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Sample records for romanesque mythologie cinmatographique

  1. Cardiac architecture: Gothic versus Romanesque. A cardiologist's view.

    Science.gov (United States)

    Coghlan, H C; Coghlan, L

    2001-10-01

    The healthy left ventricle, with remarkable mechanical efficiency, has a gothic architecture, which results from the disposition of the myocardial fibers supported and maintained by a normal collagen matrix scaffold. This conclusion, arising from the analysis of roman and gothic buildings and from comparative biology of the left ventricles of different species, has been substantiated by the study of three-dimensional images obtained by MRI and analyzed with mathematic methods for measurements of the curvature and thickness of the ventricular walls. The assessment of left ventricular functional reserve based on the architecture has been very important in making therapeutic and surgical decisions in our patients and has important implications for the design of surgical strategies designed to try to improve ventricular function by restoring an architecture that allows more efficient ventricular mechanics. The structural approach and its combination with important advances in the knowledge of membrane channels, signaling pathways, cytokines, growth factors, neuroregulation, and targeted pharmacology, and with the advances in methods for reducing hemodynamic load and its cellular and structural consequences, is certain to bring about a dramatic change in the very serious and highly prevalent congestive failure associated with the Romanesque transformation of the diseased left ventricle. Copyright 2001 by W.B. Saunders Company

  2. Immigration et crise d'identite dans l'Univers Romanesque de Sami ...

    African Journals Online (AJOL)

    Immigration et crise d'identite dans l'Univers Romanesque de Sami Tchak. ... La littérature africaine du XXIème siècle a eu une grande transformation. Cela est dû au fait ... It is established that Sami Tchak takes profound interest in projecting and handling the themes of immigration and identity crisis in his novelistic world.

  3. Through the Portal: Viking Motifs Incorporated in the Romanesque Style in Telemark, Norway

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    Kristine Ødeby

    2013-09-01

    Full Text Available This paper presents the results of an analysis of motifs identified on six carved wooden Romanesque portal panels from the Norwegian county of Telemark. The findings suggest that animal motifs in the Late Viking style survived long into the Late Medieval period and were reused on these medieval portals. Stylistically, late expressions of Viking animal art do not differ a great deal from those of the subsequent Romanesque style. However, their symbolical differences are considered to be significant. The motifs themselves, and the issue of whether the Romanesque style adopted motifs from pre-Christian art, have attracted less attention. The motif portraying Sigurd slaying the dragon is considered in depth. It will be suggested that Sigurd, serving as a mediator between the old and the new beliefs when he appeared in late Viking contexts, was given a new role when portrayed in Christian art. Metaphor and liminality are a central part of this paper, and the theories of Alfred Gell and Margrete Andås suggest that the portal itself affects those who pass through it, and that the iconography is meaningful from a liminal perspective.

  4. Lithologic combinations in Romanesque churches of Álava, northern Spain

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    Martínez-Torres, L. M.

    2014-03-01

    Full Text Available Certain windows and doorways on twenty five Romanesque churches of Álava (XII–XIII centuries were built using six types of rock in nine different combinations. These compositions were intended to highlight the contrast in colour between different rocks, from which it can be deduced that the openings were not hewn to be painted. After almost seven centuries during which the use of stone was anecdotal, Romanesque artists burst in with colourful blends, demonstrating a broad knowledge of the characteristics of each rock and its availability. The uniqueness of these openings is represented on lithologic maps which, in addition to facilitating its analysis and dissemination, serve as a reference in its restoration.Algunas ventanas y portadas de veinticinco iglesias románicas de Álava (siglos XII-XIII fueron construidas con hasta seis tipos de rocas en nueve combinaciones diferentes. Estas composiciones pretendían resaltar el contraste cromático entre rocas distintas, de lo que se deduce que los vanos no fueron tallados para ser policromados. Después de casi siete siglos en los que el uso de la piedra fuera anecdótico, los artistas románicos irrumpen con mezclas coloristas, mostrando un amplio conocimiento de las características de cada roca y su disponibilidad. La singularidad de estos vanos está representada en mapas litológicos que, además de facilitar su análisis y divulgación, servirán de referencia en su restauración

  5. The use of combined synchrotron radiation micro FT-IR and XRD for the characterization of Romanesque wall paintings

    International Nuclear Information System (INIS)

    Salvado, N.; Buti, S.; Pantos, E.; Bahrami, F.; Labrador, A.; Pradell, T.

    2008-01-01

    The high analytical sensitivity and high spatial resolution of synchrotron radiation-based techniques, in particular SR-XRD and SR-FT-IR, allows the identification of complex micrometric mixtures of compounds that constitute the different layers of ancient paintings. The reliability of the measurements even with an extremely small amount of sampled material is very high, and this is particularly important when analyzing art works. Furthermore, the micro size (10 x 10μm for FT-IR and 30 to 50 μm squared spot size for XRD) of the beam enables one to obtain detailed compositional profiles from the different chromatic and preparation layers. The sensitivity of the techniques is high enough for the determination of minor and trace compounds, such as reaction and weathering compounds. We report here the identification of pigments in the Romanesque wall paintings found in situ in the church of Saint Eulalia of Unha place in the Aran valley (central Pyrenees). During the first centuries of the second millennium numerous religious buildings were built in Western Europe in the Romanesque style. In particular, a great number of churches were built in the Pyrenees, most of which were decorated with wall paintings. Although only a few of these paintings have survived, they represent one of the most important collections of Romanesque art, both for their quantity and quality. A full identification of the pigments, binder, supports, and reaction and weathering compounds has been obtained. The results obtained, in particular aerinite as a pigment, indicate a clear connection between the paintings found in this Occitanian church and the Catalan Romanesque paintings from the south bound of the Pyrenees. (orig.)

  6. The use of combined synchrotron radiation micro FT-IR and XRD for the characterization of Romanesque wall paintings

    Energy Technology Data Exchange (ETDEWEB)

    Salvado, N.; Buti, S. [Universitat Politecnica de Catalunya, Dpt. d' Enginyeria Quimica, EPSEVG, Vilanova i la Geltru, Barcelona (Spain); Pantos, E.; Bahrami, F. [CCLRC, Daresbury Laboratory, Warrington (United Kingdom); Labrador, A. [LLS, BM16-ESRF, BP 220, Grenoble Cedex (France); Pradell, T. [Universitat Politecnica de Catalunya, Dpt. Fisica i Enginyeria Nuclear, ESAB, Castelldefels, Barcelona (Spain)

    2008-01-15

    The high analytical sensitivity and high spatial resolution of synchrotron radiation-based techniques, in particular SR-XRD and SR-FT-IR, allows the identification of complex micrometric mixtures of compounds that constitute the different layers of ancient paintings. The reliability of the measurements even with an extremely small amount of sampled material is very high, and this is particularly important when analyzing art works. Furthermore, the micro size (10 x 10{mu}m for FT-IR and 30 to 50 {mu}m squared spot size for XRD) of the beam enables one to obtain detailed compositional profiles from the different chromatic and preparation layers. The sensitivity of the techniques is high enough for the determination of minor and trace compounds, such as reaction and weathering compounds. We report here the identification of pigments in the Romanesque wall paintings found in situ in the church of Saint Eulalia of Unha place in the Aran valley (central Pyrenees). During the first centuries of the second millennium numerous religious buildings were built in Western Europe in the Romanesque style. In particular, a great number of churches were built in the Pyrenees, most of which were decorated with wall paintings. Although only a few of these paintings have survived, they represent one of the most important collections of Romanesque art, both for their quantity and quality. A full identification of the pigments, binder, supports, and reaction and weathering compounds has been obtained. The results obtained, in particular aerinite as a pigment, indicate a clear connection between the paintings found in this Occitanian church and the Catalan Romanesque paintings from the south bound of the Pyrenees. (orig.)

  7. “TEMPORIBUS DOMINI IOHANNIS EPISCOPI...” – On the Beginnings of Pre-Romanesque Sculpture in Boka Kotorska

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    Meri Zornija

    2016-01-01

    Full Text Available This paper focuses on a series of pre-Romanesque fragments found in Kotor and several other localities in Boka Kotorska, which can be linked to an early phase in the formation of the pre-Romanesque style. Chronological orientation points provided by the triple mention of Bishop Ivan, who was present at the Second Council of Nicaea in 787, have served as a framework dating the fragments to the last quarter of the 8th and the early 9th century. They are considered to be work of a highly skilful stonemason workshop, for which the name Stonemason Workshop from the Time of Bishop Ivan of Kotor has been proposed. The reliefs have been compared to analogous sculptural decoration adorning the cathedrals of other cities in the Eastern Adriatic based on similar stylistic and iconographic features,as well as masterful stonemasonry in high-quality marble. These analogies indicate a common visual language used by the masters active in the broad belt stretching from Istria to Boka Kotorska, who brought to our coast the spirit of new, pre-Romanesque art at the turn of the 9th century.

  8. The measure in the reading of the Romanesque churches of Pistoia

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    Erica Ganghereti

    2015-07-01

    Full Text Available The ancient built-up area inPistoiais dotted with Romanesque churches that, with their facades covered with white and green inlays, make the ancient streets a view into the Romanesque style . This heritage, studied in the past from an historical point of view, has not been given the due importance inTuscany. The case ofPistoiahas always been underestimated, if compared to the neighboring towns ofPisaandLucca. The survey and thorough study of these handmade works highlighted an unexpected socio-cultural environment capable of relating to the great issues in history.The research is based on accurate surveying carried out through the latest technologies. Direct surveying was supported by a total station survey in order to map a close mesh of dots so as to describe all the components of the architectural structures examined. No laser scanner was required since such architectural works do not consist of complex architectonic systems that require its use. Modern surveying and graphic rendering technologies have been essential for working out the graphic drawings (plans, elevations and cross-sections on which exact analyses could be carried out in order to find out the processes according to which these handmade buildings were designed and built. By overlapping grids and simple geometric constructions, on the basis of plane geometry calculations, the drawings showed the logic processes that produced these monuments, as the expression of a cultural context well above what the early medieval society ofPistoiahad been supposed to be according to the simple documentary analysis.            The design system shown is based on high mathematical principles which allow all features to be related to a single, simple scheme, easy to remember. Those aspects, which are codified today according to the modern language and seem to be disconnected, are on the contrary strictly related to one another by geometries and numbers typical of the early medieval

  9. The Romanesque Bronze Doors at Gniezno Cathedral Church: Some New Remarks

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    Tomasz Węcławowicz

    2017-06-01

    Full Text Available Among many Romanesque bronze doors in Europe the old entrance doors of the metropolitan cathedral in Gniezno, in the North Poland, are exceptional. For over a century many historians and historians of art have been trying to understand and explain its iconographic phenomenon. The Polish, Czech and German scholars have so far been unable to identify with any conviction, either the iconographic models or artistic provenance of the workshop. There were suggested some connections of the alleged bishop patrons to France and there were emphasizes technological possibilities of foundry workshops at the Meuse Valley. This “Meuse hypothesis” based mainly on historical suggestions became established as a certainty. However, it is important to emphasize the significant difference between the creator of the composition and of the craftsman who cast the bronze door. Years ago only Lech Kalinowski pointed out some general formal similarities to the North Italian sculpture. The purpose of this paper is to develop Kalinowski’s suggestions and to emphasise the puzzling similarities between details of Gniezno doors and some Emilian works executed by Master Wiligelmo da Modena and Master Nicolò. The concept of Italian relationship from Emilia province seems to be better for the comparative analysis than relationship with Meuse Valley based mostly on historical context. Crucial here is the additional, parallel analysis of the portal decoration in Czerwinsk Abbey.

  10. THREE-DIMENSIONAL MODELING OF THE ROMANESQUE CHURCH OF SANTA MARIA DE CASTRELOS (VIGO – SPAIN USING TERRESTRIAL LASER SCANNER

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    A. Soria-Medina

    2013-07-01

    Full Text Available This article shows the results obtained in the three dimensional survey of the church of Santa Maria of Castrelos realized through a terrestrial Laser Scanner. The Church of Santa Maria of Castrelos, which was built in the early thirteenth century, is located in Vigo Spain. It is a Romanesque style church with a nave and semicircular apse with three gates decorated with rosettes and typically Romanesque geometrical figures. The survey was conducted by the laboratory of Close Range Photogrammetry of Natural Resources Department, Mining School, at University of Vigo – Spain, jointly with the Geomatics Department, Federal University of Parana – Brazil. This work explores the use of laser scanning for the surveying, three-dimensional modeling and documentation of historical monuments but also the generation of quoted plans and cross sections of this Romanesque church in the city of Vigo. The resolution of point clouds used to obtain the models varied according to need. Namely, the point cloud used for three-dimensional model for the general external and internal church was used with an approximate step width of 10 cm, while 5 cm and 1 cm step widths were used for details of geometric figures and rosettes. The results of both the three-dimensional model and the plans and sections are in accordance with the specifications and scales of representation usually used in conventional surveys of historic monuments recommended in the specialized literature in the area. The objective of this study is showing the potential of the use of terrestrial laser scanner in the documentation of historical heritage through achieving the 3D model by joining external and internal point clouds and the generation of planes and sections of the church of Santa Maria of Castrelos, Vigo.

  11. Unique Pre-Romanesque murals in Kostol'any pod Tríbečom, Slovakia: The painting technique and causes of damage

    Czech Academy of Sciences Publication Activity Database

    Hradil, David; Hradilová, J.; Kočí, Eva; Švarcová, Silvie; Bezdička, Petr; Maříková-Kubková, Jana

    2013-01-01

    Roč. 55, č. 4 (2013), s. 691-706 ISSN 0003-813X Institutional support: RVO:61388980 ; RVO:67985912 Keywords : Pre-Romanesque murals * painting materials analysis, * degradation of pigments * portable X-ray fluorescence * X-ray microdifraction Subject RIV: CB - Analytical Chemistry , Separation Impact factor: 1.328, year: 2013

  12. Deteriorating effects of lichen and microbial colonization of carbonate building rocks in the Romanesque churches of Segovia (Spain)

    International Nuclear Information System (INIS)

    Rios, Asuncion de los; Camara, Beatriz; Garcia del Cura, Ma Angeles; Rico, Victor J.; Galvan, Virginia; Ascaso, Carmen

    2009-01-01

    In this study, the deterioration effects of lichens and other lithobionts in a temperate mesothermal climate were explored. We examined samples of dolostone and limestone rocks with visible signs of biodeterioration taken from the exterior wall surfaces of four Romanesque churches in Segovia (Spain): San Lorenzo, San Martin, San Millan and La Vera Cruz. Biofilms developing on the lithic substrate were analyzed by scanning electron microscopy. The most common lichen species found in the samples were recorded. Fungal cultures were then obtained from these carbonate rocks and characterized by sequencing Internal Transcribed Spacers (ITS). Through scanning electron microscopy in back-scattered electron mode, fungi (lichenized and non-lichenized) were observed as the most frequent microorganisms occurring at sites showing signs of biodeterioration. The colonization process was especially conditioned by the porosity characteristics of the stone used in these buildings. While in dolostones, microorganisms mainly occupied spaces comprising the rock's intercrystalline porosity, in bioclastic dolomitized limestones, fungal colonization seemed to be more associated with moldic porosity. Microbial biofilms make close contact with the substrate, and thus probably cause significant deterioration of the underlying materials. We describe the different processes of stone alteration induced by fungal colonization and discuss the implications of these processes for the design of treatments to prevent biodeterioration

  13. Deteriorating effects of lichen and microbial colonization of carbonate building rocks in the Romanesque churches of Segovia (Spain)

    Energy Technology Data Exchange (ETDEWEB)

    Rios, Asuncion de los [Instituto de Recursos Naturales, Centro de Ciencias Medioambientales (CSIC), Serrano 115 dpdo., 28006 Madrid (Spain)], E-mail: arios@ccma.csic.es; Camara, Beatriz [Instituto de Recursos Naturales, Centro de Ciencias Medioambientales (CSIC), Serrano 115 dpdo., 28006 Madrid (Spain); Garcia del Cura, Ma Angeles [Instituto de Geologia Economica CSIC-UCM, Laboratorio de Petrologia Aplicada, Unidad Asociada CSIC-UA, Alicante (Spain); Rico, Victor J. [Departamento de Biologia Vegetal II, Facultad de Farmacia, Universidad Complutense, 28040 Madrid (Spain); Galvan, Virginia [Facultad Patrimonio Cultural, Universidad SEK, Convento de Santa Cruz la Real, 40003 Segovia (Spain); Ascaso, Carmen [Instituto de Recursos Naturales, Centro de Ciencias Medioambientales (CSIC), Serrano 115 dpdo., 28006 Madrid (Spain)

    2009-01-15

    In this study, the deterioration effects of lichens and other lithobionts in a temperate mesothermal climate were explored. We examined samples of dolostone and limestone rocks with visible signs of biodeterioration taken from the exterior wall surfaces of four Romanesque churches in Segovia (Spain): San Lorenzo, San Martin, San Millan and La Vera Cruz. Biofilms developing on the lithic substrate were analyzed by scanning electron microscopy. The most common lichen species found in the samples were recorded. Fungal cultures were then obtained from these carbonate rocks and characterized by sequencing Internal Transcribed Spacers (ITS). Through scanning electron microscopy in back-scattered electron mode, fungi (lichenized and non-lichenized) were observed as the most frequent microorganisms occurring at sites showing signs of biodeterioration. The colonization process was especially conditioned by the porosity characteristics of the stone used in these buildings. While in dolostones, microorganisms mainly occupied spaces comprising the rock's intercrystalline porosity, in bioclastic dolomitized limestones, fungal colonization seemed to be more associated with moldic porosity. Microbial biofilms make close contact with the substrate, and thus probably cause significant deterioration of the underlying materials. We describe the different processes of stone alteration induced by fungal colonization and discuss the implications of these processes for the design of treatments to prevent biodeterioration.

  14. Architectural Modelling of Alternatives for Verification of New Interventions on the Example of the Romanesque Palace at Spiš Castle in Slovakia

    Science.gov (United States)

    Gregorová, Jana; Kalesný, František; Polomová, Beata; Vojteková, Eva

    2017-10-01

    The article presents the results of the first phase of the research project SK-VEGA 1/0951/16 on using transparent and translucent structures in historical buildings. The team of researchers from the Faculty of Architecture SUT Bratislava introduces possibilities of using lightweight roofs on the model example of a dominant medieval ruin (Romanesque Palace, Spiš Castle, UNESCO site). Architectural 3D-modelling of alternatives gains new methodical importance in conditions, when in real practice only safeguarding conservation approaches are preferred. Research based on design serves as a tool for decision-making on further restoration approaches to a specific cultural heritage object. The selected Romanesque Palace of the Spiš Castle has passed through many structural periods. The interior doesn’t exist and the perimeter walls create a raised landscape landmark. Romanesque, gothic and renaissance periods were identifiable. It would be possible to reconstruct these periods partially hypothetically on the basis of saved archive materials. Inner structures and the roofing of the palace were in individual historical periods changed. Exact frame models of a new roofing were created on the principle of hypothetical reconstruction: from the indication of the medieval form, renaissance form until contemporary new forms respecting the present day horizontal palace’s topping. The aim of the first stage of the research was to present a few architectural alternatives of the roof structure refilling according to the given cultural heritage determinants and structural possibilities. We introduce 12 solutions in graphic and text, which present architectural models of a new roofing, covering the interior by transparent structure based on glass panels and translucent structures based on a textile membrane. We achieve a new space for new functional use of the palace by means of various ways of physical enclosing. On the other side, we work with alternatives of the perimeter wall

  15. Overview of 3D Documentation Data and Tools available for Archaeological Researches: case study of the Romanesque Church of Dugny-sur-Meuse (France)

    Science.gov (United States)

    Macher, H.; Grussenmeyer, P.; Kraemer, C.; Guillemin, S.

    2015-08-01

    In this paper, the 3D documentation of the full structure of the Romanesque church of Dugny-sur-Meuse is discussed. In 2012 and 2013, a 3D recording project was carried out under the supervision of the Photogrammetry and Geomatics Research Group from INSA Strasbourg (France) in cooperation with C. Kraemer, archaeologist from Nancy (France). The goal of the project was on one hand to propose new solutions and tools to the archaeologists in charge of the project especially for stone by stone measurements. On the other hand, a simplified 3D model was required by the local authorities for communication purposes. To achieve these goals several techniques were applied namely GNSS measurements and accurate traverse networks, photogrammetric recordings and terrestrial laser scanning acquisitions. The various acquired data are presented in this paper. Based on these data, several deliverables are also proposed. The generation of orthoimages from plane as well as cylindrical surfaces is considered. Moreover, the workflow for the creation of a 3D simplified model is also presented.

  16. Overview of 3D Documentation Data and Tools available for Archaeological Researches: case study of the Romanesque Church of Dugny-sur-Meuse (France

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    H. Macher

    2015-08-01

    Full Text Available In this paper, the 3D documentation of the full structure of the Romanesque church of Dugny-sur-Meuse is discussed. In 2012 and 2013, a 3D recording project was carried out under the supervision of the Photogrammetry and Geomatics Research Group from INSA Strasbourg (France in cooperation with C. Kraemer, archaeologist from Nancy (France. The goal of the project was on one hand to propose new solutions and tools to the archaeologists in charge of the project especially for stone by stone measurements. On the other hand, a simplified 3D model was required by the local authorities for communication purposes. To achieve these goals several techniques were applied namely GNSS measurements and accurate traverse networks, photogrammetric recordings and terrestrial laser scanning acquisitions. The various acquired data are presented in this paper. Based on these data, several deliverables are also proposed. The generation of orthoimages from plane as well as cylindrical surfaces is considered. Moreover, the workflow for the creation of a 3D simplified model is also presented.

  17. Dénonciation et récupération du stéréotype dans l'œuvre romanesque de Jardiel Poncela

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    Cécile François

    2009-12-01

    Full Text Available Fondée sur une esthétique de la répétition, voire du ressassement perpétuel, la littérature populaire de masse constitue une forme de « prêt-à-lire » à destination d'un lecteur considéré avant tout comme un consommateur. A l'intérieur de cette production, le roman d'amour apparaît comme un genre particulièrement codifié, qui s'organise autour de motifs récurrents et de séquences narratives et thématiques stéréotypées. Dans sa trilogie romanesque, qu'il définit d'emblée comme une satire littéraire, Enrique Jardiel Poncela propose au lecteur une promenade ludique et démystifiante dans les coulisses du genre. Rédigée à la fin des années 1920, l'œuvre de l'écrivain madrilène s'inscrit, en effet, dans un contexte de méfiance généralisée à l'égard des stéréotypes, caractéristique des Avant-gardes littéraires et artistiques. Outre la dénonciation directe par le biais de commentaires métanarratifs particulièrement caustiques, la dimension iconoclaste de la trilogie apparaît sous la forme d'une dénudation systématique et ironique des paradigmes narratifs traditionnels. La séquence stéréotypée du fameux duo d'amour, avec ses traits récurrents, tels que la promenade au clair de lune, le premier baiser ou les larmes de l'héroïne, fait ainsi les frais de l'humour anticonformiste et subversif de l'auteur. Toutefois, pour Jardiel Poncela, déconstruction n'est pas synonyme de destruction. A l'encontre des Dadaïstes qui prétendaient faire table rase des conventions dominantes, le jeune auteur, quant à lui, entend faire œuvre de création grâce à une récupération ludique et inventive du stéréotype. C'est ainsi que pour redynamiser des pratiques romanesques sclérosées, Jardiel Poncela se réfère non seulement à de nouveaux moyens d'expression, tels que la bande dessinée ou le cinéma, mais il sollicite également la coopération d'un lecteur complice qu'il associe en permanence à ses jeux de

  18. Geochemical, petrographic and physical characterizations and associated alterations of the volcanic rocks of the Romanesque San Nicola Church (Ottana, central Sardinia, Italy)

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    Columbu, Stefano; Palomba, Marcella; Sitzia, Fabio

    2015-04-01

    In this research, the volcanic rocks belonging to the Sardinia Oligo-Miocene volcanic cycle (32 - 11 Ma) and building up the structure of the San Nicola church, one of the most representative churches of the Romanesque architecture, were studied. These stones were widely used in medieval architecture for the excellent workability, but they present some disadvantages, since they are greatly affected by alteration phenomena. The main objectives of this research are i) to focus the mineral, chemical and petrographic compositions of the San Nicola stones, ii) the chemical and physical alteration processes affecting these materials, and iii) to establish the exactly provenance of the volcanic rocks. Furthermore, a comparative study between the rocks from the ancient quarries and those forming the structure of the church was performed. In the ancient quarries, where presumably a more advanced alteration occurs due to the vertical alteration gradient, different facies of the same volcanic lithology, characterized by macroscopical evidences of chemical-physical degradation degree, were sampled. Petrographic, geochemical (both major elements that the traces) and physical-mechanical features of the collected samples were determined to highlight the compositional differences (density, porosity, water-absorption kinetics, mechanical resistance) as a function of the different alteration degree. Moreover, chemical-mineralogical analysis of the sample surfaces from the church, was performed, to highlight possible presence and nature of secondary newly-formed phases (e.g., salt efflorescence). Several methodologies were applied to carry out physical-chemical and petrographic analysis: X-Ray fluorescence (XRF) and Inductively Coupled Mass Spectrometry (ICP-MS), X-Ray Diffractometry (XRD) for chemical and mineral composition; Optical and Scanning Electron Microscopy (SEM) for textures, mineral assemblages and microstructures studies; He-picnometry, water-absorption and mechanical

  19. « Mythologie de la raison »

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    Panagiotis Thanassas

    2005-04-01

    Full Text Available Le manuscrit de Hegel découvert en 1917 et connu comme « le plus ancien programme systématique de l'idéalisme allemand » est considéré comme un texte emblématique pour le processus de genèse de l’idéalisme allemand. Bien qu’il adopte la langue de Kant et la « révolution copernicienne » que ce dernier avait apportée en fondant la philosophie sur le sujet pensant, ce texte formule des questions qui avaient été laissées sans réponse par le kantisme, en demandant qu’elles soient reposées dans le cadre d’un nouveau fondement, systématique, de la philosophie. Le système que trace Hegel culmine avec l’idée suprême, l’idée du Beau, dans laquelle « la Vérité et la Bonté s’allient ». Le sens esthétique est érigé en « instrument » philosophique fondamental, indispensable à l’acte esthétique « suprême » par lequel la Raison conçoit et « englobe toutes les idées ». L’élément esthétique est également nécessaire à la nouvelle Volksreligion proclamée par le projet utopique hégélien. Enfin, en dépit des références kantiennes indubitables, l’ambition profonde du texte reste le dépassement d’un questionnement transcendantal orienté vers la conscience et son remplacement par un désir d’origine romantique de dépassement de toute dichotomie et d’atteindre l’union avec l’absolu.Hegel’s manuscript, which was found in 1917 and became known as “The earlier systematic programme of German idealism”, is considered to be a central text in the birth process of German Idealism. Although it adopts Kant’s language and the “Copernican shift” he introduced through the grounding of philosophy on the thinking subject, this extract raises questions that were left unanswered by Kantianism, with a view of re-positing them in the frame of a new systematic grounding of philosophy. The system sketched by Hegel culminates in the “highest idea” of the beautiful, in which “the true and the good are found intertwined”. Aesthetic sensibility is raised into a fundamental philosophical medium, which is necessary for the “highest” aesthetic act through which Logos captures and “encapsulates all ideas”. The aesthetic element is also necessary in the new Volksreligion envisaged in the Hegelian utopian project. In the end, despite the obvious Kantian references, the ultimate aim of the text is to go beyond a transcendental questioning which is consciousness-oriented and to replace this by a Romantically-inspired yearning for the overcoming of each dichotomy and their union in the Absolute.

