https://shs.cairn.info/build/assets/cairn-B7RWiji2.png tag:cairn.info,2005:rss/revue/E_SR Cairn.info 2026 2024-10-25T00:00:00+02:00 tag:cairn.info,2005:numero:E_SR_058 2024-09-25T00:00:00+02:00 2024-10-25T00:00:00+02:00

Pages 9 to 25| Body care | Paul Dietschy, Marie-Bénédicte Vincent

Pages 29 to 52| A clean Japan? | Naoko Tokumitsu

Pages 53 to 75| Naturism and body care in Italy during the Ventennio | Sara Vitacca

Pages 77 to 94| The impact of war on the bodies of schoolchildren in Nazi Germany (1936–1945) | Manon Crélot

Pages 97 to 115| The Italian guardian of the Italian people’s health | Irene Di Jorio

Pages 117 to 134| Advertisements for body-care products and services in the Pariser Zeitung, a German newspaper in occupied France (1941–1944) | Marie-Bénédicte Vincent

Pages 137 to 158| Between martial virility, hedonism, and consumerism | Paul Dietschy

Pages 159 to 179| Fostering community spirit through sport ? | Charlotte Soria

Pages 181 to 201| The boxer’s body in the Nazi era | Stéphane Hadjeras

Pages 205 to 216| From studio to museum, from garbage to collection | Caroll Maréchal

Pages 219 to 240| Images combining commercial and propagandistic aims: What circulation? | Stéphanie Krapoth

Pages 243 to 257| Fizkul’tura and physical well-being in the USSR in the late 1930s | Sylvain Dufraisse

Pages 261 to 266| Reichsbank furniture stored in Berlin and purchased in Paris during the German occupation: Ongoing research into its provenance | Regina Stein, Marie-Bénédicte Vincent

Pages 269 to 278| Interview with Serge Moati on political symbolism | Serge Moati, Évelyne Cohen

Pages 281 to 311| From tapestry to sculpture: Exploring the early work of Louise Bourgeois in relation to her origins | Laurence Danguy

]]> tag:cairn.info,2005:numero:E_SR_057 2024-04-23T00:00:00+02:00 2024-05-24T00:00:00+02:00

Pages 9 to 17| Space adventure. Introduction | Laurent Martin, Laurence Guignard

Pages 21 to 33| The olfactory imaginary of space exploration: Knowledge, reconstruction, and immersion | Érika Wicky

Pages 35 to 55| Making the blue sky disappear: Images of analog missions, between science and fiction | Élise Parré

Pages 57 to 76| From wireless telegraphy to the stars: The construction of a sonic imaginary of space in the 1920s–1940s | Stéphane Le Gars

Pages 77 to 96| The “spatial imaginary”: Its construction, essence, and functions in work of Jean Perdrizet (1907–1975) | Jean-Gaël Barbara

Pages 99 to 118| The omnipresence of outer space in Francophone youth magazines around 1960 | Catherine Radtka

Pages 119 to 135| Imag(in)ing space colonization: Conceptions and evolutions of science-fiction novel covers since 1968 | Guylaine Guéraud-Pinet, Benoît Lafon

Pages 137 to 154| Dying for space? “Twilight astronauts” in contemporary science-fiction cinema | Simon Bréan

Pages 155 to 172| Plastic rockets: Participative practices in the popular culture of space | Guillaume de Syon

Pages 175 to 201| Victor Coissac and Ary Sternfeld: Popular space science in France in the interwar period | Matthias Cléry, Florian Mathieu

Pages 203 to 215| Lawyers and extraterrestrial intelligent life: The makeup of a disciplinary astroculture (1950s–1960s) | François Rulier

Pages 217 to 234| Shattering the utopia: The Association of Autonomous Astronauts, or the artistic critique of space exploration | Jérôme Lamy

Pages 237 to 245| A visit to the Camille-Flammarion observatory | Évelyne Cohen

Pages 247 to 249| Share your passion for astronomy with as many people as possible | Sylvain Bouley, Laurence Guignard, Julie Verlaine

Pages 253 to 263| When cinema recreates the protests of May ’68 | Sébastien Le Pajolec

Pages 267 to 287| “Cosmo-Rallye” and spatial Snake and Ladders in Les aventuriers du ciel, voyages extraordinaires d’un petit Parisien dans la stratosphère, la Lune et les planètes (1935–1937) by René-Marcel de Nizerolles | Fleur Hopkins-Loféron

Pages 291 to 307| At the crossroads of epistemes: The photographic paintings of Hippolyte Guénaire | Charly Pellarin-Régis

Pages 311 to 332| A vexillological history: The three ages of the Algerian flag | Salim Chena

Pages 335 to 346| Deconstructing stereotypes about the conquest of space | Gérard Azoulay, Laurent Martin, Laurence Guignard

Pages 349 to 366| Pictures of Dreyfus: The role of documentary projection in Dreyfusard activism | Guillaume Delangue

]]> tag:cairn.info,2005:numero:E_SR_056 2023-10-20T00:00:00+02:00 2023-11-10T00:00:00+01:00

Pages 7 to 13| Beauty in the mirror of humanities and social sciences | Laurent Martin

