List price
EUR €129.00USD $153.00
Browse results
Volume Editor:
Frédéric Bauden
Culture matérielle et contacts diplomatiques rassemble quatorze études qui traitent de la culture matérielle en relation avec les échanges diplomatiques qui ont marqué un espace géographique couvrant la zone méditerranéenne (Orient islamique, pour l’essentiel, Occident latin et Byzance) et une période qui correspond à celle de l’amplification de ces échanges, c’est-à-dire entre le XIe et le XVIe siècles, et où les sources se font plus nombreuses. Ce volume est divisé en trois parties, chacune correspondant à un des aspects majeurs de la matérialité de la diplomatie prémoderne : les ambassades, les cadeaux, et les documents.
The present volume brings together fourteen studies that deal with material culture in relation to diplomatic exchanges that marked a geographical area covering the Mediterranean area (Islamic East (mostly), Latin West and Byzantium),Cont and a period that corresponds to that of the amplification of these exchanges, that is to say between the eleventh and the sixteenth centuries, and where the sources are more numerous. This volume is divided into three parts, each corresponding to one of the major aspects of the materiality of premodern diplomacy: embassies, gifts, and documents.
Contributors: Isabelle Augé, Frédéric Bauden, Marisa Bueno, Thierry Buquet, Malika Dekkiche, Nicolas Drocourt, Jesse Hysell, Cécile Khalifa, Élisabeth Malamut, Émilie Maraszak, Mohamed Ouerfelli, Stéphane Péquignot, Daniel Potthast, Alessandro Rizzo, Beatrice Saletti, Motia Zouihal.
The present volume brings together fourteen studies that deal with material culture in relation to diplomatic exchanges that marked a geographical area covering the Mediterranean area (Islamic East (mostly), Latin West and Byzantium),Cont and a period that corresponds to that of the amplification of these exchanges, that is to say between the eleventh and the sixteenth centuries, and where the sources are more numerous. This volume is divided into three parts, each corresponding to one of the major aspects of the materiality of premodern diplomacy: embassies, gifts, and documents.
Contributors: Isabelle Augé, Frédéric Bauden, Marisa Bueno, Thierry Buquet, Malika Dekkiche, Nicolas Drocourt, Jesse Hysell, Cécile Khalifa, Élisabeth Malamut, Émilie Maraszak, Mohamed Ouerfelli, Stéphane Péquignot, Daniel Potthast, Alessandro Rizzo, Beatrice Saletti, Motia Zouihal.
Volume Editor:
Frédéric Bauden
Culture matérielle et contacts diplomatiques rassemble quatorze études qui traitent de la culture matérielle en relation avec les échanges diplomatiques qui ont marqué un espace géographique couvrant la zone méditerranéenne (Orient islamique, pour l’essentiel, Occident latin et Byzance) et une période qui correspond à celle de l’amplification de ces échanges, c’est-à-dire entre le XIe et le XVIe siècles, et où les sources se font plus nombreuses. Ce volume est divisé en trois parties, chacune correspondant à un des aspects majeurs de la matérialité de la diplomatie prémoderne : les ambassades, les cadeaux, et les documents.
The present volume brings together fourteen studies that deal with material culture in relation to diplomatic exchanges that marked a geographical area covering the Mediterranean area (Islamic East (mostly), Latin West and Byzantium),Cont and a period that corresponds to that of the amplification of these exchanges, that is to say between the eleventh and the sixteenth centuries, and where the sources are more numerous. This volume is divided into three parts, each corresponding to one of the major aspects of the materiality of premodern diplomacy: embassies, gifts, and documents.
Contributors: Isabelle Augé, Frédéric Bauden, Marisa Bueno, Thierry Buquet, Malika Dekkiche, Nicolas Drocourt, Jesse Hysell, Cécile Khalifa, Élisabeth Malamut, Émilie Maraszak, Mohamed Ouerfelli, Stéphane Péquignot, Daniel Potthast, Alessandro Rizzo, Beatrice Saletti, Motia Zouihal.
