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This article explores possible links relating the composition The Unanswered Question by Charles Ives to Ralph Waldo Emerson’s poem “The Sphinx”. It starts from the observation that the title of the former is a quote drawn from the latter, and the established knowledge that the 20th-century New England composer was deeply interested in and influenced by the 19th-century movement of transcendentalism, in general, and the poet-philosopher Emerson, as one of its most famous exponents, in particular. Highlighting characteristically transcendentalist aspects in Emerson’s text, as well as its marked meta-poetic or meta-artistic dimension, it goes on to examine how these aspects might manifest themselves in Ives’ piece of music, taking into account programmatic aspects of the latter as well as potential structural analogies, and focusing on a possible meta-artistic interpretation of the brief composition., ATeM Archives Texte et Musique, No 5,2: Special issue 5,2 (2020): Poésie et musique

The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself.Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem., Bu makalenin amacı, Antakya’da (Antakya Müz. Hatay 892) bulunan parçalı mozaik bir döşemede Psykhe’yi tasvir eden sahne için yeni bir yorumu önermektir. Apuleius’un Metamorfozları’ndaki (IV, 28-VI, 24) “Cupid ve Psykhe Masalı” nı kullanarak Psykhe’nin hikâyenin kilit bir anında temsil edildiğini ileri sürüyoruz. Elinde tuttuğu lambanın ışığı, ona gizemli kocasının aşk tanrısı Cupid kimliğini açıklamıştır.İki ikonografik özellik Psykhe’yi diğer standart temsillerden ayırır: Ne çıplak ne de dağınık perdelere sarılmıştır. Ama tamamen açık renkli kıyafetlerle sarmalanmıştır ve kelebek kanatları değil, tüylerden yapılmış kanatlar taşımaktadır. Mozaik, arkeolojik kanıtlar temelinde Traianus’un saltanatına tarihlendirilmiştir. Bu tarih doğruysa, romanı İS 160’larda yazıldığı için Apuleius’un kendisi ile ilgili olamaz. Bu nedenle mozaik, Milet Aristides Yunancası veya Latince çevirisi ile bilinen orijinal masalın ikonografik servetinin erken bir örneği olacaktır. Aksi takdirde mozaik için daha sonraki bir tarih varsayılır, bu da Apuleius’un olası bir terminus post quem olarak durmasını sağlar.

This article analyses Jacques Brel’s influence on Giorgio Gaber’s LP I borghesi, published in 1971. After defining Gaber’s role in the early cantautori movement and his stance in the political debate of the late sixties and seventies, this paper mainly focuses on the songs adapted from Brel’s “Ces gens-là”, “Les bourgeois” and “Jef”. The fact that neither Gaber nor his co-author Sandro Luporini spoke French fluently allows us to investigate the fact that (and the ways in which) the adaptation of a song can draw inspiration from music and interpretation rather than the mere translation of the lyrics., ATeM Archives Texte et Musique, No 4,1

International audience; The present paper questions the relation between Marx’s theory and the issues of social justice. We first introduce an interpretation claiming that a theory of justice in itself is useless because idealist. We compare it with an interpretation for which founding a critique of capitalism on standards of justice allows to avoid an economist failure which denies individuality.; La présente contribution interroge le rapport de la théorie de Marx aux problématiques en termes de justice sociale. Nous proposons une interprétation selon laquelle une théorie de la justice en soi est inutile car idéaliste. Nous la confrontons à une lecture qui implique qu'une critique du capitalisme fondée sur des critères de justice est nécessaire afin d'éviter l'écueil économiste niant l'individualité. Abstract This paper questions the relation between Marx's theory and the issues of social justice. We first introduce an interpretation claiming that a theory of justice in itself is useless because it is idealist. We compare it with an interpretation that implies that a critique of capitalism based on standards of justice allows to avoid the economic pitfall which denies individuality.

