{"id":12284,"date":"2020-12-01T10:31:15","date_gmt":"2020-12-01T09:31:15","guid":{"rendered":"http:\/\/web.philo.ulg.ac.be\/cegs\/?page_id=12284"},"modified":"2022-05-05T14:26:57","modified_gmt":"2022-05-05T12:26:57","slug":"tables-des-matieres","status":"publish","type":"page","link":"http:\/\/web.philo.ulg.ac.be\/cegs\/tables-des-matieres\/","title":{"rendered":"Tables des mati\u00e8res"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: #ffffff;background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1216.8px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">@media only screen and (max-width:1024px) {.fusion-title.fusion-title-1{margin-top:0px!important; margin-right:0px!important;margin-bottom:20px!important;margin-left:0px!important;}}@media only screen and (max-width:640px) {.fusion-title.fusion-title-1{margin-top:0px!important; margin-right:0px!important;margin-bottom:20px!important; margin-left:0px!important;}}<\/style><div class=\"fusion-title title fusion-title-1 fusion-sep-none fusion-title-center fusion-title-text fusion-title-size-three\" style=\"margin-top:0px;margin-right:0px;margin-bottom:20px;margin-left:0px;\"><h3 class=\"title-heading-center fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20px;line-height:2.22;\">TABLES DES MATI\u00c8RES DES 25 NUM\u00c9ROS PARUS<\/h3><\/div><nav class=\"fusion-menu-element-wrapper direction-row mode-dropdown expand-method-hover submenu-mode-dropdown mobile-mode-collapse-to-button mobile-size-full-absolute icons-position-left dropdown-carets-yes has-active-border-bottom-yes has-active-border-left-yes has-active-border-right-yes mobile-trigger-fullwidth-off mobile-indent-on mobile-justify-left main-justify-left loading mega-menu-loading expand-right submenu-transition-fade\" aria-label=\"Menu\" data-breakpoint=\"1024\" data-count=\"0\" data-transition-type=\"fade\" data-transition-time=\"300\"><button type=\"button\" class=\"avada-menu-mobile-menu-trigger no-text\" onClick=\"fusionNavClickExpandBtn(this);\" aria-expanded=\"false\" aria-controls=\"menu-traces-menu\"><span class=\"inner\"><span class=\"collapsed-nav-text\"><span class=\"screen-reader-text\">Toggle Navigation<\/span><\/span><span class=\"collapsed-nav-icon\"><span class=\"collapsed-nav-icon-open fa-bars fas\"><\/span><span class=\"collapsed-nav-icon-close fa-times fas\"><\/span><\/span><\/span><\/button><style>.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"],.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list .menu-item > a{font-size:18px;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list{justify-content:center;align-items:center;font-family:inherit;font-weight:400;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li{margin-left:calc(15px \/ 2);margin-right:calc(15px \/ 2);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button){background-color:#ffffff;border-radius:10px 10px 10px 10px;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button) > .background-default{background-color:#ffffff;border-radius:10px 10px 10px 10px;border-top-width:1px;border-right-width:1px;border-bottom-width:1px;border-left-width:1px;border-color:#dcdcdc;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list .custom-menu-search-overlay .fusion-overlay-search{background-color:#ffffff;padding-right:10px;padding-left:10px;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .custom-menu-search-overlay ~ .fusion-overlay-search,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list .custom-menu-search-dropdown{background-color:#ffffff;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button) > .background-active{border-radius:10px 10px 10px 10px;border-top-width:1px;border-right-width:1px;border-bottom-width:1px;border-left-width:1px;border-color:#dcdcdc;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button) > a{padding-top:calc(0px + 1px);padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button) .fusion-widget-cart > a{padding-top:calc(0px + 1px);padding-right:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus-within > a{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button) > .fusion-open-nav-submenu,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):active > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-item > a{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-ancestor > a{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-parent > a{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).expanded > a{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):hover > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).hover > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):active > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus-within > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-item > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-ancestor > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-parent > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button).expanded > .fusion-open-nav-submenu{padding-top:calc(0px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children):focus-within > a{padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children):hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children).hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children):focus > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children):active > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children).current-menu-item > a{padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children).current-menu-ancestor > a{padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children).current-menu-parent > a{padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.menu-item-has-children).expanded > a{padding-right:calc(10px + 1px);padding-bottom:calc(0px + 1px);padding-left:calc(10px + 1px);}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-form-inline,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .custom-menu-search-overlay ~ .fusion-overlay-search,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list .fusion-menu-form-inline{padding-right:10px;padding-left:10px;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .custom-menu-search-dropdown .fusion-main-menu-icon{padding-right:10px !important;padding-left:10px !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-overlay-search .fusion-close-search:before,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-overlay-search .fusion-close-search:after{background:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button) > .background-active{background:#ffd8c7;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-click.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children.expanded:after,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-hover.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children:hover:after,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-hover.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children.hover:after,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-hover.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children:focus:after,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-hover.