Stéphane Verger
Stéphane Verger, born on 10 February 1965 in Soyaux (Charente, France), is a French archaeologist specialising in protohistoric societies and Mediterranean cultures in the first millennium BC.
Since 2005, he has been full professor (Directeur d’études) of Archaeology at the École Pratique des Hautes Études-PSL (Chair of ‘Protohistoric societies and Mediterranean cultures in the first millennium BC’). From 2020 to 2024, he was Director General of the Museo Nazionale Romano.
His research focuses on the complex relationships between the Final Bronze Age and Iron Age cultures of continental Europe (Hallstatians, Celts, Illyrians) and those of Italy (Venetes, Etruscans, Italics, Western Greeks) and the pre-Roman Mediterranean. He studies the diversity of urban cultures in various regions of the eastern Greek world (Aeolides, Ionia) and the western Greek world (Illyria, Magna Graecia, Sicily).
A student at the École Normale Supérieure (1984-1988), he holds an Agrégation in History (1987), a PhD in Archaeology (Université de Bourgogne, 1994, under the supervision of Claude Rolley) and an Habilitation à Diriger des Recherches (EHESS, 2005, under the supervision of Jean Guilaine).
He has been: Member of the École Française de Rome (Antiquity section, 1992-1995); Senior Lecturer in Archaeology at the University of Burgundy (1995-1999); Director of Studies for Antiquity at the École Française de Rome (1999-2005). Since 2005 he has been full professor (Directeur d’études) at the École Pratique des Hautes Études (‘Protohistoric societies and Mediterranean cultures in the first millennium BC’). He has taught archaeology at the École du Louvre, the Scuola di Specializzazione in Beni Archeologici at the University of Basilicata and the Scuola Superiore Meridionale at the University Federico II in Naples.
He was director of the Department of Art History and Archaeology at the University of Burgundy (1997-1999), and Director of the Institute «Archéologie et philologie d’Orient et d’Occident" (UMR8546-AOrOc-CNRS- École Normale Supérieure). He was involved in the creation of the Université d'excellence Paris Sciences Lettres and the LabEx TransferS. He was a member of the Scientific Council of the Louvre Museum.
From 2020 to 2024, he was Director General of the Museo Nazionale Romano in Rome, where he designed, initiated and launched the major restoration and enhancement works at the museum's four headquarters (Terme di Diocleziano, Palazzo Massimo, Palazzo Altemps, Crypta Balbi) as part of the strategic programme ‘Urbs. Dalla città alla campagna romana’ strategic programme of the PNC (Piano Nazionale per gli investimenti Complementari al PNRR).
He has taken part in a number of archaeological projects in France (Magdalenian settlement at Pincevent, Les Peyrats cave at Agris, Celtic oppidum at Bibracte, protohistoric necropolis at Saint-Romain-de-Jalionas), Italy (Etruscan-Roman town of Musarna) and Turkey (Greek and Roman sanctuary at Klaros).
He has directed a number of international archaeological programmes: in Turkey, the french ‘Aeolian’ mission (2012-2016), in collaboration with the Celal Bayar University of Manisa and the Deutsches Archäologisches Institut of Istanbul (Franco-German NekroPergEol programme on Hellenistic funerary practices and spaces in Pergamon and Aeolian) ; in Italy, the Franco-Italian excavation of Siris-Heraclea of Lucania at Policoro in Basilicata (2014-2020), with the University of Basilicata; in Albania, the archaeological mission of Apollonia of Illyria (2017-2023) with the Tirana Archaeological Institute.
He has curated major international archaeological exhibitions: ‘Italia antiqua’ (École Nationale Supérieure des Beaux-Arts, Paris, 2001); ‘Une Odyssée gauloise’ (Musée Henri Prades de Lattes e Musée de la Civilisation Celtique de Bibracte, 2013-2014); ‘Pompei e gli Etruschi’ (Parco Archeologico di Pompei, 2018-2019); ‘Le Tavole di Eraclea. Tra Taranto e Roma’ (Museo Archeologico Nazionale della Siritide, Policoro, 2020); ’Tota Italia. Alle origini di una nazione’ (Scuderie del Quirinale, Rome, 2021, and National Museum of China, Beijing, 2022); ’Vita Dulcis. Paura e desiderio nell'Impero romano’ with Francesco Vezzoli (Palazzo delle Esposizioni, Rome, 2023); ’L'Istante e l'eternità. Tra noi e gli antichi’ (MNR, Rome, 2023); ’Dacia. L'ultima frontiera della romanità’ (MNR, 2023-2024).
