Cher.e.s tou.te.s,<\/p>\n
Nous sommes heureuses de vous annoncer la tenue de l’\u00e9dition 2022 du colloque itin\u00e9rant "Staging America." Il se tiendra cette ann\u00e9e \u00e0 l’Universit\u00e9 Toulouse-Jean Jaur\u00e8s les 17 et 18 mars: nous aborderons la th\u00e8matique de la rebellion dans un approche pluridisciplinaire nord\/sud.<\/p>\n
Les propositions de communications sont attendues pour le 15 novembre.<\/p>\n
Vous trouverez ci-dessous d’appel \u00e0 communications ainsi que les d\u00e9tails relatifs \u00e0 l’envoi des propositions.<\/p>\n
Bien amicalement,
\nNathalie Dessens, Anne Stefani, Modesta Suarez, Emeline Jouve<\/p>\n
[PLEASE, SCROLL DOWN FOR THE ENGLISH VERSION]<\/p>\n
Staging American Rebellion<\/strong><\/p>\n Mise en sc\u00e8ne de la r\u00e9bellion dans les Am\u00e9riques<\/strong><\/p>\n Universit\u00e9 Toulouse-Jean Jaur\u00e8s<\/p>\n 17-18 mars 2022<\/p>\n Apr\u00e8s avoir inscrit au programme des rencontres Staging America<\/em> un certain nombre de probl\u00e9matiques \u00e9tatsuniennes, nous privil\u00e9gions d\u00e9sormais les \u00e9tudes permettant de croiser ces probl\u00e9matiques entre Nord et Sud du continent. Nous faisons se c\u00f4toyer des recherches r\u00e9solument interdisciplinaires : histoire, anthropologie, litt\u00e9rature, s\u00e9miotique de l\u2019image, cin\u00e9ma, th\u00e9\u00e2tre, entre autres. En effet, la notion de \u00ab mise en sc\u00e8ne \u00bb qui fonde nos probl\u00e9matiques se veut plurielle<\/strong>. Elle renvoie \u00e0 tout mode de repr\u00e9sentation utilisant les ressorts de la dramatisation dans son acception la plus large.<\/p>\n La prochaine rencontre, pr\u00e9vue \u00e0 l\u2019Universit\u00e9 Toulouse-Jean Jaur\u00e8s, les 17 et 18 mars 2022, aura pour but de centrer nos questionnements sur le terme de \u00ab r\u00e9bellion \u00bb et la polys\u00e9mie qui peut l\u2019accompagner lorsqu\u2019on le pose dans un contexte am\u00e9ricain : celui d\u2019\u00ab insurrection \u00bb, de \u00ab soul\u00e8vement \u00bb, de \u00ab dissidence \u00bb, de \u00ab d\u00e9sob\u00e9issance \u00bb, d\u2019\u00ab insubordination \u00bb, voire de \u00ab r\u00e9volution \u00bb. Il nous faudra d\u00e9finir des forces en pr\u00e9sence mais aussi les formes que peuvent prendre ces luttes, ces crises, ces r\u00e9sistances, et leurs enjeux, que l\u2019on soit dans le domaine de l\u2019histoire, des soci\u00e9t\u00e9s ou des imaginaires. Il est important \u00e9galement, tout en r\u00e9fl\u00e9chissant \u00e0 la violence que g\u00e9n\u00e8rent ces mouvements, de consid\u00e9rer un de ses principaux moteurs constitu\u00e9 par le d\u00e9sir (de s\u2019affranchir, de contester, de se lib\u00e9rer, de redevenir sujet, de prendre le pouvoir, de rendre justice).<\/p>\n La r\u00e9bellion est inscrite dans l\u2019histoire de la nation \u00e9tatsunienne depuis les tout d\u00e9buts de la colonisation. Entendue comme une r\u00e9volte, une attitude d\u2019indiscipline, d\u2019insubordination \u00e0 un r\u00e9gime ou une institution, d\u2019opposition \u00e0 l\u2019autorit\u00e9 publique consid\u00e9r\u00e9e comme abusive (que ce soit l\u2019\u00c9tat, le pouvoir, l\u2019ordre \u00e9tabli), la r\u00e9bellion est m\u00eame inscrite dans sa d\u00e9claration d\u2019ind\u00e9pendance qui proclame institutionnellement le droit de renverser un gouvernement abusif. Les d\u00e9buts de l\u2019histoire nationale ont \u00e9t\u00e9 marqu\u00e9s par des r\u00e9bellions populaires visant le pouvoir f\u00e9d\u00e9ral et touchant toutes les aires g\u00e9ographiques de la nouvelle nation. Les esclaves, quant \u00e0 eux, vis\u00e8rent par des r\u00e9voltes (appel\u00e9es, en anglais, \u00ab slave rebellions \u00bb) l\u2019institution qui les avaient asservis, marquant le XIXe si\u00e8cle du sceau de la d\u00e9fiance \u00e0 un ordre pourtant bien \u00e9tabli.