{"id":7519,"date":"2020-10-15T11:55:54","date_gmt":"2020-10-15T11:55:54","guid":{"rendered":"https:\/\/jet-traductions.com\/?page_id=7519"},"modified":"2021-02-18T16:28:32","modified_gmt":"2021-02-18T16:28:32","slug":"portfolio","status":"publish","type":"page","link":"https:\/\/jet-traductions.com\/en\/portfolio\/","title":{"rendered":"Portfolio"},"content":{"rendered":"\t\t
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Portfolio<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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You can read some examples of translations
in my speciality fields below<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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CONTEMPORARY Glass ART<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Inlandsis<\/em> exhibition by artist Mich\u00e8le Perozeni at the MusVerre, Sars-Poteries<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Mich\u00e8le P\u00e9rozeni r\u00e9alise pour la premi\u00e8re fois une narration figurative, poussant parfois des hurlements silencieux adress\u00e9s aux briseurs de glaces. Si le verre noir en plaques figure la voie ouverte en Arctique aux prospecteurs de bitume par le r\u00e9chauffement climatique, son message est ailleurs. \u00ab Je ne cherche pas \u00e0 parler des rennes ou des Inuits, dit-elle, mon travail est dans le rien, il se niche au sein de tout ce qui est appel\u00e9 \u00e0 dispara\u00eetre \u00bb.<\/p>

Et l\u2019on revient au m\u00e9andres du temps et \u00e0 l\u2019in\u00e9luctable \u00ab tempus fugit \u00bb latin. Les bois des cervid\u00e9s, qui sont en fait constitu\u00e9s d\u2019os, poussent, puis tombent chaque ann\u00e9e, mat\u00e9rialisation dynamique de la succession brutale des saisons polaires. L\u2019ordre naturel r\u00e9gissant leur croissance \u00e9chappe aux lois de l\u2019\u00e9quilibre et de la gravit\u00e9. Trop lourds, fragiles en leurs centres, ils ne sont l\u00e0 que pour briller lors de la parade amoureuse et sont trait\u00e9s sans \u00e9l\u00e9gance de \u00ab caract\u00e8res sexuels secondaires \u00bb, quand ils ne figurent pas sur les murs des chasseurs en troph\u00e9es morbides\u2026 Moul\u00e9s et transmut\u00e9s en verre, ils expriment enfin pleinement leur \u00e9l\u00e9gante t\u00e9nue et leur beaut\u00e9 plastique. Enchev\u00eatr\u00e9s, ils composent une structure compacte. Accumul\u00e9s, ils se changent en vague ondulante, une fourrure de lumi\u00e8re appelant la caresse. Une for\u00eat improbable, ainsi l\u2019\u00e9voque le titre bien choisi de l\u2019une de ses \u0153uvres.<\/p>

L\u2019\u00e9quipement n\u00e9cessaire pour rejoindre Inlandsis dans cette exp\u00e9dition po\u00e9tique est rudimentaire : des yeux pour contempler l\u2019or blanc de cet univers paradoxal, une \u00e2me libre pour s\u2019y perdre sans appr\u00e9hension, un soup\u00e7on d\u2019ing\u00e9nuit\u00e9 nich\u00e9 au fond de nos souvenirs.<\/p>

Pendant plusieurs longs mois, de dessins en moulages, de cuissons en recuissons, de d\u00e9moulages en finitions, Mich\u00e8le P\u00e9rozeni a tout pr\u00e9vu pour rendre inoubliable notre voyage d\u2019un instant. Sur Inlandsis, le temps fuit, mais pas de la m\u00eame fa\u00e7on pour tous.<\/p>

Thierry de Beaumont
Journaliste, auteur, enseignant \u00e0 l\u2019\u00c9cole Camondo, Paris<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Mich\u00e8le P\u00e9rozeni\u2019s first figurative narration silently howls its anger to the ice-breakers. The black glass plates could represent the figurative swage cut through the Arctic by oil prospectors and the effects of global warming, but this is not her message: “I do not want to talk about reindeer or Inuits, my work concerns the nothingness that lies deep within everything that is destined to disappear.”<\/p>

A return then to the concept of passing time and the fleetingness of our existence. Antlers, which are in fact made of bone, grow and wither each year, in pace with the brutal changes of seasons in the polar regions. The natural order that governs their growth defies the laws of balance and gravity. Over-heavy and fragile to the core, they only serve to provide a display of male dominance during the mating season and are inelegantly dubbed \u201cmale secondary sexual organs\u201d or otherwise hung on walls as a hunting trophy. When cast in glass, they can at last fully express their intrinsic beauty and elegance. When interlocked, they form a compact structure. Grouped together, they become a rippling wave, or a shimmering mass of strokable hide. It is an improbable forest, as she aptly calls one of her pieces.<\/p>

The equipment needed to join this poetic expedition to Inlandsis is quite basic: eyes with which to contemplate the white gold of this paradoxical universe, a free spirit that will let one lose oneself in it without apprehension, and a touch of credulity hidden deep in our memories.<\/p>

After many months of drawing, casting, firing, annealing, stripping and finishing, Mich\u00e8le P\u00e9rozeni has provided everything we need to make this short journey a memorable one. On Inlandsis, time is fleeting but not in the same way for everybody.<\/p>

Thierry de Beaumont
Journalist, writer and professor at the Ecole Camondo in Paris.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Exhibition catalogue - Richard Meitner - Burg Collection at the MusVerre, Sars-Poteries<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L\u2019\u0153uvre de Meitner \u00e9chappe \u00e0 toute classification, \u00e9tant en perp\u00e9tuel mouvement et mettant toujours en cause des nouvelles relations : transparence\/opacit\u00e9, abstraction\/illustration, verre\/m\u00e9tal ou bois, science\/art. Ses sculptures combinent un ensemble d\u2019influences et d\u2019id\u00e9es.<\/p>

