{"id":308,"date":"2011-10-16T16:43:31","date_gmt":"2011-10-16T16:43:31","guid":{"rendered":"http:\/\/localhost\/annualconference\/association-francaise-detudes-americaines\/congres-afea\/congres-anterieurs\/congres-2012-perpignan-heritages\/liste-des-ateliers\/308\/"},"modified":"2011-10-16T16:43:31","modified_gmt":"2011-10-16T16:43:31","slug":"liste-des-ateliers","status":"publish","type":"post","link":"https:\/\/afea.fr\/annualconference\/congres-anterieurs\/congres-2012-perpignan-heritages\/liste-des-ateliers\/308\/","title":{"rendered":"LISTE DES ATELIERS"},"content":{"rendered":"

La liste compl\u00e8te des ateliers appara\u00eet dans la fen\u00eatre. Vous pouvez \u00e9galement la t\u00e9l\u00e9charger en version pdf en cliquant ci-dessous <\/p>\n

LISTE_ATELIERS.pdf<\/a><\/p>\n

The complete list of workshops features in this window. You can also download the pdf version of the list by clicking on the icon on your left.<\/p>\n

Vous trouverez ci-dessous la liste des ateliers class\u00e9s pour plus de commodit\u00e9 par rubrique (Histoire et Civilisation, Litt\u00e9rature, Arts et M\u00e9dias) et par ordre alphab\u00e9tique des coordinateurs. Nous vous invitons cependant \u00e0 lire l\u2019ensemble de ces propositions car certains ateliers se situent en fait \u00e0 la crois\u00e9e de ces grands axes. Ces ateliers interdisciplinaires font l\u2019objet d\u2019un rappel en fin de liste. <\/p>\n

Please find below the list of workshops classified under three headings (History and Civilization, Literature, Arts and the Media) and in alphabetical order of the coordinators\u2019names. Please read all proposals carefully as some workshops are interdisciplinary. The interdisciplinary workshops are enumerated again at the end of the list.<\/p>\n

Les propositions de communication doivent \u00eatre envoy\u00e9es aux directeurs d\u2019atelier
avant le 15 d\u00e9cembre 2011<\/strong> <\/p>\n

Proposals should be sent to the workshop coordinators by December,15 2011<\/strong><\/p>\n

Histoire et Civilisation \/ History and Civilization<\/strong><\/p>\n

1.Quel(s) h\u00e9ritage(s) religieux pour l\u2019Am\u00e9rique ?<\/strong> <\/p>\n

Nathalie Caron (Universit\u00e9 Paris-Est, Cr\u00e9teil) et Sabine Remanofsky (Universit\u00e9 Lyon 2)
\nAux \u00c9tats-Unis, la pr\u00e9paration de la c\u00e9r\u00e9monie de comm\u00e9moration des attaques du 11 septembre 2001 contre les tours du World Trade Center, puis la c\u00e9r\u00e9monie en elle-m\u00eame ont \u00e9t\u00e9 l\u2019occasion de d\u00e9bats virulents sur la place \u00e0 accorder publiquement \u00e0 l\u2019h\u00e9ritage religieux de la nation. Le maire de New York, Michel Bloomberg \u2013 d\u00e9nonc\u00e9 comme \u00ab th\u00e9ophobe \u00bb par plusieurs groupes d\u2019int\u00e9r\u00eats religieux \u2013 a souhait\u00e9 proscrire toute pri\u00e8re lors de la c\u00e9r\u00e9monie. De son c\u00f4t\u00e9, le pr\u00e9sident Barack Obama a, selon les dires de plusieurs commentateurs, \u00ab r\u00e9affirm\u00e9 l\u2019h\u00e9ritage religieux am\u00e9ricain \u00bb en lisant une version tr\u00e8s l\u00e9g\u00e8rement modifi\u00e9e du psaume 46 \u2013 psaume \u00e9galement s\u00e9lectionn\u00e9 par le r\u00e9v\u00e9rend Billy Graham lors de la c\u00e9r\u00e9monie du 14 septembre 2001.
\nSe trouve l\u00e0 d\u00e9montr\u00e9, une fois encore et de fa\u00e7on tout \u00e0 fait symbolique, que l\u2019h\u00e9ritage chr\u00e9tien \u2013 plus pr\u00e9cis\u00e9ment \u00e9vang\u00e9lique \u2013 est donn\u00e9 comme configurant l\u2019h\u00e9ritage national \u00e9tats-unien. Toutefois, si la \u00ab th\u00e8se \u00e9vang\u00e9lique \u00bb, telle qu\u2019elle est d\u00e9velopp\u00e9e par William McLoughlin, dans Revivals, Awakenings and Reform (1978), continue de dominer l\u2019historiographie am\u00e9ricaine, des historiens comme Jon Butler ou Catherine Albanese ont pu souligner que des traditions diverses, certaines pr\u00e9sentes d\u00e8s l\u2019\u00e9poque coloniale, d\u2019autres apparues plus tardivement, ont contribu\u00e9 \u00e0 la construction d\u2019une religiosit\u00e9 nationale complexe. L\u2019ancrage sur le sol am\u00e9ricain de ces traditions est due \u00e0 la pr\u00e9sence d\u2019autochtones aux spiritualit\u00e9s multiples, ainsi qu\u2019\u00e0 certains ph\u00e9nom\u00e8nes allog\u00e8nes tels l\u2019immigration \u2013 d\u2019abord europ\u00e9enne, puis latino-am\u00e9ricaine, asiatique et africaine \u2013 et l\u2019esclavage des noirs venus d\u2019Afrique et des Cara\u00efbes ; mais aussi \u00e0 des processus intellectuels et culturels, tels les Lumi\u00e8res, le d\u00e9veloppement des sciences, ou encore la d\u00e9mocratisation de la soci\u00e9t\u00e9 et, partant, celle de la religion elle-m\u00eame. Ces traditions participent aujourd\u2019hui, au m\u00eame titre que le protestantisme \u00e9vang\u00e9lique, aux recompositions du religieux telles qu\u2019elles se manifestent aux \u00c9tats-Unis, leurs adeptes revendiquant par exemple une visibilit\u00e9 nationale longtemps refus\u00e9e.
\nLes responsables de cet atelier souhaiteraient que la question des h\u00e9ritages religieux aux \u00c9tats-Unis soit pos\u00e9e dans sa pluralit\u00e9 confessionnelle et terminologique et selon plusieurs perspectives. (1) Du point de vue th\u00e9ologique, on pourra examiner les d\u00e9bats et controverses portant, au sein d\u2019une communaut\u00e9 donn\u00e9e, sur la sauvegarde de traditions religieuses. On pourra, \u00e0 l\u2019inverse, s\u2019int\u00e9resser \u00e0 l\u2019\u00e9volution des traditions, par le biais des \u00e9changes et des contacts, ou \u00e0 leur adaptation \u00e0 des fins de p\u00e9rennisation. (2) Du point de vue social, on pourra consid\u00e9rer l\u2019importation, la transmission ou le rejet d\u2019h\u00e9ritage(s) religieux \u00e0 l\u2019int\u00e9rieur de groupes sociaux donn\u00e9s, qu\u2019il s\u2019agisse de groupes issus de l\u2019immigration ou non. (3) Du point de vue politique, on pourra s\u2019interroger sur la pr\u00e9sence du religieux dans la sph\u00e8re publique am\u00e9ricaine, selon des termes souvent h\u00e9rit\u00e9s du protestantisme, et r\u00e9fl\u00e9chir \u00e0 la mani\u00e8re dont la la\u00efcit\u00e9 am\u00e9ricaine articule h\u00e9ritages s\u00e9culiers et h\u00e9ritages religieux.
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0 Nathalie Caron <\/a>et \u00e0 Sabine Remanofsky<\/a> <\/p>\n

