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This article studies the development of the representation which situates the Court of Miracles in the 17th century. It analyzes the consolidation of this representation in works written with historical intent from the first half of the 20th century, and its diffusion in the popular literature of the following decades. It addresses the interactions between literature and historical discourse, and is particularly interested in the function of the representation which situates the Court in the 17th century in the totality of the myth of the Court of Miracles, as well as its symbolic and ideological investment.

La muséologie développée en France et en Amérique du Nord, bien qu'ayant été explorée par les chercheurs en muséologie, a encore peu exploité la richesse informative des collections françaises d'Amérique du Nord. L'histoire de la collection de la famille Fayolle, ayant donné naissance au cabinet de Sérent à Versailles, a été étudiée sur l'ensemble de la période de la Nouvelle-France jusqu'à nos jours afin de contribuer aux recherches futures des historiens de l'art et des conservateurs français. L'origine privée de cet ensemble raisonné datant de 1767 a été explorée pour favoriser une écriture plus objective de l'histoire des musées de France, dont celle de l'éphémère Muséum national de Versailles. Ce rassemblement d'objets s'est révélé comme un cas d'école issu du développement et de la culture …

La période de l'entre deux guerres est frappée du sceau de la révolution. Tout comme le XIXe siècle confirmait l'établissement du libéralisme, la révolution industrielle, les prétentions démocratiques et le nationalisme intransigeant; la période Versailles-Munich marque l'éclatement des cadres posés au siècle dernier. [...]

The objective here is to show by a philosophical approach how ecological art contributes to re-qualify environmental times. The basic argument is that one cannot separate the philosophical foundation of problems and the true nature of time, the “Duration” defined by Bergson as a pure intensity underlying all differences in nature. Environmental emergency allows the criticism of time conceived as a spatial dimension, a time that is intrinsically non sustainable. By encouraging a new proximity between art and science, ecological art practices create sensitive tensioning of this criticism in the form of heterochronies – « other » times. The analysis of a number of examples leads to identify three modes of aesthetic expression : i) aesthetics of the ephemeral, cyclic and archaic ; ii) aesthetics of the ongoing, evolving and entangled ; iii) aesthetics of the still, dematerialized and upcoming. The wordings of these different aesthetic modes are identified in a case study, the exhibition-laboratory « The living and its energy » conducted at Inra in Versailles in 2013. This experiment shows the relevance of creating new research situations by forging closer ties between artistic induction, scientific reflection and a philosophy engaged in action. The aim of such practices is to address current mutations of relation to time, their expression in a new aesthetics of Duration and their capacity to sustain an ethics of care by intensity relations.

Keywords: art ecologique, difference positive, duree, esthetique temporelle, experimentation art-scientifique, éthique environnementale, heterochronie, problematisation philosophique, vivant, ecological art, positive difference, duration, time aesthetics, art-scientific experimentation, environmental ethics, heterochrony, philosophical problematization, living things

Keywords: événements sportifs, impact local, territoire, rugby, tourisme

The accession of the House of Bourbon to the Spanish throne after the death of the last Habsburg king, Carlos II, in 1700 brought important changes for the court high nobility. Historians have seen Philip V’s reign as the beginning of the titled nobility’s withdrawal from the front line of politics. The process, encouraged by the Bourbon’s reformism during the War of the Spanish Succession, was carried out by the nobility in several ways. This article will analyze the careers of aristocrats such as Pedro Manuel Colón de Portugal and José Solís y Valderrábano, dukes of Veragua and Montellano, and Rodrigo Fernández Manrique de Lara, Count of Frigiliana, who adapted their actions to the new regime’s politics in order to enjoy the patronage of new political actors. They took part in royal court circles to achieve important political positions without renouncing their right to oppose change through strategies linked to the political culture of the previous dynasty: for example, their involvement in political gatherings and their absence in important court celebrations. My article posits that, although the relations between the House of Bourbon and these nobles were undoubtedly complex and ambivalent, as their career at court shows, they were far more nuanced and fluid than has previously been revealed.