Recherche multi-critères

What's a hero? par Susan Neiman, publié le 01/04/2014

When talking about heroes I’ve often been asked if I could please drop the problematic term ‘hero’ in favor of the term ‘role model’. I cannot, since the word role model is part of the problem: a sterile term that social scientists invented in 1957, which simply doesn’t work the way the word heroes does: to inspire, to challenge, to light fires for (and under) people of whatever age who need to be reminded that there is more to their lives than they are told to be resigned to. When attempting to use the word hero in a BBC discussion I was attacked by an interlocutor who justified her refusal to use the old-fashioned word ‘hero’ because “Hitler and Stalin were heroes.”

Remembering 9/11 - Politics of Memory par Marita Sturken, Claire Richard, publié le 31/03/2014

One of the reasons I was interested in trying to unpack the meanings of kitsch memory culture, say for instance in relationship to 9/11, is precisely the ways in which it creates this culture of comfort, that allows us to feel reassured. And that allows us to not confront the larger questions, about the project of American empire, about the project of national identity, about our priorities and our values as a nation, and about the kind of sacrifices that we have demanded on those serving in the armed forces, and all of the ways in which many families and many communities were really devastated by the wars in Iraq and Afghanistan...

On verra (Douglas Kennedy) par Douglas Kennedy, publié le 25/03/2014

Chaque année, les invités des Assises Internationales du Roman rédigent la définition d'un mot de leur choix : il s'agit ici du mot "on verra", défini par l'auteur américain Douglas Kennedy.

The Truth of Pussy Riot par Masha Gessen, publié le 21/02/2014

A great work of art is also often not immediately recognizable. Five young women entered the enormous Cathedral of Christ the Savior early in the morning on February 21, 2012, took off their overcoats to expose differently colored dresses and neon-colored tights, pulled on similarly neon-colored balaclavas, climbed up on the soleas (having lost one of their number in the process—she had been grabbed by a security guard), and proceeded to dance, play air guitar, and sing a song they called a “punk prayer,” beseeching Mother of God to “get rid of Putin.”

An interview with Jonathan Coe (Expo 58) par Jonathan Coe, Clifford Armion, publié le 18/02/2014

Jonathan Coe was born in Birmingham in 1961. His novels include The Rotters' Club, The Accidental Woman, A Touch of Love, The Dwarves of Death, What a Carve Up!, which won the 1995 John Llewellyn Rhys Prize and the French Prix du Meilleur Livre Étranger and The Rain Before it Falls. His latest novel is Expo 58.

Anthropology and Philosophy or the Problem of Ontological Symmetry par Tim Ingold, publié le 11/02/2014

"Anthropology, for me, is philosophy with the people in. It is philosophy, because its concern is with the conditions and possibilities of human being and knowing in the one world we all inhabit."

Scotland’s Hour of Choice: The 2014 Referendum Campaign par Alistair Cole, publié le 09/02/2014

With the Scottish independence referendum campaign in full swing, it is difficult to stand back and evaluate the position of Scotland in a dispassionate way. Scottish citizens will shortly be called upon to decide whether they agree or not with the proposition that ‘Scotland should be an Independent country’.

In Support of Affirmative Action par Randall Kennedy, publié le 06/02/2014

There are several good justifications for racial affirmative action in a society that has long been a pigmentocracy in which white people have been privileged and people of color oppressed. Affirmative action can ameliorate debilitating scars left by past racial mistreatment – scars (such as educational deprivation) that handicap racial minorities as they seek to compete with whites who have been free of racial subordination. Affirmative action can also counter racially prejudiced misconduct. True, an array of laws supposedly protect people in America from racial mistreatment. But these laws are notoriously under-enforced...

Pictures Versus the World par Barbie Zelizer, publié le 24/01/2014

For as long as pictures have been among us, they have generated an uneasy mix of suspicion and awe. Perhaps nowhere is that as much the case as with journalism, where pictures are implicated in the larger truth-claims associated with the news. Aligned with a certain version of modernity, pictures are expected to establish and maintain journalism as the legitimate platform for giving shape to events of the real world. Consider how public response to acts of terror, war and natural disaster is affected by decisions not to depict them. Without pictures to show the news, journalism’s capacity to render the real and make it accessible is compromised.