La pi\u00e8ce de la collection Burg part d\u2019une forme de base verticale, en verre souffl\u00e9 et \u00e9maill\u00e9, referm\u00e9e vers le haut. Le tout est l\u00e9ger, translucide, a\u00e9rien, souple. Le corps de certaines \u0153uvres des ann\u00e9es 1990 s\u2019orne d\u2019un ergot et viennent s\u2019y accrocher des paniers, des fruits ou des fleurs m\u00e9tallis\u00e9es ou \u00e9maill\u00e9es. L\u2019artiste impose un mouvement \u00e0 la forme tout enti\u00e8re.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Meitner’s work is quite unclassifiable; it is in perpetual motion and constantly explores new relationships between transparency and opacity, abstraction and illustration, glass and metal or wood, science and art. His sculptures reveal a whole range of influences and ideas.<\/p>

The piece in the Burg collection starts with a basic vertical shape made of blown, enamelled glass narrowing at the top. It is light, translucent, ethereal and supple. Some of the pieces he made in the 1990s include a spur on which are hung metallic or enamelled baskets, fruit or flowers. He instils a sense of movement in the entire piece.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Construction \u2013 Architecture<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Extract from a sales brochure for a Brussels town house, \u00a9 Dor\u00e9 Architecture<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Menuiserie ext\u00e9rieure<\/span>
Menuiseries ext\u00e9rieures en bois peint neuves (essence\u00a0: Merbeau \u2013 marque\u00a0: RICHE) \u2013 refaites esth\u00e9tiquement \u00e0 l\u2019identique \/ menuiseries ext\u00e9rieures en g\u00e9n\u00e9ral d’une classe de prix normale \u00e0 \u00e9lev\u00e9e \/ ch\u00e2ssis dot\u00e9s d’un double vitrage isolant (U 1.1)
Fen\u00eatres de la fa\u00e7ade \u00e0 rue, et fen\u00eatre de la suite principale du 2e \u00e9tage (fa\u00e7ade arri\u00e8re), \u00e9quip\u00e9es de volets \u00e0 commandes \u00e9lectriques.
Baies du rez-de-chauss\u00e9e c\u00f4t\u00e9 rue, et porte d\u2019entr\u00e9e \u00e9quip\u00e9es de grillages en fer forg\u00e9 restaur\u00e9s.
Porte d\u2019entr\u00e9e \u00e9quip\u00e9e d\u2019une serrure \u00e0 3 points.
Portes sectionnelles d\u2019acc\u00e8s au garage neuves en bois peint (essence\u00a0: merbeau \u2013 marque H\u00d6RMANN) \u2013 refaites esth\u00e9tiquement \u00e0 l\u2019identique \/ impostes en simple vitrage<\/p>

Menuiserie int\u00e9rieure<\/span>
Menuiseries int\u00e9rieures en bois peint \u00e0 la chaux (essence\u00a0: Tulipier) \/ quincailleries refaites \u00e0 l\u2019identique d\u2019un mod\u00e8le de 1927 par des artisans autrichiens \/ certaines portes sont \u00e9quip\u00e9es de croisillons habill\u00e9s d\u2019\u00e9l\u00e9ments en verre-miroir biseaut\u00e9<\/p>

\u00a9 Dor\u00e9 Architecture, 2018<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Exterior joinery<\/span>
Exterior joinery made of new painted wood (species: Merbau – manufacturer: Riche) – reproduction of original design; standard to superior quality exterior joinery materials; double-glazing (U-value of 1.1 W\/m\u00b2K).
The street side windows and the window of the main suite on the 2nd floor (at the back of the building) are equipped with electrically controlled shutters.
The original wrought irons guards on the ground floor windows on the street side and on the front door have been fully restored.
Front door has a 3 point locking system.
New sectional garage door made of painted wood (species: Merbau – manufactured by H\u00f6rmann) – reproduction of original design; single glazed transom windows<\/p>

Interior joinery<\/span>
Exterior joinery made of new painted wood (species: Tulipwood); hardware reproduced from a 1927 design and handmade in Austria; some doors have muntin bars with decorative bevelled mirrored glass insets.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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ART & DESIGN\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Text presenting a multimedia art project
and introduction to the collection of work inspired by and exhibited in the Maison Horta, Brussels<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L’invitation de Victor H.<\/p>

Une parenth\u00e8se cr\u00e9ative intemporelle, un dialogue entre patrimoine architectural belge et Arts appliqu\u00e9s contemporains, le fruit d\u2019un moment pass\u00e9 chez Victor Horta.<\/strong><\/p>

Comment s’inspirer de Victor Horta sans faire du “Victor Horta” ? Les artistes de BeCraft posent un regard contemporain sur l’\u0152uvre incontournable de l\u2019architecte belge qui charrie avec lui tout un courant artistique majeur de l’art moderne. Sa maison personnelle et son atelier, caract\u00e9ristiques de l’Art nouveau \u00e0 son apog\u00e9e, ont conserv\u00e9 en grande partie ses cr\u00e9ations. De quoi impressionner mais aussi inspirer les artistes contemporains, car travailler dans le sillage d\u2019Horta, c’est en soi s’int\u00e9grer symboliquement dans l’Histoire.
Il est peu ais\u00e9 d’entrer dans cet univers, tant son \u0152uvre est impressionnant, presque sacr\u00e9. Pourtant, Victor Horta a invit\u00e9 les artistes de BeCraft \u00e0 en faire partie, le temps d’une collaboration.<\/p>

Ce projet en collaboration avec le Mus\u00e9e Horta suit la lign\u00e9e d\u2019une initiative de BeCraft qui a d\u00e9but\u00e9 en 2015. Pour la troisi\u00e8me fois, l\u2019asbl collabore avec une institution reconnue pour la mise en place d\u2019un projet dans les termes suivants\u00a0: les cr\u00e9ateurs membres de l\u2019association s\u2019inspirent des collections d\u2019un mus\u00e9e pour la cr\u00e9ation d\u2019une \u0153uvre contemporaine originale. Ceci, dans l’optique premi\u00e8re d’optimiser le partage des savoirs li\u00e9s aux Arts appliqu\u00e9s ; de sensibiliser le public aux m\u00e9tiers d’arts actuels et \u00e0 leur port\u00e9e artistique et sociale. Le Mus\u00e9e de la photographie \u00e0 Charleroi fut le premier \u00e0 s\u2019associer \u00e0 cette d\u00e9marche. En 2017, l\u2019exp\u00e9rience fut renouvel\u00e9e avec La Piscine de Roubaix.<\/em><\/p>