  20. The stones and historic mortars of the Santissima Trinità di Saccargia Romanesque Basilica (Sardinia, Italy): a multi-analytical techniques' approach for the study of their features and provenance

    Science.gov (United States)

    Columbu, Stefano; Palomba, Marcella; Sitzia, Fabio

    2015-04-01

    A research project devoted to the study of building materials of the Romanesque churches in Sardinia is currently underway. One of the objectives of the project is to focus the mineral, chemical-physical and petrographic characterisation of the construction materials, as well as the alteration processes. To make a contribution to the preservation of Sardinian monuments, we suggests a new approach to define the different alteration-modes of rocks in function of their local exposure to the weather, studying: 1) the changes of physical properties on surface of stone (porosity, water absorption, micro-morphology) determined through laboratory tests and photogrammetry observations, 2) the alteration phases present on surface (e.g., secondary minerals, soluble salts) determined by mineralogical and chemical investigations. This methodological approach will allow to select appropriate, suitable and compatible materials for replacing the original altered one's, and to plan appropriate strategies devoted to the restoration work. In this paper the geomaterials used for construct the Santissima Trinità di Saccargia Basilica have been investigated. The church, finished in 1116 over the ruins of a pre-existing monastery, is the most important Romanesque site in the island. Have been studied the chemical alterations and physical decay of two different stones, as volcanic rocks (i.e., basalt) and sedimentary rocks (i.e., limestones) used in bichromy on the Basilica. The main purpose is to observe the different modes of alteration of these two lithologies with different petrophysical characteristics, placed in the same conditions of weathering. Macroscopic evidences show that the limestones, while not having a high porosity, they were strongly affected by alteration phenomena, especially in the outer surface of ashlars, due to the solubilization of the carbonate matrix. The basalt rocks show no obvious physical alteration. Occasionally, in some ashlar located in basal zone of the

  1. De ernst van het spel : Willem Frederik Hermans en de ethiek van de persoonlijke mythologie

    NARCIS (Netherlands)

    Rutten, D.

    2016-01-01

    In the ongoing discussion on the societal engagement of modern literature, a bad name was given to a specific group of modernist writers (chapter two). Among them is the Dutch writer that goes by the name of Willem Frederik Hermans. The critique was aimed specifically at the proclaimed ‘unrealistic’

  2. La legende de Dona Marinha: mythologie et génealogie

    Directory of Open Access Journals (Sweden)

    Delpech, F.

    2008-12-01

    Full Text Available The medieval legend of Dona Marinha is an account of the origins of the galician family of the Marinhos. It tells of the rape of a mysterious and mute seamaid by a knight, and of her gradual integration into human society.
    This tale belongs to the subgroup of genealogical traditions based on mythical backgrounds,which were in use in the peninsular culture at the end of the Middle Ages. It differs however from the melusinian type, with which it only has some slight analogies.
    In this legend is experimentally tested an imaginary model of resolution of the conflictive duality which opposes Nature and Culture, exogamy and assimilation, masculine predominance and matrilineal trends. This model is embodied by a type of marriage in which the mediation of filiation conveys a softening and, at last, an elimination of the inconveniences of hyper-exogamy.

    La leyenda medieval de Doña Marinha, en la que se explica el origen del linaje gallego de los Marinhos, cuenta el rapto por un caballero de una mujer marina misteriosa y muda y la progresiva integración de la misma en la sociedad humana.
    Este relato forma parte del subgrupo de las tradiciones genealógicas de fondo mítico que florece en la península hacia el final de la Edad Media. Sin embargo se distingue claramente del tipo de las leyendas «melusinianas », con las que sólo comparte analogías superficiales. En esta leyenda se pone a prueba e ilustra un imaginario modelo experimental de resolución de la dualidad conflictiva entre Naturaleza y Cultura,, exogamia y asimilación, poder masculino y orientación matrilineal, y se propone, al nivel mítico, un tipo de alianza matrimonial mediatizada en el que la filiación y el ritual ayudan a mitigar, y finalmente anular, los inconvenientes de una exogamia excesiva.

  3. De literaire aspecten van de Costerlegende: Mythologie in de vorm van een klassieke pleitrede

    DEFF Research Database (Denmark)

    Robbe, Joost Roger

    2010-01-01

    , at present, uncontested and well documented, but Junius’ rhetorical argument, inspired by conversations with prominent citizens of Haarlem, has never before been subjected to such thorough analysis. This article makes it clear that Junius’ primary intention was not to convey facts, but to deliver...

  4. 195 Immigration Et Crise D'identite Dans L'Univers Romanesque De ...

    African Journals Online (AJOL)

    Tracie1

    pour démontrer comment le jeune romancier togolais a abordé le ... deux mondes appartenant ni à l'un ni à l'autre. L'exile y est ..... m'a déjà été donné de visiter ailleurs dans le monde. Ces lieux qui sont comme les ventres des océans. Entrer dedans en explorateur, prendre tout son temps, avoir la patience nécessaire ...

  5. L’enjeu triangulaire de la trame romanesque du Roman d’Enéas

    Directory of Open Access Journals (Sweden)

    Catherine Desprès Caubrière

    2013-04-01

    Full Text Available The heroic path of Aeneas is generally defined by three linear events: his stay in Carthage, his descent into Hell, and the founding of future Rome. However, upon the grounds of the narrative plot, this path is triangular in shape, made up by three points on the map (Troy, Carthage and Laurente which are, respectively, the starting point of his exile, a deviation from it, and his arrival. This triangle, which is rele-vant from the point of view of the interpre-tation, and which was brought about by war, love and power, is expressed within a symbolic geometry, adapted to a tri-functional scheme of the judgement of Paris, as a structure connected with the project of rewriting the middle Ages.

  6. L'education de la jeune fille dans l'oeuvre Romanesque de felix ...

    African Journals Online (AJOL)

    In the traditional Togolese society, particularly among the Ewe-Mina of South Togo, the education of the young girl under the parental authority was centred on her chastity. However, she had to receive an education about the life of a housewife, which she had to lead. In the modern society, in the contrary, with the imported ...

  7. Chapitre VII. Le personnage romanesque, théâtral, filmique

    OpenAIRE

    Pavis, Patrice

    2017-01-01

    Contrairement à ce qui pourrait paraître une évidence, on n’a pas un accès direct au personnage, quels que soient les supports où il se manifeste : roman, texte dramatique, scène théâtrale, film ou vidéo, etc. On est, au mieux, en présence d’effets de personnage, de traces matérielles, d’indices dispersés, lesquels permettent une certaine reconstitution par le lecteur ou le spectateur. Une illusion anthropomorphique nous fait croire que le personnage s’incarne en une personne, que nous pourro...

  8. Eugénie Grandet d'Honoré de Balzac : l'histoire secrète d'une écriture romanesque

    Directory of Open Access Journals (Sweden)

    Katarina Marinčič

    2000-12-01

    Full Text Available Selon le témoignage de Mme Surville, l'histoire d'Eugénie Grandet est tirée, détails financiers y compris, d'une gazette provinciale. Le chef-d'oeuvre de Balzac s'inscrit donc a la liste des romans français du XIXe siècle, inspirés par des 'faits divers'. Il s'agit d'une histoire qui, à part les millions, présente peu de fantastique: une jeune fille de province mène une vie humble, presque misérable, dans la maison de son père tyranique et avare; jusqu'à l'ouverture du testament, elle ignore le fait qu'elle est héritière d'une immense fortune; or, en ce moment, il est déjà trop tard: l'homme qu'Eugénie aime passionnément va se marier avec une autre; ironie atroce, il avait choisi cette autre - et trahi la petite provinciale qu'il avait présumée pauvre - afin d'augmenter sa fortune ... Une histoire typiquement balzacienne donc: ce que l'écrivain définit, dans un autre chef-d'oeuvre, comme un dénouement atroce, réel et vrai. Par son intrigue, ses personnages et le milieu dans lequel il se déroule, le roman appartient à la partie 'réaliste' de l'oeuvre de Balzac. Comme tel, il a été le sujet de nombreuses études sur le réalisme balzacien. Or, son intérêt historique et sociologique est plutôt dans le détail que dans la totalité.

  9. Entre le mythe et l'histoire: L'oscillation du romanesque (Between Myth and History: The Oscillation of the Romanticism).

    Science.gov (United States)

    Tremblay, Victor Laurent

    1989-01-01

    A discussion of Romantic literature examines the links between literature and history and a mythic mechanism, a recurrent polarization between two opposite trends (myth and history) at the level of discourse, symbols, and representation. Mytho-romantic and neo-romantic are distinguished and examined. (Author/MSE)

  10. LE RÈGNE DU SÉMIOTIQUE : Fondement de la poéticité du langage romanesque chez Ken Bugul

    Directory of Open Access Journals (Sweden)

    Christian Ahihou

    2011-11-01

    Full Text Available Le règne du sémiotique dans le langage a pour effet le passage au premier plan des formes du langage que sont notamment la musicalité et les jeux de mots. C’est vrai pour Ken Bugul qui a affirmé que : « La langue maternelle, c’est des sentiments, des odeurs, des sonorités, des attouchements. C’est la langue de ma mère et non la langue de la mère de tout le monde ». Certes, le signe ne perd pas sa signification, mais il subit la domination du caractère poétique du langage qui le porte.

  11. Traduire l'ironie. L'exemple d'une œuvre romanesque de N. Kazantzaki et ses traductions française et anglaise

    Directory of Open Access Journals (Sweden)

    Constantinou, Maria

    2007-01-01

    Full Text Available This paper sets out to study the ironical effects related to morphological, rhetorical and macro-structural cues of the novel by N. Kazantzakis's Ο τελευταίος πειρασμός (1951, and then to examine the degree of their transposition in the French and English translations, carried out by Saunier (1959 La dernière tentation du Christ and by Bien (1960 The Last Temptation of Christ respectively.Initially, from a theoretical point of view some definitions of irony as a thought and rhetorical figure are reviewed, while a particular attention is drawn to the theoretical insights of literary irony, in relation to Kazantzakis's work and life. From an analytical, enunciative perspective, this article will endeavour to locate, classify and analyze some techniques of ironization brought into play by Kazantzakis, with a view to comparing them with their transposition in the translated texts. The study privileges a pragmatico-textual approach, which embraces the theoretical background of enunciative polyphony.

  12. Seeking modernity through the Romanesque: G. G. King and E. H. Lowber behind a camera in Spain c. 1910-25

    Directory of Open Access Journals (Sweden)

    Madeline H. Caviness

    2014-12-01

    Full Text Available Women photographers made considerable contributions to the ‘age of emulsion’ that transformed the way art history was practiced and taught early in the twentieth century. Among American women who made great efforts to record medieval monuments were Vida Hunt Francis, who worked in France c. 1905-15, and Lucy Warren Porter whose work has previously been attributed to her husband, Arthur Kingsley Porter. Georgiana Goddard King of Bryn Mawr College preceded Porter and others in documenting medieval and renaissance sites for the Hispanic Society of America. Her co-photographer Edith H. Lowber has until now been overlooked. The last book they planned together was edited and published posthumously and most of the illustrations they prepared for it remained unpublished. King also had a great interest in modern art, through her friendship with Gertrude Stein. Occasionally the photos recall cubism, and some of her writing verges on modernist écriture feminine.

  13. De l’écriture journalistique à l’écriture romanesque : la conquête de l’Algérie chez Assia Djebar

    Directory of Open Access Journals (Sweden)

    Anne-Marie Miraglia

    2017-04-01

    Full Text Available This study focuses on the colonial intertexts in Assia Djebar’s novel L’Amour, la fantasia and on the manner in which they are inserted in the text. It shows that Djebar’s novel tends to privilege direct discourse and narrated discourse in order to comment on the representation of the conquest of Algeria in the military press of the 19th century. In drawing attention to the state of the press during the colonisation of Algeria, this study draws a parallel between the narrative strategies at work in L’Amour, la fantasia and those exploited by literary journalism. Polyphony and intertextuality prove to be valuable not only in the fight against censorship but also in the struggle for freedom, whether this freedom be freedom of speech or political and social emancipation. Cette étude se concentre sur les intertextes coloniaux dans L’Amour, la fantasia d’Assia Djebar et, en particulier, sur les modalités de leur insertion. Elle montre que le roman de Djebar privilégie le discours direct et le discours narrativisé pour commenter la représentation de la conquête d’Algérie dans la presse militaire du XIXe siècle. En plus de rappeler l’état de la presse à l’époque coloniale, cette étude fait un rapprochement entre les stratégies narratives adoptées dans l’écriture de L’Amour, la fantasia et celles exploitées par l’écriture journalistique. La polyphonie et l’intertextualité se révèlent salutaires non seulement dans la lutte contre la censure, mais aussi dans la lutte pour la liberté qu’il s’agisse de la liberté d’expression ou de l’émancipation politique et sociale.

  14. De Sébastien Roch à L’agneau chaste ou de la construction à la déconstruction de la matrice romanesque de la pédophilie

    Directory of Open Access Journals (Sweden)

    Szczur Przemysław

    2015-12-01

    Full Text Available L’obiettivo del presente articolo è di paragonare l’immagine della pedofilia in due romanzi : Sébastien Roch di Octave Mirbeau e L’agneau chaste di Franck Varjac. Mentre il primo ha contribuito a costruire la matrice romanzesca della pedofilia, il secondo prova a decostruirla.

  15. Asgard Revisited : Old Norse mythology and national culture in Iceland, 1820-1918

    NARCIS (Netherlands)

    Halink, Simon

    2017-01-01

    Deze studie richt zich op de ideologische cultivereing van Oudnoordse mythologie in de context van IJslands groeiende nationale zelfbewustzijn in de periode tussen ca. 1820 en 1918. IJslands middeleeuwse Edda´s zijn, sinds de middeleeuwen, door Denen, Noren, Duitsers en Engelsen toegeëigend en

  16. K interpretaci archeologického výzkumu baziliky sv. Petra a Pavla na Vyšehradě

    Czech Academy of Sciences Publication Activity Database

    Nechvátal, Bořivoj

    2015-01-01

    Roč. 40, č. 2 (2015), s. 639-659 ISSN 0231-5823 Institutional support: RVO:67985912 Keywords : basilica * second Romanesque phase * altar panel * relief medallion * circular construction * baptistery Subject RIV: AC - Archeology, Anthropology, Ethnology

  17. L’univers «Japon» romanesque en tant que scénographie dans Stupeur et Tremblement d’Amélie Nothomb. Japonijos visuomenė kaip scenografija Amélie Nothomb romane Baimė ir drebėjimas

    Directory of Open Access Journals (Sweden)

    Kyoko Koma

    2009-01-01

    Full Text Available Japonijoje gimusi ir ten vaikystę praleidusi belgų kilmės rašytoja Amélie Nothomb, remdamasi savo japoniška patirtimi, išleido keletą romanų, tarp jų – Baimę ir drebėjimą (Stupeur et tremblemet, 1999. Asmeninė rašytojos gyvenimo Japonijoje patirtis, jos romano pasakotojas ir personažų vardai skatina tam tikrą skaitytojų recepciją – skaityti šį romaną kaip tikrovišką pasakojimą. Straipsnyje teigiama, kad romano pasakotoja Amelija, vartodama tokius vie­našališkus žodžius ir posakius kaip antai stereotipai ir išankstinės nuomonės (idées reçues, konstruoja stereotipišką ir ironiškai konotuotą Japonijos visuo­menės paveikslą, kurį skaitytojai interpretuoja kaip scenografiją. Šioje scenografijoje pasakotojos Ame­lijos patirtis pateikiama kaip būdinga tik Japonijos visuomenei.

  18. Jyske fonte med modstillede løver –

    DEFF Research Database (Denmark)

    Kaspersen, Søren

    2016-01-01

    , from the Sumerian to Western Europe in the Romanesque period. Taking these things in consideration, the confronted lions on the baptismal fonts are analyzed in relation to different schemes and contexts: flanking a human head, either with their heads en face or in profile, often with their tongues...

  19. Les aventure de Sherlock Holmes: organisation et utilisationde l'espace

    Directory of Open Access Journals (Sweden)

    Loïc RAVENEL

    1992-09-01

    Full Text Available Les aventures de Sherlock Holmes ont pour cadre un espace idéalisé qui reflète les désirs et les espérances de la société victorienne. En fait, cette organisation de l’espace correspond aux besoins romanesques de l’auteur.

  20. Author Details

    African Journals Online (AJOL)

    Okolo, Chinwe Jane. Vol 6, No 1 (2017) - Articles La mémoire au Service de la Résistance Culturelle: L'exil Selon Julia de Gisèle Pineau Abstract PDF · Vol 6, No 4 (2017) - Articles L'Espace Romanesque De Sony Labou Tansi: Enjeu des Forces Sociolectales Abstract PDF. ISSN: 2227-5452. AJOL African Journals Online.

  1. Imperial porphyry from Gebel Abu Dokhan, the Red Sea Mountains, Egypt

    DEFF Research Database (Denmark)

    Makovicky, Emil; Frei, Robert; Karup-Møller, Sven

    2016-01-01

    The prestigious red Imperial Porphyry was quarried from Mons Porphyrites in the Red Sea Mountains of Egypt. The porphyry, reserved for imperial use in Rome and Constantinople, was widely reused in Romanesque and Renaissance times, and in the Ottoman Empire. At the locality, the rocks vary from da...

  2. Book Reviews

    Directory of Open Access Journals (Sweden)

    H. Th. Fischer

    1957-07-01

    Full Text Available - A. Teeuw, C.C. Brown, Studies in country Malay, London 1956, XI and 259 pp. - C. Ouwehand, Kano Tadao, An illustrated ethnography of Formosan aborigines, Vol. I The Yami. Revised edition, Tokyo 1956, XII + 18 + 456 pp., Segawa Kokichi (eds. - G.D. van Wengen, Mantle Hood, The nuclear theme as a determinant of patet in Javanese music, (Diss. Amsterdam 1954. - H. Th. Fischer, P. Schebesta, Die negrito Asiens. II: Ethnographie der Negrito. 1. Wirtschaft und Soziologie. (1954. 2. Religion und Mythologie. (1957. St-Gabriel-Verlag. Wien-Mödling.

  3. Teaching Students to Build Historical Buildings in Virtual Reality: A Didactic Strategy for Learning History of Art in Secondary Education

    OpenAIRE

    Eloi Biosca Frontera

    2009-01-01

    This article is a summary and conclusions of a field study carried out in a secondary education classroom with the aim of experimenting and observing how 13-year-old students learn the history of architecture by using complex virtual reality software. Within the framework ofautonomous and active learning, students act as builders of some of the historic landmarks studied during the course. Thus, students learn, for instance, the features of Romanesque and Gothic architecture as they are asked...

  4. Dominikánský klášter sv. Klimenta v Praze na Starém Městě

    Czech Academy of Sciences Publication Activity Database

    Havrda, Jan; Kovář, Miroslav; Žďárská, A.

    2017-01-01

    Roč. 33, č. 2 (2017), s. 2-71 ISSN 0231-6056 R&D Projects: GA ČR(CZ) GA16-06083S Institutional support: RVO:67985955 Keywords : mendicants * Dominican monastery * Prague * archaeological excavation * building history survey * Romanesque architecture * Gothic architecture Subject RIV: AB - History OBOR OECD: History (history of science and technology to be 6.3, history of specific sciences to be under the respective headings)

  5. International Journal of Arts and Humanities(IJAH) Ethiopia

    African Journals Online (AJOL)

    Nneka Umera-Okeke

    ici c'est d'étudier l'inscription de l'espace en dégageant les forces sociolectales dans l'imaginaire romanesque de Sony ..... joie de tuer un poisson » (L'anté peuple 141) Le vieux pêcheur lui aussi dit » Je suis persuadé que tous ceux qui souffrent, ... et lance des objets à leur direction. La vie et demie dépeint des Guides ...

  6. Computational modeling of blood flow in the aorta--insights into eccentric dilatation of the ascending aorta after surgery for coarctation.

    Science.gov (United States)

    Szopos, Marcela; Poussineau, Nicole; Maday, Yvon; Canniffe, Carla; Celermajer, David S; Bonnet, Damien; Ou, Phalla

    2014-10-01

    To assess whether combining a computational modeling technique with data from patient magnetic resonance imaging studies can detect different fluid dynamics and vascular biomechanical properties of the ascending and horizontal aorta in patients with angulated "gothic" arch geometry compared with those with normal "Romanesque" arch geometry after aortic coarctation repair. Advanced computational fluid dynamics techniques (coupled Navier-Stokes and elastodynamics equations) were used to predict the fluid-wall interactions in large arteries. We modeled the fluid dynamics and shear stress in the ascending and horizontal aorta in cases of "gothic" arch and normal "Romanesque" aortic arch geometry. A total of 30 patients after aortic coarctation repair prospectively underwent 3-dimensional magnetic resonance imaging angiography of the thoracic aorta. Measurements of the ascending and horizontal aorta were assessed using multiplanar reformatting images. Our computational model demonstrated that wall shear stress is greater in those with an angulated "gothic" aortic arch than in those with a "Romanesque" arch. In particular, wall shear stress affected the anterior and posterior segments of the ascending aorta and the inferior and superior segments of the horizontal aorta (vs the left and right segments). In vivo, a "gothic" arch was associated with dilatation of the ascending and horizontal aorta, which was eccentric rather than concentric (Pgothic" aortic arch after repair of coarctation. This suggests that patients with an angulated "gothic" aortic arch might warrant increased surveillance for aortic complications. Copyright © 2014 The American Association for Thoracic Surgery. Published by Elsevier Inc. All rights reserved.

  7. Georadar studies on St. Benedict's Church on Lasota Hill, Kraków, Poland

    Science.gov (United States)

    Tomecka-Suchoń, Sylwia

    2012-04-01

    Georadar methodology has a considerable potential as a tool for verification of archeological hypotheses. I applied it in the present study to resolve a discussion on the importance of a Proto-Romanesque structure located on Lasota Hill. It is one of the oldest structures on the right bank of Vistula River in Kraków in Poland and some archeologists believe that it was the first seat of the rulers of Lesser Poland in the 9th century. After few decades, the prince's castle was built on Wawel Hill, where subsequently the royal castle was constructed. On the place of the abandoned Proto-Romanesque edifice, a small St. Benedict's Church was raised, but the importance of its predecessor was discussed. Archeological excavations suggested that it served as the prince's residence, but this view would be much strengthened if traces of a prince's building — palatium — could be found. With this in mind, I undertook a search for traces of palatium, employing georadar methodology. I carried out the measurements using Georadar PROEX produced by MALA Geoscience with a set of shielded antennas of frequencies 500 and 800 MHz. They permitted to construct echogram profiles, whose interpretation suggested the existence of palatium. Thus, the georadar data supported the archeological hypothesis about the important role of the Proto-Romanesque structures on Lasota Hill in the early medieval era in Poland, and at the same time demonstrated the usefulness of introducing geophysical methods to archaeology.

