{"id":187,"date":"2008-09-08T10:10:03","date_gmt":"2008-09-08T10:10:03","guid":{"rendered":"http:\/\/localhost\/annualconference\/association-francaise-detudes-americaines\/congres-afea\/congres-anterieurs\/congres-2009-besancon-la-peur\/liste-des-ateliers-et-appel-a\/187\/"},"modified":"2008-09-08T10:10:03","modified_gmt":"2008-09-08T10:10:03","slug":"liste-des-ateliers-et-appel-a","status":"publish","type":"post","link":"https:\/\/afea.fr\/annualconference\/congres-anterieurs\/congres-2009-besancon-la-peur\/liste-des-ateliers-et-appel-a\/187\/","title":{"rendered":"Liste des ateliers et appel \u00e0 contributions 2009"},"content":{"rendered":"

Organisateurs scientifiques : John Dean <\/a> (UVSQ,), Marie Li\u00e9nard<\/a> (Ecole Polytechnique) et Marie-Claude Perrin-Chenour<\/a>(Paris X Nanterre)<\/p>\n

Cette ann\u00e9e, nous avons distingu\u00e9 3 cat\u00e9gories d’ateliers : civilisation,
\nCultural Studies et litt\u00e9rature. Le domaine des Cultural Studies, qui est
\nun domaine en pleine expansion, est donc introduit pour la premi\u00e8re fois \u00e0
\nnotre congr\u00e8s annuel. Nous avons fait cette distinction pour r\u00e9pondre au
\nsouhait des coll\u00e8gues qui avaient d’embl\u00e9e proposer leur texte de cadrage
\ndans cette approche.
\nLe domaine des Cultural Studies se propose d’examiner la culture en termes
\nde pouvoir. Il explore en particulier comment les hi\u00e9rarchies, les besoins
\nsoci\u00e9taux et culturels, ainsi que les in\u00e9galit\u00e9s, ont un impact sur les
\ncodes, les symboles de la soci\u00e9t\u00e9 et comment le sens s’\u00e9labore dans tout
\nsyst\u00e8me social. Dans ce domaine, la culture populaire trouve toute sa
\nplace comme objet d’\u00e9tude, puisque le but n’est pas d’\u00e9tablir des
\nhi\u00e9rarchies (esth\u00e9tiques et autres) mais de partir de l’exp\u00e9rience comme
\nmode d’appr\u00e9hension d’une culture donn\u00e9e. Le domaine des Cultural Studies
\nfait ainsi appel \u00e0 de nombreuses autres disciplines (Histoire, Sociologie,
\nSciences Politiques, etc.) et revisite les traditionnelles fronti\u00e8res
\nentre litt\u00e9rature et civilisation. Elles se veulent interdisciplinaires,
\net invitent \u00e0 \u00e9tudier les th\u00e8mes de race, genre, masses m\u00e9dia et r\u00e9ception
\npopulaire avec cette nouvelle heuristique.
\nVoici donc le champ d’exploration pr\u00e9vu pour notre congr\u00e8s \u00e0 partir du
\nth\u00e8me de la peur. Litt\u00e9rature et Civilisation y auront, bien s\u00fbr, toujours
\npleinement leur place traditionnelle dans les ateliers indiqu\u00e9s comme tels ;
\nseuls les ateliers de Cultural Studies tenteront cette exp\u00e9rience
\npluridisciplinaire.<\/p>\n

Les propositions de communications doivent \u00eatre envoy\u00e9es avant le 15 octobre 2008
\nProposals should be sent before October, 15 2008<\/strong><\/p>\n

…………………………………………………………………….<\/p>\n

CIVILISATION\/ CIVILIZATION <\/h2>\n

1\u00b0 La peur d\u00e9truira-t-elle la ville am\u00e9ricaine ? <\/strong>
\nSophie Body-Gendrot<\/a>
\nUniversit\u00e9 Paris IV<\/p>\n

Il s\u2019agit de d\u00e9construire le terme de peur et de relativiser le ph\u00e9nom\u00e8ne en prenant en compte les pratiques locales et l\u2019incidence de la rh\u00e9torique et des lois nationales sur les villes am\u00e9ricaines, par exemple, au moment du 11 septembre. A qui profite la rh\u00e9torique de la peur ? Comment des habitants dans les quartiers y r\u00e9agissent-ils ? On retiendra: 1) des communications de type historique cernant depuis Jefferson un discours anti-urbain associant maux divers et ins\u00e9curit\u00e9 au b\u00e9n\u00e9fice des banlieues verdoyantes. 2) des \u00e9tudes monographiques analysant la peur dans une ville am\u00e9ricaine sp\u00e9cifique \u00e0 une \u00e9poque donn\u00e9e, par exemple Chicago pendant la prohibition ; New York apr\u00e8s le 11 septembre; New Orleans apr\u00e8s Katrina. 3) des communications relatives aux r\u00e9ponses f\u00e9d\u00e9rales, sub\u00e9tatiques, locales. 4) l\u2019exploitation m\u00e9diatique et\/ou politique de la ville dangereuse, des ghettos, des trafics dans les quartiers : A qui profite la rh\u00e9torique de la ville dangereuse ? La volont\u00e9 d\u2019augmenter les parts d\u2019audience et la concurrence entre les m\u00e9dias transforment des faits divers en faits de soci\u00e9t\u00e9. Cette approche r\u00e9ductrice de situations tr\u00e8s diverses par un discours unificateur construit une image d\u00e9form\u00e9e, n\u00e9gative de la ville comme lieu de tous les dangers. 5) \u00ab L\u2019autre \u00bb dangereux, celui qui trouble le vivre ensemble des citadins accompagne l\u2019histoire des villes am\u00e9ricaines, a fortiori,<\/em> celles des villes \u00e0 fortes populations minoritaires pr\u00e9caris\u00e9es. Que nous disent les repr\u00e9sentations ? Qui les v\u00e9hicule ? Sur quels indices sont-elles fond\u00e9es ? Une approche m\u00e9thodologique contestant les donn\u00e9es et leur construction est indispensable. 6) La ville est aussi r\u00e9siliente, les habitants se mobilisent pour ne pas c\u00e9der \u00e0 la peur et pour se relever apr\u00e8s des catastrophes. L\u2019efficacit\u00e9 sociale se manifeste quels que soient les quartiers par des mouvements de r\u00e9sistance au discours ambiant et aux pratiques racistes et x\u00e9nophobes.
\nLes communications comparatives et celles qui cernent des \u00e9volutions, sont les bienvenues<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Sophie Body-Gendrot<\/a><\/p>\n

Will fear destroy the American city? <\/strong><\/p>\n

One needs to expose and dismantle the word \u00ab fear \u00bb and to put this phenomenon into perspective by taking local practices into account, by considering the impact of both rhetoric and national laws to explain the part which fear has played in US urban development. For example, when September 11 happened who benefited the most from the rhetoric of fear? How do city dwellers in different areas of the city deal with fear?
\nThis panel invites analysis of the following issues: 1) papers of an historical nature which examine the question of how since Jefferson in the USA there has been an anti-urban discourse about various wrongs and insecurities which actually favor, in contrast, the pastoral countryside. 2) focused studies which concern fear in a particular American city at a specific time such as Chicago during prohibition or New York after September 11th or New Orleans after Katrina. 3) research dealing with urban places or practices that inspire fear; e.g., urban housing (projects) or the use of weapons in the city. 4) media exploitation in a city — and\/or the political workings of the dangerous city, its ghettoes, traffic problems in specific areas, all of which relates to the question: who benefits from the rhetoric of the dangerous city? How the demands of audience appeal and competition between various media can transform news items into social facts. How this reductionist approach due to various causes eventually creates a distorted treatment of the subject and a negative picture of the city as place of total danger. 5) The dangerous Other in the American city who supposedly makes it difficult for people to live together and yet accompanies the story of the city development; a case especially evident in cities with large yet precarious minority populations. Who represents these Others? What indicates their identity? And why might a methodological approach questioning the construction of data concerning the Other is necessary. 6) Why is the city resilient? Why do its inhabitants rally in times of disaster and do not give in to fear; how does social effectiveness show according to certain urban areas and in movements of resistance characterized by speech, or by racist practices and xenophobia?
\nIn addition, comparative communications which deal with the evolution of urban issues focused on fear are also welcome. <\/p>\n

Proposals should be sent to Sophie Body-Gendrot<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

2\u00b0 Discours politique en temps de guerre aux Etats-Unis: peur de l’ennemi et id\u00e9al libertaire.<\/strong>
\nElisabeth Boulot<\/a>
\nUniversit\u00e9 Paris Est<\/p>\n

Cet atelier examinera comment les pr\u00e9sidents am\u00e9ricains se sont servis de l’id\u00e9al libertaire sur lequel la nation s’est construite pour justifier des interventions militaires en-dehors des Etats-Unis afin de d\u00e9fendre les int\u00e9r\u00eats am\u00e9ricains contre les ennemis de la libert\u00e9. Depuis le 11 septembre, l’administration Bush a revendiqu\u00e9 la l\u00e9gitimit\u00e9 d’utiliser la force militaire pr\u00e9ventivement pour pr\u00e9server la s\u00e9curit\u00e9 et les valeurs d\u00e9mocratiques. Quelle a \u00e9t\u00e9 l’attitude des partis politiques, de l’opinion publique et des m\u00e9dias devant les choix pr\u00e9sidentiels ?
\n La peur de l’ennemi est aussi brandie pour justifier le vote de lois r\u00e9duisant les libert\u00e9s individuelles afin de prot\u00e9ger les citoyens contre les actes d’ennemis, agissant de “l’int\u00e9rieur” ou dont la pr\u00e9sence sur le sol am\u00e9ricain met en danger les institutions ou la s\u00e9curit\u00e9 nationale.
\n Comment la Cour supr\u00eame s’est-elle prononc\u00e9e sur les pouvoirs de l’ex\u00e9cutif en temps de guerre et sur la restriction des libert\u00e9s individuelles ? La peur de l’ennemi s’est-elle empar\u00e9e de ses membres ? Ont-ils cherch\u00e9 \u00e0 r\u00e9concilier libert\u00e9 et s\u00e9curit\u00e9 ?<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Elisabeth Boulot<\/a><\/p>\n

