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  • Perspective

  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lebovici, Élisabeth;

    En 1981, l’exposition Paris-Paris (1937-1957) « clôt une première série de manifestations destinées à retracer les principaux itinéraires artistiques et intellectuels de la première moitié du xxe siècle, le mouvement des hommes et des idées, les échanges entre lieux, courants ou groupes », annonce le président du Centre Pompidou, institution où se tient ce « blockbuster ». À l’époque, le cheminement intellectuel de Simone de Beauvoir ne relève manifestement pas du magistère des penseurs et le...

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Perspectivearrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Perspective
    Article
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Other literature type . 2018
    Data sources: OpenEdition
    Perspective
    Article . 2007 . Peer-reviewed
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Perspectivearrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Perspective
      Article
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      OpenEdition
      Other literature type . 2018
      Data sources: OpenEdition
      Perspective
      Article . 2007 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Chérif, Nabila;

    International audience; Das in diesem Artikel gezeichnete Gesamtbild der urbanen und architektonischen Historiographie Algiers basiert auf Forschungsbeiträgen der letzten 15 Jahre. Diese werden von Magister- und Doktorarbeiten junger, algerischer Architekten und Forscher aus dem vergangenen Jahrzehnt ergänzt. Der abgesteckte, chronologische Rahmen deckt 150 Jahre (1830-1980) der Geschichte der modernen Stadt Algier ab. Die gewohnte Grenzziehung zwischen „kolonial/post-kolonial“ wird hierbei bewusst und mit der Absicht verschoben, ohne Unterbrechungen die Evolution, die unterschiedlichen Visionen und die Diskurse zu untersuchen, die sich von der Kolonialzeit bis zu den ersten beiden Jahrzehnten der Unabhängigkeit Algeriens entwickelt haben. Parallel zu den urbanistischen Tendenzen und den aus der Kolonialzeit überlieferten Produktionsformen verfestigen sich in dieser Phase einer jungen, im Aufbau begriffenen Nation, die ersten Konfigurationen einer neuen Städteordnung und Nationalarchitektur. Der durch die verfügbare Literatur vorgegebene chronologische und historische Ansatz zielt darauf ab, einige wichtige Fragestellungen ins Licht zu rücken, die sich anhand des Beispiels Algiers für die Studien zu weiteren Städten des Maghreb im 19. und 20. Jh. ableiten lassen.; The table of Algiers’ urban and architectural historiography presented in this article is based on work carried out over the past fifteen years, complemented by masters dissertations and theses by young Algerian architects and researchers from the last decade. The chosen chronological framework covers 150 years (1830–1980) of the history of the modern city of Algiers. As for the usual marker of “colonial/postcolonial” frontiers, here this is deliberately displaced to examine without interruption the evolution and variations of the visions and discourses that developed over the colonial period and until the first two decades of Algerian independence. During this period of the young nation’s construction, the first configurations of a new national urban and architectural order were established, in parallel with urban development projects and modes of production inherited from the colonial era. The chronological and historical approach imposed by the very nature of the available literature focuses on highlighting a body of issues formulated for the case of Algiers, but often shared by studies of other Maghreb cities of the nineteenth and twentieth centuries.; A partir de trabajos de los últimos quince años, complementados por las tesis de maestría y de doctorado de jóvenes argelinos arquitectos e investigadores de los últimos diez años, se propone en este artículo un panorama sobre la historiografía urbana y arquitectural de Argel. El marco cronológico escogido cubre un periodo de ciento cincuenta años (1830-1980) de la historia de la ciudad moderna de Argel. El cursor analítico habitual de “colonial/post-colonial” se encuentra voluntariamente desplazado. De esta forma se examina sin discontinuidad la evolución y las variaciones de las visiones y de los discursos desarrollados en el periodo colonial hasta los dos primeros decenios de la independencia de Argelia. Durante este último periodo, en una joven nación en plena construcción, se afirman, paralelamente a las orientaciones urbanas y a los modos de producción heredados del periodo colonial, las primeras configuraciones de un nuevo orden urbano y arquitectónico nacional. La aproximación cronológica e histórica impuesta por el carácter mismo de la literatura disponible, busca iluminar un abanico de problemáticas formuladas a partir del caso de Argel, pero muchas veces compartidas con los estudios sobre las ciudades del Magreb de los siglos xix y xx.; Le tableau de l’historiographie urbaine et architecturale d’Alger que présente cet article est construit à partir des travaux des quinze dernières années, complétés par des mémoires de magistères et des thèses de jeunes architectes-chercheurs algériens des dix dernières années. Le cadre chronologique choisi couvre une période de cent cinquante ans (1830-1980) de l’histoire de la ville moderne d’Alger. Quant au curseur des frontières habituelles du « colonial/post-colonial », il est ici volontairement déplacé pour examiner sans discontinuité l’évolution et les variations des visions et des discours développés sur la période coloniale et jusqu’aux deux premières décennies de l’indépendance de l’Algérie durant lesquelles, dans la jeune nation en pleine construction, s’affirment, parallèlement aux orientations urbanistiques et aux modes de production hérités de la période coloniale, les premières configurations d’un nouvel ordre urbain et architectural national. L’approche chronologique et historique imposée par le caractère même de la littérature disponible s’attache à mettre en lumière un faisceau de problématiques formulées pour le cas d’Alger mais souvent partagé par les études sur les villes du Maghreb des xixe et xxe siècles.; Il quadro della storiografia urbana e architettonica di Algeri che presenta questo articolo è costruito a partire dai lavori degli ultimi quindici anni, completati da tesi di laurea e di dottorato di giovani architetti-ricercatori algerini dell’ultimo decennio. L’arco cronologico scelto copre un periodo di centocinquant’anni (1830-1980) della storia della città moderna di Algeri. L’abituale distinzione “coloniale/post-coloniale” è qui volontariamente evitata per esaminare senza discontinuità l’evoluzione e le variazioni della visione del periodo coloniale e dei primi due decenni dell’indipendenza dell’Algeria, durante i quali, nella giovane nazione in piena costruzione, si affermano, parallelamente agli orientamenti urbani e alle mode ereditati dalla produzione del periodo coloniale, le prime configurazioni di un nuovo ordine urbano e architettonico nazionale. L’approccio cronologico e storico imposto dal carattere stesso della letteratura scientifica disponibile vuole mettere in luce un insieme di problematiche specifiche al caso di Algeri, ma che possono poi estendersi allo studio di altre città del Maghreb del xix° e xx° secolo.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Perspectivearrow_drop_down
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    Perspective
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    Perspective
    Article . 2017 . Peer-reviewed
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      Perspective
      Article
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      Perspective
      Article . 2017 . Peer-reviewed
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    Authors: Chroscicki, Juliusz A.;

