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Contact Monique PIERRE
06 84 88 59 38 03.21.84.42.53 and

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Rates

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520 euros week school holidays all regions

Deposit (deposit) upon signing the contract: EUR 100.

Jamie's Fantastic Fish Pie

Y photo!

Issue 77 (October 2010) of the journal Qantara devotes a large file of about thirty pages to " The photo in the Arab world . This study is primarily historical perspective. The rich and varied contents of this issue can be found here

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The editorial of this magazine Arab and Mediterranean cultures speaks of two ages of photography:
"Since its invention, photography travel and is found in the Middle East, particularly in Jerusalem and Egypt. Any improvements that bring him successive European inventors are reflected immediately on the spot, as evidenced by the quality of shots year after year. Before the late nineteenth century, studios are opening in big cities on the initiative of European or indigenous. The topics they present on the film set around the same progression, to well-defined themes of the postcard. It is this early history is recounted in the record of this number, without pretending to as exhaustive. Funds suspected of wealth hardly have been little studied, except by a handful of researchers.

And then, our inquiry stops too early, the first age of photography. If its use by the new middle class is mentioned, nothing is said about the press or politics. Probably discover there be an evolution that is not so different from Europe since the thirties to photograph the highlights of the private and social life becomes more democratic as the devices become available, we put in scene social life and politics, and of course we shall use the photo for purposes of political propaganda.

Another "kind" that is growing doubt in the Arab countries is the artistic photo. Came later, at least in terms of social and cultural recognition, it shows itself more in the galleries of the Near East or Morocco and seeks to gain a foothold on the European and American market, one likely to confer status scale, as is also the case with works of art. In the pages devoted to the arts, Qantara remains attentive to the creative production and continue to give it the place it merit. "

course, do not expect to find in this issue something hearty that illustrate or reflect the artistic photography in the Arab countries. But in the relatively recent past, Institute of the Arab world had organized a real panorama photography dedicated to contemporary Arab !

