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Journal articles on the topic 'Photographie – Histoire – France'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Albera, François. "Le musée, les expositions de photographie : Éléonore Challine, Une histoire contrariée. Le musée de photographie en France (1839-1945) ; Transbordeur. Photographie Histoire Société no 2." 1895, no. 85 (September 30, 2018): 193–98. http://dx.doi.org/10.4000/1895.6646.

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2

Laclotte, Michel. "L’Institut national d’histoire de l’art." Art Libraries Journal 23, no. 3 (1998): 4–7. http://dx.doi.org/10.1017/s0307472200011056.

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Le projet d’Institut national d’histoire de l’art (INHA) a une longue histoire, qu’il serait trop long de détailler dans le cadre de cet article. Je préfère me réjouir de la bonne nouvelle: l’INHA va enfin voir le jour.L’INHA doit s’installer rue Vivienne et rue de Richelieu, dans une partie des locaux libérés par les Départements des Imprimés et des Périodiques et par certains services de la Bibliothèque nationale de France. Le bâtiment Colbert, rue Vivienne, abritera les activités de recherche et d’enseignement au niveau du 3e cycle, ainsi que les espaces destinés à l’accueil, aux rencontres

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3

Welch, Edward. "La Carte et le territoire: Mapping, Photography and the Visualization of Contemporary France." Nottingham French Studies 53, no. 2 (2014): 186–200. http://dx.doi.org/10.3366/nfs.2014.0085.

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Drawing on recent work by novelist Michel Houellebecq and photographer Raymond Depardon, this article examines the relationship between visual culture, spatial change and modernization in contemporary France. Investigating how Houellebecq foregrounds the visual representation of space in his novel La Carte et le territoire (2010), the article goes on to align the questions it raises with the six-year photographic tour of France undertaken by Raymond Depardon during the first decade of the twenty-first century. It considers Depardon's portrait of contemporary France in the context of his previo

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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay." Medical History 64, no. 1 (2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.

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In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary r

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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced i

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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.

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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “bio

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7

Voldman, Danièle. "Photographier la France." Vingtième Siècle, revue d'histoire 12, no. 1 (1986): 87–89. http://dx.doi.org/10.3406/xxs.1986.1519.

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8

Voldman, Daniele. "Photographier la France." Vingtième Siècle. Revue d'histoire, no. 12 (October 1986): 87. http://dx.doi.org/10.2307/3768595.

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Yacavone, Kathrin. "The Cultural Institutionalization of Photography in France: A Brief History." Nottingham French Studies 53, no. 2 (2014): 122–35. http://dx.doi.org/10.3366/nfs.2014.0080.

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This article provides a historical overview of the cultural institutionalization of photography in France, with a particular focus on the pioneering initiatives of individual photography enthusiasts throughout the 1970s to promote photographic culture. These efforts were roughly simultaneous with changes in acquisition and exhibition practices on the part of fine art museums and collections with respect to photography, in response to an increasing world-wide recognition of its status as an art form. The article explains how, despite the promotion of photography as a French invention and a cont

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10

Nachtergael, Magali. "La Photographie plasticienne: une question française?" Nottingham French Studies 53, no. 2 (2014): 139–54. http://dx.doi.org/10.3366/nfs.2014.0082.

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En France, le débat théorique sur les frontières entre art et photographie a connu son point culminant au début des années 1980 et s'est cristallisé à l'occasion de l'exposition Ils se disent peintres, ils se disent photographes… au Musée d'art moderne de la ville de Paris. Lorsque la philosophe et critique Dominique Baqué suggère la notion de « photographie plasticienne » une décennie plus tard pour concilier des pratiques hybrides, elle rencontre l'opposition d'une partie des historiens de la photographie qui tentaient pour leur part de légitimer la photographie en tant qu'art à travers les

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Smith, Olga. "The Spaces of Containment: Valérie Jouve's Urban Portraits." Nottingham French Studies 53, no. 2 (2014): 155–68. http://dx.doi.org/10.3366/nfs.2014.0083.