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children:active:after{border-top-color:#ffd8c7;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled).expand-method-hover.dropdown-arrows-parent.direction-row > ul > li.menu-item-has-children:focus-within:after{border-top-color:#ffd8c7;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.custom-menu-search-overlay):focus-within > a{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button) > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button) > .fusion-open-nav-submenu,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.custom-menu-search-overlay):hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).hover > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.custom-menu-search-overlay):focus > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):not(.custom-menu-search-overlay):active > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-item > a{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-ancestor:not(.awb-flyout-top-level-no-link) > a{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-parent:not(.awb-flyout-top-level-no-link) > a{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).expanded > a{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):hover > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).hover > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):active > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button):focus-within > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-item > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-ancestor > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).current-menu-parent > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.fusion-menu-item-button).expanded > .fusion-open-nav-submenu{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list > li,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list .fusion-megamenu-title,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list ul{text-transform:none;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item:focus-within > a .fusion-megamenu-icon{color:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item:hover > a .fusion-megamenu-icon,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item.hover > a .fusion-megamenu-icon,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item:focus > a .fusion-megamenu-icon,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item:active > a .fusion-megamenu-icon,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item.current-menu-item > a .fusion-megamenu-icon{color:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item.current-menu-ancestor > a .fusion-megamenu-icon{color:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li:not(.awb-flyout-top-level-no-link).menu-item.current-menu-parent > a .fusion-megamenu-icon{color:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"]:not(.collapse-enabled) .fusion-menu-element-list > li.menu-item.expanded > a .fusion-megamenu-icon{color:#333333;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .custom-menu-search-dropdown:hover .fusion-main-menu-icon{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .custom-menu-search-overlay:hover .fusion-menu-icon-search.trigger-overlay{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .custom-menu-search-overlay:hover ~ .fusion-overlay-search{color:#333333 !important;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] > .avada-menu-mobile-menu-trigger,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list .sub-menu > li,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] .fusion-menu-element-list .sub-menu li a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"].collapse-enabled,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"].collapse-enabled ul li > a,.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"].collapse-enabled ul li > a .fusion-button{font-family:inherit;font-weight:400;}.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] [class*=\"awb-icon-\"],.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"] [class^=\"awb-icon-\"],.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"].collapse-enabled [class*=\"awb-icon-\"],.fusion-body .fusion-menu-element-wrapper[data-count=\"0\"].collapse-enabled [class^=\"awb-icon-\"]{font-family:inherit !important;}<\/style><ul id=\"menu-traces-menu\" class=\"fusion-menu fusion-custom-menu fusion-menu-element-list\"><li  id=\"menu-item-12288\"  class=\"menu-item menu-item-type-post_type menu-item-object-avada_portfolio menu-item-12288\"  data-item-id=\"12288\"><span class=\"background-default transition-fade\"><\/span><span class=\"background-active transition-fade\"><\/span><a  href=\"http:\/\/web.philo.ulg.ac.be\/cegs\/portfolio-items\/la-revue-traces\/\" class=\"fusion-background-highlight\"><span class=\"menu-text\">La Revue Traces<\/span><\/a><\/li><li  id=\"menu-item-12290\"  class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-12290\"  data-item-id=\"12290\"><span class=\"background-default transition-fade\"><\/span><span class=\"background-active transition-fade\"><\/span><a  href=\"http:\/\/web.philo.ulg.ac.be\/cegs\/tables-des-matieres\/\" class=\"fusion-background-highlight\"><span class=\"menu-text\">Tables des mati\u00e8res<\/span><\/a><\/li><li  id=\"menu-item-12289\"  class=\"menu-item menu-item-type-post_type menu-item-object-page menu-item-12289\"  data-item-id=\"12289\"><span class=\"background-default transition-fade\"><\/span><span class=\"background-active transition-fade\"><\/span><a  href=\"http:\/\/web.philo.ulg.ac.be\/cegs\/telechargements\/\" class=\"fusion-background-highlight\"><span class=\"menu-text\">T\u00e9l\u00e9chargements<\/span><\/a><\/li><\/ul><\/nav><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-0{width:100% !important;margin-top : 0px;margin-bottom : 50px;}.fusion-builder-column-0 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-0{width:100% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-0{width:100% !important;order : 0;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-1{ padding-top : 40px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: #ffffff;background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#eae9e9;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1216.8px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><style type=\"text\/css\">#accordion-12284-1 .fusion-panel:hover{ border-color: #e0dede } #accordion-12284-1 .fusion-panel { border-color:#e0dede; }.fusion-accordian  #accordion-12284-1 .panel-title a .fa-fusion-box{ color: #333333;}.fusion-accordian  #accordion-12284-1 .panel-title a .fa-fusion-box:before{ font-size: 16px; width: 16px;}.fusion-accordian  #accordion-12284-1 .panel-title a{font-size:16px;line-height:2.22;letter-spacing:2px;color:#333333;font-family:\"Raleway\";font-weight:600;}.fusion-accordian  #accordion-12284-1 .toggle-content{font-size:15px;color:#747474;font-family:\"Open Sans\";font-weight:400;}.fusion-accordian  #accordion-12284-1 .panel-title a:not(.active):hover, #accordion-12284-1 .fusion-toggle-boxed-mode:hover .panel-title a { color: #ffd8c7;}.fusion-accordian  #accordion-12284-1 .fusion-toggle-boxed-mode:hover .panel-title a .fa-fusion-box{ color: #ffd8c7;}.fusion-accordian  #accordion-12284-1.fusion-toggle-icon-unboxed .fusion-panel .panel-title a:not(.active):hover .fa-fusion-box{ color: #ffd8c7 !important;}<\/style><div class=\"accordian fusion-accordian\"><div class=\"panel-group fusion-toggle-icon-unboxed\" id=\"accordion-12284-1\"><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-a8d9538f69e46469a .