La littérature orale populaire a toujours été le moyen le plus efficace pour critiquer le pouvoir. En Haïti, il existe un genre spécial pour fustiger et se moquer de l’élite administrative : la lodyans. Ce bref récit satirique d’origine populaire, fort de sa prise carnavalesque sur la réalité sociopolitique, est utilisé pour informer la population sur l’actualité à travers la parodie et la dérision. Cet article se propose d’analyser l’utilisation de la caricature accumulative dans les portraits sociaux des lodyans de Gary Victor. Les deux personnages principaux, Albert Buron et Sonson Pipirit, peuvent être considérés comme des types sociaux emblématiques, qui se font charge des caractéristiques des catégories sociales auxquelles ils appartiennent. La narration des (més)aventures de ces deux personnages et des figures qu’ils rencontrent tout au long de leurs parcours permet à Victor de dresser une sorte de comédie humaine haïtienne, très proche de la réalité. Une telle interprétation réaliste confirme le caractère engagé de l’auteur, dont le but est de provoquer un rire jaune conscient des problématiques sociopolitiques du pays. Popular oral literature has always been the most effective means of criticizing authority. In Haiti, there is a special genre to castigate and mock the administrative elite: the lodyans. This short satirical tale of popular origin, with its carnivalesque grip on socio-political reality, is used to inform the population about current events through parody and derision. This essay aims to analyze the use of the accumulative caricature in the social portraits in Gary Victor’s lodyans. The two main characters, Albert Buron and Sonson Pipirit, can be considered emblematic social types, who embody the main traits of their social categories. The narration of their (mis)adventures and the portraits of the characters met through their stories allo up a sort of Haitian Human Comedy, so nigh to reality. This type of interpretation confirms Victor’s engagement, whose aim is to provoke a forced laughter, aware of Haitian sociopolitical issues.

L’article analyse les écrits critiques (réunis dans Nos Maîtres) et les textes littéraires de Teodor de Wyzewa, en fonction de son attitude à l’égard de ceux qu’il considérait comme ses maîtres. L’évolution de la pensée de Wyzewa démontre que cet adepte du wagnérisme s’est progressivement éloigné de ceux qui l’ont influencé, en remplaçant une approche intellectuelle de l’art et la foi aveugle dans la science, jugée vaine, par un idéal à la fois esthétique et éthique. Dans le roman Valbert ou les Récits d’un jeune homme Wyzewa décrit un détachement de l’idéalisme aliénant au profit d’une attitude spontanée face à la vie. Sa relecture des paraboles bibliques met en question la philosophie schopenhauerienne au profit du tolstoïsme (Contes chrétiens). La quête des valeurs morales entraîne une rupture avec la pensée symboliste en faveur d’une religion de l’amour et de la beauté. En formulant son propre enseignement Wyzewa a donc dépassé l’autorité de ses maîtres, sans pourtant amoindrir leur importance pour toute sa génération. The paper analyzes Teodor de Wyzewa’s critical writings (collected in Nos Maîtres) and literary texts, paying special attention to his attitude to those whom he considered his masters. The evolution of Wyzewa’s ideas shows that this adept at Wagnerism gradually distanced himself from those who had influenced him, replacing the intellectual approach to art and blind faith in science, regarded as worthless, by an aesthetic and ethical ideal. In the novel Valbert ou les Récits d’un jeune homme, Wyzewa describes a move away from alienating idealism towards a spontaneous attitude to life. His new interpretation of biblical parables abandons Schopenhauer ’s philosophy in favour of the Tolstoyan movement (Contes chrétiens). The search for moral values is connected with a break with Symbolist thought for the benefit of a religion of love and beauty. Formulating his own teaching, Wyzewa surpassed the authority of his masters, without, however, diminishing their significance for his generation.

Spanning 45 years, the fascinating personal and artistic relationship between friends Jean-Auguste-Dominique Ingres and Luigi Calamatta (Civitavecchia 1801 – Milan 1869) is emblematic of the relationship between a painter and the engraver of his work in early nineteenth century France. In this study we review the history of the Vow of Louis XIII engraved by Calamatta after the homonymous painting by Ingres. Using so far unpublished documents, recent discoveries and analysis of critical success, we address a major issue that arose in the 1830’s about reproductive printmaking (debated among others by George Sand, a friend of Calamatta’s): the opposition between faithful imitation and free interpretation of the artwork.

This dissertation focuses on the literary function of the ambiguities and wordplay in the work of Apollinaire, Prévert, Tournier and Beckett, showing that this function is much broader than the humour and entertainment function usually associated with such language play. In the work of these writers, ambiguities and puns often generate serious reflections or tragic plots. Moreover, these language games are so central to the works under investigation that they reflect or underlie their very structures. This use of language is common to all texts explored here, despite their significant diversity in terms of execution and design. This study of the interrelation between ambiguity and wordplay on the one hand and structure on the other, is grounded in close reading. This approach was selected for the insight it can offer into the intentions of the writers under investigation, and for being well suited to the kinds of invitations to interpretation extended by the authors themselves. It is evident that all four approach the idea of authorship with the conviction that the role of the author is both insignificant and inconceivable without the additional complicity and involvement of the reader, from whom they require a co-creative effort.