American Religious Heritages<\/strong><\/p>\n

Nathalie Caron (University Paris-Est Cr\u00e9teil) and Sabine Remanofsky (University Lyon 2) <\/p>\n

In the US, heated debate about the public importance of the nation\u2019s religious heritage surrounded both the preparation for the ceremony commemorating the 9\/11 attacks on the Twin Towers and the ceremony itself. New York Mayor Michael Bloomberg\u2014whom several religious groups denounced as a \u201ctheophobe\u201d\u2014chose to ban all clergy-led prayer from the ceremony. President Barack Obama on the other hand was seen as \u201c[reaffirming] the nation\u2019s religious heritage\u201d when he read a slightly modified version of psalm 46 at Ground Zero, the very same psalm Rev. Billy Graham had chosen for the 2001 ceremony.
\nWhat transpires here once more is that America\u2019s Christian heritage\u2014and more precisely the evangelical tradition\u2014is seen as the major force shaping the national heritage. However, if the \u201cevangelical thesis,\u201d as it was developed by William Mc Loughlin in Revivals, Awakenings and Reform (1978) continues to dominate American historiography, historians such as Jon Butler or Catherine Albanese have underscored that various traditions, some present as early as the colonial era, others appearing later on, have contributed to the construction of a complex national religiosity. The presence of these traditions on American soil is due to the existence of a variety of native spiritualities, together with a number of non-indigenous phenomena, such as immigration\u2014first from Europe, then from Latin America, Asia, and Africa\u2014and the enslavement of black people from Africa and the Caribbean. It is also due to the emergence of intellectual and cultural trends, such as the Enlightenment, the development of science, the democratization of society, and, concurrently, that of religion. Today, these traditions, like evangelical Protestantism, play a part in the transformations that are currently reshaping the religious landscape in the United States, their adherents claiming a visibility of their own they had for long been denied.
\nThis panel will address the question of American religious heritages by taking into account the plurality of its denominational and terminological dimensions, and in light of various perspectives. (1) It will, for example, examine the theological debates and controversies over the preservation of religious traditions within a given community. Conversely, it may explore the evolution of traditions, by means of contacts and exchanges, and their adaptation for survival and continuation. (2) Presenters may also consider the importation, transmission, or rejection of religious heritages within particular social groups, whether they are immigrant groups or not. (3) The panel also welcomes papers on the public presence of religion, which is to a large extent grounded in Protestantism, and on the way secular and religious heritages both participate in the definition of American identity.
\nProposals should be sent to Nathalie Caron <\/a> and Sabine Remanofsky<\/a> <\/p>\n


\n2. L\u2019individu et le patrimoine national am\u00e9ricain : quels h\u00e9ros pour la nation ? <\/strong><\/p>\n

Agn\u00e8s Delahaye (Universit\u00e9 Lyon2) et Marie Plassart (IEP, Lyon2)
\nCet atelier propose d\u2019\u00e9tudier les processus politiques, sociaux, culturels et institutionnels qui sous-tendent la constitution de ces lieux de m\u00e9moire particuliers que sont les h\u00e9ros de la nation am\u00e9ricaine. La place consid\u00e9rable qu\u2019occupent les p\u00e8res fondateurs dans le r\u00e9cit national ne pourra servir que de point de d\u00e9part \u00e0 cette r\u00e9flexion sur la repr\u00e9sentativit\u00e9 de l\u2019exp\u00e9rience individuelle, les formes d\u2019institutionnalisation de la m\u00e9moire collective et l\u2019h\u00e9ro\u00efsme dans l\u2019histoire. Il s\u2019agira plut\u00f4t de mettre en \u00e9vidence et de comparer les diff\u00e9rents types de h\u00e9ros nationaux, r\u00e9gionaux, locaux ou communautaires (hommes d\u2019\u00e9tats, mais aussi hommes de la fronti\u00e8re ou de guerre, entrepreneurs, inventeurs, activistes sociaux et politiques, etc.) afin d\u2019identifier des constantes ou des divergences dans la mani\u00e8re dont ils sont entr\u00e9s dans l\u2019histoire. On pourra \u00e9tudier les pratiques conservatrices des mus\u00e9es nationaux ou r\u00e9gionaux, le r\u00f4le de la fiction dans la popularisation de certaines exp\u00e9riences am\u00e9ricaines, l\u2019engouement r\u00e9cent du grand public pour la pratique g\u00e9n\u00e9alogique et la biographie, les politiques \u00e9ditoriales des universit\u00e9s et des grandes maisons en mati\u00e8re de documents et d\u2019ouvrages d\u2019histoire, la multiplication des soci\u00e9t\u00e9s d\u2019historiens amateurs et des activit\u00e9s comm\u00e9moratives locales et b\u00e9n\u00e9voles, ou encore le r\u00f4le de l\u2019\u00e9cole dans la cr\u00e9ation et la diffusion des types de citoyens mod\u00e8les ou de h\u00e9ros nationaux. Dans un champ narratif et iconographique domin\u00e9 par les hommes blancs, il s\u2019agira notamment de se pencher sur les crit\u00e8res de s\u00e9lection et les modes de construction de la m\u00e9moire des minorit\u00e9s, ainsi que sur l\u2019\u00e9mergence de l\u2019histoire des femmes comme discipline \u00e0 part enti\u00e8re et comme mod\u00e8le alternatif au r\u00e9cit h\u00e9ro\u00efque dominant. Comment s\u2019articule le rapport entre les repr\u00e9sentations et valeurs incarn\u00e9es par le h\u00e9ros national et celles des figures comm\u00e9mor\u00e9es par les communaut\u00e9s particuli\u00e8res, qu\u2019elles soient g\u00e9ographiques, ethniques, culturelles, sociales ou politiques ? Le capitalisme triomphant chant\u00e9 par le n\u00e9o-lib\u00e9ralisme de la seconde moiti\u00e9 du XXe si\u00e8cle a-t-il transform\u00e9 l\u2019imaginaire national? Les valeurs incarn\u00e9es et comm\u00e9mor\u00e9es sont-elles n\u00e9cessairement masculines et patriarcales ? Autant de questions qui pourront nous aider \u00e0 r\u00e9fl\u00e9chir en profondeur sur la relation qu\u2019entretiennent l\u2019individu et la m\u00e9moire collective dans l\u2019imaginaire national am\u00e9ricain des origines \u00e0 nos jours.
\nEnvoyez vos propositions accompagn\u00e9es d\u2019un court CV \u00e0 Agn\u00e8s Delahaye<\/a> et Marie Plassart<\/a> <\/p>\n

Choosing the nation\u2019s heroes: individual experiences become part of the national narrative of the United States. <\/strong> <\/p>\n