    Le professeur Stanisław Mossakowski a accompli un travail titanesque en préparant une monographie qui a apporté des faits et des opinions (concernant les années 1515-1533) demeurés jusqu’à présent inconnus sur la Chapelle Royale de Sigismond à Cracovie – une œuvre architecturale et sculpturale connue en Europe. La monographie est une version traduite, révisée et complétée du livre publié en polonais en 2007 (voir ma critique dans Perspective, 2007-2, p. 404). Mossakowski a procédé à une étude...

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    Perspective
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    OpenEdition
    Other literature type . 2017
    Data sources: OpenEdition
    Perspective
    Article . 2013 . Peer-reviewed
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      OpenEdition
      Other literature type . 2017
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      Article . 2013 . Peer-reviewed
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    Authors: Bonne, Jean-Claude; Denoyelle, Martine; Michel, Christian; Nouvel-Kammerer, Odile; +1 Authors

    Il reste encore largement d’usage d’opposer les « beaux-arts » – et leur dérivé supposément décloisonné qu’est « l’art contemporain » – au décor, à l’ornement, et aux « objets d’art ». Tandis que les premiers, déterminés par un statut « libéral », en ce qu’ils véhiculent d’un sens, sont chargés d’une vertu signifiante, les seconds occuperaient le champ d’une mise en forme certes artistique – notamment par leur recours à des techniques sophistiquées – mais dénuée de signification. Une telle op...

