skip to content
L'Amérique en clair-obscur : construction d'une visibilité africaine-américaine dans l'oeuvre photographique de Gordon Parks Preview this item
ClosePreview this item
Checking...

L'Amérique en clair-obscur : construction d'une visibilité africaine-américaine dans l'oeuvre photographique de Gordon Parks

Author: Lise DelmasMarie-Christine AgostoCécile CoquetAnca CristofoviciJean KempfAll authors
Publisher: 2019.
Dissertation: Thèse de doctorat : Langues, littératures et civilisations anglophones. Etudes américaines : Brest : 2019.
Edition/Format:   Computer file : Document : Thesis/dissertation : French
Summary:
L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The Right to Look, cette thèse se propose
Rating:

(not yet rated) 0 with reviews - Be the first.

Subjects
More like this

Find a copy online

Links to this item

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...

Details

Genre/Form: Thèses et écrits académiques
Named Person: Gordon Parks
Material Type: Document, Thesis/dissertation, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Lise Delmas; Marie-Christine Agosto; Cécile Coquet; Anca Cristofovici; Jean Kempf; Gilles Chamerois; Université de Bretagne occidentale.; École doctorale Arts, Lettres, Langues (Rennes).; Héritages & constructions dans le texte et l'image.
OCLC Number: 1155806998
Notes: Titre provenant de l'écran-titre.
Description: 1 online resource
Responsibility: Lise Delmas ; sous la direction de Marie-Christine Agosto.

Abstract:

L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The Right to Look, cette thèse se propose d'interroger les intersections de l'esthétique et du politique dans une oeuvre photographique monumentale et éclectique, entamée pendant la Renaissance noire de Chicago, poursuivie sous l'égide de Roy Stryker pendant la Grande Dépression et déployée pendant plus de vingt ans, de 1949 à 1970, au sein de l'équipe de photographes du magazine Life. Si la propre visibilité de Parks dans l'histoire culturelle et artistique africaine-américaine et américaine ne fait aucun doute, comme en témoignent les nombreuses expositions et les ouvrages dédiés à ses projets aux États-Unis, ce travail cherchera à dépasser les étiquettes de pionnier ou de génie versatile qui lui furent attribuées pour faire émerger les ambiguïtés d'une oeuvre construite entre deux mondes. Parks, à la fois influencé par son expérience du racisme et de la ségrégation et par sa profonde sensibilité esthétique et son goût pour l'art classique occidental, posa sur les Africains-Américains un regard qu'il voulait à la fois intime et universel. Il parvint à intégrer sa vision de la communauté noire dans les mécanismes de diffusion de certaines des plus puissantes instances visuelles américaines, telles que la FSA et Life. Le choix de Parks de privilégier des institutions culturelles mainstream visant un public blanc pour transmettre sa vision fut générateur de tensions qui feront l'objet d'une attention particulière dans ce travail.

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility - as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a “Renaissance Man”, as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation.

Reviews

User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...