Pages 19 to 30| A philosopher’s view | Christian Godin

Pages 31 to 48| Uneasy beauty | Bruno Nassim Aboudrar

Pages 49 to 63| Writing the beauty of the world | Laurent Martin

Pages 65 to 79| A gardener’s view | Marco Martella

Pages 83 to 98| About bodily beauty: Consensus and polemics in classical Athens | Florence Gherchanoc

Pages 99 to 117| Beauty contests: Cultural, identity, and political issues | Camille Couvry

Pages 119 to 132| A contempt for visual seduction? | Morgane Tocco

Pages 133 to 147| An anthropologist’s view: Consideration of human beauty in traditional and modern societies | Pierre-Joseph Laurent

Pages 151 to 167| Making Things Beautiful and Doing them the Italian Way | Veronica Redini

Pages 169 to 184| Peau neuve? Aesthetics and politics in Congo in the twentieth and twenty-first centuries | Didier Gondola, Manuel Charpy

Pages 187 to 195| Looking at autobiographical heritage: | Camille Bresch

Pages 199 to 210| Representing the pastry chef at the end of the nineteenth century: | Coline Arnaud

Pages 213 to 226| For a cultural history of home video | Sébastien Le Pajolec

Pages 229 to 240| The critical reception of La femme de Jean (1974) and L’amour violé (1978) by Yannick Bellon | Aurore Renaut

Pages 243 to 251| Still lifes are back. | Pascal Dibie

Pages 255 to 269| Alexandria, 1882: Representations of the city and the colonial “little war” in Egypt | Daniel Lançon, Sarga Moussa, Julie Verlaine

Pages 273 to 294| Dialogic propaganda? | Jedediah Sklower

]]> tag:cairn.info,2005:numero:E_SR_055 2023-05-11T00:00:00+02:00 2023-05-25T00:00:00+02:00

Pages 9 to 11| Foreword | Laurence Danguy, Julien Schuh

Pages 13 to 54| Iconographic notebook

Pages 55 to 69| The digital eye: Toward a hybrid visual culture | Laurence Danguy, Julien Schuh

Pages 71 to 97| Artificial intelligence is “watching” us: Filmic representations in “series” of digital age surveillance of the human and social body | Alain Boillat

Pages 99 to 123| In the eye of the target: Armed vision, operational images, and counter-visualities. On Éléonore Weber’s film Il n’y aura plus de nuit (2020) | Jean-Paul Fourmentraux

Pages 125 to 146| Phantom images staring at us: The eye of the machine as viewed by artists | Nathalie Dietschy

Pages 147 to 162| The comic board faced with digital media | Gaëlle Kovaliv, Olivier Stucky

Pages 163 to 177| Aesthetic experience in a digital environment | Théodora Domenech

Pages 179 to 201| What do images of AI want? An exploration of the visual scientific communication of artificial intelligence | Alberto Romele, Marta Severo

Pages 203 to 226| A global eye? The globalization of images in the light of digital tools: The case of Visual Contagions | Béatrice Joyeux-Prunel, Nicola Carboni, Adrien Jeanrenaud, Cédric Viaccoz, Céline Belina, Thomas Gauffroy, Marie Barras

Pages 227 to 247| Distant viewing and the photographic archive | Daniel Foliard

Pages 249 to 267| What we do not yet know, but which machines have seen | Isabella di Lenardo, Frédéric Kaplan

Pages 271 to 284| The Carnavalet Museum, History of Paris. Reflections of two historians on a recently renovated institution | Évelyne Cohen, Pascale Goetschel

Pages 287 to 308| Discourse and cultural heritage in the historical rehabilitation of the techno movement in the city of Detroit (United States) | Marjolaine Casteigt, Gérard Régimbeau

Pages 311 to 320| Masterpieces on a mug. When merchandising entered museums (1960s–1980s) | Julie Verlaine

Pages 323 to 336| Statues and colonialism (France–Algeria, nineteenth–twentieth centuries): Thoughts on two remarks by Frantz Fanon | Bertrand Tillier

Pages 339 to 348| Digital caricatures and cultures: A new research field | Laurent Baridon, Dominic Hardy, Philippe Kaenel

Pages 351 to 367| “The most important thing in a film is what is not useful”: Yves Jeuland interviewed by Sébastien Le Pajolec | Sébastien Le Pajolec, Yves Jeuland

Pages 371 to 389| French television faced with the death of Franco | Théo Sorroche

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Pages 9 to 30| Introduction. Does everybody hate advertising? | Anne-Sophie Aguilar, Éléonore Challine

Pages 31 to 51| Typographic novelties: The metamorphosis of printed matter under the July Monarchy | Sébastien Morlighem

Pages 53 to 74| Inventing new advertising techniques: An exploration of patents registered in France (1850–1940) | Roland Canu

Pages 75 to 98| Foreigners and advertising culture: | Roxane Bonnardel-Mira

Pages 99 to 122| Commercial propaganda or political advertising? | Irene Di Jorio

Pages 123 to 145| The Établissements Siégel and storefront design as advertising in interwar France | Camille Napolitano

Pages 147 to 167| From synaesthesia to suggestion: | Marion Sergent

Pages 169 to 180| Francis Ponge and the literary history of advertising | Myriam Boucharenc

