Histoire et critique des arts

Abstract Peer instruction has been recognized as an instructional method having a positive impact on learning compared to traditional lectures in science. This method has been widely supported by the socio‐constructivist approach to learning giving a positive role to interaction between peers in the construction of knowledge. As far as we know, no study has been conducted from the socio‐cognitive approach which suggests that individuals working alone perform better than those interacting with others in groups. Thus, the aim of the present study was to examine whether peer instruction improves learning when compared with an individual learning method that does not require any interaction with peers. After being randomly divided into either a peer instruction or an individual learning condition in a chromatography course, students had to answer to a series of multiple‐choice questions using clickers at the beginning (pre‐test) and end of (post‐test) the session. Results revealed that the percentage of correct answers increased similarly from the pre‐ to the post‐test in both conditions. Nevertheless, students perceived the peer instruction method as being more satisfying, engaging and useful than the individual learning method. The findings revealed that peer instruction provides subjective benefits, but failed to demonstrate a greater learning gain.

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Abstract Ecosystem services related to biodiversity, including cultural services, are essential for agricultural production such as viticulture. In agricultural landscapes, pesticides and mechanization threaten biodiversity, lead to landscape simplification and may reduce ecosystem services. On the other hand, consumers are more and more aware of environmental issues in food production. We investigated if landscape complexity, including soil management practices, was (i) appreciated by visitors and (ii) presented by winegrowers and tourism professionals in the French vineyards with the designation of geographical origin (DGO) ‘Coteaux du Layon’. Our goal was to determine if landscape complexity provides cultural ecosystem services such as aesthetics beneficial for the wine trade and the DGO region's attractiveness. We analyzed the iconographic content and the composition of landscape photographs on 50 websites to investigate if local winegrowers and tourism professionals associate biodiversity in the landscape and soil management practices with wine promotion. A questionnaire was realized to study the perception of local landscapes by interviewing 192 visitors of the region. The benefits of landscape complexity and soil management practices favoring biodiversity in viticulture were known and appreciated by many visitors, even if photographs of wine and traditional practices appeared to encourage wine purchasing. Local winegrowers’ representation of the DGO region only partially served these preferences; instead they mainly presented the wine-growing region by photographs focusing on wine bottles and vineyards. Consumer's preferences showed that complex landscapes could provide cultural ecosystem services that winegrowers are still less aware of. Therefore, complexity-targeted landscape planning including vegetation cover in soil management should be included in policy recommendations as agroecological measures for sustainable DGO production.

L’ouvrage collectif est construit à partir du projet que le philosophe et sociologue de la fin du XIXe siècle Gabriel Tarde expose dans Monadologie et sociologie (1893) : « Depuis des milliers d’années, on catalogue les diverses manières d’être, les divers degrés de l’être, et on n’a jamais classé les diverses espèces, les divers degrés de la possession ». Le livre explore ainsi les dimensions philosophiques, sociologiques, esthétiques, physiques, biologiques, psychiques et techniques de ce q...

L’instrument de musique est abordé non pas isolément mais avec la musique dans laquelle il intervient et par laquelle il se réalise véritablement comme instrument de musique. Après des éléments de définition abordés en rayonnant autour de l’idée de Berlioz du « corps sonore utilisé par le compositeur », l’accent est mis sur le rôle de la pratique instrumentale et de la technique instrumentale. Sont décrites alors les diverses formes de l’identité de l’instrument (de l’identité-objet à l’identité-répertoire) puis ses potentialités (les éléments sonores précis qu’il doit permettre de produire, comme les possibilités nouvelles qu’il va offrir au cours de son histoire).

La dynastie Bonnart est une des principales familles produisant, éditant, vendant des estampes à Paris pendant plus d’un siècle. Toutefois, le grand nombre de membres de la famille, qui portent souvent les mêmes prénoms, a longtemps rendu difficile leur étude. Toutes ces informations, pour certaines a priori peu importantes, mais qui permettent d’entrevoir une partie de leur fortune, de leurs relations ou de mieux saisir leur rôle, ont été réunies, par ordre chronologique, dans les notices biographiques qui suivent – dont un certain nombre concerne les femmes venues se joindre par mariage à la dynastie, habituellement absentes des répertoires malgré leur rôle dans les boutiques et la production, ainsi que leur longévité qui rendit leur période d’activité souvent plus longue que celle de leur mari.

Résumé : À partir de la seconde moitié des années 1960, l’expression Black Power prend la forme d’un slogan largement diffusé et repris au point de devenir le symbole de cette période qui voit naître de nouvelles organisations radicales et révolutionnaires africaines-américaines telles que le Black Panther Party (BPP). Cet article interroge la nécessité, pour des organisations telles que le BPP, de provoquer une rupture avec les traditions iconographiques par l’adoption d’un langage visuel faisant usage de codes de reconnaissance internes afin de revendiquer une expérience et une identité collectives pour en faire un vecteur de visibilité et de lutte contre la naturalisation des stéréotypes. Il s’agira ainsi d’analyser l’influence de la période du Black Power et de sa dimension esthétique à l’aune du mouvement Black Lives Matter.

Unlike traditional assumptions would suggest sustainable heterogeneity between firms seems to be the rule rather than the exception. Based upon such evidence, the question of firms' specialisation have gained the attention of scholars but the causes and the nature of firms' heterogeneity is still debated. In fact, it is questionable whether differences in firms' performance is related to in-house technological heterogeneity or rather to organisational and managerial abilities. This paper studies the evolution of firms' specialisation in biotechnology by distinguishing modular knowledge, as bodies of understanding, and architectural knowledge, as bodies of practice. It shows that the nature of technological specialisation changes over time. While firms tend to have idiosyncratic and very narrow technological portfolio when a new technological paradigm emerges, their profile tends to converge towards a larger portfolio as technology matures. However, inter-firm heterogeneity will increase in the mode of coordinating and organising knowledge.