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This article analyses the complex dynamics between the human body and the urban environment in the work of French photographer Valérie Jouve. Focussing on a number of works drawn from the series Les Personnages and Les Façades, I propose the notion of containment to be crucial to the study of Jouve's urban portraits. I first approach it as a matter of containment of the human body by the civic and architectural structures of the city, arguing that Jouve renders visible the usually hidden mechanisms of such containment. This leads me to consider the question of boundaries and the relationship o

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12

Le Guelte, Johann. "Photography, Identity, and Migration." French Politics, Culture & Society 37, no. 3 (2019): 27–52. http://dx.doi.org/10.3167/fpcs.2019.370302.

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This article examines the politics of interwar colonial identification practices put into place by the French colonial state in order to curtail the mobility of colonial (im)migrants. I argue that photography was used as a tool of imperial control in both French West Africa (AOF) and metropolitan France, since colonial men’s inability to provide the required photographic portraits often prevented them from moving around the empire. In response, colonial subjects appropriated photography in alternative ways to subvert these administrative restrictions. Moreover, they took advantage of metropoli

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Perrine, Bernard P. "Histoire(s) de la photographie 1 1Communication prononcée à l'occasion du trois cent cinquantième anniversaire de la fondation de l'Académie des sciences et le deux cent-cinquantième anniversaire de la naissance de Nicéphore Niépce. Monsieur Jean-François Bach, secrétaire perpétuel de l'Académie des sciences, avait décidé d'organiser un colloque sur la photographie, dans une séance commune avec l'Académie des beaux-arts. Ce colloque se déroula dans la grande salle des séances de l'Institut de France, le mardi 15 décembre 2015. Après avoir rappelé le rôle primordial que jouèrent les Académies dans la découverte et la diffusion de la photographie, Jean-François Bach exposa le programme de la journée, élaboré par Gérard Berry pour l'Académie des sciences et Bernard Perrine pour l'Académie des beaux-arts : Histoire(s) de la photographie, par Bernard Perrine, Académie des beaux-arts ; Le développement photographique et la chimie de l'argentique, par Jacqueline Belloni, laboratoire de chimie physique (CNRS, Université Paris-Sud) ; L'œil : un appareil photographique ?, par José-Alain Sahel, Académie des sciences ; Comment l'algorithmique a changé la photographie ?, par Gérard Berry, Académie des sciences ; Les appareils photo du futur, par Frédéric Guichard, directeur scientifique de DxO Labs ; La photographie ou l'image paradoxale, par Alain Fleischer, photographe et écrivain, directeur du Fresnoy, Tourcoing ; Photographie et peinture, par Dominique de Font-Reaulx, conservateur en chef au musée du Louvre." Comptes Rendus Chimie 20, no. 8 (2017): 805–17. http://dx.doi.org/10.1016/j.crci.2017.02.003.

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Gorrara, Claire. "Fashion and the femmes tondues: Lee Miller, Vogue and representing Liberation France." French Cultural Studies 29, no. 4 (2018): 330–44. http://dx.doi.org/10.1177/0957155818791889.

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This article will examine representations of the Liberation of France in the war reports of Lee Miller, an accredited photographer and correspondent for American and British Vogue during the Second World War. Miller’s frontline reports framed Liberation France in idealised images of feminine beauty and elegance, making use of fashion as a primary conduit for understanding the war and occupation for readers on the home front. As this article will argue, examining Miller’s choices and perspective as a female photographer sheds new light on the intersection of fashion, war photography and the fem

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Vium, Christian. "Spectres of Undocumented Migration in Paris." African Diaspora 11, no. 1-2 (2019): 101–22. http://dx.doi.org/10.1163/18725465-01101011.