The present volume brings together fourteen studies that deal with material culture in relation to diplomatic exchanges that marked a geographical area covering the Mediterranean area (Islamic East (mostly), Latin West and Byzantium),Cont and a period that corresponds to that of the amplification of these exchanges, that is to say between the eleventh and the sixteenth centuries, and where the sources are more numerous. This volume is divided into three parts, each corresponding to one of the major aspects of the materiality of premodern diplomacy: embassies, gifts, and documents.
Contributors: Isabelle Augé, Frédéric Bauden, Marisa Bueno, Thierry Buquet, Malika Dekkiche, Nicolas Drocourt, Jesse Hysell, Cécile Khalifa, Élisabeth Malamut, Émilie Maraszak, Mohamed Ouerfelli, Stéphane Péquignot, Daniel Potthast, Alessandro Rizzo, Beatrice Saletti, Motia Zouihal.
Ce volume présente un récit oral par le griot célébré Djèmory Kouyaté de Nyagassola (actuelle Guinée) (décédé en 2019). Il traite de la façon dont on se souvient de l'époque qui relie la fondation de la société mandingue par Soundiata jusqu’à aujourd’hui. Les récits oraux sur cette époque sont rares car ils exigent du narrateur une compréhension avancée de l'histoire régionale et des relations entre les lignées dirigeantes concurrentes.
Le griot célébré, Djèmory Kouyaté (décédé en 2019), a réalisé ce récit à Naréna (Mali actuel), offrant ainsi un aperçu unique des stratégies de narration et des compétences diplomatiques des griots, car le récit de Djèmory peut être comparé à certains de ses enregistrements antérieurs réalisés à Nyagassola (actuelle Guinée), une ville gouvernée par une lignée rivale des Bandjougousi de Naréna. L’Histoire des Bandjougousi est donc une source importante d’historiographie ouest-africaine.
This volume features an oral account by the acclaimed griot Djèmory Kouyaté from Nyagassola (present-day Guinée) (d. 2019). It deals with the way the era that bridges the foundation of their society by Sunjata to their present-day society, called Manding, is remembered. Oral accounts on this era are rare as they demand from the narrator an advanced understanding of regional history and the relationships between competing ruling lineages.
The acclaimed griot Djèmory Kouyaté (d. 2019) performed this account in Naréna (present-day Mali), thus offering a unique insight into griots’ storytelling strategies and diplomatic skills, because Djèmory’s account can be compared with earlier recordings of him made in Nyagassola (present-day Guinée), a town ruled by a rival lineage to the Bandjougousi from Naréna. L’Histoire des Bandjougousi is therefore an important source for West African historiography.
Le griot célébré, Djèmory Kouyaté (décédé en 2019), a réalisé ce récit à Naréna (Mali actuel), offrant ainsi un aperçu unique des stratégies de narration et des compétences diplomatiques des griots, car le récit de Djèmory peut être comparé à certains de ses enregistrements antérieurs réalisés à Nyagassola (actuelle Guinée), une ville gouvernée par une lignée rivale des Bandjougousi de Naréna. L’Histoire des Bandjougousi est donc une source importante d’historiographie ouest-africaine.
This volume features an oral account by the acclaimed griot Djèmory Kouyaté from Nyagassola (present-day Guinée) (d. 2019). It deals with the way the era that bridges the foundation of their society by Sunjata to their present-day society, called Manding, is remembered. Oral accounts on this era are rare as they demand from the narrator an advanced understanding of regional history and the relationships between competing ruling lineages.
The acclaimed griot Djèmory Kouyaté (d. 2019) performed this account in Naréna (present-day Mali), thus offering a unique insight into griots’ storytelling strategies and diplomatic skills, because Djèmory’s account can be compared with earlier recordings of him made in Nyagassola (present-day Guinée), a town ruled by a rival lineage to the Bandjougousi from Naréna. L’Histoire des Bandjougousi is therefore an important source for West African historiography.
