Announce

Colloque international organisé à l’Université Jean Moulin-Lyon 3

23-24 janvier 2020

Dans une première perspective, nous voudrions interroger les régimes de points de vue retenus spécifiquement par les illustrations d’Ancien Régime, au sein des éditions illustrées, pour mettre en images les textes. Il s’agira d’étudier ce que les choix de cadrage traduisent des lectures opérées par les artistes, ce qu’ils isolent, prélèvent, découpent et reconfigurent, ce qu’ils éclairent ou écartent, ce qu’ils retiennent dans les bordures de leurs images pour en intensifier la visibilité et ce qu’ils repoussent hors de leurs limites. Décision d’une lecture contraignant la nôtre, le cadrage construit la représentation et fixe l’impératif de son ordre compositionnel : il dépend donc d’une intention de sens plus ou moins soumise au texte, plus ou moins affranchie de lui, et régie par de multiples motivations ; esthétiques, idéologiques....

Mais nous souhaiterions aussi examiner la manière dont le cadrage des gravures peut être le symptôme d’une histoire du regard, en examinant notamment l’importance pour le livre illustré de ses modèles, picturaux, architecturaux…, auxquels les dessinateurs et les graveurs se sont conformés, fidèlement ou non. L’on sait comment, par exemple, les frontispices ont, sur la période qui nous occupe, emprunté tout à la fois à des référents architecturaux (portiques, arcs de triomphe…), favorisant une parcellisation et un cloisonnement des images dans la gravure, et aux canons picturaux, agrandissant, déployant à l’inverse l’espace de visibilité et y relativisant la place de l’écriture.

Cette approche de l’optique ou des optiques de l’image, qui dépendent, éventuellement, de paradigmes extérieurs et qui coordonnent, selon leurs logiques propres, la mise en lumière des textes, ou de certains de leurs aspects, ne doit pas, en outre, être coupé d’un questionnement sur les techniques. Techniques du dessin et de la gravure en premier lieu qui, en lien avec celle de l’imprimeur, en raison des contraintes et des possibilités qu’offrent ou que n’offrent pas les matériaux, déterminent les partis pris et les gestes esthétiques : la taille de l’image, la qualité des traits et de l’impression ne sont, entre autres, pas indifférentes aux opérations de cadrage et à leurs résultats. Économie technique du livre ensuite, dans lequel les illustrations prennent place. Le cadre de l’image concerne ainsi leurs emplacements dans le dispositif plastique de la page d’abord et du livre édité, plus globalement. Sertie dans le livre, le débordant au contraire jusqu’à pouvoir par exemple se déplier, l’image cherche sa place, l’impose ou se la voit imposée selon les textes, selon les capacités techniques coordonnées aux stratégies éditoriales dans lesquels elle s’inscrit.

Sur ce plan, on s’intéressera encore aux montages rythmiques des livres illustrés : avec quelle régularité les images reviennent-elles, autrement dit comment scandent-elles le texte, aménageant en lui autant de pauses, de suspensions graphiques et herméneutiques, mais marquant aussi en lui, à chacun de ses arrêts, les étapes d’autres lectures, différentes voire amovibles, et d’autres parcours de lisibilité ?

On retiendra encore le cadre dans sa forme concrète, au caractère ornemental variable. Circonscrivant le territoire de l’image, le cadre renforce l’angle visuel de l’image et contribue à son orientation, mais il définit également le type de relations graphiques que l’image entretient avec son environnement : blancs du papier, bords et centre de la page, blocs de textes en vis-à-vis (eux-mêmes cadrés) ou dans sa périphérie, objet-livre…

On pensera enfin à retenir la présence, dans les images elles-mêmes, de phénomènes de surcadrage pour comprendre ce qu’ils disent du point de vue de l’image sur les textes et de l’image sur ses modalités de représentation et de figurabilité à l’intérieur de l’espace-livre, et peut-être parfois en tension avec lui.

Les propositions de communication (titre et résumé) accompagnées d’une brève notice bio-bibliographique sont à adresser conjointement avant le 1ermai à Maxime Cartron (maxime.cartron@univ-lyon3.fr) et Olivier Leplatre (olivier.leplatre@univ-lyon3.fr).

Source: Fabula

7-10 July 2020, Auckland, NZ.

‘France and Beyond: the Global World of ‘Ngāti Wīwī’.

[Tribe ‘Oui Oui’ was the local name for the French in nineteenth-century NZ.]