It has also organised a number of exhibitions by contemporary artists, in resonance with the ancient spaces and collections of the Museo Nazionale Romano, including: ‘Ai Weiwei, La commedia umana’ (2022); ‘Juan Araujo. Clouds and Shadows on Mars’ (2024); Elisabetta Benassi, “Cameopardalis” (L'ottava testa, Chiostro di Michelangelo, 2024); ’Massimiliano Pelletti. Versus’ (2024); ’Tony Cragg. Infinite forme e bellissime’ (2024).
Phone: +33 (0)144323783
Address: UMR8546-AOrOc
ENS 45 rue d'Ulm F-75230 PARIS
Since 2005, he has been full professor (Directeur d’études) of Archaeology at the École Pratique des Hautes Études-PSL (Chair of ‘Protohistoric societies and Mediterranean cultures in the first millennium BC’). From 2020 to 2024, he was Director General of the Museo Nazionale Romano.
His research focuses on the complex relationships between the Final Bronze Age and Iron Age cultures of continental Europe (Hallstatians, Celts, Illyrians) and those of Italy (Venetes, Etruscans, Italics, Western Greeks) and the pre-Roman Mediterranean. He studies the diversity of urban cultures in various regions of the eastern Greek world (Aeolides, Ionia) and the western Greek world (Illyria, Magna Graecia, Sicily).
A student at the École Normale Supérieure (1984-1988), he holds an Agrégation in History (1987), a PhD in Archaeology (Université de Bourgogne, 1994, under the supervision of Claude Rolley) and an Habilitation à Diriger des Recherches (EHESS, 2005, under the supervision of Jean Guilaine).
He has been: Member of the École Française de Rome (Antiquity section, 1992-1995); Senior Lecturer in Archaeology at the University of Burgundy (1995-1999); Director of Studies for Antiquity at the École Française de Rome (1999-2005). Since 2005 he has been full professor (Directeur d’études) at the École Pratique des Hautes Études (‘Protohistoric societies and Mediterranean cultures in the first millennium BC’). He has taught archaeology at the École du Louvre, the Scuola di Specializzazione in Beni Archeologici at the University of Basilicata and the Scuola Superiore Meridionale at the University Federico II in Naples.
He was director of the Department of Art History and Archaeology at the University of Burgundy (1997-1999), and Director of the Institute «Archéologie et philologie d’Orient et d’Occident" (UMR8546-AOrOc-CNRS- École Normale Supérieure). He was involved in the creation of the Université d'excellence Paris Sciences Lettres and the LabEx TransferS. He was a member of the Scientific Council of the Louvre Museum.
From 2020 to 2024, he was Director General of the Museo Nazionale Romano in Rome, where he designed, initiated and launched the major restoration and enhancement works at the museum's four headquarters (Terme di Diocleziano, Palazzo Massimo, Palazzo Altemps, Crypta Balbi) as part of the strategic programme ‘Urbs. Dalla città alla campagna romana’ strategic programme of the PNC (Piano Nazionale per gli investimenti Complementari al PNRR).
He has taken part in a number of archaeological projects in France (Magdalenian settlement at Pincevent, Les Peyrats cave at Agris, Celtic oppidum at Bibracte, protohistoric necropolis at Saint-Romain-de-Jalionas), Italy (Etruscan-Roman town of Musarna) and Turkey (Greek and Roman sanctuary at Klaros).
He has directed a number of international archaeological programmes: in Turkey, the french ‘Aeolian’ mission (2012-2016), in collaboration with the Celal Bayar University of Manisa and the Deutsches Archäologisches Institut of Istanbul (Franco-German NekroPergEol programme on Hellenistic funerary practices and spaces in Pergamon and Aeolian) ; in Italy, the Franco-Italian excavation of Siris-Heraclea of Lucania at Policoro in Basilicata (2014-2020), with the University of Basilicata; in Albania, the archaeological mission of Apollonia of Illyria (2017-2023) with the Tirana Archaeological Institute.