<\/p>\n L\u2019ensemble des Am\u00e9riques r\u00e9pond \u00e0 un constat : de la R\u00e9volution ha\u00eftienne, assise sur une r\u00e9bellion massive des esclaves, aux r\u00e9bellions indiennes qui ont marqu\u00e9 les premiers si\u00e8cles de la colonisation jusqu\u2019\u00e0 l\u2019\u00e9poque des ind\u00e9pendances latino-am\u00e9ricaines, c\u2019est le continent tout entier qui a \u00e9t\u00e9 marqu\u00e9 de mouvements populaires de tous ordres mettant \u00e0 mal le pouvoir install\u00e9. Les XX\u00e8me et XXI\u00e8me si\u00e8cles ne font pas exception. Depuis les nombreux mouvements d\u2019opposition au gouvernement f\u00e9d\u00e9ral jusqu\u2019aux combats pour l\u2019obtention des droits civiques, aux mouvements populistes et aux mobilisations contemporaines (Tea Party, Occupy Wall Street, Black Lives Matter, etc.), les \u00c9tats-Unis semblent marqu\u00e9s du sceau de la r\u00e9bellion. En Am\u00e9rique latine et dans la Cara\u00efbe, le terme a parfois \u00e9t\u00e9 concurrenc\u00e9 par celui de \u00ab r\u00e9volution \u00bb venu caract\u00e9riser des mouvements populaires qui ont souvent port\u00e9 au pouvoir des groupes sociaux (paysans, indig\u00e8nes, habitants des favelas<\/em>) d\u00e9fendant les int\u00e9r\u00eats du \u00ab prol\u00e9tariat \u00bb ou de la \u00ab paysannerie \u00bb. Ainsi, la R\u00e9volution mexicaine de 1910, la R\u00e9volution cubaine de 1959 ou celle du Nicaragua en 1979. Mais ces \u00ab r\u00e9bellions \u00bb, de mani\u00e8re plus g\u00e9n\u00e9rale, ont mis en \u00e9vidence la confrontation, sur l\u2019ensemble du continent, de forces et de corpus<\/em> id\u00e9ologiques parfois endog\u00e8nes, avec des mots d\u2019ordre souvent internationaux, comme ce fut le cas pendant la guerre froide.<\/p>\n La mise en r\u00e9cit de ces \u00e9v\u00e9nements a constitu\u00e9, dans de tr\u00e8s nombreux cas, le socle de l\u2019imaginaire qui pr\u00e9vaut encore sur le continent. La prose mais aussi les vers ont pris le relais des t\u00e9moignages et autres reportages pour brosser le portrait des h\u00e9ros et h\u00e9ro\u00efnes dont la biographie invent\u00e9e ou r\u00e9elle peut alimenter encore, au-del\u00e0 des fronti\u00e8res nationales, les chroniques ou les utopies de notre d\u00e9but de XXI\u00e8me si\u00e8cle. On peut penser aux icones comme Emiliano Zapata, Evita Per\u00f3n, Martin Luther King, le Che ou Rosie the Riveter et \u00e0 tous leurs avatars fictionnels.<\/p>\n On consid\u00e8rera des formes artistiques (slogans, graffitis, formules politiques, photographies, banderoles, affiches, etc.) et un inventaire de formes qui ne cesse de se renouveler. On pourra aussi s\u2019int\u00e9resser \u00e0 la mise en sc\u00e8ne historique et historiographique des r\u00e9bellions, voire \u00e0 qu\u2019en a fait la culture populaire, qui tend \u00e0 sc\u00e9nariser la r\u00e9bellion am\u00e9ricaine sous forme m\u00e9taphorique (on pense, entre autres, \u00e0 la saga de Star Wars, pour ne citer qu\u2019un exemple).<\/p>\n Pourront donc \u00eatre envisag\u00e9es, sans que la liste qui suit soit exhaustive, les cinq grandes probl\u00e9matiques suivantes :<\/p>\n – R\u00e9bellion et pouvoir<\/strong><\/p>\n – R\u00e9bellion et r\u00e9volution<\/strong><\/p>\n – R\u00e9bellion et m\u00e9moire<\/strong><\/p>\n – Repr\u00e9sentations de la r\u00e9bellion<\/strong><\/p>\n – R\u00e9bellion et esth\u00e9tique<\/strong><\/p>\n Bibliographie succincte :<\/p>\n Am\u00e9rica Latina 1960-2013, Photographies<\/em>, Paris, Fondation Cartier, 2013.<\/p>\n Arti\u00e8res Philippe et Eric de Chassey, Images en lutte (La culture visuelle de l\u2019extr\u00eame-gauche en France (1968-1974), <\/em>Paris, Beaux-Arts de Paris Ed., 2018.