t. 1. Introduction générale, témoignages, discours aus Corinthiens, sur la fortune.

A study of the shaping of the blocks of the temple of Aphrodite necessitates a revision of the question of the geometrie definition of the so-called "Nabatean" capitals and an examination of their possible links with the contemporay models with acanthus leaves. Experimental archaeology applied to the carving of a stone example on a quarter scale makes it possible to put forward concrete and confident suggestions in this matter. It can be shown that, starting with a capital of this type, (...) it is possible to continue shaping it so as to produce a model with acanthus leaves, but the production of the latter does not involve the same geometrie precision in its roughly hewn phase. The first from the start is conceived and carved to be presented definitively in this state, while the dressing of the second is generally too rough and imprecise for it to be later transformed into a capital of Nabatean type. The experiment has also made it possible to define clearly the different practical stages in the carving of this member. (shrink)

Ces dernières années, plusieurs travaux sur l’histoire des femmes s’intéressent à leur présence et à leurs rôles dans les domaines artistiques laissés de côté par les ouvrages généraux plus anciens. Pour autant, des thèmes sont encore à explorer en ce qui concerne le rôle de certaines dans ces secteurs pour la période moderne. C’est le cas de la musique, pour laquelle des éléments sur la présence féminine sont décelables à travers des ouvrages sur l’art musical de cette période. Ainsi, l’ouvr...

El Romanticismo hizo aportes fundamentales en la teoría de la pintura: por un lado centró la atención en su visualidad como arle de la apariencia y su idealización: por el otro, la coaccionó con el significado, poniéndola al servicio de la religión y el poder, estimuló el goce y la crítica del arte, pero los condenó también en favor de una actitud reverencial ante él. La pintura de los Nazarenos representa la intención romántica de una nueva pintura cristiana, alemana y (...) patriótica que habría de reorientar el espíritu de la época. Hegel se opuso radicalmente a este proyecto: su tesis del fin del arte no tiene sólo una explicación sistemática, sino que responde igualmente a un debate histórico concreto. El artículo aborda las posiciones de Wackenroder, August y Friedrich Schlegel, y Overbeck. (shrink)

Dans le cadre de ce numéro thématique de Clio, nous avons recueilli les propos de Laure Ledoux, artiste et photographe. Née en 1986, elle vit et travaille à Paris. Après avoir étudié à l’école supérieure d’art et céramique de Tarbes, elle est diplômée de l’École européenne supérieure de l’image de Poitiers en 2008 et de l’École nationale supérieure de la photographie d’Arles en 2012. Ses travaux ont été présentés lors d’expositions dans des galeries, musées et centres d’art, mais aussi (...) édité... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesLee UfanBorn in Haman County, Korea, in 1936, Lee Ufan is a leading practitioner and theorist of the Mono-ha School, which emerged in Japan in the 1960s. With his distinct approach and individualistic artistic expression, he has established a unique style of his own that goes beyond such categorization. In his work, Lee leaves areas unmade and produces yohaku (empty spaces and margins), while cutting personal expression to a (...) minimum. This approach draws out the unique tension and stillness of a particular space, a characteristic of his work. Lee lives and works in Paris and Kamakura, Japan. Among many other places, his work is part of the collections at the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Tate Collection in London, the National Museum of Contemporary Art in Seoul, the National Museum of Modern Art in Tokyo, and Queensland Art Gallery in Brisbane. Click for larger view View full resolutionRELATUM—THE MIRROR ROAD, 2021 / 2022 Stone and stainless steel Stones, height 90 cm (set of 2), stainless steel plate, 2 x 100 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 168] Click for larger view View full resolutionRELATUM—THE INFINITE THREAD, 2022 Stainless steel and string Dimensions variable Installation view: Lee Ufan: Requiem, Alyscamps, Arles, France, October 30, 2021–September 30, 2022 Collection of the artist © Studio Lee Ufan / Photo: Claire Dorn[End Page 11] Click for larger view View full resolutionRELATUM—SHE AND HE, 2005 / 2022 Stone and Steel Stone, height 70 cm; steel plate, 2 x 200 x 170 cm Collection of the artist Photo: Shu Nakagawa[End Page 75] Click for larger view View full resolutionRELATUM—ESCARGOT, 2018 / 2022 Stone and stainless steel Stone, height 50 cm; stainless steel, 200 x 300 x 253 cm Photo: Shu Nakagawa[End Page 97] Click for larger view View full resolutionRELATUM—DISSONANCE, 2004 / 2022 Stone and stainless steel Stones, height 35 and 45 cm (set of 2); stainless steel poles, 350 cm (set of 2) Collection of the artist Photo: Shu Nakagawa[End Page 111] Click for larger view View full resolutionRELATUM—THE ARCH, 2014 / 2022 Stone and stainless steel Stones, height 230 cm (set of 2) (actual size); stainless steel arch, 427 x 500 x 200 cm; stainless steel plate on the ground, 2 x 200 x 1000 cm Collection of the artist Photo: Shu Nakagawa[End Page 135]Copyright © 2023 Cornell University... (shrink)