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Abstract Based on recurrent ethnographic fieldwork with West African undocumented (im)migrants in Paris (France) since 2006, this photo-essay describes one particular housing complex inhabited by a vast West African diaspora. In addition to a descriptive analysis of my work with photography in the context of anthropological research in this particular setting, the article explores the notion of sacrifice as experienced and recounted by men who have undertaken the long and perilous journey to Europe to find means to support their families back home. Finally, I argue in favour of an approach to

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Fogel, Michèle. "Paysages, photographies. En France, les années quatre-vingt. La mission photographique de la DATAR (1984-1989), Paris, Éditions Hazan, Crédit foncier de France, 1989, 683 p." Annales. Histoire, Sciences Sociales 45, no. 2 (1990): 480–82. http://dx.doi.org/10.1017/s0395264900064210.

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17

Minghelli, Giuliana. "Icons of remorse: photography, anthropology and the erasure of history in 1950s Italy." Modern Italy 21, no. 4 (2016): 383–407. http://dx.doi.org/10.1017/mit.2016.45.

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This essay explores the 1950s as a space of cultural transition through two bodies of iconic images: Tazio Secchiaroli’s 1958 reportage of Aiché Nanà’s striptease and Franco Pinna’s documentation of the rituals of mourning during his work in Salento with anthropologist Ernesto de Martino. Produced on the eve of themiracolo economico, these images are iconic condensations of the contrasting cultural horizons defining the national imaginary of 1950s Italy. Challenging the self-containment of these images, the essay journeys outside the frames into the surrounding historical, cultural and geograp

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18

Reberioux, Madeleine, and Andre Rouille. "La photographie en France. Textes et controverses: une anthologie; 1816-1871." Le Mouvement social, no. 163 (April 1993): 126. http://dx.doi.org/10.2307/3779087.

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19

Schut, Pierre-Olaf, and Gwendal Simon. "Paysages touristiques. Les photographies du Touring-Club de France pendant l’entre-deux-guerres." Le Temps des médias 33, no. 2 (2019): 121. http://dx.doi.org/10.3917/tdm.033.0121.

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20

Fieschi, Caroline. "L’illustration photographique des thèses de science en France (1880-1909)." Bibliothèque de l'école des chartes 158, no. 1 (2000): 223–45. http://dx.doi.org/10.3406/bec.2000.451023.

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21

Cohen, Yves. "The Modernization of Production in the French Automobile Industry between the Wars: A Photographic Essay." Business History Review 65, no. 4 (1991): 754–80. http://dx.doi.org/10.2307/3117264.

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The following article combines an analysis of production techniques in the French automobile industry between the wars and a rich supply of photographs that visually document the course of innovation in the industry. The text and illustrations show that, though production managers at Citroën, Peugeot, and Renault were aware of the methods of Henry Ford and Frederick W. Taylor, they adapted them to specific situations within the French industry and within their own companies. By looking specifically at the work of Ernest Mattern, who held production responsibilities at both Peugeot and Citroën

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22

Ivanciuc, Teofil. "O toacă unicat din Maramureș - România. Note despre istoria acestui instrument la români." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 29–51. http://dx.doi.org/10.47802/amet.2018.32.03.

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The semantron (“toaca” in Romanian language), the oldest musical instrument being in use since Neolithic and documented 4000 years ago, has entered in the Christian Church during the first centuries A.D., surviving in the Orthodox Church until today. In the Romanian History, the semantron is clearly attested since 17 century. About the semantron are preserved many myths, the most important being the stories related to Noah, the Patriarch, who has used it during the building of the Ark, as a powerful remedy for chasing away the Devil who has repeatedly destroyed the vessel. This particular tale

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23

Cassen, Serge, Laurent Lescop, Valentin Grimaud, and Guillaume Robin. "Complementarity of acquisition techniques for the documentation of Neolithic engravings: lasergrammetric and photographic recording in Gavrinis passage tomb (Brittany, France)." Journal of Archaeological Science 45 (May 2014): 126–40. http://dx.doi.org/10.1016/j.jas.2014.02.019.

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24

Cook, Alan. "Book reviews." Notes and Records of the Royal Society of London 52, no. 1 (1998): 191–201. http://dx.doi.org/10.1098/rsnr.1998.0044.