In July 2020 to a theme of ‘France and Beyond’, the first ever joint meeting of the George Rudé Seminar and the Society for French Historical Studies Conference will be held in Auckland on the two campuses of the University of Auckland and Massey University, Albany.  This special conference marks a departure from the norms of both societies while preserving and promoting the atmosphere and the intimacy of intellectual exchange nurtured and valued by both.  It brings closer together chercheurs and scholars of French History, and welcomes those members of the wider global fraternity of French Historians to ally themselves to their colleagues in Auckland.  Leading scholars from the US, UK and Europe will be keynote guests, and many American and international colleagues have already signalled their intention to attend.

The organisers invite the submission of panels, roundtables, and individual papers (papers should be fifteen to twenty minutes) on any aspect of French History, Medieval to Contemporary.  Areas of traditional French historical research will be featured alongside popular themes: Citizenship in the Medieval and Early Modern European world; the Revolutionary period and its environmental impact in the wider Atlantic world; and changing approaches to French or Franco-British History in the NZ/Australasian and Pacific region – in Océanie. 

Please submit proposals of 300 words per speaker and a biographical profile of 100 words.  Panels will of course be welcome if the panellists are all committed to coming to NZ, but due to the distance involved, it is expected that submissions will be mainly made up of individual papers (which the organisers will assemble into panels by subject or theme).  Comment will be by the audience, and we would welcome volunteers who would be willing and able to chair sessions.  This is a preliminary call for papers preparing scholars for this meeting, and to give those who will need to travel, time to organise their projects and papers for Auckland next year.  There will be a further official call for papers in May 2019 and the deadline for proposals is 1 October 2019.

Please allow us to remind you that participants from North America must be members in good standing of the Society for French Historical Studies.  Other scholars are warmly invited to join the Society, as well, although there is no obligation to do so.

For any other questions, information on travel and accommodation (that will continue to appear across 2019) do not hesitate to consult the site, France and Beyond;

http://www.massey.ac.nz/massey/learning/departments/school-of-humanities/events/france-and-beyond/france-and-beyond_home.cfm

or contact one of;

Tracy Adams, Co-President               t.adams@auckland.ac.nz

Kirsty Carpenter, Co-President          K.Carpenter@massey.ac.nz

Joe Zizek, Treasurer                           j.zizek@auckland.ac.nz

9-12 January 2020

 

Guaranteed Sessions:

 

Theory’s Seventeenth Century

Reassessing the central role of seventeenth-century French texts and contexts in twentieth-century theory. How have theorists (mis-)read the seventeenth century? How can current dix-septiémiste work shed new light on the theory canon? 300-word abstracts to Ellen Welch (erwelch@email.unc.edu) by 15 March 2019.

 

The Discourses of Luxury in 17th-Century France

Intersection of politics, myth-making, and aesthetics in development of luxury; its impact on social culture, artistic practices, and national identity forging process; place of 17th century in emerging field of luxury studies. 300-word abstracts to Sylvaine Guyot (guyot@fas.harvard.edu) by 15 March 2019.

Non-Guaranteed Sessions: 

(subject to approval by the MLA program committee once the panelists are chosen)

 

Troubles et Tourbillons: Toward a Materialist Poetics of Turbulence in the 17th Century

Disturbance, broadly construed: vortex, squall, drift, entropy, noise. Relation of natural philosophical principles of scattering, flux, or disarray to early modern poiesis. 250-word abstracts to Jeffrey N. Peters (jnp@uky.edu) by 15 March 2019.

 

Print and Digital Interfaces in Early Modern Literature

Role of interface (layout, multimedia, reference mechanisms: links, notes) in print and digital editions of early modern works. 200-word abstracts to Christophe Schuwey (christophe.schuwey@univ-ubs.fr) and Geoffrey Turnovsky (gt2@uw.edu) by 15 March 2019.

Canadian Association for Italian Studies

Convegno annuale  / Annual Conference / Congrès annuel

Orvieto 2019

 Call for Papers (Session) 

This call for papers invites abstracts from scholars and practitioners interested in exploring issues around acting and actors of the Baroque period. We understand “actor” in its wider meaning, to include performers of commedia dell’arte, opera and dance. We are looking for proposals not only from scholars of historical figures or performance practices, but also from practitioners invested in exploring and reviving the acting practices of the Seicento. A major goal of this panel is to encourage dialogue between researchers and practitioners.  Preference will be given to papers focusing on Italian actors and practices, but as the Baroque era is characterized by the intense circulations of Italian performers throughout Europe, we will take into consideration proposals covering other geographical areas, if there is an Italian connection. Papers can be presented in Italian, French or English.