Comment le mot d’ordre des encyclopédistes de penser par soi-même se conjugue-t-il avec la question de l’éducation qu’on pourrait formuler ainsi : l’homme a-t-il besoin d’un maître ? Les encyclopédistes posent la question et aussitôt la reformulent selon les deux sens que l’on peut donner à la notion de maître. Le latin fournit deux termes qui recouvrent la notion de maître en français : dominus (celui qui possède les terres et qui domine les gens qui vivent sur ses terres : le seigneur) et magister (celui qui enseigne les connaissances et les règles : l’éducateur). Le dominus tient son autorité de ses titres de propriété, le magister de son savoir et de son éducation. Nous comparerons la solution que donnent les encyclopédistes à la question de l’éducation à celle que propose Kant, nous comparerons également la signification respective qu’ils donnent à l’exigence de penser par soi-même et nous montrerons que l’injonction de penser par soi-même est corrélée à celle de l’éducation aussi bien chez les encyclopédistes que chez Kant. How does the Encyclopédistes’ watchword ‘to think for oneself ’ relate to the question of education, which could be formulated as: does man need a master? As soon as the Encyclopédistes ask the question, they propose a new way of thinking about the two meanings which can be given to the notion of master: dominus (“the lord”), and magister (“the teacher”). The lord has authority thanks to his status as a land owner or castle owner, the teacher is in a position of power by virtue of his knowledge and education. The Encyclopédistes ’ answer to the question concerning education will be compared to that given by Kant, and the meaning the Encyclopédistes assign to the expression ‘to think for oneself ’ will also be juxtaposed with Kant ’s interpretation. In this way, the correlation between education and ‘thinking for oneself ’ observed by both Kant and the Encyclopédistes will be demonstrated.

Resume : Cette contribution presente le cours sur les institutions primitives dispense par l'historien du droit Jacques Flach au College de France entre 1892 et 1904. Elle insiste sur la singularite de son approche historique et comparative. Soucieux d'etudier les institutions en contexte, il propose une interpretation inedite de la feodalite, ambitionne d'ecrire une histoire globale du droit et cherche a restituer l'alterite institutionnelle des societes primitives. Flach est ainsi l'un des premiers a enseigner en France l'anthropologie sociale et juridique. Abstract : This paper presents Jacques Flach's College de France course in primitive law, which he taught from 1892 until 1904. It insists on the specificity of his historical and comparative approach. Ever attentive to studying institutions in their context, Flach proposes an innovative interpretation of feudalism, seeks to write a global history of law and endeavours to stress the institutional alterity of primitive societies. Flach is therefore among the first scholars to teach social and legal anthropology in France. Mots cles : ethnologie juridique – legislation comparee – totemisme – College de France – histoire sociale – feodalite Keywords : legal ethnology – comparative law – totemism – College de France – social history – feudalism

Historical ecology is a research program. The idea of the research program in historical ecology is rooted in a materialist interpretation of the relationship between people and the environment. The materialism of historical ecology derives directly from its focus on physicality of inorganic features of Earth and the bodies of living things, which in turn, affects human society instantiated by what in historical ecology are called landscapes. Landscapes themselves are specifically culturally-...

Since the publication of Ursula Mathis-Moser’s groundbreaking monograph in 1984, we consider the semiotic triad of text, music, and interpretation when analysing a chanson. We could add to this triad the mise en scène on stage whose importance has continuously increased since Aristide Bruant and the Montmartre chanson. It is not simply the superposition of these elements (text, melody, voice, gestures, scenery, light) that is responsible for the effect of a chanson on the public, but their interplay. To illustrate the aesthetic problems a chanson engagée (e.g. about migration) can raise, I will analyse Francis Lalanne’s song “Plus jamais ça!” (2015), which was written and composed for refugees and their aides. It was first diffused as a video clip on internet where it triggered a wave of indignation and derision. By analysing the interplay of the three dimensions of the chanson mentioned above and by comparing “Plus jamais ça” to Christophe Maé’s “Eldorado,” I will demonstrate that the will to engage is not enough in order for a chanson to be successful. The political or humanitarian chanson must avoid any disturbance of the ‘unity of message’ produced by text, music, interpretation, and visual effects., ATeM Archives Texte et Musique, No 3,1: Special Issue 3,1 (2018): Popular Music et migration / e migrazione / y migración: 1990-2015