Derrida’s “What is a ‘Relevant’ Translation?”, first delivered at the fifteenth annual Assises de la Traduction Littéraire à Arles in 1998, is an address that appears at first to speak from the outside and with a certain deference to professional translators. Yet, it quickly becomes apparent that Derrida not only counts himself among them but uses the occasion to reflect on his own surprising success as a translator of Hegel. This success has to do first and foremost with the (...) proven “relevance” of his translation of the notoriously untranslatable term Aufhebung as relève [in English: sublation]. Not a little perplexed by this apparent triumph, Derrida takes up the French term again, this time redeploying it in the translation of a crucial line from Shakespeare’s Merchant of Venice. In doing so, he relaunches his engagement with Hegel, asking what energies bound up in the concept of relève might yet be released, what internal resistances silently at work in it might still be mobilized to take it in an entirely new direction. Such an engagement enables him to explore in turn what resistances may be at work in the notion of translation itself. Inhabited by an internal otherness, by a constitutive resistance to itself, translation must be understood from the very first as transference. While translation studies have long been attentive to the transferential dynamics in which individual translators find themselves enmeshed, Derrida’s text views transference in more impersonal terms as the tenacious grip in which certain structures of thought hold us, structures which also inform our understanding of translation. How to work with and against this structural unconscious? To address this question, it is necessary to examine Derrida’s own translational practice and the privilege he accords to the term trouvaille. (shrink)

El Romanticismo hizo aportes fundamentales en la teoría de la pintura: por un lado centró la atención en su visualidad como arle de la apariencia y su idealización: por el otro, la coaccionó con el significado, poniéndola al servicio de la religión y el poder, estimuló el goce y la crítica del arte, pero los condenó también en favor de una actitud reverencial ante él. La pintura de los Nazarenos representa la intención romántica de una nueva pintura cristiana, alemana y (...) patriótica que habría de reorientar el espíritu de la época. Hegel se opuso radicalmente a este proyecto: su tesis del fin del arte no tiene sólo una explicación sistemática, sino que responde igualmente a un debate histórico concreto. El artículo aborda las posiciones de Wackenroder, August y Friedrich Schlegel, y Overbeck. (shrink)

The article considers three episcopal assemblies held in Gaul, which the manuscript tradition has not preserved, all involved in doctrinal debates on grace and free will. The first two, the council of Arles and the synod of Lyon, took place in the second half of the fifth century and concerned the affair of the presbyter Lucidus. The third is the Council of Valence that met just before the Second Council of Orange (529), that is, the council that marks the (...) “resolution” of the conflict and also the only documented. With the idea that the history of the councils occupies important points in the reconstruction of the debate on grace and free will, even in the case of councils whose acts have not been transmitted, the article seeks to enhance these three events by reconsidering indirect sources. The episcopal meetings of Arles, Lyon, and Valence are, indeed, an integral part of the doctrinal work on grace and free will, which for about a century interested monastic and ecclesiastical circles in Gaul. Moreover, the recovery of their history restores well the complexity of the cultural, religious and political climate in which they took place. (shrink)

Este ensayo se propone explorar algunas de las relaciones de Adorno con la literatura, teniendo como hilo conductor los conceptos de memoria, catástrofe y utopía. La memoria de la literatura es rebelión contra el manto de olvido con que los medios de comunicación y las esferas del poder quieren cubrir las catástrofes, crueldades y mentiras vividas por una sociedad, y de ésta contribuye a mantener la utopía: el deseo de que la sociedad puede ser organizada más justamente. En el centro (...) de la reflexión de Adorno sobre la literatura está la relación entre obra literaria y sociedad, y las relaciones de la primera, mediante la forma, con la segunda. ¿En qué consiste la verdad de una obra de arte? ¿Cómo pensar la relación entre obra de arte y sociedad sin caer en el sociologismo? ¿Cumple la obra de arle una función cognoscitiva? Responder a estas preguntas es un objetivo de este ensayo. (shrink)

Este ensayo se propone explorar algunas de las relaciones de Adorno con la literatura, teniendo como hilo conductor los conceptos de memoria, catástrofe y utopía. La memoria de la literatura es rebelión contra el manto de olvido con que los medios de comunicación y las esferas del poder quieren cubrir las catástrofes, crueldades y mentiras vividas por una sociedad, y de ésta contribuye a mantener la utopía: el deseo de que la sociedad puede ser organizada más justamente. En el centro (...) de la reflexión de Adorno sobre la literatura está la relación entre obra literaria y sociedad, y las relaciones de la primera, mediante la forma, con la segunda. ¿En qué consiste la verdad de una obra de arte? ¿Cómo pensar la relación entre obra de arte y sociedad sin caer en el sociologismo? ¿Cumple la obra de arle una función cognoscitiva? Responder a estas preguntas es un objetivo de este ensayo. (shrink)

