Les multiples monographies sur l’evolution des repertoires des operas en activite au XIXe et au XXe siecle permettent de mesurer statistiquement le processus de vieillissement croissant des operas joues le plus frequemment. La canonisation des succes anciens intervient principalement a partir de la seconde moitie du XIXe siecle et s’accentue au XXe siecle. Cette fermeture a la nouveaute tient aux couts croissants de representation, a l’emergence d’un pantheon de compositeurs tres peu renouvele au fil des generations et au role croissant des organisateurs de spectacle, des vedettes du chant et des directeurs de salle. La diffusion des airs les plus celebres, qui rend particulierement populaires certains compositeurs notamment en Italie (Verdi), en France (Gounod, Bizet), en Allemagne (Wagner), plus tard en Russie et en Europe centrale, incite aussi a la reprise constante dans les festivals ou les medias, pour les publics les plus larges, des œuvres selectionnees progressivement par la posterite. Ce processus rappelle celui de l’emergence des grands maitres de la musique classique ou du canon de la grande peinture avant la rupture de la modernite, mais il presente des specificites qui tiennent aux pesanteurs d’un spectacle mobilisant plusieurs arts (theâtre, decor, costume, musique, danse) et a l’internationalisation precoce des œuvres les plus jouees. Quelques scenes de reference servent de bancs d’essai au futur processus de canonisation, qui est rarement remis en cause comme cela peut etre le cas pour d’autres arts, moins dependants des institutions des grandes capitales culturelles europeennes. Pour autant ce canon n’est jamais definitivement stabilise et n’exclut pas des abandons, notamment lorsque les conditions de production rendent impossibles certaines reprises d’œuvres autrefois centrales. Ce renouvellement a la marge implique une selectivite tres forte pour les nouveaux entrants et impose aux œuvres les plus novatrices une reconnaissance tres progressive.
{"title":"La constitution d’un canon de l’opéra en Europe au XIXe siècle","authors":"C. Charle","doi":"10.4000/bssg.648","DOIUrl":"https://doi.org/10.4000/bssg.648","url":null,"abstract":"Les multiples monographies sur l’evolution des repertoires des operas en activite au XIXe et au XXe siecle permettent de mesurer statistiquement le processus de vieillissement croissant des operas joues le plus frequemment. La canonisation des succes anciens intervient principalement a partir de la seconde moitie du XIXe siecle et s’accentue au XXe siecle. Cette fermeture a la nouveaute tient aux couts croissants de representation, a l’emergence d’un pantheon de compositeurs tres peu renouvele au fil des generations et au role croissant des organisateurs de spectacle, des vedettes du chant et des directeurs de salle. La diffusion des airs les plus celebres, qui rend particulierement populaires certains compositeurs notamment en Italie (Verdi), en France (Gounod, Bizet), en Allemagne (Wagner), plus tard en Russie et en Europe centrale, incite aussi a la reprise constante dans les festivals ou les medias, pour les publics les plus larges, des œuvres selectionnees progressivement par la posterite. Ce processus rappelle celui de l’emergence des grands maitres de la musique classique ou du canon de la grande peinture avant la rupture de la modernite, mais il presente des specificites qui tiennent aux pesanteurs d’un spectacle mobilisant plusieurs arts (theâtre, decor, costume, musique, danse) et a l’internationalisation precoce des œuvres les plus jouees. Quelques scenes de reference servent de bancs d’essai au futur processus de canonisation, qui est rarement remis en cause comme cela peut etre le cas pour d’autres arts, moins dependants des institutions des grandes capitales culturelles europeennes. Pour autant ce canon n’est jamais definitivement stabilise et n’exclut pas des abandons, notamment lorsque les conditions de production rendent impossibles certaines reprises d’œuvres autrefois centrales. Ce renouvellement a la marge implique une selectivite tres forte pour les nouveaux entrants et impose aux œuvres les plus novatrices une reconnaissance tres progressive.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127747745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Developments in the Scholarly Use of Digital Archive Material","authors":"Philippe Chevallier","doi":"10.4000/BSSG.490","DOIUrl":"https://doi.org/10.4000/BSSG.490","url":null,"abstract":"","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115441080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dans cet entretien, Roger Chartier revient sur certains des principaux concepts ou analyses qu’il a developpes dans le cadre de ses travaux en histoire du livre en les confrontant aux questions posees par le developpement de la lecture numerique. La rupture que represente le developpement des supports de lecture numerique est reinscrite dans la serie des grandes transformations qui ont affecte l’histoire du livre sur la longue duree. Tout en soulignant la materialite des supports de lecture numerique, Roger Chartier analyse ensuite en quoi celle-ci modifie les dispositifs de lecture existants, les formes de textualite et d’intertextualite, et revolutionne ainsi plus largement les structures economiques du marche du livre, les conditions du travail intellectuel, et ses modalites de transmission.