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    Perspective
    Article
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    OpenEdition
    Article . 2013
    Data sources: OpenEdition
    Perspective
    Article . 2010 . Peer-reviewed
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      Perspective
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      OpenEdition
      Article . 2013
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      Perspective
      Article . 2010 . Peer-reviewed
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    Authors: Richard J. Powell;

    La litterature sur les artistes noirs, sur leur art, sur l’esthetique de la discrimination raciale et de la distinction culturelle ainsi que sur la representation des Noirs a connu une nette expansion, faisant d’un phenomene plutot marginal au debut du xxe siecle une realite relativement commune au xxie siecle. Les histoires de l’art afro-americain ont pu prendre la forme d’articles, de traites, de theses et de monographies, mais aussi de formats moins academiques comme les catalogues d’exposition, les publications des galeries et des musees, les revues d’art, les recensions critiques et les anthologies litteraires. Parmi les sujets et les orientations theoriques adoptes au cours de ces dix dernieres annees, cinq themes et champs conceptuels ont donne lieu a de nombreux travaux inedits. Ces cinq sujets sont : les deux mouvements culturels noirs connus sous le nom de « Harlem Renaissance » et de « Black Arts Movement » ; les recits historiques qui, influences par le feminisme, ont mis en avant la realite des conditions selon le genre, la race, la sexualite et la classe sociale ; le concept d’une esthetique « post-Black » ; le phenomene des artistes « outsiders », marginalises socialement, car n’ayant pas recu de formation academique ; et enfin les revisions historiques de l’histoire officielle de l’art. Les chercheurs de ce debut de xxie siecle ont pu constater le developpement d’echanges productifs ainsi qu’un nouvel engagement intellectuel au sein de leur discipline, dans laquelle s’investissent non seulement des chercheurs appartenant au domaine de l’art et de la culture afro-americains, mais aussi des historiens et des theoriciens issus de l’ensemble du spectre geopolitique, ideologique, racial et culturel.

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    Perspective
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    Article . 2015 . Peer-reviewed
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      Article . 2015 . Peer-reviewed
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    Authors: Thomas Schauerte;
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    Perspective
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    Perspective
    Article . 2011 . Peer-reviewed
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    Authors: Christian Joschke;

    L’historiographie a developpe ces vingt dernieres annees un interet accru pour les rapports entre les arts et les sciences. On a ainsi decrit les connaissances scientifiques en lien avec l’innovation esthetique de la modernite. On a egalement analyse avec la notion de visualisation les fonctions heuristiques de l’image, qu’elle soit experimentale ou conceptuelle. Mais il est encore aujourd’hui difficile de decrire la specificite du xixe siecle dans l’histoire de ces rapports. En effet, il ne suffit pas de faire l’inventaire des emprunts formels, des allusions aux theories scientifiques faites par les artistes dans leurs œuvres. Car pour decrire ce socle commun, il faut comprendre que, malgre la separation nette des tâches dans la production des images, les discours et les pratiques qui donnaient au visible sa signification reposaient sur des fondements communs. C’est a analyser cette culture commune des images que s’attache la recherche actuelle.

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    Authors: Berlo, Janet Catherine;

    The indigenous arts of the United States have long stood in a vexed relationship with the canons of American art history. This brief essay covers only the highlights of this relationship, by considering some major exhibits and installations of Native art in American art museums (and, occasionally, in other exhibition spaces) during the past century. I make these comments as an art historian who has for more than three decades focused on Native American art, with some contributions to others a...

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    Authors: Benešovská, Klára;

    La chronique imagée présentée (Manuscript I C I, Landeshauptarchiv Koblenz), qui commente le voyage d’Henri VII à Rome pour le couronnement impérial (1313) en 73 images sur 37 pages, fut commandée par Baudouin, archevêque de Trèves et frère d’Henri VII de Luxembourg, dans les années 1330-1340. Outre l’édition, la traduction et la description de la chronique, ce livre, publié à l’occasion du sept-centième anniversaire de l’élection en 1308 de ces deux Luxembourg respectivement en tant qu’arche...

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    Authors: Jan Chlíbec;
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    Authors: Lebovici, Élisabeth;

    En 1981, l’exposition Paris-Paris (1937-1957) « clôt une première série de manifestations destinées à retracer les principaux itinéraires artistiques et intellectuels de la première moitié du xxe siècle, le mouvement des hommes et des idées, les échanges entre lieux, courants ou groupes », annonce le président du Centre Pompidou, institution où se tient ce « blockbuster ». À l’époque, le cheminement intellectuel de Simone de Beauvoir ne relève manifestement pas du magistère des penseurs et le...