Susan Neiman on heroism par Susan Neiman, Clifford Armion, publié le 20/01/2014

I think we’re very confused about the subject of heroism. I began to get interested in the subject when I realised that we are actually at a historical cesure since the end of the Second World War. It used to be the case although there were many different conceptions of heroism. It used to be unquestioned that everyone wanted to be a hero, and everybody wanted to be a better hero than the next person. What has happened in the last fifty years or so is that the notion of the hero has in many ways been replaced by the notion of the victim.

Much Ado About Nothing (Joss Whedon) par Clifford Armion, publié le 20/01/2014

En adaptant cette comédie de Shakespeare, Joss Whedon marche dans les pas de l’illustre Kenneth Branagh qui avait fait de Much Ado un film remarqué en 1993. Le pari pouvait sembler ambitieux, même prétentieux, et pourtant le résultat est une comédie de mœurs toute en finesse qui respecte et met en valeur l’œuvre du dramaturge élisabéthain.

Minorities and democracy par Siddhartha Deb, publié le 17/01/2014

In 1916, the Indian poet Rabindranath Tagore delivered a series of lectures that would eventually be collected into the book, Nationalism. Tagore was writing in the glow of his own celebrity (he had just won the Nobel Prize for literature) and from within the heart of the crisis engulfing the modern world, two years into the slow, grim war that had converted Europe into a labyrinth of trenches covered over with clouds of poison gas. For Tagore, this was the tragic but inevitable outcome of a social calculus that valued efficiency, profit and, especially, the spirit of us versus them that bonded together the inhabitants of one nation and allowed them to go out, conquer and enslave other people, most of them members of no nation at all.

Rencontre avec Randall Kennedy par Randall Kennedy, Kédem Ferré, publié le 10/01/2014

Harvard Law Professor Randall Kennedy answered Aiguerande 11th graders before a conference at the Hôtel de Région for the Villa Gillet Mode d'Emploi festival, on 24 November 2013 in Lyon, France. The meeting was organised by the Villa Gillet and La Clé des Langues, and was prepared by Kédem Ferré and his students.

Barbie Zelizer on the power of images par Barbie Zelizer, Clifford Armion, publié le 06/01/2014

Barbie Zelizer is a Professor of Communication, and holds the Raymond Williams Chair of Communication and is Director of the Scholars Program in Culture and Communication at the Annenberg School for Communication, University of Pennsylvania. A former journalist, Professor Zelizer's work focuses on the cultural dimensions of journalism, with a specific interest in journalistic authority, collective memory, and journalistic images in times of crisis and war. She also works on the impact of disciplinary knowledge on academic inquiry.

Feel the Sound, Thoughts on Music and the Body par Elena Mannes, publié le 19/12/2013

Our relationship with sound is an intimate one – arguably the most intimate with any of our five senses. We live in a visual society. Many people would say that sight is our primary sense. We hear before we see. In the womb, the fetus begins to develop an auditory system between seventeen and nineteen weeks. Already we are in a world of sound, of breath and heartbeat, of rhythm and vibration. Already, we are feeling the sound with our bodies.

"As Many Fingers as Needed": The Body as Musician and its Fetishes par Peter Szendy, publié le 19/12/2013

"To comfortably acquire, so to speak, as many fingers as needed," said one of Bach’s sons, Carl Philipp Emanuel, in his Essay on the True Art of Playing the Keyboard (1753). And these words are remarkable, as long as we are prepared to take them literally, and not hastily consider them as one of the metaphors that adorn discourse about music and on the bodies that it evokes.

Family Histories par Ian Buruma, publié le 16/12/2013

When I was at primary school in the Netherlands in the late 1950s and early 1960s, history was still taught as a story of great men, kings, generals, national heroes, and of course great villains, mostly foreigners. In our case, this meant a succession of Williams of Orange, Admiral Tromp, Philip II, the Duke of Alva, Napoleon, Hitler, and so on. As a reaction to this kind of thing, historians of the left began to focus on systems: fascist, late capitalist, communist, totalitarian. Hannah Arendt’s take on the Eichmann trial, though not the work of a typical leftist, contributed to this tendency, as did the work of Adorno. I have often suspected that they favored systemic analyses, because they couldn’t bring themselves to face what had gone so badly wrong specifically in their beloved Germany. The responsibility of Germans, such as Heidegger, was not the issue; it had to be a systemic failure.