Ce volume présente un récit oral par le griot célébré Djèmory Kouyaté de Nyagassola (actuelle Guinée) (décédé en 2019). Il traite de la façon dont on se souvient de l'époque qui relie la fondation de la société mandingue par Soundiata jusqu’à aujourd’hui. Les récits oraux sur cette époque sont rares car ils exigent du narrateur une compréhension avancée de l'histoire régionale et des relations entre les lignées dirigeantes concurrentes.
Le griot célébré, Djèmory Kouyaté (décédé en 2019), a réalisé ce récit à Naréna (Mali actuel), offrant ainsi un aperçu unique des stratégies de narration et des compétences diplomatiques des griots, car le récit de Djèmory peut être comparé à certains de ses enregistrements antérieurs réalisés à Nyagassola (actuelle Guinée), une ville gouvernée par une lignée rivale des Bandjougousi de Naréna. L’Histoire des Bandjougousi est donc une source importante d’historiographie ouest-africaine.
This volume features an oral account by the acclaimed griot Djèmory Kouyaté from Nyagassola (present-day Guinée) (d. 2019). It deals with the way the era that bridges the foundation of their society by Sunjata to their present-day society, called Manding, is remembered. Oral accounts on this era are rare as they demand from the narrator an advanced understanding of regional history and the relationships between competing ruling lineages.
The acclaimed griot Djèmory Kouyaté (d. 2019) performed this account in Naréna (present-day Mali), thus offering a unique insight into griots’ storytelling strategies and diplomatic skills, because Djèmory’s account can be compared with earlier recordings of him made in Nyagassola (present-day Guinée), a town ruled by a rival lineage to the Bandjougousi from Naréna. L’Histoire des Bandjougousi is therefore an important source for West African historiography.
Le griot célébré, Djèmory Kouyaté (décédé en 2019), a réalisé ce récit à Naréna (Mali actuel), offrant ainsi un aperçu unique des stratégies de narration et des compétences diplomatiques des griots, car le récit de Djèmory peut être comparé à certains de ses enregistrements antérieurs réalisés à Nyagassola (actuelle Guinée), une ville gouvernée par une lignée rivale des Bandjougousi de Naréna. L’Histoire des Bandjougousi est donc une source importante d’historiographie ouest-africaine.
This volume features an oral account by the acclaimed griot Djèmory Kouyaté from Nyagassola (present-day Guinée) (d. 2019). It deals with the way the era that bridges the foundation of their society by Sunjata to their present-day society, called Manding, is remembered. Oral accounts on this era are rare as they demand from the narrator an advanced understanding of regional history and the relationships between competing ruling lineages.
The acclaimed griot Djèmory Kouyaté (d. 2019) performed this account in Naréna (present-day Mali), thus offering a unique insight into griots’ storytelling strategies and diplomatic skills, because Djèmory’s account can be compared with earlier recordings of him made in Nyagassola (present-day Guinée), a town ruled by a rival lineage to the Bandjougousi from Naréna. L’Histoire des Bandjougousi is therefore an important source for West African historiography.