\u00a9 BeCraft, 2019<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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An invitation from Victor H.<\/p>\n

A creative interlude outside the boundaries of time, a dialogue between Belgium\u2019s architectural heritage and contemporary art and design, the fruit of a moment spent with Victor Horta.<\/strong><\/p>\n

How to be inspired by Victor Horta without “doing a Horta”? The artists of BeCraft take a contemporary look at the great work of the Belgian architect who was a driving force in one of the most important trends of modern art. His home and studio, both fine examples of Art Nouveau at its peak, still house a large part of his work. They contain plenty to impress but also inspire contemporary artists; by working in Horta’s footsteps, they also symbolically become part of History.
It is no easy matter to embrace such an impressive, almost sacred, body of work. Yet Victor Horta has invited the artists of BeCraft to do just that, as part of a unique cooperation project.<\/p>\n

This project in cooperation with the Horta Museum follows on from an initiative started by BeCraft in 2015. For the third time, the non-profit association will work with a major museum on a project based on the following concept: The artists belonging to the association will take their inspiration from the collections of a museum to create some original contemporary work. The main goals are to encourage the sharing of knowledge in the field of Art and Design and to raise general awareness of current creative crafts and their artistic and social impact. The first establishment to engage in this concept was the Photography Museum in Charleroi and the experience was repeated in 2017 with La Piscine in Roubaix.”<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00ab<\/strong>\u00a0Cr\u00e9er, c\u2019est tuer la mort\u00a0\u00bb1<\/sup><\/strong><\/em><\/p>

Lorsque l\u2019Art Nouveau est n\u00e9, fin du 19e si\u00e8cle, le monde vivait d\u00e9j\u00e0, apr\u00e8s plusieurs d\u00e9cennies, les effets d\u2019une \u00e9volution exponentielle de l\u2019industrialisation. Inquiets et \u00ab m\u00e9fiants des cons\u00e9quences qualitatives et esth\u00e9tiques de la technologie \u00bb2<\/sup>, d\u2019aucuns ont remis en cause la machine pour faire valoir la pr\u00e9valence de la main sur la beaut\u00e9 des choses. L\u2019Art nouveau, ind\u00e9niable \u00e9cho du mouvement Arts & Crafts en Angleterre, redore l\u2019image de l\u2019artisanat en lui accordant une place majeure voir, pr\u00e9pond\u00e9rante au sein de l\u2019espace domestique.
Parmi les grands noms, Victor Horta, fervent d\u00e9fenseur du savoir-faire, de la lumi\u00e8re, initiateur du coup de fouet et ma\u00eetre dans l\u2019alliage des mat\u00e9riaux de construction et des mat\u00e9riaux nobles. Avant-gardiste, il a su d\u00e9gager toutes les potentialit\u00e9s du mariage entre industrie et savoir-faire artisanal, rejoignant ainsi le slogan des s\u00e9cessionnistes viennois de son \u00e9poque\u00a0: \u00ab\u00a0\u00e0 chaque \u00e2ge son art, \u00e0 chaque art sa libert\u00e9\u00a0\u00bb.
Face \u00e0 tant de singularit\u00e9, comment s\u2019inspirer de Victor Horta sans faire du “Victor Horta” ? Il est en effet peu ais\u00e9 d\u2019entrer dans cet univers, tant son \u0152uvre est impressionnant, presque sacr\u00e9. Pourtant, Victor Horta a invit\u00e9 les artistes de BeCraft \u00e0 en faire partie, le temps d\u2019une collaboration.
Ces cr\u00e9ateurs posent ainsi un regard contemporain sur l\u2019\u0152uvre incontournable de l\u2019architecte. Des jeux techniques de lumi\u00e8re et de courbe \u00e0 la sensualit\u00e9 des soies murales, en passant par l\u2019adage d\u2019une nature quasi omnipr\u00e9sente symboliquement et plastiquement, ils investissent l\u2019espace de la Maison Horta pour confirmer la valeur des arts appliqu\u00e9s. Car \u00ab\u00a0cr\u00e9er, c\u2019est tuer la mort\u00a0\u00bb3<\/sup>, c\u2019est contrer les affres du temps par le lien, l\u2019\u00e9change presque organique des formes artistiques. Ils partagent avec Horta un regard commun autour de la notion de savoir-faire, de ma\u00eetrise, du geste, adapt\u00e9 cela dit aux pr\u00e9occupations, aux techniques et mat\u00e9riaux actuels. Plus qu\u2019un regard, c\u2019est une relecture ajust\u00e9e \u00e0 notre \u00e9poque \u2013 qui finalement rejoint ces m\u00eames inquiets et m\u00e9fiants, \u00e0 la recherche d\u2019une authentique beaut\u00e9 face au tout-image et \u00e0 l\u2019exc\u00e8s de conformit\u00e9.<\/p>

1 <\/sup><\/em>ROLLAND Romain,\u00a0 Jean-Christophe, <\/em>Le Livre de Poche, Paris, 1961.
2 <\/sup><\/em>IONESCU, Vlad,\u00a0 Arts appliqu\u00e9s, art impliqu\u00e9, <\/em>A&S\/book, Gand, 2016, p. 43
3 <\/sup><\/em>ROLLAND Romain, Idem.<\/p>

Introduction au recueil d\u2019\u0153uvres<\/span>\u00a0expos\u00e9s \u00e0 la Maison Horta, Bruxelles \u2013 \u00a9BeCraft, 2021<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Creativity makes death retreat1<\/sup><\/em><\/strong><\/p>