  8. The Hierarchical Perspective

    Directory of Open Access Journals (Sweden)

    Daniel Sofron

    2015-05-01

    Full Text Available This paper is focused on the hierarchical perspective, one of the methods for representing space that was used before the discovery of the Renaissance linear perspective. The hierarchical perspective has a more or less pronounced scientific character and its study offers us a clear image of the way the representatives of the cultures that developed it used to perceive the sensitive reality. This type of perspective is an original method of representing three-dimensional space on a flat surface, which characterises the art of Ancient Egypt and much of the art of the Middle Ages, being identified in the Eastern European Byzantine art, as well as in the Western European Pre-Romanesque and Romanesque art. At the same time, the hierarchical perspective is also present in naive painting and infantile drawing. Reminiscences of this method can be recognised also in the works of some precursors of the Italian Renaissance. The hierarchical perspective can be viewed as a subjective ranking criterion, according to which the elements are visually represented by taking into account their relevance within the image while perception is ignored. This paper aims to show how the main objective of the artists of those times was not to faithfully represent the objective reality, but rather to emphasize the essence of the world and its perennial aspects. This may represent a possible explanation for the refusal of perspective in the Egyptian, Romanesque and Byzantine painting, characterised by a marked two-dimensionality.

  9. Un método de prospección en Arqueología de la Arquitectura. La arquitectura medieval «invisible»

    Directory of Open Access Journals (Sweden)

    Sánchez Zufiaurre, Leandro

    2004-12-01

    Full Text Available This proposal is part of a study of a series of pre-Romanesque buildings in the Diocese of Vitoria, not thought until recently to exist, in the context of the analysis of medieval construction techniques in the territory. A sample of well-dated buildings was used, which had been impossible until now as historiography denied the existence of pre-Romanesque churches in Álava. It was therefore necessary to obtain a sample to work with, using a selection process of buildings retaining pre-Romanesque evidence, which led to the research model presented here.Propuesta que se encuadra en el estudio de una serie de edificaciones anteriores al románico en la Diócesis de Vitoria, supuestamente inexistentes hasta el momento, en el marco del análisis de las técnicas constructivas medievales del territorio. Para ello se debía contar con una muestra de edificios bien fechados, algo imposible hasta la fecha dado que la historiografía negaba la existencia de iglesias prerrománicas en Álava. Por esto era necesario conseguir una muestra sobre la cual trabajar, para lo que se recurrió a un proceso de selección de edificios en los que se conservaran evidencias anteriores al románico, diseñándose el modelo de prospección que presentamos.

  10. San Esteban de Atán (Lugo. Un ejemplo de iglesia que no es lo que parece

    Directory of Open Access Journals (Sweden)

    Caballero, Luis

    2003-12-01

    Full Text Available The archaeological analysis of the church of San Esteban de Atán (Lugo offers a stratigraphic sequence rich in phases and results. Documentary sources and some decorative elements (lattices appear to affirm the existence of a pre-Romanesque church previous to the present Romanesque style church. The reading of facings does not document any building phase that might correspond to these indications. Of the singular pieces considered pre-Romanesque, only one can be confirmed from this date, but its original location is unknown. On this basis, it is impossible to sustain the hypothesis of the church as pre-Romanesque. Secondly, the present construction, catalogued as belonging to the Romanesque period according to architectonic and decorative typologies, belongs in fact to the low medieval period, as seen in diverse relations and in the fact that elements accepted as chronological indicators have been reused in the walls. The results at Atán challenge the classifications within history of art, and this example is surely not an exception.El análisis arqueológico de la iglesia de San Esteban de Atán (Lugo ofrece una secuencia estratigráfica rica en fases y resultados. Las fuentes documentales y algunos elementos decorativos (celosías parecían afirmar la existencia de una iglesia prerrománica anterior a la actual de época románica. La lectura de paramentos no documenta ninguna fase constructiva que pueda corresponder a estos indicios. De las piezas singulares consideradas como prerrománicas, sólo una puede confirmarse de esta fecha, pero desconocemos su emplazamiento original. Sobre esta base, no se puede sostener la hipotética iglesia prerrománica. En segundo lugar, la construcción actual, catalogada en época románica de acuerdo a las tipologías arquitectónicas y decorativas, pertenece en realidad a época bajomedieval, como demuestran diversas relaciones y el hecho de que los elementos aceptados como indicadores cronológicos se

  11. Babel et le Nouveau Monde Babel and the New World Babel y el Nuevo Mundo

    Directory of Open Access Journals (Sweden)

    Néstor Salamanca Leon

    1996-05-01

    Full Text Available L'analyse de la mythologie des Muiscas fait l'objet d'une réflexion stimulante qui montre à quel point le rêve d'une langue originale en Amérique latine est important.The analysis of the mythology of the Muiscas is at the core of a stimulating reflection which shows the extent of the development of the dream of an original tongue in South-America.El análisis de la mitología de los Muiscas como centro de una estimulante reflexión que permite mostrar hasta qué punto ha podido desarrollarse en América Latina el sueño de una lengua original.

  12. L'Excursion aux îles Lipari d'Antoine de la Sale (La Salade, IV) : anecdote récréative, exemplum ou nouvelle fantastique ?

    OpenAIRE

    Uhl, Patrice

    2016-01-01

    Les îles Lipari (Lipari, Vulcano, Stromboli, Salina, Alicudi, Filicudi et Panarea), archipel volcanique situé au nord de la Sicile que les Anciens appelaient « îles d’Éole » (Lipara, Thermessa, Strongylé, Didyme, Éricussa, Phoenicussa et Euonymos), sont l’un de ces lieux rares, où mythologie et géographie n’ont jamais eu de frontière franche. Deux d’entre elles en particulier sont restées dans l’imaginaire méditerranéen de puissants catalyseurs poétiques : Stromboli - l’Éolie de l’Odyssée, « ...

  13. Le Bestiaire d'amour de Gustave Flaubert (1)

    OpenAIRE

    Loïc Windels

    2010-01-01

    « Désirer, c'est tuer ». Voilà ce qu’un Ministère de la Prévention fera bientôt imprimer sur le bandeau accompagnant les ventes du second des Trois contes. Du reste, il est certain que sa carte du Tendre empiète quelque peu sur les géographies du Cruel. Qui se penche sur son bestiaire en relève généralement assez vite le caractère symbolique et la couleur pré-freudienne. Flaubert ferait, avec le légendaire médiéval, ce que Freud peu après avec la mythologie grecque. Ces remarques et quelques ...

  14. Discussion of ‘Style’ from Max Loehr and the Study of Chinese Bronzes, Style and Classification in the History of Art, Ithaca, Cornell University Press: Cornell East Asia Series 2008

    OpenAIRE

    Robert Bagley

    2010-01-01

    This essay is the concluding chapter of a study of the work of Max Loehr (1903-1988), an art historian whose visual analysis of unprovenanced Chinese bronzes famously anticipated the discoveries of archaeologists. It argues that Loehr’s strictly pragmatic understanding of style is implicit in the daily practice of most art historians, but that most of our explicit uses of the word, including such everyday expressions as ‘Romanesque style’ and ‘style of Raphael’, presume the existence of a mys...

  15. The Church of the Deans

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    Ezio Albrile

    2016-05-01

    Full Text Available The article investigates the ways through which peculiar representations of the late Ancient World passed to the Middle Ages. Among them, the astrological discipline is one of the favorite vehicles. The sculptures and other decorations of the Romanesque churches, have rewritten this archaic knowledge in the context of the Christian faith. Another constant presence in the imaginary of Western Christianity are the fabulous creatures related to what in astrology are the Decans. These odd Egyptian deities had at some time before the sixth century of our era made the long voyage to India and back they had travelled to Islamic lands, and so finally returned to Byzantium and the West.

  16. Vermeer et les cartes de géographie.

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    Jean MARTINON

    1987-09-01

    Full Text Available De nombreux tableaux de Vermeer sont «tapissés» de cartes de géographie. Objets scientifiques, elles témoignent de l'importance des découvertes au XVIIe siècle en Europe et de l'ouverture des Pays-Bas sur le monde. Objets de décoration, les cartes tendent à se confondre avec des représentations paysagères. Objets romanesques, elles introduisent le lointain et le rêve dans les intérieurs confinés de la bourgeoisie d'Amsterdam.

  17. Questions of Authenticity after Six Re-restorations of the Wall Paintings in Fjenneslev Church

    DEFF Research Database (Denmark)

    Brajer, Isabelle Eve; Haslund, Ida

    2005-01-01

    This article presents a case involving particularly difficult decisions pertaining to the aesthetic presentation of the Romanesque wall paintings in Fjenneslev Church (Denmark), which have undergone six major re-restorations in the past hundred years. The application of widely acknowledged modern...... ethical principles during the most recent intervention (2003) is questioned, and the result or consequence of an alternative course of action is discussed. The conclusion of these arguments might serve as an illustration for the need to apply a wider set of criteria in special cases where material...

  18. Les je gigognes du roman célinien

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    Gregor Perko

    2008-12-01

    Full Text Available Le présent article se penchera sur des aspects narratologiques des trois derniers romans de l’écrivain français Louis-Ferdinand Céline (1894–1961, d’un château l’autre (1957, nord (1960 et rigodon (publication posthume en 1964. Les romans, que la tradition critique solidement établie réunit en trilogie allemande,1 présentent l’aboutissement des recherches poétiques de l’écrivain tant au niveau du style qu’au niveau des techniques narratives. L’analyse qui s’appuiera pour l’essentiel sur le modèle narratologique de Gérard Genette (Genette 1972, 1983 se centrera sur différentes valeurs du je célinien :   –      je comme instance(s narrative(s, –      je comme foyer(s de perception, –      je comme personnage(s romanesque(s.

  19. Hemodynamic Modeling of Surgically Repaired Coarctation of the Aorta.

    Science.gov (United States)

    Olivieri, Laura J; de Zélicourt, Diane A; Haggerty, Christopher M; Ratnayaka, Kanishka; Cross, Russell R; Yoganathan, Ajit P

    2011-12-01

    PURPOSE: Late morbidity of surgically repaired coarctation of the aorta includes early cardiovascular and cerebrovascular disease, shortened life expectancy, abnormal vasomodulator response, hypertension and exercise-induced hypertension in the absence of recurrent coarctation. Observational studies have linked patterns of arch remodeling (Gothic, Crenel, and Romanesque) to late morbidity, with Gothic arches having the highest incidence. We evaluated flow in native and surgically repaired aortic arches to correlate respective hemodynamic indices with incidence of late morbidity. METHODS: Three dimensional reconstructions of each remodeled arch were created from an anatomic stack of magnetic resonance (MR) images. A structured mesh core with a boundary layer was generated. Computational fluid dynamic (CFD) analysis was performed assuming peak flow conditions with a uniform velocity profile and unsteady turbulent flow. Wall shear stress (WSS), pressure and velocity data were extracted. RESULTS: The region of maximum WSS was located in the mid-transverse arch for the Crenel, Romanesque and Native arches. Peak WSS was located in the isthmus of the Gothic model. Variations in descending aorta flow patterns were also observed among the models. CONCLUSION: The location of peak WSS is a primary difference among the models tested, and may have clinical relevance. Specifically, the Gothic arch had a unique location of peak WSS with flow disorganization in the descending aorta. Our results suggest that varied patterns and locations of WSS resulting from abnormal arch remodeling may exhibit a primary effect on clinical vascular dysfunction.

  20. Angular (Gothic) aortic arch leads to enhanced systolic wave reflection, central aortic stiffness, and increased left ventricular mass late after aortic coarctation repair: evaluation with magnetic resonance flow mapping.

    Science.gov (United States)

    Ou, Phalla; Celermajer, David S; Raisky, Olivier; Jolivet, Odile; Buyens, Fanny; Herment, Alain; Sidi, Daniel; Bonnet, Damien; Mousseaux, Elie

    2008-01-01

    We sought to investigate the mechanism whereby a particular deformity of the aortic arch, an angulated Gothic shape, might lead to hypertension late after anatomically successful repair of aortic coarctation. Fifty-five normotensive patients with anatomically successful repair of aortic coarctation and either a Gothic (angulated) or a Romanesque (smooth and rounded) arch were studied with magnetic resonance angiography and flow mapping in both the ascending and descending aortas. Systolic waveforms, central aortic stiffness, and pulse velocity were measured. We hypothesized that arch angulation would result in enhanced systolic wave reflection with loss of energy across the aortic arch, as well as increased central aortic stiffness. Twenty patients were found to have a Gothic, and 35 a Romanesque, arch. Patients with a Gothic arch showed markedly augmented systolic wave reflection (12 +/- 6 vs 5 +/- 0.3 mL, P Gothic arch (5.6 +/- 1.1 vs 4.1 +/- 1 m/s, P Gothic aortic arch is associated with increased systolic wave reflection, as well as increased central aortic stiffness and left ventricular mass index. These findings explain (at least in part) the association between this pattern of arch geometry and late hypertension at rest and on exercise in subjects after coarctation repair.

  1. Histoire des pionniers français dans l'ouest canadien : le cas d'_Un héros malgré lui_ de Marcel Durieux

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    Sathya Rao

    2011-11-01

    Full Text Available Traditionnellement délaissés par les littéraires, les récits pionniers se trouvent généralement rapportés au genre du journal ou de la chronique. C’est notamment le cas d’Un héros malgré lui de Marcel Durieux dont les préfaciers, Roger Motut et Maurice Legris, louent le style à la fois simple et concret. À contre-courant de cette lecture, nous montrerons que le texte de Marcel Durieux est travaillé par une ambition romanesque qui se manifeste à la fois par la construction d’une temporalité complexe, le désir de restituer la diversité culturelle et linguistique de la société pionnière et enfin le recours fréquent aux métalepses. En somme, il s’avère pertinent de considérer ce type de récits comme des textes romanesques susceptibles d’enrichir le patrimoine littéraire de la francophonie de l’Ouest.

  2. Friedrich Creuzer (1771-1858 à l’Académie des Inscriptions et Belles-Lettres

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    Sotera Fornaro

    2010-12-01

    Full Text Available La contribution donnera une vue d’ensemble des relations personnelles et culturelles qui ont déterminé la réception dans la culture française de l’œuvre Symbolik und Mythologie de Friedrich Creuzer (1771-1858. L’élection de Creuzer comme membre de l’Académie des Inscriptions et Belles-Lettres en 1825 y constituera l’épisode central qui s’inscrit dans un cadre plus large du « transfert culturel » franco-allemand.Pour sa réception en France, Sylvestre de Sacy, président de la Société Asiatique, jouait un rôle décisif. C’est surtout grâce à son initiative que Creuzer fut élu membre de l’Académie des Inscriptions où il devenait, en 1826, le successeur du fameux Friedrich August Wolf et fut accueilli au même moment que Wilhelm von Humboldt, une coïncidence qui porta à Creuzer une estime incontestable qu’en Allemagne, il lui manquait. La querelle de méthode que sa Symbolique avait provoquée en Allemagne y conduisit à une marginalisation dans la philologie classique officielle. De plus, il fut accusé de « cryptocatholicisme », de « trahison » de la foi protestante et, d’une façon implicite, d’adhésion à la maçonnerie. En France, jusqu’à sa réception à l’Académie, Creuzer n’était pas connu pour sa Symbolique, mais plutôt pour ses travaux sur l’historiographie antique et ses éditions de Cicéron. Pendant son séjour à l’Académie des Inscriptions à Paris en 1827, il s’efforçait, d’après ses propres notes autobiographiques, d’éviter des débats sur la mythologie ou la religion et de se présenter comme chercheur strictement historique. À Paris, il approfondit ses recherches orientales en entrant en contact avec Félix Lajard, Eugène Burnouf et Edgar Quinet. Creuzer y rencontra aussi son traducteur Jean Daniel Guigniaut qui allait travailler plus de 25 ans à la traduction et récriture de la Symbolique. La révision de Guigniaut eut une influence énorme dans la

  3. Optique moderne et post-moderne dans la composition d'images transculturelles dans trois films de Woody Allen

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    Nadia Fuchs

    2010-12-01

    Full Text Available Avec le personnage récurrent juif new-yorkais névrosé plus ou moins autobiographique, les films de Woody Allen ont créé, volontairement ou pas, leur propre mythologie et un genre à part entière composé de codes que le spectateur décrypte instantanément. Pourtant, Woody Allen est surtout un cinéaste post-moderne, analysant et déconstruisant les simulacres de son époque. Il est ainsi un passeur d'images retraçant l'histoire des arts modernes des XXe et XXIe siècles et de leurs stratégies énonciatives et réceptives.With the recurrent persona of the neurotic and more or less autobiographical Jewish New Yorker, Woody Allen's films have created, willingly or not, their own mythology and a specific genre made up of codes readily accessible to the spectator. However, Woody Allen is more than anything else a postmodern filmmaker who analyses and deconstructs the simulacra of his time. He is thus a conveyor of images which retrace the history of modern art of the XXth and XXIth centuries, and of their strategies of enunciation and reception.

  4. La motivation des expressions idiomatiques de la mort en français, espagnol et anglais

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    Isabel Negro Alousque

    2014-08-01

    Full Text Available Normal 0 21 false false false ES X-NONE X-NONE Les expressions idiomatiques, marquées par le figement et l’idiomaticité, ont fait l’objet de nombreuses recherches dans les dernières années (González Rey, 2002; Palma, 2007; García-Page, 2008. Le présent article porte sur la motivation des expressions idiomatiques de la mort dans une perspective cognitive (Lakoff et Johnson, 1980; Lakoff, 2006 et comparative. Nous analysons les deux types de motivation (iconique et culturelle qui fournissent une base à ces expressions en français, espagnol et anglais. La motivation iconique repose sur un mécanisme cognitif (métaphore, métonymie ou image mentale, alors que la motivation culturelle se fonde sur un élément appartenant au domaine de la religion, la mythologie, l’histoire ou la littérature. Ces locutions reflètent une vision de la mort en tant qu’évènement, ‘mourir’, ou en tant qu’état, ‘être mort’. Leur sens figuré semble s’enraciner dans notre expérience physique et/ou culturelle, ce qui pourrait expliquer pourquoi on retrouve des expressions identiques dans les trois langues étudiées

  5. DROIT ET DÉMOCRATIE CHEZ HANS KELSEN. LA CRITIQUE KELSÉNIENNE DE LA PERSONNALISATION DE L’ÉTAT

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    Soraya Nour Sckell

    2015-04-01

    Full Text Available Cette étude analyse comment Kelsen, pour libérer le droit et la démocratie des traces de ce qu'il appelle les hypostases collectives ou la mythologie de l'âme collective, prend position face aux grandes théories de la sociologie et de la psychologie sociale de son temps (Durkheim, Simmel, Weber et Freud. D'abord, il s'agira de montrer comment Kelsen critique les métaphores de l'âme collective ; ensuite, de montrer comment la pensée kelsénienne sur le droit et la démocratie essaie d'échapper aux problèmes liés à la métaphore de l'âme collective. Cela peut laisser entrevoir quelques points communs entre la théorie de Kelsen et les théories contemporaines sur le droit et la démocratie libérées des prémisses de l'idée d'une communauté homogène.

  6. Making medieval art modern

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    Elizabeth den Hartog

    2015-12-01

    Full Text Available Janet T. Marquardt’s book ‘Zodiaque. Making medieval art modern’ discusses the historical context, history and impact of the Zodiaque publications issued by the monks from the abbey of Ste-Marie de la Pierre-qui-Vire in Burgundy between 1951 and 2001 and links the striking photogravures, the core business of these books, to the modern movement. Although Marquardt’s view that the Zodiaque series made a great impact on the study of Romanesque sculpture is somewhat overrated, her claim that the photogravures should be seen as avant-garde works of art and the books as a “museum without walls” is entirely convincing.

  7. El conjunto epigráfico de San Miguel de Neila (Burgos y el ceremonial romano de consagración de iglesias

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    Carrero Santamaría, Eduardo

    2005-06-01

    Full Text Available The small town of Neila (Burgos preserves a Romanesque Church, with rests of Medieval wall-painting and a set of epigraphs of remarkable interest. One of them concerns the consacration of the church in 1087, what demonstrates that the Roman ritual of consecration of churches was being practised in the Kingdom of Castile, after the change of the Hispanic liturgy to the one of Rome.

    El pequeño pueblo de Neila (Burgos conserva una iglesia románica, con restos de pintura mural y un conjunto de inscripciones de remarcable interés. Se trata de la consagración de la iglesia en 1087, hecho que demuestra que el ritual romano de consagración de iglesias aún se practicaba en el reino de Castilla, después del cambio de la liturgia hispánica a la de Roma.

  8. De Galland à Dumas

    OpenAIRE

    Anselmini, Julie

    2007-01-01

    L’article s’intéresse à l’inscription des Mille et une Nuits dans Le Comte de Monte-Cristo d’Alexandre Dumas, et au rôle de cet hypotexte dans l’invention d’une poétique romanesque originale. Loin de n’être qu’un décor exotique, le féerique oriental s’actualise puissamment au sein du roman, par le biais du trésor mythique, qui donne au héros une omnipotence divine et lui permet d’édifier un monde parallèle conforme à ses désirs : Monte-Cristo et son entourage habitent l’Orient imaginaire des ...

  9. L’expression de l’affectivité d’un solitaire : le chauffeur de La Tournée d’automne

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    Liliana Sandu-Goilan

    2007-05-01

    Full Text Available Notre étude se propose d’analyser, en prenant comme exemple le roman « La tournée d’automne » de l’écrivain québécois Jacques Poulin, comment le protagoniste du récit poulinien exprime son affectivité à travers la communication verbale et non verbale. Le Chauffeur, comme tous les autres personnages de son univers romanesque, est un solitaire nomade à la recherche du bonheur et de la chaleur humaine. Il entreprend cette quête à travers les relations sociales (travail, amitié et amour qui le mettent en interaction avec d’autres individus et qui lui demandent des compétences sociales où l’attention portée à l’autre est capitale.

  10. Sztuka religijna dawniej i dziś - Wędrówki po Europie Aleksandry Olędzkiej-Frybesowej

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    Bogna Choińska

    2007-11-01

    Full Text Available The article presents a peculiar understanding of religious art, which is possible to be found in Aleksandra Olędzka-Frybesowa's essay writing. An artistic easiness of the usage of symbols is connected with two orders coexistance in a human being: a cosmic and a historical, sacrum and profanum. However, the crisis of European culture (which started together with the fali of Romanesque art is a result of a separation of these both spheres in a man's consciousness and of a return to Greek-Roman ideals. A recipe for dealing with the crisis within the area of the fine arts is supposedly not regaining early medieval heritage, but rather a humble mimetism. It could constitute an introduction to symbolic generałisation which the author contradicts with abstract thinking.

  11. Usurper la médiévité : stratégies archaïsantes des réécritures arthuriennes contemporaines

    OpenAIRE

    Besson, Anne

    2014-01-01

    Les réécritures arthuriennes contemporaines constituent un énorme corpus romanesque regroupant plusieurs dizaines de vastes cycles et de nombreux succès commerciaux, comme Les Dames du Lac de Marion Zimmer Bradley, les ensembles de Bernard Cornwell ou Stephen Lawhead – un corpus d’une grande homogénéité thématique (on y redit toujours la même histoire à peu près, avec les mêmes personnages à peu près), mais d’une identité générique en revanche hétérogène, fluctuant entre roman historique et f...

  12. Analysis of proportional conception of the historical truss Church of St. Martin in Dolní Újezd

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    Krušinský Peter

    2017-01-01

    Full Text Available The late-Romanesque St. Martin’s Church in Dolní Újezd was probably built in the mid-13th century. The nave has a wooden joist ceiling whose beams serve as tie beams too. The Gothic vaults above the presbytery date from ’30s of the 15th century. The truss of the church is dendro-dated to 1420 – 1421. Some members of a truss structure are dendro-dated to 1823 – 1824, when the repair was undertaken. The examined truss is a rafter-collar tie structure with collar beams and pedestal struts. It has a characteristic shape and may be typologically classified as a structure of the earlier period. This type of a truss structure was typically built in this region and represents one of the features occurring in the particular social and culture circles at the time.

  13. Emile Zola, écrivain bilingue ?

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    Olivier Lumbroso

    2015-03-01

    Full Text Available Mais, tout de même, quelle extraordinaire aventure, à mon âge, au bout d’une existence de pur écrivain, méthodique et casanier ! Si certains écrivains sont notablement connus pour être des écrivains bilingues voire plurilingues, tels que Beckett, Cioran ou Nabokov, d’autres en revanche sont répertoriés comme étant à jamais des écrivains de langue française, et uniquement française. Emile Zola en fait partie. Sur l’étendue de sa carrière, au cours des trois grands cycles romanesques qu’il a éc...

  14. Jacinto Octavio Picón and the Challenge of Verisimilitude

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    Esteban Gutiérrez Díaz-Bernardo

    2017-11-01

    Full Text Available Jacinto Octavio Picon’s (1852-1923 early approach to naturalism leaves a great preoccupation with verisimilitude in his novels and short stories, which is the first and main condition of Émile Zola’s literary principles. This trend is very present in Picon’s work despite also receiving the influx of the French roman romanesque from the early 90’s onwards. Throughout all his production, the writer from Madrid will showcase an extraordinary care in making his work feel very real and avoid even such things based in reality that could come across as unreal: the appearance of idealistic characters or dreamers and other fantastic elements, the justification of randomness, the absolute rigor in the point of view…, constitute some of the characteristics of Picon’s narrative work.