Agn\u00e8s Delahaye (University Lyon2) and Marie Plassart (IEP, Lyon2)
\nThis workshop will focus on the multiple institutional, cultural, and social processes that contribute to the selection and formation of national heroes in the grand narrative of American development. We seek to move the discussion beyond the obvious dominant position of the Founding Fathers in this narrative, to reflect on the ways and means through which individual experience becomes representative of the collective experience and is revered as such. We wish to focus on the processes behind the institutionalization of collective memory and the enduring attractiveness of heroism in American history. We invite papers that will focus on different national, regional, local or community heroes\u2014politicians, frontier or war heroes, political or social activists, entrepreneurs and inventors\u2014to try and identify recurrent dynamics behind the emergence of their special status as representatives of the community\u2019s values and experience. The conservation practices of local and national museums, the recent popular passion for genealogy and biography, the multiplication of amateur volunteer historical societies and commemorative events, the contribution of school curricula and publications, as well as the editing policies of universities and publishers are all relevant to this debate. The study of the formation and transmission of the collective memory of minorities and the shaping of alternative individual experiences that challenge the domination of white males in the national narrative will be of particular interest here. How do individual stories emblematic of community values or identities tie into the common representations of national heroes? How does women\u2019s history relate to the methods and paradigms of the national narrative? Have those paradigms and values changed under the individualistic pressures of neo-conservatism in the second half of the 20th century? These are just some of the issues that will further our understanding of the dynamics that form the basis of the relationship between individual experience and the national narrative of the United States, from its foundation to the present day. <\/p>\n

Please send abstracts (350 words) and short CV to Agn\u00e8s Delahaye<\/a> and Marie Plassart<\/a> <\/p>\n

3. L\u2019h\u00e9ritage colonial am\u00e9ricain<\/strong> <\/p>\n

Anne-Claire Fauquez et Bertrand Van Ruymbeke (Universit\u00e9 Paris VIII, Vincennes St Denis)
\nL\u2019Am\u00e9rique coloniale, l\u2019\u00e8re pionni\u00e8re des Etats-Unis a laiss\u00e9 ses empreintes sur l\u2019histoire de la nation. P\u00e9riode clef qui a vu \u00e9merger treize colonies aux identit\u00e9s distinctes, cette Am\u00e9rique des premiers temps vit la mise en place d\u2019institutions fondatrices comme l\u2019esclavage qui modifia \u00e0 tout jamais les relations interraciales du pays mais aussi son \u00e9conomie et sa politique et fa\u00e7onna son paysage, divis\u00e9 entre les plantations du Sud et les villes marchandes du Nord. Elle vit \u00e9galement \u00e9merger les premi\u00e8res assembl\u00e9es coloniales, origine de la vie parlementaire \u00e9tats-unienne.
\nAu cours de cette p\u00e9riode mouvement\u00e9e longue d\u2019un si\u00e8cle et demi, ces soci\u00e9t\u00e9s de transition \u00e9taient partag\u00e9es entre leurs identit\u00e9s europ\u00e9ennes et leur identit\u00e9 am\u00e9ricaine en construction. Ces derni\u00e8res furent b\u00e2ties sur un h\u00e9ritage multiple \u00e0 la fois culturel, religieux (les colonies \u00e9tant alors un lieu de refuge pour toutes les branches religieuses pers\u00e9cut\u00e9es en Europe), politique, \u00e9conomique, voire m\u00eame juridique si l\u2019on pense \u00e0 la Common Law, avec des populations issues d\u2019Europe, d\u2019Afrique, et des Antilles ou d\u00e9j\u00e0 pr\u00e9sentes sur le continent comme les Am\u00e9rindiens. Ce brassage de cultures et de traditions a laiss\u00e9 place \u00e0 toute une gamme de pratiques, certaines demeurant intactes, d\u2019autres fusionnant et se \u00ab cr\u00e9olisant \u00bb. Nous pourrons \u00e9galement explorer la fa\u00e7on dont les colons cherch\u00e8rent \u00e0 se d\u00e9marquer de l\u2019Europe et transmirent en h\u00e9ritage un rejet de tous les symboles europ\u00e9ens comme la monarchie, l\u2019Eglise \u00e9tablie et la pr\u00e9sence d\u2019un gouvernement central fort.
\nCes multiples h\u00e9ritages ne cessent d\u2019\u00eatre c\u00e9l\u00e9br\u00e9s par un grand nombre de soci\u00e9t\u00e9s historiques qui cherchent \u00e0 comm\u00e9morer les moments clefs de la p\u00e9riode comme la fondation de Jamestown en 1607, l\u2019arriv\u00e9e des P\u00e8res P\u00e8lerins en 1620 au Massachusetts ou des faits majeurs comme l\u2019existence de l\u2019esclavage \u00e0 New York. Tant\u00f4t revendiqu\u00e9 ou d\u00e9cri\u00e9, cet h\u00e9ritage colonial reste fondamental car il est \u00e0 l\u2019origine de la construction des mythes et de l\u2019identit\u00e9 de la nation am\u00e9ricaine.
\nLes propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 acfaucquez@gmail.com and bvanruymbeke@hotmail.com <\/p>\n

The American colonial heritage<\/strong>
\nAnne-Claire Faucquez et Bertrand Van Ruymbeke (University Paris VIII , Vincennes St Denis)
\nColonial America, the pioneer era of the United States has left many marks on the history of the nation. This early America saw the emergence of thirteen colonies with distinct identities which laid the foundation for American diversity. During this key period major institutions developed such as slavery which modified the nation\u2018s race relations forever, as well as its economy and politics and shaped its landscape, dividing it between the Southern plantations and the Northern merchant towns. It was also at the origin of the first colonial assemblies which gave birth to today\u2019s American parliamentary life.
\nDuring this unstable period which lasted almost one century and a half, these transition societies were shared between their past European identities and their new emergent American identity. Americanness was thus built on a multiple heritage, shaped by cultural, religious (the colonies were a place of refuge for all the religious branches that were persecute in Europe), political, economic, and legal customs (if one thinks at the Common Law), with populations coming from Europe, Africa, the West Indies or being already present on the continent like the Natives. If some practices remained unchanged, others combined to give rise to a new creole culture, that is, one born in the New World. However, some settlers also defined their identity as non-European and transmitted a rejection of European symbols like monarchy, the Established Church or a strong central government as an heritage to future generations.
\nThese various forms of heritage are continuously celebrated by a great number of historical societies which try to commemorate the key moments of the period like for instance the foundation of Jamestown in 1607, the arrival of the Pilgrim Fathers in 1620 in Massachusetts or the existence of slavery in New York. Whether celebrated or denigrated, this colonial heritage is thus fundamental for it is at the very origin of the construction of the myths and the identity of the American nation.
\nProposals should be sent to acfaucquez@gmail.com and bvanruymbeke@hotmail.com<\/p>\n