When Art Nouveau emerged at the end of the 19th century, people were already experiencing the effects of the industrial revolution that had taken place over several decades. Concerned and \u201cmaintaining a consistent distrust of the qualitative and aesthetic consequences of technology\u201d2<\/sup>, some held that hand-crafted work had a superior beauty to that created by a machine. Art Nouveau, which undeniably echoed the Arts & Crafts movement in England, brought a new-found prestige to hand-crafted objects and gave them pride of place in the domestic environment.
Among its great names, Victor Horta was a fervent defender of craftsmanship and skilful use of light, the inventor of the whiplash and a master in combining fine materials with ordinary building materials. Forward-looking, he knew how to draw out all the potential of the encounter between industry and artisanal expertise, adhering to the motto of the Vienna Secession movement: \u201cTo every age its art, and to every art its freedom\u201d.
Faced with so much originality, the question is how to be inspired by Victor Horta without \u201cdoing a Horta\u201d? It is no easy matter to embrace such an impressive, almost sacred, body of work. Yet Victor Horta invited the artists of BeCraft to do just that, as part of a unique cooperation project.
They thus took a contemporary look at the great work of this architect. From the technical interplay of light and curves to the sensuality of the silk wall coverings, their interpretations have invested the space of the Maison Horta, where the theme of nature is omnipresent, to assert the creative worth of the applied arts. Because according to Romain Rolland, creativity makes death retreat3<\/sup>, the effects of time can be countered by this union, an almost organic exchange, of artistic forms. They share with Horta the same view of the concept of expertise, mastery, and skill, refracted through the prism of current preoccupations and techniques. More than just a view, it is a reinterpretation in the light of the present-day, but which in the end reflects the same concerns and distrust, whilst seeking authentic beauty in a world dominated by image culture and excessive conformity.<\/p>

1 <\/sup><\/em>To paraphrase the quotation Cr\u00e9er, c\u2019est tuer la mort\u00a0<\/em> taken from ROLLAND Romain, Jean-Christophe<\/em>, Le Livre de Poche, Paris, 1961.
2 <\/sup><\/em>IONESCU, Vlad, Arts appliqu\u00e9s, art impliqu\u00e9, <\/em>A&S\/book, Gand, 2016, p. 43
3 <\/sup><\/em>ROLLAND Romain, Idem<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Animation<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Titles and synopses of various animated films for children<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tout l\u00e0-haut<\/strong><\/p>

Une famille girafe passe ses vacances dans une for\u00eat lointaine. Le girafon se perd, et fait la rencontre des animaux qui y vivent. Mais un \u00e9cureuil acari\u00e2tre ne semble pas du tout pr\u00eat \u00e0 accueillir ce nouveau venu.\u00a0Gr\u00e2ce \u00e0 sa gentillesse et \u00e0 son inventivit\u00e9, le girafon finira par se faire accepter, au grand dam de ce bougon d’\u00e9cureuil\u2026<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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So High Up<\/strong><\/p>

A family of giraffes are holidaying in a far-away forest. The baby giraffe gets lost and meets some of the animals that live there. But a bad-tempered squirrel does not seem at all ready to accept the newcomer. When the others see that he is not only kind but also pretty smart, he soon becomes one of the crowd, much to the annoyance of the grumpy squirrel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Une fable en d\u00e9lire<\/strong>
La poule, le chat et autres bestioles<\/strong><\/p>

Du c\u00f4t\u00e9 de la ferme, le Chat, la Poule et ses poussins font plut\u00f4t bon m\u00e9nage. Ils se chamaillent un peu, comme tous bons compagnons. Mais une nuit, le Loup surgit de la for\u00eat, et kidnappe la poule. S\u2019armant de courage, le Chat et les poussins d\u00e9cident de partir \u00e0 son secours. Commence alors une aventure \u00e9pique et d\u00e9lirante\u2026<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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A Loopy Tale:<\/strong>
The Hen, the Cat and Other Beasts<\/strong><\/p>

A cat, a hen and her chicks live peacefully together beside a farm. Like all close friends, they sometimes indulge in a good-natured squabble. But one night, the wolf comes out of the forest and kidnaps the hen. The cat and the chicks bravely decide to go and rescue her. This is the beginning of an epic tale and a wild adventure.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Train de vie<\/strong><\/p>

Dans une gare perdue en pleine cambrousse, le retard d’un train va amener trois personnages \u00e0 sortir de leur isolement quotidien.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Not Just Another Commute<\/strong><\/p>

Waiting on a railway platform in the middle of nowhere, three lonely characters connect thanks to a delayed train.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Dame tartine aux fruits<\/strong><\/p>

Au pays de Dame Tartine, tout le monde le sait, la maison est de beurre frais, et le lit de biscuits. Vous savez aussi qu’elle \u00e9pouse Monsieur Gimblette coiff\u00e9 d’un chapeau de galette. Et connaissez-vous la suite ?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The Bread and Butter Lady<\/strong><\/p>

For those who are familiar with the old French song, it\u2019s no secret that in the world of the Bread and Butter Lady, her house is made of butter and her bed of boudoir biscuits. And that she marries Mr Whippy who wears a wafer hat. But do you know what happens next?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Loups tendres et loufoques.<\/strong><\/p>

Un loup qui se croit le plus beau, un louveteau qui veut chasser tout seul, un petit loup qui aime la compagnie\u2026 Dans Loups tendres et loufoques, La Chouette du cin\u00e9ma revisite le loup des contes et des livres, avec humour et po\u00e9sie, pour lui rendre sa place dans la nature.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Warmhearted and Wacky Wolves<\/strong><\/p>

A seriously vain wolf, a wolf cub who wants to try hunting on his own, another little wolf who loves the company of others… In the Cinema Owl’s new series, Warmhearted and Wacky Wolves, we revisit the storybook image of wolves with humour and poetry, and give them back their rightful place in the natural world.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Rhyming subtitles of an animated film \u201cThe Little Girl and Lady Night\u201d<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Il \u00e9tait une fois<\/p>

Une petite fille qui vivait avec trois buffles.
Elle les nourrissait, leur donnait \u00e0 boire,
Et leur faisait des bisous sur le mufle.<\/p>