  15. Arquitectura románica en la provincia de Soria, 1856-2014. Marco historiográfico y metodológico

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    Lorenzo Arribas, Josemi

    2014-12-01

    Full Text Available The historiography of Romanesque in the province of Soria has three different stages. The former one begins with Eduardo Saavedra’s researches (1856 and it extends until 1934, when Gaya Nuño defends his PhD Thesis (La arquitectura románica en la provincia de Soria, which will not be published until 1946. The Spanish Civil War and the post-war period mark the beginning of the second stage, which is merely transitional, lacking any important contribution. The last stage begins with the publication of the three volumes of the Enciclopedia del Románico en Castilla y León (2002. These works have largely improved the knowledge of Romanesque architectural heritage, enhanced besides by the task undertaken by the technical office of the Cultural Project Soria Románica (2007- 2012, responsible for studying and restoring more than thirty Romanesque buildings in the Southern part of province. It is within this working frame that the building recording of the churches here presented must be understood. This historiographical assessment about provincial Romanesque does not include those buildings sited in the capital city, the Cathedral of El Burgo de Osma, the Monastery of Santa Maria de Huerta and the hermitage of San Baudelio (Casillas de Berlanga.La historiografía del Románico en la provincia de Soria tiene tres etapas diferenciadas. Una inicial, que parte de los estudios de Eduardo Saavedra (1856 y se extiende hasta 1934, fecha de la lectura de la tesis doctoral de Gaya Nuño (La arquitectura románica en la provincia de Soria, cuya publicación, no obstante, se demora hasta 1946. La Guerra Civil y posguerra marcan el comienzo de la segunda etapa, transicional y sin grandes aportaciones. La última etapa se inaugura con la publicación de los tres volúmenes sorianos de la Enciclopedia del Románico en Castilla y León (2002. Esta obra ha multiplicado el conocimiento del patrimonio edilicio románico, acrecentado, después, por la labor de la

  16. Le charme slave

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    Antonella Mauri

    2012-09-01

    Full Text Available Antonella Mauri analyse l’image des femmes slaves immigrées en Italie telle qu’elle apparaît à travers la publicité, la littérature romanesque (La ballata dei lavavetri de Peter Del monte, Luce Profuga de Valerio Aiolli, Pornokiller de Bruno Ventavoli, le cinéma, la bande dessinée (Danilo Maramotti, image qu’elle oppose aux résultats d’une enquête qu’elle a menée sur le terrain. Elle s’interroge en particulier sur la permanence des stéréotypes liés à la femme slave.

  17. « Mais pourquoi m’a-t-elle fait ça ! » : la causalité dans Bouvard et Pécuchet de Gustave Flaubert

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    Florence Pellegrini

    2009-01-01

    Full Text Available La préoccupation de la jonction est, chez Flaubert, obsessionnelle : la correspondance évoque à de nombreuses reprises la difficulté que constitue pour l’écrivain l’élaboration des transitions. La continuité comme un « horizon » à atteindre qui doit composer avec la multiplicité des « détails », c’est le défi que l’écriture romanesque se propose de relever. Et, si la question se pose pour tout roman, elle intervient de manière exacerbée dans Bouvard et Pécuchet : l’élaboration narrative, soum...

  18. La fortuna del ciclo de "Daniel en el foso de los leones" en los programas escultóricos románicos de Galicia

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    Moure Pena, Teresa C.

    2006-09-01

    Full Text Available This study is focused on the iconographic cycle of Daniel in the Lions Den within the sculptural programs of the Galician Romanesque. Analysis of the representations allows for the proposal of a series of theories concerning the connection between figuration and context, and particularly the value and signification acquired by the theme in the monastic milieu.

    El objetivo de este artículo se centra en el estudio del ciclo iconográfico de Daniel en el foso de los leones en los programas figurativos del románico gallego. El análisis de las representaciones nos permitirá proponer una serie de teorías sobre la conexión entre figuración y el contexto en el que se dispone y, especialmente el valor y significado que el tema adquiere en el ámbito monástico.

  19. L'écriture du cycle

    OpenAIRE

    Ackerman, Ada; Conrad, Thomas; Corbellari, Alain; Genesis, La rédaction de; Grenaud-Tostain, Céline; Guermès, Sophie; Leblond, Aude; Leriche, Françoise; Lüdeke, Roger; Lumbroso, Olivier; Macke, Jean-Sébastien; Montémont, Véronique; Neefs, Jacques; Pagès, Alain; Pottier, Jean-Michel

    2016-01-01

    Textes réunis et présentés par Alain Pagès (Paris III) et Olivier Lumbroso (Paris III) Ce numéro de la revue Genesis coordonné par Alain Pagès et Olivier Lumbroso souhaite ouvrir un nouveau chantier en posant la question de l’écriture des cycles romanesques. Au-delà d’une génétique des œuvres individuelles – étudiées à travers leurs ébauches, leurs scénarios ou leurs variantes scripturales –, il propose de changer d’échelle, et d’ouvrir un nouvel espace à la perception des phénomènes de gen...

  20. THE COMMON EVOLUTION OF GEOMETRY AND ARCHITECTURE FROM A GEODETIC POINT OF VIEW

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    T. Bellone

    2017-05-01

    Full Text Available Throughout history the link between geometry and architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate. Sometimes it is geometry which drives architectural choices, but at other times it is architectural innovation which facilitates the emergence of new ideas in geometry. Among the best known types of geometry (Euclidean, projective, analytical, Topology, descriptive, fractal,… those most frequently employed in architectural design are: – Euclidean Geometry – Projective Geometry – The non-Euclidean geometries. Entire architectural periods are linked to specific types of geometry. Euclidean geometry, for example, was the basis for architectural styles from Antiquity through to the Romanesque period. Perspective and Projective geometry, for their part, were important from the Gothic period through the Renaissance and into the Baroque and Neo-classical eras, while non-Euclidean geometries characterize modern architecture.

  1. The Common Evolution of Geometry and Architecture from a Geodetic Point of View

    Science.gov (United States)

    Bellone, T.; Fiermonte, F.; Mussio, L.

    2017-05-01

    Throughout history the link between geometry and architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate. Sometimes it is geometry which drives architectural choices, but at other times it is architectural innovation which facilitates the emergence of new ideas in geometry. Among the best known types of geometry (Euclidean, projective, analytical, Topology, descriptive, fractal,…) those most frequently employed in architectural design are: - Euclidean Geometry - Projective Geometry - The non-Euclidean geometries. Entire architectural periods are linked to specific types of geometry. Euclidean geometry, for example, was the basis for architectural styles from Antiquity through to the Romanesque period. Perspective and Projective geometry, for their part, were important from the Gothic period through the Renaissance and into the Baroque and Neo-classical eras, while non-Euclidean geometries characterize modern architecture.

  2. Compte rendu de Gouanvic (Jean-Marc, Pratique sociale de la traduction. Le roman réaliste américain dans le champ littéraire français (1920-1960

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    Séverine Olivier

    2008-04-01

    Full Text Available Pratique sociale de la traduction fait suite à l’ouvrage Sociologie de la traduction (1999, dans lequel Jean-Marc Gouanvic analysait l’introduction de la science-fiction américaine dans la France des années 1950 et l’émergence concomitante d’un champ autonome de la science-fiction française. Dans son nouvel opus, Gouanvic se penche sur le genre romanesque réaliste — genre qu’il considère comme dominant en Occident — et plus particulièrement sur la traduction de romans réalistes américains da...

  3. Constantinople dans quelques textes grecs de fiction aux XVIIIe et XIXe siècles Constantinople in certain greek novels of the 18th and 19th centuries

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    Henri Tonnet

    2012-05-01

    Full Text Available Le présent article est une présentation de Constantinople telle qu’elle apparaît dans quelques textes romanesques du XIXe siècle grec. À cette époque Constantinople/Istanbul est encore pour les Grecs la capitale naturelle de l’hellénisme. Le point commun de tous les textes romanesques grecs de cette période, c’est qu’ils soulignent la continuité entre l’Empire byzantin et l’Empire ottoman. Si l’élément grec de la population y est souvent surévalué — on n’y parle presque jamais des Turcs — sans être pour autant idéalisé, les quartiers grecs sont sales, certains auteurs, comme Constantin Ramfos, sont très sensibles à la beauté de l’architecture ottomane. C’est une Istanbul aujourd’hui disparue que ces textes rares et non traduits nous révèlent.The present article is a presentation of the city of Istanbul as it appears in 19th century texts, in Greek novels. At the time Constantinople/Istanbul still felt like the natural capital of Hellenism for Greeks. The point that all those texts have in common, in the particular period, is that they underline the continuity between the Byzantine Empire and the Ottoman Empire. Even if at some points the Greek element of the population is over evaluated – there is rare if ever any mention of Turks in those texts – it is never idealized. The Greek neighbourhoods are described as being dirty and certain authors, like Constantine Ramfos, appear to be very sensible to the beauty of the ottoman architecture. These rare and non translated texts reveal to our eyes the city of Istanbul as a city that has now disappeared.

  4. La restauración de la iglesia de Sant Quirze de Pedret (Barcelona, España

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    González Moreno-Navarro, Antoni

    1996-10-01

    Full Text Available Sant Quirze de Pedret is a small church built on late first millennium of our era. It belongs to the Town Council of Berga (province of Barcelona. Its Romanesque and pre- Romanesque paintings, found in 1922 and 1937 and kept in Barcelona and Solsona, enjoy international recognition. However, the first restoration carried out by the province county council of Barcelona (1959-1964 evidenced the successive phases of construction, and the evolution of its masonry is often subject to polemics. Twenty five years later a new restoration was needed. To complete the reconstruction initiated in 1959 and after thorough historical studies, mural paintings (originals and reproductions are once again decorating its walls.

    Sant Quirze de Pedret es una pequeña iglesia de finales del primer milenio propiedad del ayuntamiento de Berga (provincia de Barcelona. Es conocida internacional mente por las pinturas románicas y prerrománicas halladas en 1922 y 1937, conservadas en Barcelona y Sobona. La evolución de su fábrica ha sido, a menudo, origen de polémica. La primera restauración realizada por la Diputación de Barcelona (1959-1964, sin embargo, evidenció las sucesivas fases de construcción. Transcurridos 25 años fue necesaria una nueva restauración, también a cargo de la Diputación. Se completaron los estudios históricos y la reconstrucción formal iniciada en 1959 y las pinturas murales (originales o reproducidas han vuelto a decorar los muros.

  5. Hobbes, les pirates et les corsaires. Le « Léviathan échoué » selon Carl Schmitt

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    Dominique Weber

    2005-04-01

    Full Text Available Parmi les nombreux problèmes que pose l’ouvrage de Carl Schmitt Le Léviathan dans la doctrine de l’État de Thomas Hobbes, il en est un, majeur, qui concerne l’utilisation de la « mythologie politique » pour expliquer la réalité ou les doctrines politiques. Il y a là, à n’en pas douter, l’expression de l’un des versants de l’irrationalisme de Schmitt. La thèse de l’auteur est très claire : parce que Hobbes ne possédait aucun « sens mythologique », il s’est trompé de monstre biblique, appelant Leviathan son traité consacré au pouvoir d’État, alors qu’il aurait dû l’appeler plus adéquatement Behemoth, manquant du coup la Meeresbild caractérisant l’Angleterre de son temps. La thèse peut paraître séduisante, elle s’appuie néanmoins sur un présupposé fort contestable, car Hobbes ne vise nullement à créer des mythes. Il s’agit donc d’interroger la théorisation hobbesienne de la piraterie, d’une part, et de la dissidence religieuse « sauvage », d’autre part, afin de montrer que le choix par Hobbes des monstres du Livre de Job est un choix rationnellement assumé.

  6. Vom eindi-men-sionalen zum ganzheitlichen Blick auf Geschichte From the one di-men-sional to the comprehensive view of history

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    Bärbel Völkel

    2008-03-01

    Full Text Available Zyklopen, die ungeschlachten Riesen der griechischen Mythologie, hatten ihr Auge in der Mitte der Stirn – an dem Platz des Dritten Auges, dem in anderen Weltanschauungen intuitives oder ganzheitliches Sehen zugesprochen wird. Diese Fähigkeit war den Zyklopen fremd. Sie ’sahen‘ nur mit einem Auge. Monokularsehen erzeugt im Hirn zwar auch ‚wirklichkeitsnahe‘ Bilder, ihnen fehlt es jedoch an Räumlichkeit, an Komplexität. Das führt zu schmerzhaften Kollisionen mit ‚der Wirklichkeit‘. Dieses Bild greift Brigitte Dehne im Untertitel ihres Buches Gender im Geschichtsunterricht auf, das die innerhalb der Geschichtswissenschaft längst außerordentlich elaboriert diskutierte Kategorie „Gender“ als Handlungskonzept für den Geschichtsunterricht erschließt.The Cyclops, those undefeatable giants of Greek mythology, had their eye in the middle of their forehead—in the exact place of the third eye, to which other world views have attributed intuitive or wholeness in sight. This ability was foreign to the Cyclops. They ’saw’ only with one eye. Monocular seeing admittedly also creates ‘realistic’ images in the brain, but missing from these images is three-dimensionality and complexity. This leads to painful collisions with ‘reality.’ Brigitte Dehne utilizes this image in the subtitle of her book Gender in the History Lesson (Gender in Geschichtsunterricht, which makes “gender,” a category that has long been an exceptional and elaborately discussed concept in historical studies, accessible as a method of approach in the history classroom.

  7. Digital Reconstruction of the Church of San Ildefonso at Zamora (spain) Using Orthoware

    Science.gov (United States)

    Pérez, A.; Cachero, R.; Navarro, S.; Jordá, F.; López, D.; Lerma, J. L.; Martos, A.

    2011-09-01

    This paper describes the surveying process performed on the Church of San Ildefonso in Zamora (Spain) using Orthoware©, an innovative photogrammetric software tool specially designed for the digital reconstruction of cultural heritage. This software is the result of intense R&D at Metria Digital after several years producing heritage true orthoimages, plans and full color 3D models in a commercial environment. Orthoware allows true measurements and produces high quality true orthoimages and full color 3D models starting out from conventional digital photographs. This is a progressive tool designed for non-specialist users, providing intuitive and quick methods to visually diagnose the quality of the results. The Church of San Ildefonso in Zamora was built over a previously existing temple whose Romanesque construction dates back to the 11th century, although it is nowadays hidden among extensions and remodelings carried out up until 18th century. With a length of more than 30 meters, the original floor plan of the Church consists on three naves and three apses, although only one nave is visible now, covered by groin vault, and one semicircular apse partially hidden by the current building. The south front maintains the greater part of its Romanesque origins, in spite of being hidden and higher than the present ground level. At the feet of the temple a tower rises, whose first stage is Romanesque but which has been altered by numerous Baroque elements. The objective of the photogrammetric reconstruction was the integral survey of the monument, including its four façades, interior faces and roofs for the production of some true-orthoimages, cross-sections, longitudinal-sections and ground plans at scale 1/50 with an accuracy of 10 mm for the drawings and a pixel size below 10 mm for the synthetic imagery. The usual photogrammetric workflow for producing true-orthoimages and digital 3D models in cultural heritage depends to a great extent on finding and matching

  8. The earliest phases of the parish church of Saint Margaret and Saint Stanislaus in Żębocin

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    Sławomir Dryja

    2012-12-01

    Full Text Available The paper has been based on archaeological and architectural exploration of the church in Żębocin carried out in 2011. Żębocin, a village in the Miechów district and the Proszowice deanery, had its beginnings reportedly in the mid-11th century. However, the first squire of Żębocin documented in historical sources was Tomko, coat of arms unknown, mentioned in 1384. According to tradition, the first church in the village, which has not survived, was built in the years 1059–1071 and consecrated by St. Stanislas of Szczepanów. In a local legend, the wife of knight Mikołaj of Żębocin took shelter in the tower of a stone church in Żębocin during the unrest in the reign of Boleslaus the Brave. The stone foundation under the north-eastern corner of the chancel belonged probably to a stone building, its function unknown, which may have stood there already in those turbulent times. The extant church, erected in the mid-13th century or soon afterwards, was a small single-nave structure with a chancel closed with a straight wall, built from bricks (with a wendian bond pattern on its elevation on stone foundations. It combined two styles: Romanesque (as shown by the surviving splayed window in the northern elevation of the chancel and Gothic (the brick ogival frame in the northern elevation of the nave. The important question whether the church had a tower from the start and where that tower was located remains undecided; the tower could have been incorporated into the body of the nave from the west or built above the chancel; it could also have been added afterwards, in the 16th century at the latest. Reportedly, the church in Żębocin once had a defensive character and was located in knights’ fortified town. Its founder may have been a progenitor of the Strzemieńczyk or the Odrowąż families. It should be remembered that Romanesque single-nave “village” churches built on a simple plan are quite frequent in Central Europe; there are

  9. The work of the couple Brailowsky in the mirror of Serbian critiques

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    Mosusova Nadežda

    2003-01-01

    Full Text Available Leonid (1867-1937 and Rimma (1877-1959 Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers the spirit of the World of Art (Mir Iskusstva, making décor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Molière, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Miloš by Petar Konjović, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nušić and Milutin Bojić, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

  10. Espaces, formes et enjeux identitaires dans Les petits-fils nègres de Vercingétorix de A. Mabanckou

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    Katrien Snoeck

    2017-02-01

    Full Text Available Dans l’œuvre romanesque de A. Mabanckou, le roman Les petits-fils nègres de Vercingétorix occupe une place particulière. Avec sobriété, l’auteur guide la plume de son héroïne, Hortense Iloki, pour peindre la violence aveugle à laquelle les hommes de son pays, le Viétongo, en proie à leurs démons identitaires, se livrent sans retenue. Tandis que la guerre civile fait rage, les femmes résistent à la haine tribale, s’organisent même pour témoigner de l’horreur dont elles sont les premières victimes. Viétongo ou Congo ? Ce qui se veut fictionnel rejoint la brutale réalité de la guerre civile de 1997 au Congo Brazzaville. En dénonçant l’instrumentalisation de questions identitaires par des hommes politiques africains à des fins personnelles, ce roman inscrit son auteur parmi les grands romanciers engagés de la sous-région.

  11. Un mito en piedra : la sexualidad en el contexto religioso de la Iglesia

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    María de los Ángeles Menéndez Gutiérrez

    1998-01-01

    Full Text Available Investigación sobre la temática sexual en la escultura románica de la primitiva Castilla, en la que se aborda un estudio iconográfico de aquellas representaciones que, por su propio carácter, se apartan del marco bíblico, entrando de lleno en esa iconografía denominada obscena, reunida en el marco religioso de la iglesia por toda una serie de festividades que las lleva a reactualizar todo un ciclo natural, cósmico y genésico, en íntima relación con las creencias de unos monjes y un pueblo llano, apegados a sus antiguas tradiciones, que continuaban manteniendo y aún celebrando sus ancestrales ritos relacionados con los ciclos vitales.This investigation is about tfie sexual theme of the Romanesque sculpture in the early «Castilla». It is an iconographical study of tfiose representations separated from a Biblical field, tfiat one knowing as obscene iconography. Ttiis obscene iconography is located at the religiouse environment of the church and it is connected thanks to several festivities. So a natural, cosmic and genetic cycle is updated again because it is connected intimately with some monks and people's believes. People, devoted to ancient traditions, kept and celebrated their ancestral rites related with Ufe cycles.

  12. 3D Survey and instability’s analysis of Romena parish

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    Stefano Bertocci

    2015-01-01

    Full Text Available The Romanesque parish church San Pietro a Romena is located in the municipal district of Pratovecchio, in the Casentino valley. It was built, due to a inscription chiselled on a capital, in 1152 d.C. probably wanted byMatilde di Canossa, who has promoted the construction of a lot of churches in this area. We don’t have many informations about the first church, probably destroyed by an earthquake, event that frequently has hit the valley. We based our research on what the DM 01/2008 requests, so our analysis was made following some steps of knowledge: firstly an accurated research in the archive of the Fiesole diocese, to suppose how the buildinghas evolved during the ages, then a 3D laser scanner survey. Thanks to the accurate point cluod we could draw our sections of the church, integrating the material analysis, the orthophotos and the degradation analysis. In parallel has been developed the stratigraphic analysisof the building, which is useful to understand how it has been costructed and how it has grown, so that a coherent restoration project can be efficiently designed.

  13. Les formes de la séparation dans les Lettres Persanes

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    Thaïs Chauvel

    2017-12-01

    Full Text Available Cet article aborde la thématique de la séparation dans le dispositif romanesque des Lettres persanes, de Montesquieu, à savoir, le roman du sérail. De ce fait, cette étude entend analyser les formes de la séparation qui apparaissent dans les lettres des trois personnages membres du sérail: les femmes, leur mari Usbek, ainsi que les gardiens eunuques. En premier lieu, il importe de comprendre dans quelle mesure la forme épistolaire des Lettres persanes implique la séparation. Par la suite, on analysera d’abord la réaction des épouses face au départ de leur mari dans les lettres III et VII. Puis, on verra en quoi l’exil d’Usbek, contraint à quitter la Perse, constitue une séparation et comment celle-ci finit par le rapprocher de ses eunuques. Enfin, on se penchera de façon plus approfondie sur la figure de l’eunuque, esclave dont on a amputé le sexe et qui semble ainsi incarner le mieux l’aliénation.

  14. Salammbô et la crise du personnage

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    Walid Ezzine

    2010-11-01

    Full Text Available Dans Salammbô, le rapport des personnages aux objets est non seulement le signe d’une nouvelle vision de l’histoire, mais aussi d’une conception particulière de l’héroïsme. La suprématie du personnage promue et développée par une longue tradition romanesque est mise en cause dans ce roman par l’exubérance des objets. Menacés par ceux-ci, les personnages deviennent eux-mêmes des objets et perdent toute initiative et toute influence sur la nature.In Salammbô, the report of the characters in objects is not only the sign of a new vision of the history, but also a particular conception of the heroism. The ascendancy of the character promoted and developed by a long romantic tradition is questioned in this novel by the exuberance of objects. Threatened by these, the characters become themselves objects and lose any initiative and any influence on the nature.

  15. La iglesia de San Miguel en Caltojar. El Románico en transición

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    Utrero Agudo, María de los Ángeles

    2014-12-01

    Full Text Available The church of San Miguel in Caltojar belongs to a large group of Romanesque architecture sited in the province of Soria. Simple in form and scale, only the sculpture of its southern main door has been approached by those few researchers engaged in its study. However, this building owns a sequence with two original building phases, dated to the late 12th and early 13th centuries, and numerous later modifications, standing out the vaults of the naves introduced in the modern period, not in the medieval one as it had been hitherto thought.La iglesia de San Miguel en Caltojar forma parte del amplio conjunto de arquitectura románica que puebla la provincia de Soria. De forma y escala sencillas, únicamente la decoración de su portada meridional ha llamado la atención de los escasos investigadores que se han ocupado de ella. Sin embargo, este edificio encierra una secuencia con dos fases originales de obra, atribuibles a finales del siglo XII e inicios del XIII, y un número importante de modificaciones posteriores, entre las cuales destacan las cubiertas abovedadas de las naves introducidas en época moderna, y no en época medieval como se había propuesto hasta hoy.

  16. L’identité africaine dans L’appel des arènes et Le vent du sud

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    Dr Johnson Djoa Manda

    2016-09-01

    Full Text Available Cet article entend mettre au goût du jour les valeurs qui unissent les peuples africains. Car l’Afrique, berceau de l’humanité, est frappée par une grande division entre peuples de même origine. Sur la base de deux œuvres romanesques issues de deux sphères différentes (l’Afrique noire et le Maghreb il a été démontré, à la lumière des mécanismes sémiotiques et référentiels qu’il existe véritablement une identité africaine. Les textes, en effet, sont prégnants de constructions identitaires véhiculées par l’histoire, la tradition orale des griots et porteurs de parole et par l’expression picturale et graphique. Par ailleurs, l’acte de référence considère que les espaces scéniques, le temps de l’histoire et les actants font l’objet d’une authenticité. Ce passé douloureux, toutes ces interventions articulées sur le verbe et l’écriture sont des valeurs identitaires propres à l’Afrique. Elles unissent les peuples du continent noir et posent le postulat d’une seule Afrique.

  17. Être parasité par les fictions des autres. Rôle et (impertinence du personnage de Gabriel Rivages dans la trilogie 1984 d’Éric Plamondon

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    René Audet

    2015-01-01

    Full Text Available Romans fragmentaires autant que romans duels, les trois tomes de la trilogie 1984 d’Éric Plamondon associent chacun à une figure américaine (Weissmuller, Brautigan, Jobs le personnage de Gabriel Rivages, dont le destin est placé en écho à ces mythes. Singulier dans son histoire, Rivages reste toutefois un personnage faible, jouant un rôle de relais et de faire-valoir. Son actantialité réduite pourrait être perçue, à la lumière de la fragmentation romanesque et de l’architecture livresque de cet ensemble, comme le signal d’une individualité tiraillée entre la grandeur du réel mythifié et la faiblesse de la fiction ordinaire. As much fragmentary novels as they are dual novels, each of the three volumes of Eric Plamondon’s 1984 trilogy associates the character Gabriel Rivages with an American figure (Weissmuller, Brautigan, Jobs, placing the destiny of the character as an echo to the myths surrounding each figure. Though unique within his story, Rivages nevertheless remains a weak character, playing the role of relay or foil. His reduced actantiality may be perceived, in light of the novelistic fragmentation and the architecture of the trilogy, as the signal of an individuality caught between the grandeur of a mythologized reality and the feebleness of ordinary fiction.