Taking History Personnally par Cynthia Carr, publié le 12/12/2013

Two black men were lynched in Marion, Indiana, on the night of August 7, 1930. That was my father’s hometown, the town where I have my roots, and I heard this story when I was a little girl: The night it happened someone called my grandfather, whose shift at the Post Office began at three in the morning. "Don’t walk through the courthouse square tonight on your way to work," the caller said. "You might see something you don’t want to see." Apparently that was the punchline, which puzzled me. Something you don’t want to see. Then laughter. I was in my late twenties — my grandfather long dead — when I first came upon the photo of this lynching in a book. It has become an iconic image of racial injustice in America: two black men in bloody tattered clothing hang from a tree and below them stand the grinning, gloating, proud and pleased white folks.

Doug Saunders on migration par Doug Saunders, Clifford Armion, publié le 05/12/2013

Migration almost always follows the same pattern. It doesn’t go from one country to another country. It goes from a cluster of villages or a sub-rural region to specific urban neighbourhoods. Those urban neighbourhoods which are usually low-income, with low housing cost, serve as the bottom rung of the ladder for people arriving in a new country.

Are You Going to Write That in Your Book? par Siddhartha Deb, publié le 03/12/2013

Born in north-eastern India in 1970, Siddhartha Deb is the recipient of grants from the Society of Authors in the UK and has been a fellow at the Radcliffe Institute of Advanced Studies at Harvard University. His latest book, a work of narrative nonfiction, ((The Beautiful and the Damned)), was a finalist for the Orwell Prize in the UK and the winner of the PEN Open award in the United States. His journalism, essays, and reviews have appeared in Harpers, The Guardian, The Observer, The New York Times, Bookforum, The Daily Telegraph, The Nation, n+1, and The Times Literary Supplement.

In Praise of Babel par Robyn Creswell, publié le 22/11/2013

Like Jewish and Christian commentators, Muslim exegetes understood the Babel story to be a parable of how mankind’s hubris, in the form of a desire for knowledge or an attempt to reach the heavens, leads to divine punishment. The subsequent confusion of human idioms and scattering of peoples is a second fall from grace, an expulsion from the paradise of monolingualism. Henceforth, translation becomes at once necessary and impossible—impossible in the sense that no translation could ever match the transparency of the original Ur-Sprache. So the Islamic tradition, like the Judaic one in particular, comes to bear a tremendous nostalgia for the lost language of Eden.

What Is Translation For? par Keith Gessen, publié le 19/11/2013

What is the place of the writer in the literary field of the home country? What contribution can this writer make to the literary field of the target or host country? It's important to understand that the answers to these questions will often be different: a writer can be a marginal figure in his home country and become a vital figure in another country. More often, of course, the reverse is true.

Reunion / L'ami retrouvé (1989) Jerry Schatzberg par Jerry Schatzberg, publié le 15/11/2013

Jerry Schatzberg started his career as a photographer and made his debut as a film director with Puzzle of a Downfall Child in 1970. Three years later he won the Cannes Film Festival Grand Prix for Scarecrow with Gene Hackman and Al Pacino. He was invited by the Festival Lumière to present Reunion (1989) which was screened in Lyon on 18 october 2013.

We’re All Translators Now par Esther Allen, publié le 15/11/2013

As our language ceases to dominate cyberspace (our share of the Web has fallen to about 27%), we English speakers are hesitantly stepping out of our monolingual sphere and evincing renewed interest in foreign tongues. Language learning websites like Livemocha and Matador Network seem to crop up like mushrooms, Rosetta Stone is a publicly traded company whose stock is up 41% year to date, and last year’s top-rated YouTube video — remember? —was in Korean (with a few repetitions of “hey sexy lady” thrown in for nostalgia’s sake).