Political Speech in Times of War: The Fear of the Enemy and America’s Libertarian Ideal. <\/strong><\/p>\n

This workshop will study how US presidents have relied on the libertarian ideal on which the nation was founded to justify sending troops on theatres of war abroad arguing that American interests and values were at stake as a result of attacks perpetrated by foes of liberty. Since 9\/11, the Bush administration has claimed the right to use preventive force against those who threaten America’s democratic values and security. Have political parties and the public opinion supported the presidents’ policies? How have they been debated in the media?
\n The fear of the enemy is also used to justify a curtailment of liberties. Congress has voted laws to protect citizens from enemy acts operating within US borders or whose presence on American soil could endanger political institutions and national security.
\n In times of war, how has the Supreme Court reacted to presidential claims of extension of powers and the infringement of individual liberties? Were the Justices seized by the fear of the enemy or were they able to reconcile liberty and security? <\/p>\n

Proposals should be sent to Elisabeth Boulot<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

3\u00b0 Expressions de la peur dans l’exp\u00e9rience religieuse nord-am\u00e9ricaine <\/strong>
\nNathalie Caron<\/a>
\nUniversit\u00e9 Paris XII<\/p>\n

Si elle n’en est pas l’origine, la peur est inh\u00e9rente au religieux, d’abord parce que, comme l’ont montr\u00e9 Rudolf Otto puis Mircea Eliade, le sacr\u00e9 attire et effraie tout \u00e0 la fois. La crainte essentielle pourrait \u00eatre crainte de Dieu et des forces invisibles, mais la religion se nourrit aussi de la peur lorsque s’expriment l’angoisse existentielle de la fin, la peur de la fin du monde ou la peur de la mort, voire de la mort violente qu’\u00e9voque Thomas Hobbes. On pensera aussi \u00e0 la crainte de “l’autre”, celui qui peut souiller ou corrompre la puret\u00e9 originelle, celui qui menace la communaut\u00e9 religieuse et sa survie.
\nOn s’int\u00e9ressera aux manifestations de la peur dans l’exp\u00e9rience religieuse nord-am\u00e9ricaine au cours de l’histoire, ainsi qu’aux interactions entre culture de la peur et projets spirituels. Les communications porteront aussi bien sur la vie religieuse proprement dite (aspects institutionnels compris) que sur les th\u00e9matiques conjointes du bouc \u00e9missaire et de l’autre. Spiritualit\u00e9 am\u00e9rindienne, Eglise noire, puritanisme, mill\u00e9narisme, tendances pentec\u00f4tistes et charismatiques et nouveaux mouvements religieux pourront faire partie des terrains explor\u00e9s. <\/p>\n

Propositions \u00e0 envoyer \u00e0 Nathalie Caron<\/a><\/p>\n

Expressions of Fear in the North-American Religious Experience<\/strong><\/p>\n

While fear is not the cause of religion, it is inherent in it. As Rudopf Otto and later Mircea Eliade argued, the sacred is both fascinating and terrifying. The primal fear may be the fear of God or invisible forces, but fear also fosters religion when questions about the end arise—existential angst, fear of the end of time, fear of death, or even of violent death of the kind which Thomas Hobbes wrote about. Another source of fear is the religious “other”, who may stain or corrupt the original purity, and threatens the community and its survival.<\/p>\n

The participants in this workshop will explore the role fear has played in the North-American religious experience, and the interactions between the culture of fear and its various spiritual ventures throughout history. The papers are expected to focus on religious life per se<\/em>\u2014including institutional aspects — as well as related issues such as the scapegoat or the religious other. Papers addressing Amerindian spirituality, the Black Church, Puritanism, millenarianism, Pentecostal and charismatic trends, and New Religious Movements are welcome. <\/p>\n

Proposals should be sent to Nathalie Caron<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

4\u00b0 Leadership et s\u00e9curit\u00e9 nationale : personnalisations du pouvoir en temps de crise<\/strong>
\nAnnick Cizel<\/a>
\nUniversit\u00e9 Sorbonne Nouvelle-Paris 3
\nJean-Marc Serme<\/a>
\nUniversit\u00e9 de Bretagne occidentale, Brest<\/p>\n

Depuis l\u2019Ind\u00e9pendance des Etats-Unis, l\u2019adoption d\u2019un style politique \u00ab parano\u00efaque \u00bb (R. Hofstadter) a souvent contribu\u00e9 \u00e0 forger un consensus patriotique contre les \u00ab ennemis infiltr\u00e9s \u00bb. Au XVIIIe comme au XXIe si\u00e8cle, peurs collectives et crises nationales, r\u00e9elles ou imagin\u00e9es, ont motiv\u00e9 un repli communautariste \u00e0 l\u2019int\u00e9rieur, isolationniste \u00e0 l\u2019ext\u00e9rieur. Une r\u00e9flexion sur la personnalisation du pouvoir et l\u2019\u00e9mergence de leaders providentiels en temps de crise, au sein de l\u2019Etat comme de la soci\u00e9t\u00e9 civile, permettra de s\u2019interroger sur les attributs d\u2019une s\u00e9curit\u00e9 \u00ab nationale \u00bb (\u00ab territoriale \u00bb ?) \u00e0 double acception, int\u00e9rieure et ext\u00e9rieure, et sur les codes de transmission de son \u00ab am\u00e9ricanit\u00e9 \u00bb.
\nCes figures r\u00e9demptrices rassemblent et rassurent, inqui\u00e8tent et divisent, conjuguent vis\u00e9es personnelles et int\u00e9r\u00eat national, l\u00e9gitimit\u00e9 et dissidence. Elles \u00e9clairent les rouages internes d\u2019une f\u00e9d\u00e9ration soumise aux forces centrifuges de la s\u00e9paration des pouvoirs. Porte-drapeau d\u2019un ex\u00e9cutif \u00ab imp\u00e9rial \u00bb au-dessus des clivages partisans, effigie de la soci\u00e9t\u00e9 civile, h\u00e9ros victorieux personnifiant la \u00ab sortie de crise \u00bb, ce leader<\/em> d\u00e9fie la peur pour renouer les liens de la communaut\u00e9 face \u00e0 l\u2019inconnu, au d\u00e9sordre et \u00e0 l\u2019angoisse (\u00e9conomique, raciale, religieuse, politique, militaire, terroriste, atomique) de l\u2019avenir \u2013 au quotidien. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Annick Cizel<\/a>
\net \u00e0 Jean-Marc Serme<\/a><\/p>\n

Leadership and National Security: Personifications of Power in Times of Crisis<\/strong><\/p>\n

From the days of U.S. Independence, a \u201cparanoid style in American politics\u201d (R. Hofstadter) has often contributed to building a patriotic consensus against \u201cthe enemy within.\u201d In the 18th as well as in the 21st centuries, collective fears and national crises, real or imagined, have motivated community separatism at home and isolationism abroad. This workshop will be dedicated to the study of elite-building and the emergence of providential leaders in times of crisis. It will allow us to reflect on the attributes of \u201cnational\u201d security (\u201chomeland\u201d?) in domestic and foreign contexts, at state level as well as within civil society, and on related transmission codes of \u201cAmericanness.\u201d Combining personal objectives and national interest, legitimacy and dissidence, such redemptive characters tend to unite and reassure, frighten and divide. They especially shed light on the internal workings of the federation and the centrifugal forces inherent in the separation of powers. Whether they be the flag-bearers of an \u201cimperial\u201d executive towering over partisan lines, icons of civil society, or victorious heroes personifying crisis resolution, they stand out against fear and aim to strengthen the social fabric against tomorrow\u2019s unknown, disorder, anxiety (economic, racial, religious, political, military, terrorist, nuclear) — and today\u2019s. <\/p>\n

Proposals should be sent to Annick Cizel<\/a>
\nAnd to Jean-Marc Serme<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

5\u00b0 Hispanic is panic : la peur de l\u2019immigrant latino aux Etats-Unis<\/strong>
\nFr\u00e9d\u00e9rick Douzet <\/a>
\nFrench Insitute of Geopolitics, University of Paris 8
\nFran\u00e7ois Vergniolle de Chantal<\/a>
\nUniversit\u00e9 of Bourgogne (Dijon)<\/p>\n

Dans son ouvrage Who Are We?<\/em> (2004), Samuel Huntington se fait l\u2019\u00e9cho de la peur qui saisit une partie des Am\u00e9ricains face \u00e0 une vague d\u2019immigration hispanique sans pr\u00e9c\u00e9dent dans l\u2019histoire du pays. La d\u00e9t\u00e9rioration de la s\u00e9curit\u00e9 \u00e0 la fronti\u00e8re et dans les quartiers pauvres, l\u2019ins\u00e9curit\u00e9 \u00e9conomique li\u00e9e aux d\u00e9localisations et \u00e0 la mondialisation des \u00e9changes, l\u2019impact de la croissance d\u00e9mographique sur des services publics satur\u00e9s et sous-financ\u00e9s renforcent l\u2019angoisse provoqu\u00e9e par des changements d\u00e9mographiques rapides et, dans certaines r\u00e9gions, radicaux. Ceux-ci suscitent la peur d\u2019une remise en cause profonde de l\u2019identit\u00e9 am\u00e9ricaine. Le climat post-11 septembre alimente par ailleurs les craintes pour la s\u00e9curit\u00e9 du territoire, donnant plus de force encore au sentiment d\u2019invasion. Et la comp\u00e9tition pour les ressources et l\u2019influence politique est de plus en plus vive dans un contexte o\u00f9 les Latinos sont dor\u00e9navant une force politique majeure.
\n\tCette peur se retrouve au c\u0153ur du d\u00e9bat sur la r\u00e9forme des lois d\u2019immigration voulues par le pr\u00e9sident Bush, qui s\u2019est sold\u00e9e par un cuisant \u00e9chec en 2007. La question de l\u2019immigration latino et les r\u00e9actions qu\u2019elle suscite s\u2019inscrivent d\u00e8s lors de fa\u00e7on p\u00e9renne dans le paysage politique. <\/p>\n