在这次采访中，Roger Chartier回顾了他在书的历史工作中发展起来的一些主要概念或分析，并将它们与数字阅读发展所提出的问题进行了比较。数字阅读媒介的发展所代表的中断，在长期影响书籍历史的一系列重大转变中重新出现。同时强调materialite Roger Chartier的数字阅读的载体,接着分析了该如何修改现有的读取装置、形式和textualite d’intertextualite revolutionne更为广泛的经济结构以及长征的书,脑力劳动条件及其传输方法。
{"title":"De l’imprimé au numérique : une révolution de l’ordre des discours","authors":"C. Rabot, R. Chartier","doi":"10.4000/BSSG.478","DOIUrl":"https://doi.org/10.4000/BSSG.478","url":null,"abstract":"Dans cet entretien, Roger Chartier revient sur certains des principaux concepts ou analyses qu’il a developpes dans le cadre de ses travaux en histoire du livre en les confrontant aux questions posees par le developpement de la lecture numerique. La rupture que represente le developpement des supports de lecture numerique est reinscrite dans la serie des grandes transformations qui ont affecte l’histoire du livre sur la longue duree. Tout en soulignant la materialite des supports de lecture numerique, Roger Chartier analyse ensuite en quoi celle-ci modifie les dispositifs de lecture existants, les formes de textualite et d’intertextualite, et revolutionne ainsi plus largement les structures economiques du marche du livre, les conditions du travail intellectuel, et ses modalites de transmission.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129258107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article propose d’etudier un dispositif experimental de pret de liseuses electroniques, chargees d’œuvres de litterature classique, mis en œuvre par une bibliotheque municipale. En s’appuyant sur des donnees quantitatives et qualitatives, l’enquete cherche a situer socialement les pratiques de lecture sur liseuse et a apprehender l’ambivalence des comportements culturels des lecteur·rice·s. L’analyse permet de saisir le poids des positions et trajectoires sociales et met en evidence des enjeux generationnels et professionnels d’acquisition de competences numeriques sous-jacents a la demarche d’emprunt de l’appareil par les usager·ere·s. Si l’attrait pour l’appareil decoule du philoneisme de ces lecteurs et lectrices et est justifie par les interets pratiques de l’appareil, faisant echo au discours de bibliothecaires eux/elles-memes tournes vers la nouveaute, l’etude montre que ces lecteur·rice·s persistent toutefois a attribuer une valeur symbolique plus elevee au livre papier qu’au livre numerique. Ces representations se renforcent d’autant plus par l’absence de competences numeriques faisant, qu’in fine, l’experience de la lecture devient un projet abandonne.
