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Dans les années 1920 à 1940, les photographes qui produisent des images de création, des portraits ou des vues destinées aux couvertures des journaux répondent également à des commandes publicitaires. Cet article propose d’examiner les différentes modalités de relation qui existent entre photographie et publicité à cette période : certaines publicités réutilisent des travaux photographiques déjà existants tandis que certaines images découlent directement de commandes. Par ailleurs, la publicité devient un motif de représentation privilégié pour les photographes. In the 1920s to 1940s, photographers who produced creation pictures, portraits or pictures for the covers of newspapers also worked for advertising campaign. This article proposes to examine the different interconnections modalities between photography and advertising during this period: some advertisements reuse existing photographs, while some images are the direct result of commissions. Moreover, advertising became a privileged motif of representation for photographers.

When performed several times over the course of an orthodontic or surgical orthodontic treatment, three-dimensional (3D) imaging like CBCT or CT-Scans can be superimposed. The purpose of this article is to illustrate the implementation of voxel-based 3D superimpositions with a clinical case of mandibular distraction osteogenesis A 13-year old patient underwent a surgical orthodontic treatment with a « 3D » mandibular distractor. He presented a bilateral atrophy of his mandibular condyles due to a staphylococcus aureus bacteremia at birth. 3D general and mandibular regional superimpositions were performed using CT-Scan and CBCT images acquired respectively before and after completion of the distraction osteogenesis. Two superimposition methods were used, one relying on commercially-available software and the other one relying on a series of « open-source » softwares. Using commercially-available software, 3D superimpositions were automatically performed in a few minutes by a sparsely-trained operator. The method relying on « open-source » software asked for more training and time. Results of the superimpositions were presented under various formats. Evaluation of 3D superimposition results is still challenging, as only a qualitative evaluation can be easily performed. In years to come, this interpretation should however become more straightforward for clinicians.

The republican heroes, Dentatus and Fabricius have been the object of a process of superimpression, because of the approximate parallelism of their exploits which happened more or less at the same time, and also because of their use as exempla aiming at showing similar values. These two characters happen to have been coupled for the first time by Cicero who uses their representation as homines noui as a means of reinforcing his own persona. Used by the catch-all Augustan ideology, they eventually illustrate ancient republican values in imperial times. One could also observe a much more seldom phenomenon of superimpression consisting in attributing one’s actions to the other. Finally, at the same time as paganism was in its last throes, these characters were finally used as paragons of traditional pagan virtues, rivals of those of the ascending Christianity, as shown by two carmina from the Latina Anthologia and two biographies, contained within the De uiris illustribus Vrbis Romae., Les héros républicains Dentatus et Fabricius ont connu un phénomène desurimpression, dû au relatif parallélisme de leurs hauts faits à peu près contemporains et à leur valeur d’exempla illustrant des valeurs semblables. Leur couplage apparaît d’abord chez Cicéron, qui utilise leur image d’homines noui exemplaires pour renforcer sa propre persona. Récupérés par l’idéologie « attrape-tout » augustéenne, à l’époque impériale, ils illustrent, les vertus républicaines d’antan. Plus original est le phénomène parallèle de surimpression, qui consiste à attribuer à l’un des anecdotes propres à l’autre. Enfin, dans les derniers feux du paganisme, leurs figures trouvent une dernière utilisation, comme parangons des vertus païennes traditionnelles, concurrentes de celles du christianisme montant, comme le montrent deux carmina de l’Anthologia Latina et deux biographies, contenues dans le De uiris illustribus Vrbis Romae.

International audience; Paul Durcan is a contemporary Irish poet whose work can be defined as an intermedial, intertextual and intratextual dialogue. One of the hallmarks of his work is transformation leading to hybridity. We shall focus on his ekphraseis, and more precisely on his ekphraseis-palimpsests, in other words, ekphraseis of works of art which are palimpsests, and palimpsests resulting from an intertextual and intratextual dialogue within ekphraseis. They will be considered in the light of the notions of false transparency and revealing opacity, vision and re-vision. We shall show how the fact that poems and works of art are printed together and/or share the same title can create an impression of transparency which is only apparent, whereas what can first appear as more obscure ekphraseis can turn out to be poems in which the poet reveals himself and which shed light on truths that would otherwise remain hidden.; L’œuvre du poète irlandais contemporain Paul Durcan peut être définie comme un dialogue intermédial, intertextuel et intratextuel sous le signe de la transformation et de l’hybridité. Cet article se concentre sur ses poèmes ekphrastiques ou ce que nous nommerons les ekphraseis-palimpsestes durcaniens, c’est-à-dire, d’une part, l’ekphrasis d’une œuvre picturale qui est elle-même un palimpseste puisqu’elle est dérivée d’une autre, et, d’autre part, l’effet palimpseste créé par le dialogue inter et intratextuel qui se superpose à l’ekphrasis. Ces ekphraseis-palimpsestes s’écrivent entre transparence trompeuse et opacité révélatrice, vision et re/ré-vision. En effet, l’effet de transparence créé lorsque poèmes et œuvres plastiques sont mis en regard et/ou partagent le même titre n’est souvent qu’apparent alors qu’au sein d’ekphraseis non présentées comme telles, qui se révèlent, se déploient et se déplient au fil du texte, le poète se dévoile tout en mettant en lumière des vérités qui resteraient sinon cachées.