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-a8d9538f69e46469a .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-a8d9538f69e46469a\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"a8d9538f69e46469a\" role=\"button\" data-toggle=\"collapse\" data-target=\"#a8d9538f69e46469a\" href=\"#a8d9538f69e46469a\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 1 \u2014 Georges Simenon, gen\u00e8se et unit\u00e9 de l\u2019\u0153uvre<\/span><\/a><\/h4><\/div><div id=\"a8d9538f69e46469a\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Marie KLINKENBERG, \u00c0 l\u2019origine des \u00e9tudes simenoniennes \u00e0 Li\u00e8ge : Maurice Piron.<br \/>\nRen\u00e9 ANDRIANNE, Pour une biographie de Simenon.<br \/>\nClaude MENGUY et Pierre DELIGNY, Les vrais d\u00e9buts du commissaire Maigret.<br \/>\nMarie-Claire DESMETTE, Tristan Bernard : une source de Georges Simenon ?<br \/>\nMichel LEMOINE, Maigret en gestation dans les romans populaires.<br \/>\nJean FABRE, N\u00e9cessit\u00e9 de Maigret.<br \/>\nJean-Baptiste BARONIAN, Simenon, conteur et nouvelliste.<br \/>\nPol P. GOSSIAUX, L\u2019Afrique nue de Simenon.<br \/>\nJean BESSIERE, Le fictif simenonien.<br \/>\nClaudine GOTHOT-MERSCH, Gen\u00e8se des romans de Simenon : le probl\u00e8me des titres.<br \/>\nMarie-H\u00e9l\u00e8ne ANDRE, Le th\u00e8me de la lumi\u00e8re et son \u00e9volution chez Georges Simenon.<br \/>\nPaul DELBOUILLE, Notes pour une \u00e9tude du r\u00e9cit de paroles.<br \/>\nH. VELDMAN, Des \u00ab Maigret \u00bb aux romans non-cycliques : continuit\u00e9 de structure, discontinuit\u00e9 de forme.<br \/>\nM. BEDNER, Du genre policier au roman psychologique.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-cc896193a8670487e .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-cc896193a8670487e .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-cc896193a8670487e\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"cc896193a8670487e\" role=\"button\" data-toggle=\"collapse\" data-target=\"#cc896193a8670487e\" href=\"#cc896193a8670487e\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 2 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"cc896193a8670487e\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jacques DUBOIS, Politique de Maigret.<br \/>\nPaul MERCIER, Maigret \u00e0 travers le miroir.<br \/>\nJean-Louis DUMORTIER, Les scrupules de Maigret.<br \/>\nChristian NEYS, L\u2019autre de Maigret ou \u00ab Simenon et la culpabilit\u00e9 \u00bb.<br \/>\nMichel LEMOINE, Des romans de Maigret aux romans de la destin\u00e9e : unit\u00e9 de l\u2019oeuvre de Simenon ?<br \/>\nBernard ALAVOINE, Georges Simenon : de l\u2019impressionnisme \u00e0 la peinture de l\u2019atmosph\u00e8re.<br \/>\nAlain BERTRAND, L\u2019exp\u00e9rience de l\u2019indicible dans Lettre \u00e0 mon juge de Georges Simenon.<br \/>\nClaudine GOTHOT-MERSCH, Simenon et la gestion de l\u2019\u00e9criture romanesque.<br \/>\nMichel LEMOINE et Christine SWINGS, Inventaire des manuscrits des romans publi\u00e9s par Simenon entre 1931 et 1972.<br \/>\nComptes rendus.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-87fc9785b6c17cf92 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-87fc9785b6c17cf92 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-87fc9785b6c17cf92\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"87fc9785b6c17cf92\" role=\"button\" data-toggle=\"collapse\" data-target=\"#87fc9785b6c17cf92\" href=\"#87fc9785b6c17cf92\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 3 \u2014 Simenon et son temps<\/span><\/a><\/h4><\/div><div id=\"87fc9785b6c17cf92\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jacques DUBOIS, Situation de Simenon.<br \/>\nJacques DE DECKER, Le paradis du paradigme.<br \/>\nClaude DIRICK, Georges Simenon et Andr\u00e9 Gide.<br \/>\nWaclaw RAPAK, Une lecture existentielle d\u2019Une Confidence de Maigret de Georges Simenon.<br \/>\nRen\u00e9 ANDRIANNE, Trois \u00e9crivains aux U.S.A. : Camus, Sartre, Simenon.<br \/>\nBernard ALAVOINE, De Camus \u00e0 Simenon : le h\u00e9ros et l\u2019\u00e9tranget\u00e9.<br \/>\nMichel LEMOINE, Evolution et parent\u00e9s litt\u00e9raires de Simenon selon la critique de 1931 \u00e0 1935.<br \/>\nJean FABRE, Simenon, C\u00e9line et Borges.<br \/>\nAlain BERTRAND, Georges Simenon et le genre policier.<br \/>\nPierre DELIGNY, La place de Simenon dans les dictionnaires et les encyclop\u00e9dies.<br \/>\nPaul MERCIER, Simenon sociologue ? Simenon, sociologue rat\u00e9 ou les deux bouts de la vie.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-357d4a32bb4f54195 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-357d4a32bb4f54195 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-357d4a32bb4f54195\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"357d4a32bb4f54195\" role=\"button\" data-toggle=\"collapse\" data-target=\"#357d4a32bb4f54195\" href=\"#357d4a32bb4f54195\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 4 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"357d4a32bb4f54195\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean FABRE, Le propre de la neige.<br \/>\nMichel LEMOINE, Quelques particularit\u00e9s toponymiques dans l\u2019oeuvre romanesque de Georges Simenon.<br \/>\nMarie-Claire DESMETTE, Les aveux de Madame Maigret (extraits d\u2019un roman en pr\u00e9paration).<br \/>\nPaul MERCIER, Simenon et Freud.<br \/>\nDaniel LAROCHE, D\u00e9dales et significations du regard dans les romans de Simenon.<br \/>\nMichel LEMOINE et Christine SWINGS, Inventaire des textes manuscrits de Simenon (suite).<br \/>\nMichel LEMOINE, Simenoniana.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-d6bc33236976d3ece .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-d6bc33236976d3ece .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-d6bc33236976d3ece\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"d6bc33236976d3ece\" role=\"button\" data-toggle=\"collapse\" data-target=\"#d6bc33236976d3ece\" href=\"#d6bc33236976d3ece\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 5 \u2014 Simenon et la biographie<\/span><\/a><\/h4><\/div><div id=\"d6bc33236976d3ece\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Daniel MADEL\u00c9NAT, La biographie aujourd\u2019hui.<br \/>\nMICHEL LEMOINE, Romans de jeunesse et biographie.<br \/>\nMarie-Paule BOUTRY, L\u2019oeuvre romanesque de Georges Simenon : une autobiographie en \u00e9clats.<br \/>\nPatrick MARNHAM, La \u00ab question \u00bb du second meilleur lit de Shakespeare.<br \/>\nRen\u00e9 ANDRIANNE, Georges, Denyse et Manhattan.<br \/>\nPaul MERCIER, La correspondance entre le comte de Keyserling et Georges Simenon 1936-1939.<br \/>\nAndr\u00e9 VANONCINI, Cr\u00e9ation et reconstruction du texte de Simenon. A propos de Simenon et l\u2019Affaire Maigret.<br \/>\nPierre ASSOULINE, Simenon et la biographie.<br \/>\nPierre LEF\u00c8BVRE, Sur la pr\u00e9valence des m\u00e9decins dans l\u2019oeuvre de Georges Simenon.<br \/>\nPierre DELIGNY, Les affres et les joies d\u2019un chronobiographe.<br \/>\nAlain VIALA, Rue Racine.<br \/>\nAlain BUISINE, Etre biographe apr\u00e8s Barthes.