Pages 181 to 199| “Graphistes”: An emerging occupational group in 1960s France | Laura Truxa

Pages 201 to 220| Migrations and disseminations of film trailers | Sylvie Périneau-Lorenzo

Pages 223 to 235| Commercial catalogs to write a cultural history of literary advertising | Alexia Vidalenche

Pages 239 to 250| “Have you seen the Shrine?” | Louise Reymond

Pages 253 to 271| A removal that did not go unnoticed | Carla Bodo

Pages 275 to 293| “Come back, Laila!”: An encounter with nineteenth-century Lapland | Clémence Durieux

Pages 297 to 306| Forms and presences of the advertising image in the art of André Devambez | Catherine Méneux

Pages 309 to 333| “Advertising and graffiti . . . they’re fighting for the same thing. To get people talking about you.” | Sabrina Dubbeld, Anne-Sophie Aguilar

Pages 337 to 359| “Two million Parisians holding two million pieces of darkened glass.” | Charly Pellarin-Régis

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Pages 9 to 13| A historical perspective on comics | Sylvain Lesage

Pages 15 to 38| Comics and history | Sylvain Lesage

Pages 39 to 56| Comics and the construction of national imaginaries in the United States and the United Kingdom | Isabelle Licari-Guillaume

Pages 57 to 80| Quebec comics: Historiography of a field under dual influence | Maël Rannou

Pages 81 to 102| An extensive survey of speech balloons in French bandes dessinées between 1904 and 1940 | Julien Baudry

Pages 103 to 122| Creating a common culture | Jessica Kohn

Pages 123 to 166| Annapurna 1950 in comic strips | Jean-Charles Andrieu de Levis, Sébastien Laffage-Cosnier, Christian Vivier

Pages 167 to 186| Clearing out clutter | Benoît Crucifix

Pages 187 to 201| The history of comics through publishers’ archives | Florian Moine

Pages 203 to 222| The role of authors’ discourse in the history of alternative comics publishing | Benjamin Caraco

Pages 223 to 239| Ideological issues in the transformation of Alain Saint-Ogan’s life’s work into a national heritage | Mark McKinney

Pages 243 to 255| Feminist archives | Évelyne Cohen, Pascale Goetschel

Pages 259 to 274| “Franco-Algerian” collaborative fiction during the colonial period | Adrien Bodiot

Pages 277 to 290| Views on the world of Parisian hospitals | Élise Perrin

Pages 293 to 311| From stigmatization to self-assertion | Charlotte Foucher Zarmanian

Pages 315 to 320| Trouble in televised fiction | Sébastien Le Pajolec

Pages 323 to 336| The creation of a collection of historical comics: An interview about L’Histoire dessinée de la France | Margot Renard, Sylvain Venayre, Sylvain Ricard, Étienne Davodeau

Pages 339 to 358| Heritage according to the publishing activities of public libraries (1945–2020) | Fabienne Henryot

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Pages 9 to 23| What a week! | Marie-Ève Thérenty

Pages 25 to 43| Hebdomadal heterogeneity | David Henkin

Pages 45 to 61| Shaping weekly schedules to fit political agendas? | Fabien Conord

Pages 63 to 78| Quiet days in Matignon: Managing Pierre Mauroy’s week between Lille and Paris | Pierre-Emmanuel Guigo

Pages 79 to 100| The week, a practical but late division of school time? (Sixteenth–twenty-first centuries) | Jean-François Condette

Pages 101 to 118| Daily and weekly routine in French asylums and psychiatric hospitals | Véronique Fau-Vincenti

Pages 119 to 135| School time, home rhythms | Béatrice Guillier

Pages 137 to 152| After the battle? | Marie-Ève Thérenty

Pages 153 to 171| A history of the sports week in western Europe | Paul Dietschy

Pages 173 to 192| The bloody week: a formula | Aude Dontenwille-Gerbaud

Pages 195 to 213| “Success! Success! Success!” | Marie Goupil-Lucas-fontaine

Pages 217 to 232| “Local justice” and “lay justice” | Verónica Vallejo Flores

Pages 235 to 251| Leading by example: Stories and images of capital punishment in the French press in the first half of the twentieth century | Nicolas Picard

Pages 255 to 266| The disguised prince

Pages 269 to 274| When art de-exhibits itself | Pascal Dibie

Pages 277 to 285| “Nothing that is criminal is foreign to us” | Catherine Chauchard, Julie Verlaine

Pages 289 to 318| Hartung, in the shadow of Blackness | Thomas Schlesser

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Pages 9 to 13| Re-viewing and its interpretations | Sébastien Le Pajolec

Pages 15 to 33| The modern reception of Giotto: The artist and interpretations, from Ingres to Rothko | Niklaus Manuel Güdel

Pages 35 to 48| Consolidating knowledge, destabilizing judgment: Rewatching films in Cinquante ans de cinéma américain [Fifty Years of American Cinema] | Éric Gatefin

Pages 49 to 60| French retrospectives of East German cinema, between catch-up screenings and (re)discovery of a terra incognita | Perrine Val