Tags

Be the first.
Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Linked Data


\n\n

Primary Entity<\/h3>\n
<http:\/\/www.worldcat.org\/oclc\/1155806998<\/a>> # L\'Am\u00E9rique en clair-obscur : construction d\'une visibilit\u00E9 africaine-am\u00E9ricaine dans l\'oeuvre photographique de Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nbgn:Thesis<\/a>, schema:MediaObject<\/a>, schema:CreativeWork<\/a>, bgn:ComputerFile<\/a> ;\u00A0\u00A0\u00A0\nbgn:inSupportOf<\/a> \"Th\u00E8se de doctorat : Langues, litt\u00E9ratures et civilisations anglophones. Etudes am\u00E9ricaines : Brest : 2019.<\/span>\" ;\u00A0\u00A0\u00A0\nlibrary:oclcnum<\/a> \"1155806998<\/span>\" ;\u00A0\u00A0\u00A0\nlibrary:placeOfPublication<\/a> <http:\/\/id.loc.gov\/vocabulary\/countries\/fr<\/a>> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/photographie_africaine_americaine<\/a>> ; # Photographie africaine-am\u00E9ricaine<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/parks_gordon_1912_2006<\/a>> ; # Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/gordon_parks<\/a>> ; # Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/histoire_des_etats_unis<\/a>> ; # Histoire des \u00C9tats-Unis<\/span>\n\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/visibilite<\/a>> ; # Visibilit\u00E9<\/span>\n\u00A0\u00A0\u00A0\nschema:author<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/delmas_lise_1989<\/a>> ; # Lise Delmas<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/cristofovici_anca<\/a>> ; # Anca Cristofovici<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/kempf_jean_1956<\/a>> ; # Jean Kempf<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/universite_de_bretagne_occidentale<\/a>> ; # Universit\u00E9 de Bretagne occidentale.<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/chamerois_gilles_1966<\/a>> ; # Gilles Chamerois<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/heritages_&_constructions_dans_le_texte_et_l_image<\/a>> ; # H\u00E9ritages & constructions dans le texte et l\'image.<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/coquet_cecile<\/a>> ; # C\u00E9cile Coquet<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/agosto_marie_christine<\/a>> ; # Marie-Christine Agosto<\/span>\n\u00A0\u00A0\u00A0\nschema:contributor<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/ecole_doctorale_arts_lettres_langues_rennes<\/a>> ; # \u00C9cole doctorale Arts, Lettres, Langues (Rennes).<\/span>\n\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2019<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"L\'oeuvre photographique de Gordon Parks (1912-2006) refl\u00E8te les nombreuses \u00E9volutions et transformations de la communaut\u00E9 africaine-am\u00E9ricaine au XXe si\u00E8cle. En prenant comme point de d\u00E9part de la r\u00E9flexion le concept de visibilit\u00E9, tel que th\u00E9oris\u00E9, notamment, par Georges Didi-Huberman dans Peuples expos\u00E9s, peuples figurants ou Nicholas Mirzoeff dans The Right to Look, cette th\u00E8se se propose d\'interroger les intersections de l\'esth\u00E9tique et du politique dans une oeuvre photographique monumentale et \u00E9clectique, entam\u00E9e pendant la Renaissance noire de Chicago, poursuivie sous l\'\u00E9gide de Roy Stryker pendant la Grande D\u00E9pression et d\u00E9ploy\u00E9e pendant plus de vingt ans, de 1949 \u00E0 1970, au sein de l\'\u00E9quipe de photographes du magazine Life. Si la propre visibilit\u00E9 de Parks dans l\'histoire culturelle et artistique africaine-am\u00E9ricaine et am\u00E9ricaine ne fait aucun doute, comme en t\u00E9moignent les nombreuses expositions et les ouvrages d\u00E9di\u00E9s \u00E0 ses projets aux \u00C9tats-Unis, ce travail cherchera \u00E0 d\u00E9passer les \u00E9tiquettes de pionnier ou de g\u00E9nie versatile qui lui furent attribu\u00E9es pour faire \u00E9merger les ambigu\u00EFt\u00E9s d\'une oeuvre construite entre deux mondes. Parks, \u00E0 la fois influenc\u00E9 par son exp\u00E9rience du racisme et de la s\u00E9gr\u00E9gation et par sa profonde sensibilit\u00E9 esth\u00E9tique et son go\u00FBt pour l\'art classique occidental, posa sur les Africains-Am\u00E9ricains un regard qu\'il voulait \u00E0 la fois intime et universel. Il parvint \u00E0 int\u00E9grer sa vision de la communaut\u00E9 noire dans les m\u00E9canismes de diffusion de certaines des plus puissantes instances visuelles am\u00E9ricaines, telles que la FSA et Life. Le choix de Parks de privil\u00E9gier des institutions culturelles mainstream visant un public blanc pour transmettre sa vision fut g\u00E9n\u00E9rateur de tensions qui feront l\'objet d\'une attention particuli\u00E8re dans ce travail.<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility - as tackled by George Didi-Huberman in his essay Peuples expos\u00E9s, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks\'s monumental and eclectic photographic output. Parks\'s work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks\'s vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph\'s own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a \u201CRenaissance Man\u201D, as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks\'s photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation.<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:exampleOfWork<\/a> <http:\/\/worldcat.org\/entity\/work\/id\/10240633621<\/a>> ;\u00A0\u00A0\u00A0\nschema:genre<\/a> \"Th\u00E8ses et \u00E9crits acad\u00E9miques<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:inLanguage<\/a> \"fr<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"L\'Am\u00E9rique en clair-obscur : construction d\'une visibilit\u00E9 africaine-am\u00E9ricaine dans l\'oeuvre photographique de Gordon Parks<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\nschema:productID<\/a> \"1155806998<\/span>\" ;\u00A0\u00A0\u00A0\nschema:url<\/a> <http:\/\/www.theses.fr\/2019BRES0077\/abes<\/a>> ;\u00A0\u00A0\u00A0\nschema:url<\/a> <http:\/\/www.theses.fr\/2019BRES0077\/document<\/a>> ;\u00A0\u00A0\u00A0\nschema:url<\/a> <https:\/\/tel.archives-ouvertes.fr\/tel-02650483<\/a>> ;\u00A0\u00A0\u00A0\nwdrs:describedby<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/1155806998<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Related Entities<\/h3>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/ecole_doctorale_arts_lettres_langues_rennes<\/a>> # \u00C9cole doctorale Arts, Lettres, Langues (Rennes).<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"\u00C9cole doctorale Arts, Lettres, Langues (Rennes).<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/heritages_&_constructions_dans_le_texte_et_l_image<\/a>> # H\u00E9ritages & constructions dans le texte et l\'image.<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"H\u00E9ritages & constructions dans le texte et l\'image.<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Organization\/universite_de_bretagne_occidentale<\/a>> # Universit\u00E9 de Bretagne occidentale.<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Organization<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Universit\u00E9 de Bretagne occidentale.<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/agosto_marie_christine<\/a>> # Marie-Christine Agosto<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Agosto<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Marie-Christine<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Marie-Christine Agosto<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/chamerois_gilles_1966<\/a>> # Gilles Chamerois<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1966<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Chamerois<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Gilles<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Gilles Chamerois<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/coquet_cecile<\/a>> # C\u00E9cile Coquet<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Coquet<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"C\u00E9cile<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"C\u00E9cile Coquet<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/cristofovici_anca<\/a>> # Anca Cristofovici<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Cristofovici<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Anca<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Anca Cristofovici<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/delmas_lise_1989<\/a>> # Lise Delmas<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1989<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Delmas<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Lise<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Lise Delmas<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/kempf_jean_1956<\/a>> # Jean Kempf<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1956<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Kempf<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Jean<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Jean Kempf<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Person\/parks_gordon_1912_2006<\/a>> # Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1912<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"2006<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Parks<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Gordon<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Gordon Parks<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/gordon_parks<\/a>> # Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Gordon Parks<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/histoire_des_etats_unis<\/a>> # Histoire des \u00C9tats-Unis<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Histoire des \u00C9tats-Unis<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/photographie_africaine_americaine<\/a>> # Photographie africaine-am\u00E9ricaine<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Photographie africaine-am\u00E9ricaine<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/10240633621#Thing\/visibilite<\/a>> # Visibilit\u00E9<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Thing<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Visibilit\u00E9<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/id.loc.gov\/vocabulary\/countries\/fr<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:Place<\/a> ;\u00A0\u00A0\u00A0\ndcterms:identifier<\/a> \"fr<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.theses.fr\/2019BRES0077\/document<\/a>>\u00A0\u00A0\u00A0\nrdfs:comment<\/a> \"Acc\u00E8s au texte int\u00E9gral<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/1155806998<\/a>>\u00A0\u00A0\u00A0\u00A0a \ngenont:InformationResource<\/a>, genont:ContentTypeGenericResource<\/a> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/www.worldcat.org\/oclc\/1155806998<\/a>> ; # L\'Am\u00E9rique en clair-obscur : construction d\'une visibilit\u00E9 africaine-am\u00E9ricaine dans l\'oeuvre photographique de Gordon Parks<\/span>\n\u00A0\u00A0\u00A0\nschema:dateModified<\/a> \"2020-10-06<\/span>\" ;\u00A0\u00A0\u00A0\nvoid:inDataset<\/a> <http:\/\/purl.oclc.org\/dataset\/WorldCat<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Content-negotiable representations<\/p>\n