Proposals should be sent to\t Fr\u00e9d\u00e9rick Douzet <\/a>
\net \u00e0 Fran\u00e7ois Vergniolle de Chantal<\/a><\/p>\n

Hispanic is Panic: the Fear of Latino Immigrants in the United States<\/strong><\/p>\n

In his book Who Are We?<\/em> (2004), Samuel Huntington echoes the fear striking some Americans in the face of unprecedented waves of Latino immigrants into the United States. Anxieties arise from the deterioration of security at the border and in disadvantaged neighborhoods; economic insecurity linked to job delocalization and globalization; population growth and its impact on overworked, underfinanced public services; and drastic demographic changes, allegedly posing a threat to American identity. The post 9\/11 climate feeds fears for the security of American territory, reinforcing perceptions of invasion. In addition, competition for scarce resources and political influence is particularly fierce in a context where Latinos are now a major political force.
\n\tThese fears were at the heart of the debate on the comprehensive immigration reform promoted by President Bush which turned out to be a major political blow in 2007. The question of Latino immigration and the fears which it raises therefore seem deeply entrenched in contemporary American politics. <\/p>\n

Proposals should be sent to Fr\u00e9d\u00e9rick Douzet <\/a>
\nand to Fran\u00e7ois Vergniolle de Chantal<\/a><\/p>\n

\t…………………………………………………………………….<\/p>\n

6\u00b0 Ennemi int\u00e9rieur, ennemi ext\u00e9rieur: la peur comme strat\u00e9gie politique<\/strong>
\nPierre GUERLAIN<\/a>
\nParis X Nanterre
\nLotfi BENNOUR<\/a>
\nBelfort Montb\u00e9liard<\/p>\n

Alors que depuis la fin du communisme les Etats-Unis cherchaient un ennemi cr\u00e9dible les possibilit\u00e9s en termes de politique \u00e9trang\u00e8re n’\u00e9taient pas porteuses. L’Irak et surtout le terrorisme international sont venus recr\u00e9er un syst\u00e8me de mobilisation permanente par la peur. Le monde a pu redevenir simple pour les pr\u00e9sentations politiques et quiconque “n’\u00e9tait pas avec nous \u00e9tait avec les terroristes” selon l’expression du Pr\u00e9sident Bush.
\nComme dans les ann\u00e9es 40, 50 et 60 l’ennemi ext\u00e9rieur est aussi l’ennemi int\u00e9rieur: les terroristes menacent la s\u00e9curit\u00e9 des Etats-Unis tant au Moyen Orient qu’aux Etats-Unis m\u00eames ce qui a permis l’adoption du PATRIOT ACT et les mesures de surveillance, espionnage et contr\u00f4le aux Etats-Unis m\u00eames.
\nLes menaces ext\u00e9rieures ont ainsi permis de r\u00e9aliser, gr\u00e2ce \u00e0 une constante utilisation de la peur, un programme politique attentatoire aux libert\u00e9s publiques, destructrices de l’Habeas Corpus<\/em> et d’intimidation des m\u00e9dias.
\nLe but de cet atelier est de rassembler les travaux portant sur des aspects domestiques ou de politique \u00e9trang\u00e8re qui analysent le fonctionnement de la peur et de la terreur depuis 2001.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Pierre GUERLAIN<\/a>
\n et \u00e0 Lotfi BENNOUR<\/a><\/p>\n

Domestic enemies, foreign enemies: fear as a political strategy<\/strong><\/p>\n

Ever since the collapse of communism the US had been looking for a reliable enemy but the search did not prove successful until the emergence of international terrorism and the war in Iraq. Then it became possible to use fear as a permanent mobilization policy. The world thus once again became Manichean for — “who is not with us is with the terrorists” as President Bush argued. <\/p>\n

As in the 50s and 60s foreign enemies are also domestic enemies: terrorists threaten US national security both in the Middle East and in the US itself which enabled the adoption of the Patriot Act and of the various and often illegal espionage or wiretapping measures.<\/p>\n

Foreign threats, thanks to a permanent use of fear, thus enabled the setting up of a political platform which is a menace to civil liberties and has led to the demise of Habeas Corpus<\/em> and the intimidation of mainstream media.<\/p>\n

The aim of this workshop is to bring together scholars working on either domestic or foreign policy aspects of the fear and terror policies which have characterized the US since 9\/11. <\/p>\n

Proposals should be sent to Pierre GUERLAIN<\/a> and to Lotfi BENNOUR<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

7\u00b0 L\u2019Am\u00e9rique coloniale face aux facteurs anxiog\u00e8nes :
\nPerceptions, adaptations et r\u00e9actions<\/strong>
\nLauric Henneton<\/a> (UVSQ)
\nBertrand Van Ruymbeke<\/a> (Univ. Paris 8)
\nAnne-Claire Merlin<\/a> (Univ. Paris 8)<\/p>\n

Le pr\u00e9sent atelier vise \u00e0 faire un \u00e9tat des lieux de la vari\u00e9t\u00e9 des facteurs anxiog\u00e8nes auxquels les populations des colonies am\u00e9ricaines furent confront\u00e9es et la fa\u00e7on dont ils \u00e9taient per\u00e7us, ainsi qu\u2019\u00e0 explorer les modes d\u2019adaptation et de r\u00e9actions qu\u2019ils suscit\u00e8rent. Le cadre g\u00e9ographique comprendra les 13 colonies, ainsi que les Antilles et pourra \u00eatre \u00e9tendu \u00e0 l\u2019ensemble de l\u2019espace atlantique, jusqu\u2019\u00e0 1763. Parmi les pistes propos\u00e9es : la nouveaut\u00e9 ou la continuit\u00e9 des facteurs phobiques, la confrontation \u00e0 l\u2019Autre (autochtones, Noirs et\/ou Europ\u00e9ens), les rumeurs et menaces autant que les dangers r\u00e9els, les r\u00e9actions et leurs cons\u00e9quences (Codes noirs, alliances diplomatiques, fortifications, r\u00f4le et intervention \u2013ou absence d\u2019intervention \u2013 de la m\u00e9tropole\u2026). Les communications peuvent porter sur un espace g\u00e9ographique et une p\u00e9riode limit\u00e9s, ou au contraire \u00eatre plus comparatistes.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Lauric Henneton<\/a> (UVSQ),
\nBertrand Van Ruymbeke<\/a> (Univ. Paris 8) et
\nAnne-Claire Merlin<\/a> (Univ. Paris 8)<\/p>\n

Colonial America faced with \u2018fear factors\u2019:
\nPerceptions, adaptations and reactions<\/strong><\/p>\n

The workshop aims at assessing the different \u2018fear factors\u2019 to which the populations of the American colonies were confronted, their perceptions of these fears, and the modes of adaptation and reaction which they spurred. The geographical framework includes the 13 colonies and the West Indies as well as the whole Atlantic world up to 1763. Papers could deal with the novelty or continuities of the \u2018fear factors\u2019, confronting the Other (Natives, Blacks and\/or Europeans), rumours and threats as much as actual hazards, the reactions and their consequences (Black Codes, diplomatic alliances, fortifications, role and intervention of the home country \u2013 or lack thereof\u2026). The papers may either focus on one given geographic area and limited timeframe or be comparative.<\/p>\n

Proposals should be sent to Lauric Henneton<\/a> (UVSQ),
\nBertrand Van Ruymbeke<\/a> (Univ. Paris 8) and
\nAnne-Claire Merlin<\/a> (Univ. Paris 8)<\/p>\n

…………………………………………………………………….<\/p>\n

8\u00b0 \u00ab The only thing we have to fear is fear itself \u00bb: peur, audace et protection sociale. <\/strong>
\nGuillaume Marche<\/a>
\nParis 12 Val-de-Marne
\nEveline Th\u00e9venard<\/a>
\nParis 4 Sorbonne<\/p>\n

\u00ab The only thing we have to fear is fear itself<\/em> \u00bb : c\u2019est en ces termes qu\u2019en 1933, Franklin D. Roosevelt proposait d\u2019engager des r\u00e9formes structurelles qui conduisirent \u00e0 l\u2019adoption du Social Security Act<\/em> en 1935. La peur et l\u2019audace sont en effet indissociables de la question de la protection sociale aux Etats-Unis : peur des Am\u00e9ricains devant les \u00ab risques et vicissitudes de la vie \u00bb, que la protection sociale doit limiter ; audace r\u00e9formatrice, frein\u00e9e par la crainte d\u2019\u00eatre accus\u00e9 de \u00ab socialisme \u00bb.
\nOn s\u2019interrogera, d\u2019une part, sur le r\u00f4le de la peur et de l\u2019audace dans l\u2019\u00e9volution d\u2019un Etat providence toujours limit\u00e9 depuis les ann\u00e9es 1930 : peur de menaces externes (communisme, immigration, terrorisme etc.) ou internes (profiteurs pr\u00e9sum\u00e9s, souvent issus de quelque minorit\u00e9) ; audace pour transformer le contrat social \u00e9tats-unien, ou au contraire d\u00e9fendre un mod\u00e8le de soci\u00e9t\u00e9 reposant sur la responsabilit\u00e9 individuelle.
\nCet atelier propose, d\u2019autre part, d\u2019envisager le r\u00f4le de la soci\u00e9t\u00e9 civile et des mouvements sociaux. Les organisations (f\u00e9ministes, syndicales, religieuses, d\u2019usagers etc.) militant pour le droit \u00e0 la protection sociale insistent-elles sur la peur des victimes d\u2019incidents de la vie, ou veulent-elles surtout pousser les d\u00e9cideurs publics \u00e0 davantage d\u2019audace ? Ont-elles recours \u00e0 des formes de mobilisation audacieuses, ou \u00e0 des modes traditionnels d’intervention dans la sph\u00e8re publique ? <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Guillaume Marche<\/a>
\net \u00e0 Eveline Th\u00e9venard<\/a><\/p>\n