Pages 61 to 75| Witches and film programmers: Repeat viewing at the Cinemathèque de Toulouse | Maylis Asté

Pages 77 to 90| Rewatching detective movies: Analyzing movies and solving mysteries | Diego Gachadouat Ranz

Pages 91 to 104| “Images like confessions”: Stasis, repetition, and elucidation in film | Rémi Lauvin

Pages 105 to 117| “Love that which will never be seen twice”? | Isabelle Rachel Casta

Pages 119 to 134| Appropriation art, or, learning to revise our positions | Benjamin Bianciotto

Pages 135 to 148| Body doubles and linings: Textiles as a strategy of remediation of the image in Nelly Kaprièlian and Nathalie Léger | Laurence Perron

Pages 151 to 161| The archives of the Cinémathèque française | Aurore Renaut

Pages 165 to 180| The postcolonial narrative in francophone studies: One narrative among others | Xavier Sense

Pages 183 to 202| The red car | Maxime Combes

Pages 205 to 214| Publishing collections of exposed writings | Monika Piecek-Riondel

Pages 217 to 221| The politics of the darkroom in the colonies | Ghassen Saba

Pages 225 to 239| “The idea of reevaluation is important in my work as a film programmer” | Bernard Payen, Sébastien Le Pajolec

Pages 243 to 261| Art and politics in the 1920s: | Rose-Marie Stolberg

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Pages 9 to 15| Do images do anything more than “illustrate”? The issues and pitfalls associated with editorial uses of iconographic sources | Laurent Bihl, Bertrand Tillier

Pages 17 to 24| Photographic tomb for the murdered mutineers of Attica | Philippe Artières

Pages 25 to 44| The archive and its duplicates | Sébastien Le Pajolec

Pages 45 to 55| Illustrating architecture: The image with or against the text? | Jean-Philippe Garric

Pages 57 to 66| Editorializing cartoons or the “mascaret effect” of satirical images in history books (nineteenth–twentieth centuries) | Annie Duprat, Laurent Bihl

Pages 67 to 76| Are (school) history books picture books? | Vincent Chambarlhac

Pages 77 to 93| Images of the printed matter of the Bibliothèque nationale de France: How to guide users within a “digital El Dorado”? | Agnès Sandras

Pages 95 to 108| The new criteria of the unshowable: Reflections on racializing stereotypes | Morgan Labar

Pages 109 to 118| Between expressionism and euphemism | Anne-Claude Ambroise-Rendu

Pages 119 to 139| In the cavern of the iconographer | Philippe L.-J. Dogué, Laurent Bihl

Pages 143 to 147| The studio of a researcher in lockdown | Bertrand Tillier

Pages 151 to 162| Three books of gratitude | Pascal Ory

Pages 165 to 173| Fanzines: From the alternative press to the instituted archive | Olivier Belin

Pages 177 to 189| Louis de Funès, a star of lockdown | Sébastien Le Pajolec

Pages 193 to 197| Tribute to Michel Ragon (1924–2020) | Laurent Bihl

Pages 201 to 215| Doing justice to images | Dominique Tricaud, Laurent Bihl

Pages 219 to 235| Pierre Desgraupes and audiovisual media before 1969 | Myriam Tsikounas

]]> tag:cairn.info,2005:numero:E_SR_049 2020-06-02T00:00:00+02:00 2020-06-12T00:00:00+02:00

Pages 9 to 23| Understanding the sound dimension of societies | Pascale Goetschel, Christophe Granger

Pages 27 to 48| Criers, bells, songs, and voices from beyond the grave. Sounds and powers in the Middle Ages | Jean-Claude Schmitt

Pages 49 to 60| The effects of the sound of the organ on Italian Renaissance society | Hugo Perina

Pages 61 to 77| Getting involved in music: Songs and collective mobilization during the French Revolution | Maxime Kaci

Pages 81 to 96| From listening to phonograms to the history of their listening | Marie-Madeleine Mervant-Roux

Pages 97 to 118| Could rock music be heard in Avignon in 1954? | Philippe Le Guern

Pages 119 to 133| The compact disc and the musical practices of young people in France (1980s–2000s) | Aurélien Bonvoisin

Pages 137 to 150| Harry L. Freeman, impresario of the African-American community | Laetitia Corbière

Pages 151 to 163| Radio Solitude in the Cévennes | Cécile Morin

Pages 165 to 178| Sound library of emotions | Noémie Fargier

Pages 181 to 190| The memory of waves. French radio archives | Marine Beccarelli

Pages 193 to 207| Bohemianizing the language | Sarga Moussa

Pages 211 to 219| The sounds of science fiction in La Planète sauvage by René Laloux (1973) | Aurélie Huz

Pages 223 to 231| Angélique, a “bodice-and-dagger” show | Aurore Renaut

Pages 235 to 238| “Black models: From Géricault to Matisse”: A model exhibition | Laurent Martin

Pages 241 to 251| Interview with Régis Wargnier | Régis Wargnier, Pascal Ory

Pages 255 to 265| Cartouche, le brigand magnifique: From revolt to a Christmas tale | Sébastien Le Pajolec

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Pages 9 to 16| Introduction | Sarga Moussa, Randa Sabry