Dans
Racine et les trois publics de l’amour Delphine Calle analyse la séduction du théâtre racinien à partir des débats sur les passions du XVIIe siècle français. Concupiscence ou pur amour, amour-propre ou désir de plaire, l’amour est au cœur de la tragédie racinienne : moteur de l’action tragique, il émeut le public. Celui-ci est triple : le protagoniste amoureux est non seulement scruté par les spectateurs dans la salle, passionnés par la passion, il s’expose devant le personnage qu’il aime et paraît devant le tribunal de sa propre conscience. À l’instar des moralistes du XVIIe siècle, grands censeurs du théâtre, ce livre établit le parallèle entre les expériences amoureuse et théâtrale, pour mieux percer la dramaturgie de l’amour chez Racine.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
Series:
Faux Titre, Volume: 449
Dans
Racine et les trois publics de l’amour Delphine Calle analyse la séduction du théâtre racinien à partir des débats sur les passions du XVIIe siècle français. Concupiscence ou pur amour, amour-propre ou désir de plaire, l’amour est au cœur de la tragédie racinienne : moteur de l’action tragique, il émeut le public. Celui-ci est triple : le protagoniste amoureux est non seulement scruté par les spectateurs dans la salle, passionnés par la passion, il s’expose devant le personnage qu’il aime et paraît devant le tribunal de sa propre conscience. À l’instar des moralistes du XVIIe siècle, grands censeurs du théâtre, ce livre établit le parallèle entre les expériences amoureuse et théâtrale, pour mieux percer la dramaturgie de l’amour chez Racine.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
In Racine et les trois publics de l’amour Delphine Calle unravels the seductive power of Racinian tragedy by turning to the 17th-century French debates on love. Whether it is staged as concupiscence or pure love, as self-love or the desire to please, love is at the heart of Racinian theatre: it sparks tragic action and moves its spectators. These spectators are threefold: the tragic lover is not only scrutinized by the real audience, who is passionate about passion, he also feels the gaze of his loved one and of his own conscience, that questions the value of his love. Following the 17th- century moralist theatre critics, this monograph aligns amorous and theatrical experiences, in order to reveal Racine’s dramaturgy of love.
Le nouveau fantastique de Jean-Pierre Andrevon analyse les facettes étranges du fantastique de Jean-Pierre Andrevon, écrivain contemporain appelé le « King » ou « Lovecraft » français. Andrevon propose une nouvelle vision du fantastique ancré profondément dans le quotidien contemporain, en apparence monotone et banal, dans lequel évoluent aussi bien ses personnages que ses lecteurs. L’auteur révèle ainsi le revers angoissant du monde, qui devient une source d’horreur puissante car familière au lecteur : catastrophes naturelles (pandémies mystérieuses, désastres climatiques, fin de l’Anthropocène) et historiques (guerres, totalitarismes), problèmes sociaux et psychologiques (folie, psychoses collectives, solitude). Un signe emblématique du fantastique andrevonien est également son dialogue avec le cinéma d’horreur.
Le nouveau fantastique de Jean-Pierre Andrevon analyses the uncanny facets of the fantastic by Jean-Pierre Andrevon, a contemporary writer called “the French Stephen King” or “the French H.P. Lovecraft". Andrevon presents a new vision of the fantastic, deeply rooted in contemporary everyday life, seemingly monotonous and banal, in which both his characters and his readers evolve. Thus, the author reveals a different, harrowing side of the world familiar to the reader, as it turns into a powerful source of horror: natural catastrophes (mysterious pandemics, climate-related disasters, end of the Anthropocene), historical tragedies (wars, totalitarianism), social and psychological problems (madness, collective psychosis, loneliness). Another hallmark of Andrevonian fantastic is its dialogue with horror cinema.
Le nouveau fantastique de Jean-Pierre Andrevon analyses the uncanny facets of the fantastic by Jean-Pierre Andrevon, a contemporary writer called “the French Stephen King” or “the French H.P. Lovecraft". Andrevon presents a new vision of the fantastic, deeply rooted in contemporary everyday life, seemingly monotonous and banal, in which both his characters and his readers evolve. Thus, the author reveals a different, harrowing side of the world familiar to the reader, as it turns into a powerful source of horror: natural catastrophes (mysterious pandemics, climate-related disasters, end of the Anthropocene), historical tragedies (wars, totalitarianism), social and psychological problems (madness, collective psychosis, loneliness). Another hallmark of Andrevonian fantastic is its dialogue with horror cinema.