  18. Pluteus from the Chancel Screen in the Sanctuary of St Tryphon in Kotor

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    Pavuša Vežić

    2016-01-01

    Full Text Available The author discusses a marble pluteus discovered in 1906 in the Kotor cathedral, where it was incorporated in the main altar as a spolium. Apparently, it originally belonged to the chancel screen in the sanctuary of St Tryphon, constructed in the early 9th century, of which only remnants of the foundation layer have been preserved. The pluteus has been analysed on several occasions, with the results published in scholarly literature, and most experts have justly dated it to the early period of pre-Romanesque sculpture in Dalmatia. Its front features a relief with geometric and vegetal ornaments. To the left, there is a panel with knotted triangles along the edge and rhombuses in the central section. The panel to the right contains two arcades with crosses underneath. Special attention has been paid to the relatively numerous ornaments on similar plutei in areas of Adrio-Byzantine tradition, in Roman cities of the Istrian and Dalmatian coastlines. Thereit combines with influences from Lombard and Carolingian centres, and in this combination it is also present in the area of the ancient Croatian state and other Sclavinias. The pluteus of Kotor is a telling element in the discussion on numerous similar relief arrangements and ornaments in the sacral art of the Adriatic cultural circle during the early medieval period.

  19. Mileva Maric Einstein vivre avec Albert Einstein

    CERN Document Server

    Milentijevic, Radmila

    2013-01-01

    Radmila Milentijevic n’est pas la première à écrire sur les relations entre le génial Albert Einstein et sa première épouse et précieuse collaboratrice durant ses années de recherches, la scientifique serbe Mileva Maric. Mais c’est la première fois qu’un ouvrage traite de cette idylle, puis de ce drame familial qui a duré près de cinquante années, sous une forme quasiment poétique, si rare dans l’historiographie scientifique.Professeur émérite d’histoire à l’université de New York, l’auteur propose ici une monographie riche et vivante, dévoilant une face cachée d’Albert Einstein, et faisant de sa compagne une figure historique de premier plan en même temps qu’un personnage romanesque dont le destin tragique ne laissera aucun lecteur indifférent.

  20. Discussion of ‘Style’ from Max Loehr and the Study of Chinese Bronzes, Style and Classification in the History of Art, Ithaca, Cornell University Press: Cornell East Asia Series 2008

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    Robert Bagley

    2010-06-01

    Full Text Available This essay is the concluding chapter of a study of the work of Max Loehr (1903-1988, an art historian whose visual analysis of unprovenanced Chinese bronzes famously anticipated the discoveries of archaeologists. It argues that Loehr’s strictly pragmatic understanding of style is implicit in the daily practice of most art historians, but that most of our explicit uses of the word, including such everyday expressions as ‘Romanesque style’ and ‘style of Raphael’, presume the existence of a mysterious, indefinable entity that is both a property of the object and a disembodied agent evolving independently of artists and objects. Not surprisingly, no procedure for ascertaining the style of an object has ever been described. The failure to recognize that style is not a physical property but only a shorthand for talking about comparisons is responsible for many classic confusions in art history. Finding the causes of a style or explaining its evolution (‘the origin of the Gothic style’, ‘the evolution from Renaissance to Baroque’, relating styles to times or cultures or nations, relating them across media (‘Baroque painting’ and ‘Baroque music’—these are fictitious problems, artefacts of a mistaken belief in a thing called ‘style’.

  1. Autobiographie de A Lai: auto-thérapie de la souffrance par l’écriture autobiographique

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    Yue Yue

    2010-02-01

    Full Text Available Connu par son obtention en 2005 du prix littéraire le plus prestigieux de la Chine pour son roman Chen'ai luoding (la poussière tombe qui pourtant mit du temps à s’imposer, le romancier d’expression chinoise A Lai, né en 1959, est l’un de ces auteurs tibétains sinophones par obligation. Il puise toujours son inspiration dans une souffrance qui l’accompagne depuis son enfance. En effet deux courts romans, respectivement publiés en 1987 et en 1988, et un long poème édité en 1989 témoignent d’un parcours douloureux jusqu’à la trentaine. L’expérience de A Lai est exceptionnelle dans la littérature d’expression chinoise, peu habituée à ce type d’auto-thérapie littéraire manifeste dans son œuvre romanesque et son œuvre poétique complémentaires et dont la dimension personnelle n’exclut pas l’intérêt d’un témoignage social.

  2. Harraga dans la littérature francophone : Boualem Sansal, Tahar Ben Jelloun, Mathias Enard et Marie Ndiaye

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    Désirée Schyns

    2016-03-01

    Full Text Available Résumé : Le présent article offre une analyse de l’immigration clandestine représentée en fiction. Je commenterai quatre productions romanesques francophones qui évoquent la recherche d’une vie meilleure en Europe par des personnages des pays du Sud, à savoir l’Algérie (Boualem Sansal, le Maroc (Tahar Ben Jelloun et Mathias Enard, et un pays d’Afrique subsaharienne qui ne sera nulle part mentionné (Marie Ndiaye. Nous allons voir que Sansal se sert de la fiction pour dénoncer surtout la situation socio-politique en Algérie qui fait que tant de jeunes veulent quitter le pays. Tahar Ben Jelloun et Mathias Enard ont recours à des références intertextuelles afin de replacer le sujet de l’immigration clandestine dans un contexte plus large, et notamment de critiquer les relations coloniales et d’établir un lien avec le passé. Quant à Marie Ndiaye, elle interpelle le lecteur en donnant un témoignage déchirant de l’errance de son personnage, mais en même temps insère des éléments fantastiques qui créent une distance esthétique et affective par rapport à l’expérience migratoire.

  3. Effects of FRP application on the seismic response of a masonry church in Emilia-Romagna (Italy)

    Science.gov (United States)

    Milani, Gabriele; Shehu, Rafael; Valente, Marco

    2016-12-01

    The paper presents some preliminary results of advanced Finite Element (FE) analyses on the upgrading of old masonry constructions by means of Fiber Reinforced Polymers (FRPs). The case study is a masonry Romanesque church, located in Ferrara, Emilia Romagna (Italy). The church exhibits widespread damage caused by the recent earthquake sequence occurred in 2012 about 60 km far from Ferrara with two major seismic events of magnitude 5.8 and 5.9. The main damage involved mainly the columns of the central nave and the apse. A partial detachment of the façade was observed too. First, gravity load analyses and non-linear static and dynamic analyses are performed on the church in the unretrofitted configuration. Numerical results put in evidence the insufficient strength of the apse and the columns of the naves, and the detachment of the façade. A strengthening intervention conducted by means of FRP strips is numerically analysed, assuming the behavior of the strips, especially for what concerns delamination, in agreement with Italian Guidelines. Numerical results show a quite reasonable strength improvement of the weak structural elements due to FRP application, with levels of strength higher than the minimum ones required by Italian Code.

  4. Du type au stéréotype : analyse des modalités d’insertion des stéréotypes des physiologies dans Bouvard et Pécuchet

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    Vincent Stohler

    2011-01-01

    Full Text Available Cette analyse a pour but d’exposer la manière dont Flaubert récupère les stéréotypes présents dans les physiologies, genre littéraire à la mode dans la première moitié du XIXe siècle, en définissant leurs différentes modalités d’insertion dans Bouvard et Pécuchet. Après s’être interrogée sur le statut particulier des physiologies, l’étude montre que les différents types qu’elles mettent en scène, et plus particulièrement celui du « bourgeois », fournissent à Flaubert un matériel discursif stéréotypé qui lui sert de base de composition à l’ensemble de son texte : composition des personnages (traits physiques, caractériels, axiologiques, etc., composition structurelle du roman, etc. La démonstration attire ainsi l’attention sur ce qui paraît être l’une des lignes de force de l’écriture flaubertienne : l’amenuisement au sein de l’espace romanesque du langage de l’auteur au profit d’un langage stéréotypé, venu d’ailleurs.

  5. El Santo Sepulcro. Imagen y funcionalidad espacial en la capilla de la iglesia de San Justo (Segovia

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    Carrero Santamaría, Eduardo

    1997-06-01

    Full Text Available The parish church of San Justo in Segovia is located outside the city, in the suburb of El Cerrillo. Inside the church there are Romanesque wall paintings, an articulated reclining statue of Christ known as el Cristo de los Gascones, a chapel in the first storey of the tower and, finally, a sculptured tympanum in the door that gives way to the chapel. All of them can be dated to the 12th and 13th-centuries. The analysis of these elements gives us the key to the functionality of the tower chapel, as one of the areas dedicated to the devotion of the Holy Sepulchre in Castile.[fr] Hors des murs de la ville de Segovie, au lieu-dit El Cerrillo, se trouve l'église de San Justo. À l'intérieur, il y a un cycle de peintures murales romanes, une sculpture articulée du Christ gisant connue sous le nom de Cristo de los Gascones, une chapelle au-dessous de la tour et un tympan sculpté sur la porte d'accès à la chapelle. Tous ces éléments sont attribués aux XIIᵉ et XIIIᵉ siècle. Leur étude montre que cette chapelle était sans doute dédiée au culte du Saint-Sépulcre en Castille.

  6. O discurso da memória: um ensaio bakhtiniano a partir de Infância e São Bernardo de Graciliano Ramos / The discourse of memory: a Bakhtinian essay from Infância and São Bernardo by Graciliano Ramos

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    Gilberto de Castro

    2011-11-01

    Full Text Available RESUMO: Em Problemas da poética de Dostoiévski, Bakhtin, para afirmar as características da estética polifônica, infirma essa possibilidade em vários outros gêneros do romance. Na análise que segue, aproveitamos a reflexão do autor russo para pensar, no contraponto com o romance polifônico, as características do discurso romanesco daautobiografia presente em Infância e São Bernardo de Graciliano Ramos.ABSTRACT: In Problems of Dostoevsky’s Poetics, Bakhtin, in order to assert the characteristics of polyphonic aesthetics, excludes this possibility in several other genres of the novel. In the analysis which follows, we consider the reflection of the Russian author to think, in counterpoint with the polyphonic novel, the characteristics of romanesque speech of the autobiography in Infância e São Bernardo by Graciliano Ramos.

  7. La labor reconstructora de Francisco Somolinos en Langreo, Asturias: la iglesia parroquial de Santiago Apóstol = The Rebuilding Task of Francisco Somolinos in Langreo, Asturias: The Parish Church of Santiago Apostol

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    Noelia Fernández García

    2016-05-01

    Full Text Available Después de la Guerra Civil, la arquitectura española estuvo regida por el estilo establecido por la Dirección General de Regiones Devastadas. A partir de este momento, en la construcción de los templos se recuperaron los historicismos más representativos de la historia del catolicismo, tales como serían el románico y el gótico, por ser considerados los adecuados para mostrar el espíritu de la Iglesia. Así, la iglesia parroquial de Santiago Apóstol, construida por Francisco Somolinos en el concejo asturiano de Langreo, resulta un ejemplo clave de la arquitectura religiosa de posguerra ya que evidencia claramente las nuevas formas de actuación arquitectónica durante el primer franquismo.After the Civil War, the style established by the so -called General Direction of Devastated Regions ruled Spanish architecture. Since that moment, the most representative historic styles of Catholicism were recovered for the construction of new churches, such as the Romanesque or the Gothic style, because they were considered as suitable to show the essence and spirit of the religious institution. Thus, Santiago Apóstol parish church, built by Francisco Somolinos in the council of Langreo, is a great example of post-war religious architecture because it shows the new architectural tendencies during the first years of Franco’s dictatorship.

  8. La antigua iglesia de San Pedro (Íscar, Valladolid. Evidencias arquitectónicas románicas

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    Esteban Molina, Jorge

    2015-03-01

    Full Text Available Saint Peter is the great unknown of the Iscar churches due to the demolition of most of its architectural structures and the insufficient characteristics of the scarcely preserved evidence, hidden between contemporary buildings. Nevertheless, the recent demolition of one of the buildings attached to the eastern side of the former temple, where the Romanesque remains are concentrated, has brought to light a decisive part of the apse and the presbytery along with the front closure of the southern aisle. This discovery has allowed an indepth analysis and an approach to what could have been the primitive building.San Pedro es la gran desconocida de las iglesias de Íscar a consecuencia de la demolición de la mayor parte de sus estructuras arquitectónicas y de la insuficiente representatividad de las escasas evidencias conservadas, enmascaradas entre edificios contemporáneos. Sin embargo, el reciente derribo de uno de los inmuebles adosados en el extremo oriental del antiguo templo, donde se concentran los restos del periodo románico, ha sacado a la luz una parte determinante del ábside y el presbiterio así como el testero de cierre de la nave meridional, permitiendo su análisis en profundidad y una aproximación a lo que pudo ser la primitiva construcción.

  9. Le langage des couleurs dans les films de Zhang Yimou

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    Xiaomin Giafferri

    2009-05-01

    Full Text Available Tout film, ou du moins tout film de fiction, est récit. Représentation visuelle et sonore, le film transpose à l’écran la réalité par un enchaînement d’images, où des traits physiques, gestes, mouvements, paysages se combinent pour former un espace de fiction. Le cinéma en tant qu’art possède un langage spécifique ; dans un film coloré, les couleurs comme moyen d’expression font partie du langage pictural. A partir de quatre films de Zhang Yimou connus en Europe, Le sorgho rouge, Epouses et concubines, Judou et Hero, ce texte tente de réfléchir sur ces questions: si l’on admet que les limites du récit filmique diffèrent de celles du récit verbal, romanesque par exemple, les couleurs qui ne constituent pas un trait pertinent d’identification, participent-elle à la prise en charge de l’histoire ? Composante de l’espace filmique dont les fonctions narratives sont incontestées, sont-elle définitivement non diégétiques ?

  10. Le soleil devient un mythe

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    Ildikó Lőrinszky

    2009-01-01

    Full Text Available Partant d’une phrase énigmatique datant de 1858 et puisée dans la Correspondance de Flaubert, cet article s’interroge sur la relation entre soleil et mythe, qui constituera l’un des éléments clefs de la dimension mythologique de Salammbô. Il se propose d’examiner la façon dont cette question apparaît dans deux ouvrages représentatifs des études mythographiques : d’une part, L’Origine de tous les cultes de Charles-François Dupuis, d’autre part, Les Religions de l’Antiquité..., publié sous les noms de Frédéric Creuzer et de son adaptateur français, Joseph-Daniel Guigniault. La version française de la grande synthèse de Creuzer, assortie d’une série importante de planches, a été richement exploitée par Flaubert au cours de la genèse du roman carthaginois. Dans Salammbô, le mythe apparaît sous de multiples formes. L’analyse de ce texte peut nous amener à réfléchir sur le « bon usage » du mythe auquel chaque créateur (et chaque lecteur se trouve nécessairement confronté.Starting from an enigmatic phrase in Flaubert’s correspondence, dating from 1858, this article examines the relation between the Sun and myth, which constitutes one of the key elements of the mythological dimension of Salammbô. It especially focuses on the treatment of this question in two representative works of mythographic studies, The Origin of All Religious Worship by Charles-François Dupuis, and Les Religions de l’Antiquité..., the French adaptation of Frédéric Creuzer’s Symbolik und Mythologie der alten Völker by Joseph-Daniel Guigniault. The French version of Creuzer’s great synthesis, supplied with a remarkable set of prints, was abundantly consulted by Flaubert when writing his Carthaginian novel. In Salammbô, myth takes on various forms. Analyzing this text might lead one to reconsider “the right way” to use myths — a problem all writers (and readers find themselves confronted with.

  11. „... das Unendliche im Endlichen gebären ...“ “To Bring Forth the Infinite in the Finite”: the Process of Signification in Creuzer’s Theory of the Symbol

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    Susanne Gödde

    2010-12-01

    Full Text Available La contribution analyse les procédés de signification spécifiques de ce qui dans la Symbolique de Creuzer est appelé « mythe » et « symbole ». On peut en distinguer trois : 1. La signification d’un mythe ou d’une figure mythologique se reconstitue en affirmant une ressemblance interreligieuse ou linguistique (notamment par recours à l’étymologie de sorte que la « vraie » doctrine religieuse est retrouvée dans ces relations établies entre les mots et les noms. 2. La signification se reconstitue par l’indexicalité d’une image divine (essentiellement aniconique, l’image cultuelle du phallus en tant que lettre d’une langue naturelle y acquérant une signification sémiotique particulière. 3. La signification se reconstitue par une disparité de forme et contenu. Dans ce cas, le symbole qui risque de faire éclater sa forme contient une composante extatique. Contrairement au postulat classique de l’accompli et d’un tout bien proportionné, cette disparité présente des aspects d’une esthétique du laid. Ces trois procédés proviennent d’une herméneutique romantique et peuvent être considérés comme anti-classiques.The following contribution investigates the specific means of signification that Creuzer articulates for the categories ‘symbol’ and ‘myth’ in his Symbolik und Mythologie der alten Völker (Symbolism and Mythology of the Ancient Peoples. Three processes of signification can be distinguished: 1. the meaning of a myth or mythical figure is constituted by  postulating inter-religious relations, often with recourse to etymological or similar linguistic relations; and a previous truth or dogmatic system is inferred to lie ‘behind’ the narrative and its linguistic interrelations. In these cases, Creuzer locates the authentic religious meaning within those relations. 2. Meaning is constituted through the indexicality of a (primarily aniconic image of a god, whereby the cult-image of a

  12. Bouvard et Pécuchet et le savoir médical

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    Norioki Sugaya

    2009-01-01

    Full Text Available Le présent article a pour objet le dossier médical que Flaubert a constitué pour la préparation du chapitre III de Bouvard et Pécuchet. Ce dossier considérable, qui contient des notes de lecture prises par le romancier en vue de la rédaction du chapitre médical, nous permet de comprendre à quel point le « comique d’idées » propre au roman encyclopédique est le produit d’un travail intense sur le savoir. L’écriture romanesque de Bouvard explore en effet les configurations épistémologiques de chaque discipline, et met au jour surtout ses apories et ses insuffisances. Nous nous proposons donc d’aborder le dossier médical pour saisir le sens de l’excès documentaire pour l’esthétique flaubertienne. Notre étude se compose de trois parties. D’abord, nous étudierons la composition du dossier en nous demandant quels ouvrages médicaux a lu l’auteur de Bouvard. Ensuite, nous essaierons d’examiner le travail critique de Flaubert pratiqué sur les discours du savoir, en particulier la manière dont il traque et construit des contradictions. Enfin, nous analyserons un épisode du roman, celui de la fièvre typhoïde de Gouy, dont l’étude de la genèse nous montrera l’inscription de l’épistémologique dans la représentation romanesque.This article proposes to study the medical documents gathered by Flaubert for the preparation of Chapter III of Bouvart et Pécuchet. This substantial file, which contains reading notes taken by the novelist for the writing of the medical chapter, allows us to understand to what extent the “comic of ideas”, characteristic of the encyclopedic novel, is the result of an intensive work on knowledge. Indeed, the novelistic writing of Bouvard explores the epistemological configurations of each discipline, and in particular reveals its aporia and its insufficiencies. We have chosen to focus on the medical file in order to understand the meaning of the documentary excess with

  13. Innovaciones técnicas, estilísticas y temáticas en la cerámica de los Zuloaga

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    Rubio Celada, A.

    1999-08-01

    Full Text Available The Zuloagas’ ceramics covers several generations, since the 1870’s. The first artists in the family were Guillermo, Germán and Daniel. Their father, Eusebio, arquebusier of Queen Isabel II and Chief of the Royal Gunsmith’s House, sent them to study to the school of ceramics in Sévres, France. The resurgence of the factory of La Moncloa, in Madrid, was possible thanks to them. The Zuloagas restored the traditional techniques in ceramics; for example, the one of “cuerda seca” or “cuenca”-glazed and lustre painted ones, introducing the styles that were on fashion in Europe: Neo-Renaissance and Modernism. In 1893, Daniel Zuloaga settled into the Vargas factory in Segovia, and he opened, at the beginning of the XIX century his own workshop in the church of San Juan de los Caballeros, of Romanesque style, placed in the centre of this town, Segovia. Here he was helped by his son and daughters, Juan, Esperanza and Teodora, adopting new trends in art, like the Neo-Romanesque style and the Regionalist style, with themes he took from Castilian models and customs, within the aesthetic lines of the 98’s Generation.In his workshop he constantly investigated into ceramics and he even developed original techniques, like glazing on slate or applying photographs to ceramics.

    La cerámica de los Zuloaga abarca varias generaciones, desde los años setenta del siglo XIX. Los primeros son Guillermo, Germán y Daniel, a los que su padre, Eusebio, arcabucero de Isabel II y director de la Real Armería, manda a estudiar a la Escuela de Cerámica de Sèvres. A ellos se deberá el resurgir de la fábrica de la Moncloa. Los Zuloaga recuperarán las técnicas cerámicas tradicionales, como la cuerda seca, la cuenca y el reflejo metálico, introduciendo los estilos de moda en Europa como el Neorrenacimiento y el Modernismo. En 1893 Daniel Zuloaga se establece en la Fábrica de Vargas en Segovia, instalando a principios de siglo su propio taller, en

  14. Problems in the study of the medieval heritage in the Lim valley

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    Popović Marko

    2005-01-01

    century when a stone block was found there bearing the opening part of an inscription: "+ Te Criste auctore pontifex...", long believed to date from the 9th-10th century. Following the excavations, but based on this dating the church remains were interpreted as pre- Romanesque, and the interpretation entailed some major historical conclusions. From a more recent and careful analysis, the inscription has been correctly dated to the 6th century. With this dating as his starting-point, the author examines the fieldwork results and suggests that the block is an early-Byzantine spolium probably from the late-antique site of Kolovrat near Prijepolje, reused in the medieval period as a tombstone in the churchyard, where such examples are not lonely. It follows that the inscribed block is not directly relatable to the church remains and that it cannot be used as dating evidence. On the other hand, the church remains show features of the Romanesque-Gothic style of architecture typical of the Pomorje, the Serbian Adriatic coast. According to close analogies found for some elements of its stone decoration, the date of the church could not precede the middle of the 13th century. The question remains open as to who had the church built and what its original function was, that is whether a monastic community center round it. Its founder may be sought for among members of the ruling Nemanjić house, but a church dignitary cannot be ruled out. Anumber of complex issues raised by this site are yet to be resolved, but the study should be relieved of earlier misconceptions. Fresh information about this ruined medieval church should be provided by revision excavations in the future.

  15. La mère Méditerranée dans l'œuvre d'Albert Cohen The Mediterranean Sea in Cohen's works El Mediterráneo en la obra de Cohen

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    Thanh-Vân Ton-That

    1997-05-01

    Full Text Available La Méditerranée apparaît dans l'œuvre autobiographique et romanesque d'Albert Cohen dans une perspective pittoresque et anecdotique, lorsque sont évoquées les villes de Marseille et de la Côte d'Azur. Mais la géographie réaliste devient aussi poétique et symbolique quand la Méditerranée se confond avec la figure maternelle dans l'écriture de la mémoire et du désir, mêlant Histoire, mythes et destinée individuelle.In Albert Cohen's novels and autobiographical works, the Mediterranean Sea appears within a picturesque and anecdotal perspective, when he evokes Marseilles and the towns of the French Riviera. But this realistic geography also turns poetical and symbolical when the Mediterranean Sea merges into the mother figure through the expression of memory and desire, as it mingles history, myths and individual fate.El Mediterráneo aparece en la obra autobiográfica y novelesca de Albert Cohen en une perspectiva pintoresca y anecdótica, cuando se evocan las ciudades de Marsella y de la Costa Azul. Pero la geografía realista se hace poética y simbólica cuando el Mediterráneo se confunde con la figura de la madre en la escritura de la memoria y del deseo, mezclando Historia, mitos y destino individual.

  16. Voûtes d’ogives de l’époque romane en Alsace

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    Jean-Philippe Meyer

    2012-05-01

    Full Text Available La voûte d’ogives fut introduite dans les églises romanes de l’Alsace à partir de 1140-1150 environ (abbatiale de Murbach, collégiale de Lautenbach. Ce mode de voûtement s’imposa jusque dans de nombreux petits édifices à vaisseau unique. Dans les églises basilicales, les vaisseaux couverts de plafonds firent place, durant la seconde moitié du XIIe siècle, à des espaces rythmés d’abord de façon modérée, puis avec plus de vigueur. Vers 1200, les intérieurs furent dotés d’une puissante membrure ; faiblement éclairés, ils relèvent de recherches formelles qui se situent à l’opposé de celles poursuivies, au même moment, par les architectes d’Ile-de-France.Ribbed vaults appeared in the Romanesque churches of Alsace from about 1140-1150, notably at the abbey church of Murbach and the collegiate church of Lautenbach. This form of vaulting was subsequently found in many small buildings with single naves. In basilical churches, the naves covered with ceilings gave way, during the second half of the twelfth century, to spaces at first marked with discrete rythms, then with more vigour. Towards 1200, the interiors were characterised by strongly stated ribs. These dimly lit spaces suggest formal designs that were very different from the ones being developed at the same time by the architects of the Ile-de-France region.