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    Authors: Chérif, Nabila;

    International audience; Das in diesem Artikel gezeichnete Gesamtbild der urbanen und architektonischen Historiographie Algiers basiert auf Forschungsbeiträgen der letzten 15 Jahre. Diese werden von Magister- und Doktorarbeiten junger, algerischer Architekten und Forscher aus dem vergangenen Jahrzehnt ergänzt. Der abgesteckte, chronologische Rahmen deckt 150 Jahre (1830-1980) der Geschichte der modernen Stadt Algier ab. Die gewohnte Grenzziehung zwischen „kolonial/post-kolonial“ wird hierbei bewusst und mit der Absicht verschoben, ohne Unterbrechungen die Evolution, die unterschiedlichen Visionen und die Diskurse zu untersuchen, die sich von der Kolonialzeit bis zu den ersten beiden Jahrzehnten der Unabhängigkeit Algeriens entwickelt haben. Parallel zu den urbanistischen Tendenzen und den aus der Kolonialzeit überlieferten Produktionsformen verfestigen sich in dieser Phase einer jungen, im Aufbau begriffenen Nation, die ersten Konfigurationen einer neuen Städteordnung und Nationalarchitektur. Der durch die verfügbare Literatur vorgegebene chronologische und historische Ansatz zielt darauf ab, einige wichtige Fragestellungen ins Licht zu rücken, die sich anhand des Beispiels Algiers für die Studien zu weiteren Städten des Maghreb im 19. und 20. Jh. ableiten lassen.; The table of Algiers’ urban and architectural historiography presented in this article is based on work carried out over the past fifteen years, complemented by masters dissertations and theses by young Algerian architects and researchers from the last decade. The chosen chronological framework covers 150 years (1830–1980) of the history of the modern city of Algiers. As for the usual marker of “colonial/postcolonial” frontiers, here this is deliberately displaced to examine without interruption the evolution and variations of the visions and discourses that developed over the colonial period and until the first two decades of Algerian independence. During this period of the young nation’s construction, the first configurations of a new national urban and architectural order were established, in parallel with urban development projects and modes of production inherited from the colonial era. The chronological and historical approach imposed by the very nature of the available literature focuses on highlighting a body of issues formulated for the case of Algiers, but often shared by studies of other Maghreb cities of the nineteenth and twentieth centuries.; A partir de trabajos de los últimos quince años, complementados por las tesis de maestría y de doctorado de jóvenes argelinos arquitectos e investigadores de los últimos diez años, se propone en este artículo un panorama sobre la historiografía urbana y arquitectural de Argel. El marco cronológico escogido cubre un periodo de ciento cincuenta años (1830-1980) de la historia de la ciudad moderna de Argel. El cursor analítico habitual de “colonial/post-colonial” se encuentra voluntariamente desplazado. De esta forma se examina sin discontinuidad la evolución y las variaciones de las visiones y de los discursos desarrollados en el periodo colonial hasta los dos primeros decenios de la independencia de Argelia. Durante este último periodo, en una joven nación en plena construcción, se afirman, paralelamente a las orientaciones urbanas y a los modos de producción heredados del periodo colonial, las primeras configuraciones de un nuevo orden urbano y arquitectónico nacional. La aproximación cronológica e histórica impuesta por el carácter mismo de la literatura disponible, busca iluminar un abanico de problemáticas formuladas a partir del caso de Argel, pero muchas veces compartidas con los estudios sobre las ciudades del Magreb de los siglos xix y xx.; Le tableau de l’historiographie urbaine et architecturale d’Alger que présente cet article est construit à partir des travaux des quinze dernières années, complétés par des mémoires de magistères et des thèses de jeunes architectes-chercheurs algériens des dix dernières années. Le cadre chronologique choisi couvre une période de cent cinquante ans (1830-1980) de l’histoire de la ville moderne d’Alger. Quant au curseur des frontières habituelles du « colonial/post-colonial », il est ici volontairement déplacé pour examiner sans discontinuité l’évolution et les variations des visions et des discours développés sur la période coloniale et jusqu’aux deux premières décennies de l’indépendance de l’Algérie durant lesquelles, dans la jeune nation en pleine construction, s’affirment, parallèlement aux orientations urbanistiques et aux modes de production hérités de la période coloniale, les premières configurations d’un nouvel ordre urbain et architectural national. L’approche chronologique et historique imposée par le caractère même de la littérature disponible s’attache à mettre en lumière un faisceau de problématiques formulées pour le cas d’Alger mais souvent partagé par les études sur les villes du Maghreb des xixe et xxe siècles.; Il quadro della storiografia urbana e architettonica di Algeri che presenta questo articolo è costruito a partire dai lavori degli ultimi quindici anni, completati da tesi di laurea e di dottorato di giovani architetti-ricercatori algerini dell’ultimo decennio. L’arco cronologico scelto copre un periodo di centocinquant’anni (1830-1980) della storia della città moderna di Algeri. L’abituale distinzione “coloniale/post-coloniale” è qui volontariamente evitata per esaminare senza discontinuità l’evoluzione e le variazioni della visione del periodo coloniale e dei primi due decenni dell’indipendenza dell’Algeria, durante i quali, nella giovane nazione in piena costruzione, si affermano, parallelamente agli orientamenti urbani e alle mode ereditati dalla produzione del periodo coloniale, le prime configurazioni di un nuovo ordine urbano e architettonico nazionale. L’approccio cronologico e storico imposto dal carattere stesso della letteratura scientifica disponibile vuole mettere in luce un insieme di problematiche specifiche al caso di Algeri, ma che possono poi estendersi allo studio di altre città del Maghreb del xix° e xx° secolo.

