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Abstract After a brief look back at the Egyptian Expedition and the notion of Orientalism, this session explores the emergence of French cultural imperialism under Napoleon, showing how the universalist, civilizing ideals of the Enlightenment were …

Abstract A translation surface is a Riemann surface with a holomorphic differential. This differential defines a flat metric (outside the singular locus) whose holonomy is trivial. I will explain how the counting of long geodesics on a generic translation …

Abstract When Barthes asserts that we must not emotionally adhere to fiction in order to maintain objectivity, he is reactivating a questioning that goes back to the Greek tragedies. But the reader's inner experience is ambivalent: awareness of the …

Abstract The extravagant readings of Poussin's Shepherds of Arcadia may serve to define what a good reading should be. To read well, unlike certain Kabbalistic decodings, we must neither eliminate the surface of the work nor disengage ourselves from its …

Résumé Le droit de cuissage a-t-il existé au Moyen Âge   ? Certainement pas comme ius primae noctis,  et il faut pour cela suivre la démonstration d’Alain Boureau qui montre comment les controverses sur cette redevance seigneuriale imaginaire au XIX e   …

Abstract The talk deals with a type of random geometry which combines convex and integral geometry together with probability theory and specifically the notion of point processes. In general, it consists in starting with a discrete set of random points in …

Abstract The topic of musical material features prominently throughout Boulez's College de France lectures, and in this paper I set out to establish some of the principal elements of its elaboration. Boulez spoke of the dissatisfaction experienced by …

Abstract Pierre Boulez has written and spoken surprisingly little about composers active in the second half of the twentieth century. A prolific author and passionate commentator on composers such as Webern, Schoenberg and Debussy, whom he integrated into …

Abstract Pierre Boulez has a unique relationship with archives and libraries. The composer, who wanted to "burn libraries" and made them the site of the tension between memory and creation, was himself interested in the archives of others, and took care …

Abstract Pierre Boulez was not only the composer of thirty-three works (and their revisions), but also the author of books of various kinds: compositional techniques, interviews, correspondence and three volumes containing one hundred and fifty articles …

Abstract The main part of Boulez's last lecture at the Collège de France - "L'œuvre: tout ou fragment" (The work: whole or fragment) - deals with the different types of relationship that the fragment and the whole can have within the work , depending on …

Abstract In 1986, Pierre Boulez signed a contract to donate his musical manuscripts to the Swiss conductor and patron Paul Sacher, a friend of many years. The collection was the cornerstone of the musical holdings that have since been preserved and …

Abstract A landmark work, Pierre Boulez's Répons (1980-82) was written to showcase the technological potential of IRCAM, the Parisian Institute for Research and Coordination in Acoustics/Music that Boulez founded in 1977. This piece, like many others, was …

Abstract In November 1970, at the request of President Georges Pompidou, Pierre Boulez began work on a project to integrate a music research institute into the future Beaubourg Plateau art center. Over the next three years, Boulez consulted and assembled …

Abstract "Music doesn't need a laboratory". With these words, the famous physicist and Nobel Prize winner Werner Heisenberg at the Max Planck Institute rejected Pierre Boulez's project for collaboration between science and music in 1970. Did Werner …

Abstract Pierre Boulez reminds us that one of the sources of the form of Anthèmes 1 is the plainchant Lamentations de Jérémie, which he sang in his youth during the office of the First Nocturne of Holy Thursday. The most striking feature of this piece is …

Abstract Throughout Pierre Boulez's career, his creative activity was matched by complementary professional roles designed first and foremost to promote the dissemination of his work and the modern works he supported: founder and director of institutions, …