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Five book reviews in the January 1998 edition of Notes and Records : The correspondence of John Flamsteed, The first Astronomer Royal. Volume two, 1682–1702 , Eric G. Forbes, Lesley Murdin and Frances Willmoth. Cavendish , Christa Jungnickel and Russell McCormmach. Records of the Dawn of Photography, Talbot's Notebooks P & Q , Larry J. Schaaf. The Critical Point: A Historical Introduction to the Modern Theory , Cyril Domb. Abraham Robinson. The Creation of Nonstandard Analysis; A Personal and Mathematical Odyssey. , Joseph Warren Dauben.

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Fuchs, R., M. Herold, P. H. Verburg, and J. G. P. W. Clevers. "A high-resolution and harmonized model approach for reconstructing and analysing historic land changes in Europe." Biogeosciences 10, no. 3 (2013): 1543–59. http://dx.doi.org/10.5194/bg-10-1543-2013.

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Abstract. Human-induced land use changes are nowadays the second largest contributor to atmospheric carbon dioxide after fossil fuel combustion. Existing historic land change reconstructions on the European scale do not sufficiently meet the requirements of greenhouse gas (GHG) and climate assessments, due to insufficient spatial and thematic detail and the consideration of various land change types. This paper investigates if the combination of different data sources, more detailed modelling techniques, and the integration of land conversion types allow us to create accurate, high-resolution

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Fuchs, R., M. Herold, P. H. Verburg, and J. G. P. W. Clevers. "A high-resolution and harmonized model approach for reconstructing and analyzing historic land changes in Europe." Biogeosciences Discussions 9, no. 10 (2012): 14823–66. http://dx.doi.org/10.5194/bgd-9-14823-2012.

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Abstract. Currently, up to 30% of global carbon emission is estimated to originate from land use and land changes. Existing historic land change reconstructions on the European scale do not sufficiently meet the requirements of greenhouse gas (GHG) and climate assessments, due to insufficient spatial and thematic detail and the consideration of various land change types. This paper investigates if the combination of different data sources, more detailed modeling techniques and the integration of land conversion types allow us to create accurate, high resolution historic land change data for Eu

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Fieschi, Caroline. "La photographie au laboratoire : installations et équipements photographiques dans les laboratoires scientifiques en France au XIXe siècle (v. 1860-v. 1910)." Bibliothèque de l'école des chartes 167, no. 1 (2009): 103–32. http://dx.doi.org/10.3406/bec.2009.463906.

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Buscatto, Marie. "Au cœur d'une pratique de loisir très « féminine »: le jazz vocal amateur." Nottingham French Studies 52, no. 1 (2013): 113–29. http://dx.doi.org/10.3366/nfs.2013.0043.

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Les enquêtes statistiques relatives aux pratiques culturelles de loisir des Français-e-s font apparaître leur forte dimension genrée : écriture de journaux intimes, chant en chorales ou danse pour les femmes, instruments de musique, rock ou photographie pour les hommes. Comment expliquer que chacun-e s'oriente de manière principale vers l'une ou l'autre pratique de loisir ? Une réflexion sur les modes de construction d'une pratique de loisir comme « féminine » ou « masculine » – des socialisations de l'enfance aux dispositifs constitutifs de cette pratique en passant par les imaginaires associ

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Stasch, Rupert. "The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture." Comparative Studies in Society and History 53, no. 1 (2011): 75–112. http://dx.doi.org/10.1017/s0010417510000630.

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One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty televi

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Kirk, Anna Marie. "Japonisme and Femininity: A Study of Japanese Dress in British and French Art and Society, c. 1860–c. 1899." Costume 42, no. 1 (2008): 111–29. http://dx.doi.org/10.1179/174963008x285223.

