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International audience

The Cistercian establishment in Cyprus was an outgrowth of monasteries of the Order of Citeaux which had been set up in the Latin States of the Holy Land.1 These monasteries were founded in the second half of the twelfth century as dependencies of Morimond (Salvatio in 1157, Belmont in 1161). Dependencies of La Ferte first appeared in the thirteenth century with the incorporation of Jubin. This monastery had been established early in the previous century in the Black Mountain region near Antioch; it followed an eremitical rule to which attention has recently been drawn.2 Thereafter came the foundation of St. Sergius near Gibelet.3 It is uncertain whether institutions for Cistercian nuns existed in the twelfth century. The first appearance of one of these, the abbey of St. Mary Magdalene of Acre, occurs in 1222. It apparently acknowledged the abbot of Belmont as father superior.4

International audience; The present work aims to develop a text summarisation system for financial texts with a focus on the fluidity of the target language. Linguistic analysis shows that the process of writing summaries should take into account not only terminological and collocational extraction, but also a range of linguistic material referred to here as the "support lexicon", that plays an important role in the cognitive organisation of the field. On this basis, this paper highlights the relevance of pre-training the CamemBERT model on a French financial dataset to extend its domainspecific vocabulary and fine-tuning it on extractive summarisation. We then evaluate the impact of textual data augmentation, improving the performance of our extractive text summarisation model by up to 6%-11%.

International audience; The last phase of the nineteenth-century China was in a state of dramatic political instability, caused both by foreign aggression and internal troubles. The fall of the Qing dynasty seemed more and more likely, and the presence of the foreign (people, goods, ideas) on the imperial soil aroused confl icting reactions: shame and pride, the desire to emulate and the desire to rekindle "traditional" culture(s), as well as the evidence of the necessity of rapid modernization, at least in the technical fi eld. Stretched between these overlapping poles, cinema as a technical development and as a new form of entertainment appeared very quickly as a formidable way to get to know the West, as well as a medium to be appropriated by local standards. Early movies made by the Lumière Company were travelling to China, and it was easy to understand the clamor made by the depiction of contemporary Europe. La sortie des usines Lumière à Lyon (August and Louis Lumière, 1895), for example, is a manifestation of a scientifi c accomplishment of the West (a movie) and at the same time is showing where this new object was made (the camera factory): spectators could see men and women coming out of a modern (soon to be Fordist) industry, some of them riding bicycles. In The Last Emperor (1987) Bertolucci poetizes the seduction of the newly imported (foreign) innovation of locomotion. Audiences could be in awe of the epitome of the industrialization of Europe via an astonishing product of this progress, the movie projector. This scientifi c curiosity is displayed as an attraction: movies are shown in theatres, tea houses, expositions, and slowly contribute to the shaping of the fast-growing eastern metropolis via the building of ad hoc modern cinema theatres. The local public showed a desire to appropriate the representational device, linking it to the shadow puppetry that they used to appreciate. The debate is still ongoing to clarify how much the cultural appreciation of puppet theatre has been a source of inspiration for the adoption of the term yingxi fi rst, and dianying later. The former merges the "shadow (ying)" with the "spectacle (xi)," and the latter is a word that conjures ideas of electricity (therefore modernity) and the theatrical/traditional visual apparatus. As Emi-lie Yueh-yu Yeh states, the fi rst fi lm magazine used the title The Motion Picture Review ; 1 yet, in an article published in the very same review, she cautions readers in remembering that "Central to these dominant historiographical discourses lies the yingxi concept and its literal English translation 'shadow play.' " Scholars of Chinese fi lm history, in both China and the West, have adopted the ideas of yingxi and its translated twin "shadow play" to frame the reception of cinema in late 15 MASTERPIECES OF EARLY CINEMA Corrado Neri 15031-1823d-1Pass-r03.indd 205

