Les natures mortes de Paul Gauguin: une production picturale méconnue

Gauguin's first attempts at still-life painting, around 1875, followed the Dutch tradition, influenced mainly by Manet's palette. But he did take occasional liberties in depicting flowers with more fluid colour and dynamic backgrounds. From 1879 his style shows the influence of the Impressionists: Pissarro in the landscapes and Degas in the composition of his still-lifes. He was also open to the new trends which were developing among artists in Paris and applied them in his paintings, using still-lifes as his main means for testing them. He did not escape the contemporary fascination with Japonism, and even experimented briefly with Pointillism in Still Life with Horse's Head. His stays in Britain between 1886 and 1890 correspond to an extremely rich and innovative period for him, in which still-lifes served for increasing experimentation. "Fête Gloanec" and Three Puppies reflect his preoccupations: rejection of perspective, use of areas of flat colour, and mixed styles. These pictures amount to an aesthetic manifesto; many of them are also imbued with strong symbolism, as in the Portrait of Meyer de Haan, which is a melancholic reflection on the fall of man. In Still-Life with Japanese Print, frail blue flowers seem to come out of the head of the artist-martyr, a pure product of the painter's "restless imagination". Thus Gauguin showed that art is an "abstraction" through a genre which was reputed to lend itself with difficulty to anything other than mimesis. Although he moved away from still-life after 1890, Gauguin is one of the first artists to radically renew its role and the status of still-life at the end of the 19th century, well before the Fauvists and Cubists.

Écrire la musique. Baudelaire face à Wagner

Baudelaire a consacré un seul essai à la musique, dans les dernières années de sa vie. Cet essai porte sur un unique compositeur, Richard Wagner, à une époque où l'esthétique du regard du poète est déjà formée depuis longtemps. De plus, Baudelaire « ne sait pas la musique », comme il l'écrit lui-même au musicien dans une longue lettre. Et pourtant, l'essai sur Wagner s'inscrit parfaitement dans les textes critiques de Baudelaire consacrés à l'art : l'image et l'imagination tiennent lieu, ici aussi, de modèles épistémologiques. La méconnaissance du langage musical est ainsi rachetée par la connaissance de l'image - mais la connaissance de l'image, de sa dimension scripturale, demeure quant à elle impensée. Ce point aveugle caractérise ce que l'on peut appeler l'esthétique de la Modernité.

Subjective mental time: the functional architecture of projecting the self to past and future.

Abstract Human experience takes place in the line of mental time (MT) created through 'self-projection' of oneself to different time-points in the past or future. Here we manipulated self-projection in MT not only with respect to one's life events but also with respect to one's faces from different past and future time-points. Behavioural and event-related functional magnetic resonance imaging activity showed three independent effects characterized by (i) similarity between past recollection and future imagination, (ii) facilitation of judgements related to the future as compared with the past, and (iii) facilitation of judgements related to time-points distant from the present. These effects were found with respect to faces and events, and also suggest that brain mechanisms of MT are independent of whether actual life episodes have to be re-experienced or pre-experienced, recruiting a common cerebral network including the anteromedial temporal, posterior parietal, inferior frontal, temporo-parietal and insular cortices. These behavioural and neural data suggest that self-projection in time is a fundamental aspect of MT, relying on neural structures encoding memory, mental imagery and self.

Médée dans l'éther athénien

L'article appréhende la dimension aérienne dans la Médée d'Euripide, à travers une analyse de l'exodos et du troisième stasimon. Dans l'exodos se joue un mouvement ascensionnel dans lequel Médée accède à une sphère divine, sans pour autant se confondre avec une divinité ex machina. Le sens de ce mouvement vertical est interprété à la lumière du troisième stasimon qui dessine l'image paradoxale d'un peuple autochtone marchant dans l'éther immatériel et se nourrissant d'une denrée elle-même immatérielle, le savoir poétique. A travers le mouvement vertical qui clôt la pièce, Médée se met ainsi, littéralement, au niveau du peuple des Athéniens qu'elle s'apprête à rejoindre. L'article propose en outre une mise en parallèle entre l'image idéalisée d'Athènes dans le troisième stasimon de la Médée et l'image de l'ancienne Athènes dans le Timée et le Critias de Platon.

Représentations sociales et représentations intimes de la maladie. Quelques réflexions d'un clinicien [Social and private representations of cancer. A clinician's point of view]

This paper discusses social representations in scientific communications and private ones that are linked to the individual imagination. Social representations, in a limited sense, are useful for the development of preventive messages, but of little benefit to clinical work. We highlight some non-explicit aspects of scientific discourse that impact on treatment: projected beliefs and values. We tackle the relationship between the concepts of representation, imagination, identity and temporality in the individual approach of the cancer patient.

