{"id":1691,"date":"2021-04-19T21:51:00","date_gmt":"2021-04-19T19:51:00","guid":{"rendered":"http:\/\/localhost\/news\/?p=1691"},"modified":"2021-04-22T21:53:30","modified_gmt":"2021-04-22T19:53:30","slug":"parution-du-n22-de-miranda-unheard-possibilities-reappraising-classical-film-music-scoring-and-analysis","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/cfp\/parution-du-n22-de-miranda-unheard-possibilities-reappraising-classical-film-music-scoring-and-analysis\/1691\/","title":{"rendered":"Parution du n\u00b022 de Miranda : \u00ab\u00a0Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis\u00a0\u00bb"},"content":{"rendered":"\n<p>J\u2019ai le plaisir de vous annoncer la parution du num\u00e9ro 22 de&nbsp;<em>Miranda<\/em>, dont ledossier th\u00e9matique \u00ab Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis\u00bb a \u00e9t\u00e9 coordonn\u00e9 par&nbsp;<strong>David Roche et C\u00e9line Murillo<\/strong>:&nbsp;<a href=\"https:\/\/journals.openedition.org\/miranda\/36214\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/journals.openedition.org\/miranda\/36214<\/a><\/p>\n\n\n\n<p>Nous en profitons pour remercier \u00e0 nouveau les nombreux rapporteurs qui travaillent dans l\u2019ombre pour Miranda.<\/p>\n\n\n\n<p>De fa\u00e7on g\u00e9n\u00e9rale, nous accueillons avec plaisir toute proposition de publication de dossier th\u00e9matique, si vous avez organis\u00e9 des colloques et que vous souhaitez publier une s\u00e9lection des meilleures contributions, \u00e9ventuellement augment\u00e9e de sollicitations nouvelles. Pour soumettre un tel projet, se reporter \u00e0&nbsp;<a href=\"http:\/\/miranda.revues.org\/135\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/miranda.revues.org\/135<\/a>.&nbsp;<\/p>\n\n\n\n<p>Si cela vous int\u00e9resse de contribuer \u00e0 la rubrique consacr\u00e9e aux arts du monde anglophone, intitul\u00e9e&nbsp;<em>Ariel\u2019s Corner,<\/em>&nbsp;ou bien \u00e0&nbsp;<em>Prospero\u2019s Island<\/em>, laquelle accueille les articles hors-th\u00e8me, il faut vous adresser aux \u00e9diteurs des rubriques (<a href=\"http:\/\/miranda.revues.org\/134\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/miranda.revues.org\/134<\/a>). Si vous souhaitez faire des recensions, il faut vous adresser \u00e0 Isabelle Keller-Privat et Candice Lemaire.&nbsp;<\/p>\n\n\n\n<p>\u00a0Bien cordialement<br>Muriel Adrien<br>Pour le Bureau de\u00a0<em>Miranda<\/em><\/p>\n\n\n\n<h1 class=\"wp-block-heading\"><a href=\"https:\/\/journals.openedition.org\/miranda\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/journals.openedition.org\/miranda<\/a><\/h1>\n\n\n\n<p><strong>Sommaire&nbsp;<\/strong><\/p>\n\n\n\n<h1 class=\"wp-block-heading\">22&nbsp;|&nbsp;2021<\/h1>\n\n\n\n<p><a href=\"https:\/\/doi.org\/10.4000\/miranda.36214\">https:\/\/doi.org\/10.4000\/miranda.36214<\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">\u00b7&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis<\/h2>\n\n\n\n<p><em>\u00c0 l&rsquo;\u00e9coute de possibilit\u00e9s inou\u00efes<\/em><\/p>\n\n\n\n<p>Edited by&nbsp;<strong>David&nbsp;<\/strong><strong>Roche<\/strong><strong>&nbsp;and C\u00e9line&nbsp;<\/strong><strong>Murillo<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Frank&nbsp;<\/strong><strong>Mehring<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40208\" target=\"_blank\" rel=\"noreferrer noopener\">Foreword<\/a>&nbsp;<\/li><li><strong>C\u00e9line&nbsp;<\/strong><strong>Murillo<\/strong><strong>&nbsp;and David&nbsp;<\/strong><strong>Roche<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39864\" target=\"_blank\" rel=\"noreferrer noopener\">Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis. An Introduction<\/a>&nbsp;<\/li><li><strong>Marie&nbsp;<\/strong><strong>Ventura<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/36228\" target=\"_blank\" rel=\"noreferrer noopener\">Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx<\/a>&nbsp;<\/li><li><strong>Anne-Marie&nbsp;<\/strong><strong>Paquet-Deyris<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39069\" target=\"_blank\" rel=\"noreferrer noopener\">Max Steiner\u2019s Musical Pictures: \u201cIf you get too&nbsp;decorative, you lose your appeal to the