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Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity

Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity

Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity

Symbolique de la tête, du ventre et des membres, poids de la gestuelle, représentations sexuelles ou anthropométriques tendant à classer cet être étrange qu est le colonisé, fabrication d un corps du roi conforme aux souhaits de la République française, perceptions renouvelées de l environnement et du bien-être à travers les prescriptions de la modernité, enfin terribles effets de la guerre, corps meurtris, âmes sans repos hantant aujourd hui encore un paysage où la tradition s épuise à tenter d absorber la violence du contemporain : telles sont quelques uns des aspects dont traite ce livre, rapportant à l Asie la thématique de l histoire du corps désormais familière à l Occident. De l Indochine française au Viet Nam en guerre, plusieurs chercheurs de toutes nationalités ont été réunis pour mener à bien cette entreprise sans précédent

Un article de la revue Relations, diffusée par la plateforme Érudit.

La grande Vie de saint Guénolé composée vers 870 par Gurdisten de Landévennec (BHL 8957-58) est à la fois prosimètre et opus geminum ; elle compte un nombre considérable de citations, imitations et échos d’une grande variété d’auteurs profanes et chrétiens, en prose et en vers. Un nouveau bilan de ce régime d’emprunts formels est établi et élargi ; l’influence de la langue biblique et les échos de la Règle bénédictine y apparaissent encore plus nettement que dans les récapitulations effectuées antérieurement. Ce nouvel état des lieux permet de mieux comprendre le processus d’élaboration de l’oeuvre (probablement en plusieurs étapes, ensuite amalgamées) et les intentions de l’auteur en tant qu’abbé. En effet, ce dernier vise avant tout un public monastique ; il entrecoupe son récit biographique d’hymnes et de méditations à l’allure de sermons qui pourraient avoir été composées et utilisées séparément. Cette enquête permet enfin de revisiter la question des rapports entre influences insulaires et influences continentales à Landévennec au troisième quart du IXe siècle ; les emprunts au monde romano-franc l’emportent de beaucoup sur le monde insulaire. L’influence d’auteurs carolingiens, comme Alcuin ou Smaragde de Saint-Mihiel, avait été sous-estimée jusqu’à présent. , Intertextuality in the longer Life of St. Winwaloeus of Landévennec. The Vita longior s. Winwaloei composed ca. 870 by Gurdisten of Landévennec (BHL 8957-58) is at the same time a prosimetrum and an opus geminum ; this opus is remarkable for its high frequency of quotations, imitations, and echoes borrowed from a variety of former authors, profane and christian, in prose and in verse. The inventory of those borrowings is revised and expanded, showing an influence of the biblical language and of the Benedictine Rule stronger than previously observed. This new status quaestionis opens perspectives on the process of elaboration of the vita – probably in several steps, finally amalgamated ; it also secures a better understanding of the intentions of the hagiographer, as the head of a monastic community. The intended audience is indeed essentially monastic ; the biography of Guénolé is interrupted several times by hymns and homilies that could have been composed and used separately. This research finally shows how insular and continental influences meet and mix at Landévennec (Finistère) in the third quarter of the IXth century : borrowings from the Franco-Roman world are much more intensive than the Insular ones. The influence of Carolingian authors, like Alcuin or Smaragdus of St. Mihiel, had been underestimated until now.

Un article de la revue Muséologies, diffusée par la plateforme Érudit.

En ex-URSS, mais également dans d’autres régions du monde, on assiste depuis la fin de la guerre froide à un phénomène de « démodernisation », caractérisé par une régression généralisée et le retour à des modes d’existence primitifs, ou tout au moins plus anciens. Si la compétition Est-Ouest et les Trente Glorieuses ont favorisé modernisation et mesures progressistes, la primauté de l’ordre néolibéral au-delà de toute alternative entraîne une offensive contre les acquis sociaux et une contestation du droit de certaines nations à se moderniser, mettant en relief l’aspect réversible de la modernité.

The rise of bacteriology is one of the most celebrated phenomenon in medical historiography. Historian’s approaches taken to address the issue since the turn of the twentieth century were gradually modified to pass, most often, from an endogenous interpretation of scientific development, where medical concepts, theories, and methods are seen as developing in isolation from the social context in which they occur, to the opposite, sociological approach, where every element of the medical-scientific enterprise is rather seen as being influenced by its context in an interaction by which the public, governmental and professional instances involved in medicalization, forming an impassive dynamic, change the course of every aspect of medical history. But beyond the professional elements, is the development of medical and scientific thought invariably subjugated to this social dynamic? Could not the ideal of scientificity advocated by doctors, forging an archetype in which professional rigor is meant to be isolated from these extrinsic factors, confer to the medical and scientific endeavor a genuine stability towards fluctuations in the socio-political and professional environment in which they evolve? Our study addresses these questions by the exhaustive analysis of the discourse defined by the Quebec medical journals between 1840 and 1880. It is based on two new developments, one that presents the methodological foundations of the audit - that is to say, the definition of the medical archetype, its role in professional recognition, the scientific criteria that it determines, and a typology of discourse that can be inferred from it - and the other, the results. The study shows that the archetype described by the Quebec medical profession, far from being solely a discursive tool by which the profession has been socially recognized in the nineteenth century, exerted a decisive influence on the formation of the professional attitude towards etiological novelties presented by the pioneers of bacteriology. Thus, in addition to revealing the exact framework of the development of causal thinking in Quebec, the thesis shows the complementarity of internal and external approaches to medical historiography. It contributes to a fairer representation of the processes at work in scientific development.