International audience

Section one presents a method of analysis developed over the years in order to model and visualise the evolution of architectural objects. The method combines a systematic description of transformations, qualification and classification of references, and visualisation tools that support reasoning tasks inside an object’s lifeline, and across the whole collection of objects. In this section some fundamental epistemological issues will be discussed (diachronic bias, intersubjectivity, historical criticism, etc.). Details will be given on the choices we made in order to describe architectural transformations and to cope with classic uncertainty problems (trustworthiness, precision, credibility, etc.). Section one is concluded by a chapter presenting the set of time-oriented data visualisations designed for section two of the catalogue, and by an overview of that catalogue’s general layout. Rozdział pierwszy porusza podstawowe zagadnienia epistemologiczne związane z analizą ewolucji obiektów architektonicznych (analiza diachroniczna, intersubiektywność, krytyka historyczna, ...) i przedstawia opracowaną przez nas metodę. Poruszamy tu między innymi problem zróżnicowanej precyzji i wiarygodności danych historycznych, klasyfikację transformacji jakim podlegają obiekty architektoniczne, czy rolę wizualizacji w procesach analizy danych historycznych.

International audience; This chapter introduces several state of the art techniques that could help to make deep underwater archaeological photogrammetric surveys easier, faster, more accurate, and to provide more visually appealing representations in 2D and 3D for both experts and public. We detail how the 3D captured data is analysed and then represented using ontologies, and how this facilitates interdisciplinary interpretation and cooperation. Towards more automation, we present a new method that adopts a deep learning approach for the detection and the recognition of objects of interest, amphorae for example. In order to provide more readable, direct and clearer illustrations, we describe several techniques that generate different styles of sketches out of orthophotos developed using neural networks. In the same direction, we present the Non-Photorealistic Rendering (NPR) technique, which converts a 3D model into a more readable 2D representation that is more useful to communicate and simplifies the identification of objects of interest. Regarding public dissemination, we demonstrate how recent advances in virtual reality to provide an accurate, high resolution, amusing and appropriate visualization tool that offers the public the possibility to ‘visit’ an unreachable archaeological site. Finally, we conclude by introducing the plenoptic approach, a new promising technology that can change the future of the photogrammetry by making it easier and less time consuming and that allows a user to create a 3D model using only one camera shot. Here, we introduce the concepts, the developing process, and some results, which we obtained with underwater imaging.

During the last two decades of the thirteenth Century, the practice of quodlibetal disputes by masters of theology spread out of the Paris University, most notably within franciscan provincial studia in southern France and Italy, where theology lecturers without a proper university degree would dispute de quolibet. Three such characters left a written record of such events : Peter John Olivi in Montpellier and Narbonne, Petrus de Trabibus in Florence and Vital du Four in Montpellier and Toulouse. These Quodlibets are presented here, together with contemporary parisian Quodlibets by franciscan masters, such as Richard de Menneville (Mediavilla), Petrus de Falco, some minor masters and the nine series ascribed to Raymond Rigaud, out of which some have probably been disputed in the Toulouse studium.; Au cours des deux dernières décennies du treizième siècle, la pratique des disputes quodlibétiques, lors desquelles les maîtres en théologie répondaient à des questions de toute sorte posées par l'auditoire, s'est diffusée hors de l'université parisienne. C'est notamment le cas des centres d'études franciscains du Midi et d'Italie où des lecteurs en théologie, dépourvus du grade de docteur, organisaient de telles sessions. Trois d'entre eux en ont laissé un témoignage écrit : Pierre de Jean Olivi à Montpellier et Narbonne, Pierre de Trabibus à Florence et Vital du Four à Montpellier et Toulouse. Ces Quodlibets sont présentés ici, parallèlement aux Quodlibets universitaires franciscains par Richard de Menneville (Mediavilla), Pierre de Falco, quelques maîtres mineurs et les neuf Quodlibets de Raymond Rigaud, dont certains ont probablement été disputés au studium de Toulouse.

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