Pages 19 to 32| When Suez narrates Egypt | Caroline Piquet

Pages 33 to 50| When the Suez Canal was built | Hélène Braeuner

Pages 51 to 66| A canal to laugh at | Sarga Moussa

Pages 69 to 82| The Suez Canal or “Egypt’s failure” in Nubar Pasha’s Memoirs | Randa Sabry

Pages 83 to 93| Representations of the resistance in the canal cities in the work of Ghitani and Abnudi | Rania Fathy

Pages 95 to 108| The cinematic fiction of Port Said | Salma Mobarak

Pages 111 to 126| Fictions of Suez: The canal, the capital, and colonial metaphors | Walid El Khachab

Pages 127 to 141| Attempts to reinvent a sacred geography of the isthmus during the construction of the Suez Canal (1855–1870) | Daniel Lançon

Pages 143 to 155| Forced labor during the excavation of the isthmus | May Farouk

Pages 159 to 167| Podcasting: From replay to the creation of audio podcasts | Évelyne Cohen

Pages 171 to 192| The convolutions of advertising: George Sand, La Presse, and the faïence | Sophie Corbillé, Emmanuelle Fantin

Pages 195 to 216| The graphic novel’s lucky break into the French publishing world | Isabelle Delorme

Pages 219 to 235| Music is far richer than speech | Vladimir Cosma, Frédéric Sojcher, Dimitri Vezyroglou

Pages 239 to 254| Subalterns can dream. Mary Sibande and the resistance of South African domestic workers | Caroline Ibos

Pages 257 to 270| The ethics and politics of the restitution of cultural goods in Africa: The controversial issues at stake | Maureen Murphy, Bertrand Tillier

Pages 273 to 297| “Laughing at La Baïonnette, but trembling in fear of actual bayonets” | Laurent Bihl

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Pages 9 to 13| Introduction | Philippe Artières

Pages 15 to 26| Thérapeia. The vocabulary of monument protection in Greece and Rome | Alain Schnapp

Pages 27 to 38| To relive or evade the past? | Guillaume Mazeau

Pages 39 to 51| Ursum facere or re-constructed meaning | Claudie Voisenat

Pages 53 to 71| The impossible reconstruction of Catharism: The Déodat Roché house in Arques | Dominique Poulot

Pages 73 to 91| The triple death or the condition of miners. | Noël Barbe

Pages 93 to 121| The plastic history, between standards and poaching | Manuel Charpy

Pages 123 to 133| Performing memories. Re-enactment according to Massimo Furlan. Massimo Furlan’s interview with Philippe Artières | Massimo Furlan, Philippe Artières

Pages 137 to 154| Exhibiting comedy from the communist era: the House of Humor and Satire in Gabrovo (Bulgaria) | Zinaïda Polimenova, Bertrand Tillier

Pages 157 to 175| Political press, nude press and La Bonne Presse | Manon Lecaplain

Pages 179 to 194| Transgression under the linen tester | Emmanuel Pernoud

Pages 197 to 214| “Traits d’humour”, or the irony of the stroke in André Franquin, Marion Montaigne et Christophe Blain | Pascal Robert

Pages 217 to 221| Tribute to Pierre Albert, historian of the press | Laurent Bihl, Annie Duprat

Pages 225 to 234| L’Allée du roi: A text and its interpretation | Dominique Blanc, Myriam Tsikounas

Pages 237 to 259| Teaching the comic book: The illustration workshop at the École supérieure des arts décoratifs de Strasbourg (Strasbourg School of Decorative Arts) | Benjamin Caraco

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Pages 9 to 12| Widows: Happy, desperate, and terrifying | Laurent Bihl, Frédéric Chauvaud

Pages 13 to 28| The “fantôme de crêpe” and the woman with an iron will | Frédéric Chauvaud

Pages 29 to 46| Euphémie Lacoste. Black widow or happy widow? | Myriam Tsikounas

Pages 47 to 54| The killer widow | Antoine de Baecque

Pages 55 to 77| The iconography of widows in the nineteenth century and its posterity in the nineteenth century | Laurence Danguy

Pages 79 to 103| Feminine widowhood | Solange Vernois

Pages 105 to 133| Weeping widows, happy widows, obscene widows | Laurent Bihl

Pages 135 to 157| Talking about a man, asserting oneself as a woman | Julie Verlaine

Pages 159 to 174| Seafarers’ Widows in Saintonge (seventeenth–nineteenth centuries) | Thierry Sauzeau

Pages 175 to 188| Heartbroken women | Pierre Serna

Pages 191 to 200| Digital projects at the Bibliothèque nationale de France (1990–2018) | Évelyne Cohen, Pascale Goetschel

Pages 203 to 218| A night at the Musée Grévin: Reinventing a visit to the wax museum. | Liliane Ehrhart

Pages 221 to 242| Concepts of trials in comic books | Frédéric Chauvaud

Pages 245 to 257| The Paris Commune: A sphinx facing its images | Eric Fournier

Pages 261 to 263| Meteorites between the sky and Earth: An exhibition at the French National Museum of Natural History | Pascal Dibie

