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Suzanne Rochefort, Vies théâtrales. Le métier de comédien à Paris entre Lumières et Révolution, Ceyzérieu, Champ Vallon, 2024, 551 p., ISBN 979-10-267-1223-7
No full textLes couleurs de la Huaca Pintada de Lambayeque, Pérou
No full textCarnet de la Maison des Sciences Humaines de BordeauxThe archaeological site of Huaca Pintada, located in the Lambayeque region on the northern coast of Peru, has long been regarded through earlier surveys as a key locus for understanding the so-called “Transitional” period (AD 850–900), marked by the decline of the Moche and the emergence of the Lambayeque culture. Rediscovered in 2022, its monumental mural—initially destroyed by looters in the early twentieth century—reveals a striking polychrome scene composed of twenty warriors advancing toward a central deity. The archaeometric analysis of the pigments employed in its production, presented in this article, identified the use of red and yellow ochres, manganese-based blacks, and an illusory impression of blue. These findings demonstrate technological practices shared with other regional sites and support the notion of a hybrid heritage that combined local traditions with southern influences, underscoring the complexity of the sociocultural dynamics underlying the formation of the Lambayeque culture.Le site archéologique de la Huaca Pintada, situé dans la région de Lambayeque (côte nord du Pérou), constituerait selon d’anciennes prospections un site clé pour comprendre la période dite « Transitionnelle » (850-900 apr. J.-C.), marquée par le déclin des Mochica et l’émergence de la culture Lambayeque. Redécouverte en 2022, sa fresque monumentale, initialement détruite par des pilleurs au début du XXe siècle, révèle une surprenante scène polychrome composée de vingt guerriers marchant en direction d’une divinité centrale. L’analyse archéométrique des pigments utilisés dans sa fabrication présentée dans cet article a mis en évidence l’usage d’ocres rouges, jaunes et noirs au manganèse, ainsi qu’une fausse impression de bleu. Ces résultats témoignent de procédés techniques partagés avec d’autres sites régionaux et renforcent l’idée d’un héritage hybride entre traditions locales et influences méridionales mettant en évidence la complexité des dynamiques socioculturels à l’origine de la culture Lambayeque
The Polychromy of English Medieval Alabaster Panels Preserved in Aquitaine (France) : From Material Analysis and Experimentation to Physical and Digital Reconstruction
No full textInternational audienceThe polychromy of English alabaster panels dating from the late Middle Ages and depicting religious scenes, which were displayed in painted wooden frames, was not a merely decorative feature of these works. Colour was an integral part of these pieces, essential for rendering their three‑dimensional aspect. Some features of the reliefs become either unintelligible or distorted when deprived of their colours. However, given today’s state of conservation, we can no longer form a precise idea of what the panels originally looked like. Therefore, it is necessary to reconstruct their medieval polychromy by gathering all available data in order to obtain as precise a picture as possible of their original appearance and to study them from an aesthetic as well as a symbolic point of view. The ‹ALBATRES› research programme (LaScArBx 2018–2021) set out to study the polychromy of English alabaster panels in the Aquitaine region of southwestern France. Of the more than 100 panels identified, about 20 still bear significant traces of colour. Researchers from various disciplines came together to address the issue of colour, its physico‑chemical composition, materiality, and application techniques, as well as its artistic significance and symbolism. Close collaboration between several research laboratories and cultural institutions (namely, Ausonius, IRAMAT‑CRPAA, the Institut Optique d’Aquitaine, Archeovision, and the Musée d’Aquitaine) enabled the study of colour traces through visual examination, macrophotographic documentation, and physicochemical analyses. Then, in accordance with the precepts of experimental archaeology, a set of alabaster samples was painted using materials equivalent to those identified on the original panels. These samples were then used as visual and chromatic references for the digital reconstruction of three panels. In addition, a physical copy of one panel – the ‹Assumption of the Virgin›, housed at the Musée d’Aquitaine in Bordeaux – was created. It included carving, gilding, and painting. This process enabled a comparison between the physical and digital methods of reconstruction in terms of production processes as well as the results obtained
La créolisation des musiques noires des États-Unis, l’intérêt des récits d’anciens esclaves recueillis dans les années 1930
No full textInternational audienc
Réseau des voies antiques dans la province romaine de l'Aquitaine. Rapport de prospections 2025: Rapport de prospections pédestres et par drone en région Nouvelle-Aquitaine. Code de l'opération : 029037
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L’abbaye Notre-Dame de l’Isle et le peuplement des campagnes du Médoc au XIIe siècle
No full textNational audienc
Granius Licinianus. Texte, traduction, commentaire
No full textCommentaire numérique des fragments de Granius Licinianus (https://granius.huma-num.fr/exist/apps/granius/index-granius.html?panels=