\u00ab The only thing we have to fear is fear itself \u00bb. Fear, audacity, and the welfare state. <\/strong><\/p>\n

\u201cThe only thing we have to fear is fear itself\u201d. In 1933, following this historic statement, Franklin D. Roosevelt proposed a series of far-ranging reforms which culminated in passage of the Social Security Act in 1935. Fear and audacity are inseparable from discussions of social welfare policy in the United States: Americans\u2019 fear of the \u201chazards and vicissitudes of life\u201d, from which the social safety net is intended to protect them; the political audacity of reformers, hampered by their fear of being labeled \u201csocialist\u201d.
\n\tPapers may deal with the role of audacity and fear in the development of a welfare state which since the 1930s has been neither universal, nor comprehensive: the fear of threats, whether foreign (communism, immigration, terrorism\u2026) or domestic (alleged scroungers usually identified with some minority); the audacity of attempting to transform the country\u2019s social contract,
\nor, on the contrary, of holding on to a society based upon individual responsibility.
\n\tWe also encourage submissions addressing the role of civil society and social movements. Do organizations (feminist, labor, religious, users\u2019) advocating a more inclusive welfare state focus on the fear experienced by society\u2019s victims, or do they urge political decision-makers to be more daring? Does their repertoire of collective action prefigure the political innovation they call for, or does it cautiously follow traditional forms of intervention in the public sphere? <\/p>\n

Proposals should be sent to Guillaume Marche<\/a>
\nand to
\nEveline Th\u00e9venard<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

ETUDES CULTURELLES \/ CULTURAL STUDIES<\/h2>\n

1\u00b0 \u00ab La peur de l\u2019Am\u00e9rique noire : diabolisation de l\u2019Autre noir dans les repr\u00e9sentations culturelles et le discours politique \u00bb<\/strong>
\nDavid Diallo<\/a>
\nUniversit\u00e9 Montesquieu Bordeaux IV<\/p>\n

Cet atelier recherche des communications qui examineront comment les expressions culturelles et les discours politiques am\u00e9ricains ont, respectivement, repr\u00e9sent\u00e9 et pr\u00e9sent\u00e9 des hommes et des femmes noirs de mani\u00e8re \u00e0 susciter la peur. De nombreux textes am\u00e9ricains ont foment\u00e9, \u00e0 travers ce que Jenny Sharpe, s\u2019appuyant sur les travaux de Michel Foucault, appelle des \u00ab effets-v\u00e9rit\u00e9 \u00bb, un sentiment d\u2019hostilit\u00e9 et de peur envers les hommes noirs. Par ailleurs, plusieurs hommes politiques, au cours de l\u2019histoire des Etats-Unis, ont tent\u00e9 de r\u00e9cup\u00e9rer les voix d\u2019\u00e9lecteurs en brandissant le spectre effrayant de l\u2019homme noir violent.
\nLes participants \u00e0 cet atelier auront pour ambition d\u2019analyser des repr\u00e9sentations terrifiantes aussi connotatives que, par exemple, celle du personnage arch\u00e9typal de Gus dans Birth of a Nation<\/em>, le film pol\u00e9mique de D.W. Griffith, ou d\u2019\u00e9v\u00e8nements politiques comme la controverse suscit\u00e9e par le cas de Willie Horton. Ils chercheront particuli\u00e8rement \u00e0 rendre saillant les enjeux symboliques, politiques, ou \u00e9conomiques sous-jacents au processus de diabolisation des Noirs am\u00e9ricains (et d\u2019autres communaut\u00e9s \u00ab racialis\u00e9s \u00bb [Gilroy]), ainsi que ses effets pervers. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 David Diallo<\/a><\/p>\n

\u201cFear of a Black America: Demonizing the Black Other in American Expressive Forms and Politics\u201d <\/strong><\/p>\n

This panel seeks papers that would explore how American expressive forms and political discourses have repeatedly portrayed Black people in a fear-provoking way. Countless American texts have triggered, through what Jenny Sharpe (drawing her inspiration from Foucault\u2019s work) calls \u201ctruth effects\u201d, a sentiment of hostility towards Black males. Likewise, throughout American history, several politicians have tried to rally voters by means of frightening them with the specter of the violent Black male. This workshop sets out to examine fear-provoking portrayals of Black folks. Two examples would be that of the archetypical character of Gus in D.W. Griffith\u2019s Birth of a Nation or political events reminiscent of the Willie Horton case. In a nutshell, this panel aims at bringing to light the political, symbolic, cultural or economic stakes inherent in both the process and the results of the demonization experienced by US Blacks.<\/p>\n

Proposals should be sent to David Diallo<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

2\u00b0 \u00ab Peurs environnementales \u00bb<\/strong>
\nYves Figueiredo<\/a>
\nUniversit\u00e9 Paris-Sorbonne \u2013 Paris IV
\nFran\u00e7ois Gavillon<\/a>
\nUniversit\u00e9 de Bretagne Occidentale<\/p>\n

Au 21e si\u00e8cle, a-t-on seulement peur de la nature, ou aussi pour <\/em>elle ? Si aux \u00c9tats-Unis l\u2019\u00e9criture de la nature est souvent glorieuse, une tendance moins triomphante est apparue au cours des deux derni\u00e8res d\u00e9cennies environ : peut-\u00eatre le grand motif de l\u2019\u00e9colitt\u00e9rature contemporaine n\u2019est-il plus celui de la perte, mais celui de la peur ou des peurs (\u00e9cologiques, sociales, politiques, et parfois plus archa\u00efques \u2013 on pense millenarianism, apocalypticism, survivalism<\/em>). De leur c\u00f4t\u00e9 les sciences humaines et physiques portent leur attention sur les risques encourus comme sur la perception de ces risques (risk-perception, risk-communication, risk-management<\/em>, Paul Slovic) ainsi que sur le degr\u00e9 de menace qu\u2019une soci\u00e9t\u00e9 moderne est pr\u00eate \u00e0 supporter (Ulrich Beck). <\/p>\n

Cet atelier explorera les formes vari\u00e9es des discours savants ou populaires, litt\u00e9raires ou militants (po\u00e9sie, roman, nouvelle, plaidoyer, essai scientifique, journal, r\u00e9cit de voyage\u2026) qui expriment la peur face \u00e0 la menace environnementale et analysera les modalit\u00e9s selon lesquelles le l\u00e9gislateur r\u00e9pond \u00e0 ces inqui\u00e9tudes et \u00e0 ces risques. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Yves Figueiredo<\/a> et \u00e0 Fran\u00e7ois Gavillon<\/a><\/p>\n

\u201cEnvironmental Fears\u201d<\/strong><\/p>\n

In the twenty-first century are we only afraid of<\/em> nature or also for it? If American nature writing often has a glorious tone, a less triumphant streak has appeared in the last two decades: the dominant motif of contemporary nature writing may no longer be loss, but rather fear \u2014 or fears (ecological, social, political, and sometimes more archaic ones \u2013 one thinks of millenarianism, apocalypticism, survivalism). In the fields of the humanities and the sciences, the focus has shifted to what risks we are facing and how we perceive them (risk-perception, risk-communication, risk-management<\/em>, Paul Slovic) as well as to the degree of risk that a modern society is ready to bear (Ulrich Beck).<\/p>\n

Papers in this workshop will explore the various forms of the discourses that express fear in the face of environmental threat, be they popular or academic, literary or militant (poetry, novels, advocacy, scientific essays, diaries, travel writing\u2026) and will analyze the way these fears and risks are handled by lawmakers.<\/p>\n

Proposals should be sent to Yves Figueiredo<\/a> and Fran\u00e7ois Gavillon<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

3\u00b0 La peur fait vendre, 1963-2009 \u2013 Atelier Culture Populaire.<\/strong>
\nguilbertgc@yahoo.com”>George\u2013Claude Guilbert<\/a>
\nUniversit\u00e9 Fran\u00e7ois Rabelais de Tours<\/p>\n

Au XXe et XXIe si\u00e8cles la peur s\u2019est retrouv\u00e9e au c\u0153ur de la culture populaire am\u00e9ricaine, particuli\u00e8rement depuis l\u2019assassinat de Kennedy en novembre 1963. En mati\u00e8re de culture populaire am\u00e9ricaine, la peur fait vendre. Les participants \u00e0 cet atelier s\u2019interrogeront sur les m\u00e9canismes du ph\u00e9nom\u00e8ne et sur son am\u00e9ricanit\u00e9 tout en se demandant quel type de peur est le plus rentable. Toutes les formes de culture populaire seront examin\u00e9es, \u00e0 l\u2019exception du cin\u00e9ma (sauf si l\u2019accent porte sur les produits d\u00e9riv\u00e9s). Toutefois la pr\u00e9f\u00e9rence sera accord\u00e9e \u00e0 la t\u00e9l\u00e9vision (t\u00e9l\u00e9-r\u00e9alit\u00e9, feuilletons, s\u00e9ries), la bande dessin\u00e9e et la musique. Les communications centr\u00e9es sur les liens entre la peur am\u00e9ricaine et les probl\u00e9matiques de genre et de race seront particuli\u00e8rement bienvenues.
\n\tExemples : (1) le d\u00e9veloppement spectaculaire de la c\u00e9l\u00e9bration d\u2019Halloween, d\u00e9sormais presque aussi importante que celle de No\u00ebl ; (2) le merchandising de la peur qui accompagne les films d\u2019horreur (tee-shirts, masques) ; (3) la fa\u00e7on dont les m\u00e9dias sensationnalistes exploitent la peur ; (4) la peur panique li\u00e9e \u00e0 toute \u00e9vocation du \u00ab communisme \u00bb, r\u00e9pandue dans tout le pays lors de la guerre froide ; (5) excitation sexuelle et peur : le march\u00e9 du sadomasochisme ; (6) la peur et les th\u00e9ories de la conspiration ; (7) la peur de l\u2019Autre de couleur diff\u00e9rente (latino, noir, am\u00e9rindien, etc. \u2013 \u00e0 noter cependant que cet aspect sera trait\u00e9 dans d\u2019autres ateliers) ; (8) la peur des monstres en Am\u00e9rique : de Moby Dick aux extra-terrestres kidnappeurs en passant par Big Foot ; (9) la peur de la mort et ses manifestations dans les cimeti\u00e8res am\u00e9ricains comme Forest Lawn Cemetery en Californie. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 guilbertgc@yahoo.com”>George\u2013Claude Guilbert<\/a><\/p>\n