<\/p>\n Berryman, Phillip. The Religious Roots of Rebellion: Christians in Central American Revolutions<\/em>, Eugene, OR, Wipf and Stock, 2004.<\/p>\n Butler Judith, \u00ab Soul\u00e8vement \u00bb, in Didi-Huberman Georges (coordination et introduction), Soul\u00e8vements<\/em>, Paris, Gallimard, Mus\u00e9e du Jeu de Paume, 2016, p. 23-37.<\/p>\n Brustein, Robert, The Theatre of Revolt: An Approach to the Modern Drama<\/em>, Chicago, Elephant Paperbacks, 1991.<\/p>\n Craven, David, Art and Revolution in Latin America 1910-1990<\/em>, New Haven, Yale University Press, 2006.<\/p>\n Didi-Huberman Georges (coordination et introduction), Soul\u00e8vements<\/em>, Paris, Gallimard, Mus\u00e9e du Jeu de Paume, 2016.<\/p>\n Downes Paul, Democracy, Revolution, and Monarchism in Early American Literature<\/em>, Cambridge, Cambridge Univ. Press, 2009.<\/p>\n Dunbar-Ortiz Roxanne, Contre-histoire des \u00c9tats-Unis<\/em>, Paris, Ed. Wildproject, 2018.<\/p>\n French Scot, The Rebellious Slave: Nat Turner in American Memory<\/em>, Boston, Houghton Mifflin, 2004.<\/p>\n Jankovic Ivan, The American Counter-Revolution in Favor of Liberty: How Americans Resisted Modern State, 1765-1850<\/em>, Cham, Palgrave Macmillan, 2019.<\/p>\n Lyday Leon F., George W. Woodyard, eds., Dramatists in Revolt: The New Latin American Theater<\/em>, Austin, University of Texas Press, 2011.<\/p>\n Marable Manning, Race, Reform, and Rebellion: The Second Reconstruction and Beyond in Black America, 1945-2006<\/em>, Jackson, University Press of Mississippi, 2007.<\/p>\n Tr\u00e9guer Annick, Chicanos<\/em> \u2013 Murs peints des \u00c9tats-Unis<\/em>, Paris, PSN, 2000.<\/p>\n Young, Ralph, Dissent: The History of an American Idea<\/em>, New York, New York University Press, 2015.<\/p>\n Zinn, Howard, Histoire populaire des \u00c9tats-Unis \u2013 De 1492 \u00e0 nos jours<\/em>, Marseille, Ed. Agone, 2002.<\/p>\n Elles comprendront : a) un abstract <\/strong>(4 000 caract\u00e8res maximum) ; b) une courte biographique.<\/strong><\/p>\n Langues officielles <\/strong>: fran\u00e7ais, anglais et espagnol.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n Staging American Rebellion<\/p>\n Universit\u00e9 Toulouse-Jean Jaur\u00e8s<\/p>\n 17-18 March 2022<\/p>\n After organizing several Staging America <\/em>conferences bearing exclusively on United States issues, we now favor a trans-American North\/South perspective. We also intend to engage in interdisciplinary exchanges, welcoming specialists of history, anthropology, literature, image semiotics cinema, theater, among others. Indeed, the notion of \u201cstaging\u201d at the origin of our discussions is not limited to drama studies and considers any mode of representation using dramatization methods in the broad sense of the word.<\/p>\n The next conference, which will be hosted at the Universit\u00e9 Toulouse-Jean Jaur\u00e8s, on March 17-18, 2022, will question the notion of \u201crebellion\u201d and its polysemy in the American context involving notions of \u201cinsurrection\u201d, \u201cupheaval\u201d, \u201cdissidence\u201d, \u201cdisobedience\u201d, \u201cinsubordination\u201d, and even \u201crevolution\u201d. We will define the forces involved, but also the forms taken by these struggles, crises, resistances, as well as their stakes, in the fields of history, societies, and fiction. It is also important, while considering the violence these movements generate, to take into account one of its main drives: desire (for freedom, for protest, for agency, for power, for justice).