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Paris, s. Science inventer de nouveaux sans cesse du 13 novembre , ibid. Histori- conflits silencieux et de profondes implications. Ils Unis4. Tandis que comparative. Europe centrale. Avant ses travaux, seuls tion de Louis Agassiz. En tif. Zealy afin de prendre les photographies.

Columbia Caroline du Sud. Quatre paternalistes, dans le Massachusetts ou en Virginie. Dans les discours photogra- de la photographie Chacune par- images les plus banales. Il avait recherche. Selon les propos fini. Cepen- tographique illicite. Pour Camper et rope. Selon laire.

De plus, dente et directe que possible. Les nel. Une humanistes. Les lectures pseudo-scientifiques de ces dans la formulation des connaissances. La Wallis dir. Washington, pp.

Zealy, on Photography in Nineteenth- peut imaginer le choc subi par les Century America, cat. Le lieu est magnifiquement A Life in Science, Chicago, Douglass Papers, New Haven, , pp. Note 1. Kaeser, op. Il y comparait Character and Destiny, , Middletown, , p. Les courtiers africains demandent des pro- tion. Ces 18 octobre Ses associations successives sera maire de Nantes pendant plus de vingt ans. Nantes, ou Lorient. Ces quelques mie et de la finance de son temps. De nouvelles interrogations surgissent.

Or, ce dernier repose en partie actuelle sont patentes. Paris, LXII, Bertrand dir. Les Anglais firma im ausgehenden Portalez est citoyen anglais. Les armateurs cherchent avant fig. Une tant la mesure avec son pied. Bartholo — Du droit le plus universellement reconnu, celui du plus fort. Il en deviendra liste, un an avant sa mort, en Selon E. Il commencera septentrionales8.

Pour les modernes, Loutherbourg, C. Monnet ou encore J. Simon et J. Le Lion et le Rat de ce type est une autre image, et, par ce biais est ainsi suivi de La Colombe et la Fourmi. Certes, fig. Alciat AA Bassy, op. Nationale, Paris, , reprise en Anthologie des successeurs de La Livre de poche, coll.

Paris, , p. Voir Bassy, op. Gagnebin et M. Raymond, 22 Paris, , p. Voir Bassy, Paris chez Vrin, en , op. Fumaroli, op. En puisant notam- ou un tyran, mais jamais une compagne.

Ce courant intel- fig. Le singulier est donc On pourrait donc performer son genre, mais aussi sa fig. Une critique plus soutenue pourrait peut- fig. Queer zones 2, Paris, Hyperorientalisme Hyperorientalisme — — fig.

First of all, we chose to take an interest in taxonomy — the science of classifying and systematising objects. The an annual ten-day festival, each time in a different implicit norms that preside over the establishment city.

And if E. To us, this notion for past lines of inquiry, particularly those of the seems to correspond to a personality important for 18th century. Though undertaken by the aristocratic youth in Continental Rousseau participated in the encyclopaedic project Europe — was the touchstone for our reflection.

De facto, if E. Why not create mary or even an anticipation of scientific research — radio codes dedicated to custom culture or child- is at the centre of the process of questioning and hood logic? Thus the established links are temporal recreating reality, and it remains our tool of choice. To pay homage to this or rather, essays. Heterogeneous and true objects of desire — also contributed to construct alive, these works are nevertheless true literary the relationships of Occidentals with the Orient.

This trend cal texts on the Arts. It has gone through the Y. The iconography of these calico prints, They brought back paintings of the landscapes that decrypted by Aziza Gril-Mariotte, offers a curious inspired them, but also portraits of the Italian peo- mix.

It consists of stereotypical and festive motifs ple, represented according to a strongly stereotypi- largely imbued with the Rousseauist conception of cal and convention-filled poetic imagery.

It French literary tradition. Sup- But then, must we not name, must we not distin- posedly African, but created according to occidental guish between beings? What place can we give to conventions and aesthetic conventions, these pro- the differences, the characteristics, if merely uttering ductions, in turn, probably influenced image pro- them leads to domination or subordination? Are duction in Africa with a back and forth logic that these unfortunate systems of classification all there is? Feminist and postcolonial battles find in this Orientalism has known a radical applica- thorny question an important point of intersection.