Fear Sells, 1963-2009 \u2013 Popular Culture Workshop<\/strong> <\/p>\n

In the twentieth and twenty-first centuries, fear has been at the heart of American popular culture, particularly since Kennedy’s assassination in November 1963. In American popular culture, fear sells. Participants are invited to wonder how and why and what kind of fear sells best. They will address the specific Americanness of the phenomenon. Every form of popular culture will be examined, except movies (unless studied along with tie-in products), but television (reality TV, series, serials), comic books and music will be favored. Also favored will be those papers that look at fear as linked to gender and race.
\n Examples: (1) the dramatic development of spooky Halloween since the 1960s into the USA’s second major holiday; (2) the merchandizing of fear that surrounds horror movies (tee-shirts, masks); (3) how the tabloid media exploit fear; (4) the hysterical spread of fears in the USA during the Cold War having to do with all things “Communist”; (5) sexual excitement & fear: the SM market; (6) fear and conspiracy theories; (7) fear of the colored Other (Latino, Black, Native American, etc. although this aspect will be covered by other workshops); (8) fear of monsters in America: from Moby Dick to abducting aliens via Big Foot; (9) fear of death & its manifestations in US graveyards such as Forest Lawn Cemetery in California. <\/p>\n

Proposals should be sent to George\u2013Claude Guilbert<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

4\u00b0 \u201cFestins horrifiques\u201d<\/strong>
\nGilles M\u00e9n\u00e9galdo<\/a>
\nUniversit\u00e9 de Poitiers
\nAnne-Marie Paquet-Deyris<\/a>
\nUniversit\u00e9 de Rouen<\/p>\n

Distinguer l’horreur de l’\u00e9pouvante est ardu et les recherches th\u00e9oriques sur ces deux sous-genres de la cat\u00e9gorie g\u00e9n\u00e9rique de l\u2019\u00ab horreur \u00bb restent fluctuantes. Dans sa typologie Hollywood Cinema: An Introduction<\/em>, Richard Maltby qualifie d’ailleurs cette cat\u00e9gorie d’\u00ab additionnelle \u00bb. Entre frustration et exhibition, champ survaloris\u00e9 de l’horreur et hors-champ de l’angoisse et de l’\u00e9pouvante, se d\u00e9clinent toutes les modalit\u00e9s du genre horrifique dans les domaines esth\u00e9tiques, \u00e9conomiques ou encore id\u00e9ologiques.
\nComment la cat\u00e9gorie de l’ \u00ab horreur \u00bb s’est-elle impos\u00e9e \u00e0 l’\u00e9cran depuis les origines ? Comment les figures de l’Autre per\u00e7u comme menace absolue sont-elles mises en sc\u00e8ne? Pourquoi et comment les figurations du \u00ab Monstre \u00bb varient-elles ou pr\u00e9sentent-elles au contraire des invariants par del\u00e0 les \u00e9poques, les cultures et les mouvements?
\nIl s’agira d’explorer les masques de l’horreur ainsi que le concept de terreur en s’appuyant sur des approches multiples, \u00e0 la fois th\u00e9oriques, psychanalytiques, culturelles et historiques ou plus directement analytiques et esth\u00e9tiques.<\/p>\n

Les propositions sont \u00e0 adresser \u00e0 Gilles M\u00e9n\u00e9galdo<\/a>
\net \u00e0 Anne-Marie Paquet-Deyris<\/a> <\/p>\n

Horror Feasts<\/strong><\/p>\n

Distinguishing between horror and terror<\/em> often proves difficult and theoretical research on the two subgenres belonging to the generic category of Horror Film has fluctuating boundaries.
\nIn Hollywood Cinema: An Introduction<\/em> Richard Maltby defines this category as being additional. In between withholding and displaying, horror\u2019s overemphasized field and the off-camera playground of anguish and terror, a whole array of horrific modes start unfolding\u2013whether in the aesthetic, economic or ideological arenas.
\nHow did the category of Horror first inscribe itself on screen? How were representations of the Other as the utmost threat staged? How and why did figures of the Monster<\/em> evolve or on the contrary remained identical throughout times, cultures and movements?
\nOne shall explore Horror and the notion of terror in their diversity using various approaches, whether theoretical, psychoanalytical, cultural, historical or, more specifically, analytical and aesthetic.<\/p>\n

Proposals should be sent to Gilles M\u00e9n\u00e9galdo<\/a> and to Anne-Marie Paquet-Deyris<\/a> <\/p>\n

…………………………………………………………………….<\/p>\n

5\u00b0 Qui a (encore) peur du rouge, du jaune et du bleu?
\nL’esth\u00e9tique de la peur dans l’art abstrait<\/strong>
\nRichard Phelan<\/a>
\nUniversit\u00e9 de Provence, Aix-Marseille 1
\nAnne Reynes<\/a>
\nUniversit\u00e9 de Provence, Aix-Marseille 1<\/p>\n

Des couleurs pos\u00e9es sur une toile peuvent-elles inspirer (plut\u00f4t que repr\u00e9senter) la peur ? La question et notre titre convoquent quatre toiles que Barnett Newman a peintes entre 1966 et 1970 et qui se trouvent aujourd’hui dans les mus\u00e9es de Los Angeles, de Stuttgart, d’Amsterdam et de Berlin. Apr\u00e8s les ann\u00e9es 50, une grande partie de la production artistique la plus novatrice des Etats-Unis, ayant pris ses distances par rapport \u00e0 l\u2019image figurative, semble en effet avoir cherch\u00e9 non pas la \u00ab d\u00e9lectation \u00bb (comme l’entendait Poussin) mais \u00e0 provoquer chez le spectateur effroi, anxi\u00e9t\u00e9, intimidation. Cette ‘esth\u00e9tique de la peur’ (mais le terme n\u00e9cessite d\u00e9bat) se situerait du c\u00f4t\u00e9 de l\u2019expressionnisme abstrait et du minimalisme, et inclurait des oeuvres de Barnett Newman, Ad Reinhardt et Donald Judd. Notre atelier se propose d\u2019explorer avant tout la mani\u00e8re technique dont cette esth\u00e9tique op\u00e8re dans la r\u00e9ception d\u2019oeuvres sp\u00e9cifiques. Il s\u2019agira \u00e9galement d\u2019analyser les questions plus larges d\u2019ordre culturel et historique ainsi mises en jeu. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Richard Phelan<\/a>
\net \u00e0 Anne Reynes<\/a><\/p>\n

Who’s (still) afraid of red, yellow and blue?
\nThe aesthetics of fear in abstract art<\/strong><\/p>\n

Can color arranged on canvas inspire \u2014 rather than represent \u2014 fear? Our question refers to the ironic title given by Barnett Newman to four paintings produced between 1966 and 1970 and today in the museums of Los Angeles, Stuttgart, Amsterdam and Berlin. After the 1950s, much innovative American art, having distanced itself from the figurative image, appears indeed to have sought to censor the viewer’s delectation and to instead provide an experience closer to awe, anxiety, or intimidation. Such an ‘aesthetics of fear’ (but the term needs to be examined) could be located between Abstract Expressionism and Minimalism, and its proponents would include Barnett Newman, Ad Reinhardt and Donald Judd. This workshop seeks to explore exactly, technically, how such an aesthetics operates in the viewer’s reception of specific visual works and also to investigate what larger (cultural, historical) issues are being thus engaged. <\/p>\n

Proposals should be sent to Richard Phelan<\/a>
\nand to Anne Reynes<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

6\u00b0 Quand on parle du diable \u2026 Discours du diabolisme dans la culture am\u00e9ricaine<\/strong>
\nChristopher Robinson<\/a>
\nHEC-Paris<\/p>\n

M\u00e9taphore d\u2019un malaise social, la rh\u00e9torique d\u2019une conspiration diabolique a \u00e9tay\u00e9 des r\u00e9cits de tentation et de corruption, de confession et de damnation sur les sources diverses de peur et d\u2019angoisse qui ont obs\u00e9d\u00e9 les Am\u00e9ricains \u00e0 travers les si\u00e8cles. Cette peur du diable d\u00e9rive de ce que Edward J. Ingebretsen d\u00e9crit comme \u00ab une cosmologie religieuse que beaucoup d\u2019individus sophistiqu\u00e9s consid\u00e9reraient comme \u00e9cul\u00e9e\u00bb. Pour autant, \u00ab l\u2019autorit\u00e9 religieuse\u2014ou peut-\u00eatre son habitude\u2014n\u2019a pas disparu, mais est devenue souterraine, dissimul\u00e9e partout, au vu de tous sous la forme de mati\u00e8re politique \u00bb. Autrement dit, le discours qui oppose le diabolique au divin continue \u00e0 r\u00e9sonner dans l\u2019inconscient politique am\u00e9ricain. Ce qui pourrait expliquer pourquoi, comme le dit Arthur Miller, \u00ab nous ne sommes pas tout \u00e0 fait certains m\u00eame aujourd\u2019hui que le diabolisme ne soit pas sacr\u00e9 et digne de respect \u00bb. S\u2019inscrivant dans le cadre de cultural studies, cet atelier enqu\u00eatera sur les origines et l\u2019\u00e9volution de ce discours, les valeurs affectives vari\u00e9es qui s\u2019y attachent et les divers modes de production, artistiques ou autres, qu\u2019il a assum\u00e9s dans la culture am\u00e9ricaine. <\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Christopher Robinson<\/a><\/p>\n

Speak of the Devil: The Discourse of Diabolism in American Culture<\/strong><\/p>\n

