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Copyright of Signata is the property of Presses Universitaires de Liege and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Roumanie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The ethnographic museum of Bordeaux (France) scheduled an exhibition « Paroles d'Afrique » ("Words from Africa") from October 2012 to May 2013. The items for the exhibition, properly scanned and contextualized, were brought together on a hypermedia platform, so as to retain a record of the exhibition. The hypermedia material was distributed with the exhibition catalogue and published on the museum website. The author was in charge of the creating the hypermedia platform. This paper outlines the approach to structuring the text, and explains the difficulties and successes encountered during the collection of the material. [ABSTRACT FROM AUTHOR]

This article examines the book "Mémoire de Mémoires. Étude de l'exposition inaugurale au Musée de la civilisation," edited by Yves Bergeron and Philippe Dubé, which contains conference papers on the renewal of permanent exhibitions about the Québécois identity. Focus is given to the relationship between exhibitions and patrimony and whether museology and patrimony experts consider the exhibition "Mémoires" at the Musée de la civilisation (Québec, Québec) from 1989 to 2005 a cultural patrimony.

The article reviews two interconnected exhibitions titled "Illustr'Alice" by Thérèse Willer at the Musée Tomi Ungerer Centre international de l'illustration and "Lewis Carroll et les Surréalistes" at the Musée d'Art moderne et contemporain de Strasbourg from November 19, 2022, to February 26, 2023.

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue Anthropologie et Sociétés is the property of Anthropologie et Societies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the trade show dedicated to traditional Japanese textile and materials destined for luxury and ready-to-wear markets named J-TEX and held in Paris, France, at the end of January 2013. Topics discussed include the selection criteria and textile manufacturers including Amaike Textile Industry, which revealed its Super Organza fabric, Washi No Nuno Co. Ltd., which presented its hemp-based paper, and Nishiyama Co, which exhibited its luxury silk.

This paper examines the way in which the presence of an “italian product” confirms and spreads itself in international exhibitions of the second half of the nineteenth century, showing the national style in some specific specialized areas, particularly in luxury and craftsmanship. The analysis unfolds along two parallel directions: on one hand, the effective presence of Italian exhibitors from a quantitative point of view; on the other hand, the way in which the Italian products were represented in some significant cases on the international illustrated press.

Despite its origin can be traced since ancient times, the Atrocity Propaganda became especially relevant as the pivotal theme of the discourses aimed to justify the extreme violence against the “other” during the major conflicts of the Twentieth Century. Few States were as skilled as the Nazi Regime to take advantage of the potential of Art to be the backbone of the process of violent socialization of its citizenship. The power of the image to show a degraded image of the enemy which, in turn, strengthened the validity of the addresser’s arguments is openly revealed at the exhibition Das Sowjetparadies held in Berlin in 1942. In this paper, we analyze the Exhibition contents and reflect on the importance of this type of actions to disseminate an anti-Communist and anti-Semitic discourse.

In the increasingly Western-focused art world of nineteenth-century Japan, calligraphy proved hard to define, qualifying neither as a fine art nor a craft. This paper examines the networks set up by calligraphers in reaction to this situation, and in particular the way exhibitions helped create a modern market for calligraphy.

In 1938 the Museum of Modern Art organized a US government-funded, multi-disciplinary exhibition in Paris, entitled “Three Centuries of American Art.” In this paper I explore the geopolitical, aesthetic and cultural dimensions of the exhibition as an episode of cultural diplomacy in Franco-American relations and as an attempt to promote, for the first time, an American ‘national artistic scene’ to the world. Special focus is placed on the selection of artworks and on curatorial practice. A comparison is offered with the sole precedent: an exhibition of American Art staged immediately after the end of WW I. A complex intertextual and intermedial web emerges from this comparison that reveals various tensions around an emerging “narrative” for the self-representation of the United States as a world-power and an artistically “emancipated” nation and provides a glimpse into a New Deal-era attempt at cultural diplomacy on the eve of WW II. These poles ultimately converge to indicate the role that “region” and “place” assumed in the American imaginary of the nineteenth century as it reverberated in interesting political and aesthetic ways in the first decades of the twentieth.

At first glimpse, when curators set up an exhibition on the Old masters, they give to their audience an occasion to go back in time. Mediators are supposed to put the curators’ knowledge and understanding of the artists and their time within reach of the public. However, these actors rely on a plurality of representations and practices that fit together only because they are not completely explicit nor closely negotiated. This paper starts from an exhibition on Fouquet, a painter and illuminator from the XVth century in order to consider an exhibition, and time itself, as « boundary objects », around which curators, mediators and audience gather. The exhibition illustrates a specific conception and a professional practice of the history of art, that are both all about piecing together a past we don’t know anymore. Curators are preoccupied with rebuilding the temporalities of the works of art ; but that’s not necessarily what the audience is concerned with, nor what the mediator should be working on. Indeed, they might concentrate on bringing back to life a story that revolves « around » the work, for example the history of lifestyles.

'Newness' today begs certain questions. What has changed? How has it changed? Is change important? The premium attached to innovation and originality, to the avant-garde, is under review. In this [...]