Thus it is important to classificatory system herbariums, encyclopaedias, deconstruct the relationship between nature and etc. Such connections — even established on a sym- much a creation as an appraisal of preconceived bolic level — remain indicators and goads for a reap- characteristics. It is no less the basis for a psycho- praisal of knowledge and its political scope. These differences nose, forehead, etc.

Photography that reduced the individual to physical types contains an implicit sexual burden stemming from the depersonalisation of the indi- vidual. Enrico Natale 3. The Revenge of the Tourist very selective bases. An extensive familiarity with the art world allowed them to assert themselves cul- turally, at the level of symbolic capital. Yet their Jean-Christophe Blaser admiration was reserved for the Renaissance civili- sation of Florence, whereas they expressed little interest or concern for contemporary Italians.

The modern tourist thus represents a rup- Travel has long represented a select experience ture with this elitist travelling tradition. Grand Tourists and adventur- no acknowledgement, nor legitimacy, and even less, fig. If some of his or her ancestors are Grand ence — admired, read and discussed. However, the parallel is Tour, a journey with an educational vocation that only wholly justified in the second case.

These Grand Tourists side spectacles — he distinguishes himself by his would soon be joined by the well-born from other availability and his receptiveness. He is constantly countries, both young and less so, one notable seeking new sensations and multiplies experiences example being Goethe. This distinguished repre- purely for pleasure. For all these reasons some sentative of German Literature of the pre-Romantic authors today have come to describe this social age travelled all over Italy, from Trento to Agri- being as the most characteristic of contemporary gento.

The memoirs he consigned to his travelogue men, and propose to rehabilitate its status. Modern tour- the focus of so much criticism, is it perhaps not ists have no difficulty identifying with some of his only as tourist qua tourist, but also as a personifica- thoughts on security, comfort, etc.

And have been impossible for Grand Tourists and adven- the attacks against him could very well disguise a turers. With time, the pleasure of discovering Italy and its denizens was counterbalanced by the return to an uncompromising elitism. During the classic epoch of the Grand Tour — the 18th century — travel created a particular context, favouring the intermin- gling of diverse milieus and leading to a loosening of conventions and hierarchies. How- ever, a change occurred in the second half of the 19th century, a shift with which new generations of Grand Tourists could identify.

The efficacy of such books lies pre- cisely in their apparent neutrality and self-effacing Susana S. Martins character: they seem to show what to see, but in fact they are also suggesting how it should be read and interpreted.

Moreover, it is also very interesting to observe To speak of the return in the context of travel how often photographic travel books do repeat each fig. The fact that travel fig. Of all possible ways of travelling, other anticipatory devices that can eventually fig. The basis of tourism lies pre- travel.

Among other things, this choice, was pre- cisely in this repetition, for it allows one to predict cisely based on the fact that the intention to return the main itineraries of travel and, consequently, the home is identified by John Urry, in his influential development of tourist trade structures. A deeper analysis of tourism practices nomical forces of the tourism system.

It is also a revealed, however, other interesting dimensions of necessity for most travellers, even if sometimes the notion of the return. Touristic travel is defined by this funda- The selection of a particular place as our travel mental paradox: it seems, on the one hand, to be destination, for example, is a central step of the driven by a feeling of novelty being for the first travel ritual, which crucially involves anticipation time in a certain location, where one has everything of the kind of experience a given place has to offer to discover but on the other hand, that novelty can- us.

This anticipation, which can be generally named not be too extreme and disorientating. Amongst enough. Furthermore, photographic travel books are the variety of photographic representations we are also strongly present during the concrete act of trav- exposed to, I propose to examine a particular kind of elling, in the sense that the classical practice of object in this article: photographic travel books on tourism is very much about seeing in reality what countries.

Through that. Fortune and crisis 3. At the end of the s, the British government fig. In , the Board of Trade established fig. The tumultuous history of this school, which was transformed in into the Department of Practical Art, shows how Italian models were perceived in the British decorative production, evolving between admiration and rejection.

Initially, the example of the Italian decora- tive arts seems indeed to have been sought out, as a suitable model for the creation of a coherent visual decorative language of high quality. This is visible for instance in the formation of a collection of plaster and painted copies, specially created for the use of the students of the school.