The Tahāfut al-tahāfut is Averroes' response to the Tahāfut al-falāsifa written by Abū Hāmid al-Ghazālī. The work in its Latin translation from the Arabic was entitled Destructio destructionum, and an incomplete edition of this translation was published by Agostino Nifo in 1497.The MS. Naples, Biblioteca Nazionale, VIII E 31, unknown until now to scholars, belonged to Giovanni Pico della Mirandola. It is a manuscript of the Destructio destructionum, translated into Latin in 1328 by Calonymos ben Calonymos ben Meir of (...) class='Hi'>Arles for Robert of Anjou, and extensively annotated by Pico. The manuscript differs from Nifos' edition in that it also includes the second part of the Destructio destructionum with the until-now unpublished disputations on the natural sciences. (shrink)

Anne Pasquier | : Le sermon Dolbeau 26 provient d’un manuscrit datant de la deuxième moitié du xve siècle qui sortit de l’oubli grâce à la publication, en 1990, d’un catalogue de manuscrits de la Stadtbibliothek de Mayence. Découvert par François Dolbeau, ce sermonnaire contient 63 sermons d’Augustin et un de Césaire d’Arles. L’intérêt pour ces oeuvres est d’autant plus grand que plusieurs des sermons sont partiellement ou complètement inédits. C’est le cas du sermon D. 26 en lequel s’élaborent (...) plusieurs réflexions qu’Augustin exprimera par la suite dans la Cité de Dieu. Dans le cadre de cet article, seront examinés les thèmes et les enjeux identitaires que l’on peut déceler en particulier dans les chapitres 1 à 9 de ce sermon. | : The sermon called Dolbeau 26 is part of a manuscript dating from the second half of the 15th century which came out of oblivion thanks to the publication, in 1990, of a catalogue of manuscripts in the Stadtbibliothek Mainz. Discovered by François Dolbeau, this manuscript contains 62 different sermons from Augustine, and one from Caesarius of Arles. The fact that 26 of those sermons from Augustine are partially or completely unknown explains their great interest. This is the case of the sermon D. 26 in which Augustine develops many reflections that will be later expressed in the City of God. In the context of this article, will be examined the identity issues that can be detected particularly in chapters 1-9 of this sermon. (shrink)

« J'allai à la fenêtre et regardai dans la rue, où restait un groupe de trois personnes qui battaient la semelle dans le froid. Une quatrième était à la porte, une fille sans âge en fourrure mouillée avachie, qui s'efforçait de regagner le royaume de la contingence à coups de clignements d'yeux. » [Don Delillo, Great Jones Street (1973), Arles, Actes Sud, 2011, p. 22] ThéoRèmes n'entend pas suivre les modes mais se veut une revue résolument contemporaine. Si le (...) réalisme spéculatif est parfois... (shrink)

Il y a la mémoire, au féminin, personnelle ou collective, et les mémoires, masculin pluriel, livrés par un personnage, célèbre ou inconnu. Entre les deux quels rapports? Les seconds se nourrissent de la première... mais l'arrangent à leur façon. L'authenticité de la mémoire est altérée par l'oubli, alors que, pour sa part, le mémorialiste peut enjoliver à sa guise. Mémoire vraie contre mémoires faux? Pour en juger, cet essai prélude par un récit personnel dans lequel l'auteur tente de restituer une (...) vérité sur ce qu'a représenté dans sa vie l'empreinte des guerres qu'il a traversées. En contrepoint, il interroge à partir d'un cas exceptionnel les "vrais faux" mémoires de Fouché, la partie adverse. Suit la mémoire bien menacée de la Révolution française, enchaînant sur celle des villes, Aix ou Arles, ou la fortune historique d'un opéra de Mozart, pour finir ou presque sur le rapport de la mémoire à la mort en passant par l'oubli, mais pourquoi pas aussi à l'amour? (shrink)

In contrast to several recent studies that align Vincent van Gogh's plans for a “Studio of the South” with entrepreneurial capitalism, this essay considers the scheme in the context of nineteenth-century cooperative socialism. It traces the artist's experiences among striking miners in Belgium and impoverished weavers in the Netherlands, and it examines the artworks that these encounters inspired. In the process, I identify basic principles that would inform Vincent's plan for a producers' cooperative in Arles in 1888. Working from (...) Vincent's letters, I identify two stages in the development of the artist's proposal. In the winter and spring, Vincent discussed a strategic “association” of Impressionist artists and dealers. By the fall, he had combined this concept with his long-standing desire for companionship; the resulting conception was a cooperative avant-garde atelier in which member artists and dealers would dedicate themselves to maintaining communal working and living spaces and providing materials for production. The essay then explores Vincent's plan in the context of mid-nineteenth-century discussions of cooperative organization. I conclude that Vincent's scheme should be understood as a revival of the reformist, even socialist, literature that was current at mid-century. (shrink)