Series:
Faux Titre, Volume: 448
Le nouveau fantastique de Jean-Pierre Andrevon analyse les facettes étranges du fantastique de Jean-Pierre Andrevon, écrivain contemporain appelé le « King » ou « Lovecraft » français. Andrevon propose une nouvelle vision du fantastique ancré profondément dans le quotidien contemporain, en apparence monotone et banal, dans lequel évoluent aussi bien ses personnages que ses lecteurs. L’auteur révèle ainsi le revers angoissant du monde, qui devient une source d’horreur puissante car familière au lecteur : catastrophes naturelles (pandémies mystérieuses, désastres climatiques, fin de l’Anthropocène) et historiques (guerres, totalitarismes), problèmes sociaux et psychologiques (folie, psychoses collectives, solitude). Un signe emblématique du fantastique andrevonien est également son dialogue avec le cinéma d’horreur.
Le nouveau fantastique de Jean-Pierre Andrevon analyses the uncanny facets of the fantastic by Jean-Pierre Andrevon, a contemporary writer called “the French Stephen King” or “the French H.P. Lovecraft". Andrevon presents a new vision of the fantastic, deeply rooted in contemporary everyday life, seemingly monotonous and banal, in which both his characters and his readers evolve. Thus, the author reveals a different, harrowing side of the world familiar to the reader, as it turns into a powerful source of horror: natural catastrophes (mysterious pandemics, climate-related disasters, end of the Anthropocene), historical tragedies (wars, totalitarianism), social and psychological problems (madness, collective psychosis, loneliness). Another hallmark of Andrevonian fantastic is its dialogue with horror cinema.
Le nouveau fantastique de Jean-Pierre Andrevon analyses the uncanny facets of the fantastic by Jean-Pierre Andrevon, a contemporary writer called “the French Stephen King” or “the French H.P. Lovecraft". Andrevon presents a new vision of the fantastic, deeply rooted in contemporary everyday life, seemingly monotonous and banal, in which both his characters and his readers evolve. Thus, the author reveals a different, harrowing side of the world familiar to the reader, as it turns into a powerful source of horror: natural catastrophes (mysterious pandemics, climate-related disasters, end of the Anthropocene), historical tragedies (wars, totalitarianism), social and psychological problems (madness, collective psychosis, loneliness). Another hallmark of Andrevonian fantastic is its dialogue with horror cinema.
Expérimentation et sémentation au XXIe siècle
Series:
Faux Titre, Volume: 447
Dans
Les écritures de l'image par Jean-Philippe Toussaint Claire Olivier s’intéresse à la manière dont l’écrivain, cinéaste, photographe et plasticien Jean-Philippe Toussaint, expérimente la puissance des images pour composer en ce début du XXIe siècle une œuvre singulière fondée sur des relations transesthétiques. Elle s’attache à montrer que les écritures toussaintiennes, quel que soit le médium choisi, sont visuelles. Elles donnent à voir, à penser, à rêver et composent un « essai-image ». Ce dernier constitue une forme toujours en devenir qui s’appuie sur un processus de « sémentation », néologisme qui désigne une véritable alchimie du signe où le sens est continuellement réactivé par des contextualisations différentes. Sur le mode de l’opera operta, cet « essai-image » toussaintien déploie ses séductions réflexives comme romanesques.
In Les écritures de l'image par Jean-Philippe Toussaint, Claire Olivier is concerned with the way the writer, filmmaker, photographer and plastic artist Jean-Philippe Toussaint experiments with the power of images to create, in the 21st century, a singular work based on transaesthetic relationships. She endeavours to demonstrate that toussaintian writings are visual, independently from the chosen medium. They allow to see, think, dream and compose an “image-essay”. The latter forms a shape always in the making, relying on a “sémentation” process, neologism designating a true sign alchemy where the meaning is constantly revived through different contextualisations. On the model of the opera operta, this toussaintian “image-essay” deploys its reflective seductions as novelistic.