He has curated major international archaeological exhibitions: ‘Italia antiqua’ (École Nationale Supérieure des Beaux-Arts, Paris, 2001); ‘Une Odyssée gauloise’ (Musée Henri Prades de Lattes e Musée de la Civilisation Celtique de Bibracte, 2013-2014); ‘Pompei e gli Etruschi’ (Parco Archeologico di Pompei, 2018-2019); ‘Le Tavole di Eraclea. Tra Taranto e Roma’ (Museo Archeologico Nazionale della Siritide, Policoro, 2020); ’Tota Italia. Alle origini di una nazione’ (Scuderie del Quirinale, Rome, 2021, and National Museum of China, Beijing, 2022); ’Vita Dulcis. Paura e desiderio nell'Impero romano’ with Francesco Vezzoli (Palazzo delle Esposizioni, Rome, 2023); ’L'Istante e l'eternità. Tra noi e gli antichi’ (MNR, Rome, 2023); ’Dacia. L'ultima frontiera della romanità’ (MNR, 2023-2024).
It has also organised a number of exhibitions by contemporary artists, in resonance with the ancient spaces and collections of the Museo Nazionale Romano, including: ‘Ai Weiwei, La commedia umana’ (2022); ‘Juan Araujo. Clouds and Shadows on Mars’ (2024); Elisabetta Benassi, “Cameopardalis” (L'ottava testa, Chiostro di Michelangelo, 2024); ’Massimiliano Pelletti. Versus’ (2024); ’Tony Cragg. Infinite forme e bellissime’ (2024).
Phone: +33 (0)144323783
Address: UMR8546-AOrOc
ENS 45 rue d'Ulm F-75230 PARIS
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Early Iron Age by Stéphane Verger
Mediterranean networks by Stéphane Verger
Elle peut aussi être reconstituée grâce à l’étude d’une série très particulière de vestiges archéologiques distribués largement entre le Centre de la France, le Languedoc, la Sicile, la Grèce et les rives de la Mer Noire. Ces ensembles exceptionnels nous donnent des indications sur les parcours maritimes suivis par les pionniers, mais aussi sur le contexte économique et les conceptions religieuses et mythiques dans lesquelles ces explorations prenaient place.
Du Languedoc à la Sicile, ce catalogue, auquel ont participé plus de quarante auteurs, suit le parcours fabuleux de ces objets, la plupart du temps des parures féminines en bronze. Il retrace ces cheminements complexes d’un bout à l’autre du monde connu des Grecs, du cœur de l’Europe celtique et du Caucase jusqu’aux grandes cités grecques de la Méditerranée centrale et occidentale. Organisé en sept chapitres, cet ouvrage aborde non seulement les questions de circulations des bronzes, mais aussi leur usage et raconte comment d’objets de parures, certains bijoux gaulois entrent dans les pratiques rituelles et magiques des Grecs.
Chronique 2019 – Fragments et fragmentation
I- Anca Dan, Introduction
II- Dominique Briquel, Une langue connue de manière fragmentaire : l’étrusque comme « Trümmersprache »
III- Katherine Gruel, Restitution des coins monétaires : l’impact sur l’histoire de l’art et la compréhension de l’économie gauloise
IV- Stéphane Verger, Les incroyables tribulations d’un anneau de jambe auvergnat de l’âge du fer : Circulation, stockage, conservation et utilisation des lots de fragments d’objets de bronze en Méditerranée occidentale aux viie-vie siècles avant J.-C.
In 1997 it was pointed out the three friezes should be read as one cohesive cycle. This paper proposes a reading of the various episodes present on the strip. The “story” starts at the bottom and reads from right to left. The lower register frames the death of a tall man. The middle one depicts a winged lion leading the way into a fantastic and transitional world. In the upper register a sovereign sits enthroned.
It’s impossible to say whether the situla depicts a myth (unknown to us) from the lands occupied by the Veneti. It may instead be the story of a real person. The thread of the storyline lies in the chair or throne, a symbol of power on which the protagonist is seated. In the lower order it’s an almost naturally verdant environment, in the upper register more disciplined, almost ritual. The two are separated by the fantastic winged lion in a world that marks the divide between the world of heroic combat and that of the afterlife. Here forefathers live in a world of heroes, sung of by Hesiod in Ancient Greece. This is a middle world, tied to that of Hades, lying at the extreme edge of the world. It was believed that this was where its inhabitants, those who for some reason entrance to the underworld had been barred, could live an endless benign existence.
