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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Numéro 7 - Automne 2017
https://atlante.univ-lille.fr/numero-7-automne-2017.html
frThu, 21 Jun 2018 15:26:00 +0200PluXml18-Partie VI. Photographie et cinéma
https://atlante.univ-lille.fr/18-partie-vi-photographie-et-cinema.html
https://atlante.univ-lille.fr/18-partie-vi-photographie-et-cinema.htmlThu, 21 Jun 2018 15:26:00 +0200admin15-Partie V. Des cinéastes et leurs publics
https://atlante.univ-lille.fr/15-partie-v-des-cineastes-et-leurs-publics.html
https://atlante.univ-lille.fr/15-partie-v-des-cineastes-et-leurs-publics.htmlThu, 21 Jun 2018 15:25:00 +0200admin11-Partie IV. Publics et Engagement politique
https://atlante.univ-lille.fr/12-0-partie-iv-publics-et-engagement-politique.html
https://atlante.univ-lille.fr/12-0-partie-iv-publics-et-engagement-politique.htmlThu, 21 Jun 2018 15:25:00 +0200admin07-Partie III. Politiques publiques et publics
https://atlante.univ-lille.fr/07-partie-iii-politiques-publiques-et-publics.html
https://atlante.univ-lille.fr/07-partie-iii-politiques-publiques-et-publics.htmlThu, 21 Jun 2018 15:24:00 +0200admin04-Partie II. Publics et idiosyncrasie
https://atlante.univ-lille.fr/04-partie-ii-publics-et-idiosyncrasie.html
https://atlante.univ-lille.fr/04-partie-ii-publics-et-idiosyncrasie.htmlThu, 21 Jun 2018 15:24:00 +0200admin01-Partie I. De la cinéphilie à la filmophilie
https://atlante.univ-lille.fr/01-partie-1-de-la-cinephilie-a-la-filmophilie.html
https://atlante.univ-lille.fr/01-partie-1-de-la-cinephilie-a-la-filmophilie.htmlThu, 21 Jun 2018 14:38:00 +0200admin21. Apontamentos para uma breve história intelectual do fotográfico Sobre Hercule Florence
https://atlante.univ-lille.fr/21-apontamentos-para-uma-breve-histo-ria-intelectual-do-fotogra-fico-sobre-hercule-florence.html
https://atlante.univ-lille.fr/21-apontamentos-para-uma-breve-histo-ria-intelectual-do-fotogra-fico-sobre-hercule-florence.html<div class="page" title="Page 1">
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<p>Iara Lis Schiavinatto <br />UNICAMP/CNPq <br />p. 408-431. </p>
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<p><strong>Iara Lis </strong><strong>Schiavinatto, </strong><strong>« Repères pour une brève histoire intellectuelle de la photographie : à propos de Hercule Florence ».</strong></p>
<p><strong>Résumé. </strong>Le franco-monégasque Hercule Florence est connu pour sa condition d’artiste voyageur et inventeur. Il a été aussi le créateur de la photographie à Vila de São Carlos, au Brésil, entre 1832 et 1833, participant ainsi aux multiples inventions de la photographie au début du XIX<sup>e</sup> siècle. Cet article réalise un premier recensement des moments clefs où le travail de Hercule Florence est devenu objet d’étude, principalement pour l’histoire de la photographie au Brésil, entre les années 1970 et 1980. Une période coïncidant avec l’institutionnalisation de ce domaine d’étude au Brésil et en Amérique Latine.</p>
<p><strong>Mots-clés. </strong>Hercule Florence, Photographie, Culture visuelle.</p>
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<p><strong>Iara Lis SCHIAVINATTO, “Apontamentos para uma breve história intelectual do fotográfico: sobre Hercule Florence”.</strong></p>
<p><strong>Resumo.</strong> O franco-monegasco Hercule Florence é conhecido por sua condição de artista viajante e inventor. Ele também é conhecido por ter inventado a fotografia na Vila de São Carlos, no Brasil, entre 1832 e 1833, inscrevendo-se assim na dinâmica das múltiplas invenções da fotografia no começo do século XIX. Este artigo faz um primeiro levantamento dos momentos em que Hercule Florence se tornou objeto de estudo, sobretudo para a história da fotografia no Brasil. Ou seja, entre as décadas de 1970 e 1980, quando se deu o processo de institucionalização da fotografia como campo de estudos no Brasil e na América Latina. </p>
<p><strong>Palavras-chave. </strong>Hercule Florence, Fotografia, Cultura Visual.</p>
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<p><strong>Iara Lis </strong><strong>Schiavinatto, </strong><strong>“Marks for a Brief Intellectual History of Photography: on Hercule Florence”.</strong></p>
<p><strong>Abstract.</strong> The French-Monegasque travelling artist Hercule Florance is also known by his invention of photography in Vila de São Carlos, Brazil, between 1832 and 1833. Thus he was among the multiple isolated inventors of photography at the beginning of the 19<sup>th</sup> century. This article aims to a first reassessment of the different moments when his work was an object of attention for the history of photography in Brazil, especially between the 1970s and 1980s, when a remarkable process of institutionalization of these kind of studies took place in Brazil and Latin America.</p>
<p><strong>Keywords. </strong>Hercule Florence, Photography, Visual Culture.</p>