Elle aimait aussi les oiseaux plein de couleurs
Qui la rejoignaient \u00e0 l\u2019abreuvoir
Ils illuminaient le ciel de bonheur
Jusqu\u2019\u00e0 l\u2019arriv\u00e9e du soir<\/p>

Quand l\u2019obscurit\u00e9 tombait, ils se d\u00e9p\u00eachaient de rentrer.
Portes, fen\u00eatres et rideaux \u00e9taient consciencieusement ferm\u00e9s.<\/p>

Comme tous les hommes et les femmes du monde,
Elle a peur de la nuit, sombre, triste et profonde.<\/p>

Ce matin, la jeune fille part chercher de l\u2019eau \u00e0 la rivi\u00e8re.
De son chant merveilleux, un oiseau vient lui faire une pri\u00e8re\u00a0:
Il l\u2019invite \u00e0 le suivre dans les roseaux,
O\u00f9 l\u2019attend un surprenant cadeau.<\/p>

L\u2019oiseau rentre dans le c\u0153ur de l\u2019enfant,
Qui alors s\u2019\u00e9veille et ouvre les yeux en souriant\u00a0!<\/p>

Quand le gar\u00e7on ferme les yeux,
L\u2019oiseau surgit de son c\u0153ur.
De son chant lumineux,
Il apaise et chasse les peurs.<\/p>

Mais ce soir ils ont oubli\u00e9 de fermer la fen\u00eatre.<\/p>

Attir\u00e9e par son chant envo\u00fbtant,
La nuit s\u2019approche de l\u2019oiseau chatoyant.
Elle trouve sa ritournelle si belle
Qu\u2019elle le met en cage et l\u2019emporte avec elle.<\/p>

Mais que fais-tu ici, dans les t\u00e9n\u00e8bres\u00a0?
Demande la Nuit d\u2019un ton fun\u00e8bre.<\/p>

Je cherche l\u2019oiseau de mon petit fr\u00e8re.
R\u00e9pond la jeune fille \u00e0 la Nuit
Je ne l\u2019entends plus. Il a d\u00fb se taire.
N\u2019est-ce pas toi que me l\u2019a pris\u00a0?<\/p>

J\u2019ai bien attrap\u00e9 cet oiseau.
Son chant \u00e9tait si beau\u2026
Mais depuis qu\u2019il est enferm\u00e9
Il ne fait que pleurer<\/p>

Cet oiseau est l\u2019\u00e2me de mon fr\u00e8re.
Dans une cage il ne peut pas se plaire.
Si son esprit joyeux n\u2019est pas lib\u00e9r\u00e9
L\u2019enfant dormira pour l\u2019\u00e9ternit\u00e9.<\/p>

Non. Si cette \u00e2me joyeuse m\u2019est enlev\u00e9e.
Je me retrouverai \u00e0 nouveau esseul\u00e9e.<\/p>

Tu es seule parce que nous avons peur de ton obscurit\u00e9.
Je peux t\u2019aider avec les larmes de l\u2019oiseau emprisonn\u00e9.
Elles se sont transform\u00e9es en \u00e9toiles brillantes,
Avec elles je peux rendre ta sombre chevelure \u00e9tincelante.<\/p>

Si tu me rends vraiment si admirable
Que les hommes et les femmes me v\u00e9n\u00e8rent
Plut\u00f4t que de me craindre comme le diable
Alors je peux d\u00e9livrer l\u2019\u00e2me de ton fr\u00e8re.<\/p>

Et depuis cette rencontre la nuit est devenue si scintillante
Que les hommes et les femmes n\u2019ont plus peur d\u2019elle.
Au contraire, ils y cherchent maintenant une pr\u00e9sence maternelle.
Portes et fen\u00eatres ouvertes, tous admirent les \u00e9toiles ravissantes.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Once upon a time<\/p>

A little girl lived with three buffalo
She fed them, watered them and smothered
Them with kisses, she loved them so<\/p>

She also loved watching the birds flying high
Then swooping down to the water hole
Their joyful songs would fill the sky
Until night came, black as coal<\/p>

They would all rush home at the onset of the night
Making sure doors, windows and curtains were all shut tight<\/p>

Like men and women everywhere
The night, dark, sad and deep, filled her with despair<\/p>

That morning, she went to the river for water
When a marvellous bird by surprise caught her
He invited her to follow where the bullrushes grow
And there a wonderful thing to her he would show<\/p>

The bird then entered the heart of the little child
Who awoke and opened his eyes with a smile<\/p>

When the boy\u2019s eyelids fall,
The bird reappears
And with its bright, cheery call,
Drives away all midnight fears<\/p>

But one night, they forgot to close the window<\/p>

So enchanting was the bird\u2019s song
The Night had to see to whom it belonged
And finding there a creature so bright and gay
She popped it in a cage and took it away!<\/p>

What are you doing here little sister?
Said the Night, in a deadly whisper<\/p>

I\u2019m looking for my little brother\u2019s bird
I can\u2019t hear it any more, replied the girl
Since you appeared, everything\u2019s gone quiet
Could it be you, Lady Night, who\u2019s hiding it?<\/p>

Yes, it is I who took the bird
It\u2019s the prettiest thing I ever heard
But ever since it has been in my keep
It will not sing but only weep<\/p>

The bird is my brother\u2019s soul
It will surely die in a cage all alone
If its merry spirit cannot be freed
My brother will forever sleep<\/p>

No. If you take my pretty bird back home
Once again I will be all alone<\/p>

You are all alone, it\u2019s your darkness we fear
I can help you with the captive bird\u2019s tears
See how each one has become a star
To make your dark cloak shine from afar<\/p>

If you can really make me so attractive
And pleasing to people of every age
Your brother\u2019s soul will no longer be captive
And I\u2019ll let the bird out of its cage<\/p>