emotions\u201d<\/a>&nbsp;<\/li><li><strong>Richard&nbsp;<\/strong><strong>Ness<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39288\" target=\"_blank\" rel=\"noreferrer noopener\">A Certain Autonomy: Music in the Films of John Huston<\/a>&nbsp;<\/li><li><strong>Julie&nbsp;<\/strong><strong>Assouly<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37021\" target=\"_blank\" rel=\"noreferrer noopener\">Carter Burwell\u2019s Contribution to \u201cthe Coen touch\u201d<\/a>&nbsp;<\/li><li><strong>Christophe&nbsp;<\/strong><strong>Gelly<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/36484\" target=\"_blank\" rel=\"noreferrer noopener\">Music, Memory and Repression in Hitchcock\u2019s&nbsp;<em>Vertigo<\/em>&nbsp;(1958)<\/a>&nbsp;<\/li><li><strong>Christophe&nbsp;<\/strong><strong>Chambost<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/36614\" target=\"_blank\" rel=\"noreferrer noopener\">Southern Discomfort: Clanking, Rattling, and Screaming in&nbsp;<em>The Texas Chain Saw Massacre&nbsp;<\/em>(Tobe Hooper, 1974)<\/a>&nbsp;<\/li><li><strong>Rapha\u00eblle Costa de&nbsp;<\/strong><strong>Beauregard<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/36809\" target=\"_blank\" rel=\"noreferrer noopener\">John Lanchbery, Christopher Caliendo and Film Music History: A Comparison between two Modern Scores (1997 and 2007) for John Ford\u2019s 1924 Silent Epic Western,&nbsp;<em>The Iron Horse<\/em><\/a>&nbsp;<\/li><li><strong>Robert&nbsp;<\/strong><strong>Israel<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38488\" target=\"_blank\" rel=\"noreferrer noopener\">Visual Text and Musical Subtext:&nbsp;<em>The Cossacks<\/em>&nbsp;(George Hill, 1928): A 21<sup>st<\/sup>-Century Composer\u2019s Journey in Silent Film Scoring<\/a>&nbsp;<\/li><\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Prospero&rsquo;s Island<\/h2>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Vincent&nbsp;<\/strong><strong>Jaunas<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37194\" target=\"_blank\" rel=\"noreferrer noopener\">Le monde vu par un autre<\/a>&nbsp;&#8211;&nbsp;L\u2019identification et ses limites dans&nbsp;<em>Premier Contact&nbsp;<\/em>(<em>Arrival,&nbsp;<\/em>Denis Villeneuve, 2016)<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">\u00b7&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ariel&rsquo;s Corner<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">o&nbsp;&nbsp;&nbsp;&nbsp;Theater<\/h3>\n\n\n\n<p>Edited by&nbsp;<strong>Emeline&nbsp;<\/strong><strong>Jouve<\/strong><\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Emeline&nbsp;<\/strong><strong>Jouve<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37303\" target=\"_blank\" rel=\"noreferrer noopener\">Un Fran\u00e7ais \u00e0 Princeton&nbsp;: Entretien avec Florent Masse, enseignant-chercheur et directeur du Festival Seuls en Sc\u00e8ne<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>\u00c9mile&nbsp;<\/strong><strong>Zeizig<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37348\" target=\"_blank\" rel=\"noreferrer noopener\">Quelques&nbsp;<em>Temp\u00eate. s&nbsp;<\/em>: Quatre mises en sc\u00e8ne de<em>&nbsp;La Temp\u00eate&nbsp;<\/em>dans l\u2019objectif d\u2019\u00c9mile Zeizig, photographe<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Juliette&nbsp;<\/strong><strong>M\u00e9zergues<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37428\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Splendid\u2019s&nbsp;:<\/em>&nbsp;m\u00e9taphore de notre enfermement et objet de survie. Entretien avec Xavier Gallais.<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Lara&nbsp;<\/strong><strong>Cox<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37544\" target=\"_blank\" rel=\"noreferrer noopener\">Pause and Re-set: Reflections on the Virtual Theatre Festival \u201cThe Work of Adrienne Kennedy: Inspiration and Influence\u201d<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Rapha\u00eblle&nbsp;<\/strong><strong>Tchamitchian<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37588\" target=\"_blank\" rel=\"noreferrer noopener\">\u00ab\u2009Aux \u00c9tats-Unis, le capitalisme phagocyte la cr\u00e9ativit\u00e9\u2009\u00bb&nbsp;: Entretien avec David Geselson, auteur et