4. Le combat anti-esclavagiste, 1765-1865 : \u00e9criture et histoire<\/strong><\/p>\n

Arlette Frund (Universit\u00e9 Fran\u00e7ois Rabelais, Tours) et Marie-Jeanne Rossignol (Universit\u00e9 Paris Diderot)
\nLe combat anti-esclavagiste, legs de l\u2019\u00e9poque coloniale qui l\u2019avait vu na\u00eetre, mit d\u00e8s l\u2019\u00e9poque de la R\u00e9volution, l\u2019\u00e9criture au c\u0153ur de son action. Po\u00e8mes, chants, r\u00e9cits d\u2019esclaves, puis romans militants ou presse engag\u00e9e, form\u00e8rent aux Etats-Unis le terreau\/terrain d\u2019une lutte d\u2019opinion qui misait sur la force de l\u2019expression, \u00e0 l\u2019oral comme \u00e0 l\u2019\u00e9crit.
\nPour les abolitionnistes, noirs en particulier, il s\u2019agit \u00e9galement d\u2019\u00e9crire une histoire, individuelle et collective, celle des hommes et des femmes de la communaut\u00e9 africaine- am\u00e9ricaine, de leurs h\u00e9ros mais aussi des plus humbles d\u2019entre eux, de faire \u00e9merger une geste, mais \u00e9galement des r\u00e9cits de vie.
\nL\u2019objectif de cet atelier interdisciplinaire est d\u2019explorer ensemble les formes vari\u00e9es que prirent l\u2019\u00e9criture et l\u2019histoire, ou l\u2019\u00e9criture de l\u2019histoire, au sein du mouvement anti-esclavagiste nord-am\u00e9ricain, d\u2019ancrer davantage les r\u00e9cits de r\u00e9sistance et de vie dans la r\u00e9alit\u00e9 multiforme de l\u2019esclavage nord-am\u00e9ricain, tel qu\u2019il avait \u00e9t\u00e9 mis en place par les autorit\u00e9s coloniales, afin d\u2019en faire appara\u00eetre richesse et diversit\u00e9.
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0 frunda@aol.com et \u00e0 rossignol@univ-paris-diderot.fr
\nThe Anti-slavery struggle, 1765-1865, History and the Written Word<\/strong><\/p>\n

Arlette Frund (University Fran\u00e7ois Rabelais, Tours) and Marie-Jeanne Rossignol (University Paris Diderot)
\nThe written word was central to the American anti-slavery struggle, a movement that originates during the colonial period yet flourishes during the Revolutionary Era. It was then that activists used writing as a major political tool to fight the institution and practice of slavery. Poems, songs, slave narratives, militant novels, and a partisan press gave voice to and shaped a struggle that came to rely and capitalize upon written and oral forms of expression. Black abolitionists believed that stories and songs contributed to the writing of both individual and collective history through which the life stories of heroes and humble folks could be recovered. This interdisciplinary panel aims at exploring the varied forms that writing, history and the writing of history took with the United States abolitionist struggle. We also want to anchor and trace the development of this form of resistance and the use of life stories from the colonial era onward, examining the multifaceted and complex literature of North American antislavery.
\nProposals should be sent to frunda@aol.com and rossignol@univ-paris-diderot.fr<\/p>\n

5. Que faire, puisque nous n\u2019avons plus la terre en h\u00e9ritage?<\/strong> <\/p>\n

Wendy Harding (Universit\u00e9 de Toulouse-Le Mirail) et Jacky Martin (Universit\u00e9 Paul Val\u00e9ry)
\nApprofondir la notion d\u2019h\u00e9ritage, tout sp\u00e9cialement dans le cas des Etats-Unis, nous am\u00e8ne \u00e0 examiner le lien qui unit la terre \u00e0 ses habitants. L\u2019histoire am\u00e9ricaine qui met en parall\u00e8le la spoliation et la d\u00e9portation des peuples premiers et l\u2019afflux d\u2019immigrants venus d\u2019autres continents, place le concept d\u2019h\u00e9ritage sous un jour probl\u00e9matique. Les Indiens d\u2019Am\u00e9rique avaient une conception de la terre diff\u00e9rente de celle des colons britanniques qui la consid\u00e9raient comme une chose poss\u00e9d\u00e9e en propre destin\u00e9e \u00e0 \u00eatre utilis\u00e9e, \u00e9chang\u00e9e ou transmise \u00e0 leurs descendants. Cette conception reposait en partie sur une dissociation entre la terre et ses occupants et sur une vision du territoire comme bien transmissible, marqueur d\u2019une identit\u00e9 partag\u00e9e. Les th\u00e9ories post-structuralistes remettent en cause cette vision dualiste et d\u00e9noncent l\u2019appropriation de la terre et le statut de la terre en tant que propri\u00e9t\u00e9. Certaines th\u00e9ories \u00e9cocritiques, dans le sillage d\u2019Aldo Leopold et de sa \u2018land ethic\u2019, reconnaissent les droits de la terre (Roderick Nash; Michel Serres). La notion d\u2019h\u00e9ritage se trouve encore fragilis\u00e9e par la conscience nouvelle des dangers qui menacent la plan\u00e8te, par la fragilit\u00e9 de notre prise sur ce qui nous entoure et par l\u2019\u00e9vidence des bouleversements que notre expansion a provoqu\u00e9s. La terre h\u00e9rite de nous tout autant que nous h\u00e9ritons d\u2019elle; et pour achever de subvertir ce concept, on pourrait m\u00eame dire que les hommes et la terre h\u00e9ritent les uns des autres. Ce paradoxe transpara\u00eet dans The Road, \u00e0 travers la vision catastrophique que donne Cormac McCarthy d\u2019une Am\u00e9rique per\u00e7ue comme une terre profan\u00e9e sur laquelle un p\u00e8re se trouve dans l\u2019incapacit\u00e9 de transmettre \u00e0 son fils le monde tel qu\u2019il l\u2019a connu, car ce monde ne correspond plus \u00e0 ses valeurs; une autre conception du monde est n\u00e9cessaire mais on ne voit pas laquelle, parce qu\u2019elle n\u2019est tout simplement pas pensable. C\u2019est sur cet impensable devenu n\u00e9cessaire que nous voudrions attirer l\u2019attention. Bien que ce sc\u00e9nario apocalyptique soit l\u2019une des r\u00e9ponses \u00e0 la fin du dualisme, on est tr\u00e8s loin d\u2019une solution d\u00e9finitive. De nouveaux concepts, de nouvelles utopies, d\u2019autres visions sont n\u00e9cessaires si l\u2019on veut \u00e9viter de r\u00e9p\u00e9ter les incoh\u00e9rences du si\u00e8cle dernier. Cet atelier se propose de rassembler des communications en litt\u00e9rature et civilisation am\u00e9ricaines qui envisagent les cons\u00e9quences du concept de propri\u00e9t\u00e9 de la terre et les solutions alternatives propos\u00e9es. L\u2019accent sera mis sur les tentatives de cette premi\u00e8re d\u00e9cennie du XXIe si\u00e8cle (ou celles qui ont pr\u00e9c\u00e9d\u00e9) pour th\u00e9oriser et repr\u00e9senter cette nouvelle situation de co-responsabilit\u00e9 entre l\u2019homme et la terre, qui a toujours exist\u00e9, mais qui prend un relief particuli\u00e8rement dramatique de par les r\u00e9cents d\u00e9sastres \u00e9cologiques qui se sont abattus sur l\u2019Am\u00e9rique et ailleurs dans le monde.
\nharding@univ-tlse2.fr jacky.martin@univ-montp3.fr<\/p>\n