Invisalign Cost In Johor Bahru

Little patch of blue sea

Here are excerpts from the novel "False Papers" d André Aciman (2002 pages 29 to 31), other editions:
"The journey by rail, however, included two moments of magic, I knew very well. One of them occurred at dawn, when through the steamy windows one could guess that the train was heading across the fields Silent Chambery, where the mist was rising among the trees covering the landscape like a white paint.
(...) The other time was more special. It occurred about two hours or more after from Rome, when the train began to rub off the coast of Tuscany and Liguria, past large homes and palaces, endless stretches of cypress trees, overlooking the coastline seemed more peaceful world. Every moment, however, this splendid view was interrupted by a tunnel, an old wall, with houses built too close to the road, frustrating my desire to savor these villas and landscapes long enough to imagine that I lived there. Yet this is how I learned to venerate the Tyrrhenian and the Ligurian Sea: increments brutally cut, thwarted in their splendor, as if all were unreal and intangible (...).
I never took the trouble to look long enough coastal station names, and the sea always came without warning. The magic was in part Do not know exactly when she would show up, or whether it would prove even, perhaps, being less beautiful than I thought, could she come and go without my knowing.
For years, this wonderful expanse of azure and eternal peace, where the hills and beaches seemed immutable made to exist only in memory, had no existence. I had never seen pictures, no one had ever spoken that she resided in a hinterland composed of little villages with strange names: Viareggio, Forte dei Marmi, La Spezia, Cinque Terre, Rapallo. I met some of these names by reading the biography of Byron, Shelley and Stendhal. But that was all.
Yet this panorama over twenty minutes, despite obstacles and disruptions, remained the most beautiful sight I had witnessed. What made him so fascinating, it might be due to leave Italy, which I hated then, for the joys of the trip to Paris, where everyone said that we would eventually move. Or maybe it was just plain fun, once familiar (now a luxury), enjoy the view, imperfect but extended to the sea For a native of Alexandria, used to have the beach within reach throughout the day, it was like finding a relative after an argument two years: a strange mixture of familiarity tense sudden intimacy with the bitter realization that, despite the hugs, nothing would ever be the same.
Not that I had never seen the beach in Italy before. But it was different. This show had a spiritual, timeless, majestic, unrelated to this large pool was just that the beaches of Rome. It was the perpetual beach: the beach as a lifestyle, the beach within reach, the range we have in the blood. Just like Alexandria. Pass before such a vast stretch of sea was like to go Alexandria, as one does in dreams, when you greet a house that is not ours, that belongs to others but that could come back from one moment to another, because the universe would then assume its meaning. It reminded me more strongly to the beach life, made me regret, made me understand exactly what I could almost touch the finger, which I missed, for which I could cry. After all, that's why this show was so beautiful, because it was familiar to me, because I had finally found, because I had become a stranger, because there were only to be lost. The loss of the sea was already included in each image of the sea We look at because it is not really there and because it could never be, because it is no longer yours and never will again.
What came to break the charm, or rather amplified, is that fifteen years later, during a brief trip I took with a friend, armed with Eurorail passes, after having passed quickly before the same place, having decided that it was perhaps the most perfect place in the world, we got off on a whim, a few stations later in Nervi. (...) We asked a taxi to take us to the best hotel, assuming we would find a spectacular view over the sea and all the while fearing that the rooms are already taken. (...) Ten minutes later we were sitting on a balcony overlooking the cliffs of Nervi and Bogliasco poorly lit, and we watched the angry waves crashed against the rocks in darkness, as in a poem romantic.
The next morning when we woke up and opened the doors, I discovered what I feared would never find in my lifetime. More exactly, I found what I feared would never expect to find, because I would not know what make, because the loss of the sea makes it easier to accept to live in New York because I wanted to dictate my terms to the sea and not let me dictate his own, because I wanted all or nothing, knowing well it is unacceptable to issue an ultimatum to someone, and more at sea
What I discovered this morning, it was an ideal time for swimming, a perfect blue sea , an ideal breakfast served in our small room ideal and consumed on a small table on a balcony ideal perfectly ideal. After bathing, back to the balcony. After lunch, return to the balcony. After a long siesta, return to the balcony. No time to visit the country. There was nothing to see in Nervi. I took my diary and, feeling very inspired, I could write these words, terribly humiliating:
di tutto questo E mare cosa Faccio?
This sentence is impossible to translate. First, because I'm not sure it means anything in good Italian. Let's try anyway: "And what will I do with all that sea?" It was the expression of my powerlessness in the face overwhelming generosity .(...)
Maybe my indifference, my disappointment they were apparent character too frontal, invasive, wonderful show. I would have liked more diluted, fragmented, oblique, upset, as when traveling by train so many years earlier, but it was precisely the fragmented side view I once found so annoying, so frustrating. Sitting on my balcony, I watched this wonderful expanse of azure, and the only thing I had in mind, besides my feeling of helplessness was: "That's it. I leave in three days!" I wanted to close his eyes. I found myself in the most beautiful place on earth. There 'was, I realize now, nothing to be desired. Nothing else say.
But that was the problem. There was nothing to write, nothing to plead, he was nothing happening. All I could do in this case proved useless. There was no story to tell.
Like all cultivated mind remembers when he faces the harsh realities of life, body and pleasure, thinking comes after, not before, and certainly not during. To the question: "What will I do with all that sea?", The answer should be: "Y swim"
Never in my life I never felt so hungry, too worried to a plate so stocked. As a wealthy emigre who returned to his native village, hoping to impress people, but discovers that they do not care that he does not recognize, I did feel that I did not know even what I felt, apart this mixture of torpor and joy. I finally decided to publish these words in a text: "All heaven, all that water, as is done with so much blue once you have seen?" This sentence was less a question than a cry of despair, defeat, deep irony. It was a simple question he does there was no answer.
What do you do with so much blue once you have seen?

Can I Work With Impetigo

Places, memories, commemorations

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17, 18 and 19 May 2011, the Faculty of Arts Moulay Ismail in Meknes The research group in art and literature and the French Institute of Meknès organize a symposium on the theme plural Places, memories, commemorations. This event will be accompanied by several photographic exhibitions.

Rationale:

"I know right away that I'll spend my life trying to coincide with the open space"

Philippe Sollers, dictionary lovers Venice

This conference could, in the wake of the lectures, "Poetics of the City" and "Representations and Aesthetics of Ruins," extend the approach to become (s) memory (s) seized (s) through the prism of relations may develop between one (s) and the latter "places" which is the texture of a substance now eminently hybrid because of stones as well as writings and images (still or moving). Thus, in literature as in art, it revisits the places already there, as well as those that can be described as "new" or simply "unpopular" or "not seen enough."

Some of these places are as insular spaces and incantatory in that they cause an effect ataractic, cathartic and even that is likely to make us aware of all the progress in taking over the space that we end up investing in a place that is ours, that is to say, giving him an identity.

What kind of sentimental ties thus established with these places? Where does that man feel the need to visit these places of remembrance and what effects they produce in him? Finally, these places do they take today the same place and do they have the same importance as before?