metteur en sc\u00e8ne du spectacle bilingue<em>Le silence et la peur<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Faulkner&nbsp;<\/strong><strong>Fox<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39639\" target=\"_blank\" rel=\"noreferrer noopener\"><em>It Can\u2019t Happen Here<\/em>&nbsp;and the 2020 U.S. Election: An Interview with Leslie Frost<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Lara&nbsp;<\/strong><strong>Cox<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39688\" target=\"_blank\" rel=\"noreferrer noopener\">Pause and&nbsp;Re-set: Reflections on the Virtual Theatre Festival \u201cThe Work of Adrienne Kennedy: Inspiration and Influence\u201d<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Charalampos&nbsp;<\/strong><strong>Keivanidis<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39689\" target=\"_blank\" rel=\"noreferrer noopener\">Sexual Distancing: Remembrance of Sex Past in Robert Chesley\u2019s&nbsp;<em>Jerker<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Marianne&nbsp;<\/strong><strong>Drugeon<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39788\" target=\"_blank\" rel=\"noreferrer noopener\"><em>A Christmas Carol&nbsp;<\/em>by Charles Dickens, adapted by Jack Thorne<\/a>&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">o&nbsp;&nbsp;&nbsp;&nbsp;Music, dance<\/h3>\n\n\n\n<p>Edited by&nbsp;<strong>Nathalie&nbsp;<\/strong><strong>Vincent-Arnaud<\/strong><\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Pierre&nbsp;<\/strong><strong>Dubois<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40584\" target=\"_blank\" rel=\"noreferrer noopener\">\u00c9tudes anglaises, musique et imaginaire instrumental<\/a>&nbsp;&nbsp;Pr\u00e9sentation de l&rsquo;ouvrage&nbsp;<em>Dr Charles Burney and the Organ<\/em>&nbsp;de Pierre Dubois (\u00ab\u00a0Elements Series\u00a0\u00bb, Cambridge University Press, 2021)<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Franck&nbsp;<\/strong><strong>Ferraty<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40121\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Let\u2019s&nbsp;Dance&nbsp;<\/em>et son double\u2009? Bowie\/Gainsbourg, d\u2019un tube \u00e0 l\u2019autre<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Patrice&nbsp;<\/strong><strong>Larroque<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40408\" target=\"_blank\" rel=\"noreferrer noopener\">Compte rendu de l&rsquo;ouvrage&nbsp;<em>Deep Blues<\/em>&nbsp;de Robert Palmer<\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Nathalie&nbsp;<\/strong><strong>Vincent-Arnaud<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40623\" target=\"_blank\" rel=\"noreferrer noopener\">Jazz keeps talking<\/a>&nbsp;&#8211;&nbsp;Interview de Jean Szlamowicz \u00e0 propos de la parution de son ouvrage&nbsp;<em>Jazz Talk. Approche lexicologique, esth\u00e9tique et culturelle du jazz<\/em>&nbsp;(Toulouse, Presses Universitaires du Midi, collection Amphi 7, 2021)<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Nathalie&nbsp;<\/strong><strong>Vincent-Arnaud<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38848\" target=\"_blank\" rel=\"noreferrer noopener\">Variations sur le \u00ab\u00a0compos-auteur\u00a0\u00bb&nbsp;: interview de G\u00e9rard Dastugue, de la musique de film \u00e0 l&rsquo;<em>Ab\u00e9c\u00e9daire du Noir<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Marie&nbsp;<\/strong><strong>Dutaur<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39034\" target=\"_blank\" rel=\"noreferrer noopener\">Partying at Gatsby&rsquo;s mansion: an immersive experience<\/a>&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">o&nbsp;&nbsp;&nbsp;&nbsp;Film, TV, Video<\/h3>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>David&nbsp;<\/strong><strong>Roche<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/40223\" target=\"_blank\" rel=\"noreferrer noopener\">Mon Top 6 des films anglophones de 2020<\/a>&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">o&nbsp;&nbsp;&nbsp;&nbsp;American visual arts<\/h3>\n\n\n\n<p>Edited by&nbsp;<strong>Sophie&nbsp;<\/strong><strong>Maruejouls-Koch<\/strong><\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Olivier&nbsp;<\/strong><strong>Thircuir<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38426\" target=\"_blank\" rel=\"noreferrer noopener\">Exposition Mark Tobey,&nbsp;<em>Tobey or not to be<\/em><\/a>&nbsp;&nbsp;Galerie Jeanne Bucher, Paris, rue de Saintonge, 16 octobre 2020 \u2013 27 f\u00e9vrier 2021. Commissaire&nbsp;: Jean Gabriel de Bueil, V\u00e9ronique Jaeger, Emmanuel Jaeger, Stanislas Ract-Madoux.