Scientific publications

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This study examines Jews expelled from Egypt and currently settled in France. Its main focus is to understand the different links with Egypt and an Egyptian Jewish identity, taking into account the diversity of experiences and ties with the home country and their connection to memory. Three main themes are addressed: the question of heritage linked to that of memory, the Arabic language, and leaving Egypt. These issues are central to comprehending how the transition in status occurred from being ‘Egyptian Jews’ or ‘Jews in Egypt’ to that of ‘Jews from Egypt.’

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Since Vladimir Putin arrived in office in 2000, how has the Russian central government been regaining footing in strategic sectors which largely run out of its control after the collapse of the USSR ? This article shows that, thanks to the oil rent resources, Central authorities try to cope with the legacy of social relations which de facto marginalised them in the 1990s. Yet, the main point is the way they impose themselves as dominant actors through the so called “power vertical”. The article strives to understand, by focusing on the field of higher education, how new authority relations and modes of control and influence are established by this political regime.

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Past life regression is a form of therapy that uses hypnosis to make the patient re-experience “previous lives” in order to free him/her from traumas, phobias, or more simply, for self-exploration purposes. Can one experience reincarnation in real time? What is the subject actually given access to under hypnosis? What status should be given to the visions and body states that are experienced as being so strange by the subject him/herself? These controversial issues are discussed with reference to Colonel de Rochas experiments with past life regression in the late 19th century, and they are placed in the wider historical context of experimental research in reincarnation.

• Berbères, p. 308-310 ;
• Garamantes, p. 620 ;
• Maures, p.906-907 ;
• Quodvultdeus de Carthage, p. 1105 ;
• Vandales, p. 1356-1359

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The museum of Celtic and Gallo-Roman Antiquities, inaugurated by Napoleon the Third on the 12th of May 1867, cannot be understood without its context, the construction of national mythologies in the 19th century, as Denmark’s pioneering 1807 Museum of National Antiquities or Mainz’ 1852 Roman-Germanic Central Museum testify. The MAN, for Musée des Antiquités Nationales, as it is known, is also the result of the Emperor’s personal investment in the promotion of archaeology, an investment that mixes political “cesarism” and personal passion, but also aims at establishing archaeology as a science. Jacques Boucher de Perthes’ discoveries in the Somme valley give birth to prehistory and to the emergence of an “antediluvian France”, a context that also dominates the first years of the museum in Saint-Germain. With the Museum as with the Commission de la topographie des Gaules, the Empire wants to be able to answer to the issue of the origins of France and contribute to the continuity of the story of the nation. The visitor’s instruction and the citizen’s education in parallel to the striving for universality are thus the first aspirations of this major museum institution.

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Interoperability is analyzed here from a conceptual, technical, and cultural standpoint. The authors examine institutional policies and practices in the heritage field with respect to digitization and the provision of cultural resources in digital format by probing possible forms of interoperability. They then showcase these forms and the visibility and dissemination issues they raise by analyzing the strategic, editorial, and technical choices made with respect to the Linked Open Data (LOD) models selected by a cross section of French cultural institutions.

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Can sculpture be qualified as “epic” ? Not Calliope’s statues but the attempts to reconstitute Achilles’ shield, according to ekphrasis' founding Homeric figure, provide us at the beginning of the 19^th century with our first examples of confrontation between epic and sculpture. Romanticism, which found a sculptural form somewhat after its form in the other arts, renewed the expression of the epic through the development of colossal statues, vectors of the memory of heroism, but also through work in relief. Is this other sculptural mode better suited to the expression of drama or does it preserve a specifically epic power ? The question, linked to the same issues as literary Romanticism, takes on its full meaning with the evolution of sculpture during the 19^th century.

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The site of Tell Arqa, in Northern Lebanon, displays a continuous sequence covering the entire 3^rd millennium, which attests major economic and socio-cultural changes affecting the entire plain of Akkar around 2500 BC. In order to understand whether these changes testify to a form of historical continuity or mark anthropological ruptures, related to sociological or population changes, the Bronze Age ceramic assemblages have been studied by combining morpho-stylistic and technological approaches. The results show that the same chaînes opératoires have been transmitted from one generation to the next for more than a millennium within a group of specialized potters, reflecting irrefutable sociological continuity. However, morphological and stylistic changes, which thus occur against a background of technical stability, reflect a dynamic among consumers whose demand has evolved progressively in the course of the site’s history.

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The project Artists’ Libraries – part of the research program “Pasts in the Present” – aims to provide researchers and the general public not only with lists of works that constitute or constituted artists’ libraries in the nineteenth and the twentieth centuries, but also their dematerialized version. In order to manage the large amount of data, to ensure wide dissemination, and to be able to cross-reference searches around a library, a writer, or a book, the choice to digitize has been made. This article sets out to describe this approach through an extensive bibliography on the subject and by explaining the different stages and the thinking, theoretical as well as practical, that are given rise by such a project.

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Current research and work on artists’ libraries, which are relatively recent and based on the corpus, are inspired by the history of books and reading, strengthened by an interest in the archives as elements of a work of art, and an interest arising from genetic analysis and recognition of the place of artists in intellectual life. Artists’ libraries, when documented and sometimes preserved, not only represent a source, but can also become a resource facilitating an approach to the art works’ creation, and to the study of the circulation of ideas, concepts, poetics and images within artistic groups and circles. One of the issues addressed in this article is the access they offer to the artists’ imaginary museums, shared with contemporary readers of the same illustrated works of artistic literature. Finally, the content of these volumes, their dedications, and annotations specify the modalities of cultural appropriation, testify to the ways of reading, and highlight the relational networks of their owners.

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This article focuses on the institutional strategies and cultural heritage mediation practices of museums that make use of the socio-technical affordances of Linked Open Data (LOD). We highlight, the issues raised by the implementation of LOD in the cultural sector with respect to images, visibility and dissemination of heritage objects. We then analyze the articulation between organizations’ editorial strategies and the construction of conceptual and technical LOD models by presenting the characteristics of currently emerging heritage mediation practices. In light of the practices studied, we explore the possibility of an inter-museum digital cultural space.

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The study of original theatrical productions at the Comédie-Française from 1680 to 1700 via the theater's nightly box office receipts, and articles in the periodical Le Mercure galant, reveal a public that was an instrument for measuring the value of a spectacle.  This public's critical perspective was based on rhetorical probability and mathematical calculation.  Based on these sources, one might ask whether this pragmatic theater criticism based on opinion and calculation was a response to a non-theoretical model of criticism.

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This paper deals with the types of knowledge publishing conducted by museums in the digital age. Digital environments are seen as spaces for the renegotiation and reterritorialization of the relations between culture, science, and society. We analyze the linkage dynamics between cultural and scientific mediation and digital techniques by focusing on authorship and intermediation. This work is based on a corpus of professional sources and field work. We conclude by discussing the reconfiguration of models of mediation in an international public space where institutional communication policies and cultural mediation, industrial strategies and public contributions interconnect.