  17. Voix-off et voix(e narrative : la conscience entre les lignes dans l’œuvre de Arnaud Desplechin

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    Marie-Anne Lieb

    2012-07-01

    Full Text Available L’œuvre d’Arnaud Desplechin est particulièrement intéressante à bien des égards et a fortiori pour sa virtuosité narrative. Cinéma romanesque et introspectif, la narration passe entre autres, par l’usage savant de la voix-off comme mode d’énonciation ou par celui des voix (es narratives proches de la « moving box » propre à Terence Malick. Des aventures spirituelles, au marivaudage et aux quêtes existentielles, leur utilisation au sein de la filmographie confère aux personnages une tendance à l’affabulation. L’enjeu réside en ce que le cinéaste cherche à raconter une histoire autant que ses personnages tentent de se raconter eux-mêmes. Recomposant la complexité humaine, Desplechin déploie un cinéma dans lequel la voix-off ouvrent un peu plus les possibles narratifs en forme d’insularité humaine.Arnaud Desplechin’s work is particularly interesting in many respects but especially so for his narrative virtuosity. In his style of cinema, which combines both story-telling and introspection, the plot unfolds by the wise use, amongst other things, of voice-over as a means of statement or by narrative voices similar to the “moving box” technique used by Terence Malick. The use of such techniques, ranging from spiritual adventures to light hearted banter and existential quests, in the heart of filmography can give the impression that characters do not ring true. For the film-maker, the problem is how to balance the unfolding of the overall story-line with the exteriorisation of each character’s personal thoughts. By rearranging human complexity, Desplechin develops a cinema in which the voice-over progressively opens up the possible narratives reflecting human insularity.

  18. Non-invasive Geophysical Surveys in Search of the Roman Temple of Augustus Under the Cathedral of Tarragona (Catalonia, Spain): A Case Study

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    Casas, Albert; Cosentino, Pietro L.; Fiandaca, Gianluca; Himi, Mahjoub; Macias, Josep M.; Martorana, Raffaele; Muñoz, Andreu; Rivero, Lluís; Sala, Roger; Teixell, Imma

    2018-04-01

    An integrated geophysical survey has been conducted at the Tarragona's Cathedral (Catalonia, NE Spain) with the aim to confirm the potential occurrence of archaeological remains of the Roman Temple dedicated to the Emperor Augustus. Many hypotheses have been proposed about its possible location, the last ones regarding the inner part of the Cathedral, which is one of the most renowned temples of Spain (twelfth century) evolving from Romanesque to Gothic styles. A geophysical project including electrical resistivity tomography (ERT) and ground probing radar (GPR) was planned over 1 year considering the administrative and logistic difficulties of such a project inside a cathedral of religious veneration. Finally, both ERT and GPR have been conducted during a week of intensive overnight surveys that provided detailed information on subsurface existing structures. The ERT method has been applied using different techniques and arrays, ranging from standard Wenner-Schlumberger 2D sections to full 3D electrical imaging with the advanced Maximum Yield Grid array. Electrical resistivity data were recorded extensively, making available many thousands of apparent resistivity data to obtain a complete 3D image after a full inversion. In conclusion, some significant buried structures have been revealed providing conclusive information for archaeologists. GPR results provided additional information about shallowest structures. The geophysical results were clear enough to persuade religious authorities and archaeologists to conduct selected excavations in the most promising areas that confirmed the interpretation of geophysical data. In conclusion, the significant buried structures revealed by geophysical methods under the cathedral were confirmed by archaeological digging as the basement of the impressive Roman Temple that headed the Provincial Forum of Tarraco, seat of the Concilium of Hispania Citerior Province.

  19. Characterization and selection of mortars in the restoration of the Kings Portal (Benavente, Zamora

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    de Luxan, M. P.

    2004-03-01

    Full Text Available In the selection of materials required by any work on Architectural Heritage, a series of special requirements must be borne in mind which are essential to guarantee the application of the repairs. In this work the guidelines and basic criteria for the selection of repair mortars that have led to the design of mortars to restore the Kings Portal of the church of San Juan del Mercado (Benavente, Zamora, carved in stone in the Romanesque style and later polychromed are shown. The study is based on the characteristics of the ancient historical mortars, the compatibility of the restoration mortars with the mortars already existing in the monument, and the application needs of the specific work. Finally, the characteristics and properties of the specific repair mortar chosen are shown

    En la selección de materiales que toda intervención en el Patrimonio requiere, hay que tener presente una serie de requisitos esenciales para garantizar la aplicación de la reparación. En este trabajo se presentan las pautas junto con los criterios básicos de selección de los morteros de reparación que han conducido al diseño de los morteros para la restauración de la Portada de los Reyes de la Iglesia de San Juan del Mercado (Benavente, Zamora, tallada en piedra en estilo románico y, posteriormente, policromada. El estudio se fundamenta en las características de los morteros antiguos históricos, en la compatibilidad de los morteros de restauración con los morteros ya existentes en el monumento y en las necesidades de aplicación en la obra concreta. Finalmente se presentan las características y propiedades del mortero tipo de reparación seleccionado.

  20. Sensor technologies and non-destructive monitoring for dampness diagnosis in cultural heritage

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    Inmaculada Martínez Garrido, María; Gómez Heras, Miguel; Fort González, Rafael; Valles Iriso, Javier; José Varas Muriel, María

    2016-04-01

    This work presents a case study based on results of monitoring campaigns developed in San Juan Bautista church in Talamanca de Jarama (Madrid, Spain). This Church was built in the twelfth-thirteenth centuries (Romanesque style) with dolostone ashlars. It was reconstructed in the sixteenth century (Renaissance style) with rubble stone and mortar, brick and an earth fill. Different sections on walls and floors (north and south oriented) have been selected based on a preliminary study of moisture distribution on stone and masonry wall. The behavior of different materials has been studied according to the influence of indoor (microclimatic conditions) and outdoor conditions (weather conditions) and taking into account constructive facts. Several sensing technologies as dataloggers and wireless sensor networks (WSN) together to other non invasive techniques as thermal imaging, portable moisture meter, electrical resistivity tomography (ERT) and ground-penetrating radar (GPR) have been conducted. By means of this study it has been possible to establish an analysis methodology to determine the dampness origin in each case. Conclusions related to the each technique according to its effectiveness in the detection of decay problems have been established. Research funded by Geomateriales 2(S2013/MIT-2914) and Deterioration of stone materials in the interior of historic buildings as a result induced variation of its microclimate (CGL2011-27902) projects. The cooperation received from the Complutense University of Madrid's Research Group Alteración y Conservación de los Materiales Pétreos del Patrimonio (ref. 921349), the Laboratory Network in Science and Technology for Heritage Conservation (RedLabPat, CEI Moncloa) and the Diocese of Alcalá is gratefully acknowledged.

  1. Integrated Techniques for Analysis and Monitoring of Historical Monuments: the case of S.Giovanni al Sepolcro in Brindisi (Southern Italy).

    Science.gov (United States)

    Calia, A.; Giannotta, M. T.; Masini, N.; Quarta, G.; Persico, R.

    2009-04-01

    Non destructive testing has been gaining a large interest in the field of the diagnostics applied to the cultural heritage. The exceptional and brittle nature of the investigated structures, in fact, discourages invasive investigation techniques even more than in other applications. In particular, non-destructive testing can be exploited for the detection of fractures or for the investigation of pillars and columns within churches of particular historical and/or architectural relevance. This has been recently done in the cathedral of Matera [1], and previously in the crypt of the Romanesque cathedral of Otranto [2]. In both cases, integrated prospecting has been performed, where GPR data have been considered together with acoustic sounding or resistive measurements and even microclimatic investigation. Integrated prospecting is a good help to perform not only the diagnosis of the structure but also its restoring and continuative preservation. In this contribution, we propose a case study where integrated methodologies have been adopted for the analysis of the conservation state of the architectural elements which constitute the church of S.Giovanni al Sepolcro, in Brindisi (Southern Italy). This church is a precious artifact of medieval age, which recently underwent restoration works. IBAM-CNR has been put in charge of the task to analyse the constitutive materials, the superficial finishing (paintings, patinas, plasters etc.) and the causes and the products of the decay. The information retrieved from the analysis of the materials have been fruitfully integrated with non-destructive testing of the structure. Some results will be shown at the conference. References [1] N. Masini, R. Persico, A. Guida, A. Pagliuca, "A Multifrequency and Multisensor Approach for the Study and the Restoration of Monuments: the Case of the Cathedral of Matera.", Advances in Geoscience, vol. 18, pp. 1-6, 2008. [2] G. Leucci, R. Persico, F. Soldovieri, "Detection of Fracture From GPR

  2. Archaeomagnetic Study performed on Early Medieval Buildings from western France

    Science.gov (United States)

    Chauvin, A.; Lanos, P.; Dufresne, P.; Blain, S.; Guibert, P.; Oberlin, C.; Sapin, C.

    2009-05-01

    A multiple dating study, involving a collaboration between specialists of dating techniques (thermoluminescence (TL) and radiocarbon), historians of art and archaeologists, has been carried out on several early medieval buildings from western France. The early medieval period is not well known especially in France where there is a lack of visible evidence that identifies pre-Romanesque architecture. The majority of buildings to have survived from this period are religious ones, considered important enough to be made of strong, non-perishable material such as stone or brick, as for example the churches of Notre-Dame-sous- Terre in the Mont-Saint-Michel or St Martin in Angers. Due to their significance in architectural history, it is imperative to position them accurately in the chronology of the history of art. Bricks are often used to build up round-headed arches or to reinforce the frame of a wall with bonding courses in those churches. TL dating and archeomagnetic analysis were performed on cores drilled within bricks while radiocarbon dating were undertaken on coals found within mortars. In order to increase the number of data during the early Middle Ages, archeointensity determinations using the classical Thellier technique with anisotropy of thermal remanence and cooling rate corrections were performed. Archaeomagnetic directions were used to recognize the firing position of bricsk during manufacture. Reliable and precise ages were obtained on the church Notre-Dame-sous-Terre; they indicate two phases of building in 950±50AD and 990±50AD. Mean archeointensities obtained on 17 (21) samples from the first (second) phases appears very closed 69.1±1.2 and 68.3±1.6 microTesla. Ages and archeomagnetic results obtained on 4 other sites will be presented and compared to the available data in western Europe.

  3. Geophysical fingerprints of shallow cultural structures from microgravity and GPR measurements in the Church of St. George, Svätý Jur, Slovakia

    Science.gov (United States)

    Panisova, Jaroslava; Murín, Igor; Pašteka, Roman; Haličková, Jana; Brunčák, Peter; Pohánka, Vladimír; Papčo, Juraj; Milo, Peter

    2016-04-01

    Recording of the historic edifice using the state-of-the-art geodetic and geophysical techniques brings easier visualisation in form of a three-dimensional (3D) model, thus allowing better understanding of its historical construction by the public and non-experts. We have applied this approach at the Church of St. George, one of the most significant religious buildings in south-western Slovakia, which dominates a silhouette of the town Svätý Jur. The geodetic survey allowed to record the actual state of the church. The church exterior was surveyed using a total station. Due to the intricate shape of the interior components of the church, it was decided to use a terrestrial laser scanner to generate the point cloud data, which were processed into floor plan, elevations, sectional 2D drawings and 3D model. The geophysical survey was carried out in the interior of the church in order to identify potential subsurface anthropogenic structures. Microgravity and ground penetrating radar (GPR) methods were selected as the most effective geophysical tools for such task. In microgravity data processing we focused on the calculation and removal of the gravitational effects of the building masses. The main negative gravity anomalies of interest in the nave, which also have been confirmed by GPR measurements, are interpreted as medieval crypts. Another very important outcome of the geophysical survey is the discovery of the west wall foundations of the oldest Romanesque construction. From each geophysical data acquired we derived 3D polygonal models, which are compared to achieve more realistic picture of the subsurface structures. Verification of these structures by means of archaeological excavation has not been carried out yet.

  4. The central tower of the cathedral of Schleswig - New investigations to understand the alcali-silica reaction of historical mortars

    Science.gov (United States)

    Wedekind, Wanja; Protz, Andreas

    2016-04-01

    The damaging alcali-silica reaction leads to crack-formation and structural destruction at noumerous, constructed with cement mortar, buildings worldwide. The ASR-reaction causes the expansion of altered aggregates by the formation of a swelling gel. This gel consists of calcium silicate hydrate (C-S-H) that increases in volume with water, which exerts an expansive pressure inside the material. The cathedral of Schleswig is one of the oldest in northern Germany. The first church was built in 985-965. The Romanesque building part was erected around 1180 and the Gothic nave at the end of the 13th century. The central tower was constructed between 1888 and 1894 with brick and cement mortar. With 112 meters, the tower is the second-largest church spire of the country of Schleswig-Holstein in northern Germany. Due to the formation of cracks and damages from 1953 to 1956 first restoration works took place. Further developments of cracks are making restoration necessary again today. For developing a suitable conservation strategy, different investigations were done. The investigation included the determination of the pore space properties, the hygric and thermal dilatation and mercury porosimetry measurements. Furthermore, the application of cathodoluminescence microscopy may give information about the alteration process and microstructures present and reveal the differences between unaltered and altered mortars. An obvious relation between the porosity and the swelling intensity could be detected. Furthermore it becomes apparent, that a clear zonation of the mortar took place. The mortar near the surface is denser with a lower porosity and has a significantly lower swelling or dilatation.

  5. Literatura hagiográfica latina en torno a los mártires Vicente, Sabina y Cristeta de Ávila (siglos VII-XI

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    Ferrer García, Felix A.

    2008-06-01

    Full Text Available In this article, the author gathers the important hagiographic tradition about ther 4th century martyrs Vicente, Sabina and Cristeta. The study focuses on the relation between a martyrological discourse, practically unkwnown during the Middle Ages, and the records and texts about other saints and martyrs that were more influential in their cultural and literary aspects. The role of the visigotic monarchy was really important in order to establish a group of texts deeply linked to a religious, social and cultural circumstances that, specially in the 12th and 13th century, with the birth of the romanesque art and culture, will be the real expression of the ecclesiastic orthodoxy. This hagiocracy had been settled before the islamic arrival into the Iberian peninsula.En este artículo el autor recoge toda la tradición hagiográfica sobre los mártires del siglo IV Vicente, Sabina y Cristeta, tratando de estudiar la interrelación entre un discurso martirial escasamente difundido en la alta Edad Media con algunas actas y pasiones de otras figuras más consolidadas tanto en el plano cultual como en el literario. El papel de la monarquía visigoda será clave a la hora de formalizar unos textos plenamente fundamentados en unos avatares religiosos, culturales y sociales que, a medio plazo, sobre todo en los siglos XI y XII, con la eclosión de las formas culturales y artísticas románicas, expresarán la ortodoxia eclesiástica a partir de una hagiocracia inaugurada antes de la arribada islámica a la península Ibérica.

  6. Classification of multi-layered plaster in St. Abbondio Cloister at Como, Italy: an analytical tool for architectural archaeology

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    Sansonetti, A.

    2006-06-01

    Full Text Available St. Abbondio, at Como, Italy, is one of the most outstandingRomanesque basilicas in Northern Italy. Theentire building, and particularly the cloister, has beenthe object of a number of restorations over the centuries,as well as a significant conservation endeavourconducted between 2000 and 2003. In the in-depthdiagnostic survey undertaken on that occasion, thecomposition and morphology of the plaster in bothinteriors and exteriors were determined to obtain furtherinsight into the history of the cloister and its conservation.Plaster representative of the various phasesof construction were characterized with techniquessuch as powder X-ray diffraction, mercury intrusionporosimetry, thin section optical microscopy and atomicspectrometry. As a result of these analyses, groupsof samples with similar characteristics could be identified,confirming historiographic hypotheses on thesequence of the restoration and conservation workdone on the building and establishing a possible toolfor architectural archaeology.S. Abbondio (Como, Italia es una de las mas extraordinariasbasilicas romanicas presentes en el norte de Italia.El edificio entero y en particular el claustro ha sido expuestoa varias intervenciones durante los ultimos siglos, enparticular los ultimos trabajos de conservacion ejecutadosentre los anos 2000 y 2003. En esta ocasion se ha efectuadouna vasta campana diagnostica sobre los revoquestanto internos como externos, destinada a clasificarlosdesde el punto de vista compositivo-morfologico y paradescubrir la historia sobre la conservacion del claustro.Revoques representativos de las diferentes fases constructivashan sido identificados con la utilizacion de metodoscomo el analisis de difraccion de rayos X en polvo,porosimetria por intrusion de mercurio, microscopia opticapara secciones finas y espectrometria atomica. Losresultados han permitido agrupar las muestras que presentabancaracteristicas similares, confirmando hipotesishistoricas sobre la

  7. L’image de la mère dans les romans autobiographiques de Lionel Duroy

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    Antonio Unzué Unzué

    2017-04-01

    Full Text Available Lionel Duroy’s novels are a paradigmatic example of general success, not only among the self-fiction readers. In this article, the image of the mother will be analysed from several points of view -psychoanalytical, narrative and generic. So, in the diverse context of self-literature, psychological, social and ideological features of the mother will be studied first in Duroy’s novels. Later, we will analyse the image of the mother as a stimulus in the writing process. Finally, the function of the oedipal conflict in these novels and the influence on its narrative construction will be dissected. This subject will allow us to establish interesting connections with Rousseau’s Confessions. La production romanesque de Lionel Duroy constitue un exemple remarquable du succès parmi les lecteurs de l’écriture du moi. Dans cet article, l’image de la mère sera l’objet d’une étude intégrant de différentes perspectives (psychanalytique, narrative et générique. À partir du contexte instable de la littérature du moi, les traits essentiels de la mère seront analysés. Ensuite, nous étudierons leur influence sur le processus d’écriture. Finalement, nous nous pencherons sur la fonction du complexe d’Œdipe et son incidence sur la construction de ces romans. Ce sujet nous permettra aussi de découvrir d’intéressantes correspondances avec Les Confessions de Rousseau.

  8. Disparaître dans la fiction. La traversée du miroir du Docteur Pasavento

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    Charline Pluvinet

    2010-09-01

    Full Text Available Cet article s’attache à explorer dans Docteur Pasavento les modalités et les enjeux d’une réinvention fictionnelle de soi qui se déploie selon un dispositif complexe : le personnage éponyme, qui orchestre sa propre disparition pour se donner de nouvelles identités fictives, est lui-même une projection de l’écrivain. Se réalise dans le roman une alliance entre l’aspiration à disparaître et le désir de rendre indistinctes fiction et réalité, que nous proposons d’éclairer par la métaphore carrollienne de la traversée du miroir où ces mouvements se conjuguent. Il s’agira de rendre perceptible la dynamique fictionnelle qui anime l’écriture romanesque d’Enrique Vila-Matas. This article endeavours to explore the stakes and modalities of the fictional re-invention of the self that takes place in Docteur Pasavento.In the novel, this reinvention arranges itself in accordance to a complex scheme : by orchestrating his own disappearance in order to confer upon himself new fictitious identities, the eponymous character of the novel becomes a projection of the author himself. In the novel, the aspiration to disappear is thus unified with a desire to blur the boundaries between fiction and reality. I intend to shed light on this union by invoking the Carrollian metaphor of passing “through the looking-glass”. The intention of this article is to render evident the fictional dynamism that underpins the novelistic writings of Enrique Vila-Matas.

  9. Le lac Titicaca: histoire perdue d'une mer intérieure

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    1992-01-01

    Full Text Available Cet article tente de reconstruire l’histoire de la région du lac Titicaca et de son peuplement pour la période précédant l’arrivée des espagnols. Á cet effet, nous avons utilisé une approche multidisciplinaire (sédimentologie, archéologie, mythologie qui autorise, depuis l’amont et dans la longue durée, un nouvel éclairage des données historiques du XVIe siècle. Malgré les changements climatiques et politiques ayant affecté les rives du Titicaca avant la Conquête espagnole, il existe une continuité historique qui va de la civilisation de Pukará à Hatuncolla en passant par Tiwanaku. Si la documentation espagnole ne rend pas compte de l’importance des anciennes populations riveraines et notamment des pukinas, c’est qu’il était de l’intérêt des envahisseurs successifs (aymaras, incas, espagnols de l’occulter. EL LAGO TITICACA: HISTORIA PERDIDA DE UN MAR INTERIOR. Este artículo constituye un intento de reconstrucción de la historia del lago Titicaca y de su poblamiento por el período que precede la llegada de los españoles. En esta perspectiva, hemos utilizado una aproximación multidisciplinaria (sedimentología, arqueología, mitología que autoriza una nueva lectura de las fuentes históricas del siglo XVI, a partir de datos remotos y en la larga duración. A pesar de los cambios climáticos y políticos que afectaron las orillas del Titicaca antes de la Conquista española, existe una continuidad histórica que va de la cultura de Pukará hasta Hatuncolla (pasando por Tiwanaku. Si la documentación española no toma en cuenta la importancia de las antiguas poblaciones lacustres, particularmente los pukinas, es porque el interés de sus sucesivos vencedores (aymara, incas, españoles era de ocultarla. THE TITICACA LAKE: HISTORY LOST IN THE CENTER OF A DEEP IMMENSITY. This article comprises an attempt to reconstruct the Titicaca Lake history and its colonization during the period preceding the Spanish arrival. On

  10. Contemporary British Women Poets (1985-2005: A new legislature

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    Marc PORÉE

    2008-10-01

    Full Text Available Dans le prolongement de la définition, par Shelley, du poète comme législateur, cette introduction tend à assimiler l’abondante et assez remarquable production des poètes femmes contemporaines à l’avènement d’une nouvelle « législature », désormais parfaitement « reconnue». Si l’hypothèse selon laquelle cette prise du pouvoir par les femmes serait le pendant de la mise en œuvre de la Dévolution au sein du Royaume Uni, est rapidement abandonnée, c’est que l’intervention des femmes poètes décidées à prendre en main leur destin et à œuvrer pour la transformation en profondeur des mœurs dans un sens progressiste va plus loin que les lois votées à Westminster ; en témoignerait l’impact du révisionnisme vis-à-vis de la mythologie patriarcale pratiqué par Carol Ann Duffy. Ces interventions sont regroupées selon trois champs : la domesticité, la famille, le couple, avec le surprenant retour sur le devant de la scène du fer à repasser, mais revu et corrigé, post-féminisme oblige ; le corps, la physiologie, avec la propension, facilitée par le recours au monologue dramatique, à se glisser dans la peau d’autres corps, y compris d’animaux ; la politique, avec la séquence des « moments » Thatcher puis Blair, et le body politic, objet de toutes les attentions de la part des femmes poètes. C’est aussi l’occasion d’évoquer la spécificité des discours qui retiendront l’attention des huit contributeurs : discours amoureux et intertextuel (Carol Ann Duffy, Helen Farish, scientifique (Lavinia Greenlaw, ironique (Gwyneth Lewis. Bien que ne couvrant pas l’ensemble du vaste territoire occupé par les femmes, l’introduction salue la place importante accordée à la poésie expérimentale (Caroline Bergval, Redell Olson. Résolument affranchies de l’empire du masculin, mais aussi de l’emprise d’une certaine représentation de « la » poète, écorchée vive et suicidaire,

  11. Homosexualité et esprit fort dans la première moitié du xviie siècle : indices poétiques d’une « invisible affinité »

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    Michèle Rosellini

    2010-03-01

    Full Text Available Nombre d’auteurs du xviie siècle représentatifs du libertinage ont été accusés de sodomie, au premier chef Théophile de Viau qui a été condamné au bûcher à la fois pour ce motif associé à l’athéisme. Aussi certains historiens de l’homosexualité les considèrent comme des victimes emblématiques de l’homophobie. Mais l’examen de leurs œuvres ne permet pas de conclure qu’ils expriment l’homosexualité au sens où nous l’entendons aujourd’hui. Un certain type de poésie représente, pour en faire l’apologie, des actes sodomitiques pratiqués indifféremment avec des partenaires masculins ou féminins. Leur but est la provocation morale et religieuse. Bénéficiant sans doute de la position sociale de leurs auteurs et de dispositifs de publication restreinte, ils incarnent l’esprit fort dans sa dimension transgressive. Dans un tout autre registre et dans un cadre élargi de publication, la poésie et la fiction peuvent valoriser les relations entre hommes comme un idéal de beauté et d’amour, en recourant à l’alibi de la philosophie de Platon et de la mythologie d’Ovide pour atténuer les représentations clairement sexuelles. Leurs auteurs parviennent néanmoins, par des moyens proprement poétiques et fictionnels, à donner expression au désir homosexuel. Celui-ci renforce alors la masculinité de l’esprit fort en l’associant à une fécondité intellectuelle et artistique capable de composer avec les normes de l’espace public.Some seventeenth-century libertine writers were accused of sodomy, most famously Theophile de Viau, who was condemned to be burned at the stake, for both atheism and sodomy. Some scholars of queer theory would like to present them primarily as victims of homophobia. But if we observe their works, we hardly find that they express homosexuality in its contemporary meaning and form. To adress this question of sexuality, we can distinguish two kinds of texts. Some of them

  12. Le Bestiaire d'amour de Gustave Flaubert (1

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    Loïc Windels

    2010-09-01

    Full Text Available « Désirer, c'est tuer ». Voilà ce qu’un Ministère de la Prévention fera bientôt imprimer sur le bandeau accompagnant les ventes du second des Trois contes. Du reste, il est certain que sa carte du Tendre empiète quelque peu sur les géographies du Cruel. Qui se penche sur son bestiaire en relève généralement assez vite le caractère symbolique et la couleur pré-freudienne. Flaubert ferait, avec le légendaire médiéval, ce que Freud peu après avec la mythologie grecque. Ces remarques et quelques autres ont parfois été faites1, et nul doute qu'elles ne soient familières à l'amateur de cette prose dense et suggestive qu'est La Légende de Saint Julien L'Hospitalier. Aussi le présent article (comme celui qui le suivra voudrait-il moins rouvrir à nouveaux frais un débat déjà bien nourri que l'aborder de façon quelque peu différente : en choisissant, parmi les épisodes où les animaux tiennent un rôle prépondérant, ceux qui semblent s'apparier pour former – à sauts et à gambades – un récit sous l'histoire, et ceux qui, en même temps, paraissaient désirer qu'on les confronte à d'autres textes (reste de l'œuvre, bestiaires médiévaux, histoires naturelles anciennes et modernes, mythographies et à quelques images.In The Legend of Saint Julian the Hospitalier – the middle of Flaubert’s Three Tales – to desire and to kill are but one thing, and its Map of Tendre encroaches somewhat on the topographies of Cruelty. He who looks into his bestiary is usually rather quick to detect its symbolic character and pre-Freudian overtones. It is as if Flaubert did with Medieval legends what Freud would do a little later with Greek mythology. These observations and other similar ones have already been made, and there is no doubt that the reader who loves the dense and suggestive prose that is The Legend of Saint Julian is familiar with them. Thus, the present article (and the one that will follow strive less to

  13. La reconstrucción significativa de la iglesia de Sant Bartomeu de Navarcles, Cataluña

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    González Moreno-Navarro, Antoni

    1991-02-01

    Full Text Available In the outskirts of Narvacles (county of Bages, province of Barcelona, the remains of a small medieval church, desecrated in 1936 and abandoned to its fortune after the civil war, ran the risk of disappearing. In 1984, the municipal government asked the Diputació for help to stop the deterioration and offer some solution for the preservation of the remains. The initial scientific work discovered that structures from a Roman villa from the I century had been used in the construction of the chapel, an that the first building from the XIII century was expanded in the XVII, taking advantage of some of the elements of the primitive Romanesque portal. The solution projected was based on the consolidation of the ruin, and the construction of a small covered space —that recalI the volume of the first temple— delimited by the preserved medieval walls and other new ones. A platform separates this from the Roman remains. The effort was topped off with a small square in fron of the now disappeared north façade.