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">o&nbsp;&nbsp;&nbsp;&nbsp;Arts of the Commonwealth<\/h3>\n\n\n\n<p>Edited by&nbsp;<strong>Mathilde&nbsp;<\/strong><strong>Rogez<\/strong><\/p>\n\n\n\n<p>\u00a7&nbsp;&nbsp;<strong>Jay&nbsp;<\/strong><strong>Buchanan<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/39569\" target=\"_blank\" rel=\"noreferrer noopener\">Verdant Surfaces and Ambiguous Vividity: Ebony G. Patterson at CAMSTL<\/a>&nbsp;Review of&nbsp;<em>&#8230;when the cuts erupt&#8230;the garden rings&#8230;and the warning is a wailing&#8230;<\/em>, Ebony G. Patterson for Contemporary Art Museum St. Louis, 11 September 2020-21 February 2021.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">\u00b7&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Recensions<\/h2>\n\n\n\n<p>Edited by&nbsp;<strong>Isabelle&nbsp;<\/strong><strong>Keller-Privat<\/strong><strong>&nbsp;and Candice&nbsp;<\/strong><strong>Lemaire<\/strong><\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Rachel&nbsp;<\/strong><strong>Rogers<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37641\" target=\"_blank\" rel=\"noreferrer noopener\">Fabrice Bensimon (ed.),&nbsp;<em>Samuel Bamford : La vie d\u2019un radical anglaise au temps de Peterloo<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Alexandra&nbsp;<\/strong><strong>Sippel<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37754\" target=\"_blank\" rel=\"noreferrer noopener\">Tom Scriven,&nbsp;<em>Popular Virtue: Continuity and Change in Radical moral politics, 1820-1870<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Gilles&nbsp;<\/strong><strong>Menegaldo<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37836\" target=\"_blank\" rel=\"noreferrer noopener\">Mariaconcetta Costantini,&nbsp;<em>Mrs Henry Wood<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Isabelle&nbsp;<\/strong><strong>Schmitt-Pitiot<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/37966\" target=\"_blank\" rel=\"noreferrer noopener\">Jocelyn Dupont, Gilles Menegaldo,&nbsp;<em>Spectres de Poe dans la litt\u00e9rature et dans les arts&nbsp;<\/em><\/a><\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Rapha\u00eblle Costa de&nbsp;<\/strong><strong>Beauregard<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38081\" target=\"_blank\" rel=\"noreferrer noopener\">Philippe Goudard et Nathalie Vienne-Guerrin (eds.),&nbsp;<em>Figures du clown, sur sc\u00e8ne, en piste et \u00e0 l\u2019\u00e9cran<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Karen&nbsp;<\/strong><strong>Meschia<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38213\" target=\"_blank\" rel=\"noreferrer noopener\">Penny Summerfield,&nbsp;<em>Histories of the Self. Personal Narratives and Historical Practice<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o&nbsp;&nbsp;&nbsp;&nbsp;<strong>Eric&nbsp;<\/strong><strong>Doumerc<\/strong><strong>&nbsp;<\/strong><a href=\"https:\/\/journals.openedition.org\/miranda\/38241\" target=\"_blank\" rel=\"noreferrer noopener\">Celia A Sorhaindo,<em>&nbsp;Guabancex<\/em><\/a>&nbsp;<\/p>\n\n\n\n<p>o\u00a0\u00a0\u00a0\u00a0<strong>Cyril\u00a0Camus\u00a0<\/strong><a rel=\"noreferrer noopener\" href=\"https:\/\/journals.openedition.org\/miranda\/38271\" target=\"_blank\">P\u00e1draig \u00d3 M\u00e9al\u00f3id,\u00a0<em>Poisoned Chalice. The Extremely Long and Incredibly Complex Story of Marvelman (and Miracleman)<\/em>\u00a0and\u00a0<em>Mud and Starlight.\u00a0The Alan Moore Interviews, 2008-2016<\/em><\/a>\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"<p>J\u2019ai le plaisir de vous annoncer la parution du num\u00e9ro 22 de&nbsp;Miranda, dont ledossier th\u00e9matique \u00ab Unheard Possibilities: Reappraising Classical [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center 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