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-15dfb6c3a4ec3d27d .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-15dfb6c3a4ec3d27d .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-15dfb6c3a4ec3d27d\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"15dfb6c3a4ec3d27d\" role=\"button\" data-toggle=\"collapse\" data-target=\"#15dfb6c3a4ec3d27d\" href=\"#15dfb6c3a4ec3d27d\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 6 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"15dfb6c3a4ec3d27d\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Simon LEYS, Discours de r\u00e9ception \u00e0 l\u2019Acad\u00e9mie royale de langue et de litt\u00e9rature fran\u00e7aises.<br \/>\nAlain BERTRAND, Simenon et la cr\u00e9ation litt\u00e9raire.<br \/>\nAndr\u00e9 MAUPRAT, D\u2019Eug\u00e9nie Grandet \u00e0 La Marie du Port.<br \/>\nMarie-Paule BOUTRY, La fuite.<br \/>\nAnne MATHONET, Jeux de regards.<br \/>\nPaul MERCIER, Quand un motif ridicule devient une question vitale ou Le r\u00eave de Maigret et les t\u00e9moins r\u00e9calcitrants.<br \/>\nMichel LEMOINE, Les Fant\u00f4mes de Mademoiselle Augustine.<br \/>\nClaude MENGUY, Connaissez-vous \u2026 Le Locataire clandestin ?<br \/>\nBernard ALAVOINE, Roger Nimier, lecteur de Georges Simenon.<br \/>\nGaston MARINX, Georges Simenon et sa \u00ab li\u00e9gitude \u00bb.<br \/>\nChristian JANSSENS, Maigret \u00e0 la t\u00e9l\u00e9vision ou Le spectateur et le commissaire.<br \/>\nMichel LEMOINE et Christine SWINGS, Inventaire des ouvrages de Simenon parus en volumes sous pseudonymes et conserv\u00e9s au Fonds Simenon.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-418c24fbbe29d9127 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-418c24fbbe29d9127 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-418c24fbbe29d9127\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"418c24fbbe29d9127\" role=\"button\" data-toggle=\"collapse\" data-target=\"#418c24fbbe29d9127\" href=\"#418c24fbbe29d9127\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 7 \u2014 Les lieux de l\u2019\u00e9crit<\/span><\/a><\/h4><\/div><div id=\"418c24fbbe29d9127\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, Le lecteur simenonien et la construction de l\u2019espace.<br \/>\nHendrik VELDMAN, Georges Simenon, auteur impressionniste et dialectique.<br \/>\nGaston MARINX, Georges Simenon de Li\u00e8ge \u00e0 Paris.<br \/>\nPierre DELIGNY, \u00ab Les bottes de sept lieux \u00bb.<br \/>\nMichel LEMOINE, Traces romanesques du tour de France de 1928.<br \/>\nClaude MENGUY, Ostrogoth-sur-Seine ou \u00c0 la recherche de la \u00ab guinguette \u00e0 deux sous \u00bb.<br \/>\nJules BEDNER, Les romans hollandais de Georges Simenon.<br \/>\nMarie-Paule BOUTRY, Les lieux sans nom.<br \/>\nBeno\u00eet DENIS, Les lieux de la m\u00e9diocrit\u00e9.<br \/>\nBernard ALAVOINE, Le N\u00e8gre ou l\u2019espace reconstruit : de la r\u00e9alit\u00e9 \u00e0 la figure g\u00e9om\u00e9trique.<br \/>\nPaul MERCIER, La po\u00e9tique de l\u2019espace de La Porte.<br \/>\nAnne MATHONET, Chambre close et voyeurisme.<br \/>\nNo\u00ebl SIMSOLO, L\u2019encadrement du d\u00e9sir en tous lieux chez Georges Simenon.<br \/>\nSalvatore CESARIO, De La prisonni\u00e8re \u00e0 La Femme endormie.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-867fc906e7ba6a56f .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-867fc906e7ba6a56f .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-867fc906e7ba6a56f\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"867fc906e7ba6a56f\" role=\"button\" data-toggle=\"collapse\" data-target=\"#867fc906e7ba6a56f\" href=\"#867fc906e7ba6a56f\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 8 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"867fc906e7ba6a56f\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Salvatore CESARIO, L\u2019Homme \u00e0 la cigarette : J.K. Charles + Boucheron \u2013&gt; Sim + Maigret \u2013&gt; Georges Simenon\u2026<br \/>\nBeno\u00eet DENIS, La gen\u00e8se du h\u00e9ros m\u00e9diocre.<br \/>\nAbdelouahed MABROUR, Quelques traits stylistiques de la description chez Simenon.<br \/>\nMichel LEMOINE, Du quai des Orf\u00e8vres \u00e0 la brasserie Dauphine : \u00e9tat des lieux.<br \/>\nPaul MERCIER, Le Relais-d\u2019Alsace ou le cambriolage litt\u00e9raire de Georges Commodore.<br \/>\nAnne MATHONET, Proposition d\u2019analyse\u2026<br \/>\nJoseph BYA, En arpentant L\u2019Horloger d\u2019Everton.<br \/>\nDanielle BAJOM\u00c9E, Le temps retrou(v)\u00e9 d\u2019un Horloger.<br \/>\nBernard ALAVOINE, Simenon voit rouge.<br \/>\nMichel CARLY, Simenon, une litt\u00e9rature de gares.<br \/>\nPhilippe PROOST, Simenon, l\u2019enfant de choeur au ban de l\u2019Eglise ?<br \/>\nMichel LEMOINE et Christine SWINGS, Inventaire des contes et nouvelles de Simenon sign\u00e9s de pseudonymes.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-61177345cc6beed5f .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-61177345cc6beed5f .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-61177345cc6beed5f\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"61177345cc6beed5f\" role=\"button\" data-toggle=\"collapse\" data-target=\"#61177345cc6beed5f\" href=\"#61177345cc6beed5f\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 9 \u2014 Georges Simenon et l\u2019exotisme<\/span><\/a><\/h4><\/div><div id=\"61177345cc6beed5f\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Marc MOURA, L\u2019exotisme, une notion aux significations voyageuses.<br \/>\nMichel LEMOINE, Fragments \u00bb exotiques \u00bb dans les fictions non exotiques.<br \/>\nMichel CARLY, Un locataire \u00e0 Charleroi ou l\u2019Egypte noire des terrils.<br \/>\nJacques LECARME, Les lointains: colonies et banlieues.<br \/>\nPaul MERCIER, Sonia, Nejla, Nouchi, Lelia et les autres.<br \/>\nL\u00e9on-Fran\u00e7ois HOFFMANN, Georges Simenon et La Pr\u00eatresse des Vaudoux.<br \/>\nPierre DELIGNY, \u00bb Un exotisme qui vient du froid \u00ab .<br \/>\nBernard ALAVOINE, Le bateau, lieu exotique privil\u00e9gi\u00e9 ?<br \/>\nPierre PETIT, Vu des antipodes: versions africaines de l\u2019exotisme.<br \/>\nPierre HALEN, Propositions sur l\u2019exotisme, avec une esquisse de Simenon en \u00e9crivain colonial.<br \/>\nDanl\u00e8le LATIN, R\u00e9flexions sur Simenon et l\u2019exotisme : Le Coup de lune sur fond de discours historique.<br \/>\nAbdelouahed MABROUR, La r\u00e9currence lexicale dans Le Coup de lune : reprises et r\u00e9p\u00e9titions.<br \/>\nJean-Louis DUMORTIER, Anticolonialisme patent et racisme larv\u00e9. L\u2019effet id\u00e9ologique de L\u2019Heure du n\u00e8gre.<br \/>\nBeno\u00eet DENIS, L\u2019Heure du n\u00e8gre; l\u2019Afrique recompos\u00e9e de Simenon.<br \/>\nLucille F. BECKER, \u00bb L\u2019exotisme n\u2019existe pas \u00ab .<br \/>\nSalvatore CESARIO, Etre-en-\u00e9tat-de-roman \u2013 devenir-roman.<br \/>\nFreddy BONMARIAGE, Les photographies de Simenon et l\u2019\u00e9dition \u00e9lectronique.