    En un arrabal de Navarcles (comarca del Bages, provincia de Barcelona, los restos de una pequeña iglesia medieval profanada en 1936 y abandonada a su suerte después de la guerra civil, corrían el peligro de desaparecer Hacia 1984, el Ayuntamiento solicitó ayuda a la Diputación para detener el deterioro y dar alguna solución para la conservación de los restos. Los trabajos científicos iniciales evidenciaron que en la construcción de la capilla se habían aprovechado estructuras de una villa romana del siglo I y que el primer edificio del siglo XIII fue ampliado en el XVII, aprovechando algunos elementos de la portada románica primitiva. La solución proyectada se basó en la consolidación de la ruina, y la habilitación de un pequeño espacio cubierto —que recuerda el volumen del templo inicial— delimitado por los muros medievales conservados y otros nuevos. Una plataforma separa este espacio de los restos romanos

  14. Statistique de la peinture monumentale en Midi-Pyrénées

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    Sylvie Decottignies

    2005-09-01

    Full Text Available L'élaboration par le service régional de l'Inventaire Midi-Pyrénées d'un corpus de peintures murales couvrant une large période allant de l'époque romane au XVIIIe siècle donne la possibilité de comparer l’ampleur et la qualité de ces œuvres et met en évidence des ensembles importants mal connus, parfois même ignorés, comme par exemple le décor de la chapelle de Castillon-en-Couserans en Ariège, daté de la fin du XIIIe siècle. Un des apports essentiels du travail est aussi de permettre des comparaisons avec d’autres régions, par exemple sur le thème précis du “Dit des trois morts et des trois vifs”. Cette étude s’est accompagnée, sur le terrain, d’une évaluation de l’état de conservation des décors dont il ressort notamment que plus de 50 % des ensembles demandent une intervention urgente ou une dérestauration, car la doctrine a évolué vers des retouches moins lourdes.The Inventory services in the Midi-Pyrénées region has surveyed the mural paintings of the region, establishing a corpus of works dating from the Romanesque period up to the eighteenth century. This corpus allows for comparative studies of these paintings in terms of their importance and their quality. It has also allowed for certain significant but little-known works to be properly identified and understood, for example the painted decor of the chapel of Castillon-en-Couserans, in the Ariège department, dating from the late thirteenth century. Another essential contributions of this survey is to permit comparisons with works in other regions, for example on the precise theme of the ‘Sayings of the three dead and the three living’. In the field, this inventory was accompanied by an evaluation of the state of the decors today. More than half of them require urgent restoration or ‘de-restoration’ work, since doctrines here have evolved towards less heavy-handed interventions.

  15. Réflexions sur le texte (pseudo-littéraire chez Paolo Mantegazza : Un giorno a Madera. Una pagina dell'igiene d'amore

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    Edwige Comoy Fusaro

    2011-01-01

    Full Text Available En 1868, à l'âge de trente-sept ans, l'anthropologue italien Paolo Mantegazza, auteur de nombreux ouvrages de divulgation scientifique, inaugure une nouvelle stratégie de communication avec la publication d'un roman, Un jour à Madère (Un giorno a Madera. En s'adressant au public plus restreint et plus cultivé des romans, Mantegazza tente d'élargir son audience à de nouvelles couches de la population. Cependant, ses motivations restent inchangées. Le genre pseudo-scientifique dissimulait des visées morales : la santé du corps étant liée à la santé morale, ses livres de divulgation véhiculaient essentiellement une ligne de conduite, un décalogue des bonnes mœurs. Avec le nouveau genre pseudo-romanesque, l'auteur dissimule sous la forme alléchante de la fiction narrative des visées médicales, plus précisément prophylactiques. Dans les deux cas, néanmoins, formes et savoirs sont instrumentalisés : la déontologie scientifique et l'esthétique du texte littéraire s'inclinent devant l'idéologie.Nel 1868, il trentasettenne antropologo monzese Paolo Mantegazza, già autore di numerosi libri di divulgazione scientifica, inaugura con la pubblicazione di un romanzo, Un giorno a Madera, una nuova strategia di comunicazione. Rivolgendosi al pubblico dei romanzi, più limitato e più colto, Mantegazza cerca di allargare il proprio lettorato. Tuttavia le sue motivazioni rimangono incambiate. Il genere pseudo-scientifico dissimulava fini moralistici : essendo la salute del corpo legata alla salute morale, i libri di divulgazione trasmettevano essenzialmente un modus operandi, un decalogo dei buoni costumi. Con il nuovo genere pseudo-romanzesco, l'autore dissimula sotto la forma allettante della finzione narrativa fini medici, nella fattispecie profilattici. In ambedue i casi, però, forme e saperi vengono strumentalizzati : la deontologia scientifica e l'estetica del testo letterario cedono il passo all'ideologia.

  16. « Ces animaux qu’on appelle hommes ». Animalité et monstruosité chez Cyrano et Foigny

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    Alex Bellemare

    2015-12-01

    Full Text Available Au dix-septième siècle, la querelle de la « nouvelle philosophie », qui oppose Descartes à Gassendi, repose notamment sur la question, polémique, de la différenciation entre l’homme et l’animal. En effet, toute définition de l’animal engage aussi et parallèlement une réflexion sur l’homme. Les répercussions de ce débat philosophique s’observent dans la littérature viatique au sens large, mais plus particulièrement dans sa variante libertine et antichrétienne. En misant sur l’indécision formelle du genre viatique, qui oscille entre fiction romanesque et réalité testimoniale, les récits de voyage libertins tirent philosophiquement profit du principe relativiste que le genre impose par définition. Or, la médiation de l’inconnu par le connu se manifeste de manière encore plus brutale lorsque le voyage s’effectue dans l’ailleurs utopique. De la même façon que le récit de voyage met à distance la culture du voyageur entrant en contact avec celle de l’autre, le discours sur l’animal reflète également le discours sur soi. Dans l’Autre monde (1657 de Cyrano de Bergerac et la Terre australe connue (1676 de Gabriel de Foigny, deux romans hybrides qui mêlent récits de voyage et discours utopique, la frontière qui sépare ontologiquement l’homme de la bête s’atténue et se trouble. En souterrain, toute une anthropologie libertine s’esquisse chez Cyrano et Foigny, qui correspond à une expression singulière du « moi ».

  17. El monasterio de Cornellana (Salas, Asturias y los problemas de la Arqueología de la Arquitectura en Asturias

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    Fernández de Córdoba Pérez, José Antonio

    2003-12-01

    Full Text Available The Monastery of Cornellana (Asturias, Spain was founded in the 11th century from various properties belonging to Princess Cristina, daughter of King Bermudo II. There are two notable phases: a medieval phase marked by the construction of the Romanesque church and cloister and by the dependence on the Congregation of Cluny, and a modern phase, under dependence to the Congregation of Valladolid, during which the cloister was rebuilt and two service courtyards were organized to the east and west of the cloister. In parallel with the works on the monastery, its jurisdictional power developed, as did the exploitation of its property. During the 19th and 20th century the history of the monastery was marked by the selling off of Church land, the ruin of the building and different attempts to increase the value of the property through architectural restoration and archaeological research.En el siglo XI fue fundado el Monasterio de Cornellana (Asturias, España a partir de diversas propiedades pertenecientes a la infanta Cristina, hija del rey Bermudo II. Destacan en este cenobio dos fases fundamentales: una medieval marcada por la construcción de la iglesia y un claustro románicos así como por la dependencia de la Congregación de Cluny, y otra fase moderna, ya bajo dependencia de la Congregación de Valladolid, en la que se reedifica el claustro y se organizan dos patios de servicios al Este y al Oeste del mismo. De forma paralela a las obras del monasterio evolucionó su señorío jurisdiccional y la explotación de sus propiedades fundiarias. Durante los siglos XIX y XX la historia del complejo estuvo marcada por la desamortización de sus tierras, la ruina del edificio y diferentes intentos de ponerlo en valor a través de la restauración arquitectónica y la investigación arqueológica.

  18. El Ms. 1513 de la Biblioteca Nacional de Madrid: primeros pasos en la miniatura gótica hispana

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    Galván Freile, Fernando

    1997-06-01

    Full Text Available The manuscript 1513 of the Biblioteca Nacional de Madrid, also known as Codex of Batres, contains a whole series of historical texts. The volume we ha ve analysed here is a copy from the works of bishop Pelayo from Oviedo -Corpus Pelagianum-, but we are not acquainted with the exact model used in the making of this volume. It is decorated with a wide number of miniatures going from Tree of Consanguinity and the Compass Card, to the ellígies of kings of León, characters from the O Id Testament, kings of the Antiquity. bishops or the Virgin Mary with the Child. These illuminations form one of the lirst examples of gothic miniature -dated in the first thinl of the XIII century- in the Hispanic occidental kingdoms, though we can observe clear evidence of what could be called Romanesque aesthetic.[fr] Le manuscrit 1513 de la Biblioteca Nacional de Madrid, aussi connu comme Codex de Batres, contient toute une série de textes de caractere historique. Le volume analisé est une copie des écrits de l'éveque Pelayo d'Oviedo -Corpus Pelagianum-, mais on ne connait pas le modele exact qui a serví a la réalisation de ce volume. Il est décoré d'un grand nombre d'enluminures, des Tables de Consanguinité et la Rose des Vents jusqu'aux effigies des rois léonais. en passant par des personnages de l'Ancien Testament, des rois de I'Antiquité, des éveques ou la Vierge avec l'Enfant. Ces illuminations constituent un des premiers exemples de l'enluminure gothique -qui datent du premier tiers du XIII siecle- dans les royaumes occidentaux hispaniques. bien qu'on observe de clairs témoignages de ce qu'on pourrait appeler l'estétique romane.

  19. Via Lyon: Parcours de romans et mutations éditoriales au XVIe siècle. Partie II. La circulation des textes entre Lyon et Paris

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    Gaëlle Burg

    2015-07-01

    Full Text Available La première partie du dossier Via Lyon (Carte Romanze 2/2 [2014] analysait le rôle de carrefour économique et culturel de la ville de Lyon dans la constitution d’une identité éditoriale des romans publiés en France au XVIe siècle. L’étude de ces «parcours de romans» conduit à replacer, en cette seconde partie du dossier, la notion d’«étape lyonnaise» dans la dynamique qui anime les deux principaux centres d’imprimerie français de la Renaissance. L’étude des pérégrinations éditoriales, de Paris à Lyon et de Lyon à Paris, de Lancelot du Lac (G. Burg, de Valentin et Orson (M. Colombo Timelli et de Méliadus chevalier de la Croix (A. Réach-Ngô met ainsi au jour les diverses formes de circulation, d’adaptation et de réappropriation que les ateliers parisiens et lyonnais confèrent aux œuvres romanesques qui passent sous leurs presses tout au long du siècle. The first part of the file Via Lyon (Carte Romanze 2/2 [2014] analyzed the role of economic and cultural crossroad of Lyon city in the constitution of an editorial identity of novels published in France in the sixteenth century. The study of these «novels’ route» leads to situate the concept of «Lyon step» in the dynamics which animates the two major French printing centers of the Renaissance. The editorial peregrinations, from Paris to Lyon and from Lyon to Paris, of three french novels, Lancelot du Lac (G. Burg, Valentin and Orson (M. Colombo Timelli and Méliadus chevalier de la Croix (A. Réach-Ngô, shows the various forms of circulation, adaptation and reappropriation that various Parisian and Lyon workshops give to novels they print throughout the century. 

  20. Petrographic and porosimetric study of opuka stones from different construction phases of the medieval Church of the Beheading of St. John the Baptist in Dolní Chabry (Prague, Czech Republic)

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    Sidova, Katerina; Prikryl, Richard; Weishauptova, Zuzana; Racek, Martin

    2015-04-01

    Opuka as a very fine-grained sedimentary rock deposited during Upper Cretaceous in relatively shallow (hemipelagic) marine conditions in the Bohemian Cretaceous Basin (Czech Republic) represents type of natural stone that has been widely exploited and used for construction from about 9th c. AD. Romanesque churches in Prague and central Bohemia are among the first preserved structures for which the opuka has been used. Question whether very local or more distant sources have been employed represents still unsolved matter. In the recent study, we focus on the detailed analysis of specimens of opuka taken from the Church of the Beheading of St. John the Baptist in Dolní Chabry (Prague). During the previous archaeological survey of the recent church (dated to 12th c. AD), remnants (basements constructed of opuka stone) of three older churches have recognized. The aim of recent material study is recognition of similarities or differences between opuka stones coming from these different construction phases and answering a question, whether material from a single source or from different localities has been employed. The study is based on the detailed petrographic examination using four sets of techniques: (1) microscopic observation (basic optical microscopy supplemented with the electron microscopy with microanalysis and X-ray elemental mapping), (2) X-ray diffraction of insoluble residue (composition of clay fraction and detection of some less organized silica forms), (3) chemical analysis and computation of modal composition by using normative minerals based on known mineralogical composition (input from microscopy and XRD), (4) study of physical properties, specifically by means of mercury porosimetry to quantify complex pore space of these rocks. Based on the results, three basic sets of specimens have been distinguished: (1) opuka stone with low content of carbonates (22-26 wt. %) and with higher content of kaolinite and illite (both WCI and PCI), (2) opuka stone

  1. Lecture, intertextualité et comique: Des Esseintes voyage

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    R. S. Monsegu

    2013-10-01

    Full Text Available ENHuysmans has tried, with À rebours, to put into practice his will of renewal of the novel. In this perspective, he has used the resources of intertextuality in order to distance himself from what he calls “le roman romanesque”. The wish of des Esseintes to visit London is the occasion of an interplay of readings and re-readings that paves the way to an omnipresent intertextuality. The places visited by des Esseintes be¬come an open book and the other characters, in a vertiginous mise en abyme, become a mere scenery for des Esseintes, turned into a reader who revisits the world in the light of the novels of Dickens. Intertextuality thus becomes a diegetic element which creates also the comic dimension of this chapter. It also contributes to question the naturalist novel with the help of derision and parody.>>Huysmans a cherché avec À rebours à mettre en pratique sa volonté renouvellement du roman. Dans cette perspective, il a utilisé les ressources de l’intertextualité pour se distancer de ce qu’il appelle le « roman romanesque ». Le souhait de des Esseintes de visiter Londres est l’occasion d’un jeu de lectures et de relectures qui ouvre la voie à une intertextualité omniprésente. Les lieux visités par des Esseintes deviennent un livre ouvert et les autres personnages, dans une mise en abyme vertigineuse, deviennent un simple décor pour des Esseintes devenu lecteur d’un monde revisité à la lumière des romans de Dickens. L’intertextualité devient ainsi un élément diégétique qui s’inscrit parallèlement dans la création de la tonalité comique du chapitre. Elle contribue aussi à remettre en cause du roman naturaliste par la parodie et la dérision.

  2. Villamayor stone (Golden Stone) as a Global Heritage Stone Resource from Salamanca (NW of Spain)

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    Garcia-Talegon, Jacinta; Iñigo, Adolfo; Vicente-Tavera, Santiago

    2013-04-01

    Villamayor stone is an arkosic stone of Middle Eocene age and belongs to the Cabrerizos Sandstone Formation that comprising braided fluvial systems and paleosoils at the top of each stratigraphic sequence. The sandstone is known by several names: i) the Villamayor Stone because the quarries are located in Villamayor de Armuña village that are situated at 7 km to the North from Salamanca city; ii) the Golden Stone due to its patina that produced a ochreous/golden color on the façades of monuments of Salamanca (World Heritage City,1988) built in this Natural stone (one of the silicated rocks utilised). We present in this work, the Villamayor Stone to be candidate as Global Heritage Stone Resource. The Villamayor Stone were quarrying for the construction and ornamentation of Romanesque religious monuments as the Old Cathedral and San Julian church; Gothic (Spanish plateresc style) as the New Cathedral, San Esteban church and the sculpted façade of the Salamanca University, one of the oldest University in Europe (it had established in 1250); and this stone was one of the type of one of the most sumptuous Baroque monuments is the Main Square of the its galleries and arcades (1729). Also, this stone was used in building palaces, walls and reconstruction of Roman bridge. Currently, Villamayor Stone is being quarried by small and family companies, without a modernized processing, for cladding of the façades of the new buildings until that the construction sector was burst (in 2008 the international economic crisis). However, Villamayor Stone is the main stone material used in the city of Salamanca for the restoration of monuments and, even in small quantities when compared with just before the economic crisis, it would be of great importance for future generations protect their quarries and the craft of masonry. Villamayor Stone has several varieties from channels facies to floodplains facies, in this work the selected varieties are: i) the fine-grained stone

  3. Les Fleurs bleues (R. Queneau

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    Séverine Manhaval

    1999-09-01

    Full Text Available Les Fleurs bleues, roman paru en 1965, propose un fascinant voyage dans le temps et dans l'espace géographique des langues, une odyssée au cœur de la problématique babélienne dont il se fait le porte-parole. Queneau joue sur les particularités linguistiques, les idiolectes et les syntaxes dans une perspective transhistorique et cosmopolite, créant un nouvel esperanto romanesque : le « néobabélien ». Toutes les langues s'interpénètrent et se correspondent, enrichissent l'écriture de l'œuvre et dévoilent peu a peu ses prolongements à la fois scientifiques et philosophiques. Queneau élabore ainsi son propre système linguistique et littéraire, dans ce laboratoire de l'arche romanesque, où la langue future est en gestation.Reprenant le flambeau de Noé, l'écrivain entraîne ses lecteurs dans une traversée du déluge qui mêle le rêve et la réalité, l'humour et la nostalgie – celle de la langue unique, la virtuosité du style et la rigueur de la composition. Le roman démantèle les frontières historiques et géographiques, faisant ainsi de Noé une nouvelle figure de l'artiste, sauveur et reconstructeur du Verbe, et chantre de l'infinie potentialité du langage. Non sans humour, son esthétique se fonde sur une dialectique de la contrainte et de la liberté, de la destruction et de la reconstruction, soutenue par un style vif et corrosif. Le conteur, le poète et le mathématicien se rejoignent et conjuguent leur sagesse dans ce roman complexe et déroutant, récit à clés d'une expérience linguistique originale et approfondie.The novel Les Fleurs bleues, which was published in 1965, is an invitation to a fascinating journey into the time and space dimensions of languages, an odyssey into the heart of the Babelian problematics which it publicizes. Queneau plays upon linguistic particularities, idiosyncrasies and syntaxes within a historical and cosmopolitan perspective, and creates a new Esperanto for the novel: the

  4. Book Reviews

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    Mary Somers Heidhues

    1992-07-01

    Full Text Available - Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds. - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging

  5. Une éducation sentimentale ou le roman d’amour de Salammbô

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    Geneviève Mondon

    2010-09-01

    Full Text Available La transcription et l’étude des manuscrits préparatoires de Salammbô a permis de retracer la genèse du personnage féminin, en mettant en valeur son aventure personnelle. Les passages inédits, les marges et écritures interlinéaires apportent des éléments précieux pour construire le roman d’amour de l’héroïne, et lui donner une tonalité plus érotique, avant que Flaubert ne supprime, transforme ou masque habilement ces traces éphémères. Afin que les lignes soient plus nettes, ma recherche privilégie le point de vue de Salammbô, pour autant qu’on puisse connaître cette figure énigmatique. En laissant de côté, volontairement, les problèmes primordiaux du roman, la guerre historique de Carthage, la lutte mythique entre Tanit et Moloch, la grande Histoire et la mythologie, les batailles et les massacres, la lumière se concentre sur l’aventure sentimentale, absolument nécessaire dans un roman historique, l’auteur le sait. L’évocation du milieu social de la fille du suffète Hamilcar, l’analyse de son psychisme, de ses désirs, de ses rêves et de ses croyances apportent un éclairage sur sa vie de femme. L’examen d’un inédit comme les pages consacrées à la danseuse montre la volonté du romancier de créer un personnage séduisant et actif. Devant les guerriers a lieu l’« épiphanie », caractéristique des héros : le chant lyrique et la danse ésotérique en sont les signes manifestes. Après la rencontre, Salammbô et Mâtho, en proie au désir amoureux, se cherchent, se fuient et rêvent l’un de l’autre. Un inédit rapporte le songe de la jeune femme. Des expériences qui allient plaisir et souffrances, l’union mystique avec le serpent, la « baisade » contribuent à son éducation sentimentale mais la déception finale, l’échec du désir, est la vraie révélation.The transcription and study of Salammbô’s preparatory manuscripts enable us to retrace the genesis of the feminine

  6. Penser la guerre à partir des femmes et du genre : l’exemple de la Grande Guerre

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    Françoise Thébaud

    2005-04-01

    Full Text Available Françoise Thébaud, en posant la question de savoir comment le genre structure les politiques de guerre, présente une intervention qui fait le point sur la « barbarisation » de la guerre dans le cadre de l’histoire du genre, à partir de la mise en évidence du passage du problème de l’émancipation, ou de l’autonomisation (cf. travaux des années 1960-1970, des femmes à celui de la réflexion plus récente sur la violence de guerre (depuis les années 1980 qui conteste la thèse de la guerre « émancipatrice » (si provisoire et superficielle qu’ait été cette émancipation. Dans ce cadre-là, la guerre en ex-Yougoslavie a pu jouer un rôle d’accélérateur de la prise de conscience du caractère très relatif de l’émancipation des femmes par la guerre des hommes. Certains historiens récents de la Première Guerre mondiale en viennent à travailler sur la culture de guerre qui serait le fondement d’une « brutalisation » du conflit au nom d’une « ethnicisation » de l’ennemi. Leurs thèses sont contestées par ceux qui rejettent l’idée d’un simple consentement à la guerre au profit d’un mélange complexe de contraintes, fraternité, patriotisme et refusent que la « culture de guerre » prenne le pas sur les autres cultures pré-existantes. La place des femmes et du genre dans la guerre est d’abord abordée par F. Thébaud à la lumière d’une double mythologie sexualisée (l’équation pureté nationale/pureté sexuelle et la féminisation de l’ennemi comme décadent et de l’autre mythe de la femme « naturellement » pacifiste en tant que mère potentielle. Or, les féministes ont adhéré massivement à l’effort de guerre et l’internationalisme « féministe » s’est effondré. Par ailleurs, la relative « humanisation » du conflit dont sont porteuses les femmes aux armées se fait toujours au service exclusif de la patrie. Dans un dernier volet de son intervention, F

  7. L’amnésie chez G. García Márquez : de la disparition physique des peuples à la disparition de la mémoire collective

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    Joël Fauchier

    2012-08-01

    Full Text Available La disparition comme mort, rupture et brisure de notre temps historique hante les romans caraïbes et plus particulièrement ceux de Gabriel García Márquez. L’auteur colombien met en évidence la difficulté qu’il y a à raconter une histoire collective, celle de Macondo et plus largement celle de la terre latino-américaine, inavouable parce qu’inséparable de la violence qui préside à la fondation de la cité et à son développement. Ce souvenir inacceptable de la violence originelle se traduit par la thématique de l’amnésie collective qui, dans Cent ans de solitude, frappe le village de Macondo, que cette amnésie traduise le refoulement dans l’oubli du génocide indien, ou celui du massacre des grévistes de la United Fruit Company. L’évocation romanesque des disparitions – disparitions physiques, mais aussi culturelles, puisqu’elles touchent la mémoire, le sommeil et le langage – se fait par des distorsions narratives où la présence du surnaturel se conjugue avec celle du burlesque, dans l’esthétique propre au « réel merveilleux ». Ici, les drames de l’histoire trouvent leurs échos dans la dérision fictionnelle, et par la disparition l’histoire devient littérature…La desaparición como muerte, ruptura, y quiebra de nuestro tiempo histórico atormenta la novela caribeña y en particular la de Gabriel García Márquez. El autor colombiano pone en evidencia la dificultad de contar una historia colectiva, la de Macondo, y más ampliamente la de la tierra latino-americana, inconfesable porque inseparable de la violencia que determina la fundación de la ciudad y su desarrollo. Ese recuerdo inaceptable de la violencia original se traduce por la temática de la amnesia colectiva que, en Cien años de soledad, aflige al pueblo de Macondo. Esa amnesia traduce la inhibición y el olvido tanto del genocidio de los indios, como de la masacre de los huelguistas de la United Fruit Company. La evocaci