And ever since those words were spoken
People have gazed at the night sky in awe
Sometimes they leave open a windows or door
Their terror of darkness is no more<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a9 Les Films du Nord<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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ART BOOKS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Extract from Arbres, a book by Henri-Claude Cousseau presenting the sculpture by Guiseppe Penone
in front of the European Central Bank, Frankfurt<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sous les titres de Folie di pietra [Feuillage de pierre], Gravit\u00e9 et Croissance, Luce e ombra [Lumi\u00e8re et ombre] (autrement dit entre terre et lumi\u00e8re, les deux milieux propres \u00e0 l\u2019arbre), Giuseppe Penone a produit entre 2012 et aujourd\u2019hui une s\u00e9rie monumentale d\u2019arbres nus fondus en bronze qui tant\u00f4t portent des pierres polies \u00e0 l\u2019intersection de leurs branches, tant\u00f4t des sph\u00e8res \u00e0 leur cime, tandis que certains d\u2019entre eux sont orn\u00e9s de disques, de sph\u00e8res ou de mandorles de feuilles dor\u00e9es. Une variation plus r\u00e9cente de ces arbres d\u00e9ploie, sous le titre Identita [Identit\u00e9] (2017), une configuration plus explicite encore quand deux arbres, dans un effet de superposition en miroir, s\u2019agrippent par leurs branches l\u2019un au-dessus de l\u2019autre et o\u00f9 les sph\u00e8res c\u00e8dent la place \u00e0 des miroirs d\u2019aluminium, ou encore, comme dans Sorgente di luce [Source de lumi\u00e8re] (2016), quand le c\u0153ur \u00e9vid\u00e9 de l\u2019arbre sert de canal \u00e0 une source lumineuse qui vient, comme la s\u00e8ve, irriguer ce dernier dans son ascension naturelle. Le fait que les arbres soient fondus en bronze renvoie \u00e0 l\u2019incessante exploration herm\u00e9neutique de l\u2019artiste quant aux proc\u00e9dures ancestrales de la sculpture, mais conf\u00e8re \u00e9galement \u00e0 ceux-ci une puissante port\u00e9e dans l\u2019ordre du symbole qu\u2019ils rev\u00eatent plus que jamais aujourd\u2019hui.
Extrait du livre \u00ab\u00a0Arbres\u00a0\u00bb, \u00a9<\/em> Henri-Claude Cousseau, 2010<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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With titles like Folie di pietra [Stone foliage], Gravity and Growth Luce e ombra [Light and Shadow] (in other words earth and light, the elements in which a tree thrives), since 2012 Giuseppe Pennone has produced a monumental series of bare trees cast in bronze, some of which bear polished stones at the intersection of their branches, or are crowned with spheres, whilst others are decorated with disks, orbs or mandorlas of gilt leaves. A more recent variation on this motif, titled Identita [Identity] (2017), deploys an even more explicit configuration where two trees are juxtaposed one above the other, creating a mirror effect of intermingled branches, and where the spheres are replaced by aluminium mirrors. Another is Sorgente di luce [Light Source] (2016), where the light source of the title is channelled, like sap, through the empty core of a tree, irrigating it in its natural ascension. The fact that the trees are cast in bronze reflects the artist\u2019s continual hermeneutic exploration of the ancestral processes of sculpture, and underscores the powerful investment in the symbolic order that has increasingly pervaded his current work.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Textiles<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Presentation of CETI (European Centre for Innovative Textiles) in Roubaix<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L\u2019\u00e9quipement du CETI offre la possibilit\u00e9 d\u2019innover \u00e0 plusieurs niveaux : au niveau des mati\u00e8res premi\u00e8res avec la plateforme d\u2019extrusion-filage qui facilite les recherches sur la fonctionnalisation des polym\u00e8res et le d\u00e9veloppement de nouvelles fibres, mais aussi au niveau des proc\u00e9d\u00e9s avec l\u2019atelier des non-tiss\u00e9s qui permettra de valider de nouvelles pistes techniques ou des m\u00e9thodes de production innovantes et de mettre au point des nouvelles structures multicouches souples et in\u00e9dites.
Cette premi\u00e8re phase consacr\u00e9e au filage tricomposant et aux nontiss\u00e9s voie s\u00e8che et voie fondue devrait donc d\u00e9boucher sur la mise au point de nouvelles combinaisons technologiques et le d\u00e9veloppement de nouvelles solutions industrielles.
Au-del\u00e0 des \u00e9quipements, c\u2019est le mode de fonctionnement unique et sp\u00e9cifique au CETI qui permet de profiter, sur un m\u00eame site et en un m\u00eame instant, des technologies de derni\u00e8re g\u00e9n\u00e9ration et d\u2019\u00e9quipements mobiles et flexibles.
L\u2019INNOVATION AU C\u0152UR DU CETI 2
Les recherches en cours sur de nouvelles applications \u00e0 forte composante technologique mobilisent d\u00e9j\u00e0 les grands acteurs du nontiss\u00e9, soucieux de se focaliser aujourd\u2019hui sur les march\u00e9s les plus pointus.
C\u2019est dire toute l\u2019importance qu\u2019auront ces nouvelles combinaisons technologiques que le CETI pourra faire \u00e9merger, gr\u00e2ce \u00e0 ce premier atelier d\u00e9di\u00e9 aux nontiss\u00e9s.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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CETI’s equipment offers innovation capabilities at different levels: Firstly with regard to raw materials, the extrusion-spinning unit facilitates research on polymer functionalization and the development of new fibres. As for processes, the nonwovens shop permits new technical developments or innovative production methods to be validated, and new flexible multi-layer structures to be developed.
Phase 1 of the project devoted to three-component spinning and drylaid and meltblown nonwovens should therefore culminate in the development of new technological combinations and new industrial solutions.
Apart from its impressive facilities, CETI offers a unique concept, providing state-of-the-art technologies and mobile, flexible equipment on the same site, and available for use simultaneously.
INNOVATION IS CENTRAL TO CETI 2
Current research in new technology-driven applications is already mobilizing the big players in the nonwovens sector who wish to focus on leading edge markets.
This is a mark of the enormous potential of all the new technological combinations that CETI will be able to develop thanks to this first workshop dedicated to nonwovens.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Exhibitions of costumes designed for The Great Gatsby<\/i> \u00a9 Mus\u00e9e de la Dentelle de Caudry\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Les Ann\u00e9es Folles, un style, une source d’inspiration <\/strong>
Les Ann\u00e9es Folles sont une parenth\u00e8se de libert\u00e9, un moment magique entre deux guerres mondiales, dix ann\u00e9es d’une intensit\u00e9 inou\u00efe.<\/strong><\/p>