But the question then is what are here and there, the issues, the ins and outs, knowing that since Msid (Koranic school), steam room or the medina (largely revisited sites in Moroccan literature in French language) until the arrival of a community of "new" spaces (cinema, prison, text or images ), we are witnessing a process of expanding the paradigm of places of memory. Many memories can be called here, including: memory geographical, architectural, urban, sound processor, pictorial, musical, etc..

In Morocco, for example, Abdellatif Laâbi claims necessary, if not urgency, a cultural policy to preserve the "memory of the contemporary" history to guard against the risk of amnesia, or "erase" irreversible. A painter like Kacimi, a writer like Choukri and many other proper names of writers, artists and "addresses" as emblematic of sociocultural change policies do not deserve to be among the "new" sites memory? Is there no need to define or redefine what is meant by memorials? Is there a "policy" and a "discourse" aware themselves in the matter?

The themes used could be partly related to how the mapping (the "list" or paradigm places of memory "local" and / or "(g) premises") wins "extended", " update "and" rewritten "- given that the boundaries here are more" short-circuited "by the" transnational "-so the question might be this:

What are the figures, methods and procedures "clean" for artists and writers " inhabited "(sometimes obsessively) by a place (or places) that they (re) roam," reinventing "and / or" réédifient "a place where they meet, each time, likely to attempt a possible and / or impossible quest that crystallizes the experience of Time itself , to use another word about Venice Sollers.

We invite all those interested in the topic to us send, until 20 January 2011, a 400-word abstract of their proposed communications to the following addresses:

m.lehdahda @ gmail.com

ifmeknes @ co. my

Radeon Hd 3100 Overclocking

Poets of the Mediterranean

THE POETS OF THE MEDITERRANEAN
Anthology
French edition and all original languages
Preface by Yves Bonnefoy
Edition established by Eglal Errera
960 pages, 24 countries, 17 languages, 101 votes today

On November 25, 2010 published the anthology THE POETS OF THE MEDITERRANEAN, a joint Culturesfrance / Gallimard.

"This anthology does not purport to be a record but a course that welcomes voices of all sides, voices live that resonates as much in dissonance, in friendship as much as in opposition or defiance.

Poets of Greece, Cyprus, Turkey, Syria, Lebanon, Palestine, Egypt, Tunisia, Libya, Algeria, Morocco, Portugal, Spain, France , Italy, Malta, Croatia, Slovenia, Bosnia, Serbia, Montenegro, Albania, Israel and Macedonia, which does not seek agreement dummy around a common sea and under same sky, but say a real disparity in the observance or depletion of all inheritances space today. "
To access the list of poets included in this anthology, click here

How To Dress As An Oap

Cristina Torres

Cristina Torres , Colombian painter based in Fez hangs his latest work on the walls of the gallery Kacimi ( 26 Avenue Moulay Youssef) in Fez. The opening is scheduled for Tuesday, November 9, 2010 at 18 H 30 . The exhibition will remain on display until Thursday, December 9, 2010. You will find echo images in this exhibition here

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Where Can I Get Dinosaur King Cards In Bangkok

window, skylight, split

Back Cover:

the oceanfront, pension Almayer, "resting on the ledge of the world's ultimate" cross seven characters in strange and romantic destiny, seven castaways life trying to pick up the pieces of their lives. But their stay is upset by the memory of an amazing wreck of a bloody century and derives from a raft. And always, lamer, capricious and compelling ... With a breathtaking mastery Alessandro Baricco gives us both a suspense novel, a book of adventure, a philosophical meditation and a poem in prose.

Here is an extract made from the incipit of the novel:

"Sand in the eye, between the foothills and the sea - the sea - in the cold air of an afternoon near completion and blessed by the wind always blows from the north.

beach. And sea

This might be perfection - divine image for one eye - the world is there and ready, silent existence of land and water, accurate and complete work, truth - truth - but once again it's the little grain of saving the man who just stop the mechanism of this paradise, which is foolish enough in itself to suspend the general apparatus inexorable truth, nothing, but standing there in the sand, imperceptible tear in the surface of the holy icon exception raised on the tiny perfection of unlimited range. To see him from afar, this is hardly a dark point in the middle of nothingness, the nothingness of a man and an easel.

The bridge is anchored by thin strings to four stones set in sand. It oscillates almost imperceptibly in the wind that always blows from the north. The man wearing waders and a large fisherman's jacket. He is standing, facing the sea, running between his fingers a fine brush. On the easel, a canvas.