Translation as Muse: Muse as Teacher par Mary Jo Bang, publié le 15/11/2013

how can reading not add to one’s experience, and in turn influence a person’s writing? And wouldn’t translation especially affect the brain, since translation involves the closest sort of reading, one where the mind simultaneously reads for meaning and tries to access the equivalent word or expression in another language. Wouldn’t reading the word “pelle” in Italian similarly send a message to the brain to access the synaptic record of all past sensory experience having to do with leather: black jacket, kid gloves, car seat, red belt with an alligator buckle, toy-gun holster, shoe shop. Wouldn’t the experiential knowledge of how those various leathers felt be carried along as the translator toggled between two different linguistic systems? And of course each of those leather memories would be connected to other associational memories, some quite rich in subjectivity.

A world war par ENS Lyon La Clé des Langues, publié le 08/11/2013

Cette page aborde l'engagement des territoires de l'Empire britannique, notamment le Canada et l'Inde, dans la Première Guerre Mondiale. Une tâche est ensuite proposée aux apprenants à partir des informations présentées.

Women on the Home Front in World War One par ENS Lyon La Clé des Langues, publié le 08/11/2013

Cette page aborde sous plusieurs angles la question de l'évolution du statut et du rôle des femmes dans la société anglaise durant et après la Première Guerre Mondiale. Une tâche est ensuite proposée aux apprenants à partir des informations présentées.

David Vann: Secret and subtext par David Vann, publié le 07/10/2013

All of the conventions of literary fiction can be successfully broken except one: there must be subtext, a second story beneath the surface. We don’t have to care about a protagonist or even really have a protagonist. We’re not limited to any particular style or structure. But our entire idea of literature being “about” something is based on a second narrative, something else that the surface narrative can point to. What’s interesting to me about this is that we live in a time when surface narratives are taking over. Blogs are generally so worthless for this one reason, that they lack subtext. The online world is, above all, earnest, saying exactly what it means.

The Battle of the Somme (1916) par ENS Lyon La Clé des Langues, publié le 30/09/2013

Cette page aborde l'épisode de la bataille de la Somme, vu par des historiens, mais aussi par des témoignages de soldats, par la presse de l'époque et par le ministère de la guerre. Les différents documents présentés font l'objet d'une tâche à réaliser par les apprenants.

Goldie Goldbloom: Portraits and Faces - Appearance and Disfigurement par Goldie Goldbloom, publié le 27/09/2013

Chekhov is well known for his impartial observations of his characters and for his grasp of “realism”. When I first read his description of the lady with the little dog, I discovered that she is “a fair-haired young lady of medium height, wearing a beret.” I was puzzled. This less than enthusiastic description of the woman Gurov will come to love leaves out many basic details such as the colour of Anna Sergeyevna’s eyes and whether she has an attractive figure. I wondered why Chekhov departs from the wordier earlier traditions of written portraiture, and how his simple sketch of Anna illustrated the “realism” for which he is known.

Rebelling as a female in the 18th and 19th century literature. From Pamela to Jane Eyre: a path to equality? par Marion Lopez-Burette, publié le 23/09/2013

This article intends to study and compare the way Pamela, Richardson's early heroine of the novel genre, and Charlotte Brontë's romantic Jane, rebel. What follows will underscore the path trodden by female fictional characters in terms of shaping the individual, from the Enlightenment period to the romantic era. The patterns of entrapment and self-willed seclusion the protagonists are involved in function as incentives for rebellion. The ideals they rebel for play the role of living forces in a way that is meaningful to comprehend how the essence of rebellion evolved with time. No matter how much the protagonists' respective procedure may differ, from moral conservatism to personal answering of moral questions through rites of passage, the two female heroines are equally conscious of their value as human beings. Their handling of their hardships and their allegiance to God, however, points to the qualitative and quantitative evolution of the notion of equality.

Kate O'Riordan: Visions of Ireland - A writer's view par Kate O'Riordan, publié le 17/09/2013

A Londoner by adoption, Kate O’Riordan grew up in the small city of Bantry on the west coast of Ireland. With Le Garçon dans la lune, published in 2008 and Pierres de mémoire, in 2009, O’Riordan signed two new remarkable opuses in which she questions family relationships. A novelist and short-story writer, Kate O’Riordan also writes for the cinema and continues to confirm her legitimate place among Irish authors who count. She came to the Villa Gillet to take part in a discussion on 'Ireland by Irish writers'.