La costumi\u00e8re Catherine Martin s’est inspir\u00e9e des tendances stylistiques des ann\u00e9es 20 sur l’ensemble de la d\u00e9cennie. Afin d’illustrer ses sources d’inspiration, le mus\u00e9e pr\u00e9sente un panorama de cette mode et des motifs textiles en vogue par des pi\u00e8ces provenant de sa collection\u00a0: \u00e9chantillons de dentelles en soie et rayonne, robes d’apr\u00e8s-midi en dentelle coup\u00e9es dans le biais et de soir\u00e9e en tulle rebrod\u00e9 de perles et paillettes, d\u00e9shabill\u00e9 en dentelle rehauss\u00e9e d’un fil m\u00e9tallis\u00e9.<\/p>

Changement de silhouette, la femme des ann\u00e9es 20 se d\u00e9couvre un nouveau style<\/strong><\/em><\/p>

La mode des ann\u00e9es 20 marque l’\u00e9mancipation des femmes. Le couturier Paul Poiret abandonne le corset pour offrir une plus grande libert\u00e9 de mouvements. Les couturiers \u00e0 la mode\u00a0: Jean Patou, Elsa Schiaparelli, Madeleine Vionnet, Jeanne Lanvin et Coco Chanel inventent un nouveau style de coupe vestimentaire plus confortable, sportive et ludique en rapport avec les courants artistiques du moment, ils utilisent \u00e9galement des mati\u00e8res plus fluides\u00a0: mousseline et cr\u00eape de soie, jersey de mailles l\u00e9g\u00e8res.<\/p>

Motifs en vogue inspir\u00e9s du style Art D\u00e9co<\/em><\/strong><\/p>

Les ann\u00e9es 20 sont caract\u00e9ris\u00e9es par le style Arts D\u00e9co \u00e0 la fois luxueux et de bon go\u00fbt.<\/strong>
Ce style fait r\u00e9f\u00e9rence \u00e0 plusieurs \u00e9v\u00e9nements artistiques\u00a0: les repr\u00e9sentations des ballets russes de Serge de Diaghilev inspir\u00e9s des Mille et une nuits\u00a0qui invitent au luxe et \u00e0 l’exotisme, le mouvement Cubiste qui se construit autour d’ artistes peintres comme Braque et Picasso, ainsi que le Fauvisme avec Matisse, Derain et Vlaminck..
Le motif textile, comme pour la dentelle, se caract\u00e9rise par des formes \u00e9pur\u00e9es et essentiellement g\u00e9om\u00e9triques. Les esquisseurs s’inspirent de leur environnement et du mouvement de leur \u00e9poque pour traduire le motif floral, surtout la rose, stylis\u00e9e et g\u00e9om\u00e9tris\u00e9e. On trouve deux tendances\u00a0de repr\u00e9sentation\u00a0: des compositions de motifs exag\u00e9r\u00e9ment agrandis ou \u00e0 l’inverse des semis de petits motifs.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The roaring twenties, a style and a source of inspiration<\/strong>
The roaring twenties were a time of freedom, a magical interlude between two world wars, and ten years of unparalleled intensity.<\/strong><\/p>

Costume designer Catherine Martin took her inspiration from fashion trends spanning the entire decade. To illustrate her sources of inspiration, the museum is proud to present a spectrum of fashions from that era, including fabrics taken from its collections. These include samples of silk and rayon lace, bias cut lace day and evening dresses made of tulle and decorated with beads and sequins, and a lace neglig\u00e9e set off by a metallic thread.<\/p>

With a radical change in silhouette, women of the twenties invented a new style.<\/strong><\/em><\/p>

It was a time of emancipation for women. The couturier Paul Poiret dispensed with corsets, giving women more freedom of movement. Fashion designers Jean Patou, Elsa Schiaparelli, Madeleine Vionnet, Jeanne Lanvin and Coco Chanel invented a new style and cut of clothing that was more comfortable, practical and fun to wear. Designers also used fabrics with greater fluidity such as silk chiffon, crepe and light knitted jersey.<\/p>

In vogue patterns inspired by the Art Deco style<\/strong><\/em><\/p>

The twenties were synonymous with the Art Deco style, which was the pinnacle of luxury and good taste.<\/strong>
It was influenced by different artistic movements and events such as Serge Diaghilev\u2019s Ballet Russe productions which were inspired by the Arabian Nights, with their heady mix of luxury and exoticism; the artistic movements of Cubism centred around as artists like Braque and Picasso; and Fauvism with Matisse, Derain and Vlaminck.
Fabric and lace designs were characterized by simple lines and geometric shapes. Designers took their inspiration from their environment and current trends, using floral patterns, often featuring stylized and geometric roses. We can see two main trends: extremely bold patterns, and small floral prints.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Tourism & Local HistorY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\nVideo commentary presenting the archaeological site of Th\u00e9rouanne<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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La Th\u00e9rouanne gallo-romaine traverse les crises de l\u2019empire et subit les invasions germaniques. Mais sa terre en gardera longtemps les traces cach\u00e9es dans ses profondeurs\u2026<\/p>

Seule une inscription latine, d\u00e9couverte lors des fouilles de la cath\u00e9drale au tournant des 19e et 20e, attesta jusqu\u2019\u00e0 r\u00e9cemment de l\u2019existence de la “Civitas Morinorum.<\/p>

Il fallut attendre la fin du si\u00e8cle dernier pour, qu\u2019enfin, la terre nous offre des t\u00e9moignages exploitables de son histoire antique.<\/p>