It is like a sentinel - this is that we must understand - drawn there to defend this portion of the world against the silent invasion of perfection, that tiny crack apart the spectacular staging of being. Because there is always the case, the glimmer of a man enough to hurt the rest of what was to become a finger truth, and becomes immediately pending question and, for the simple and infinite power This man is window, skylight, through which slot rush back torrents of stories, vast repertoire of what could be endless tear, injury wonderful path trodden by thousands of steps where nothing can be true but everything will - as are precisely not the woman who, wrapped in a purple coat, his head covered, as slowly the beach, along the waves of the sea, and to strike from right to left now fled the perfection of the great table, nibbling the distance that separates man and his easel up being only a few paces from him, then next door, where nothing is stopping - and without saying a word, look.

The man did not even turn around. It continues to set the sea Silence. From time to time he dips the brush in a cup of copper traces on the canvas a few light strokes. The bristles of the brush left behind the shadow of a shade paler than the very dry wind immediately by reducing the whiteness before. Water. In the cup of copper, it does have that water. And on the web, nothing. Nothing that could see .

Breath as always the north wind, and the woman tightens her purple coat.

- Plasson, that's for days and days you work here. Why

so take it with you all these colors if you do not have the courage to use it?

The question seems to wake him. She came up to him. He turns to look at the face of the woman. And when he speaks not to respond.

- Please, do not move, "he said.

Then he approaches the brush of the woman's face, hesitates a moment, put him on the lips and slowly slid from one corner to another in the mouth. The bristles are tinged with crimson. He watches them, just soak them in water, and looked up toward the sea on the lips of women remains a shadow of a flavor that requires him to "think of seawater, this man painted with sea water - and it is a thought that makes one shudder.

long time now it has returned, and again measure the huge range of mathematical rosary of his steps, when the wind passes over the canvas to dry a burst of light pink, nude sailing in white. One could spend hours watching the sea and the sky, and everything is there, but we do not find anything that color. Nothing that can see .

tide in these regions, arrived before darkness falls. Just before. Water surrounds the man and his easel, she takes them, gently but accurately, they remain there, and the other one, impassive, like a miniature island, or a wreck with two heads, Plasson, the painter .

Each evening a small boat picks him up, shortly before bedtime the sun, when the water already it reaches the heart. It was he who wants it that way. He climbs into the small boat, load up his easel there and the rest, and let reduce.

The Sentinel goes. His duty and done. Danger rejected. In setting off the icon, once again, failed to become sacred. All because of this man and his brushes. And now he's gone, there is no enough time. Darkness suspends all. There is nothing that can, in the darkness, become true .

Alessandro Baricco, Ocean Sea, Gallimard, collection Folio, pages 13-16.

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"read & see"

"read & see" is a series of publications that will be devoted to Examining the relationship between text and images in the context of the book. The first book in the series to see the day is:
books of photographs and words , edited by Daniele Méaux, Caen: Lettres Modernes Minard, et al. "Read and see» 2009, 252 pages.

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Anne Reverseau wrote and published a first account ren of this book. Here are some excerpts: (...) In its chapeau, D. Méaux examines the dynamics between text and image in productions mixed, "hybrid", which are not necessarily literary objects. She said the "book of photographs and words" is "an area of interference and interference "But also an object defined by the specificity of photography. Indeed, its particular relationship to time and its ability to "recontextualization" facilitate the integration of photographic images in a story or a fiction (p. 16-17). D. Méaux chosen to exclude the moving image (video and film) of his field of study since it is not the same imagination as photography, whose "arche", particularly the ability of incarnation, influences on the texts.

The "books of photographs and words, through their play with "The device of truth" (p. 12) in particular, are moving the line between reality and fiction and the border between the genders. Further, they urge that thought necessarily transdisciplinary approach of this group, like other works on the photo-literature, may well be to consolidate the margins of some disciplines to form a new discipline. We thus find in Books of photographs and words the difficulties inherent in this field, such as classification of hybrid objects or opening to the contemporary.

Some articles focus to a work, as Fire Valere Novarina and Thérèse Joly (1994), analyzed by Jean-Pierre Montier and Story of Hers (1983), studied by Jan Baetens and Mike Bleyen, or a set of works: novels, photo Mary-Françoise and Benoît Peeters Plissart (Alexandra Koeniguer) or publications by Joseph Kosuth (Jacinto Lageira). Other articles consider the most important corpus: texts and autobiographical photographic Veronica Montémont, large corpus of novels associated with the photo for Chloe Conant and John Arrouye - to Orfa Armand Sylvestre (1901) to more contemporary works by Christian Bobin, Mary or Marie Ndiaye Desplechin - text and pictures to dream Christine Buignet, conceptual artists' books and books for Jerome Dupee photographers Christophe Viart. The last two studies look at sets like the most unexpected images that Boris calendars Eizykman provides a historical overview and picture books to accompany some LPs Post Punk, presented by Paul Edwards.