Pages 267 to 285| Interview with Pierre Trividic, on Patrice Chéreau’s unrealized films: Sigmaringen (1999–2003), Le Maître de Longwood (2001–2003), and “51–52” (2012–2013) | Pierre Trividic, Julien Centrès

Pages 289 to 311| The recovery of photographs of Casa Susanna | Isabelle Bonnet

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Pages 9 to 27| The politics of (non) representation | Éric Fassin

Pages 29 to 40| The ghost of the Roma people | Gabriela Lupu, Éric Fassin

Pages 41 to 52| Between voyeurism and irony: TV representations of Gitanxs | Marta Segarra

Pages 53 to 66| From the representation of anti-gypsyism to the moral imagination: José Heredia Maya’s “clean gaze” | Rodrigo Andrés

Pages 67 to 79| Representing “V”: Narrative of the self, of the Other, and of “us” | Mélikah Abdelmoumen

Pages 81 to 95| A reciprocal ethnography | Paloma Gay y Blasco, Liria de la Cruz

Pages 97 to 106| Re-considering political participation from the margins of the state. | Ismael Cortés

Pages 107 to 118| Representing ourselves | Anina Ciuciu

Pages 121 to 129| Globo: Places and resources of a cultural industry in Brazil | Évelyne Cohen, Pascale Goetschel

Pages 133 to 153| Portrait of a native warrior as a republic soldier: A visual study essay (1870-1918) | Stéphanie Soubrier

Pages 157 to 171| Can household chores be part of video games? | Fanny Lignon

Pages 175 to 186| Accumulation, destruction, and hybridization in the work of Gustave Moreau: Dreaming for or against history | Lilie Fauriac

Pages 189 to 201| Photographing Athens during the First World War: A panorama of a city through the eyes of the Army of the Orient | Maria Xypolopoulou

Pages 205 to 230| Remembering ten years of one’s life over a period of ten hours, alone, with no notes or time markers: The dread of going crazy | Thomas Schlesser, Yves Sarfati

Pages 233 to 260| Seeing the past in romanticist ruins: A political and literary history | Judith Lyon-Caen

Pages 261 to 290| Mont Ventoux | Philippe Tétart

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Pages 9 to 11| Introduction | Bertrand Tillier

Pages 13 to 21| Anything and everything | Christophe Gauthier

Pages 23 to 29| Roland Topor and the Hara-Kiri gang | Stéphane Mazurier

Pages 31 to 41| Drawing for television: Topor as a guest on Tac au Tac (1971–1972) | Bertrand Tillier

Pages 43 to 69| Portrait of the artist as a television chat: Topor and Téléchat (1977–1986) | Sébastien Le Pajolec

Pages 71 to 76| Topor and Kubin: A shared symbolism? | Itzhak Goldberg

Pages 77 to 87| “In my mind I can still hear the ‘scratch scratch’ sound of the nib moving across the paper.” Interview by Sébastien Le Pajolec with Nicolas Topor | Sébastien Le Pajolec, Nicolas Topor

Pages 89 to 103| Topor and contemporary art games | Alexandre Devaux

Pages 105 to 112| Roland Topor, the man who did not laugh | Laurent Gervereau

Pages 115 to 124| A place for stage costumes: The National Center for Stage Costumes and Scenography in Moulins | Pascale Goetschel

Pages 127 to 148| A “bobo” in the city. | Sophie Corbillé

Pages 151 to 162| A good eye, taste and flair: The sensory skills of the fin de siècle collector | Érika Wicky

Pages 165 to 173| The Bacchic attributes of the Bohémienne: Esmeralda in the first travel paintings in Spain | Mélissa Perianez

Pages 177 to 179| Questioning gender | Pascal Dibie

Pages 183 to 202| An exercise in fraternity | Jean Lebrun, Anaïs Fléchet, Pascale Goetschel

Pages 205 to 229| Presenting drug addicts | Thomas Bujon, Loïc Etiembre

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Pages 7 to 7| Confessionals | Philippe Artières

Pages 11 to 15| Presentation | Philippe Artières

Pages 17 to 27| Posterities of Michel de Certeau: The Mystic Question | Pierre-Antoine Fabre

Pages 29 to 41| The Interviewing of Schizophrenics, a Therapeutic Trial in the Twentieth Century? | Hervé Guillemain

Pages 43 to 63| Gender, a Notion Taken Seriously in the 1960s. | Jean-Christophe Coffin

Pages 65 to 81| On the “Freudism” Surrounding a Crime: The Violette Nozière Affair, 1933–1934 | Anne-Emmanuelle Demartini

Pages 83 to 98| The Historicity of the Historian, or the Place of the Dead | Ivan Jablonka

Pages 99 to 112| Despoilment | Philippe Artières

Pages 113 to 120| I Am the One Who Digs Up the Memories of What Has Been Buried | Laurent Olivier

Pages 121 to 134| Paradoxes of the “Archive” | Denise Ogilvie

Pages 135 to 139| The Psychoanalytic Archives at IMEC | André Derval

Pages 141 to 156| The Reception of Martin l’Archange | Philippe Artières

Pages 159 to 172| A Visit to the Jérôme Seydoux-Pathé Foundation | Évelyne Cohen, Pascale Goetschel