As a metaphor of social malaise, the rhetoric of diabolical conspiracy has mapped narratives of temptation and corruption, confession and damnation onto the various sources of fear and anxiety that have obsessed Americans over the centuries. This fear of the devil derives from what Edward J. Ingebretsen describes as \u201ca religious cosmology which many sophisticated persons would declare to be tired and worn.\u201d Be that as it may, \u201creligious authority\u2014or maybe its habit\u2014has not gone away, but merely underground, hidden everywhere in full view as political commodity.\u201d In other words, a discourse opposing the diabolical to the divine continues to resonate within the American political unconscious. And this helps to explain why, in Arthur Miller\u2019s words, \u201cwe are not quite certain even now whether diabolism is holy and not to be scoffed at.\u201d Following a cultural studies approach, this workshop will inquire into the origins and evolution of this discourse, the differing affective values attached to it, and the various modes of production, artistic or otherwise, it has assumed in American culture over time. <\/p>\n

Proposals should be sent to Christopher Robinson<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

7\u00b0 \u00ab L\u2019odeur de la peur \u00bb : dynamiques culturelles et strat\u00e9gies narratives des magazines pulp am\u00e9ricains (ann\u00e9es 1880-1950)<\/strong>
\nBeno\u00eet Tadi\u00e9<\/a>
\nUniversit\u00e9 Rennes 2<\/p>\n

Revenant sur les magazines pulp<\/em> o\u00f9 il avait commenc\u00e9 sa carri\u00e8re, Raymond Chandler parlait, dans les ann\u00e9es 1940, de \u00ab l’odeur de peur que [leurs] histoires parvenaient \u00e0 engendrer. Leurs personnages habitaient un monde qui avait mal tourn\u00e9, o\u00f9, bien avant la bombe atomique, la civilisation avait invent\u00e9 le m\u00e9canisme de sa propre destruction et apprenait \u00e0 s’en servir avec tout le ravissement stupide d’un gangster essayant sa premi\u00e8re mitraillette. \u00bb<\/p>\n

Cet atelier vise \u00e0 \u00e9clairer le r\u00f4le des magazines pulp am\u00e9ricains dans la cr\u00e9ation et la diffusion d\u2019une \u00ab culture de la peur \u00bb nourrie des multiples angoisses de leur public. Les communications pourront aborder ce th\u00e8me suivant plusieurs perspectives : \u00e9tude de genres ou r\u00e9cits li\u00e9s \u00e0 la peur dans les magazines (policiers, science fiction, superh\u00e9ros, horreur, weird menace, etc.) ; contextes historiques et sociologiques ; analyse de magazines, auteurs ou artistes sp\u00e9cifiques ; magazines pulp<\/em> et culture de masse ; magazines pulp<\/em> et culture \u00e9tablie ou d\u2019avant-garde ; couvertures et illustrations ; publicit\u00e9 ; aspects \u00e9conomiques ; r\u00e9dacteurs en chef et public.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Beno\u00eet Tadi\u00e9<\/a><\/p>\n

\u2018The smell of fear\u2019: Cultural Dynamics and Narrative Strategies of American Pulp Magazines (1880\u2019s \u2013 1950\u2019s)<\/strong><\/p>\n

Reminiscing about the pulp magazines where he began his writing career, Raymond Chandler wrote, in the 1940\u2019s, of \u2018the smell of fear which [their] stories managed to generate. Their characters lived in a world gone wrong, a world in which, long before the atom bomb, civilization had created the machinery of its own destruction and was learning to use it with all the moronic delight of a gangster using his first machine-gun.\u2019 <\/p>\n

This workshop looks at the way in which American pulp magazines helped to create and disseminate a \u2018culture of fear\u2019 which tapped into the multiple anxieties of their public. Papers are invited to address this general theme from various perspectives: studies of fear-related genres or narratives in the magazines (crime and private eye, science fiction, superheroes, horror, \u2018weird menace\u2019, etc.); historical and sociological backgrounds; studies of specific magazines or of individual writers and artists; pulp magazines and mass culture; crossovers between pulp magazines and mainstream or avant-garde culture; magazine covers and illustrations; advertising; economic aspects; editors and readership.<\/p>\n

Proposals should be sent to Beno\u00eet Tadi\u00e9<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

8\u00b0 Figures de frayeur : La peur du f\u00e9minin en Am\u00e9rique<\/strong>
\nTa\u00efna Tuhkunen<\/a>
\n Universit\u00e9 de Versailles Saint-Quentin<\/p>\n

Dans l’iconographie am\u00e9ricaine, le f\u00e9minin constitue souvent l\u2019agent abject, chaotique, h\u00e9r\u00e9tique, phobique ou mortif\u00e8re qui contamine le topos id\u00e9alis\u00e9 ou rassurant. Si les peurs d\u00e9clench\u00e9es par l’Autre f\u00e9minin rel\u00e8vent d’un patrimoine transculturel sans fronti\u00e8res, elles semblent avoir engendr\u00e9 des avatars sp\u00e9cifiquement nord-am\u00e9ricains. De quelles mani\u00e8res ces figures de frayeurs f\u00e9minines ont-elles \u00e9volu\u00e9 depuis les temps th\u00e9ocratiques et les premi\u00e8res J\u00e9zabels jusqu\u2019\u00e0 l’\u00e9mergence du \u201cmomism\u201d, concept d\u00e9v\u00e9lopp\u00e9 par Philippe Wylie en 1942? Dans quelle mesure et sous quelles formes ces figures d\u2019alt\u00e9rit\u00e9 perdurent-elles dans la litt\u00e9rature et les arts populaires am\u00e9ricains, ou m\u00eame sous les campagnes politiques actuelles? Ou bien, comme l\u2019affirme Helene Meyers, l\u2019auteur de Femicidal Fears: Narratives of the Female Gothic Experience <\/em>(2001), les remises en sc\u00e8ne post-f\u00e9ministes de l\u2019horreur permettent-elles de se distancier des sch\u00e9mas essentialistes fond\u00e9s sur la victimisation? Cet atelier interdisciplinaire accueille vos propositions de communication explorant les diverses mani\u00e8res dont la culture am\u00e9ricaine incorpore les r\u00e9cits de peurs du\/au f\u00e9minin, y compris dans le domaine des \u201cfrissons\u201d technoculturels.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Ta\u00efna Tuhkunen<\/a><\/p>\n

Figures of fright: The fear of femininity in America<\/strong><\/p>\n

In the American iconography, femininity has often been posited as the abject, chaotic, heretic, phobic or mortiferous agent that contaminates the idealized or reassuring topos. While the fears provoked by the female Other remain rooted in a transcultural, frontierless hinterland, they seem to have engendered specifically North American avatars. How have the female figures of fright evolved since the theocratic times and the first scarlet Jezebels until Philip Wylie\u2019s post-war concept of \u201cmomism\u201d? Can we still perceive traces of the frightful (m)other figure\/s in American literature and popular arts, as well as beneath the contemporary political campaigns? Or as Helene Meyers, the author of Femicidal Fears: Narratives of the Female Gothic Experience<\/em> (2001) contends, do the post-feminist restagings of horror allow us to move beyond plots based on female victimization and other easily essentialist equations? This interdisciplinary workshop welcomes papers exploring the variety of ways story-telling and history-telling incorporate fears of the feminine, including within the field of technocultural \u201cthrills\u201d.<\/p>\n

Proposals should be sent to Ta\u00efna Tuhkunen<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

LITTERATURE \/ LITERATURE<\/h2>\n

1\u00b0 L\u2019inscription du trauma dans la litt\u00e9rature am\u00e9ricaine<\/strong>
\nMarc Amfreville<\/a>
\nUniversit\u00e9 Paris 12<\/p>\n

Cet atelier invite ses participants \u00e0 r\u00e9fl\u00e9chir \u00e0 l’inscription litt\u00e9raire du trauma, au sens scientifique de ce terme telle que l’ont d\u00e9fini tour \u00e0 tour Freud et Ferenczi. On se gardera donc de toute r\u00e9duction ou vulgarisation qui en ferait un vague synonyme d’exp\u00e9rience douloureuse, pour au contraire s’attacher \u00e0 mettre au jour ces cas o\u00f9 s’est produite une peur telle, une effraction si violente, qu’elles n’ont pas laiss\u00e9 de trace dans la m\u00e9moire consciente. La litt\u00e9rature, sans toujours le formuler aussi nettement, est riche en exemples o\u00f9 l’ellipse, l’\u00e9lision, la fracture – pour ne citer que 3 exemples – se font les mani\u00e8res de dire ce qui pr\u00e9cis\u00e9ment ne peut pas \u00eatre dit et qui ne saurait \u00eatre confondu avec un “indicible” fade et b\u00ealant (pour reprendre une irritation d’Agamben….).
\nSur le mod\u00e8le de ce qui se passe dans la psych\u00e9, le trauma reste “hors champ”, et n’est perceptible que par les ondes du choc initial. Le trauma sera consid\u00e9r\u00e9 comme une modalit\u00e9 de la peur, le mode de repr\u00e9sentation d\u2019un effroi, et seront privil\u00e9gi\u00e9es les propositions de communication qui veilleront \u00e0 croiser fondements th\u00e9oriques et transcription formelle.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Marc Amfreville<\/a><\/p>\n

Writing Trauma in American Literature<\/strong><\/p>\n

The objective of this panel is for participants to reflect on the impact that trauma as it was scientifically defined in the works of Freud and Ferenczi respectively may have on the literary text. Avoiding simplistic or popular approaches, which risk reducing trauma to a vague synonym of any distressing experience, contributors should instead focus on cases of fear so profound and invasive as to leave no trace in the conscious memory. Without necessarily naming the phenomenon, literary texts offer a wealth of instances in which ellipsis, ellision or formal disruption, to mention only these three figures, function as ways of expressing the inexpressible (which is not, to repeat Agamben\u00b9s irritated comment, to be confused with some flat and stale idea of the ” unspeakable “).
\nIn accordance with generally accepted models of the psyche, trauma remains beyond the reach of consciousness and is perceptible only through the shock waves sent out by it. Trauma will thus be approached as an extreme form that fear can take and also as the mode of representing that terrifying extreme. Contributions that set out to study the textual transcription of trauma within a rigorously defined theory framework will be privileged.<\/p>\n