If we cannot inherit the earth, what next?<\/strong><\/p>\n

Wendy Harding (University Toulouse-Le Mirail) and Jacky Martin (University Paul Val\u00e9ry)
\nInvestigating the notion of heritage, particularly in the case of the United States, demands that we consider the relation between the land and its occupants. The national history, which juxtaposes the spoliation and displacement of indigenous peoples and the influx of immigrants from other continents, renders the concept of heritage problematic. Native Americans conceptualized their relationship to the land differently from the English colonists, who saw it as property to be claimed, utilized, and exchanged or passed on to their descendants. That vision depended in part on dissociating the earth from its human inhabitants and representing the land as property apt to be transmitted and encapsulating a shared identity. Post-structuralist theory calls into question that dualistic vision, disowns the owner\u2019s rights and question the proprietary tag attached to the land. Certain ecocritical theories, developing Aldo Leopold\u2019s call for a land ethic, accord the land its own rights (Roderick Nash; Michel Serres). Adding to the instability of the notion of heritage is the new consciousness of the environmental dangers threatening the earth, of the fragility of our hold on the land and of the upheaval that our expansion has caused. We are as much inherited by the land as inheritors of it, or, to completely subvert the heritage concept, it could be said that men and land inherit each other. This paradox is expressed in Cormack McCarthy\u2019s catastrophic vision in The Road of America as a desecrated land where a father is unable to pass on to his son the world he has known, for this world no longer tallies with the father\u2019s values; another conception of the earth is called for, but we do not know what, since it is unthinkable. We want to focus on this necessary but unthinkable reconception. The apocalyptic scenario is one of the possible answers to the failure of the dualistic vision, but it is, of course, far from being the ultimate solution. New concepts, new utopias, and alternative visions are necessary if we want to avoid repeating the last century\u2019s errors. This session will bring together papers on American literature and civilization that consider the consequences of and the alternatives to the dominant conception of ownership of the land. The accent will be placed on attempts in the first decade of the 21st century (or before) to think and represent the new situation of co-responsibility between man and land that has always existed but has been brought into dramatic prominence by recent ecological calamities in America and elsewhere.
\nSend abstracts to harding@univ-tlse2.fr and jacky.martin@univ-montp3.fr) <\/p>\n

6. H\u00e9riter et transmettre : ant\u00e9c\u00e9dents et r\u00e9sonances de la \u201cnouvelle gauche\u201d au XXe et XXIe si\u00e8cles.<\/strong> <\/p>\n

Ambre Ivol (Universit\u00e9 de Nantes) et Caroline Rolland-Diamond (Universit\u00e9 de Paris Ouest Nanterre)
\nLe militantisme radical des ann\u00e9es 1960 est souvent pr\u00e9sent\u00e9 comme un ph\u00e9nom\u00e8ne exceptionnel dans l\u2019histoire am\u00e9ricaine tant par l\u2019ampleur des masses mobilis\u00e9es que par les ambitions transformatrices\/r\u00e9volutionnaires de cette g\u00e9n\u00e9ration issue du baby-boom. Partant d\u2019une d\u00e9finition inclusive de la \u201cnouvelle gauche\u201d qui refuse de repousser dans les marges de l\u2019histoire les militantismes des minorit\u00e9s ethno-raciales et sexuelles et la contestation de militants non \u00e9tudiants, cet atelier se propose de revenir sur cette notion de g\u00e9n\u00e9ration militante de la \u201cnouvelle gauche\u201d en en montrant le caract\u00e8re probl\u00e9matique et de r\u00e9fl\u00e9chir aux ant\u00e9c\u00e9dents de ces multiples militantismes qui ont imprim\u00e9 leur marque sur les ann\u00e9es soixante et au-del\u00e0.
\n
\nPour ce faire, il s\u2019agira de revenir sur ce dont la dite “nouvelle gauche” est h\u00e9riti\u00e8re : qu’est-ce qui la distingue des mouvements sociaux des ann\u00e9es 1930 (y compris dans les formes de contestation estudiantine) ? Que dire des forces contestataires de l’imm\u00e9diat apr\u00e8s-guerre (avant et pendant le maccarthysme)?
\n
\nSi elle est d\u00e9finie relativement \u00e0 ce qui la pr\u00e9c\u00e8de, la \u201cnouvelle gauche\u201d a pris forme et contenu \u00e9galement par rapport aux types de militantisme qui lui ont succ\u00e9d\u00e9. Comment s’inscrit-elle dans la dur\u00e9e? Quels groupes politiques, mouvements et\/ou mobilisations sp\u00e9cifiques s’en sont
\nrevendiqu\u00e9 ? Au vu de l’histoire contestataire aux Etats-Unis depuis la fin des ann\u00e9es 1970, comment comprendre que cette gauche d’un genre nouveau ait conserv\u00e9 son caract\u00e8re particulier? Est-il pertinent de consid\u00e9rer qu’aucune contestation d’ampleur et de nature comparables n’a \u00e9merg\u00e9 depuis?
\n
\nAncr\u00e9e dans un moment historique \u2013 voire dat\u00e9e \u2013 la \u201cnouvelle gauche\u201d semble avoir acquis un statut historiographique bien particulier. Il s’agira de r\u00e9fl\u00e9chir aux causes et aux effets d’une telle influence, tant pour les acteurs des mouvements sociaux am\u00e9ricains que pour les critiques et
\nchercheurs en sciences sociales qui les \u00e9tudient.
\n
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0 ambre.ivol@univ-nantes.fr
\net \u00e0 caroline.rolland-diamond@u-paris10.fr <\/p>\n

Legacies and Transmissions : Forerunners and Echoes of the \u201cNew Left\u201d during the 20th and 21st Centuries.<\/strong><\/p>\n

Ambre Ivol, University of Nantes and Caroline Rolland-Diamond, Paris Ouest Nanterre University
\nRadical activism of the 1960s is often presented as an exceptional phenomenon in US history, both because of the scale of mass mobilizations and the transformative\/revolutionary aspirations of this baby boom generation. Emphasizing the complexity of a \u201cnew left\u201d entity including ethno-racial and sexual minorities as well as non student forms of activism, this workshop intends to revisit such a militant generation by considering the forerunners of a multi-faceted militancy which left its mark on the 1960s and beyond.
\nOur goal is to approach the \u00ab new left \u00bb as a legacy bearer: how is it distinct from the social movements of the 1930s (including student activism)? What should we make of the protests of the immediate postwar (before and after McCarthyism)?
\nThe \u201cnew left\u201d took shape and form through what came before it and what has occurred since. How did this happen over time? What political groups, movements and\/or specific political\/social campaigns claimed it as their model? Considering US protest history since the late 1970s, how are we to understand the very special status the \u00ab new left \u00bb has acquired? May it be posited that no protest similar in both size and nature has emerged since then?
\nGrounded in a historical moment \u2013 if not dated \u2013, the \u00ab new left \u00bb seems to hold a specific historiographical position. This workshop aims at evaluating the causes and implications of such an influence, both for activists of US social movements and for the critics and scholars who study them.
\nProposals should be sent to ambre.ivol@univ-nantes.fr and caroline-rolland-diamond@u-paris10.fr <\/p>\n