The main problem with this field of research lies in the heterogeneity of its objects. "Iconotext" to Veronica Montémont (p. 40) "photo-text" for Paul Edwards (p. 240), "Business iconico-text 'for John Arrouye (p. 54)," works phototextuelles "Chloe Conant (p. 76): the difficulty in finding a permanent name for these objects is a sign of unease, until about literary or even artistic status of these "books of photographs and words."

Some papers emphasize particularly on the multitude of objects. Jean Arrouye addresses eg head on the issue of classification by categorizing books according to the different functions of Photography - "the illustration of detail" in the early or "allegory" - and according to its statute, the semiotic model, in the case of Our Antefix Denis Roche, the documentary or "reserve fiction "through the" hatchery feelings "in The Use of Photography from Annie Ernaux and Marc Marie (p. 71). Taking into account economic constraints in the artistic choices, Chloe Conant remarks about it that each book introduces a "new device" (p. 75) and distinguished features illustrative of legend devices or comment, or more complex arrangements such as the notebook.

It appears from these studies that the "book of photographs and words" creates a game, that is to say, a free space between the two mediums. Artists and writers are playing with this space of indeterminacy between reality and fiction, "says Veronica Montémont (p. 39). The image "opens a new horizon to the text" (Buignet, p. 110), it can be a "clutch of memory and fiction ..." (Arrouye, p. 57) and, finally, it enables the works to constraints or experimental, books profoundly " playful "(Conant, p. 76 and p. 90). In the texts of "musicians photographers" as Philippe Fichot and John Foxx, which he analyzes in detail the "poetic any photographic" (p. 245), Paul Edwards locates a "preview", that is to say a "vision indoor photography to come "(p. 246). Whatever its function, this game is a space of freedom, instead of a "co-creation", a term that incorporates Montémont Véronique François Soulages (p. 38), which involves the reader, a true "co-producer of the work "in artists' books Lawrence Weiner, Jochen Gerz and Robert Barry Dupee according to Jerome (p. 172).

Most of the work published here highlight the contact points or deep entanglement between literary and artistic production. Along with the rising power of images, beyond the question of illustration, one finds in literature, Jerome Dupee notes the growing presence of text in art since the 1960s.

we understand how close to the photographic image in literature and book the space, but also in analytical methods. By comparing the works of Lothar Baumgarten, Hamish Fulton and Sophie Ristelhueber Christophe Viart considering the "book as an exhibition space" (p. 196) through the tools of semiotics and literary legacy assumed through Mallarme or Valery. And it is in sociological terms Alexandra Koeniguer questions the transformation of an object of popular literature in "New Roman-photo" (p. 216) that multiplies housing abyss and questions about the medium.

books of photographs and words insight into developing and the historical context of these forms in vogue today. It seems necessary to interpret the success as does Veronica Montémont who works for the Legendre and Bonnetto, Sophie Calle and Christian Boltanski are not only egotistical games or the result of the subversion of the autobiographical genre (p. 49 ), but genuine forms of fictional inventions. This group shows that the picture is a "new participant in the literary game (Arrouye, p. 70) and it does not confine itself to the reality effects. These hybrid objects, combining text and photographs, create, even in their indeterminacy, "a new art show and tell "(Arrouye, p. 71). In line with the work of Paul Edwards, books of photographs and words thus illuminates the role of photography in our imaginations.

Here via the summary, the issues addressed in this book:

General Introduction: The Book of photographs and words: an area of interference and interference by Daniele Meaux.

- 1. Fire : presence in the world, incandescent speech, Jean-Pierre Montier.

- 2. How to lie and say the truth twice: photography and autobiography, Véronique Montémont.

- 3. A new art of saying and showing, by Jean ARROUY.

- 4. Small arrangements of reality and fiction, by Chloe Conant.

- 5. Hers / Story : a poetic sprawl, by Jan and Mike BAETENS Bleyen.

- 6. Notes on some collections of words and images of dreams, by Christine Buignet.

- 7. The picture as it is stated, by Jacinto Lageira.

- 8. Copresence and co. Uses of photography and text in art books "conceptual", by Jerome DUPEYRAT.

- 9. Exhibition of words and images in space of the book (examples of Lothar Baumgarten, Hamish Fulton and Sophie Ristelhueber) by Christopher ViArt.

- 10. Image described in the image of the written word: the inverse photo-fiction by Alexandra Koeniguer.

- 11. Of unwanted frozen in time schedules, Boris Eizykman.

