2019enrichir ces derni\u00e8res ann\u00e9es, ce livre n\u2019entend pas se positionner dans les d\u00e9bats th\u00e9oriques les plus r\u00e9cents, mais propose plut\u00f4t de les accompagner en faisant un pas de c\u00f4t\u00e9. Il laisse en effet la parole aux… Lire la suite \u00ab\u00a0Cahier Textuel\u00a0\u00bb : anciennes parutions<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":4357,"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":[1],"tags":[],"class_list":["post-4372","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cerilac"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4372","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=4372"}],"version-history":[{"count":6,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4372\/revisions"}],"predecessor-version":[{"id":4382,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/4372\/revisions\/4382"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/4357"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=4372"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=4372"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=4372"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}