Please email your abstract (max 250 words) and your bio (max 50 words) in Italian, French or English to Guillaume Bernardi (gber@yorku.ca)  by the deadline of February 28, 2019.

Glasgow, 23–24 May 2019

Bestsellers, TV series, spin-offs, fan fiction, are all deeply embedded in our perception of literary consumer culture today. Yet the notion of a bestseller with spin-offs is a very old one indeed. The consolidation of the printing press in the Renaissance led to the first major re-assessment of the book as an object of ‘mass’ consumption. Lower production costs, paired with a rise of literacy levels, brought more books to an ever-growing reading public. Printers and publishers devised marketing strategies to meet demand, such as serialisation and branding, the creation of abridgements and illustrated editions, spin-offs and games inspired by the most successful texts. Foreign and ancient texts were re-packaged in translation or alongside new commentaries. Bestsellers catered for all types of readers, or indeed users, with oral transmission playing an important part in the dissemination of texts.

While individual aspects of this production cycle have been explored – from popular print to the concept of a literary sequel, marketing strategies and readers’ reactions – there has been no attempt to investigate bestsellers as a phenomenon in the round. This conference takes a holistic approach by combining approaches to the materiality of the book, the economics of trade, and the socio-cultural factors behind bestsellers into a single interpretive perspective with the study of authorship, literary production and translation theories. We invite proposals from postgraduate and early-career scholars for 20-minute papers exploring one or more of the following core themes:

• Profiling the corpus: what are the distinctive marks of a bestseller, on the side of production as well as consumption/reception? How can we use direct and indirect evidence, and how can we ‘fill in the blanks’ when evidence appears to be altogether missing?
• Bestsellers mean business: what is the place of the economics of the marketplace of print within a methodological framework for the investigation of bestsellers? What business strategies influenced the making of a bestseller, and how can these be pieced together from extant sources?
• Readers: how did readers influence the market, and how were they influenced themselves? How can individual readers and the wider public be investigated to gain a better understanding of the market for bestsellers?
• Genres: how do fiction and non-fiction bestsellers compare? Do they give rise to the same patterns of production and consumption? Can we consider them to be part of a cross-generic class of bestselling texts, or are there features specific to fiction that are intrinsic to the idea of a bestseller?
• Translation and translatability: how are texts re-adapted to fit a particular audience or taste across geographic and social boundaries? How are textual and iconographic narratives modified to suit a new public, and what aspects are retained and added?
• Bestsellers in the archive: how can we use documentary and archival evidence for a better understanding of the production, distribution, and consumption of bestsellers of the past?
• From bestseller to classic: how do bestsellers and their evolution as cultural objects relate to the formation of the literary canon? What factors were behind the shift of a text from the status of bestseller to that of a classic?
• Bestsellers Past and Present: Can we discern patterns for the investigation of bestsellers that are true for both pre-industrial and present-day bestsellers?

Paper proposals should be sent to Dr Shanti Graheli (Shanti.Graheli@glasgow.ac.uk) and Prof. Warren Boutcher (w.v.boutcher@qmul.ac.uk) by 28 February 2019 alongside a short CV. The event will take place at the University of Glasgow on 23–24 May 2019, and is generously supported by Past & Present, the Society for Renaissance Studies and the University of Glasgow. It is organised by Dr Shanti Graheli (University of Glasgow) with support from Prof. Warren Boutcher (Queen Mary University London). Travel and accommodation subsidies will be available to speakers.

Confirmed speakers and respondents: Dr Daliah Bond (Notredame University), Prof. Warren Boutcher (QMUL), Dr Falk Eisermann (Staatsbibliothek zu Berlin), Dr Shanti Graheli (University of Glasgow) Prof. Neil Harris (University of Udine), Dr Angela McShane (Wellcome Trust), Prof. Vicente Pérez de León (University of Glasgow), Prof. Jennifer Richards (Newcastle University), Dr Anna Katharina Richter (University of Zurich), Dr Claudia Rossignoli (University of St Andrews), Dr Drew Thomas (University of St Andrews), Dr Krystyna Wierzbicka (University of Warsaw), Prof. Sandy Wilkinson (UCD), Prof. Jessica Wolfe (UNC).

Source: RSA