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Nomen quasi notamen (Isid. etym. 1, 7, 1) : étymologisme vs encyclopédisme
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A Signage Challenge: Visibility and Representation of the Territory
No full textInternational audienceSignage can be considered as a paradoxical mode of visual communication: although intended for our eyes, it seems currently designed not to be seen or at least not to overly solicit our powers of perception, so as to fulfill its primary mission of information. In this perspective, it is part of an approach to graphic design developed, for example, by typographer Beatrice Warde through her theory of the “invisible page”. To question this position, this article will focus on the “signage for cultural and tourist animation” deployed on French highways. Giving prominence to images, the design of these “brown signs” is entrusted to renowned graphic artists who are invited to demonstrate their creativity. Taking a completely different approach than other national road signage, they constitute a way of promoting the areas served by the highway which doesn’t fall under the “territorial brand” (Almeida & Almeida) or “signage as marketing communication” (Kellaris & Machleit) models. As a result of the ban on all forms of advertising on highways, the “brown signs” represent a way of enhancing public space that seems to invite us to rethink the “sense of place” dear to John Brinckerhoff Jackson through extensive use of “connotation” (Barthes). In doing so, their designs constitute a graphic compromise between considerations relating to all signage systems and the will to promote a given space. It is therefore fruitful to study their evolution (in terms of “hardware”, “graphic” or “content information” systems) in relation to the “signage pyramid” model developed by Calori and Vanden-Eynden
Why write about books which one has not read completely or not read in the original? The case of Beschi’s 1742/43 Tamil-Latin dictionary
No full textInternational audienceDealing with non-English primary</div
Corpus de Textes Linguistiques Fondamentaux. Grammaires amérindiennes [4622]. Anonymous. Notas para aprender con facilidad la lengua heve o eudeva.
No full text« Nous, on lui donne 5/5 ». L’apprentissage de la recherche avec Dominique Pasquier
No full textInternational audienceDominique Pasquier a encadré et accompagné nombre de jeunes chercheurs etchercheuses, à commencer par les sept dont elle a dirigé la thèse, dont plusieurs auteurs et autrices de ce texte font partie. Elle s’est rendue tout aussi disponible pour en accompagner d’autres à différents stades de leur apprentissage du métier, que ce soit avant, pendant ou après la thèse. Ils et elles ont souhaité lui rendre hommage à travers ce texte
Artaud, Parma e il suo festival: un caso per lo studio delle reti teatrali transnazionali nel secondo Novecento
No full textInternational audienceThe article proposes a series of enquiries that have their origin in two studies, one completed and one in progress. Within the framework of the research conducted on the complex dimension in which the itinerary of the director Roger Planchon is to be inscribed, a plurality of methodological perspectives have been explored and used to investigate a plural trajectory, following the inscription of an individual and the groups to which he belonged in a multiplicity of contexts, generating rich historical and critical debates, not only in France. Without examining the full complexity of Planchon’s path in relation to ‘his theatres’, this text presents some methodological perspectives developed due to this research and, at present, revived from a new investigation into the Festival internazionale del teatro universitario (Fitu) in Parma. The purpose is to present some reflections of epistemological order, touching on the necessity and the strategies that can be deployed to study the networks of dynamic interrelation after 1945, starting from a concrete example related to the life of the Fitu. By asking many questions in this way, without any presumption of bringing a solution, an attempt will be made to reopen the debate on the possibilities of renewing studies on theatrical reception with particular reference to the European theatre space, that was being transformed in the 1950s and 1960s.L’articolo propone una serie di interrogativi che hanno origine da due ricerche, una conclusa e una in corso. Nel quadro delle ricerche condotte sulla dimensione complessa nella quale è da iscrivere il percorso del regista Roger Planchon, una pluralità di prospettive metodologiche è stata vagliata e usata per indagare una traiettoria plurale, seguendo l’iscrizione di un individuo e dei gruppi di cui ha fatto parte in una molteplicità di contesti, dando luogo a ricchi dibattiti storici e critici non solo in Francia. Senza in alcun modo entrare nel merito della complessità del percorso di Planchon in relazione con i “suoi teatri”, questo testo presenta alcune prospettive metodologiche sviluppate grazie a questa ricerca e, attualmente, riprese a partire da una nuova inchiesta sul Festival internazionale del teatro universitario (Fitu) di Parma. Si tratterà di proporre alcune riflessioni d’ordine epistemologico, toccando la necessità e le strategie da mettere in campo per studiare le reti di interrelazione dinamica costruite dopo il 1945, a partire da un esempio concreto legato alla vita del Fitu. Ponendo così molte domande, senza alcuna pretesa di portare soluzioni definitive, l’articolo intende rilanciare il dibattito circa le possibilità di rinnovare gli studi sulla ricezione teatrale con particolare riferimento allo spazio teatrale europeo, che negli anni Cinquanta e Sessanta si sta trasformando
La double exception d’illégalité à l’encontre des accords collectifs étendus, note sous Cass. soc., 1er oct. 2025, no 23-15.627
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De l’Italie à la France en passant par l’Espagne : Les Osservationi della lingua castigliana (Venise 1566) de l’Espagnol Juan de Miranda, entre héritage et émulation.
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