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-079b0843a4f523ce8 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-079b0843a4f523ce8 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-079b0843a4f523ce8\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"079b0843a4f523ce8\" role=\"button\" data-toggle=\"collapse\" data-target=\"#079b0843a4f523ce8\" href=\"#079b0843a4f523ce8\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 10 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"079b0843a4f523ce8\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Beno\u00eet DENIS, Lettres am\u00e9ricaines de Georges Simenon \u00e0 Andr\u00e9 Gide (1945-1950) &#8211; <strong><span style=\"color: #ff0000;\">INDISPONIBLE AU T\u00c9L\u00c9CHARGEMENT<\/span><\/strong>.<br \/>\nBernard ALAVOINE, Les Voleurs de navires : un des terreaux o\u00f9 Simenon germait sous Georges Sim ?<br \/>\nSandro VOLPE, Pas feutr\u00e9s: palimpseste simenonien.<br \/>\nPaul MERCIER, La voie souterraine dans Feux rouges.<br \/>\nAbdelouahed MABROUR, Un aspect de la description chez Simenon : la caract\u00e9risation adjectivale. I \u2013 Consid\u00e9rations d\u2019ordre morphologique.<br \/>\nAnne MATHONET et Fran\u00e7oise TILKIN, L\u2019\u00e9tude du r\u00e9cit de paroles dans une production s\u00e9rielle.<br \/>\nMichel LEMOINE, Lieux sans nom et noms de lieux invent\u00e9s.<br \/>\nClaude MENGUY, Simenon : \u00ab sites class\u00e9s \u00bb.<br \/>\nPierre DELIGNY, Simenon et Maigret de retour \u00e0 Concarneau\u2026 ou Les Nouveaux Myst\u00e8res du Chien jaune.<br \/>\nMichel CARLY, Sur les routes de l\u2019Arizona avec quatre Simenon en poche.<br \/>\nPierre DELIGNY, Inventaire des billets quotidiens de Georges Sim \u00e0 la Gazette de Li\u00e8ge de novembre 1919 \u00e0 d\u00e9cembre 1922 (I).<br \/>\nR\u00e9sum\u00e9s des articles parus dans les num\u00e9ros 1 \u00e0 10 de Traces.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-caa046d00f2d7516b .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-caa046d00f2d7516b .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-caa046d00f2d7516b\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"caa046d00f2d7516b\" role=\"button\" data-toggle=\"collapse\" data-target=\"#caa046d00f2d7516b\" href=\"#caa046d00f2d7516b\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 11 \u2014 Modernit\u00e9 de Simenon ? Style, narratologie, th\u00e9matique<\/span><\/a><\/h4><\/div><div id=\"caa046d00f2d7516b\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jacqueline LEVI-VALENSKI, Ouverture de la journ\u00e9e d\u2019\u00e9tude.<br \/>\nBernard ALAVOINE, Georges Simenon, reflet des inqui\u00e9tudes de l\u2019homme du XXe si\u00e8cle<br \/>\nMichel LEMOINE, 1989-1999 : dix ans de recherche simenonienne..<br \/>\nPatrick BERTHIER, Peut-on parler de Simenon \u00e0 l\u2019universit\u00e9 comme on y parle de Balzac ?.<br \/>\nJacques LECARME, Les cinq voies de l\u2019autobiographie simenonienne.<br \/>\nAbdelouahed MABROUR, Un aspect de la description chez Simenon : la caract\u00e9risation adjectivale.<br \/>\nEug\u00e8ne KOUCHKINE, Simenon en Russie.<br \/>\nPiroska SEBE-MADACSY, La r\u00e9ception chez Georges Simenon en Hongrie.<br \/>\nPaul MERCIER, L\u2019homme \u00e0 la plage.<br \/>\nMichel CARLY, Florida Confidential.<br \/>\nPierre DELIGNY, Inventaire des billets quotidiens de Georges Sim \u00e0 la Gazette de Li\u00e8ge de novembre 1919 \u00e0 d\u00e9cembre 1922 (II).<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-6520e5520129b48c6 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-6520e5520129b48c6 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-6520e5520129b48c6\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"6520e5520129b48c6\" role=\"button\" data-toggle=\"collapse\" data-target=\"#6520e5520129b48c6\" href=\"#6520e5520129b48c6\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 12 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"6520e5520129b48c6\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, Le roman policier simenonien et son lecteur.<br \/>\nBeno\u00eet DENIS, Simenon critique de Simenon. El\u00e9ments pour une reconstitution de l\u2019espace des possibiles romanesques simenonien (1938-1948).<br \/>\nJean-Louis CABAN\u00c8S, Quand Maigret se met \u00e0 table : enqu\u00eate sur une d\u00e9vorante oralit\u00e9.<br \/>\nPaul MERCIER, Le mur blanc de l\u2019inconscient maternel dans Lettre \u00e0 ma m\u00e8re.<br \/>\nFabrice LARDREAU, Echec et mat. Sur L\u2019homme qui regardait passer les trains de Georges Simenon.<br \/>\nDanielle BAJOM\u00c9E, Et si on (re)lisait les Contes des \u00abMille et un matins\u00bb ? \u00c9dition de 70 contes parus dans Le Matin &#8211; <strong><span style=\"color: #ff0000;\">INDISPONIBLE AU T\u00c9L\u00c9CHARGEMENT<\/span><\/strong>.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-313492c93e6645f12 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-313492c93e6645f12 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-313492c93e6645f12\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"313492c93e6645f12\" role=\"button\" data-toggle=\"collapse\" data-target=\"#313492c93e6645f12\" href=\"#313492c93e6645f12\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 13 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"313492c93e6645f12\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, Simenon \u00e0 l\u2019\u00e9cran.<br \/>\nMarc-E. MELON, Point de vue et point d\u2019\u00e9coute dans l\u2019\u00e9criture \u00ab cin\u00e9matographique \u00bb de Georges Simenon.<br \/>\nMichel CARLY, Romans de Simenon et films fran\u00e7ais des ann\u00e9es trente aux ann\u00e9es cinquante : confluences et disparit\u00e9s.<br \/>\nPhilippe PROOST, Que le vrai Maigret se l\u00e8ve !\u2026 ou pourquoi avoir r\u00e9alis\u00e9 un montage vid\u00e9o sur L\u2019Affaire Saint-Fiacre ?<br \/>\nLucille F. BECKER, Du roman au film.<br \/>\nMichel SERCEAU, L\u2019adaptation comme r\u00e9ception : Panique et Les Fian\u00e7ailles de M. Hire.<br \/>\nMichel LIEMANS, Utilisations p\u00e9dagogiques de l\u2019adaptation cin\u00e9matographique : l\u2019exemple de \u00ab Monsieur Hire \u00bb.<br \/>\nBernard ALAVOINE, D\u2019Equateur de Gainsbourg \u00e0 Coup de lune d\u2019Eduardo Mignogna.<br \/>\nPaul MERCIER, L\u2019enfant de ch\u0153ur et le missel, dans L\u2019Affaire Saint-Fiacre. Pacte d\u00e9n\u00e9gatif et secret des hommes.<br \/>\nChristian NEYS, Simenon ou l\u2019\u00e9criture photographique.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-ac534c0b952d1ac9a .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-ac534c0b952d1ac9a .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-ac534c0b952d1ac9a\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"ac534c0b952d1ac9a\" role=\"button\" data-toggle=\"collapse\" data-target=\"#ac534c0b952d1ac9a\" href=\"#ac534c0b952d1ac9a\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 14 \u2014 Simenon et son si\u00e8cle<\/span><\/a><\/h4><\/div><div id=\"ac534c0b952d1ac9a\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Eric BORDAS, Simenon ou le style de l\u2019absence.<br \/>\nSalvatore CESARIO, Abduction, identification et d\u00e9-identification chez Maigret. R\u00e9sultats d\u2019une recherche simenonienne.<br \/>\nG\u00e9rard COGEZ, Le roman de l\u2019homme \u00e0 venir.<br \/>\nDenis COLLIN, La vraie naissance de Maigret.<br \/>\nPierre DELIGNY, Simenon, \u00e9pistolier.<br \/>\nBeno\u00eet DENIS, Simenon, l\u2019histoire et l\u2019allusion.<br \/>\nJean-Louis DUMORTIER, Un monde de rejet\u00e9s.