Our project will provide a linguistic and philological panorama of the Latin language using the techniques of contemporary linguistics. We are aiming at a wide public in this: academics (latinists, linguists and non-specialists), students and the informed public at large. The participants are recognised specialists in their areas. They will present the subject matter with the scientific rigour to be expected of them, but in a way whose clarity will also make it usable by non-specialists. Our key "deliverable" will be a web site, made up of 4 parts containing many correspondences and links between each of them. The 1st part will be a dictionary of Latin lexemes in alphabetical order, both words with a lexical meaning (e.g. laus "praise", gloria "glory") and with a grammatical function (e.g. connectors, subordinators, etc.). Each word will have its own entry covering the essential aspects: written form, phonetics, phonology, morphology, distribution, semantics, syntax, pragmatics, situation among the diastratic variations, synchronic analysis, etymology, descendants in the Romance languages. The project will bring important new elements: lexemes with pragmatic functions have never before been presented in a dictionary, and our analyses of semantic developments will be new, exploiting the techniques of contemporary semantics. The dictionary will also be the result of a synchronic approach to the Latin lexicon, developed in the last few decades, that has never been explained in a single work. The methodology to be used for etymologies will include a synthesis of the current hypotheses on the subject, without limiting ourselves to any one school of thought in particular. The 2nd part of the website will deal with Latin technical vocabularies and will be of considerable interest for the history of science. By a lexical analysis of the Latin words used for surveying, geology, etc., one can see the driving concepts at work. This part will also cover the vocabulary of rhetoric, biblical terminology (the passage from Hebrew to Latin, and from the Greek Septuagint to Latin), naming of Christian entities, the vocabulary of sculpture, theatre, legal terminology. There will be computerised links wherever the same lexeme is treated in part 1 and also as a specialist term in part 2. The 3rd part will contain a synthesis of the 3 main categories of word formation in Latin: suffixation, inherited compounds and agglutination. Words will be classified here in groups depending on their type of formation, and there will also be links where the same words are also found in parts 1 and 2. For example, there will be a link connecting aratrum « plough » in the 1st part with the instrumental suffix –trum in the 3rd part. The 4th part of the website will constitute an "encyclopedia" of contemporary Latin linguistics in the form of a list of terms and concepts used in the 3 other parts, and will define each of them, with examples taken from Latin, in the framework of Latin linguistics. Since some of these terms are specific to a given "school", this 4th part will also present a panorama of the major European schools that have been driving Latin linguistics thought since the 1970s and 1980s. All 4 parts of the project are complimentary to one another and constitute a multidimensional approach to the Latin language. The form of the dictionary, in reality, is used here in order to present our readers with the totality of linguistic and philological knowledge of the Latin language. A major advantage of using the internet is that we will not have to wait until the completion of the project before we can publish our results. Work will be made available as it is produced. By being on line, we will overcome the main problems associated with the production of a dictionary in paper format. The website will be a permanently available tool and will significantly advance scientific research.

The IDT project proposes a multidisciplinary research programme on a novel corpus of preliminary texts of French, Italian and Spanish plays of the 16th and 17th centuries. The series of essays, prefaces and dedications demonstrate the process of institutionalisation of theatre in Europe and the circulation of theatrical practices and ideas in the crucial Renaissance and Classical periods. The text edition and research that it leads to underpin a number of deliverables - Online bibliographical database - Online edition of texts - Dictionnary of theatrical terms - Published volume of selected aspects of the corpus - Scholarly work - International workshops and conferences In the days when modern drama was soaring in Europe, a fruitful exchange kept going on in Italy, France and Spain in the form not so much of lengthy theoretical treatises as of innumerable « prefaces », in which authors discussed the issues of the rules and the power of drama as well as the use of sources (since playwrights in the three countries kept adapting the same matter ). Yet these texts, which are capital for the understanding of Renaissance as well as Classical drama, have largely been overlooked by critics and publishers on account of their being scattered and not easily available. Once they are collected together, they will make up the first major multinational corpus devoted to a specific literary genre. Such a data base, which is moreover supplied with a substantial enlightening critical apparatus that can be accessed thanks to specific means, will be an invaluable instrument for the community of scholars. In the electronic edition, the search for words will provide a brand new illuminating approach to the key notions of dramatic theory, which can at the same time be grasped in their various meanings — by looking up their occurrences in a given textual corpus in one of the languages — and be compared with their linguistic equivalents in the other two languages, unless no corresponding term is available as may be the case. This resource will serve as support to the making-up of an annotated trilingual dictionary of dramatic terms entitled « Le Théâtre au miroir des langues ». What is truly innovative about this dictionary is that the comparative translation of words will be the starting-point of an analytical study highlighting the theatrical specificities of each country — including untranslatable notions — together with correspondences in meaning and common practices in all three countries. Once completed, the work will fill a gap in the existing array of lexicons and dictionaries of the Classical language.