- 12. The photo-illustrated book in deluxe editions of the Post Punk music, by Paul Edwards.

James Cole Funeral Home

Literature in the Age of Photography

Here is a brief introduction to the book under review (Master Literature and Artistic Expressions, semester III) "Literature in the Age of Photography. Investigation of an invisible revolution ", published in 2002 by Philippe Ortel Editions Jacqueline Chambon.

Presentation Editor:

Philippe Ortel takes us through the literature of the nineteenth century in light of a major invention, but was long considered marginal: photography. If its impact on the painting is well known, its effects on literature are much less. A comprehensive approach was necessary because of the phenomenon the "revolution photographic" (Hugo) is global because it affects the public image of the writer, his worldview, his thematic and stylistic choices as well as its theoretical positions . The route proposed here, romance in the late twentieth century literature, makes an original contribution and stimulating understanding the relationship between literature and communication. By exhuming

little known texts by Lamartine, Gautier, Renan, Gourmont, etc.. Philippe Ortel reads scripts famous Hugo, Baudelaire or Zola from the new image. It's also a way for him to revisit "outsider" from the photograph, many familiar concepts in literary criticism. In turn, the notion of model, the relationship between representation and scene creation, lyricism and technical thought, poem in prose and industries of the image, visual realism and realism literary cliche verbal and visual cliche. More broadly, The book shows how the photographic device becomes, for writers, an imaginary structure they use to think "photographic" art, society and the modern man.

On the question of "aesthetic value" of interest as much philosophy as the art of literary criticism, it is approached from the exemplary case of photogenic, yet little explored notion central to the arts.

Philippe Ortel defines the conditions of photographic aesthetics in the nineteenth century and locates the record in competitive practices, pictorial and literary.

The full text of a report of this book by Nicole Edelman in History Review of the nineteenth century , No. 24, 2002, pages 197-200:

" The emergence of the daguerreotype (1839) and then the photograph is, according to Philippe Ortel, a major caesura in modern history whose cultural impact has yet been measured until later in the late twentieth ^e century. The invention of Niepce and Daguerre creates a new historical and cultural landmark, it influences painters and writers. The study of the effects of photography on these has yet been long neglected, literature in the era of photography. Investigation of an invisible revolution Philippe Ortel, a lecturer in literature at the University of Toulouse Le Mirail, from a revised and completed thesis, supported under the direction of Philippe Hamon in 1996, seeks to fill this gap. To do this, the author travels the XIX th century, where the 1820 triumph with panoramas préphotographique aesthetics of the "view" to Proust whose work exceeds the century, but plays the role of transition as it integrates into his world of new images as the cinematographer.

In an introduction, Philippe Ortel questions the nature of the invention of photography and offers historical and cultural reasons for the long shelved the analysis of the relationship between text and images. In the nineteenth ^e century photography is increasing and is spreading widely, gradually losing its "status signal to reach the universe of dumb things" it becomes a useful object recognition but not aesthetics. Ubiquitous in everyday life, it is not for the Beautiful. For these reasons in addition to methodological difficulties: the text that gives and see that the image mean, is not false, but simplistic. The author then circumvents this obstacle by placing himself in the act of reading. "Reading a text is change the signs written in mental world where ideas and images combine in varying proportions. Speaking of visual effects in this case thus is not only a metaphor." As for the image, to understand, this is both the overall view but also the segment. Finally, texts and images are joined in a share of aesthetic pleasures, to information, they dream, they preserve the memory and link beings. The question then to address a central question of the book, namely "how literary works of the nineteenth ^e century have had to redefine their contents and rules under the pressure of photography."

Philippe Ortel considers necessary to recall what photography changed modes of production, distribution and reception of images. First, automation photography profoundly changed the "role of the hand in the implementation of images" setting of the first devices promotes the art of view and it is only the Kodak (1888) that s. the next becomes feasible. Reproducton the mass of photographs is another factor of change, the photographic image invades the space of the XIX th century, from the daguerreotype - we know the famous lithograph Maurisset, entitled, The daguerréotypomanie, edited in 1839 or that of Daumier, Nadar representative operating from his balloon (1862). There runoff trials, ubiquity of the photographic image that surrounds the literature and multiplying forms of interaction that remain elusive, however. Photography and has no well-defined aesthetic periods, at least before the Pictorialism (circa 1900), such as painting and literature. She collaborates with some writers. So when Maxime du Camp publishes Egypt, Nubia, Palestine and Syria in 1852, Flaubert, though traveling companion, is not involved in anything this album, and his comments on this photographic activity are ironic.

face the gap between photography and the ubiquity of discretion "evidence showing its presence" in the literature, Philippe Ortel mark what he calls an "unspoken model" which specifies the contours. The definition is possible because "the arts of graph were forced to borrow to photography some of its features, and simultaneously define their own territory within the visual cropping it imposed on them."