In Les écritures de l'image par Jean-Philippe Toussaint, Claire Olivier is concerned with the way the writer, filmmaker, photographer and plastic artist Jean-Philippe Toussaint experiments with the power of images to create, in the 21st century, a singular work based on transaesthetic relationships. She endeavours to demonstrate that toussaintian writings are visual, independently from the chosen medium. They allow to see, think, dream and compose an “image-essay”. The latter forms a shape always in the making, relying on a “sémentation” process, neologism designating a true sign alchemy where the meaning is constantly revived through different contextualisations. On the model of the opera operta, this toussaintian “image-essay” deploys its reflective seductions as novelistic.
Expérimentation et sémentation au XXIe siècle
Series:
Faux Titre, Volume: 447
Dans
Les écritures de l'image par Jean-Philippe Toussaint Claire Olivier s’intéresse à la manière dont l’écrivain, cinéaste, photographe et plasticien Jean-Philippe Toussaint, expérimente la puissance des images pour composer en ce début du XXIe siècle une œuvre singulière fondée sur des relations transesthétiques. Elle s’attache à montrer que les écritures toussaintiennes, quel que soit le médium choisi, sont visuelles. Elles donnent à voir, à penser, à rêver et composent un « essai-image ». Ce dernier constitue une forme toujours en devenir qui s’appuie sur un processus de « sémentation », néologisme qui désigne une véritable alchimie du signe où le sens est continuellement réactivé par des contextualisations différentes. Sur le mode de l’opera operta, cet « essai-image » toussaintien déploie ses séductions réflexives comme romanesques.
In Les écritures de l'image par Jean-Philippe Toussaint, Claire Olivier is concerned with the way the writer, filmmaker, photographer and plastic artist Jean-Philippe Toussaint experiments with the power of images to create, in the 21st century, a singular work based on transaesthetic relationships. She endeavours to demonstrate that toussaintian writings are visual, independently from the chosen medium. They allow to see, think, dream and compose an “image-essay”. The latter forms a shape always in the making, relying on a “sémentation” process, neologism designating a true sign alchemy where the meaning is constantly revived through different contextualisations. On the model of the opera operta, this toussaintian “image-essay” deploys its reflective seductions as novelistic.
In Les écritures de l'image par Jean-Philippe Toussaint, Claire Olivier is concerned with the way the writer, filmmaker, photographer and plastic artist Jean-Philippe Toussaint experiments with the power of images to create, in the 21st century, a singular work based on transaesthetic relationships. She endeavours to demonstrate that toussaintian writings are visual, independently from the chosen medium. They allow to see, think, dream and compose an “image-essay”. The latter forms a shape always in the making, relying on a “sémentation” process, neologism designating a true sign alchemy where the meaning is constantly revived through different contextualisations. On the model of the opera operta, this toussaintian “image-essay” deploys its reflective seductions as novelistic.
L’écolâtre cathédral en France septentrionale du ixe au xiiie siècle
This book traces the history of one of the central actors in the transformation of the Western educational system between the 9th and 13th centuries: the cathedral schoolmaster. Originally responsible for running the episcopal school, this ecclesiastical official eventually became a true school administrator with a territorial monopoly and coercive powers, including in particular issuing ‘licentia docendi’ to masters under his jurisdiction. Using a wide range of sources and taking in thirty-nine dioceses in northern France, the study analyses the construction of the office from the Carolingian period, the place of the schoolmaster within the canonical community and in feudal society, and the institutionalisation of his function with the Gregorian Reform and the birth of universities.
L’écolâtre cathédral en France septentrionale du ixe au xiiie siècle
This book traces the history of one of the central actors in the transformation of the Western educational system between the 9th and 13th centuries: the cathedral schoolmaster. Originally responsible for running the episcopal school, this ecclesiastical official eventually became a true school administrator with a territorial monopoly and coercive powers, including in particular issuing ‘licentia docendi’ to masters under his jurisdiction. Using a wide range of sources and taking in thirty-nine dioceses in northern France, the study analyses the construction of the office from the Carolingian period, the place of the schoolmaster within the canonical community and in feudal society, and the institutionalisation of his function with the Gregorian Reform and the birth of universities.