Proposals should be sent to Marc Amfreville<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

2\u00b0 L\u2019\u00e9criture de la peur<\/strong>
\nSylvie Bauer<\/a>
\nUniversit\u00e9 de Paris X-Nanterre.
\n Marie-Odile Salati<\/a>
\nUniversit\u00e9 de Savoie <\/p>\n

L\u2019\u00e9criture de la peur pose un probl\u00e8me radical de repr\u00e9sentation. Cet atelier tentera de d\u00e9terminer comment l\u2019\u00e9criture conjure le manque \u00e0 dire, qu\u2019elle cherche \u00e0 combler le vide de la repr\u00e9sentation par le trop-plein de signifiants ou qu\u2019elle fasse appara\u00eetre la pr\u00e9sence occult\u00e9e en creux dans les soubresauts de l\u2019\u00e9criture. On pourra explorer les d\u00e9tours emprunt\u00e9s par l\u2019\u00e9criture pour signifier la peur sans la dire, ainsi que la tension dans laquelle s\u2019\u00e9crit la peur, entre absence et pr\u00e9sence, fantasme et r\u00e9alit\u00e9, ind\u00e9termination et pr\u00e9cision, aphasie et compulsion \u00e0 dire. On interrogera le rapport entre peur et visibilit\u00e9, la question de son in-carnation, de la mat\u00e9rialit\u00e9 du corps et du visage comme surfaces d\u2019impression, doubl\u00e9e de celle du langage, dont les sons et les rythmes v\u00e9hiculent les pulsations intimes de l\u2019affect, les exc\u00e8s d\u2019une rh\u00e9torique ostentatoire attirant l\u2019attention sur la difficult\u00e9 de figurer l\u2019irrepr\u00e9sentable. Enfin, la peur se fait peur de ne pas parvenir \u00e0 traduire le v\u00e9cu en mots, angoisse de la page blanche, les peurs fictionnelles fonctionnant comme m\u00e9taphores de la hantise de l\u2019indicible.
\nLes propositions sont \u00e0 envoyer \u00e0 Sylvie Bauer<\/a> et \u00e0 Marie-Odile Salati<\/a><\/p>\n

The Language of Fear<\/strong><\/p>\n

The language of fear raises the issue of representation. This workshop aims at showing how writing grapples with what cannot be said, either through filling in the void of representation by displaying too many signifiers or by conjuring up the hidden omnipresence of fear through the convulsions of writing. It might therefore be worthwhile exploring the roundabout ways writing chooses to signify fear without ever naming it, along with the tensions in which fear materializes. Another focus could be how the moment of fear is given to see, as it is incarnated in the materiality of bodies and faces as surfaces of inscription, as well as in the materiality of language, whose sounds and rhythms are able alone to convey the inner throbbing of fear, or else in ostentatious rhetorical devices, drawing the reader\u2019s attention to the difficulty of uttering the unutterable. Eventually fear becomes the anxiety of writing, the fear of being unable to translate life into words, of facing the white page, with the fictional fears acting as metaphors for the writer\u2019s own.<\/p>\n

Proposals should be sent to Sylvie Bauer<\/a> and to Marie-Odile Salati<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

3\u00b0 Peur et p\u00e9trifications identitaires dans les litt\u00e9ratures am\u00e9ricaines contemporaines <\/strong>
\nMartine Chard-Hutchinson<\/a>
\nUniversit\u00e9 Paris Diderot
\nJean-Paul Rocchi<\/a><\/p>\n

Le but de cet atelier est, d\u2019une part, de faire le point sur l\u2019\u00e9volution des repr\u00e9sentations de l\u2019autre \u2014 voir en particulier si l\u2019Africain am\u00e9ricain et le Juif sont encore des figures d\u2019alt\u00e9rit\u00e9 dans les litt\u00e9ratures minoritaires et\/ou \u00ab mainstream \u00bb et envisager l\u2019\u00e9mergence de nouvelles d\u00e9finitions. Il s\u2019agira de voir comment la peur entre encore en jeu dans ces repr\u00e9sentations, de montrer comment elle colore \u00e9ventuellement les perspectives ou les d\u00e9forme, dans quelle mesure elle a un effet de p\u00e9trification.
\nD\u2019autre part, on pourra aussi s\u2019int\u00e9resser \u00e0 la nouvelle litt\u00e9rature du D\u00e9sastre, n\u00e9e du traumatisme du 9\/11, en ciblant plus particuli\u00e8rement l\u2019expression de la Peur en tant que r\u00e9activation des spectres de l\u2019esclavage et de la Shoah. <\/p>\n

Les propositions sont \u00e0 adresser \u00e0 Martine Chard-Hutchinson<\/a> et \u00e0 Jean-Paul Rocchi<\/a><\/p>\n

Diversity and the Fear Factor in Contemporary American Fiction.<\/strong><\/p>\n

This workshop focuses on the Other as the root of the fear factor, and the evolution of its representations in contemporary minority or mainstream American fiction. We intend to discuss the validity of African-American and Jewish characters as potential Others and the emergence of new \u00ab types \u00bb. We also welcome papers dealing with the new literature of Disaster, and particularly the post 9\/11 fiction which reactivates the frightening ghosts of slavery and of the Shoah — and to what effect. <\/p>\n

Proposals should be sent to Martine Chard-Hutchinson<\/a> and to Jean-Paul Rocchi<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

4\u00b0 Adapter les figures de la peur au cin\u00e9ma <\/strong>
\nGilles Menegaldo<\/a>
\nUniversit\u00e9 Paris Diderot
\nAnne-Marie Paquet-Deyris<\/a><\/p>\n

Cet atelier s\u2019inscrit dans le cadre d\u2019une analyse du rapport entre litt\u00e9rature et cin\u00e9ma. Consacr\u00e9 aux nouvelles approches de la question de l\u2019adaptation, il s\u2019int\u00e9ressera au renouveau th\u00e9orique qui accompagne actuellement la transposition \u00e0 l\u2019\u00e9cran de films d\u2019horreur et films fantastiques d\u00e9clinant les figures de la peur.<\/p>\n

De quelles mani\u00e8res des textes litt\u00e9raires canoniques \u2212 ou plus populaires \u2212 sont-ils investis et retravaill\u00e9s par les sc\u00e9naristes et cin\u00e9astes pour cr\u00e9er une s\u00e9rie d\u2019effets-peur ? Comment la figure du monstre, ou encore celle du spectre au succ\u00e8s exponentiel depuis les ann\u00e9es 2000, reformatent-elles l\u2019expression de la peur au cin\u00e9ma ?<\/p>\n

Les propositions sont \u00e0 adresser \u00e0 Gilles Menegaldo<\/a> et \u00e0 Anne-Marie Paquet-Deyris<\/a><\/p>\n

Adapting for the screen the figures of fear from literary texts.<\/strong><\/p>\n

This workshop is a survey of the broader film-and-literature field and focuses more narrowly on adaptation. Dedicated to new approaches to the theory of adaptation, its aim is to offer specific insights into the process of transposition from horror or supernatural novels to films staging the fear factor.<\/p>\n

How are canonical literary texts, or more popular ones, reworked on and reformated by screenwriters and directors in order to inscribe on screen a whole new variety of figures of fear? How can new representations of the monster or the ghost\u2212which has recently found a new lease of life from Japan to the United States for instance\u2212reshape the expression of fear in the movies?<\/p>\n

Proposals should be sent to Gilles Menegaldo<\/a> and Anne-Marie Paquet-Deyris<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

5\u00b0 Spectres de la po\u00e9sie am\u00e9ricaine<\/strong>
\nAxel Nesme<\/a>
\nUniversit\u00e9 de Lyon II<\/p>\n

Depuis le pr\u00e9cepte poundien \u00ab Go in fear of abstractions \u00bb, certaines po\u00e9tiques am\u00e9ricaines de la modernit\u00e9 s\u2019articulent par le biais des exclusions qu\u2019elles pratiquent pour affirmer leur sp\u00e9cificit\u00e9. On pourra examiner les modalit\u00e9s apophatiques de leur \u00e9laboration, les mod\u00e8les n\u00e9gatifs qui les hantent et comment elles s\u2019efforcent de les surmonter. Comme leurs pr\u00e9d\u00e9cesseurs modernistes, les avant-gardes contemporaines se construisent-elles encore \u00e0 coup d\u2019audaces po\u00e9tiques, et si oui, selon quels crit\u00e8res d\u00e9finira-t-on des \u00e9critures plus frileuses et pusillanimes ? La notion d\u2019angoisse de l\u2019influence garde-t-elle sa pertinence d\u00e8s lors que la po\u00e9sie est con\u00e7ue comme pratique communautaire et ne se donne plus comme priorit\u00e9 la d\u00e9fense et illustration de la subjectivit\u00e9 lyrique ?<\/p>\n

On pourra plus g\u00e9n\u00e9ralement se pencher sur les craintes qui habitent le po\u00e8me am\u00e9ricain, sur ce qu\u2019il refoule ou redoute de nommer, soit sous la pression des codes, soit dans le souci de promouvoir une \u00e9criture du mi-dire, pr\u00e9f\u00e9rant la d\u00e9rive m\u00e9tonymique au saut m\u00e9taphorique. Enfin, on se demandera quelle place le po\u00e8me m\u00e9nage \u00e0 l\u2019objet phobique et comment il inscrit l\u2019affect d\u2019angoisse dans sa lettre.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Axel Nesme<\/a><\/p>\n