The author not only defines the idea of the model around the notion of "code" (Barthes), but about "all the means and procedures techniques constitutifs de la pratique destinée à jouer ce rôle". Il prend alors en compte trois niveaux de transposition, et tout d'abord "la scène de création (ou d'énonciation)", très présente dans les œuvres littéraires. "Comparer les pratiques, ce sera donc dégager une praxéologie commune à l'opérateur muni de la chambre noire et à l'écrivain tel qu'il se perçoit et figure son activité à travers ses textes". Puis le cadrage de la réalité constitue un deuxième niveau. Enfin ce cadrage étant conditionné par des médiations cognitives capables d'opérer la sélection, le troisième niveau se place autour of "interpreting", which means the mediation between the artist and reality. "Seeing Things" photographically "it will find in the outside world, configurations near the device, not missing the nature of black boxes (caves and glades, buildings), reflectors (lakes, floors, walls) and traces (fingerprints ...) ".

Around these three levels - scene of utterance context and interpreting - Philippe Ortel organizes his book. The scene creation is specifically linked to the Romantic period which reflects the role of the artist in the world the concept of framing is called by the rather realistic movement, and finally the literature of the 1880s, interest in the human psyche is similar to the view camera, which becomes "a kind of universal interpretation to describe the man and his faculties. "

Literature in the Age of Photography consists of four parts and broken down into eleven chapters. "A new stage of creation," as the first part has three chapters that compare the invention and practice of photography set design developed by the poets Romantic. The second part entitled "Photography and Representation" centers around a crisis of representation that fits around the arts of this crisis, namely photography and prose poems, inventors of a system utterance nine. The four chapters of Part Three - "The photographic model" - instead of considering the "view" and the light in the realistic aesthetic of the 1830s. Hugo, Balzac, Flaubert, Zola find a place. Finally, "Photography and Modernity", last section, explores the profound impact of photography on the attitudes and values, instead of the medium in social crisis in which the writers have been particularly sensitive. The new place in the darkroom and product structure, so the vision of society and changes the design of modern man, so the picture-card, invented by Disdéri (1854), offers a self-image that transforms man nineteenth ^e century. And, beyond the significance of photogenic and have questioned its aesthetic value.

Reading the book by Philippe Ortel is not easily accessible to the historian, who still has not mastered the many concepts of literary criticism which the author is of course that revisits the same purpose and pleasure. However Literature in the Age of Photography is an "investigation" as its subtitle indicates that takes us through little-known texts as well as major works of writers of the nineteenth th century . The book uncovers the complex relationships between photography and literature, opens on understanding the relationship between literature and communication and more broadly, "shows how the photographic device becomes a structure in the writers imagination they use to think" photographically " art, society and the modern man. "

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A flower terrace

Henri Matisse, 1912, "Zorah on the Terrace"
Oil on canvas 116 x 80 cm
© Pushkin Museum of Fine Arts Moscow

is the famous painting that gave its title to the novel by the writer and journalist Abdelkader Djemaï (native of Oran in 1948 and lived in France since 1993). The plot of this book is based on a canvas as epistolary from page 11, the author addresses the artist as follows:

" Dear Mr. Matisse,
I wanted to talk to you and you write because I love your painting and my paternal grandfather was like you physically. His name Miloud and had the same build as yours. I saw one of your pictures in black and white where you're standing on the beaches of Tangier (...) That day, you wore a turban and a djellaba like his own. "


Published by Seuil, the editor we made the following presentation:" January 1912, in a downpour, Matisse comes with Amelia, his wife, during two stays Tanger.Au there will, he slowly discovers the town built between the Atlantic and the Mediterranean and where he will walk away with a score of paintings, drawings and some sixty books and studies. There will be knowledge of the soft light, vivid colors, lush landscape and its inhabitants, mostly Moroccans, Spaniards and Jews. But if he finds pleasure in creating it will be faced including the lack of female role models necessary for its travail.Sous form of a long letter, this narrative, which unfolds on the eve of World War I, s attachment from real events and correspondence of the painter, to trace, among others, his relationship with Zorah, the young prostitute who eventually lui.Outre ask for the portrait of an era and a singular city, Abdelkader Djemaï, mixing fiction and the daily also mentions in this book bearing the title of a painting by Matisse, the figure of his great paternal grandfather and Oran, his hometown.