France holds a special position in the history of jazz. On can says without mistake that, after the orginal north american territory, it is the most important country for this music. For the musicians it gave, for the essential role it held in the diffusion of jazz. At last, for its fundamental role in the invention of a lettered commentary on jazz. Jazz arrived in France almost as soon as it was born, with the American army getting involved in World War I (1917). The first commentary comes from experts like conductor Ernest Ansermet, anthropologist André Schaeffner, musicologist Arthur Hoérée. From the end of the 1920s, lettered specialists turn their eyes away from the newly arrived music. Some passionate « amateurs » then take their place : Robert Goffin, Hugues Panassié, Charles Delaunay. They set up, too, structures and tools of diffusion, record labels. These passionate people become the real experts of this music, outside any institutional structure. Thus, a real tradition occurs, that perpetuates itself with newcomers who continue the initial work of development. They compile documents of all sorts, creating and preserving sources for a future historiography. That is not before the 1970s and the 1980s that an « institutional comeback » occurs, along with a new legitimation of jazz as a cultural object : beginings of jazz education in conservatories and universities, funding by public structures, creation of the National Jazz Orchestra, etc. Today, successors of the historical founders go on with the work of gathering datas, but it seems that a problem of replacement happens. Along with this decline, a first generation of scholars specialized in jazz appeared very recently, that takes a relay in the university field. It appears otherwise that no enterprise of writing a history of jazz in France, trying to consider the whole phenomena, has been initiated yet. Here more than anywhere, unity of academic disciplines proves to be indispensable. Jazz calls up musicologists, specialists of cultural history, litterary history, movie history, sociologists and anthropologists. Our project has likewise an academic outreach. Jazz touches a region that blends music, culture and political imagination. One task will be to question the possibility of a concordance. Of a series of concordances. Between what can unite an epoch sensibility and an art. It is about this interrogation about the relation between music and society that we wish to work in this project. Lead by musicologists who are also historians of culture, the goal is to fill that gap by articulating epistemological knowledges of specialized scholars and the considerable amount of historical datas amassed by the non scholar experts. This task seems to us essential for several reasons. Jazz is an object whose importance does not make question anymore now, neither the predominance of France for its influence and development. A large study on the history of this music in this country appears more necessary than ever, specially for the coming generation of scholars, who will not avoid to question this founding period. Likewise, a huge amount of datas, today scattered, is threatened of disappearing because it is held by individuals and not institutions, with all the fragilities it supposes. At last, musicology of jazz is in a profound mutation. A growing acute attention is focused on what happened outside the original territory. That is why the world outside North America becomes a huge research field and a fundamental issue for the discipline, a fact that begins to appear even in the founding coutry (for the first time in 2007, a european expert has been invited for a series of conferences about jazz in Europe at Columbia University). In this landscape, France, as it was said, holds a very special place, the first one for a number of aspects. Research on that field is still in its infancy. It needs, urgently, to lean upon a history written according to the common criterias of scientificity. French scholars, of course, are in the best position to bring this task to fruitition.