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Cette contribution porte sur la métaphore du prestidigitateur appliquée à la rhétorique. L’art de l’illusion n’était pas transmis par écrit ; on peut donc le reconstituer seulement par voie indirecte, à travers d’occasionnelles citations ou des métaphores. En latin, les principaux mots qui indiquent le magicien sont : magus, circulator et praestigiator. Circulator et praestigiator sont employés pour des métaphores négatives de l’orateur. Bien qu’ils soient synonymes, ils couvrent cependant des domaines sémantiques un peu différents. Sur le circulator, la condamne est esthétique ; dans le cas des praestigia, les implications sont surtout éthiques. This contribution bears on the metaphor of the conjurer applied to rhetoric. The art of delusion was not transmitted through writings ; it can therefore be reconstituted only in an indirect way by means of occasional quotations or metaphors. In Latin, the chief words that refer to the conjurer are : magus, circulator, and praestigiator. Circulator and praestigiator are used as negative metaphors of the orator. Synonymous as they may be, they yet cover somewhat different semantic areas. About the circulator, the indictment is aesthetic, in the case of the praestigia the implications are chiefly ethical.

International audience; This paper presents two unpublished manuscripts of René-Just Haüy (1743-1822). They display the change of status of experimental physics at the end of 18th century France. A youthful manuscript describes a conjurer trick based on magnetism with the pleasure of a mysterious experiment. The manuscript of his first lesson on magnetism at the Ecole normale (1795), when a recognised scientist, blames any appeal to "magical art" in physics and lays down the distinction between a physicist and a charlatan, as a conjurer. From then on physics teaching has to dismiss spectacle and to resort to mathematics.; Cet article présente deux manuscrits inédits du physicien René-Just Haüy (1743-1822) qui témoignent du changement de statut de la physique expérimentale en France à la fin du XVIIIe siècle. Un manuscrit de jeunesse décrit un tour d'escamoteur fondé sur les propriétés des aimants avec le plaisir d'une expérience mystificatrice. Le manuscrit de sa première leçon sur le magnétisme à l'Ecole normale de l'an III (1795), alors qu'il est devenu un savant reconnu, critique en revanche tout recours à un "art magique" en physique et établit la distinction entre le physicien et le charlatan, au sens d'escamoteur. Le refus du spectaculaire et l'appel aux mathématiques sont désormais constitutifs de la physique qui s'enseigne.

Trabajo Fin de Grado-Universidad de Salamanca, 2014, [ES] El presente Trabajo Fin de Grado trata sobre la aplicación de la magia en la escuela, y cómo ésta puede favorecer el desarrollo integral de los alumnos. Tras hacer un viaje por la historia de la magia, se exponen sus aplicaciones en la educación y su consideración artística como llave para el aprendizaje. La usanza práctica que se ha elaborado, se ha dirigido, mediante la aplicación de tres sesiones, al grupo de 24 alumnos pertenecientes al Segundo Ciclo de Educación Infantil del CEIP La Viña en la ciudad de Zamora. Finaliza el trabajo, exponiendo la metodología seguida en la propuesta educativa, las conclusiones y reflexión de la autora., [EN] This Final Project discusses the application Magic in school, and how it can promote the comprehensive development of students. After a trip the history of magic, their applications are discussed in education and artistic consideration as key for learning. Fashioned practice which has developed, it has been directed by the application of three sessions, the group of 24 students from the Second Cycle Childhood Education CEIP La Vina in the city Zamora. Finish the job by exposing the methodology followed in the educational proposal, conclusions and reflection of the author.

The survival of magician's magic : the dilemma of the influence of technology on the art of magician's magic. Magic as a performing art has been an interpersonal medium for centuries. In the early 1930s close-up, face-to-face magic had to make way for large-scale illusions on television. As a result of the immediacy of face-to-face magic, magician's magic used to rely on split-second timing and tremendous expertise and skills on the part of the magician. The interpersonal presentation of the art of magic has a persuasive effect that is instantaneous and guaranteed to be authentic. The fact that the illusion is created right in front of one's eyes and in one's presence makes it a highly authentic product created mainly through the skill of the conjurer. This is no longer true today. With its large-scale illusions and television effects, the migration of the art of magic to television has made the art of prestidigitation a mere documentary-drama (docu-drama). With the advent of television, approaches to acting, directing, and prestidigitation have changed tremendously. The use of establishing medium and close-up camera shots creates a sectional analytical montage with an integration to a higher level of meaning (Barthes 1988:101) than that of a stage show. Although television as a medium has made it easier for magicians to produce a magic show using the advanced technology of audiovisual media, it also reinforces the perception that illusions are created by using special cinematographic effects. Therefore, television presents magicians with a fundamental problem in persuading the audience of the authenticity of the art of magic within this new medium. To date there has been a certain level of success with magic on television and via the internet when one considers that it has made famous magicians out of David Copperfield, Pen and Teller, Criss Angel, David Blane as well as South Africa's Martino and Wolfgang Riebe. These magicians have successfully adapted stage magic to television. This article presents a critical descriptive overview of the measures taken by magicians to adapt magic shows from theatres to audiovisual media in a way that encourages people to suspend their disbelief. It also analyses the implications of the invasion of television into the technical art of magician's magic for the survival of magic as an art form through a listing of fundamental problems in this adaptation process. An overview is provided of the history of magician's magic on an interpersonal face-to-face level in theatres and this highlights the techniques used by magicians in this environment. The article further explores the problems that practitioners of the art of magic encounter in its adaptation from stage to screen by reviewing some of the most prevalent dilemmas regarding the use of special effects in television and film. Lastly, insight is provided into the measures that magicians take to curb the audience's perception that special effects are responsible for creating the magic within audiovisual media. http://reference.sabinet.co.za/webx/access/electronic_journals/akgees/akgees_v54_n2_a12.pdf