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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; 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%.

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.

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.

Although abbreviations are fairly common in handwritten sources, particularly in medieval and modern Western manuscripts, previous research dealing with computational approaches to their expansion is scarce. Yet abbreviations present particular challenges to computational approaches such as handwritten text recognition and natural language processing tasks. Often, pre-processing ultimately aims to lead from a digitised image of the source to a normalised text, which includes expansion of the abbreviations. We explore different setups to obtain such a normalised text, either directly, by training HTR engines on normalised (i.e., expanded, disabbreviated) text, or by decomposing the process into discrete steps, each making use of specialist models for recognition, word segmentation and normalisation. The case studies considered here are drawn from the medieval Latin tradition. Accompanying data available at: https://zenodo.org/record/5071964

International audience

How historical events interfere with family stories, and their perception is influenced by family issues.

info:eu-repo/semantics/published SCOPUS: ch.b

A superficial view of the relations between economists and art historians reveals very little. Art history is not taught in the economics curriculum, and economics is not taught to students of art history. Economists consider art history as descriptive. The two landmarks of art history and economics, Johann J. Winckelmann's Geschichte der Kunst des Altertums and Adam Smith's An Inquiry into the Nature and Causes of the Wealth of Nations are almost contemporaneous. Most economists argue for supplying more art, but little is known about whether this support also enhances the quality supplied: Does greater support coincide with 'better' art? This chapter discusses a non-exhaustive list of the most important economic rationalizations for such support. Artworks are, with some exceptions, heterogeneous. Each creation is unique and markets can hardly be analysed by the standard supply demand mechanism. Keywords:art history; economics