Les tubes de la Grande Guerre en Angleterre par John Mullen, publié le 27/08/2013

La vie des Britanniques il y a un siècle était souvent très dure. Comme à toute époque, le divertissement, et spécialement la musique, était essentiel pour toutes les classes sociales. Les couches privilégiées organisaient des concerts chez elles, aidées par leurs domestiques, ou allaient dans les salons de danse. La classe ouvrière rejoignait des fanfares ou des chorales, mais surtout allait au music-hall. Dans cet article nous avons choisi 10 chansons à succès des années de guerre qui peuvent illustrer les priorités de leur public. Pour chacune, nous fournissons un extrait des paroles, un enregistrement de l’époque, et une image.

Keith Scribner: Representation and Psychology of Conflict par Keith Scribner, publié le 27/08/2013

In his Nobel Prize acceptance speech William Faulkner famously said that all real meaning in fiction comes from the human heart in conflict with itself. As a novelist I’m compelled by the internal conflicts inherent in the stories we tell ourselves in order to live and how those stories come to define us, how they allow us to justify our actions and possibly delude ourselves about who we are. Like any narrative, these stories help us shape otherwise disparate experiences into a comprehensible form. Over time we become so heavily invested in these narratives that when their veracity is challenged, the resulting conflict can be explosive.

The sinking of the Lusitania (1915) par ENS Lyon La Clé des Langues, publié le 11/07/2013

Cette page présente brièvement l'épisode tragique du naufrage du paquebot Lusitania en 1915 suite à son torpillage par un sous-marin allemand (ce qui précipita l'entrée en guerre des USA), et propose plusieurs tâches à partir de documents d'époque.

Britain and World War One (DNL) par ENS Lyon La Clé des Langues, publié le 05/07/2013

Ce dossier sur l'Empire Britannique pendant Première Guerre Mondiale propose l'étude d'un certain nombre de ressources (affiches de propagande, photographies, textes...) organisées sous forme de séquence pédagogique, et accompagnées de tâches à réaliser par les apprenants.

Propaganda posters par ENS Lyon La Clé des Langues, publié le 05/07/2013

Au cours de la Première Guerre Mondiale, les affiches de propagande ont été utilisées pour transmettre efficacement des messages aux populations d'Angleterre et de l'Empire. Ces affichent décrivent la violence de la guerre, sa nature mondiale, le besoin de recrues et de fonds pour soutenir l'effort de guerre. Sur cette page, l'une de ces affiches est analysée, puis une dizaine d'autres affiches sont présentées. Une tâche liant analyse d'image et production orale est proposée à partir de ces documents.

Feigned and real madness in King Lear par ENS Lyon La Clé des Langues, publié le 03/07/2013

Cette page propose plusieurs extraits du "Roi Lear" de Shakespeare, ainsi qu'une reproduction d'un tableau de William Dyce représentant le personnage du Roi Lear. Ces documents sont accompagnés d'exercices de compréhension et d'analyse d'image...

Hamlet (Charles Lamb) par ENS Lyon La Clé des Langues, publié le 03/07/2013

Cette page retranscrit la version de Hamlet issue de l'ouvrage "Tales from Shakespeare". Ce recueil, écrit par Charles et Mary Lamb en 1807 est un livre pour enfants très connu en Angleterre. Chaque histoire suit fidèlement la pièce originale, citant parfois précisément le texte de Shakespeare. Les histoires sont cependant plus courtes que les pièces, car elles adoptent une narration en prose, et que les intrigues secondaires sont parfois raccourcies. Le niveau de langue est évidemment également simplifié.

Macbeth (Charles Lamb) par ENS Lyon La Clé des Langues, publié le 03/07/2013

Cette page retranscrit la version de Macbeth issue de l'ouvrage "Tales from Shakespeare". Ce recueil, écrit par Charles et Mary Lamb en 1807 est un livre pour enfants très connu en Angleterre. Chaque histoire suit fidèlement la pièce originale, citant parfois précisément le texte de Shakespeare. Les histoires sont cependant plus courtes que les pièces, car elles adoptent une narration en prose, et que les intrigues secondaires sont parfois raccourcies. Le niveau de langue est évidemment également simplifié.