Moreover, a series of publications, sustained by the school, favoured the dissemination of an ornamental language inspired by Italian Ren- aissance. One of the protagonists of this fashion for Italian taste was Ludwig Gruner , a German artist from Dresden who, before coming to London, had lived for many years in Rome and Naples.

In , Gruner was entrusted with the pub- lication of a volume of ornamental examples, Speci- fig. However, the teaching policy of the Govern- ment School of Design soon turned out to be a failure. Italian art was by then no longer seen as a good example for British artisans, but as decadent and unsuitable for Kader Attia the establishment of a national style.

Instead, an interest for non-western art developed. This change of perspective was in great part due to the inclina- Artist and curator Kader Attia is developing a par- fig. According fig. In to him, a new geography, no longer only based on fig. During his journey the suburbs. Several questions emerge then. How do fig. Where are they situ- fig. This are unstable? And especially, what need and what rejection against Italian art and ornamentation is interest have we today to shift our gaze from the clearly made visible in his best known publication, centre to them?

In a world where culture, like politics, The Grammar of Ornament By the end of the s, the Department The colonisation process initiated at the end of Practical Art, which had moved to South Ken- of the Middle Ages made newly occupied lands its sington, had turned back to the appreciation of periphery. Europe, then at the centre of the Christian Italian Renaissance art. This modification was religious world, became the centre of the economic reflected in the formation of the collections of the world.

Its colonies thus became its reserves, from South Kensington museum, later to be known as the which land, material and human resources were Victoria and Albert Museum, in acquisitions made taken.

This Eurocentric cartography induced a by its curator, John Charles Robinson The material and symbolic consequences of this process are still functional today. The metrop- olis represented and still sometimes represents the only horizon for these colonised peoples.

However, these last several years, the West has seen new economic, technological, military and political forces emerge in the periphery of its world. Today several signs show that these forces seek to exist independently, or at least take on the role of a credible socio-political, cultural and economic oppo- nent, breaking away from their subordinate status. In echo to this decentralisation and redefini- tion of geography, a new process of cultural reacqui- sition has begun in these territories once placed in the shadow of dominant cultures.

Some of these regions have in fact begun to look at, produce and display their own artistic creations in a process resem- bling a postcolonial sociocultural syncretism. This in the age of Enlightenment movement leads to the creation of a cultural space that exists in priority between them, and is created from this hybridity.

At the intersection of this infin- Manuela Canabal ity of rings radiating from the centre — much like stones thrown into puddles, producing circles from Enrico Natale the point of impact outwards — the circumferences jostle together and make a resonant mixture emerge.

The 18th century is celebrated as the threshold of fig. At that time Nature was the fig. Plants fig. Herbariums and encyclopaedias fig. However, fig. From a social per- spective, botany becomes a popular upper class hobby by the end of the 18th century — all this con- tributes to a process of commoditization of Nature as a locus of pleasure. The resulting new knowledge must serve to improve the human con- dition, especially from a medicinal point of view. Besides a classification of Nature, the Enlightenment aimed to classify Knowledge itself.

Universalist dictionaries In this article translated here for the first time in fig. The route covered a determinant influence on the construction of racial fig.

The surprising series fig. It seems par- fig. The photographs of slaves dating back to fig. The portrait was fig. Rather than singling out their respective per- sonalities, this indexical recording of their attributes fulfils an instrumental function.

Recently exiled to the United States to pursue his academic career, the biologist wanted to use these documents to legiti- mise his hypotheses on the physiological distinc- tions between white populations and black African populations. By insisting on these various forms of organization, Wallis aims to reveal to which point the establishment of a modern regime of knowledge is inseparably linked to the interdependence between knowledge and power.

In this perspective, he highlights the dual character of photographic proof that, depending on changing fig. African slave trade and slavery. The position of the fig. Gallenese cabaretist, historian and pamphleteer fig. Especially since the subject has until recently barely been made a true subject of discussion or even addressed.

A reminder of the historical context and of certain 18th century economic practices allows one to understand the reasons for this. His business on remote and Atlantic markets make him an archetype of the triumphant 18th cen- tury cosmopolitan protestant merchant.