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Artworks of the second half of the nineteenth century offer substantial evidence of the differing ways in which the 'Japanese craze' of this period was disseminated in dress. A discussion of the availability of garments in Paris and London, and the evidence for ownership of garments, takes place in this article. This study shows that Whistler was reflecting and informing the usage of Japanese attire by aesthetic women such as Ellen Terry. These garments offered a freer, looser, artistic style. The immense popularity of Japanese accessories is explored, as is the kimono's adaptation as a dressi

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Seifert, Jaroslav. "A Tribute to Vladimír Holan." Index on Censorship 14, no. 2 (1985): 4–7. http://dx.doi.org/10.1080/03064228508533855.

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The poem which follows, ‘A Tribute to Vladimir Holan’, appeared as a samizdat book in Prague in 1980. It is an obituary tribute — Vladimir Holan died in 1980—and it is also a look back at twentieth century Czech cultural history, as personified by eight of Seifert's deceased friends. Each of these friends were poets who made a contribution to the treasure chest of European literature, yet most are unknown outside Czechoslovakia. (Czech is spoken by only ten million people, and an author writing in a minority language experiences a sort of censorship from the outset; for poetry is difficult to

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Henderson, George. "The Style and Function of the Cameos on the Frame of the Westminster Retable." Antiquaries Journal 91 (May 31, 2011): 145–62. http://dx.doi.org/10.1017/s0003581511000035.

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AbstractThe imitation cameos placed around the frame of the Westminster Retable had a deeply entrenched cultural context in the re-use of classical gemstones in many examples of medieval goldsmiths’ work. But the cameos on the Retable had arguably a more local and immediate thirteenth-century context, both stylistically and iconographically, in the choice of images displayed. This paper relates the paired jugate heads in a cameo known from photographs but now lost, and the one surviving cameo head with its very specific winged headdress, to similar images in other media – book painting and scu

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Waelkens, Marc, and Edwin Owens. "The Excavations at Sagalassos 1993." Anatolian Studies 44 (December 1994): 169–86. http://dx.doi.org/10.2307/3642990.

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During 1993 the excavations at Sagalassos continued for their fourth season from 3 July until 19 August. From 21 until 28 August a survey was carried out in the district immediately south and south-east of the excavation site. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven). A total of 45 Turkish workmen and 62 scientists or students from various countries (Belgium, Turkey, Great Britain, Portugal, France, Austria and Greece) were involved in the project. The team included 25 archaeologists, 8 illustrators, 8 architect-restorers (supervise

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Julien, Élise. "JOËLLE BEURIER, Photographier la Grande Guerre. France-Allemagne. L’héroïsme et la violence dans les magazines, Rennes, Presses universitaires de Rennes, 2016, 464 p., ISBN 978-2-7535-4361-4." Revue d’histoire moderne & contemporaine 66-1, no. 1 (2019): 125. http://dx.doi.org/10.3917/rhmc.661.0125.

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Ferres, Kay. "Levels of life: Modernity and modernism in David Malouf's Fly Away Peter." Queensland Review 23, no. 2 (2016): 258–69. http://dx.doi.org/10.1017/qre.2016.33.

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AbstractDavid Malouf's novel Fly Away Peter (1982) uses modernist techniques to describe the impact of modernity on the emergent Australian nation. At its centre is the country lad Jim Saddler, who dies in the industrialised battlefield in France. His fate is entwined with that of his friend Ashley Crowther, who inherits his family's property, and whose embrace of modernity includes a determination to preserve the land and its wildlife. Ashley recognises the value of Jim's instinctive connection with the natural world, and his knowledge of, and fascination with, birds. This fascination aligns

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Capps Tunwell, David, David G. Passmore, and Stephan Harrison. "A witness in the landscape: The bombing of the Forêt domaniale des Andaines and the Normandy Campaign, NW France, 1944." War in History 25, no. 1 (2017): 69–102. http://dx.doi.org/10.1177/0968344516650228.