<br \/>\nBernard LAHIRE, La sociologie implicite de Georges Simenon. Ruptures de routine, crises de croyance et d\u00e9couverte de l\u2019arbitrarit\u00e9 du monde social.<br \/>\nDani\u00e8le LATIN, C\u00e9line et Simenon : deux rep\u00e8res g\u00e9ants dans l\u2019histoire du roman fran\u00e7ais du XXe si\u00e8cle.<br \/>\nMichel LEMOINE, Le r\u00e9volt\u00e9 des Dict\u00e9es.<br \/>\nAbdelouahed MABROUR, Etat(s) de l\u2019\u00e9criture chez Simenon. Essai d\u2019une analyse stylistique.<br \/>\nPaul MERCIER, R\u00e9volte adolescente, tentation anarchisante et sexualit\u00e9.<br \/>\nJean-Paul MEYER, A propos des adaptations de Maigret en bandes dessin\u00e9es. La continuit\u00e9 \u00e9nonciative au risque d\u2019une narration multifocalis\u00e9e.<br \/>\nDominique MEYER-BOLZINGER, Pourquoi Maigret aurait tant voulu \u00eatre m\u00e9decin.<br \/>\nChristian NEYS, Simenon et la psychanalyse : une rencontre manqu\u00e9e ?<br \/>\nLily PORTUGAELS, Les scoops de Simenon \u00e0 la Gazette de Li\u00e8ge.<br \/>\nPierre SOMVILLE, La m\u00e9thode de Simenon-Maigret.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-c75337b6b43a94842 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-c75337b6b43a94842 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-c75337b6b43a94842\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"c75337b6b43a94842\" role=\"button\" data-toggle=\"collapse\" data-target=\"#c75337b6b43a94842\" href=\"#c75337b6b43a94842\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 15 \u2014 Simenon et le roman<\/span><\/a><\/h4><\/div><div id=\"c75337b6b43a94842\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Bernard ALAVOINE, Simenon et le roman.<br \/>\nDanielle BAJOMEE, La place d\u2019amour (dans la correspondance de Georges et Tigy).<br \/>\nMichel LEMOINE, Une prison existentielle.<br \/>\nSt\u00e9phane CHAUDIER, Simenon : po\u00e9tique de l\u2019imparfait.<br \/>\nMartial LENGELLE, Une lecture po\u00e9tique de Maigret et le clochard ?<br \/>\nPatrick BERTHIER, Maigret quand m\u00eame.<br \/>\nBeno\u00eet DENIS, Simenon et la \u00ab crise du roman \u00bb.<br \/>\nPaul MERCIER, Photos souvenirs et \u00e9nigme romanesque dans deux romans de Simenon. Au rendez-vous des Terre-Neuvas et Les Fant\u00f4mes du chapelier.<br \/>\nLaurent FOURCAUT, Simenon : le contrepoids de l\u2019 \u00ab avarice \u00bb au vertige de la perte. Premi\u00e8re approche : Pietr-le-Letton.<br \/>\nJean-Louis DUMORTIER, En \u00eatre ou pas.<br \/>\nJacques LECARME, Coups de foudre pour Le Coup de lune.<br \/>\nJean-Baptiste BARONIAN, Simenon cochon.<br \/>\nMarc LITS, Simenon ou la tentation de la litt\u00e9rature.<br \/>\nPierre DELIGNY, Figures vivaces entre r\u00e9alit\u00e9 et fiction. Essai d\u2019inventaire p\u00e9digr\u00e9en comparatif.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-79d9558a50342ae4f .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-79d9558a50342ae4f .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-79d9558a50342ae4f\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"79d9558a50342ae4f\" role=\"button\" data-toggle=\"collapse\" data-target=\"#79d9558a50342ae4f\" href=\"#79d9558a50342ae4f\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 16 \u2014 Georges Simenon et l\u2019Afrique. Des reportages sur l\u2019Afrique \u00e0 la recherche d\u2019un nouvel humanisme<\/span><\/a><\/h4><\/div><div id=\"79d9558a50342ae4f\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Dani\u00e8le LATIN, Du coup de plume au Coup de lune. Gen\u00e8se africaine du \u00ab roman de la destin\u00e9e \u00bb ou \u00ab roman de l\u2019homme \u00bb de Georges Simenon.<br \/>\nLaurent FOURCAUT, Quartier n\u00e8gre : le d\u00e9sir est \u00ab n\u00e8gre \u00bb .<br \/>\nEmmanuelle RADAR, Le Coup de lune : un \u00ab anticolonialisme \u00bb f\u00e9minin.<br \/>\nJean-Louis DUMORTIER, Fant\u00f4mes d\u2019Afrique. Du Coup de lune au Blanc \u00e0 lunettes.<br \/>\nSylv\u00e8re MBONDOBARI, La \u00bb mission civilisatrice \u00bb \u00e0 travers des lunettes filtrantes. Notes sur le milieu colonial en Afrique centrale dans L\u2019Heure du n\u00e8gre et Le Coup de lune.<br \/>\nAbdelouahed MABROUR, Les textes africains de Simenon entre adh\u00e9sion et disjonction.<br \/>\nPaul MERCIER, Images de l\u2019aventure africaine et de la qu\u00eate des origines dans quelques romans populaires de Simenon.<br \/>\nDanielle BAJOMEE, Contre-propagande colonialiste et clich\u00e9s raciaux chez Simenon. Quand le discours photographique d\u2019un reporter-\u00e9crivain d\u00e9ment ou nuance ce que dit sa plume.<br \/>\nFalilou NDIAYE, Simenon entre Conrad et Camus.<br \/>\nJanvier AMELA, La g\u00e9n\u00e9alogie du \u00ab Noir nu \u00bb . Des premiers textes exotiques \u00e0 Simenon et Senghor, 1935.<br \/>\nAndr\u00e9-Marie NTSOBE, La vision de la femme chez Simenon et Senghor.<br \/>\nAndr\u00e9e-Marie DIAGNE, Les relations de genre dans le roman d\u2019inspiration autobiographique : Pedigree et Une si longue lettre.<br \/>\nJoseph PARE, Variations des repr\u00e9sentations identitaires. Regards crois\u00e9s.<br \/>\nDaouda MAR, Confluences entre Simenon et l\u2019Afrique dans le genre romanesque.<br \/>\nBoubacar DAOUDA DIALLO, Identit\u00e9 et diff\u00e9rence chez Georges Simenon et les romanciers africains post-coloniaux.<br \/>\nBacary SARR, D\u00e9viance et marginalit\u00e9 chez Abasse Ndione et Simenon. La Vie en spirale et La Nuit du carrefour.<br \/>\nFran\u00e7ois Bruno TRAORE, Georges Simenon, \u00e9tonnant voyageur, \u00ab voyeur \u00bb et\/ou figure atypique de l\u2019errance colonialiste. Engagement testimonial, trahison ou transition litt\u00e9raire ?<br \/>\nIeme VAN DER POEL, Georges Simenon parmi les critiques du chemin de fer Congo-Oc\u00e9an (1921-1934).<br \/>\nBeno\u00eet DENIS, Simenon et les obsessions de l\u2019\u00e9crivain voyageur. Afrique, URSS, Am\u00e9rique.<br \/>\nJacques DUBOIS, L\u2019homme nu : grandeur et mis\u00e8re.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-a065f5ddc4f0b5314 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-a065f5ddc4f0b5314 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-a065f5ddc4f0b5314\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"a065f5ddc4f0b5314\" role=\"button\" data-toggle=\"collapse\" data-target=\"#a065f5ddc4f0b5314\" href=\"#a065f5ddc4f0b5314\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 17 \u2014 Les derniers romans<\/span><\/a><\/h4><\/div><div id=\"a065f5ddc4f0b5314\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00e9ditorial.<br \/>\nBernard ALAVOINE et Michel LEMOINE, In memoriam Pierre DELIGNY et Claude MENGUY.<br \/>\nBernard ALAVOINE, Derniers romans.<br \/>\nPaul DIRCKX, Georges, l\u2019immigr\u00e9. Soci\u00e9t\u00e9 et \u00e9criture dans les derniers romans de Simenon.<br \/>\nPhilippe BLONDEAU, Constance et m\u00e9tamorphoses de la ville dans les derniers romans de Simenon.<br \/>\nAlain SCHAFFNER, Un impossible dialogue de b\u00eates : Le Chat de Georges Simenon.<br \/>\nPatrick BERTHIER, Remarques sur la \u00ab vieillesse \u00bb de Maigret.<br \/>\nMichel LEMOINE, Une nouvelle jeunesse ?<br \/>\nPaul MERCIER, Crise du sujet et soci\u00e9t\u00e9 du spectacle. La Prison de Georges Simenon.<br \/>\nBernard ALAVOINE, Le Confessionnal, Les Innocents: la famille en crise, reflet d\u2019une \u00e9poque ?