7. \u00ab Le vif saisit le mort \u00bb : L’invention de la tradition dans la jeune nation \u00e9tats-unienne (1776-1860).<\/strong> <\/p>\n

Elise Marienstras (Universit\u00e9 Paris Diderot) et Naomi Wulf (Universit\u00e9 Paris 3)
\nLa r\u00e9volution de la \u00ab table rase \u00bb que se flatteront d’accomplir les conventionnels fran\u00e7ais quelques ann\u00e9es apr\u00e8s leurs homologues anglais en Am\u00e9rique, ne fut ni parfaitement r\u00e9ussie, ni m\u00eame totalement, sinc\u00e8rement envisag\u00e9e par ces derniers.
\nSi Thomas Jefferson et Thomas Paine ont l’un et l’autre reni\u00e9 la formule m\u00e9di\u00e9vale juridique selon laquelle \u00ab le mort saisit le vif \u00bb en lui transmettant l’h\u00e9ritage, c’est peut-\u00eatre que Jefferson aurait pr\u00e9f\u00e9r\u00e9 que l’h\u00e9ritage des biens f\u00fbt aboli plut\u00f4t que de l\u00e9guer ses dettes \u00e0 ses descendants. De m\u00eame Thomas Paine ne disposait lui-m\u00eame d’aucun bien qu’il p\u00fbt l\u00e9guer \u00e0 quiconque.
\nCependant l’int\u00e9r\u00eat personnel qu’ils avaient tous deux \u00e0 renverser la formule redonnant aux vivants la pr\u00e9valence sur le dictat des morts se doublait, faut-il le rappeler, d’une solide conviction th\u00e9orique. Se \u00ab lib\u00e9rer de ses fers \u00bb pour les r\u00e9volutionnaires am\u00e9ricains, c’\u00e9tait s’arracher aux r\u00e8gles iniques, aux lois injustes \u00e9dict\u00e9es par les g\u00e9n\u00e9rations pass\u00e9es, cesser de se pr\u00e9valoir de richesses gagn\u00e9es par le labeur ou la Fortune des anc\u00eatres, de plier la nuque devant les puissants eccl\u00e9siastiques ou les monarques ill\u00e9gitimes, et, comme le d\u00e9veloppa longuement Jefferson dans son texte de 1774 (A Summary View of the Rights of British America), se donner la libert\u00e9 de quitter son appartenance, de renoncer \u00e0 ses attaches parentales juridiques, historiques et culturelles pour aller, d\u00e9lest\u00e9 de l’encombrant h\u00e9ritage d’une patrie native, en adopter une autre o\u00f9 ils fonderaient l’avenir de la nation de leur choix.
\nTourner le dos \u00e0 leur h\u00e9ritage, ce fut alors, dans le discours et la pratique des premi\u00e8res g\u00e9n\u00e9rations anglo-am\u00e9ricaines, la libert\u00e9 proclam\u00e9e de choisir son all\u00e9geance, de cr\u00e9er ses propres traditions en empruntant \u00e9ventuellement l’h\u00e9ritage culturel d’autrui pour b\u00e2tir leur roman national.
\n\uf02d\tDans quelle mesure y r\u00e9ussirent-ils vraiment ? Par quel biais trouv\u00e8rent-ils l’h\u00e9ritage sans lequel aucune nation ne peut se pr\u00e9tendre telle ?
\n\uf02d\tPar quel moyen s’appropri\u00e8rent-ils l’h\u00e9ritage des autochtones ? Et dans quelle mesure les autochtones eux-m\u00eames, d\u00e9pouill\u00e9s de leurs biens, se convertirent-ils \u00e0 des traditions venues d’outre-mer
\n\uf02d\tComment s’invent\u00e8rent des traditions anglo-am\u00e9ricaines ?
\n\uf02d\tEt surtout, quel fut le poids des traditions et de l’h\u00e9ritage persistants au sein de ce monde atlantique o\u00f9 les historiens d’aujourd’hui voient voguer les id\u00e9es, les hommes, les biens et les traditions?
\nTelles sont certaines des questions que cet atelier pourra se poser en prenant pour acteurs aussi bien les r\u00e9volutionnaires que les autochtones, les Africains en esclavage que les constituants ou les r\u00e9formateurs ainsi que les travailleurs dans une Am\u00e9rique en voie d\u2019industrialisation, au cours de l’une ou de l’autre des d\u00e9cennies qui s’\u00e9coulent entre la R\u00e9volution et la guerre de S\u00e9cession.
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0 elise.marienstras@free.fr et \u00e0 naomi.wulf@univ-paris3.fr <\/p>\n

\u00abThe living bind the dead\u00bb: The invention of tradition in the young American nation (1776-1860) <\/strong> <\/p>\n

Elise Marienstras (Universit\u00e9 Paris Diderot) and Naomi Wulf (Universit\u00e9 Paris 3) <\/p>\n

The tabula rasa which the French revolutionaries had dreamt of accomplishing after their American counterparts was never completely achieved nor even really embraced by most American revolutionaries.
\nIndeed, the reasons why Thomas Jefferson and Thomas Paine both refused the medieval formula according to which \u00ab one generation can bind another \u00bb may have been due to their personal financial problems (Jefferson not being inclined to pass on his debts to his descendents; and Paine having no wealth whatsoever to beget).
\nHowever, their private interests in reversing the old relation between past and present, was reinforced by a strong theoretical conviction. For the American revolutionaries, \u00ab shaking off their shackles \u00bb meant breaking away from the unfair rules and unjust laws which had been adopted by past generations; no longer valuing oneself on the basis of wealth earned or inherited; and refusing any humbling deference while addressing powerful religious priests or secular monarchs. Rather, as Jefferson demonstrated eloquently in his 1774 Summary View of the Rights of British America, the point was to displace one’s allegiance, move away from one’s legal, historical and cultural bonds and thus be relieved of the burden of the cumbersome native country to feel free to invent a new one.
\nThus turning their backs on their heritage, the first Anglo-American generations were meant to create their own, by borrowing in particular from foreign traditions on which to build a national story of their making.
\n\uf02d\tTo what extent did they actually achieve this plan? How did they \u00ab invent \u00bb the heritage which is inherent in any nation-building process?
\n\uf02d\tHow in particular did they appropriate the culture of the Natives? And to what extent did the Natives themselves, while being stripped from their belongings, convert to new traditions from overseas?
\n\uf02d\tHow were new Anglo-American traditions created?
\n\uf02d\tWhat was the weight of persistent traditions and heritage within the Atlantic world, where, according to historians today, ideas, men, commodities and traditions sailed back and forth?
\nThese are a few of the questions that may be addressed in this panel, whether the actors be revolutionaries, Native nations, enslaved Africans, or Constitution makers, reformers, industrial workers, in the decades from the Revolution to the Civil War.
\nProposals should be sent to elise.marienstras@free.fr and to naomi.wulf@univ-paris3.fr <\/p>\n