{"title":"Lire des classiques sur liseuse en bibliothèque municipale","authors":"Stéphanie Kellner","doi":"10.4000/BSSG.482","DOIUrl":"https://doi.org/10.4000/BSSG.482","url":null,"abstract":"Cet article propose d’etudier un dispositif experimental de pret de liseuses electroniques, chargees d’œuvres de litterature classique, mis en œuvre par une bibliotheque municipale. En s’appuyant sur des donnees quantitatives et qualitatives, l’enquete cherche a situer socialement les pratiques de lecture sur liseuse et a apprehender l’ambivalence des comportements culturels des lecteur·rice·s. L’analyse permet de saisir le poids des positions et trajectoires sociales et met en evidence des enjeux generationnels et professionnels d’acquisition de competences numeriques sous-jacents a la demarche d’emprunt de l’appareil par les usager·ere·s. Si l’attrait pour l’appareil decoule du philoneisme de ces lecteurs et lectrices et est justifie par les interets pratiques de l’appareil, faisant echo au discours de bibliothecaires eux/elles-memes tournes vers la nouveaute, l’etude montre que ces lecteur·rice·s persistent toutefois a attribuer une valeur symbolique plus elevee au livre papier qu’au livre numerique. Ces representations se renforcent d’autant plus par l’absence de competences numeriques faisant, qu’in fine, l’experience de la lecture devient un projet abandonne.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124359612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scenes litteraires et artistiques emergentes, les reseaux socionumeriques sont investis par des ecrivains, artistes, amateurs mais aussi par des institutions et industries culturelles, curieuses d’experimenter des pratiques narratives renouvelant les formes de mediation avec les publics. Tel est le cas de la bande dessinee numerique Ete, co-produite par la chaine publique Arte et la societe de community management Bigger Than Fiction, et originellement parue sur Instagram durant les mois de juillet et aout 2017 et 2018 a raison d’un ou deux episodes par jour.Empruntant une demarche sociosemiotique s’interessant aux processus de negociation engages entre dispositifs techniques, producteurs-concepteurs culturels et recepteurs, cet article se propose de questionner les formes d’hybridation entre des logiques de creation et de narration issues de la bande dessinee et des strategies de production, de circulation et de reception propres a la plateforme Instagram. L’analyse de l’enonciation editoriale des pages-ecrans d’Ete est articulee a une enquete empirique permettant d’eclairer, dans un premier temps, les contraintes de production et de representation presidant au processus de creation (deux entretiens menes avec des concepteurs d’Ete), et, dans un second temps, de soulever certains enjeux d’appropriation chez les abonne·e·s-lecteur·rice·s par l’analyse des contenus des commentaires places en vis-a-vis des illustrations, completee par une enquete par questionnaire (quatre-vingt-dix reponses).
新兴的文学和艺术场景，社会-人文网络由作家、艺术家、业余爱好者以及文化机构和产业投资，他们好奇地尝试叙事实践，更新与公众的调解形式。数字漫画《Ete》就是这样，由公共频道Arte和社区管理公司Bigger Than Fiction联合制作，最初于2017年7月和8月在Instagram上发布，2018年每天发布一到两集。借用一个方法sociosemiotique空闲时间对谈判进程的承诺之间的技术、文化和接收器producteurs-concepteurs装置,本文建议在提问形式逻辑间杂交产生的叙事和软包装dessinee地带和strategies)的生产、流通和接收自有平台Instagram了。分析编辑l’enonciation pages-ecrans暑期是允许d’eclairer铰接有实证调查,起初,限制生产和代表处presidant创作过程(两位设计师的美尼斯访谈暑期),并在第二步,提出一些挑战当中占有后来·e·s-lecteur·赖斯·s的插图的名额,评论的内容分析,以问卷调查(90个答案)完成。