<\/p>\n Rebellion has been inherent in the history of the United States since the early age of colonization. Taken in the sense of revolt, indiscipline, insubordination to a regime or an institution, opposition to public authorities considered as abusive (be it the state, power, the established order), rebellion is even written in its declaration of independence which proclaims the institutional right to overthrow an abusive government. Early national history was marked by popular rebellions against the federal government everywhere in the new nation. As for slaves, they fought, through several rebellions, against the institution that had subjugated them, inscribing defiance against the established order in 19th-century US history.<\/p>\n The trajectory of the whole of the Americas follows the same logic of defiance: from the Haitian Revolution, which was the result of a massive slave rebellion, to the Indian rebellions that marked the first centuries of colonization, to the Latin-American independences, the whole continent was marked by popular movements of all kinds against what represented power.<\/p>\n The 20th and 21st centuries are no exception to the rule. From the many movements against the federal government to civil rights movements, populist upheavals, and contemporary mobilizations (Tea Party, Occupy Wall Street, Black Lives Matter, etc.), the United States has kept its rebellious tradition. In Latin America and in the Caribbean, the word \u201crevolution\u201d was, at times, preferred to that of rebellion to characterize the popular movements that sometimes brought to power social groups defending the interests of the \u201cproletariat\u201d or of \u201cpeasantry\u201d (farmers, Indigenous peoples, inhabitants of the favelas<\/em>). Such was the case of the 1910 Mexican Revolution, of the 1959 Cuban Revolution, or the 1979 revolution in Nicaragua. From a more global perspective, these \u201crebellions\u201d have highlighted the confrontation, on the whole continent, of ideological forces and corpuses, sometimes endogenous, often with an international scope, as was the case during the Cold War.<\/p>\n The narrative of these events has been, in many cases, the foundation of an imaginary that prevails on the continent. Prose, as well as verse, have taken over from testimonies and reports to represent the heroes whose invented or real biographies can feed the chronicles and utopias of the early 21st century, across national borders.. This is the case, for instance, of iconic figures like Emiliano Zapata, Evita Per\u00f3n, Martin Luther King, Jr., Che Guevarra, or Rosie the Riveter, and their fictional avatars.<\/p>\n Special attention to original art forms (slogans, graffiti, political catchphrases, photographs, banners, posters, etc.) is encouraged, as well as an inventory of forms that are constantly being renewed. It will also be interesting to consider historical and historiographical ways of staging rebellions, as well as their representations in popular culture that often metaphorically scenarizes American rebellion (for instance in the Star Wars series, to cite only one example).<\/p>\n Although the list is far from exhaustive, the following themes can be considered:<\/p>\n – Rebellion and power<\/strong><\/p>\n – Rebellion and revolution<\/strong><\/p>\n – Rebellion and memory<\/strong><\/p>\n – Representations of rebellion<\/strong><\/p>\n – Rebellion and aesthetic<\/strong><\/p>\n Short bibliography:<\/p>\n Am\u00e9rica Latina 1960-2013, Photographies<\/em>, Paris, Fondation Cartier, 2013.<\/p>\n Arti\u00e8res Philippe et Eric de Chassey, Images en lutte (La culture visuelle de l\u2019extr\u00eame-gauche en France (1968-1974), <\/em>Paris, Beaux-Arts de Paris Ed., 2018.<\/p>\n Berryman, Phillip. The Religious Roots of Rebellion: Christians in Central American Revolutions<\/em>, Eugene, OR, Wipf and Stock, 2004.<\/p>\n Butler Judith, \u00ab Soul\u00e8vement \u00bb, in Didi-Huberman Georges (coordination et introduction), Soul\u00e8vements<\/em>, Paris, Gallimard, Mus\u00e9e du Jeu de Paume, 2016, p. 23-37.