  8. Stairs to Skałka. From Iconography of Martyrdom of Bishop Stanislaus

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    Tomasz Węcławowicz

    2003-12-01

    Full Text Available For over one hundred years research discussions have revolved around two issues: was Skałka really the site of the martyrdom of bishop Stanislaus, and, what was the church like in its medieval phases: the alleged, pre-Romanesque phase and, confirmed by sources, the Gothic foundation of Casimir the Great. An argument over the site of the martyrdom will turn out to be unimportant if it is considered in two different meanings, two different orders of interpretation. In the historiographic meaning, bishop Stanislaus might have been killed on the Wawel hill, while in the hagiographic meaning, the martyrdom must have taken place on the site called Skałka, outside the town and the Vistula river, in a distant sanctuary of Archangel Gabriel. The latter of the aforementioned research questions - what was the church “Na Skałce’ like in the Middle Ages - was put at the end of the 19th century by Władysław Łuszczkiewicz. In an answer, he presented the churches imagined in the scenes of the Martyrdom of St. Stanislaus in triptychs from St. Mary’s church in Cracow and from a church at Pławno. He understood them as realistic views of Skałka at the beginning of the 16th century A survey of a broad material shows, however, that in the late medieval iconography of St. Stanislaus at least two architectural types of the church which is the background of the Martyrdom scene can be distinguished at the beginning of the 16th century. The question what Skałka was like in reality is a wrong question then and must be left unanswered. The right question is: why was the architectural background of the Martyrdom scene depicted in such different ways, and, was this architecture in its iconographic design really meant to show only the Gothic church ‘Na Skałce’. With varied realisations of details of the church itself, the common motives of all depictions of Skałka are: walls surrounding the hill, gates built in them - one, two or three, always open and

  9. Las iglesias prefeudales en Álava. Cronotipología y articulación espacial

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    Azkarate Garai-Olaun, Agustín

    2003-12-01

    Full Text Available This article constitutes a preview of a research project into pre-12th to 13th century churches in Álava, which until now had been invisible to traditional, analogical formal methodologies. It presents a new proposal of an analysis tested already in the cathedral of Santa María de Vitoria-Gasteiz and based along the following lines: 1. Lettura veloce of the main construction stages of temples chosen with the object of stratigraphically determining the phase or phases prior to the Romanesque period. 2. Identification and register of the most representative technical and formal variables of this first phase of construction in each of the churches in the study. 3. Numerical specification of selected variables. 4. Creation of an analytical table to register the presence or absence of these variables in each church. 5. Grouping together those buildings with variables in common. 6.Transformation of technotypological associations in chronotypological tables, i.e., chronological indicators. This has led to the identification of six groups of churches based diachronically between the 9th and 12th centuries. By way of conclusion, some interpretative considerations are put forward as to the nature of these pre-feudal period temples.El artículo constituye un avance de un proyecto de investigación en curso sobre las iglesias alavesas anteriores a los siglos XII-XIII, invisibles hasta la fecha a una metodología tradicionalmente de base analógica y formal. Se efectúa una nueva propuesta de análisis experimentada ya en la catedral de Santa María de Vitoria-Gasteiz y que se articula de la manera siguiente: 1. Lettura veloce de los principales momentos constructivos de los templos seleccionados con el objeto de individualizar estratigráficamente la fase o fases anteriores al periodo «románico». 2. Individualización y registro de las variables técnicas y formales más representativas de esta primera fase constructiva en cada una de las iglesias

  10. The influence of indoor microclimate on thermal comfort and conservation of artworks: the case study of the cathedral of Matera (South Italy)

    Science.gov (United States)

    Cardinale, Tiziana; Rospi, Gianluca; Cardinale, Nicola; Paterino, Lucia; Persia, Ivan

    2014-05-01

    The Matera Cathedral was built in Apulian-Romanesque style in the thirteenth century on the highest spur of the "Civita" that divides "Sassi" district in two parts. The constructive material is the calcareous stone of the Vaglia, extracted from quarries in the area of Matera. The interior is Baroque and presents several artworks, including: mortars covered with a golden patina, a wooden ceiling, painted canvas and painting frescoes, three minor altars and a major altar of precious white marble, a nativity scene made of local painted limestone. The research had to evaluate the indoor microclimate during and after the restoration works, that also concern the installation of floor heating system to heat the indoor environments. Specifically, we have analyzed the thermal comfort and the effect that the artwork and construction materials inside the Cathedral of Matera have undergone. This evaluation was carried out in two different phases: in the first one we have investigated the state of the art (history of the site, constructive typology and artworks); in the second one we have done a systematic diagnosis and an instrumental one. The analysis were carried out in a qualitative and quantitative way and have allowed us to test indoor microclimatic parameters (air temperature, relative humidity and indoor air velocity), surface temperatures of the envelope and also Fanger's comfort indices (PMV and PPD) according to the UNI EN ISO 7730. The thermal mapping of the wall surface and of the artworks, carried out through thermal imaging camera, and the instrumental measurement campaigns were made both before restoration and after installation of the heating system; in addition measurements were taken with system on and off. The analysis thus made possible to verify that the thermo-hygrometric parameters found, as a result of the recovery operations, meet the limits indicated by the regulations and international studies. In this way, we can affirm that the indoor environment

  11. Salvaging a cultural identity through reintegration

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    Marta Gomez Ubierna

    2010-11-01

    Full Text Available L'article se fonde sur une thèse intitulée la “Restauration de la chaire en marbre de l'église de San Leonardo in Arcetri”, oeuvre importante de l’art roman florentin. Les éléments architecturaux de la chaire, démantelés au XVIe siècle, ont été remontés à plusieurs reprises en 1782 et en 1921: ceci, dans une volonté de retrouver une identité culturelle par la restauration d'oeuvres d'art médieval -même celles conservées dans un état fragmentaire. Lors de ces interventions comme dans la restauration effectuée par l'Opificio delle Pietre Dure, en 2009, le problème principal a été la récupération de la bichromie en noir et blanc, typiquement florentine, grâce aux différentes méthodes d'intégration de la pierre. La présente étude des différents matériaux et techniques utilisés a fourni une occasion unique de retracer l'historique de la conservation, en identifiant les matériaux de chaque intervention, et a permis d’inférer quelles approches ont été déployées par ces politiques de conservation. L’objectif du projet actuel a été la réintégration de marbre polychrome, à travers des éléments nouveaux, totalement réversibles et compatibles. Cette dernière s’est fondée sur les résultats de tests portant sur diverses matières synthétiques et leur mode d'application.The following article owes much to the master’s thesis on “The Restoration of the pulpit in the church of San Leonardo in Arcetri”, which deals with an outstanding work of Florentine Romanesque art. The remaining architectural elements of the pulpit, dismantled in the sixteenth century, were reassembled on a number of occasions in 1782 and 1921, as a result of efforts to reclaim the cultural identity of the region through a revival of its medieval heritage, even down to its most fragmentary remains. The main difficulty encountered during these interventions - such as the restoration work carried out by the “Opificio delle

  12. Provenance of granites used to build the Santa Maria de Valdeiglesias Monastery, Pelayos de la Presa (Madrid, Spain), and conservation state of the monumental complex

    Science.gov (United States)

    Fort, R.; Alvarez de Buergo, M.; Vazquez-Calvo, C.; Perez-Monserrat, E. M.; Varas-Muriel, M. J.; Lopez-Arce, P.

    2012-04-01

    The construction of the Cistercian Monastery began at 1180, in an initial Late Romanesque style in which the Church was erected; later on, in 1258, the church underwent a severe fire, only the apse stood standing. The church was reconstructed at the end of the 13th century in Mudejar style. Gothic style was used later on, in the 16th century, for the reconstruction of the funerary chapel, and Renaissance style for the Plateresque door in between the church and the sacristy. At the end of the 16th century, the main door to access the church was built in Baroque style. In 1836, the Ecclesiastical Confiscations resulted on transfer the Monastery into particular owners. This fact favoured its abandon and ruin state until 1979, when architect Mariano Garcia Benito purchased the property and started the conservation and consolidation of the complex, beginning with the Bell Tower. Natural stone materials used in the Monastery are igneous (granite) and metamorphic rocks (gneiss and schist), and artificial stone materials are bricks and mortars, both joint and rendering ones. Granite is the most abundant material used in the complex, with a structural/reinforcing role in elements such as lintels, jambs, buttresses, or bottom areas of the walls with greater sizes and better dimensioned. Some pillars are granite built, from the large ashlars of the sacristy, to the rubble-work of the Mozarab chapel. Two types of monzogranite can be differentiated in relation to distinct constructive stages: the coarse texture monzogranite is used in the first building stages, while the fine texture monzogranite was employed mainly from 17th century on. Petrophysical characteristics of these granites are different but show a good quality to be used in construction. Nevertheless, the abandon and partial ruin of the complex, the devastating fire events (the second one in 1743) leaded to the decay acceleration of the monumental complex, being nowadays the church in ruin, with no roofs and walls

  13. De Hemingway au chinois classique : le travail de la langue de l’écrivain taïwanais Wang Wen-hsing

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    Sandrine Marchand

    2014-04-01

    Full Text Available Dans les années 1970, l’« occidentalisation » de Wang Wen-hsing lui attire les foudres de la critique. On lui reproche, entre autres choses, de mal écrire, d’être incompréhensible et d’écrire dans une langue occidentalisée. Lui-même semble prendre pour modèle son professeur de français, dont le niveau de chinois classique était très élevé. Entre chinois classique, moderne, dialecte de sa région natale (très proche du dialecte de Taïwan, anglais, et français idéalisé, Wang Wen-hsing invente sa propre langue. Dans les manuscrits de son premier roman, il recourt au syllabaire que les enfants utilisent en cours d’apprentissage de la langue chinoise pour remplacer les caractères d’écriture, syllabaire qui disparaît ensuite à la publication. Que nous apprend l’utilisation de ce syllabaire sur le travail créatif de l’auteur ?Wang Wen-hsing est un auteur qui, entre extrême précision et violence, consacre sa vie et toute son énergie au travail de la langue. Quelle langue tente-t-il d’approcher : le chinois normatif des temps anciens, la langue américaine de Hemingway, ou un mélange des deux ?Multilingue à l’intérieur de la langue chinoise moderne, elle-même langue encore proche du chinois classique, abandonné seulement au début du xxe siècle, l’écriture romanesque de Wang Wen-hsing, qui a pour critère de valeur le « tong-shun » (clarté et aisance, est le fruit de l’oralité et d’une langue expérimentale. Ce rapport à la langue vient-il de sa situation d’émigration, de son isolement des milieux politiques et intellectuels, comme cela lui a été reproché lorsque justement on l’accusait d’écrire dans une langue incompréhensible pour le lecteur ? Pourquoi ces romans sont-ils jugés incompréhensibles ? En raison du niveau du lecteur moyen ? Pour des raisons géopolitiques, car il est un émigré en position dominante dans l’île ? Parce que la langue chinoise est dans

  14. Geomaterials and architecture of the medieval monuments of Sardinia (Italy): petrophysical investigations on their construction materials and documentation on the architectonic aspects using digital technologies

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    Columbu, Stefano; Verdiani, Giorgio

    2015-04-01

    The Sardinia Island is in the core area of the Mediterranean Sea. Its position has made it the crossing point of many cultural and political events, but at the same time its isolation has favoured the manifestation of specific and unique Cultural Heritage phenomena. The network of several medieval monuments (i.e., Romanesque churches) disseminated all around the island clearly shows how an architectural language can be declined according to site specific materials and specific artistical and practical choices, always preserving its original logic and grammar. On the bases of different architectural characteristics and petrophysical features of their lithology, a significant number of churches have been chosen from the different medieval geographical-political areas of the Sardinia named (at that time) "Giudicati". Each of these churches were surveyed using the following methods: photography, 3D Laser Scanner for the whole interior and exterior parts (using a Leica HDS 6000 and a Cam/2 Faro Photon units), photogrammetry (using high resolution Nikon D700 and D800e) of a selected set of the extern surface of significant altered samples (aimed to the production of high quality and highly detailed 3D digital models), direct sampling of representative rocks and ancient mortars for geochemical and minero-petrographic analysis using optical polarized microscope, electronic microscopy (SEM), X-Ray fluorescence (XRF), X-Ray diffractometry (XRD). The physical-mechanical properties (real and bulk densities, open and closed porosity, water absorption and saturation, vapour permeability, flexion and compression strengths, etc.) of various geomaterials are determined with helium picnometry, microscopic image analysis, gas-permeability thermostatic chamber, oil-hydraulic press machine, Point Load Test (PLT), abrasimeter. For each church, when there was the occasion, some specific case study has been developed, matching the information about the materials and the specific events

  15. Fuir la complétude ou Le métarécit intermédial des Faux-monnayeurs

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    Antonio Viselli

    2014-12-01

    Full Text Available Les Faux-monnayeurs d’André Gide est un (anti-roman qui fait appel à un autre médium artistique amimétique – en l’occurrence la musique – afin de mettre en question la représentation de l’authenticité, du réel et de la subjectivité de l’écrivain. Édouard, le protagoniste romancier qui souhaite lui-même rédiger un roman intitulé Les Faux-monnayeurs, se trouve plongé dans une mise-en-abîme où le récit linéaire contrapuntique déjà complexe se colore d’ambiguïté narrative grâce à une polyphonie verticale : et ce, par le biais de l’axe paradigmatique, des récits emboîtés et de l’usage du discours indirect libre. Gide réalise, au moins en partie, le rêve d’Édouard paralysé par la page blanche : terminer l’œuvre de Bach, L’Art de la fugue, en littérature. C’est-à-dire, que d’un point de vue intermédial, Gide emploie une poétique de la fugue – style musical théoriquement interminable – afin de subvertir le genre romanesque. L’intermédialité rejoint l’interdisciplinarité et, en appliquant le théorème mathématique et philosophique de Kurt Gödel – son théorème de l’incomplétude –, la verticalité textuelle, synonyme de métarécit chez Gide, se déploie dans toute son éloquence et renforce davantage la thématique du « faux » et de la « copie » dans un roman contrefait. Fleeing Completeness or The Intermedial Metanarrative of Les Faux-monnayeurs André Gide’s Les Faux-monnayeurs is a (anti-novel that calls upon another amimetic artistic medium – music – in order to question the representation of authenticity, of the real, and of the novelist’s subjectivity. The novel’s protagonist, Édouard, wishes to write a novel entitled Les Faux-monnayeurs, and finds himself at the bottom of a mise-en-abîme where the already complex contrapuntal narrative becomes further ambiguous alongside examples of vertical polyphony: such as the paradigmatic axis, framed

  16. Book Reviews

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    Redactie KITLV

    1992-01-01

    , 375 pp., Ceri Peach, Steven Vertovec (eds. - P. van Emst, Ron Brunton, The abandoned narcotic; Kava and cultural instability in Melanesia. Cambridge studies in social anthropology 69. Cambridge, etc.: Cambridge, University Press, 1989. - Th. van den End, Karel A. Steenbrink, De islam bekeken door koloniale Nederlanders. Utrecht/Leiden: Interuniversitair Instituut voor Missiologie en Oecumenica, 1991, 174 pp. - Th. van den End, Sutarman S. Partonadi, Sadrach’s community and its contextual roots; A nineteenth century Javanese expression of Christianity. Amsterdam-Atlanta: Rodopi, 1990, 317 pp. - Antonio J. Guerreiro, Bernard Sellato, Nomades et sedentarisation a Borneo; Histoire économique et sociale. Paris, Editions de l’Ecole des Hautes Etudes en Sciences Sociales, Etudes insulindiennes/Archipel 9, 1989, 293 p.; ill. - Jos G.M. Hilhorst, P.J.M. Nas, De sad in de Derde Wereld; Een inleiding tot de urbane antropologie en sociologie. Muiderberg: Coutinho, 1990; pp. 244. - S.R. Jaarsma, Stefan Dietrich, Kolonialismus und Mission auf Flores (ca. 1900-1942, Hohenschaftlarn: Klaus Renner Verlag (Münchner Beiträge zur Süd- und Südostasienkunde Band 1, 1989, vii + 347 pp. - M.C. Jongeling, Th. van den End, Ragi carita; Sejarah gereja di Indonesia I 1500-1860, 3rd impr. Jakarta 1987, - Roy.E. Jordaan, Michaela Appel, Dewi Sri und die Kinder des Putut Jantaka; Beziehungen zwischen Mensch und Reis in Mythologie und Brauchtum auf Java und Bali. München: Anacon Verlag, 1991. - S.C. Kersenboom, Joel C. Kuipers, Power in performance; The creation of textual authority in Weyewa ritual speech, 1990. Philadelphia, Pa: University of Pennysylvania press, conduct and communication series. - J. Kleinen, Marie Alexandre Martin, Le mal cambodgien; Histoire d’une societe traditionelle face a ses leaders politiques 1946-1987, Paris: Hachette, 1989. - G.J. Knaap, A. Booth, Indonesian economic history in the Dutch colonial era, Monograph series 35 Yale University Southeast Asia

  17. Ground-penetrating radar investigation of St. Leonard's Crypt under the Wawel Cathedral (Cracow, Poland) - COST Action TU1208

    Science.gov (United States)

    Benedetto, Andrea; Pajewski, Lara; Dimitriadis, Klisthenis; Avlonitou, Pepi; Konstantakis, Yannis; Musiela, Małgorzata; Mitka, Bartosz; Lambot, Sébastien; Żakowska, Lidia

    2016-04-01

    The Wawel ensemble, including the Royal Castle, the Wawel Cathedral and other monuments, is perched on top of the Wawel hill immediately south of the Cracow Old Town, and is by far the most important collection of buildings in Poland. St. Leonard's Crypt is located under the Wawel Cathedral of St Stanislaus BM and St Wenceslaus M. It was built in the years 1090-1117 and was the western crypt of the pre-existing Romanesque Wawel Cathedral, so-called Hermanowska. Pope John Paul II said his first Mass on the altar of St. Leonard's Crypt on November 2, 1946, one day after his priestly ordination. The interior of the crypt is divided by eight columns into three naves with vaulted ceiling and ended with one apse. The tomb of Bishop Maurus, who died in 1118, is in the middle of the crypt under the floor; an inscription "+ MAVRVS EPC MCXVIII +" indicates the burial place and was made in 1938 after the completion of archaeological works which resulted in the discovery of this tomb. Moreover, the crypt hosts the tombs of six Polish kings and heroes: Michał Korybut Wiśniowiecki (King of the Polish-Lithuanian Commonwealth), Jan III Sobieski (King of the Polish-Lithuanian Commonwealth and Commander at the Battle of Vienna), Maria Kazimiera (Queen of the Polish-Lithuanian Commonwealth and consort to Jan III Sobieski), Józef Poniatowski (Prince of Poland and Marshal of France), Tadeusz Kościuszko (Polish general, revolutionary and a Brigadier General in the American Revolutionary War) and Władysław Sikorski (Prime Minister of the Polish Government in Exile and Commander-in-Chief of the Polish Armed Forces). The adjacent six crypts and corridors host the tombs of the other Polish kings, from Sigismund the Old to Augustus II the Strong, their families and several Polish heroes. In May 2015, the COST (European COoperation in Science and Technology) Action TU1208 "Civil engineering applications of Ground Penetrating Radar" organised and offered a Training School (TS) on the

  18. Study of a brittle and precious medieval rose-window by means of the integration of GPR, stress wave tests and infrared thermography

    Science.gov (United States)

    Nuzzo, L.; Masini, N.; Rizzo, E.

    2009-04-01

    The correct management and restoration of architectural monuments of high cultural interest requires a comprehensive understanding of their status of preservation, the detection of the building features, the localization of damages and possibly the identification of their causes, nature and extent. To this aim, in recent times there is a growing interest on non-destructive and non-invasive geophysical methods as an invaluable tool for correlating spatially the information gained through destructive tests, which are restricted to a few locations of the investigated structure, and to optimize the choice of their position in order to minimize their impact on the monument structural stability. Moreover, the integration of the classical geophysical techniques with emerging surface and subsurface sensing techniques (acoustics, thermography) provides a suitable methodology for a multi-scale assessment of the monument state of preservation and its material and building components, which is vital for addressing maintenance and restoration issues. The present case study focuses on the application of Ground Penetrating Radar (GPR), infrared thermography (IRT), sonic and ultrasonic tests to analyze a 13th century precious rose window in Southern Italy, affected by widespread decay and instability problems. The Cathedral of Troia (Apulia, Italy) is the masterpiece of the Apulian Romanesque architecture. Its façade is adorned with an astonishing 6 m diameter rose window consisting of 11 twin columns, in various stone and reused marbles, connected to a central oculus and to a ring of trapezoidal elements decorated with arched ribworks. Between the twin columns there are 11 triangular carved panels with different and strongly symbolic geometrical patterns. According to visual inspection, mineralogical and petrographic studies, different materials have been used for the different architectural elements: fine grained limestone for the central oculus, medium-fine grained calcarenite

  19. De l’impossible intimité physique à la provocation éthique : Le pouvoir subversif de l’hétérotopie carcérale chez Genet

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    Pascaline Hamon

    2010-09-01

    Full Text Available La représentation de l’univers carcéral tient un rôle considérable dans l’œuvre genetienne, aussi bien au niveau intra-textuel - la prison constitue la matrice d’écriture d’un certain nombre de pièces ou de romans - mais aussi au niveau extra-textuel, puisque la prison fait partie intégrante de la légende genétienne.Entre l’omniprésence littéraire et les réalités biographiques, cependant, on observe un fossé qui invite à se questionner sur les pouvoirs littéraires du lieu carcéral. En effet, deux œuvres seulement ont été écrites en prison : Notre-Dame des Fleurs et Miracle de la Rose. En constituant un miroir grossissant des questions éthiques et littéraires lié à l’écriture carcérale, ces deux œuvres permettent également de faire un lien entre une réflexion sociale, qui peut être éclairée par l’ouvrage de Michel Foucault, Surveiller et punir, et une création poétique qui repose sur le concept d’hétérotopie tel que le développe encore ce dernier dans Des espaces autres.Ces deux œuvres permettent de questionner la mise en œuvre d’une représentation carcérale à mi-chemin entre la reproduction d’une réalité sociale et une projection fantasmatique des époques, des lieux et de la littérature elle-même. Partant de la fécondité qu’offre, pour le critique littéraire, la notion d’hétérotopie, nous mettrons en lumière une dimension essentielle de la poétique genétienne : les glissements d’une époque à une autre, par le biais de l’imaginaire permettent la superposition des espaces hétérotopiques qui aboutit sur une réunion de contraires propre à susciter une interrogation éthique sur les structures sociales par le biais du scandale littéraire.La dimension anachronique permet d’expliquer les fondements de la provocation éthique telle qu’elle se manifeste chez l’auteur. Celle-ci n’est pas sans implication littéraire, puisque l’œuvre romanesque tend

  20. Juvenile Cosmology; Or Richard Powers’ Post-Global Doughnut

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    Judith Roof

    2010-02-01

    Full Text Available Le roman de Richard Powers, Operation Wandering Soul (1993, présente le lien subtil qui associe un mondialisme déjà usé et vieillissant à l’enfant perçu comme catégorie dominante. Comme les faces serpentines d’un ruban de Möbius lové autour de l’illimité et de l’intemporel, le texte, tendu entre ses deux infinis – l’univers et l’enfant – révise la portée, la conception, la structure et le style du genre romanesque. Délaissant Aristote pour Einstein, Operation Wandering Soul se place sur le terrain de la cosmologie. Le récit, qui rassemble la kyrielle des grands ralliements juvéniles et leurs vains pèlerinages, concentre l’espace-temps dans une présentation qui évoque la « somme des histoires » de Richard Feynman. La contraction de l’espace-temps opérée par le roman ne fait pas de celui-ci un hymne simpliste au global (catégorie déjà aussi datée que celle des malheureux vétérans du Vietnam, mais capte au contraire la conscience grandissante d’une existence sans origine qui s’étend à perte de vue au-delà de ses coordonnées supposées. Le roman s’enroule sur lui-même tout en s’épanchant au dehors, boucle ses cadres et ses détours tout en desserrant leur emprise. Il fait tourner la roue de ses récits comme des planètes en rotation, la ronde d’un système solaire, le tourbillon d’une galaxie. La conscience que présente Operation Wandering Soul ne se résume donc pas au seul point de vue de l’âme errante qu’est le personnage de Kraft, mais consiste en la somme de tous les temps et de tous les lieux, de leurs strates accumulées comme une conscience en acte, complexe et tissée de réseaux, qui n’appartient à personne et est partagée par tous. Cette accumulation organise le jeu des perspectives multiples qui instaurent l’acte de lecture et sont instaurées par lui. À cet égard, lire constitue ici une physique des oubliés.Richard Powers’ novel Operation Wandering