{"title":"Quand la bande dessinée « tient salon » sur Instagram","authors":"Nolwenn Tréhondart","doi":"10.4000/BSSG.491","DOIUrl":"https://doi.org/10.4000/BSSG.491","url":null,"abstract":"Scenes litteraires et artistiques emergentes, les reseaux socionumeriques sont investis par des ecrivains, artistes, amateurs mais aussi par des institutions et industries culturelles, curieuses d’experimenter des pratiques narratives renouvelant les formes de mediation avec les publics. Tel est le cas de la bande dessinee numerique Ete, co-produite par la chaine publique Arte et la societe de community management Bigger Than Fiction, et originellement parue sur Instagram durant les mois de juillet et aout 2017 et 2018 a raison d’un ou deux episodes par jour.Empruntant une demarche sociosemiotique s’interessant aux processus de negociation engages entre dispositifs techniques, producteurs-concepteurs culturels et recepteurs, cet article se propose de questionner les formes d’hybridation entre des logiques de creation et de narration issues de la bande dessinee et des strategies de production, de circulation et de reception propres a la plateforme Instagram. L’analyse de l’enonciation editoriale des pages-ecrans d’Ete est articulee a une enquete empirique permettant d’eclairer, dans un premier temps, les contraintes de production et de representation presidant au processus de creation (deux entretiens menes avec des concepteurs d’Ete), et, dans un second temps, de soulever certains enjeux d’appropriation chez les abonne·e·s-lecteur·rice·s par l’analyse des contenus des commentaires places en vis-a-vis des illustrations, completee par une enquete par questionnaire (quatre-vingt-dix reponses).","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129073538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite the growing number of writings on digital technology and its effects on culture, they remain insufficient if we wish to understand what effect digital media has on ordinary literary reading. Whether optimistic or concerned, the discourse tends to point out either the possibilities opened up by new mediums or the threats they represent. Neuroscience appears to support both positions, depending on how data are interpreted; it usually offers only a limited understanding, as it seldom integrates social variations, and rarely places use within the framework of a practice and context. Information and communication sciences are more concerned with devices and the uses and users they presuppose, or favour, rather than their actual use. Public statistics measure uses without being able to account for them. This Symbolic Goods dossier sets out to reintegrate reading into the perspectives offered by both the history of books and social science. Moving away from the mainly ideological debates that pit old against new, it wishes to unite empirical studies that identify mediums while also taking social variations into consideration. This dossier starts with an interview with Roger Chartier, who situates digital reading in the long-term context of the history of writing, and questions the rupture that digital technology has brought about for books. Three sociological investigations on ordinary reading practices then put this question to the test through fieldwork. What changes when a text passes from print to screen; or for readers socialized in the order of books who become digitally adept and try out an e-reader device, or conversely cannot imagine that the advantages of paper books could be transposed digitally? The dossier finally explores some actual uses that digital technology permits, from ordinary erudite practices which use a digitized corpus, to reading/commenting practices of an originally digital graphic novel literary production. If one can indeed speak of the “metamorphosis of the reader,” an expression coined by Pierre Assouline, where is this situated? Without claiming to cover all aspects, this dossier aims to show the benefits of empirical study on a question about which much has been written, but that remains largely unanswered.