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What is a virtual person? What is it used for? What is its added value? Virtual persons sometimes describe avatars and new forms of identities in online games. They also appear in other contexts; some authors use them in the legal domain. Within FIDIS, the concept of virtual person has been extended in order to better describe and understand new forms of identities in the Information Society in relation to rights, duties, obligations and responsibilities. Virtual persons, as other virtual entities, exist in the virtual world, the collection of all (abstract) entities which are or have been the product of the mind or imagination. The virtual world -not to be confused with the digital world- allows a unified description of many identity-related concepts that are usually defined separately without taking into consideration their similarities: avatars, pseudonyms, categories, profiles, legal persons, etc. The legal system has a long experience of using abstract entities to define rules, categories, etc., in order to associate legal rights, obligations, and responsibilities to persons that can be considered instances of these abstract entities in specific situations. The model developed within FIDIS intentionally uses a similar construction. n this chapter, after having explained the model, we apply it to pseudonyms. Then we explore the concept of virtual persons from a legal perspective. Eventually, we introduce trust in the light of virtual persons.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

Géotourisme et utilisation de sites naturels d'intérêt pour les sciences de la Terre: les régions de Crans-Montana-Sierre (Valais, Alpes suisses) et Chamonix-Mont-Blanc (Haute-Savoie, Alpes françaises)

Résumé : Au travers de l'étude des régions de Crans-Montana-Sierre (Valais, Suisse) et de Chamonix-Mont-Blanc (Haute-Savoie, France), cette recherche considère les liens existants entre activités touristiques et sciences de la Terre. Ainsi, les sites géologiques et géomorphologiques pris en compte sont perçus comme ayant non seulement une valeur scientifique, mais aussi un intérêt scénique, culturel et économique. D'un point de vue (géo)touristique, différents modèles d'analyse sont proposés pour expliciter les composantes de l'offre et de la demande et comprendre le cycle de vie des objets étudiés. L'offre que constituent ces sites est tout d'abord présentée afin d'évaluer leurs différents potentiels, ainsi que l'utilisation spatio-temporelle, didactique et économique qui en est faite. Ensuite, les logiques d'acteurs sont analysées au travers des phases de valorisation, d'exploitation et de transformation, dans le but de comprendre les facteurs et les projets d'utilisation les concernant. Enfin, la demande des différents publics cibles, de même que leurs caractéristiques socio-touristiques et (géo)didactiques, sont discutées. Pour ce faire, des méthodes d'inventaire, d'évaluation, d'entretien et de questionnaire ont été utilisées, à différentes échelles d'analyse. On constate d'abord que le pôle des valeurs scénique et économique présente une plus forte mise à contribution, par rapport à l'utilisation didactique. De plus, le niveau de protection des sites ne restreint généralement pas leur exploitation, au contraire du facteur risque. Du point de vue des publics cibles, une forte demande d'explications didactiques est exprimée, s'orientant vers une approche multithématique des potentiels à mettre en valeur; des biens et services de base sont ainsi demandés. Enfin, force est de constater que seuls de grands projets peuvent rendre les activités (géo)touristiques rentables. A l'avenir, sachant que le géotourisme peut répondre à une demande touristique liée au rêve et à l'émotion, l'approche de l'offre devrait intégrer une réflexion en didactique des sciences de la Terre, d'autant que cette forme de tourisme tend à devenir une composante du développement économique régional, notamment en dehors de la saison d'hiver. Idéalement, l'utilisation touristique de la géodiversité devrait s'accompagner d'une politique de protection dynamique, combinant préservation et mise en valeur. A terme, le but ultime de cette entreprise est notamment d'élargir la notion de patrimoine culturel, pour favoriser une approche transdisciplinaire du paysage Abstract : Based on the study of the areas of Crans-Montana-Sierre (Valais, Switzerland) and Chamonix-Mont-Blanc (Haute-Savoie, France), this study considers the links between tourism activities and Earth science. Thus, the studied geological and geomorphological sites have not only a scientific va1ue, but also scenic, cultural and economic value. From a point of view of tourism, different models of analysis are examined in order to explain the components of the supply and the demand, and to understand the life cycles of the considered objects. The primary product of these sites is first presented, in order to assess their different potential as well as their didactic, economic, spatial and temporal use. The stakeholders' behaviour is then analysed to understand the factors and projected use, with the help of the optimisation, exploitation and transformation phases. Finally, the demand of the different target markets as well as their socio-tourist and (geo)didactic characteristics are discussed. To complete this study, methods of census, assessment, interviewing and questionnaire surveying are used, at different scales of analysis. The main results appear to demonstrate that the scenic and economic values present a higher value relative to the didactic use. Moreover, the required conservation measures for the studied sites do not generally restrict the use, on the contrary to the "risk" factor. From the point of view of the target market, a relevant requirement for explanatory commentary is expressed and tends towards an approach optimising different themes to utilise potential; basic popular goods and services are also requested. Finally, it is clearly demonstrated that only relevant projects are able to make this kind of activity profitable. For the future, geotourism may be marketed to a tourist demand for imagination and emotion. Consequently, the product approach should integrate a reflection on Earth science popularisation given that this branch of tourism tends to receive a component of the economic and regional development, notably during the summer period. However, the use of geodiversity should include a concept of dynamic management, taking into account conservation as well as tourism development. Thus, the final aim of this process is to r,r'iden the notion of cultural heritage, in order to stimulate a multidisciplinary approach to the landscape.