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An archaeological survey of well-preserved Second World War German supply depots and bomb craters from Allied air raids in the Forêt domaniale des Andaines, Normandy, has prompted an evaluation of the effectiveness of Allied intelligence gathering and tactical bombing of the German logistics network in advance of, and during the Normandy Campaign of June–August 1944. In conjunction with analysis of primary German and Allied archive sources, published historical accounts and aerial photographs, we demonstrate that Allied intelligence knew of the importance of the forest as a major fuel depot an

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Zhang, Xiaodan. "A Path to Modernization: A Review of Documentaries on Migration and Migrant Labor in China - Manufactured Landscapes (2007) 90 minutes. Director: Jennifer Baichwal. Director of photography: Peter Mettler. Produced by Nick de Pencier, Daniel Iron, and Jennifer Baichwal. Released by Zeitgeist Films. - Bing Ai (2007) 114 minutes. Director, writer, and producer: Feng Yan. http://www.cidfa.com/modules/index.php - Up the Yangtze (2008) 94 minutes. Writer and director: Yung Chang. Director of photography: Wang Shi Qing. Producers: Mila Aung-Thwin, Germaine Ying-Gee Wong, and John Christou. Released by Zeitgeist Films. - Losers and Winners (2007) 96 minutes. Directors: Ulrike Franke and Michael Loeken. Released by Icarus Films. - China Blue (2005) 86 minutes. Producer and director: Micha X. Peled. Released by Bullfrog Films. - Mardi Gras (2007) 74 minutes. Producer, director, and editor: David Redmon. Directors of photography: David Redmon and Kathleen Rivera. Released by Carnivalesque Films. - A Decent Factory (2005) 79 minutes. Directed, written, and produced by Thomas Balmès for Margot Films/BBC, and Kaarle Aho for Making Movies. Released by First Run/Icarus Films." International Labor and Working-Class History 77, no. 1 (2010): 174–89. http://dx.doi.org/10.1017/s0147547909990317.

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None of the award-winning films reviewed in this article has a blissful tone. In these films, we watch young girls in assembly lines producing all sorts of commodities in China as well as four hundred Chinese workers disassembling a coking plant in Germany. We are immersed in people's personal stories, such as a peasant woman forced to leave her farm and her lone hut, located in the area due to be submerged by the Three Gorges Dam project, and a sixteen-year-old girl learning to labor on a cruise ship along the Yangtze River. In most of the films we also meet managers, Chinese or foreign, who

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Culot, Maurice. "Les archives d’architecture privees du XXe siecle: sauvegarde et mise en valeur." Art Libraries Journal 15, no. 1 (1990): 26–32. http://dx.doi.org/10.1017/s0307472200006623.

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The architectural heritage of the 20th century is peculiarly vulnerable; partly because modern architecture broke with tradition, it is less easily recognised as being historic and worthy of preservation. Furthermore, efforts to secure public appreciation of contemporary architecture have concentrated too narrowly on the ‘International Modern’ style at the expense of the actual diversity of this century, on certain architects at the expense of others, and on the individual building, seen by itself, at the expense of the larger environment of which it is part. To see twentieth century architect

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Comfort, Anthony, and Rifat Ergeç. "Following the Euphrates in antiquity: north-south routes around Zeugma." Anatolian Studies 51 (December 2001): 19–50. http://dx.doi.org/10.2307/3643026.

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This second article on ancient roads around Zeugma deals mainly with navigation along the river itself and north-south routes on both banks of the Euphrates. Like its predecessor (Comfort et al 2000), this one is based on extensive survey work in the years 1996 to 1999 during the excavations carried out at Zeugma by a Franco-Turkish mission. It discusses sites located in the region surrounding the ancient city on both east and west banks of the river Euphrates and seeks to identify the principal roads of the region used in antiquity. Maps to complement those prepared for the preceding article

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Sousa, Gustavo Rugoni de. "Desafios em torno da pesquisa sobre o mobiliário escolar: uma conversa com Marcus Levy Bencostta." Revista Educação e Emancipação 13, no. 3 (2020): 324. http://dx.doi.org/10.18764/2358-4319.v13n3p324-340.