L\u2019arch\u00e9ologie pr\u00e9ventive, naissante \u00e0 la fin des ann\u00e9es 1960, et l\u2019obstination passionn\u00e9e de quelques arch\u00e9ologues, mirent en \u00e9vidence de nombreux objets usuels.<\/p>

Le site de la vieille ville semble avoir \u00e9t\u00e9 l’\u00e9picentre de la ville. On y d\u00e9couvrit d’importantes ma\u00e7onneries, richement par\u00e9es, une colonne d\u00e9cor\u00e9e, ainsi que les vestiges d’un hypocauste – ancien syst\u00e8me de chauffage r\u00e9serv\u00e9 aux b\u00e2timents prestigieux. Ces traces prouvent l’importance de la ville gallo-romaine, peut-\u00eatre ceinte de remparts au Bas-Empire.<\/p>

Des structures fun\u00e9raires, d\u00e9couvertes \u00e0 l\u2019est, le long de la route de Clarques, au sud, en bordure de la Chauss\u00e9e Brunehaut – ancienne voie vers Arras \u2013 et au nord, sur la route de Boulogne, nous donnent une id\u00e9e des limites de la ville. Traditionnellement install\u00e9es en lisi\u00e8re des cit\u00e9s, ces n\u00e9cropoles alternaient avec des quartiers artisanaux.<\/p>

Mis \u00e0 jour en 1996 par le hasard du percement d’un garage, un caveau, tr\u00e8s bien conserv\u00e9, permet de mieux comprendre les rites fun\u00e9raires de la r\u00e9gion au d\u00e9but de notre \u00e8re.<\/p>

Depuis une quinzaine d’ann\u00e9es, d’autres fouilles, souvent r\u00e9alis\u00e9es avant la construction d\u2019un pavillon, ont ressuscit\u00e9 des traces du pass\u00e9. Ainsi au hameau de Nielles alternent les activit\u00e9s artisanales lors des phases d\u2019expansion de la ville et les espaces fun\u00e9raires lors des crises.<\/p>

Malheureusement, l\u2019arch\u00e9ologie pr\u00e9ventive n\u2019ouvrent que de petites fen\u00eatres sur le patrimoine de la Civitas Morinorum.<\/p>

La terre de Th\u00e9rouanne cache encore bien des tr\u00e9sors, et autant de myst\u00e8res sur la ville antique, que nous ne pouvons qu’imaginer.<\/p>

Alors attendons de futures d\u00e9couvertes si, un jour, … la terre veut bien encore nous parler.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The Gallo-Roman town of Th\u00e9rouanne lived through all the turmoil of the Roman Empire and Germanic invasions. But deep within its soil, the traces of this past still remain…<\/p>

Until recently, our knowledge of the existence of Civitas Morinorum hung upon a single inscription in Latin, discovered during the archaeological dig on the site of the cathedral at the dawn of the 20th century.<\/p>

It was only at the end of the last century that more vestiges of the town’s ancient history were uncovered.<\/p>

A great many everyday objects were found thanks to rescue archaeology which appeared at the end of the nineteen-sixties, along with the painstaking work of some dedicated archaeologists.<\/p>

The site of the ancient town appears to have been its epicentre. The discoveries included some richly decorated stonework, a carved column, and the remains of a hypocaust, the Roman central heating system reserved for important buildings. These vestiges show the importance of this Gallo-Roman town, which may have been walled in the late Empire.<\/p>

The outer limits of the city are suggested by the burial grounds uncovered to the east along the Clarques road, to the south along the Chauss\u00e9e Brunehaut, the old Roman road to Arras, and to the north, on the Boulogne road. Traditionally located at the outer edges of a town, these burial grounds were interspersed with areas inhabited by craftsmen and workers.<\/p>

A chance discovery of a very well-preserved tomb, during work to build a garage in 1996, gives us a better understanding of ancient funeral rites in the region.<\/p>

Other digs carried out in the last fifteen or so years, often prior to construction work, have uncovered other traces of the past. In the hamlet of Nielles, we now know that the development of urban areas in times of prosperity would alternate with burial grounds in less fortunate times.<\/p>

Unfortunately, rescue archaeology has only given us a glimpse of the heritage left by Civitas Morinorum.<\/p>

The land of Th\u00e9rouanne still contains many treasures and mysteries of the ancient town that for the moment are left to our imaginations.<\/p>

So let’s look forward to the next discoveries, providing of course that the land is prepared to give them up to us!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\u00a9 Mus\u00e9e Arch\u00e9ologique – Th\u00e9rouanne\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Technical<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Owing to their confidential nature, I am unable to provide examples my technical translations.
Please contact me for more information.<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Portfolio You can read some examples of translationsin my speciality fields below CONTEMPORARY Glass ART Inlandsis exhibition by artist Mich\u00e8le Perozeni at the MusVerre, Sars-Poteries Mich\u00e8le P\u00e9rozeni r\u00e9alise pour la premi\u00e8re fois une narration figurative, poussant parfois des hurlements silencieux…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7519","page","type-page","status-publish","hentry"],"yoast_head":"\nPortfolio - JET Traductions Jackie Eales<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jet-traductions.com\/en\/portfolio\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Portfolio - JET Traductions Jackie Eales\" \/>\n<meta property=\"og:description\" content=\"Portfolio You can read some examples of translationsin my speciality fields below CONTEMPORARY Glass ART Inlandsis exhibition by artist Mich\u00e8le Perozeni at the MusVerre, Sars-Poteries Mich\u00e8le P\u00e9rozeni r\u00e9alise pour la premi\u00e8re fois une narration figurative, poussant parfois des hurlements silencieux…\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jet-traductions.com\/en\/portfolio\/\" \/>\n<meta property=\"og:site_name\" content=\"JET Traductions Jackie Eales\" \/>\n<meta property=\"article:modified_time\" content=\"2021-02-18T16:28:32+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"32 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/jet-traductions.com\\\/en\\\/portfolio\\\/\",\"url\":\"https:\\\/\\\/jet-traductions.com\\\/en\\\/portfolio\\\/\",\"name\":\"Portfolio - 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