King Lear (Charles Lamb) par ENS Lyon La Clé des Langues, publié le 03/07/2013

Cette page retranscrit la version du Roi Lear issue de l'ouvrage "Tales from Shakespeare". Ce recueil, écrit par Charles et Mary Lamb en 1807 est un livre pour enfants très connu en Angleterre. Chaque histoire suit fidèlement la pièce originale, citant parfois précisément le texte de Shakespeare. Les histoires sont cependant plus courtes que les pièces, car elles adoptent une narration en prose, et que les intrigues secondaires sont parfois raccourcies. Le niveau de langue est évidemment également simplifié.

Madness in Shakespeare par ENS Lyon La Clé des Langues, publié le 02/07/2013

La folie est un thème récurrent dans l'oeuvre de Shakespeare. Ce dossier propose une sélection de textes et de peintures en relation avec ses tragédies les plus célèbres (Hamlet, Macbeth et le Roi Lear), accompagnée d'exercices de compréhension et/ou d'analyse d'image (ce dossier fait partie du programme de Littérature étrangère en langue étrangère - LELE).

Macbeth - Conveying madness through language par ENS Lyon La Clé des Langues, publié le 02/07/2013

Cette page propose plusieurs extraits de "Macbeth" de Shakespeare, ainsi qu'une reproduction d'un tableau d'Henry Fuseli représentant le personnage de Lady Macbeth. Ces documents sont accompagnés d'exercices de compréhension et d'analyse d'image...

Ophelia's lyrical madness in Hamlet par ENS Lyon La Clé des Langues, publié le 02/07/2013

Cette page propose deux extraits de "Hamlet" de Shakespeare, ainsi qu'une reproduction d'un tableau de John Everett Millais représentant le personnage d'Ophelia. Ces documents sont accompagnés d'exercices de compréhension et d'analyse d'image...

William Hogarth - The Medley par Vincent Brault, publié le 24/06/2013

Reproduction commentée de l'oeuvre "The Medley" du graveur anglais William Hogarth.

William Hogarth - Finis, on The Bathos par Vincent Brault, publié le 24/06/2013

Reproduction commentée de l'oeuvre "Finis, on The Bathos" du graveur anglais William Hogarth.

William Hogarth - Six Tickets par Vincent Brault, publié le 24/06/2013

Reproduction commentée de l'oeuvre "Six Tickets" du graveur anglais William Hogarth, et reproductions détaillées des six vignettes composant cette oeuvre.

William Hogarth - The Politician par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "The Politician" du graveur anglais William Hogarth.

William Hogarth - Sigismunda par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Sigismunda" du graveur anglais William Hogarth.

William Hogarth - The Shrimp-Girl par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "The Shrimp-Girl" du graveur anglais William Hogarth.

William Hogarth - The Stay-Maker par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "The Stay-Maker" du graveur anglais William Hogarth.

William Hogarth - Captain Thomas Coram par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Captain Thomas Coram" du graveur anglais William Hogarth.

William Hogarth - Charles Churchill par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Charles Churchill" du graveur anglais William Hogarth.

William Hogarth - The House of Commons par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "The House of Commons" du graveur anglais William Hogarth.

William Hogarth - Debates on Palmistry par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Debates on Palmistry" du graveur anglais William Hogarth.

William Hogarth - Time Smoking a Picture par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Time Smoking a Picture" du graveur anglais William Hogarth.

William Hogarth - Four Heads from the Cartoons par William Hogarth, publié le 20/06/2013

"Four Heads from the Cartoons" est une gravure de William Hogarth numérisée pour la Clé des langues dans le cadre de "The Hogarth Project".

William Hogarth - Earl of Charlemont par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Earl of Charlemont" du graveur anglais William Hogarth.

William Hogarth - Lord Holland par Vincent Brault, publié le 20/06/2013

Reproduction commentée de l'oeuvre "Lord Holland" du graveur anglais William Hogarth.