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Nesta entrevista, Marcus Levy Bencostta, professor e pesquisador da Universidade Federal do Paraná, discorre sobre os aspectos que envolvem a produção historiográfica e a potencialidade em torno da construção de pesquisas que tomam como objeto de estudo o mobiliário escolar. Ao longo de sua trajetória profissional, Marcus Levy Bencostta tem elaborado um conjunto significativo de trabalhos acerca da História da Educação no Brasil e, mais precisamente, sobre a cultura material escolar, com a qual tem contribuído com referenciais analíticos utilizados por muitos pesquisadores que investigam a rea

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Vadelorge, Loïc. "Brigitte Blanc, La cité internationale universitaire de Paris. De la cité-jardin à la cité-monde, Lyon, Editions Lieux-Dits, 2017, photographies de Philippe Ayrault, collection Patrimoine d’Ile-de-France dirigée par Julie Corteville, 390 p." Histoire urbaine 56, no. 3 (2019): 192. http://dx.doi.org/10.3917/rhu.056.0192.

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Rodriguez, Liliane. "JUMBO, Sheyenne et WILLETT, Mindy (2012) Viens avec moi: nous apprendrons ensemble! / Éwo, séh kedidih, Markham, Fifth House Publishers, 26 p. [photographies de Tessa Macintosh; traduction de France Benoit] [ISBN: 978-1-89725-298-7] POKIAK, James et WILLETT, Mindy (2012) Fiers d’être Inuvialuits / Quviahuktunga Inuvialuugama, Markham, Fifth House Publishers, 26 p. [photo-graphies de Tessa Macintosh; traduction de France Benoit] [ISBN: 978-1-92708-306-2] ZOE, Therese, ZOE, Philip et WILLETT, Mindy (2011) Nos histoires sont vivantes / Godi weghàà ets’ eèda, Markham, Fifth House Publishers, 26 p. [photographies de Tessa Macintosh; traduction de France Benoit] [ISBN: 978-1-89725-299-4]." Cahiers franco-canadiens de l'Ouest 25, no. 1-2 (2013): 185. http://dx.doi.org/10.7202/1026095ar.

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Rice, Prudence M. "Pour la Normalisation de la Description des Poteries. Hélène Balfet, Marie-France Fauvetberthelot, and Susana Monzon. Musée de l'Homme, Laboratoire de'Ethnologie, Departement de Technologie Comparée, Centre National de la Recherche Scientifique, Paris, 1983. 135 pp., index, publications consultees, figures, photographies. Paper." American Antiquity 50, no. 4 (1985): 932. http://dx.doi.org/10.2307/280193.

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Louzao Villar, Joseba. "La Virgen y lo sagrado. La cultura aparicionista en la Europa contemporánea." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 152. http://dx.doi.org/10.18239/vdh_2019.08.08.

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RESUMENLa historia del cristianismo no se entiende sin el complejo fenómeno mariano. El culto mariano ha afianzado la construcción de identidades colectivas, pero también individuales. La figura de la Virgen María estableció un modelo de conducta desde cada contexto histórico-cultural, remarcando especialmente los ideales de maternidad y virginidad. Dentro del imaginario católico, la Europa contemporánea ha estado marcada por la formación de una cultura aparicionista que se ha generadoa partir de diversas apariciones marianas que han establecido un canon y un marco de interpretación que ha ali

