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            <title xml:lang="fr">Rire, une forme de réception de l'urbanisme moderne</title>
            <title xml:lang="fr" type="sub">Le moment '58</title>
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                <forename type="first">Olivier</forename>
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            <idno type="halRefHtml">&lt;i&gt;Histoire urbaine&lt;/i&gt;, 2011, 31, p.129-150. &lt;a target="_blank" href="https://dx.doi.org/10.3917/rhu.031.0129"&gt;&amp;#x27E8;10.3917/rhu.031.0129&amp;#x27E9;&lt;/a&gt;</idno>
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            <idno type="stamp" n="UNIV-BORDEAUX-MONTAIGNE">Université Bordeaux Montaigne</idno>
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            <note type="commentary">Olivier RATOUIS, Martin Baumeister (dir. de numéro), " Rire en ville à l'époque contemporaine "</note>
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                <title xml:lang="fr">Rire, une forme de réception de l'urbanisme moderne</title>
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                <title level="j">Histoire urbaine</title>
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                <term xml:lang="fr">urbanisme moderne</term>
                <term xml:lang="fr">ville</term>
                <term xml:lang="fr">rire</term>
                <term xml:lang="fr">humour</term>
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              <p>Laughter, a form of reception of modern urbanism. The '58 moment. In France as in general in Europe, the 1950's are a decisive moment for urban modernity, characterized by the post-world war reconstruction and a new lifestyle often called "Americanization". Several emotions express the depth of transformations. Laughter constitutes a form, both individual and collective, of distancing and appropriation of a moving reality. This article proposes to study it through the vectors of the new mass culture, by considering comic works as forms of reception of modern urbanism. The corpus is made up of French and Belgium comic works and burlesque works created around 1958, which were categorized as "popular culture" in consideration of their success and their aura. The article studies different art works contextualised in the social events that they comment, among others Mon Oncle by Jacques Tati and the Houseware Show ("Salon des arts ménagers"), comics by André Franquin and the International Exhibition of Brussels (called " Expo '58 ").</p>
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              <p>En France et plus généralement en Europe, la modernité urbaine connaît un moment charnière dans les années 1950, marqué par la reconstruction d'après-guerre et la rupture des modes de vie souvent qualifiée " d'américanisation ". Ces changements suscitent différentes émotions parmi lesquelles le rire constitue à titre individuel et collectif une forme de prise de distance et d'appropriation d'une réalité mouvante, que l'on se propose ici d'étudier à partir des vecteurs de la nouvelle culture de masse. Considérant les œuvres comiques comme des formes de réception de l'urbanisme moderne, l'article s'appuie sur un corpus d'œuvres françaises et belges comiques et burlesques dont le pivot est l'année 1958, relevant, par leur succès et leur aura, de la " culture populaire ". Elles sont contextualisées dans l'actualité que souvent elles commentent, en particulier Mon Oncle de Jacques Tati et le Salon des arts ménagers, les œuvres du dessinateur André Franquin et l'Exposition internationale de Bruxelles (dite " Expo '58 ").</p>
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