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<p><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_7_21.pdf" target="_blank"><strong>Télécharger l'article complet (pdf, 54,6 Mb) </strong></a></p>
<p> </p>Thu, 21 Jun 2018 14:19:00 +0200marianne.bloch-robin20. Un bidonville sur la plage Regards sur le Somorrostro dans la Barcelone des années 1960
https://atlante.univ-lille.fr/20-un-bidonville-sur-la-plage-regards-sur-le-somorrostro-dans-la-barcelone-des-anne-es-1960.html
https://atlante.univ-lille.fr/20-un-bidonville-sur-la-plage-regards-sur-le-somorrostro-dans-la-barcelone-des-anne-es-1960.html<div class="page" title="Page 1">
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<p>Jacques Terrasa<br /> Sorbonne Université <br />CRIMIC EA 2561 <br />p. 388-407. </p>
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<p><strong>Jacques TERRASA, « Un bidonville sur la plage : regards sur le Somorrostro dans la Barcelone des années 1960 ».</strong></p>
<p><strong>Résumé.</strong> Le Somorrostro, quartier de <em>barracas</em> (comme on désigne ces cabanes à Barcelone), s’est formé sur la plage, au delà du quartier de la Barceloneta, à partir du dernier tiers du XIX<sup>e</sup> siècle. Il fut détruit en 1966 pour permettre le prolongement de la promenade maritime et la célébration de manœuvres navales présidées par Franco. Plus de 10.000 personnes – ouvriers et pêcheurs – y vivaient dans les années cinquante. Le Somorrostro, lié à la forte émigration de travailleurs pauvres vers une ville en mutation, a été le lieu de naissance de la grande danseuse de flamenco Carmen Amaya, qui y est revenue pour jouer en 1963 dans le film de Rovira Beleta, <em>Los Tarantos</em>. Ce quartier sera filmé par le documentariste Llorenç Ferrer peu avant sa destruction. Mais ce sont surtout les photographies de Jacques Léonard et de Joan Colom qui sont au cœur de cette réflexion sur la dure réalité du bidonville sur la plage.</p>
<p><strong>Mots-clés. </strong>Bidonville, Barcelone, Somorrostro, Joan Colom, Jacques Léonard, <em>Los Tarantos</em>, Llorenç Ferrer.</p>
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<p><strong>Jacques TERRASA, “Una chabola en la playa: miradas sobre el Somorrostro en la Barcelona de los años 1960”.</strong></p>
<p><strong>Resumen</strong>. El Somorrostro, barrio de <em>barracas</em> (como se designan las chabolas en Barcelona), se formó en la playa, más allá de la Barceloneta, a partir del último tercio del siglo XIX. Fue destruido en 1966 para permitir la construcción del paseo marítimo y la celebración de unas maniobras navales presididas por Franco. Más de 10.000 personas – obreros y pescadores – vivían allí en los años cincuenta. El Somorrostro, vinculado a una fuerte emigración de trabajadores pobres hacia una ciudad en mutación, fue el lugar de nacimiento de la gran bailadora de flamenco Carmen Amaya, quien volvió allí para actuar en 1963 en la película de Rovira Beleta, <em>Los Tarantos</em>. También el documentalista Llorenç Ferrer lo filmó poco antes de su destrucción. Pero son las fotografías de Jacques Léonard y de Joan Colom las que están en el corazón de estas reflexiones sobre la dura realidad del barrio de chabolas en la playa.</p>
<p><strong>Palabras clave.</strong> Chabolas, Barcelona, Somorrostro, Joan Colom, Jacques Léonard, <em>Los Tarantos</em>, Llorenç Ferrer.</p>
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<p><strong>Jacques TERRASA, “A Shanty Settlement on the Beach: Perspectives on Barcelona’s Somorrostro in the 1960s”.</strong></p>
<p><strong>Abstract.</strong>The Somorrostro district of <em>barracas</em> (as the slums are called in Barcelona) was formed on the beach beyond the district of Barceloneta during the last third of the 19th century. It was destroyed in 1966 to allow the continuation of the maritime walk and the celebration of naval maneuvers chaired by Franco. More than 10.000 people – workers and fishermen – lived there in the 1950s. The Somorrostro, connected to a strong emigration of working poor people towards a city in transformation, was the place of birth of the famous flamenco’s dancer Carmen Amaya. She went back to the Sommorrostro in 1963 to perform in Rovira Beleta’s film <em>Los Tarantos</em>. The documentary maker Llorenç Ferrer also filmed the district shortly before its destruction. Those images, and especially the photographs of Jacques Léonard and Joan Colom, are at the center of this article’s reflection on the harsh reality of the Somorrostro.</p>
<p><strong>Keywords. </strong>Shanty town, Barcelona, Somorrostro, Joan Colom, Jacques Léonard, <em>Los Tarantos</em>, Llorenç Ferrer.</p>
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<p><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_7_20.pdf" target="_blank"><strong>Télécharger l'article complet (pdf, 304 Kb)</strong></a></p>Thu, 21 Jun 2018 14:15:00 +0200marianne.bloch-robin