<\/p>\n Brustein, Robert, The Theatre of Revolt: An Approach to the Modern Drama<\/em>, Chicago, Elephant Paperbacks, 1991.<\/p>\n Craven, David, Art and Revolution in Latin America 1910-1990<\/em>, New Haven, Yale University Press, 2006.<\/p>\n Didi-Huberman Georges (coordination et introduction), Soul\u00e8vements<\/em>, Paris, Gallimard, Mus\u00e9e du Jeu de Paume, 2016.<\/p>\n Downes Paul, Democracy, Revolution, and Monarchism in Early American Literature<\/em>, Cambridge, Cambridge Univ. Press, 2009.<\/p>\n Dunbar-Ortiz Roxanne, Contre-histoire des \u00c9tats-Unis<\/em>, Paris, Ed. Wildproject, 2018.<\/p>\n French Scot, The Rebellious Slave: Nat Turner in American Memory<\/em>, Boston, Houghton Mifflin, 2004.<\/p>\n Jankovic Ivan, The American Counter-Revolution in Favor of Liberty: How Americans Resisted Modern State, 1765-1850<\/em>, Cham, Palgrave Macmillan, 2019.<\/p>\n Lyday Leon F., George W. Woodyard, eds., Dramatists in Revolt: The New Latin American Theater<\/em>, Austin, University of Texas Press, 2011.<\/p>\n Marable Manning, Race, Reform, and Rebellion: The Second Reconstruction and Beyond in Black America, 1945-2006<\/em>, Jackson, University Press of Mississippi, 2007.<\/p>\n Tr\u00e9guer Annick, Chicanos<\/em> \u2013 Murs peints des \u00c9tats-Unis<\/em>, Paris, PSN, 2000.<\/p>\n Young, Ralph, Dissent: The History of an American Idea<\/em>, New York, New York University Press, 2015.<\/p>\n Zinn, Howard, Histoire populaire des \u00c9tats-Unis \u2013 De 1492 \u00e0 nos jours<\/em>, Marseille, Ed. Agone, 2002.<\/p>\n They should include: a) an abstract <\/strong>(4,000 characters maximum); b) a short biographical sketch<\/strong><\/p>\n Official languages<\/strong>: French, English and Spanish.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n Emeline Jouve Cher.e.s tou.te.s, Nous sommes heureuses de vous annoncer la tenue de l’\u00e9dition 2022 du colloque itin\u00e9rant "Staging America." Il se […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","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":"","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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[568],"tags":[409,399,382,248,592,593],"class_list":["post-2183","post","type-post","status-publish","format-standard","hentry","category-conference-symposium","tag-americas","tag-anthropology","tag-colonization","tag-literature","tag-rebellion","tag-staging"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"Cher.e.s tou.te.s, Nous sommes heureuses de vous annoncer la tenue de l’\u00e9dition 2022 du colloque itin\u00e9rant "Staging America." Il se […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2183"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=2183"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2183\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=2183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=2183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=2183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n\n
\n Les propositions devront \u00eatre envoy\u00e9es au plus tard le 15 novembre 2021 <\/em><\/strong>\u00e0 Nathalie Dessens (nathalie.dessens), \u00c9meline Jouve (emeline.jouve), Modesta Suarez (modesta.suarez) et Anne Stefani ( anne.stefani)<\/p>\n \n\n
\n Conference paper proposals should be sent by November 15, 2021 <\/em><\/strong>at the latest, to Nathalie Dessens (nathalie.dessens), \u00c9meline Jouve (emeline.jouve), Modesta Su\u00e1rez (modesta.suarez) and Anne Stefani (anne.stefani).<\/p>\n
\nChampollion University\/Toulouse II- University, France.
\nemeline_jouve; emeline.jouve<\/p>\n","protected":false},"excerpt":{"rendered":"