<br \/>\nPierre SOMVILLE, Cage de verre et bouteille d\u2019encre.<br \/>\nPierre SOMVILLE, Du r\u00f4le g\u00e9n\u00e9tique de la couleur dans quelques romans de Simenon.<br \/>\nV\u00e9ronique VARY, Maigret et l\u2019aristocratie : la nostalgie du petit village. \u00e9tude de Maigret et les vieillards (1960).<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-e98a369b756ec783a .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-e98a369b756ec783a .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-e98a369b756ec783a\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"e98a369b756ec783a\" role=\"button\" data-toggle=\"collapse\" data-target=\"#e98a369b756ec783a\" href=\"#e98a369b756ec783a\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 18 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"e98a369b756ec783a\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00e9ditorial.<br \/>\nGeorges SIMENON et Maurice PIRON, Une correspondance plurielle, \u00e9tablie, pr\u00e9sent\u00e9e et annot\u00e9e par Laurent Demoulin &#8211; <span style=\"color: #ff0000;\"><strong>INDISPONIBLE AU T\u00c9LECHARGEMENT<\/strong><\/span>.<br \/>\nLaurent FOURCAUT, Vertige et basculement dans Le Passage de la ligne de Simenon.<br \/>\nDani\u00e8le LATIN, Les Pitard (1935) : une \u0153uvre atypique dans la mouvance du nouveau paradigme des romans sans Maigret.<br \/>\nPhilippe PROOST, Simenon et Luc Lafnet.<br \/>\nLaurent DEMOULIN, Br\u00e8ves nouvelles du Fonds Simenon.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-5eff4519338ef59b0 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-5eff4519338ef59b0 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-5eff4519338ef59b0\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"5eff4519338ef59b0\" role=\"button\" data-toggle=\"collapse\" data-target=\"#5eff4519338ef59b0\" href=\"#5eff4519338ef59b0\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 19 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"5eff4519338ef59b0\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00e9ditorial.<br \/>\nJean-Louis DUMORTIER, De Maigret \u00e0 Brunet(ti). Petit aper\u00e7u d\u2019une descendance secr\u00e8te.<br \/>\nPhilippe BLONDEAU, H\u00e9ritier de Simenon : Nicolas Freeling.<br \/>\nPaul MERCIER, Le commissaire Adamsberg dans les pas de Maigret.<br \/>\nMichel LEMOINE, Un roman sous influence : Pr\u00e9lude d\u2019octobre de Denis Lacasse.<br \/>\nJacqueline GUITTARD, Un fant\u00f4me de Maigret : l\u2019inspecteur Derrick.<br \/>\nBernard ALAVOINE, Loustal, Warnauts et Raives : la B.D. inspir\u00e9e de Simenon.<br \/>\nPol LIBION, Simenon snob\u00e9, copi\u00e9 et admir\u00e9 par Henry Bordeaux.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-f642d0a59c191caee .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-f642d0a59c191caee .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-f642d0a59c191caee\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"f642d0a59c191caee\" role=\"button\" data-toggle=\"collapse\" data-target=\"#f642d0a59c191caee\" href=\"#f642d0a59c191caee\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 20 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"f642d0a59c191caee\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00c9ditorial. Rites et risques de la communication dans l\u2019ouvre simenonienne.<br \/>\nChristine SERVAIS, L\u2019\u00e9chec de la communication et les potentialit\u00e9s narratives.<br \/>\nMichel LEMOINE, Les premi\u00e8res interviews de Simenon au d\u00e9but des ann\u00e9es 1930.<br \/>\nBill ALDER, Rites et risques de la communication dans la s\u00e9rie Maigret. Les conduites communicationnelles du commissaire.<br \/>\nDominique MEYER-BOLZINGER, Les face \u00e0 face du commissaire Maigret : rites et risques de l\u2019enqu\u00eate.<br \/>\nChristine GAUDRY-HUDSON, Le commissaire Maigret : un disciple de Carl Rogers ?<br \/>\nPaul MERCIER, Mise en \u00e9chec des rites d\u2019interaction dans deux confessions non abouties de Maigret.<br \/>\nLaurent FOURCAUT, Le Relais d\u2019Alsace ou l\u2019\u00e9chec d\u2019une transgression \u00e0 rebours.<br \/>\nLaurent DEMOULIN, Quartier n\u00e8gre : nouveau monde et nouveau code.<br \/>\nJean-Louis DUMORTIER, Mauvais contact. \u00c9tude de la sc\u00e8ne inaugurale d\u2019Un Nouveau dans la ville.<br \/>\nBernard ALAVOINE, Le Petit Saint et la difficult\u00e9 de communiquer.<br \/>\nJean-Paul FERRAND, Expression et excommunication dans les \u00e9crits de Georges Simenon.<br \/>\nJean-Baptiste BARONIAN, Portrait d\u2019un romancier au dictaphone.<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-d072c282854f68f66 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-d072c282854f68f66 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-d072c282854f68f66\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"d072c282854f68f66\" role=\"button\" data-toggle=\"collapse\" data-target=\"#d072c282854f68f66\" href=\"#d072c282854f68f66\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 21 \u2014 Varia<\/span><\/a><\/h4><\/div><div id=\"d072c282854f68f66\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, La Marie du port pas \u00e0 pas<br \/>\nBill ALDER, Sens et r\u00e9ticence dans La Marie du port<br \/>\nPaul MERCIER, Le D\u00e9m\u00e9nagement, seulement un best-seller\u00a0?<br \/>\nDr. Christian NEYS, Jouer avec la ligne ou un devoir d\u2019inconscient<br \/>\nLaurent FOURCAUT, Monsieur Gallet, d\u00e9c\u00e9d\u00e9. Du roman faussaire \u00e0 l\u2019\u00e9crivain roi\u00a0: une r\u00e9demption<br \/>\nMichel LEMOINE et Laurent DEMOULIN, Picpus et ses doubles<br \/>\nJean-Baptiste BARONIAN, L\u2019homme qui ne voulait pas l\u00e2cher ses mots<br \/>\nJean-Paul FERRAND,\u00a0 Lire Simenon, un plaisir po\u00e9tique\u00a0?<br \/>\nBeno\u00eet LEMLIN, Maigret tend un pi\u00e8ge\u00a0: les al\u00e9as du d\u00e9sir mim\u00e9tique<br \/>\nFran\u00e7oise PAULET-DUBOIS, L\u2019eau et le feu dans \u00ab Le ch\u00e2le de Marie Dudon\u00a0\u00bb de Georges Simenon<br \/>\nDenis SAINT-AMAND, Hommage am\u00e9ricain<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-ccffe361b1c2c4775 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-ccffe361b1c2c4775 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-ccffe361b1c2c4775\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"ccffe361b1c2c4775\" role=\"button\" data-toggle=\"collapse\" data-target=\"#ccffe361b1c2c4775\" href=\"#ccffe361b1c2c4775\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 22 \u2014 Hommage \u00e0 Michel Lemoine<\/span><\/a><\/h4><\/div><div id=\"ccffe361b1c2c4775\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>\u00c9ditorial<br \/>\nL\u2019espace romanesque<br \/>\nSimenon, la Loire et les fictions<br \/>\nSimenon et l\u2019Italie<br \/>\nPour une approche des \u00e9l\u00e9ments campanaires chez Simenon<br \/>\nL\u2019Afrique, et apr\u00e8s ?