Gry wyobraźni w teorii dzieła sztuki Jean-Paula Sartre’a i Hansa-Georga Gadamera Celem tekstu jest przedstawienie funkcji świadomości wyobrażającej w teorii rozumienia dzieła sztuki Jean-Paula Sartre’a i Hansa-Georga Gadamera. Autorka skupia się treści dwóch dzieł wymienionych badaczy: Wyobrażenia Sartre’a oraz Aktualności piękna Gadamera. W oparciu o Sartre’owską teorię sztuki jako analogonu oraz Gadamerowską sztukę jako grę, autorka pokazuje, jaka jest rola wyobraźni w doświadczeniu, zrozumieniu i interpretacji dzieła sztuki. La notion d’imagination et la capacité d’imaginer ont été occupées par les philosophes depuis l’antiquité et les questions liées à ces sujets ont été récurrentes à chaque époque. Imagination est inséparablement liée aux questions artistiques, elle va bien au-delà de son sens, couvrant de nombreuses questions importantes et difficiles dans des divers domaines, en particulier la philosophie et la psychologie.L’art contemporain pose de grands défis pour le comprendre et l’attribution du sens est la tâche du spectateur, qui ne peut le faire que par la force de son imagination. Gadamer, comme Sartre, ne contestepas évidemment la sphère matérielle de l’oeuvre qui doit exister pour commencer le processus d’interprétation. Ces deux chercheurs ont souligné que le plus important est ce qui est au-delà de la matière et ce qui existe uniquement grâce à notre capacité d’imaginer. The aim of the article is to analyse the notion of imagination in the context of the interpretation of an artwork. The author studies aesthetic themes in the philosophical works by Jean-Paul Sartre and Hans-Georg Gadamer because both philosophers contain similar intuitions in their texts. In the context of Sartre's and Gadamer's reflections, the author points to the key function of imagination in the process of understanding and giving meaning to a work of art.

Michel Houellebecq est un écrivain français incisif et dont les propos offensants – dans ses romans ou lors de ses apparitions en public – sont nombreux; cependant, il s’agit plusieurs fois de discours métaphoriques qui relèvent du second degré et qui appellent à un autre niveau d’interprétation. D’où l’objet de cet article, dans lequel nous tâcherons d’analyser les quiproquos présents dans plusieurs des œuvres de Michel Houellebecq et les stratégies de l’ambiguïté employées par l’auteur, lesquelles alimentent l’aspect polémique de cet écrivain étiqueté comme ‘‘individu assez méprisable’’, comme il l‘affirme dans sa correspondance échangée avec B.H. Lévy, intitulée Ennemis Publics, publiée chez Flammarion-Grasset, fin 2008. Michel Houellebecq is a French acute writer whose offensive words – in his novels or in his public comments – are quite many; however, more often than not, they are metaphoric or in second degree, calling for another interpretation’s level. In this article, we aim to analyze several issues present in Michel Houellebecq’s works, as well as the strategies of ambiguity employed by the author, strategies that set off the polemic aspect of this writer labelled ‘‘individu assez méprisable’’, as he states in his correspondence with B.H. Lévy, Ennemis Publics (Flammarion-Grasset, 2008).

The different stories and works transforming the figure of Joseph, far from limiting itself to a mere literary imagination, renew the josephic counsel, where interpretation means survival and escaping from evil times. The present article intends to follow this long "tradition" and brings forward an advanced interpretation of the josephic texts.; Les fictions et les différents ouvrages qui métamorphosent la figure de Joseph, loin de se limiter à un imaginaire littéraire, renouvellent le conseil joséphique, donnant à l'interprétation (des textes et des expériences précédents) le sens d'une survie, d'une échappée possible hors des maux d'une époque. Le présent article entend se placer dans cette longue "tradition" et poursuivre cette interprétation des textes joséphiques.

Le Berger extravagant, publié par Charles Sorel en 1627, met en scène les aventures d’un jeune homme qui a décidé de conformer sa vie à celle des bergers de pastorales. Ainsi le roman met systématiquement en miroir les procédés du genre; il est d’ailleurs réintitulé L’Anti-roman lors de la seconde édition en 1633. De ce fait, la figure de l’extravagant impose un point de vue constamment décentré pour mieux discerner les orientations de ce que doit être un récit fictionnel. Comment raconter les aventures d’un extravagant permet-il de refonder pragmatiquement le genre romanesque autour des années 1630 en France? Le Berger extravagant’s plot, a novel published by Charles Sorel in 1627, is based on the adventures of a young man who has decided to live his life as the shepherds in pastoral narratives. The novel, entitled Anti-Novel in the second edition of 1633, mirrors the processes of its genre. Thus, the character of the extravagant hero suggests a permanent off-centre point of view which creates a better perspective in considering what should be fiction. How does telling the adventures of an extravagant allow the pragmatic refoundation of the novel around the year 1630 in France?