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      Perspective
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      Perspective
      Article . 2017 . Peer-reviewed
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    Authors: Chroscicki, Juliusz A.;

    Le professeur Stanisław Mossakowski a accompli un travail titanesque en préparant une monographie qui a apporté des faits et des opinions (concernant les années 1515-1533) demeurés jusqu’à présent inconnus sur la Chapelle Royale de Sigismond à Cracovie – une œuvre architecturale et sculpturale connue en Europe. La monographie est une version traduite, révisée et complétée du livre publié en polonais en 2007 (voir ma critique dans Perspective, 2007-2, p. 404). Mossakowski a procédé à une étude...

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    Perspective
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    OpenEdition
    Other literature type . 2017
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    Perspective
    Article . 2013 . Peer-reviewed
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      Perspective
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      OpenEdition
      Other literature type . 2017
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      Perspective
      Article . 2013 . Peer-reviewed
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    Authors: Bonne, Jean-Claude; Denoyelle, Martine; Michel, Christian; Nouvel-Kammerer, Odile; +1 Authors

    Il reste encore largement d’usage d’opposer les « beaux-arts » – et leur dérivé supposément décloisonné qu’est « l’art contemporain » – au décor, à l’ornement, et aux « objets d’art ». Tandis que les premiers, déterminés par un statut « libéral », en ce qu’ils véhiculent d’un sens, sont chargés d’une vertu signifiante, les seconds occuperaient le champ d’une mise en forme certes artistique – notamment par leur recours à des techniques sophistiquées – mais dénuée de signification. Une telle op...

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    Perspective
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    OpenEdition
    Article . 2013
    Data sources: OpenEdition
    Perspective
    Article . 2010 . Peer-reviewed
    Data sources: Crossref
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      Perspective
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      OpenEdition
      Article . 2013
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      Perspective
      Article . 2010 . Peer-reviewed
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    Authors: Richard J. Powell;

    La litterature sur les artistes noirs, sur leur art, sur l’esthetique de la discrimination raciale et de la distinction culturelle ainsi que sur la representation des Noirs a connu une nette expansion, faisant d’un phenomene plutot marginal au debut du xxe siecle une realite relativement commune au xxie siecle. Les histoires de l’art afro-americain ont pu prendre la forme d’articles, de traites, de theses et de monographies, mais aussi de formats moins academiques comme les catalogues d’exposition, les publications des galeries et des musees, les revues d’art, les recensions critiques et les anthologies litteraires. Parmi les sujets et les orientations theoriques adoptes au cours de ces dix dernieres annees, cinq themes et champs conceptuels ont donne lieu a de nombreux travaux inedits. Ces cinq sujets sont : les deux mouvements culturels noirs connus sous le nom de « Harlem Renaissance » et de « Black Arts Movement » ; les recits historiques qui, influences par le feminisme, ont mis en avant la realite des conditions selon le genre, la race, la sexualite et la classe sociale ; le concept d’une esthetique « post-Black » ; le phenomene des artistes « outsiders », marginalises socialement, car n’ayant pas recu de formation academique ; et enfin les revisions historiques de l’histoire officielle de l’art. Les chercheurs de ce debut de xxie siecle ont pu constater le developpement d’echanges productifs ainsi qu’un nouvel engagement intellectuel au sein de leur discipline, dans laquelle s’investissent non seulement des chercheurs appartenant au domaine de l’art et de la culture afro-americains, mais aussi des historiens et des theoriciens issus de l’ensemble du spectre geopolitique, ideologique, racial et culturel.

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