8.L\u2019h\u00e9ritage des identit\u00e9s raciales aux \u00c9tats-Unis<\/strong>
\nOlivier Richomme (Universit\u00e9 Lyon2)
\n\u00c0 l\u2019heure o\u00f9 le pr\u00e9sident des \u00c9tats-Unis est g\u00e9n\u00e9ralement reconnu, et se d\u00e9finit lui-m\u00eame, comme une personne noire, tous les indicateurs sugg\u00e8rent que la nation Am\u00e9ricaine est encore divis\u00e9e par la question raciale. La s\u00e9gr\u00e9gation r\u00e9sidentielle et la s\u00e9gr\u00e9gation scolaire persistent. Les \u00e9carts de revenu et de richesse entre les Blancs et les non-Blancs perdurent. L\u2019absence d\u2019opportunit\u00e9s \u00e9conomiques et les in\u00e9galit\u00e9s du syst\u00e8me judiciaire ont men\u00e9 \u00e0 l\u2019\u00e9rosion de la famille noire. Les disparit\u00e9s de sant\u00e9 entre groupes raciaux restent tr\u00e8s \u00e9lev\u00e9es. Toutes ces in\u00e9galit\u00e9s persistantes semblent \u00eatre transmises de g\u00e9n\u00e9ration en g\u00e9n\u00e9ration, parfois sans aucune am\u00e9lioration malgr\u00e9 des politiques publiques prenant en compte l\u2019identit\u00e9 raciale.
\nCet atelier propose d\u2019explorer les diff\u00e9rentes fa\u00e7ons dont l\u2019identit\u00e9 raciale est h\u00e9rit\u00e9e, transmise et transform\u00e9e dans la soci\u00e9t\u00e9 am\u00e9ricaine contemporaine. Nous \u00e9tudierons la construction, l\u2019\u00e9volution et la permanence du concept de race \u00e0 travers les discours sociaux, culturels, politiques, administratifs et\/ou scientifiques. L\u2019atelier explorera l\u2019\u00e9volution du discours racial contemporain \u00e0 la lumi\u00e8re, par exemple, de th\u00e8mes tels que la s\u00e9gr\u00e9gation sociale (r\u00e9sidentielle, scolaire, lors du mariage\u2026), les affiliations raciales et\/ou culturelles (associations communautaires, racialisation des comportements, r\u00e8gle d\u2019hypo-descendance, mouvement multiraciaux\u2026), le r\u00f4le jou\u00e9 par la question raciale en politique (allusions raciales, proc\u00e9dures \u00e9lectorales, mobilisation et d\u00e9mobilisation\u2026), le r\u00f4le de l\u2019Etat (politiques antidiscriminatoires, statistiques raciales, politiques fiscales et sociales, syst\u00e8me judiciaire\u2026) et\/ou le r\u00f4le jou\u00e9 par la recherche scientifique (manuels scolaires, g\u00e9n\u00e9tique, essais cliniques, tests ADN\u2026). Le but de cet atelier est d\u2019analyser les diff\u00e9rentes fa\u00e7ons dont l\u2019identit\u00e9 raciale est assimil\u00e9e et transmise aujourd\u2019hui, ainsi que le r\u00f4le qu\u2019elle joue dans le maintien des in\u00e9galit\u00e9s, tout en montrant comment ces identit\u00e9s sont modifi\u00e9es afin de s\u2019adapter \u00e0 de nouvelles normes sociales et de nouveaux contextes politiques.
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0: olivier.richomme@univ-lyon2.fr<\/p>\n

The inheritance of race in the U.S.<\/strong>
\nOlivier Richomme (University Lyon2)
\nWhile a commonly identified and self-identified black man was elected president, every indicator seems to suggest that the United States is still divided on race and by race. School and residential segregation persists, wealth and income gaps between Whites and non-whites endure. The lack of economic opportunity and the inequality of the justice system led to the erosion of black families. Health racial disparities are still very high. All these patterns of inequalities seem to be passed on from one generation to the next sometimes without much improvement in spite of race-based public policies.
\nThis workshop proposes to explore the different ways through which race is inherited, transmitted and transformed in the U.S. today. We would like to analyze the social, cultural, political, administrative, and \/or scientific discourses framing the concept of race and shaping its evolution and permanence. The workshop would focus, for example, on examining the evolution of different patterns of social segregation (residential, school, interracial marriage\u2026) and racial\/cultural affiliation (race-affiliated associations, racialized behavior, the one-drop rule and multiracial movements\u2026), the role played by racial politics (racial appeal, electoral procedures, mobilization and demobilization\u2026), the role of government (anti-discrimination policies, racial statistics, fiscal and welfare policies, criminal justice\u2026) and\/or the role played by scientific research (textbooks, genetics, drug trials, DNA testing\u2026) in the current evolution of racial discourse. This workshop\u2019s goal is to question the ways through which racial identities are internalized and passed-on, and what roles they play in maintaining patters of inequality, while also showing how they are modified to adapt to new social norms and political contexts.
\nProposals should be sent to olivier.richomme@univ-lyon2.fr<\/p>\n

9. L’h\u00e9ritage des Am\u00e9rindiens : comment transmettre le peu qu’il reste
\nBernadette Rigal-Cellard (Universit\u00e9 Bordeaux 3)<\/strong>
\nCet atelier se penchera sur les moyens sp\u00e9cifiques mis en \u0153uvre par les Am\u00e9rindiens pour pr\u00e9server et surtout transmettre \u00e0 leurs enfants l\u2019h\u00e9ritage tribal : divers aspects de leur culture, leur langue, les terres et notamment les espaces sacr\u00e9s, les techniques ancestrales, les rituels religieux, les rites de gu\u00e9rison\u2026 tout ce qui constitue la m\u00e9moire d\u2019un peuple pour construire l\u2019avenir, alors que de nombreux fragments sont d\u00e9j\u00e0 perdus. Seront privil\u00e9gi\u00e9es les \u00e9tudes portant sur des r\u00e9alisations pr\u00e9cises de ces derni\u00e8res d\u00e9cennies dans ce domaine primordial.
\nLes propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 bcellard@numericable.fr
\n
\nThe Heritage of Native Americans: how to pass on what remains<\/strong>
\nBernadette Rigal-Cellard (Universit\u00e9 Bordeaux 3)
\nThe workshop will focus on the specific processes implemented by Native American peoples as they struggle to maintain, remember and most importantly to transmit their tribal heritage to their children: elements of culture, languages, knowledge of sacred territories, ceremonial techniques, healing rituals. All precious memories, many lost forever, and critical now more than ever as modern Native Americans work to build their future. We expect to receive studies of specific projects carried on in the past decades that explore this critical issue.
\nProposals should be sent to bcellard@numericable.fr <\/p>\n