The second half of the 20th century was a time of fast changes in religious architecture in France. Taking account of parish churches built or re-constructed in the dioceses of Lille, Cambrai and Arras between 1945 and 2000, this thesis considers the question of the links between the conditions of the commissioning and the architectural result.<br />The church's ability to adapt to the historical, economic and social changes of the second half of the 20th century can be seen in the changes to the form and structure of church building, as well as the links with urbanisation. Looking at the mechanics of the commissioning, the main players and stakeholders of the church building process - church, state, local government, builders and craftsmen - we will try to understand how the area of church-building, between 1945 and 2000, is a reflection of the connection between the different parts of contemporary society and of the development of those links during half a century. <br />The first part considers the re-construction of churches destroyed by the 2nd World War bombings (1945 -1965). These church construction areas, on communal property, relied on the services of ministers in charge of re-construction.<br />The second part presents the new buildings of the "Trente Glorieuses" until the "Plan Construction" (1945 - 1971). These new churches were built under the sole responsibility of the bishops, represented by the diocesan organisations.<br />The third and last part concerns church building during the most recent period (1971 - 2000). After the numerous church building sites led towards the great urbanisation campaigns, the problem facing religious institutions as well as public powers has less to do with new constructions than with the management of heritage property.

À la fin des années 1960, de nouvelles formes d’expression artistique émergent dans un contexte troublé où revendications politiques, sociales, économiques et culturelles contribuent à transformer radicalement les rapports entre artistes et institutions muséales. Alors que ces dernières, fortement attaquées pour leur conservatisme et leur posture autoritaire, tentent de trouver un compromis avec leurs détracteurs, les artistes eux s’engagent dans des processus créatifs qui contournent l’hégémonie tant culturelle qu’économique du musée en s’en emparant comme d’un outil expérimental. Marcel Broodthaers et Fred Wilson, chacun à leur manière, analysent avec acuité le rôle idéologique du musée dans leurs expositions.

Volume 2 non diffusé

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La géographie est une discipline qui aborde la connaissance théorique des espaces, des milieux et des interactions sociétés-environnements sous plusieurs angles et, en particulier, par des objets plastiques qui s’appellent carte, modèle, voire chorème, des objets narratifs tels la restitution de récits ou encore le portrait d’acteur, et plus récemment des objets sonores. L’amé­na­­gement est également une autre discipline scientifique qui envisage le monde actuel comme un possible champ d’exp...

The paper focuses on the Hellenistic amphorae found during the excavations of the French archaeological mission in the northern area of the Amathus site near the fortifications, from the five-year campaign 2003-2007. Most of them are dated from the mid-3rd century BC to the early decades of the first century BC. The majority of amphorae originate from the Aegean region have been used as contain wines of Cos, Cnide, Ephesos and especially of Rhodes island. Some rarer samples are from Africa and Italy dating from the end of the second century or the beginning of the first century BC. The evidence obtained from the amphorae’s stamped handles is helpful for the chronology of the Hellenistic phase of the site and for tracing commercial relationship of Amathus with the others regions of the Mediterranean basin.

L’article pense la signification ornementale, décorative et esthétique de l’arabesque, d’une part dans l’art et la pensée baroque, d’autre part dans l’art symboliste et plus spécialement dans la poésie de Mallarmé. L’enjeu est double : il est celui de la constitution d’une beauté ondoyante, mouvante et dissonante fondée sur un modèle musical c’est-à-dire sur l’idée d’une musicalité des arts ; il est aussi celui d’un art profondément ironique et réflexif faisant de l’arabesque la figure, le motif, le principe et le symbole d’un trouble de la représentation et du jeu (optimiste ou pessimiste selon les cas) sur lequel elle repose. Ce jeu fait de l’œuvre, moins une forme stable qu’une force critique et expressive.

The republican ideology widely seized the highly symbolic meaning of the municipal architecture. As for the school, it contributed to give her the image of the State, which is democratic and equalitarian. Nevertheless, a fast report shows that on the scale of the national territory, the republican influence on the regional architecture was made with more or less of success, as we are situated near big cultural centers and active political homes. In Brittany, the anchoring of the Republic in the mentalities recovers underlying fights which condition directly the state commission: from the parochial enclosure into the republican city hall-school, it is finally on the marriage of convenience enter the civil society (the municipality) and the rustic community (the parish) which build themselves the items of the power. This thesis has for objective, not to demonstrate the relevance of republican architecture, but more widely to return on the constitution of a common base of representations of the power, the State generally, and the premises in particular. From the powerful image which itloosens, the architecture of the power asks actually the question of its identity: this work offers, from the eighteenth to the 80’s, to exceed the purely structuralist approach collectively admitted for this kind of analysis, and to undertake, on the basis of a methodical observation of the springs of archives, inquiries on the ground, the crossing of architects' routes, asecond reading of semantics regional architectural

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Notice de catalogue d'exposition : Des lettres et des peintres : Manet, Gauguin, Matisse..., confidences de quarante artistes : [exposition, Musée des lettres et manuscrits, Paris, 29 avril - 28 août 2011] / [catalogue par] Marie-Laure Delaporte, Itzhak Goldberg, Stéphane Guégan... [et al.]

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Cet article porte sur la chapelle d'Hem dont les détails de la construction et du décor sont révélés grâce à des archives inédites. Il démontre l'importance de la connaissance du processus de conception de l'œuvre et des conditions de la commande pour l'établissement des critères de protection du patrimoine religieux contemporain.