Pages 175 to 186| Representing the Revolution in Theater | Guillaume Mazeau, Pauline Susini, Marion Boudier

Pages 189 to 198| When Should We Speak of Cruelty? | Jean-Clément Martin

Pages 201 to 210| Philip Donnellan, a Rebellious Man | Fariborz Fallah

Pages 213 to 229| The “Playful” Adult in the World of Advertising: Between Inversion, Regression, and an Overlapping of Generations | Agnès Pecolo, Myriam Bahuaud

Pages 233 to 247| Cultural History as Seen from America | Laurent Martin

Pages 251 to 272| Fine Arts and International Relations under the Second Empire | Lyne Penet, Laurent Cazes

Pages 273 to 299| Television and Knowledge of the Territories of Heritage | Thibault Le Hégarat

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Pages 9 to 14| Presentation | Anne-Emmanuelle Demartini

Pages 15 to 30| Father-Daughter Incest in the Late Middle Ages: A Crime, a Sin of Lust, or a Consensual Act? | Didier Lett

Pages 31 to 44| The Crime with No Name | Fabienne Giuliani

Pages 45 to 57| Speaking About Incest | Anne-Emmanuelle Demartini

Pages 59 to 72| Breaking a Taboo | Anne-Claude Ambroise-Rendu

Pages 73 to 85| The Theories of Incest in Anthropology | Dorothée Dussy

Pages 87 to 96| Interview with Camille Morineau, A “Rosebud” or a Screen? Incest and the Work of Niki de Saint Phalle | Camille Morineau

Pages 97 to 110| Writing About Incest through “Counter-Fiction” and Paradoxes: The Bluest Eye by Toni Morrison | Tina Harpin

Pages 111 to 126| When Incest Goes Without Saying | Léonore Le Caisne

Pages 129 to 138| A Visit to the Centre Pompidou-Metz | Évelyne Cohen, Pascale Goetschel

Pages 139 to 141| The Centre Pompidou-Metz: Plural Uses of Art and of the Self | Roland Huesca

Pages 145 to 155| Le Tour de la France par deux enfants by G. Bruno and its Adaptations for Cinema and Television | Aline Garin

Pages 159 to 179| Le Berceau de Dieu [The Cradle of God] (1926): Thirty-Seven Vedettes for a Cinema Lacking in Stars | Myriam Juan

Pages 183 to 198| The Triple Logic of Censorship: Looking at the La Neige de Noël Case of Autumn 1977 | Erwan Pointeau-Lagadec

Pages 201 to 203| Tattoos and Taboos | Laurent Martin

Pages 207 to 211| Farewell to Bronislaw Baczko | Michel Porret, François Rosset

Pages 213 to 230| The Fears of Terror | Bronislaw Baczko, Michel Porret

Pages 233 to 250| L’Heure du Crime at 36, Quai des Orfèvres: When Radio Shows Us a Mythical Place | Séverine Equoy Hutin

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Pages 9 to 14| Do “Ghost Towns” Exist? | Sébastien Le Pajolec, Bertrand Tillier

Pages 15 to 30| Medusan Cities, Ghostly and Photographic Cities: Between Presence and Absence | Valéry Rion

Pages 31 to 46| Nothing New under the Sun: Pompeii, the Ghost Town, in Arria Marcella (1852) | Anne Geisler-Szmulewicz

Pages 47 to 62| Paris, a Ghost Town in the French Novel of the Nineteenth Century | Noémie Boeglin

Pages 63 to 76| The Other Death of Venice | Marguerite Bordry

Pages 77 to 92| Millenarian Fears and Futuristic Visions Against the Decline of an Old Industrial Area: Saint-Étienne at the End of the Nineteenth Century | Jean Lorcin

Pages 93 to 104| Matalo! The Ghost Town and the Western Ghost | Sébastien Le Pajolec

Pages 105 to 118| Exposed, Transformed, Recounted Ruins | Éléonore Muhidine

Pages 119 to 135| The “Catachronism” of the Ghost Town: The Capital of the Nineteenth Century and the Anthropocene | Daryl Lee

Pages 137 to 146| Dead Cities by Guillaume Greff: The Ghost Town in the Post-Human Era | Bertrand Tillier

Pages 149 to 159| A Visit to an Unusual Workshop: Taking a Look at Henri Chamoux’s Archéophone | Évelyne Cohen, Pascale Goetschel

Pages 163 to 170| Carmen Castillo: Visual and Audiovisual Accounts of Popular Unity and the Chilean Dictatorship | Carolina Amaral de Aguiar, Ignacio Del Valle Dávila

Pages 173 to 186| Two Rediscovered Posters of Fritz Lang’s film Les Trois Lumières: The Games of Art and Commission | Michel Cadé

Pages 189 to 200| Advertising Cécilia, Médecin de Campagne | Myriam Tsikounas

Pages 203 to 211| For Kapoor | Thierry Lefebvre

Pages 215 to 226| The Desire to Make Viewers out of Readers | Marie-Françoise Levy, Jérome Prieur

Pages 229 to 246| Marcel Réja: Doctor, Symbolist Poet, and Asylum Art Historian | Lydia Couet