The analysis of the vocabulary and phraseology of the Slavic languages allows to reconstruct a traditionnal image of the body and his interpretation. Our focus – only one piece of naive anatomy: the digestive tract. Slavic languages and dialects in their own way propose a ‘mapping’ of the structure of the internal organs. In some traditions, the digestive organs and especially the stomach are thought to be close to the heart and even confused with it, in other – with the lungs. Color and weight, selected as criteria for the description of these anatomical organs, suggest not only the visual observation, but also the manipulation of these body parts. But since ethnographers have very limited knowledge of anatomy, we must assume that the name of human organs have been transferred from the designation of animal entrails.In another group of vocabulary concerning the functioning of these body parts we find metaphors of digestion as a chemical process based on food processing with heat, souring or clotting. The stomach can also be described as a mechanism for the grinding food like millstones. In addition to the digestive organs phraseology used to describe a variety of emotional states, from anger to compassion. Анализ лексики и фразеологии славянских языков позволяет реконструировать образ тела и способ его восприятия. В центре нашего внимания – лишь один фрагмент наивной анатомии : пищеварительный тракт. Славянские языки и диалекты по-своему « картографируют » структуру внутренних органов. В некоторых традициях органы пищеварения и прежде всего желудок сближаются и даже смешиваются с сердцем, в других – с легкими. В качестве критериев для описания этих органов выбираются цвет и вес, что наводит на мысль не только о визуальном наблюдении, но и о непосредственном обращении с этими частями тела. Но поскольку этнографы повсеместно отмечали крайне ограниченные познания в области анатомии, следует предположить, что на названия человеческих органов были перенесены обозначения внутренностей животных.В другой группе лексики, относящейся к функционированию этих органов, содержатся метафоры пищеварения как химического процесса, основанного на переработке пищи с помощью тепла, скисания или свертывания. Желудок также может описываться как механизм, перемалывающий пищу наподобие жернова. Кроме того, во фразеологии органы пищеварения используются для описания самых разных эмоциональных состояний, от гнева до сострадания.

The complexity of depressive diagnosis and other forms of expression of psychological suffering during adolescence explain why particular caution is required. The medico-psycho-social determinants of teenager's mental health enjoin us to support a holistic analysis of these situations. Different analysis spectra - symptomatic, environnemental, anthropological, cultural - allow us to understand a situation at different levels of interpretation. As we will see through a clinical case examination, the difficulty of depressive diagnosis in a multicultural background is increased by the ethnocentrical aspect of this category.La complexité des diagnostics de type dépressif et des modes d’expression de la souffrance psychique à l’adolescence nous invitent à la prudence. Les aspects médico-psycho-sociaux des déterminants de la santé mentale à l’adolescence nécessitent de privilégier une analyse la plus holistique et complète possible dans les situations rencontrées. Différentes grilles d’analyse - symptomatique, environnementale, anthropologique, culturelle - permettent de comprendre une même situation à plusieurs niveaux d’interprétation. Comme nous le verrons dans la discussion autour d’un cas clinique, la difficulté du diagnostic dépressif en milieu multiculturel est encore majorée par le caractère ethnocentrique de cette catégorie.