William Hogarth - John Wilkes par Vincent Brault, publié le 18/06/2013

Reproduction commentée de l'oeuvre "John Wilkes" du graveur anglais William Hogarth.

William Hogarth - The Times - Plate II par Vincent Brault, publié le 18/06/2013

Reproduction commentée du deuxième élément de la série "The Times" du graveur anglais William Hogarth.

William Hogarth - Tristram Shandy par Vincent Brault, publié le 18/06/2013

Reproductions commentées des deux oeuvres de la série "Tristram Shandy" du graveur anglais William Hogarth.

William Hogarth - The Weighing House par Vincent Brault, publié le 18/06/2013

Reproduction commentée de l'oeuvre "The Weighing House" du graveur anglais William Hogarth.

William Hogarth - The Times - Plate I par Vincent Brault, publié le 18/06/2013

Reproduction commentée du premier élément de la série "The Times" du graveur anglais William Hogarth.

William Hogarth - The Artists' Catalogue par Vincent Brault, publié le 18/06/2013

Reproductions commentées des deux oeuvres de la série "The Artists' Catalogue" du graveur anglais William Hogarth.

William Hogarth - The Cockpit par Vincent Brault, publié le 17/06/2013

Reproduction commentée de l'oeuvre "The Cockpit" du graveur anglais William Hogarth.

William Hogarth - The Farmer's Return par Vincent Brault, publié le 17/06/2013

Reproduction commentée de l'oeuvre "The Farmer's Return" du graveur anglais William Hogarth.

William Hogarth - Five Orders of Periwigs par Vincent Brault, publié le 17/06/2013

Reproduction commentée de l'oeuvre "Five Orders of Periwigs" du graveur anglais William Hogarth.

William Hogarth - Don Quixote par Vincent Brault, publié le 17/06/2013

Reproductions commentées des six oeuvres de la "Don Quixote" du graveur anglais William Hogarth.

William Hogarth - False Perspective par Vincent Brault, publié le 17/06/2013

Reproduction commentée de l'oeuvre "False Perspective" du graveur anglais William Hogarth.

William Hogarth - Brook Taylor's Architecture par Vincent Brault, publié le 17/06/2013

Reproduction commentée de l'oeuvre "Brook Taylor's Architecture" du graveur anglais William Hogarth.

William Hogarth - The Royal Masquerade par Vincent Brault, publié le 13/06/2013

Reproduction commentée de l'oeuvre "The Royal Masquerade" du graveur anglais William Hogarth.

William Hogarth - England par Vincent Brault, publié le 13/06/2013

Reproduction commentée de l'oeuvre "England" du graveur anglais William Hogarth.

William Hogarth - France par Vincent Brault, publié le 13/06/2013

Reproduction commentée de l'oeuvre "France" du graveur anglais William Hogarth.

William Hogarth - The Bench par Vincent Brault, publié le 13/06/2013

Reproduction commentée de l'oeuvre "The Bench" et du texte l'accompagnant du graveur anglais William Hogarth.

William Hogarth - Four Prints of an Election par Vincent Brault, publié le 13/06/2013

Reproductions commentées des quatre oeuvres de la série "Four Prints of an Election" du graveur anglais William Hogarth.

William Hogarth - Crowns, Mitres, Maces, and c. par Vincent Brault, publié le 04/06/2013

Reproduction commentée de l'oeuvre "Crowns, Mitres, Maces, and c." du graveur anglais William Hogarth.

William Hogarth - Moses Before Pharaoh's Daughter par Vincent Brault, publié le 04/06/2013

Reproduction commentée de l'oeuvre "Moses Before Pharaoh's Daughter" du graveur anglais William Hogarth.

William Hogarth - The Analysis of Beauty par Vincent Brault, publié le 04/06/2013

Reproductions commentées des deux oeuvres de la série "The Analysis of Beauty" du graveur anglais William Hogarth.

William Hogarth - Columbus Breaking the Egg par Vincent Brault, publié le 04/06/2013

Reproduction commentée de l'oeuvre "Columbus Breaking the Egg" du graveur anglais William Hogarth.

Ragnarok - A conversation with A.S. Byatt par A.S. Byatt, Clifford Armion, publié le 03/06/2013

A.S. Byatt took part in the seventh edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. She answered our questions on her latest novel, Ragnarok.