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Drinkwater, J. F. "P. Bridel, Aventicum III. Le sanctuaire du Cigognier. 1. Texte et documentation Photographique. 2. Plans et Relevées D'architecture (Cahiers d'Archéologie Romande XXII). Avenches: Association Pro Aventico, 1982. Pp. vi + 277, 67 pls. (1 col.); 41 plans. - E. Frézouls (Ed.), Les Villes Antiques de la France. 1. Belgique, 1. Amiens, Beauvais, Grand, Metz (ERA du CNRS CCLXXXVIII). Strasbourg: Association pour l'Étude de la Civilisation Romaine, 1982. Pp. 351, numerous illus. (incl. pls., text figs., maps, plans). - M. Gayraud, Narbonne Antique des Origines à la fin du IIIe Siècle (Revue Archéologique de Narbonnaise, suppl. VIII). Paris: de Boccard, 1981. Pp. v + 591, 68 illus. (incl. pls., text figs., maps, plans). - H. Gallet de Santerre, Ensérune: les silos de la Terrasse est (Gallia, suppl. XXXIX). Paris: CNRS, 1980. Pp. 164, 42 pls. - R. Lauxerois, Le bas Viv Arais à L'époque Romaine: Recherches sur la Cité D'Alba (Revue Archéologique de Narbonnaise, suppl. IX). Paris: de Boccard, 1983. Pp. 320, 7 pls., 11 text figs. (incl. maps, plans). - M. Mangin, Alesia: un Quartier de Commerçants et D'artisans D'Alesia: Contribution à L'histoire de L'habitat Urbain en Gaule (Publications de l'Université de Dijon LX). Paris: Les Belles Lettres, 1981. Pp. 399; 137, 188 illus. (incl. pls., maps, plans) (2 vols.). - M. Py, L'Oppidum des castels à Nages (Gard): Fouilles 1958–1974 (Gallia, suppl. XXXV). Paris: CNRS, 1978. Pp. 363, 148 illus. (incl. pls., text figs., maps, plans)." Journal of Roman Studies 75 (November 1985): 292–94. http://dx.doi.org/10.2307/300701.

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Whyte, Jessica. "Freedom: The History and the Future of a Disputed Idea." Modern Intellectual History, July 12, 2021, 1–12. http://dx.doi.org/10.1017/s147924432100038x.

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Around 1882, the photographer Albert Fernique photographed a group of Parisian workers gathered around trestles and benches inside a workshop. The floor is strewn with piles of wood and the ceiling beams tower above the workmen. Even so, the space is dwarfed by a massive, sculpted shoulder, draped in Roman robes, which dominates the background of the photograph; two workers watching the scene from a beam just below the roof appear to be perched on it like sparrows. The shoulder belonged to the statue, Liberty Enlightening the World—a gift to the United States from the France of the Third Repub

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GUILHOT, Jean Olivier. "Volait Mercedes, Maisons de France au Caire. Le remploi de grands décors mamelouks et ottomans dans une architecture moderne. Photographies de Blas Gimeno Ribelles, IFAO." Revue des mondes musulmans et de la Méditerranée, no. 140 (December 30, 2016). http://dx.doi.org/10.4000/remmm.9106.

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Fuchs, Richard. "A high-resolution and harmonized model approach for reconstructing and analysing historic land changes in Europe." Open Data Journal for Agricultural Research 1, no. 1 (2016). http://dx.doi.org/10.18174/odjar.v1i1.14012.

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<p><span class="pb_authors"><strong>R. Fuchs<sup>1</sup>, M. Herold<sup>1</sup>, P. H. Verburg<sup>2</sup>, and J. G. P. W. Clevers<sup>1</sup></strong></span><br /><span class="pb_affiliations"><sup>1</sup>Laboratory of Geoinformation Science and Remote Sensing, Wageningen University, Droevendaalsesteeg 3, 6708 PB Wageningen, the Netherlands<br /><sup>2</sup>Institute for Environmental Studies, VU University Amsterdam, De Boelelaan 1085, 1081 HV Amsterdam, the Netherlands&lt

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Stauff, Markus. "Non-Fiction Transmedia: Seriality and Forensics in Media Sport." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1372.

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At last year’s Tour de France—the three-week cycling race—the winner of one stage was disqualified for allegedly obstructing a competitor. In newspapers and on social media, cycling fans immediately started a heated debate about the decision and about the actual course of events. They uploaded photographs and videos, which they had often edited and augmented with graphics to support their interpretation of the situation or to direct attention to some neglected detail (Simpson; "Tour de France").Due to their competitive character and their audience’s partisanship, modern media sports continuous

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Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha

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