{"title":"Reading Under Digital Constraints","authors":"Cécile Rabot","doi":"10.4000/BSSG.476","DOIUrl":"https://doi.org/10.4000/BSSG.476","url":null,"abstract":"Despite the growing number of writings on digital technology and its effects on culture, they remain insufficient if we wish to understand what effect digital media has on ordinary literary reading. Whether optimistic or concerned, the discourse tends to point out either the possibilities opened up by new mediums or the threats they represent. Neuroscience appears to support both positions, depending on how data are interpreted; it usually offers only a limited understanding, as it seldom integrates social variations, and rarely places use within the framework of a practice and context. Information and communication sciences are more concerned with devices and the uses and users they presuppose, or favour, rather than their actual use. Public statistics measure uses without being able to account for them. This Symbolic Goods dossier sets out to reintegrate reading into the perspectives offered by both the history of books and social science. Moving away from the mainly ideological debates that pit old against new, it wishes to unite empirical studies that identify mediums while also taking social variations into consideration. This dossier starts with an interview with Roger Chartier, who situates digital reading in the long-term context of the history of writing, and questions the rupture that digital technology has brought about for books. Three sociological investigations on ordinary reading practices then put this question to the test through fieldwork. What changes when a text passes from print to screen; or for readers socialized in the order of books who become digitally adept and try out an e-reader device, or conversely cannot imagine that the advantages of paper books could be transposed digitally? The dossier finally explores some actual uses that digital technology permits, from ordinary erudite practices which use a digitized corpus, to reading/commenting practices of an originally digital graphic novel literary production. If one can indeed speak of the “metamorphosis of the reader,” an expression coined by Pierre Assouline, where is this situated? Without claiming to cover all aspects, this dossier aims to show the benefits of empirical study on a question about which much has been written, but that remains largely unanswered.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128682053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reviews an experimental study put in place in a municipal library, where electronic readers containing literary classics were made available to the public. The survey is based on quantitative and qualitative data and aims to socially situate reading practices on electronic readers, as well as apprehend the ambivalent cultural behaviour on the part of readers. The results allow us to grasp the significance of their positioning and social trajectories, as well as bring to light the generational and professional stakes at play in acquiring the necessary digital skills when borrowing an e-reader. While readers’ attraction towards the device stems from neophilia and is justified by their practical interest in the device—echoing the librarians’ comments who are themselves oriented towards novelty—the study illustrates that these readers nonetheless insist on assigning a higher symbolic value to paper books than to their digital equivalent. These representations are all the more reinforced by the absence of digital skills in these readers, which, as a result, leads to a short-lived reading experiment.
{"title":"Reading Classics on Electronic Readers in Municipal Libraries","authors":"S. Kellner","doi":"10.4000/BSSG.484","DOIUrl":"https://doi.org/10.4000/BSSG.484","url":null,"abstract":"This article reviews an experimental study put in place in a municipal library, where electronic readers containing literary classics were made available to the public. The survey is based on quantitative and qualitative data and aims to socially situate reading practices on electronic readers, as well as apprehend the ambivalent cultural behaviour on the part of readers. The results allow us to grasp the significance of their positioning and social trajectories, as well as bring to light the generational and professional stakes at play in acquiring the necessary digital skills when borrowing an e-reader. While readers’ attraction towards the device stems from neophilia and is justified by their practical interest in the device—echoing the librarians’ comments who are themselves oriented towards novelty—the study illustrates that these readers nonetheless insist on assigning a higher symbolic value to paper books than to their digital equivalent. These representations are all the more reinforced by the absence of digital skills in these readers, which, as a result, leads to a short-lived reading experiment.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122771130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this interview, historian of books Roger Chartier discusses some of the main concepts and findings of his research in light of the development of digital reading. The shift induced by the emergence of digital reading devices is replaced within the scope of major long-term transformations in the history of books. Having emphasized the materiality of digital reading devices, Chartier explains how they have been changing existing modes of reading as well as forms of textuality and intertextuality, and more broadly revolutionizing the economic structures of the book market and the conditions of intellectual work and of its dissemination.
{"title":"From Print to Digital: A Revolution in the Order of Speeches","authors":"Cécile Rabot, R. Chartier","doi":"10.4000/BSSG.479","DOIUrl":"https://doi.org/10.4000/BSSG.479","url":null,"abstract":"In this interview, historian of books Roger Chartier discusses some of the main concepts and findings of his research in light of the development of digital reading. The shift induced by the emergence of digital reading devices is replaced within the scope of major long-term transformations in the history of books. Having emphasized the materiality of digital reading devices, Chartier explains how they have been changing existing modes of reading as well as forms of textuality and intertextuality, and more broadly revolutionizing the economic structures of the book market and the conditions of intellectual work and of its dissemination.","PeriodicalId":300699,"journal":{"name":"Biens Symboliques / Symbolic Goods","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121499159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：