The use of the situla in everyday has left it with several “scars” on its surface, where back then it had had to be repaired. It ended its days as an urn for a cremated infant. In the same grave, 126, there was a second burial, that of an adult woman. Her rich range of grave goods included a metal plated rod or sceptre. This was a sign that she belonged to a noble élite, or that she’d had a high ranking role when alive. The cremated three year old buried in the bronze bucket and the woman would have been part of one of Este’s noble families. Various talismans had also been placed in the grave to provide the infant with magical and spiritual protection. Apart from the situla itself there were other significant items inside it: a brooch made in Slovenia, a far off land, an amber and coral necklace and two gold discs, sun symbols.
Giornata di studi italo-francese finanziata dall’Ambasciata di Francia in Italia (bando Cassini 2017)
This volume gathers all previously uncollected papers by M. Lejeune, with the addition of a few posthumous pieces. Some previously published pieces are given here in an augmented version. The collection provides a thematic overview of Lejeune’s work. It also gives examples of the various methodological approaches embraced by Lejeune in every language or linguistic domain.
The volume is completed by an analytical index that shows the diversity of themes and the colossal documentation explored in Lejeune’s work, at the crossroads of linguistics, epigraphy and philology. The index is integral to the volume and its ambition to be used as a stepping stone for future research.
Les vestiges archéologiques, tels qu’on les définit aujourd’hui, sont aussi d’une grande fragilité et sont soumis à de nombreux risques naturels et anthropiques. L’archéologie est ainsi une lutte menée dans l’urgence contre ces facteurs de destruction, qui doit mettre en œuvre tous les moyens – scientifiques, logistiques, juridiques, diplomatiques – actuellement disponibles pour limiter l’érosion inéluctable du patrimoine archéologique mondial.
Face à cette documentation mouvante, qui d’un côté suit une croissance exponentielle et de l’autre ne cesse de s’éroder dramatiquement, l’archéologie doit constamment s’immerger dans le monde de l’innovation scientifique pour ouvrir de nouvelles voies aux sciences humaines, historiques et anthropologiques, et pour tenter simultanément de réduire, dans l’urgence, la dégradation irréversible d’une irremplaçable archive du sol.
Le thème retenu cette année, « Les Origines », ne manquera pas de stimuler de nombreux débats dans toutes les disciplines des lettres, des sciences humaines et sociales, des sciences et des arts. L’origine excite souvent l’imagination car on croit y voir la source de toute explication, de toute histoire. Des récits de fondation des anciens aux théories actuelles des origines de l’univers ou de la vie, ce thème tient également une place centrale dans la construction des grands mythes qui jalonnent l’histoire de la pensée. Il est aussi au coeur des débats contemporains sur les processus complexes de la construction des identités individuelles et collectives, auxquels on substitue trop souvent une vision simpliste de l’origine comme état de fait.
La Nuit des Origines explorera et illustrera ces concepts, d’abord par un grand débat sur la notion même d’origine, accompagné de dizaines de conférences, présentations, lieux d’échanges sur des sujets qui se déclinent autour de ce grand thème. L’esprit humain a très souvent eu besoin de définir un phénomène en partie par son point de départ, sans doute parce qu’il a parfois un pouvoir explicatif fort. Mais un phénomène a-t-il vraiment une origine ? Celle-ci n’est-elle pas, après tout, une construction de l’esprit plutôt qu’une réalité ? Plus on la cherche, plus elle se perd dans la complexité des processus qui s’enchaînent. Ceux-ci créent un continuum entre les événements qui deviennent interdépendants, et le concept d’origine s’évanouit.
Le même questionnement se retrouve lorsque l’on examine l’émergence d’une idée ou d’une découverte scientifique. Quels processus sont à l’origine d’une idée ? Dans quels méandres de la mémoire et de la pensée germe-t-elle ? Ces débats se prolongeront par des discussions sur l’origine des découvertes en sciences et sur l’origine d’oeuvres d’art. De l’Origine du monde de Gustave Courbet à l’Origine des Espèces de Charles Darwin, nous aborderons toutes les facettes de ce vaste sujet, dans une approche résolument transdisciplinaire qui donnera la parole aux meilleurs chercheurs français et étrangers.
Organisée dans un format dynamique et varié, la Nuit des Origines abordera de nombreux thèmes, déclinés sous la forme de présentations orales, de grands exposés, de films, d’animations interactives, de spectacles et d’affiches. De nombreux débats seront organisés sur des créneaux de 45 minutes, au cours desquels deux présentations de 15 minutes aborderont un thème sous deux angles différents, souvent issus des sciences humaines et sociales d’une part et des sciences exactes d’autre part, suivis d’une séquence de questions/réponses avec le public d’une durée de 15 minutes.