American Poetry and Its Ghosts<\/strong><\/p>\n

Beginning with Pound\u2019s precept, \u201cGo in fear of abstractions,\u201d certain modern American poetics have been founded on exclusionary practices necessary for them to assert their own specificity. Those apophatic modes of self-definition call for examination, as do the negative models that keep haunting such poetics and the strategies they deploy in order to overcome this heritage. Like its Modernist predecessors, does the contemporary avant-garde define itself through the audacity of its attacks against the poetic status quo? If so, what criteria define more demure or timorous forms of writing? How relevant today is the notion of anxiety of influence, when poetry is seen as a community practice and lyrical subjectivity no longer occupies centerstage?
\nMore generally, what fears are echoed in American poems? What is being repressed or left unsaid, be it under the pressure of various codes or with a view to promoting aesthetics of indirection which privilege metonymic drift over metaphorical leaps? Finally, how do poems negotiate with the phobic object, and how do they inscribe anxiety in their letter? <\/p>\n

Proposals should be sent to Axel Nesme<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

6\u00b0 En attendant l’apocalypse: \u00e9crivains du Sud, de la guerre froide \u00e0 la guerre contre la terreur <\/strong>
\nJacques Pothier<\/a>
\nUniversit\u00e9 Versailles St Quentin<\/p>\n

Dans son discours de r\u00e9ception du prix Nobel de litt\u00e9rature en 1950, Faulkner s’adressait en ces termes aux \u00e9crivains plus jeunes que lui : “Our tragedy today is a general and universal fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up?” Dans quelle mesure la peur, celle du Sud de la Guerre Froide, marginalis\u00e9 par la guerre mondiale, secou\u00e9 par l’agitation des droits civiques, influe-t-elle sur les genres et les modes d’\u00e9criture de l’\u00e9poque–et dans quelle mesure peut-on comparer cet \u00e2ge d’angoisse avec le n\u00f4tre? <\/p>\n

Les propositions sont \u00e0 adresser \u00e0 Jacques Pothier<\/a><\/p>\n

Waiting for the Apocalypse: Southern Writers from the Cold War to the War on Terror<\/strong><\/p>\n

Upon receiving the Nobel Prize for literature in 1950, Faulkner addressed the younger generation of writers: \u201cOur tragedy today is a general and universal fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up?” To what extent does fear, the fear of the South in the Cold War, just after it was sidelined by the second global war and brought back to the center of national attention by the embarrassing struggle for Civil Rights, influence the genres and modes of writing in the period\u2014and to what extent can this age of anxiety be compared with ours? <\/p>\n

Proposals should be sent to Jacques Pothier<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

7\u00b0 Pour une critique de la peur ? Transactions affectives en Nouvelle-Angleterre<\/strong>
\nC\u00e9cile Roudeau:<\/a>
\nParis III<\/p>\n

L\u2019\u00e9motion semble avoir retrouv\u00e9 une place dans le discours critique. Contre le monopole du logos<\/em>, contre le mythe de l\u2019observateur objectif, une certaine critique n\u2019entend plus rejeter l\u2019\u00e9motion mais la pose comme outil \u00e9pist\u00e9mologique \u00e0 part enti\u00e8re. Les \u00e9motions ainsi r\u00e9habilit\u00e9es sont \u00e9motions conjonctives, elles rel\u00e8vent de l\u2019empathie. La peur, exp\u00e9rience du dessaisissement, na\u00eet, elle, de la fissure du sujet. Elle suppose et met en \u0153uvre un \u00e9cart qui, sans donner lieu \u00e0 une distance objective, fait signe vers l\u2019interpr\u00e9tation. Cet atelier souhaite poser la question de la pertinence de la peur<\/em> comme outil \u00e9pist\u00e9mologique dans l\u2019analyse litt\u00e9raire. En Nouvelle-Angleterre, lieu de l\u2019\u00e9cart par excellence, la peur est plus qu\u2019un th\u00e8me r\u00e9current; elle est pivot de la repr\u00e9sentation et paradigme de la r\u00e9ception. On r\u00e9fl\u00e9chira notamment \u00e0 la constitution, par l\u2019\u00e9criture, d\u2019une communaut\u00e9 de r\u00e9cepteurs \u00e0 la fois critique et \u00e9motive, un \u00ab public intime \u00bb (Berlant) qui a \u00e0 voir avec la nation, cette autre communaut\u00e9 que la peur, charni\u00e8re entre l\u2019hypersubjectif et le \u00ab commun \u00bb, constitue de ses \u00ab transactions affectives \u00bb.<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 C\u00e9cile Roudeau<\/a><\/p>\n

Who\u2019s Afraid of Fear? Affective Transactions in Critical Discourse: the Case of New England Literature. <\/strong><\/p>\n

Critical discourse is no longer afraid of emotions. Literary criticism has reasserted feelings as an epistemological tool in their own right. But while denouncing the monopoly of the logos<\/em> and the myth of the objective observer, the affective turn has focused on conjunctive emotions and emphasized empathy at the expense of fear. Fear, however, emerges from internal difference\u2014a fissure within the subject which undermines objective distance and opens up new interpretive possibilities. This workshop will take New England literature as a case study in asking the question of the epistemological place and relevance of fear in literary criticism. New England as a literary artifact of American letters has been constructed as the locus<\/em> of internal difference. More than a recurrent theme in its literature, fear has been a pivot in its representation and a paradigm of its reception. We will explore how the writing of fear builds what Berlant calls an \u201cintimate public\u201d. Operating as a hinge between the hyper-subjective and the common, fear has been a tool in building community out of \u201caffective transactions\u201d. <\/p>\n

Proposals should be sent to C\u00e9cile Roudeau<\/a><\/p>\n

…………………………………………………………………….<\/p>\n

8\u00b0 M\u00e9tafiction du danger : narrateurs et r\u00e9cits en p\u00e9ril <\/strong>
\nArnaud Schmitt<\/a>
\nUniversit\u00e9 Montesquieu Bordeaux IV<\/p>\n

\tDans le dernier chapitre de The Human Stain<\/em>, Zuckerman, narrateur attitr\u00e9 de Philip Roth, d\u00e9crit sa rencontre avec un homme qu\u2019il soup\u00e7onne de meurtre. A la fin d\u2019une conversation pleine de sous-entendus, Zuckerman s\u2019\u00e9loigne lentement, ce qui am\u00e8ne le lecteur \u00e0 craindre le pire : \u00ab He was behind me, still holding that auger as slowly I started away. It was a long way \u00bb. Crainte vaine cependant, puisque l\u2019existence m\u00eame du texte prouve que le narrateur a surv\u00e9cu. Mettre son narrateur en danger est une figure de rh\u00e9torique, une fa\u00e7on pour l\u2019auteur de cr\u00e9er une tension qui va au-del\u00e0 du simple d\u00e9roulement d\u2019une intrigue ; elle lui permet d\u2019impliquer son lecteur dans la transmission du r\u00e9cit et de dynamiser l\u2019\u00e9change intersubjectif. Dans Psychoanalysis and Storytelling<\/em>, Peter Brooks \u00e9crit : \u00ab most narratives speak of their transferential condition \u2013 of their anxiety concerning their transmissibility \u00bb. Cet atelier accueillera des communications traitant de cette angoisse de la non-transmissibilit\u00e9<\/em>, et de la mani\u00e8re dont les auteurs am\u00e9ricains ont \u00e9largi les fronti\u00e8res di\u00e9g\u00e9tiques de leurs textes en d\u00e9crivant les peurs de leurs narrateurs, cr\u00e9ant ainsi une m\u00e9tafiction du danger<\/em>. <\/p>\n

Les propositions sont \u00e0 adresser \u00e0 Arnaud Schmitt<\/a><\/p>\n

Metafiction of Danger: Narrators and Narratives in Jeopardy<\/strong><\/p>\n

\tIn the last chapter of The Human Stain<\/em>, Zuckerman, Philip Roth\u2019s regular narrator, describes his encounter with a man he suspects of being a murderer. At the end of a conversation fraught with innuendos, Zuckerman walks away, making the reader fear for his life: \u00ab He was behind me, still holding that auger as slowly I started away. It was a long way \u00bb. However, the text itself is sufficient proof that the narrator has survived. Jeopardizing one\u2019s narrator is a rhetorical figure, a way for the author to create tension beyond the unfolding of a plot. It allows an author to involve the reader in the transmission of the narrative and to energize the intersubjective relation. In Psychoanalysis and Storytelling<\/em>, Peter Brooks notes: \u00ab most narratives speak of their transferential condition \u2013 of their anxiety concerning their transmissibility \u00bb. This workshop welcomes papers dealing with this fear of non-transmissibility<\/em>, and addressing the ways American authors have enlarged the diegetic limits of their texts by depicting the fears of their narrators, thus creating a metafiction<\/em> of danger. <\/p>\n

Proposals should be sent to Arnaud Schmitt<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Organisateurs scientifiques : John Dean (UVSQ,), Marie Li\u00e9nard (Ecole Polytechnique) et Marie-Claude Perrin-Chenour(Paris X Nanterre) Cette ann\u00e9e, nous avons distingu\u00e9 3 cat\u00e9gories d’ateliers : civilisation, Cultural Studies et litt\u00e9rature. Le domaine des Cultural Studies, qui est un domaine en pleine expansion, est donc introduit pour la premi\u00e8re fois \u00e0 notre congr\u00e8s annuel. Nous avons fait […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[32],"tags":[],"class_list":["post-187","post","type-post","status-publish","format-standard","hentry","category-congres-2009-besancon-la-peur"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"cremieux","author_link":"https:\/\/afea.fr\/annualconference\/author\/cremieux\/"},"uagb_comment_info":0,"uagb_excerpt":"Organisateurs scientifiques : John Dean (UVSQ,), Marie Li\u00e9nard (Ecole Polytechnique) et Marie-Claude Perrin-Chenour(Paris X Nanterre) Cette ann\u00e9e, nous avons distingu\u00e9 3 cat\u00e9gories d’ateliers : civilisation, Cultural Studies et litt\u00e9rature. Le domaine des Cultural Studies, qui est un domaine en pleine expansion, est donc introduit pour la premi\u00e8re fois \u00e0 notre congr\u00e8s annuel. Nous avons fait…","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/187"}],"collection":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/comments?post=187"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/187\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/media?parent=187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/categories?post=187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/tags?post=187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}