René Descartes with his theory of continued creation occupies an exceptional place in the philosophy of Henri Bergson: Descartes is subjected to Bergson’s repeated criticism like no other philosopher. Yet, in L’évolution créatrice Bergson appears to oscillate in his criticism of Descartes. Bergson discovers in the theory of continued creation a thought of freedom, of an indeterminate future, which is not far from his own thought of duration. Bergson thus advances a thesis in accordance with which Descartes’ theory of continued creation has two irreconcilable aspects: continued creation and continuous creation. The difference between these two aspects, however, is not just about the choice between a participle and an adjective. The aim of this article is to show how Descartes’ theory of continued creation lends itself to such a double interpretation. While the former aspect originates in Descartes’ project of mechanistic physics, the latter aspect is accessible but from the standpoint of human freedom, as well as Descartes’ critique of finalism. The article thus shows that Descartes’ theory of continued creation constitutes a point of convergence between the questions of mechanism and human freedom, where the latter is an exception to the former. However, the exceptional status of human freedom in Descartes’ philosophy renders Bergson’ thesis about Descartes’ oscillation between two aspects somewhat problematic. Nul philosophe ne fait, de la part de Bergson, l’objet d’une critique aussi constante que Descartes ; cette critique porte notamment sur la théorie cartésienne de la création continuée. L’Évolution créatrice semble pourtant marquer une hésitation : Bergson perçoit chez Descartes une pensée de la liberté, de l’avenir indéterminé, qui ne serait pas très éloignée de l’idée de durée. Selon Bergson la théorie de la création continuée est marquée par deux aspects divergents que l’on peut ainsi résumer : création continuée, ou création continue. La différence est plus profonde qu’une simple variation d’adjectifs. Il s’agit, dans cet article, de montrer que la théorie cartésienne de la création continuée rend possible la double lecture qu’en fait Bergson. Tandis que la notion de « création continuée » provient des exigences théoriques du mécanisme physique tel que l’entend Descartes, celle de « création continue » vient de la prise en compte de la liberté humaine et de la critique du finalisme. La théorie cartésienne de la création continuée constitue ainsi un point de croisement entre la question du mécanisme et celle de la liberté, exception au mécanisme. Mais le statut exceptionnel de la liberté humaine dans la philosophie de Descartes rend cependant problématique la thèse bergsonienne selon laquelle la pensée de Descartes oscillerait entre deux sens divergents de la création continuée.

In September 1987, two concerts were organized in Florence and Turin at the end of Madonna’s world tour Who’s That Girl. What was Madonna’s relationship to the Italian audience? In spite of the satisfaction to rediscover her ‘homeland’, her performances and speeches on stage are far from the celebration of a special event. They reveal Madonna’s strategies to embody a living and postmodern myth by the interpretation of several characters on stage. This analysis of the whole Turin concert from the DVD Ciao Italia (1999) mainly refers to the theory of performer as a persona by Philip Auslander. Madonna does not appear as much as a ‘real performer’ (an Italian girl). She succeeds in integrating the Italian audience to a show similar to the previous ones from her world tour., ATeM Archives Texte et Musique, No 2

Jean Jacques Lequeu (1757-1826), architecte dessinateur ignore de ses contemporains, doit sa redecouverte, au milieu du xxe siecle, a son œuvre graphique. Depose un an avant sa mort a la Bibliotheque nationale, cet ensemble de dessins comprend, avec quelques projets de construction ou de decor, des productions autonomes : methodes de dessin, architectures imaginaires ou fantastiques, mais aussi portraits, nus, etudes anatomiques et sexuelles. Aujourd’hui, a l’occasion de la premiere exposition qui lui est consacree, une revision historiographique s’impose, a la lumiere d’une connaissance desormais plus ample et plus fine de cette periode de l’histoire de l’architecture et des arts. Tour a tour considere comme moderne, surrealiste avant la lettre, postmoderne et malade mental, Lequeu apparait des lors comme un cas propice pour penser les approches anachroniques, en revenant sur la deconcertante serie des interpretations dont il a fait l’objet.

EnglishIn the 1850es, the Second Empire settles in after five stormy decades that unveil the vanity of temporal power. The legitimist writers Sophie Rostoptchine, countess de Segur, and Victorine Monniot, have left a deep imprint in the education of Second Empire young ladies. Their teaching, which taps on practical interpretation of Cahtolic catechism illustrate the Christian principles of renunciation taught by the memento mori while echoing the anguishes of the time. The article aims to study the presence of vanity as a pedagogical tool in Le Journal de Marguerite (1858) and the cycle of Sophie (1858-1859) and to highlight the links between these edifying novels and the fears expressed by Baudelaire and Edmond de Goncourt. francaisLes annees 1850 voient s’installer le Second Empire apres un demi-siecle houleux ou s’illustre la vanite du pouvoir temporel. Toutes deux legitimistes, Sophie Rostoptchine, comtesse de Segur, et Victorine Monniot, ont laisse une empreinte profonde dans l’education des jeunes filles du Second Empire. Leur enseignement, fonde sur une interpretation concrete du catechisme catholique, illustre les principes chretiens de renonciation aux biens materiels enseignes par le memento mori tout en se faisant l’echo des angoisses de l’epoque. L’article se propose d’etudier la presence de la vanite comme outil pedagogique dans Le Journal de Marguerite (1858) et le cycle de Sophie (1858-1859) et de mettre au jour les liens entre ces romans edifiants et les hantises exprimees par Baudelaire ou Edmond de Goncourt.