In a teaching file devoted to this book under the pen of Alexandre Garcia , you can read some excerpts:
Abdelkader Djemaï opens the long letter he sent to the painter. The observation of the life of Matisse Tangier will trigger a plunge into her own childhood in Algeria:
" Seeing your old trunk behind you on the photo of the chamber 35, I thought the old wooden chest painted and studded copper grandmother. Under its cover bounced, she kept my aunts outfits embroidered with their shoes, their saroual velvet, with wide belts and dresses in lame (...) my mother slipped on her meager jewelry under her clothes in the dark background chipboard cabinet handles and gold metal. When we ran out of money, she opened it to remove a louis or two came out of his collar or a pair of bracelets she had received as a dowry. She clutched a handkerchief she buried between her breasts and then we went downtown to drop the pawnshop Ozanam Street. " P31
colorist painter just turned 42 years old when he arrived in Tangier with his wife Amelia. In January 1912, Matisse is already an established artist, he is aware of what he was looking into the land of Morocco, where the Mediterranean Sea and Atlantic Ocean married. He knows that the palette of lights, colors, landscapes will bring new emotions. He expects that if these people different scrambling its own certainties and trigger new opportunities at home in his quest as an artist.
Tangier is a small town then "The town is small like your room 35 where the strong smell of turpentine and linseed oil impregnated bed sheets. We can go round fast enough. " P 46. Its population is less than 50 000 inhabitants, made for less than half of Moroccans. The other is composed mainly of Jews and Spaniards of modest means. Tangier is already very cosmopolitan: it juxtaposes with multiple identities, as in other Mediterranean sky, the presence of wealthy tourists and intellectuals. "You cross the Naval Officer in pretty uniforms, shiny cars, cabs with horses with pompoms, brokers Sunday best, the British government and wealthy Americans descended from the luxurious homes nestled in the hills. You, rather a quiet man and not talkative, you do not choose to come here (...) to disguise yourself as a tourist or sleepy amazement, capricious or jaded. What matters to you, these are the people of this country you follow. Your equipment under his arm, then you go in search of places, relics, faces, moods, clothes, perfumes, sounds that could help you paint. " P 47
Abdelkader Djemaï The book captures the love that will sustain Matisse for this country and especially this city where he will explore the kasbah, the souk, gardens, hills and Yet until about inaccessible. " You want, of course, know the area better. A mule with Amelia, you go in through "a sea of flowers" and a "grassy field pure, virginal" in Tetouan. You spend three days in this remote town of Arab-Andalusian sixty kilometers from Tangier (...) As in Tangier, many languages are buzzing around you: the colloquial Arabic, Berber, Hebrew, French, English, Italian and the country of Velasquez, who gave his name to a street in the city of the strait. " P74
Beyond the human experience lived by Matisse, Abdelkader Djemaï seeks to tell us the creative quest Artist's leading Moroccan achievements. It invites us to wander among the various canvases Tangier *. " Zohra on the terrace " is one that gives the title to the book. She is soon to Djemaï thread and allows it to focus on the encounter with Matisse's very young girl who, because of the ban, which weighs in Islam concerning the representation of beings, became the only one of its models. " You have finally met Zorah and you insist it poses for you, it do not speak French but you knew immediately that she told you "no." She had to answer with a calm voice and blushing a little, because I think the shy and very high. " P 65
Designed BBC video is dedicated to the world of Matisse here

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Francophonie, Literatures & Mediterranean imaginary

module: Representations aesthetic
Seminar: "Mediterranean and imaginary: the visual Koine"

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The Mediterranean, an inland sea located between the fringes of three continents and civilizations well-differentiated beliefs gave rise to many literary and aesthetic trends. Beyond the tragedy of the fractures and divisions that live and interact while past and present, we will seek to show the contribution of literature and visual arts (painting, photography, sculpture ... etc.. ) the emergence / building a multi-dimensional representation of the Mediterranean mosaic.
In this perspective, we have to determine the impact of the sea on the work of creators and this, to see whether to speak with a specificity of Art on the periphery of the Mediterranean .
The seminar is designed as a multimedia and interdisciplinary courses with the goal of showing the artwork in relation to past and present to attempt to free a representation of the Mediterranean too often stuck in its own stereotypes.
Away from traditional Orientalism, known as the Mediterranean, with its light and color, exerted an irresistible fascination for many artists and was the revelation of a new freedom ... Ultimately, it is to see if it is possible to identify the outlines of a visual poetics of Koine Mediterranean.

A bibliography is available here and there . But you can follow other tracks thereby

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