William Hogarth - Gin Lane par Vincent Brault, publié le 24/05/2013

Reproduction commentée de l'oeuvre "Gin Lane" du graveur anglais William Hogarth.

William Hogarth - Paul Before Felix par Vincent Brault, publié le 24/05/2013

Reproductions commentées des trois oeuvres de la série "Paul Before Felix" du graveur anglais William Hogarth.

William Hogarth - Four Stages of Cruelty par Vincent Brault, publié le 24/05/2013

Reproductions commentées des quatre oeuvres de la série "Four Stages of Cruelty" du graveur anglais William Hogarth.

William Hogarth - Beer Street par Vincent Brault, publié le 24/05/2013

Reproduction commentée de l'oeuvre "Beer Street" du graveur anglais William Hogarth.

William Hogarth - The Gate of Calais (The Roast Beef of Old England) par Vincent Brault, publié le 23/05/2013

Reproduction commentée de l'oeuvre "The Gate of Calais (The Roast Beef of Old England)" du graveur anglais William Hogarth.

William Hogarth - The March to Finchley par Vincent Brault, publié le 23/05/2013

Reproductions commentées des oeuvres "The March to Finchley" et "Receipt for The March to Finchley" du graveur anglais William Hogarth.

William Hogarth - Mr. Ranby's House at Chiswick par Vincent Brault, publié le 22/05/2013

Reproduction commentée de l'oeuvre "Mr. Ranby's House at Chiswick" du graveur anglais William Hogarth.

William Hogarth - Hymen and Cupid par Vincent Brault, publié le 22/05/2013

Reproduction commentée de l'oeuvre "Hymen and Cupid" du graveur anglais William Hogarth.

The Essential David Shrigley par Johanna Felter, publié le 21/05/2013

"David Shrigley is a multidisciplinary artist who started his career in the early nineties self-publishing art books containing cartoon-like drawings for which he is mainly famous. Their trademarks, which are also recognizable in his varied artistic productions – clumsy execution, sloppy handwriting, disturbing or puzzling text, dark humour and uncanny atmosphere – helped Shrigley to gradually shape a clearly distinctive personality in his work which brought him out as one of the current key figures of British contemporary art scene."

Victorian printing and William Morris’s Kelmscott Press par Laura Mingam, publié le 09/05/2013

During the Victorian period, the Industrial Revolution reached the field of printing, and profoundly altered book production in England. Even though technical innovations led to the creation of dazzling volumes, the artist designer William Morris denounced the corruption of traditional printing methods. As a reaction against the standards of his time, William Morris decided to open his own printing press, with the aim of “producing [books] which would have a definite claim to beauty”. The Kelmscott Press was to become a new landmark in the history of English printing.

William Hogarth - A Country Inn-Yard par Vincent Brault, publié le 07/05/2013

Reproduction commentée de l'oeuvre "A Country Inn-Yard" du graveur anglais William Hogarth.

William Hogarth - Industry and Idleness par Vincent Brault, publié le 07/05/2013

Reproductions commentées des douzes oeuvres de la série "Industry and Idleness" du graveur anglais William Hogarth.

William Hogarth - Simon Lord Lovat par Vincent Brault, publié le 06/05/2013

Reproduction commentée de l'oeuvre "Simon Lord Lovat" du graveur anglais William Hogarth.

William Hogarth - Garrick in King Richard III par Vincent Brault, publié le 06/05/2013

Reproduction commentée de l'oeuvre "Garrick in King Richard III" du graveur anglais William Hogarth.

William Hogarth - Bishop Hoadly par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Bishop Hoadly" du graveur anglais William Hogarth.

William Hogarth - Martin Folkes, Esq. par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Martin Folkes, Esq." du graveur anglais William Hogarth.

William Hogarth - Marriage à-la-mode par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Marriage à-la-mode" du graveur anglais William Hogarth.

William Hogarth - Battle of the Pictures par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Battle of the Pictures" du graveur anglais William Hogarth.

William Hogarth - Taste in High Life par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Taste in High Life" du graveur anglais William Hogarth.