<br \/>\nLes fant\u00f4mes de Mademoiselle Augustine<br \/>\nSimenon ou la nostalgie d\u2019un ailleurs<br \/>\nS\u00e9lection bibliographique<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-789af98e9ff3ea532 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-789af98e9ff3ea532 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-789af98e9ff3ea532\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"789af98e9ff3ea532\" role=\"button\" data-toggle=\"collapse\" data-target=\"#789af98e9ff3ea532\" href=\"#789af98e9ff3ea532\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 23 \u2014 Simenon \u00e0 l\u2019\u00e9cran<\/span><\/a><\/h4><\/div><div id=\"789af98e9ff3ea532\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00c9ditorial<br \/>\nBernard ALAVOINE, Simenon\/Cin\u00e9ma<br \/>\nAlain BOILLAT, L\u2019adaptation d\u2019<em>En cas de malheur<\/em> par Autant-Lara, Aurenche et Bost. Une gen\u00e8se sc\u00e9naristique en contexte<br \/>\nDimitri ROBOLY, <em>L\u2019Ain\u00e9 des Ferchaux<\/em> : un Simenon, deux Belmondo, roman gris et films noirs<br \/>\nThierry OZWALD, Suppliques pour une Europe d\u00e9vast\u00e9e<br \/>\nChristine CALVET, <em>Les Fian\u00e7ailles de M. Hire<\/em> : plong\u00e9e et contreplong\u00e9e dans une \u00ab petite humanit\u00e9 \u00bb<br \/>\nMarie-Th\u00e9r\u00e8se OLIVER-SAIDI, L\u2019adaptation de Simenon au cin\u00e9ma : un d\u00e9fi stimulant pour producteur, sc\u00e9nariste et public ?<br \/>\nLisa MAMAKOUKA, \u00ab Dur \u00bb ou \u00ab durassien \u00bb ? \u00c0 la recherche de l\u2019univers n\u00e9oromanesque de <em>Betty<\/em>, roman de Georges Simenon\/film de Claude Chabrol<br \/>\nFran\u00e7ois-Jean AUTHIER, \u00c0 corps perdu. Errance et d\u00e9ch\u00e9ance de <em>Betty<\/em> de Georges Simenon \u00e0 Claude Chabrol<br \/>\nIoanna PAPASPYRIDOU, De quelques figures f\u00e9minines dans les films d\u2019apr\u00e8s les romans de Simenon<br \/>\nSandrine MARCILLAUD-AUTHIER, Le Myst\u00e8re de <em>La Chambre bleue<\/em> de Simenon \u00e0 Amalric : Dire et filmer l\u2019indicible<br \/>\nJohn SIMENON, Le mot de la fin<br \/>\nBeno\u00eet LEMLIN, La figure de bouc \u00e9missaire dans <em>Les Fian\u00e7ailles de M. Hire<br \/>\n<\/em>Philippe VAN MUYLDER, Le travail de l\u2019irr\u00e9m\u00e9diable dans <em>La Maison du canal<\/em> de Georges Simenon<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-0cc32d747caac0be2 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-0cc32d747caac0be2 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-0cc32d747caac0be2\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"0cc32d747caac0be2\" role=\"button\" data-toggle=\"collapse\" data-target=\"#0cc32d747caac0be2\" href=\"#0cc32d747caac0be2\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 24 \u2014 Il avait appris \u00e0 \u00e9crire<\/span><\/a><\/h4><\/div><div id=\"0cc32d747caac0be2\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00c9ditorial<br \/>\nChristine BISTER, Qui passe quoi ? Commentaire de l\u2019incipit de <em>Passage de la ligne<\/em><br \/>\nChristian NEYS, Sur l\u2019incipit des <em>Complices<\/em><br \/>\nJean-Louis DUMORTIER, \u00ab Embarqu\u00e9 \u00bb. Une \u00e9tude de l\u2019incipit de <em>La Chambre bleue<\/em><br \/>\nBeno\u00eet DENIS, Se tromper de genre. \u00c0 propos de <em>Novembre<\/em><br \/>\nFran\u00e7ois-Jean AUTHIER, D\u00e9part du <em>Train<\/em> de Georges Simenon : quand la vie ordinaire d\u00e9raille<br \/>\nSandrine MARCILLAUD-AUTHIER, Chronique d\u2019une mort annonc\u00e9e : premiers et derniers mots du <em>Petit homme d\u2019Arkhangelsk<\/em><br \/>\nIonna PAPASPYRIDOU, \u00c0 propos de l\u2019incipit de <em>Feux rouges<\/em><br \/>\nH\u00e9l\u00e8ne TATSOPOULOU, L\u2019embarquement pour l\u2019Afrique dans <em>Le Coup de lune<\/em><br \/>\nMarina GEAT, Une lecture de l\u2019incipit de <em>L\u2019\u00c2ne rouge<\/em><br \/>\nThierry OZWALD, Le bonheur est dans le crime : \u00e0 propos de l\u2019incipit de <em>La V\u00e9rit\u00e9 sur B\u00e9b\u00e9 Donge<\/em><br \/>\nPaul MERCIER, Un train peut en cacher un autre. Une lecture de l\u2019incipit du <em>Train de Venise<\/em><br \/>\nBill ALDER, \u00ab Nodders \u00bb ou \u00ab Shakers \u00bb : les incipit de <em>Le Port des brumes<\/em> et de <em>Maigret et la vieille dame<\/em> chez Simenon et au petit \u00e9cran<br \/>\nLaurent FOURCAUT, Le <em>Chat<\/em> : dans la prison du livre<br \/>\nLaurent DEMOULIN, Un Simenon moderne ? Sur l\u2019incipit de <em>Les Trois Crimes de mes amis<\/em><br \/>\nJean-Baptiste BARONIAN, Le commencement et la fin. <em>Le Temps d\u2019Ana\u00efs<\/em><br \/>\nManon HOUTART, Simenon et la radio. Les adaptations de Pierre Assouline pour France Culture<br \/>\nDidier RIET, Lognon : l\u2019homme qui n\u2019\u00e9tait pas Maigret<\/p>\n<\/div><\/div><\/div><style type=\"text\/css\">.fusion-accordian  #accordion-12284-1 .panel-799e5f9f72003fdc8 .panel-title a{}.fusion-accordian  #accordion-12284-1 .panel-799e5f9f72003fdc8 .toggle-content{}<\/style><div class=\"fusion-panel panel-default panel-799e5f9f72003fdc8\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\"><a aria-expanded=\"false\" aria-controls=\"799e5f9f72003fdc8\" role=\"button\" data-toggle=\"collapse\" data-target=\"#799e5f9f72003fdc8\" href=\"#799e5f9f72003fdc8\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">TRACES 25 \u2014 L\u2019\u00e9preuve de la honte<\/span><\/a><\/h4><\/div><div id=\"799e5f9f72003fdc8\" class=\"panel-collapse collapse \"><div class=\"panel-body toggle-content fusion-clearfix\">\n<p>Jean-Louis DUMORTIER, \u00c9ditorial<br \/>\nChristine BISTER, Tuer plut\u00f4t que mourir de honte. Une lecture t\u00eate-b\u00eache de <em>L\u2019Ours en peluche<br \/>\n<\/em>Jean-Louis DUMORTIER, \u00ab Maison hont\u00e9e \u00bb<br \/>\nDani\u00e8le LATIN, <em>Le Train de Venise<\/em>. Un drame que d\u00e9noue l\u2019exp\u00e9rience de la honte<br \/>\nChristian NEYS, <em>Au bout du rouleau<\/em>. Quand la vie ordinaire d\u00e9raille<br \/>\nLaurent FOURCAUT, <em>La Neige \u00e9tait sale\u00a0: <\/em>le faussaire et sa honte<br \/>\nFran\u00e7ois-Jean AUTHIER, Cette insoutenable ignominie. L\u2019\u00e9preuve de la honte et de l\u2019humiliation dans <em>Pedigree<\/em> de Georges Simenon<br \/>\nSandrine MARCILLAUD-AUTHIER, Dramaturgies de la honte : <em>Bergelon<br \/>\n<\/em>H\u00e9l\u00e8ne TATSOPOULOU, Entre aveu et testament : <em>Le Fils<\/em> de Georges Simenon<br \/>\nDidier RIET, L\u2019\u00e9preuve de la honte dans <em>Les Noces de Poitiers<br \/>\n<\/em>Jean-Baptiste BARONIAN, <em>L\u2019\u00c9cluse n<sup>o<\/sup>\u00a01<\/em> : une non-enqu\u00eate de Maigret<br \/>\nPierre SOMVILLE, Un chef-d\u2019\u0153uvre de noirceur : <em>Les S\u0153urs Lacroix<\/em><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-1{width:100% !important;margin-top : 0px;margin-bottom : 50px;}.fusion-builder-column-1 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-1{width:100% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-1{width:100% !important;order : 0;}.fusion-builder-column-1 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-2{ padding-top : 0px;margin-top : 30px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-12284","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/pages\/12284","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/comments?post=12284"}],"version-history":[{"count":5,"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/pages\/12284\/revisions"}],"predecessor-version":[{"id":12542,"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/pages\/12284\/revisions\/12542"}],"wp:attachment":[{"href":"http:\/\/web.philo.ulg.ac.be\/cegs\/wp-json\/wp\/v2\/media?parent=12284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}