Clouzot, 2 vol. Indeed, these fabrics fig. In order to fulfil fig. Their study shows how designers created varied compositions where the influence of occidental art, the taste for exotic forms and an ideal vision of Africa are blended together. The original instrument was iconographic program made by Johannes Ruckers the Young in No doubt it is difficult for one to musical taste of the time. This operation, called a fig. The power and charm of La Fon- the jack action and extending the keyboards.

Paris- fig. Have not both Gustave Blanchet family, became specialists of this practice. In reveals excellent know-how. When harpsichords fig.

Fumaroli ers is no exception. Though a magnificent landscape fig. Fumaroli bases his text on this dis- fables against a Martin varnish gold foil backdrop tant echo to highlight the perpetuation of the visual with a rock-work style. The same goes for the wild boar and stag on one side and a horse, ox and rationalism of the Enlightenment.

We know how much riddles and other games of wit were a part of towards a Creole feminism 17th and 18th century drawing-room culture. The monkey on the bentside could somehow be emblematic of these games. This assumption, as appeal- ing as it may be, is undoubtedly not enough to During the 20th century, feminist thought developed fig.

On one hand, an orienta- fig. Thus it would be more appropriate to ask our- tion — judged to be existentialist — was promoted fig. This is fig. As much as it is a cultural product arti- ficially linked to a sexual identity, gender allows the fig.

Hence transvestites or transsexuals, who recuperate certain dress codes, and some of the psychology — independently of their sexual identity. Thus the subject is made from the outside, according to specific interiorised properties that are then replayed.

Nature and culture thus appear to be like the two sides of the same coin — it is difficult to dis- tinguish between them. The notion of sexual identity or sex, much like the notion of race, can however be even more radically deconstructed. Unlike the negritude that allowed for the creation of a link between individuals from the Americas, the West Indies and Africa around the condition, figure, physical properties and history of black men, creolisation is not linked to a geographic area or a given identity — Africa and the African — but to a fig.

Creolising woman could then amount to enlarging the notion, and to welcome under this heading a number of extremely diversified individu- als — without the distinction being made on the basis of chromosomal or hormonal criteria. The Vallon, a world all its DEU Germany own, will radiate with nights of live music, live shows with artists or scientists, debates, DZA Algeria sound archives, a storytelling night, con- ESP Spain temporary radio artworks, poetry, music of FRA France choice, local voices, remote voices, rebroad- cast concerts, and discuss festival issues and GTM Guatemala its protagonists.

ISR Israel E. This way: the Theory of Evolution is seen from the question is addressed by updating the statue tail end… of the Boy with Thorn and the Spinout is ex- Thursday 3 This institution with very contemporary posed inside the Museum. The original Boy values played a pioneering role in setting up September a new museography in s Switzerland. The copies thropological and ethnographic dimensions, of this statue are numerous and travel the its artworks respond with virtuosity to the world.

They vary from the perfect copy to re- demands of scientific communications on a productions for touristic souvenirs.

The boy wide variety of subjects. The field of Contemporary Art is thus Beat Lippert takes hold of this statue by used like a toolbox from which ideas, forms moulding it in silicone in order to make a res- and displays may be taken, often with unset- in copy. From the resin copy, the head and tling results. The head is straightened up: the eyes cluded in this hetero-topical context. The arm is relaxed, bottom for spectators to step over. As the title now hanging down the length of his leg.

The suggests, it is all about movement. He can once again look at the world. This lateral move from the world of Art to the world of Science opens intermediate spac- es, often paradoxical.

Thus that which trav- els is the question of that which constitutes a work of art. The crates for the drinks are as important X. The refrigerators and the bottles are perfectly symmetrically aligned. A vast unused space that temporari- mous presses, like a table full of winemak- ly welcomes cultural projects, the Caves will ers or lords of the manor.

The public will be fill a quadruple role these ten days. A place of festivities and concerts, it will welcome participants to a great party on the fig. His interest for this specif- cient and profound: the Jewish and Muslim ic and typically Swiss material — a material communities. In fact, addictive products make excel- fig. In his way, the lent indicators of a society. Here, within the is the ancestor to the museum, the Wunder Lessing in Nathan the Wise This anthracite white ative and generative of a new world.

Then, instead of filming favelas, she acquired over time a distinct visual identity. Without cisive time for the making of modernity.

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