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Pages 9 to 24| Art and Music Criticism, a Subject to Research at the Intersection of the Disciplines | Isabelle Mayaud, Séverine Sofio

Pages 25 to 41| “Maréchaux de la Curiosité” and Critics: The Diversity of Discourses on French Painting at the End of the Eighteenth Century | Sarah Bakkali

Pages 43 to 60| What Right to Criticize? | Matthieu Béra

Pages 61 to 74| “Let Van Beers Paint, Not Participate in Trials” | Katrien Dierckx

Pages 75 to 94| Save Criticism, Protect the Critics. The “Association Syndicale Professionnelle et Mutuelle de la Critique Dramatique et Musicale” and its Representative Strategies (France, 1877-1914) | Isabelle Mayaud

Pages 95 to 110| Art Criticism through Portraits: Camille Delaville and her Female Contemporaries | Juliette M. Rogers

Pages 111 to 127| Women Artists in the Press | Charlotte Foucher Zarmanian

Pages 129 to 144| Critics versus the Méditateurs: The Fear of the French School’s Decline around 1800 | Saskia Hanselaar

Pages 145 to 161| The Privilege of Female Art Critics in France, 1785-1815 | Heather Belnap Jensen

Pages 163 to 181| “All Directions Are Unclear and Fought Over”: Painters, Critics, and the Imposition of the Romantic Battle | Séverine Sofio

Pages 183 to 200| Lithography in Reviews: Between Political Controversies and Aesthetic Issues | Gervaise Brouwers

Pages 201 to 219| Criticizing Photography: The Origins of a Discourse on Photography in French Art Criticism, 1839-1859 | Paul-Louis Roubert

Pages 221 to 245| The Trade of Criticism: Music Journalism and Corruption in the Mid-Nineteenth Century | Rémy Campos

Pages 251 to 256| Introduction | Bertrand Tillier, Myriam Tsikounas

Pages 257 to 263| Multidisciplinary and Open: A Statistical Look Back at Sociétés & Représentations | Anne-Élisabeth Andréassian

Pages 265 to 276| Intersecting Disciplines, Moving with Technology, and Access Challenges: Two Decades of Humanities and Social Sciences Journals (1995-2015) | Julien Hage

Pages 277 to 287| Representations in the Middle Ages: Some Avenues for Reflection | Claude Gauvard

Pages 289 to 321| Interview with Roger Chartier | Roger Chartier, Évelyne Cohen, Pascale Goetschel

Pages 323 to 328| Interview with Arlette Farge | Arlette Farge, Bertrand Tillier, Myriam Tsikounas

Pages 329 to 336| Representations and Image Ideas during the Age of Enlightenment | Michel Porret

Pages 337 to 342| The Risk, for Historians Wanting to Understand the Past, of Knowing What Happened After the Period They Are Studying | Alain Corbin

Pages 343 to 349| Subscribing to a Major Historiographic Current | Philippe Artières

Pages 351 to 355| A Few Short Notes on the Two Bodies of Representation | Pascal Ory

Pages 357 to 360| Representation: The Cognitive Dimension of the Term | Nathalie Heinich

Pages 361 to 365| Postface: On the Future of the Past | Dominique Kalifa

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Pages 7 to 12| The Promise of an Ending | Pascale Goetschel, François Jost, Myriam Tsikounas

Pages 13 to 32| On the Border between Literature and Politics: Are Serial Writers Transgressive Writers? Alexandre Dumas, Eugène Sue, and Paul Féval under the Second Republic | Sébastien Hallade

Pages 33 to 41| The Little Health Serial | Thierry Lefebvre, Béatrice de Pastre

Pages 43 to 63| “The End of Privileges?” The Repertoire of Claude Santelli’s Théâtre de la Jeunesse | Sabine Chalvon-Demersay

Pages 65 to 77| Theater Series on Television or Soap Opera in the Theater? | André Helbo

Pages 79 to 92| Series Remakes: Rewriting Series | Gaëlle Philippe

Pages 93 to 102| Endless Stories in Television Series | Jean-Pierre Esquenazi

Pages 103 to 118| This Is the End | Laurent Jullier, Barbara Laborde

Pages 119 to 138| When the Story is Changed Due to External Constraints | Marie-France Chambat-Houillon

Pages 139 to 149| When TV Drama Breaks Free of History: Denouements, Playful Twists, and Media Constraints | Bernard Papin

Pages 151 to 164| The Contemporary Television Melodrama: Not So Happy Endings. . . | Geneviève Sellier

Pages 165 to 176| The Archive Unit of France Télévisions: Between the Logic of Enterprise and Heritage Preservation | Évelyne Cohen, Pascale Goetschel

Pages 177 to 195| Politician and Poet: A Life of Verses | Marjorie Alaphilippe

Pages 197 to 208| Mater Dolorosa | Myriam Tsikounas

Pages 209 to 226| L’Homme aux Poupées | Laurent Martin

Pages 227 to 236| Caricatures and the Public Space | Annie Duprat, Laurent Bihl

Pages 237 to 256| Tribute to Christian-Marc Bosséno

Pages 257 to 288| Impressionist Painting and Decoration, 1870-1895 | Marine Kisiel

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