10. Cultures et litt\u00e9ratures LGBTQ <\/strong>

\n H\u00e9l\u00e8ne Tison (Universit\u00e9 de Tours)
\n Les questions d\u2019identit\u00e9, individuelle et collective, qui se posent de fa\u00e7on r\u00e9currente dans les \u00e9crits et les mouvements LGBTQ s\u2019articulent n\u00e9cessairement autour de la notion d\u2019h\u00e9ritage, h\u00e9ritage familial mais aussi culturel, social, historique, politique.
\n Nombreux sont celles et ceux qui ont cherch\u00e9 \u00e0 \u00e9tablir une g\u00e9n\u00e9alogie et un h\u00e9ritage (Kenneth Dover, Michel Foucault, Lillian Faderman, Jeffrey Weeks, Martha Vicinus, Neil Miller, etc.), \u00e0 \u00e9crire une \u00ab histoire de l\u2019homosexualit\u00e9 \u00bb, pour contrer un effacement, une invisibilit\u00e9 au service de la marginalisation, voire de la r\u00e9pression de ce qui continue d\u2019\u00eatre repr\u00e9sent\u00e9 comme une d\u00e9viance. Cette r\u00e9inscription dans l\u2019histoire commune est destin\u00e9e \u00e0 humaniser les d\u00e9viant\/es non seulement aux yeux de la soci\u00e9t\u00e9 dominante mais \u00e0 leurs propres yeux \u00e9galement. A partir souvent d\u2019exp\u00e9riences personnelles, les auteur\/es (comme les militant\/es) LGBTQ racontent presque unanimement cette qu\u00eate d\u2019anc\u00eatres et de semblables, et l\u2019exaltation ressentie quand cette arch\u00e9ologie se r\u00e9v\u00e8le fructueuse.
\n Les recherches n\u2019ont pas port\u00e9 exclusivement sur l\u2019histoire et le nombre de th\u00e9oricien\/nes LGBTQ issu\/es des \u00e9tudes litt\u00e9raires est frappant ; la cr\u00e9ation d\u2019un contre-canon litt\u00e9raire a beaucoup mobilis\u00e9 ; il s\u2019est agi de se r\u00e9approprier les anc\u00eatres d\u00e9rob\u00e9\/es par la culture dominante (John Dillimore) ou (Eve Kosoksky Sedgwick) de proposer une relecture queer des classiques.
\nSi l\u2019\u00e9pid\u00e9mie du SIDA a boulevers\u00e9 le rapport au temps (Leo Bersani), elle a pu aussi contribuer \u00e0 mettre en lumi\u00e8re la tyrannie de la famille, la filiation, l\u2019h\u00e9ritage. C\u2019est notamment, mais pas exclusivement, dans ce contexte qu\u2019on a pu voir se d\u00e9velopper des mouvements contradictoires, tant politiques que culturels : un courant \u00ab normalisateur \u00bb qui cherche \u00e0 s\u2019ancrer dans l\u2019histoire commune et un autre (qualifi\u00e9 parfois de r\u00e9volutionnaire) qui cherche \u00e0 faire table rase d\u2019un pass\u00e9 et d\u2019un pr\u00e9sent qui nient l\u00e9gitimit\u00e9 et m\u00eame r\u00e9alit\u00e9 \u00e0 qui s\u2019\u00e9loigne de la norme sexuelle.
\n Les axes de l\u2019ascendance et de la descendance, qu\u2019elles soient intellectuelles ou familiales, sont toujours un lieu d\u2019interrogations et de bouleversements. Outre la question du lien familial, souvent rompu, qui continue de se poser aux personnes LGBTQ, celle de la reproduction demeure centrale et \u00e9tonnamment probl\u00e9matique. La conception dominante du temps dans laquelle reproduction, filiation et h\u00e9ritage sont essentiels (conception \u00ab naturelle \u00bb dans laquelle nombre de personnes d\u00e9viantes souhaiteraient s\u2019inscrire) est fondamentalement remise en question par une \u00ab temporalit\u00e9 queer \u00bb (notion d\u00e9velopp\u00e9e notamment par J. Halberstam) qui s\u2019affranchit de ce parcours impos\u00e9.
\n Cet atelier s\u2019int\u00e9ressera aux d\u00e9clinaisons de la notion d\u2019h\u00e9ritage dans une perspective LGBTQ ; la r\u00e9flexion pourra porter sur la litt\u00e9rature, le cin\u00e9ma, l\u2019histoire, la sociologie, la th\u00e9orie.
\nLes propositions doivent \u00eatre envoy\u00e9es \u00e0 lntison@yahoo.fr <\/p>\n


\n LGBTQ Cultures and Literatures<\/strong>
\n H\u00e9l\u00e8ne Tison (Universit\u00e9 de Tours)
\nIssues concerning identity, whether individual or collective, which recur in LGBTQ writings and activism hinge on the notions of legacy and inheritance, be they familial, cultural, social, historical, political.
\nMany researchers have sought to establish a genealogy and a legacy (Kenneth Dover, Michel Foucault, Lillian Faderman, Jeffrey Weeks, Martha Vicinus, Neil Miller, etc.), to write a \u201chistory of homosexuality\u201d in an attempt to resist the erasing and invisibility which have been used to marginalize or even to repress what continues to be perceived as deviance. The re-inscribing within common history has aimed at humanizing deviants, not only in the eyes of mainstream society, but in their own eyes also. Numerous LGBTQ authors and activists have described this quest for ancestors and kin, and the exhilaration experienced when this archaeology proved fruitful.
\nResearch has not focused exclusively on history, and the number of LGBTQ theorists who have a literary background is impressive; the creation of a literary counter-canon has focused much attention in an attempt to re-appropriate the forebears who had been confiscated by mainstream culture (John Dillimore), or in the queer rereading of classics (Eve Kosoksky Sedgwick).
\nWhile the AIDS epidemic has disrupted the relation to time (Leo Bersani), it has also contributed to highlighting the tyranny of family, filiation, legacy. In this context (though such lines of enquiry had appeared long before) conflicting approaches, both cultural and political, have developed: a normalizing trend which seeks to reaffirm its position within human history, and one that has sometimes been labeled revolutionary, which aims at making a clean sweep of a past and a present that negate the legitimacy, even the reality, of those who stray from the sexual norm.
\n The axes of ancestry and descent, be they intellectual or familial, have remained a locus of interrogation and upheavals. In addition to the issue of the often disrupted family link, that of reproduction remains central and astonishingly problematic. The dominant conception of time in which reproduction, lineage and inheritance are essential (a \u201cnatural\u201d conception in which many deviants yearn to be allowed to take part) is profoundly challenged by a \u201cqueer temporality\u201d (Judith Halberstam) which breaks free from this imposed pattern.
\nThis workshop will discuss the meanings and implications of the notions of inheritance\/ legacy from an LGBTQ perspective, in such fields as literature, cinema, history, sociology, theory.
\nProposals should be sent to lntison@yahoo.fr<\/p>\n

Litt\u00e9rature \/ Literature<\/h2>\n

11. H\u00e9ritages modernistes<\/strong>
\n
\nIsabelle Alfandary (Paris-Est) et Axel Nesme (Lyon-2) <\/p>\n

La notion d\u2019h\u00e9ritage suscite dans la repr\u00e9sentation commune une relation duelle mettant aux prises un h\u00e9ritier et un ascendant. Cependant toute transmission suppose n\u00e9cessairement la pr\u00e9sence d\u2019un t\u00e9moin convoqu\u00e9 en vue d\u2019attester d\u2019un transfert et dont la neutralit\u00e9 ne va pas de soi. Deux configurations compl\u00e9mentaires sous-tendent la probl\u00e9matique de l\u2019h\u00e9ritage : l\u2019une qui articule le l\u00e9gataire au legs qui lui est transmis selon des modalit\u00e9s \u00e0 approfondir ; l\u2019autre qui implique la fonction du tiers, t\u00e9moin ou garant de l\u2019h\u00e9ritage.
\nS\u2019agissant du rapport qui unit le l\u00e9gataire au legs, celui-ci s\u2019affiche avec une \u00e9vidence particuli\u00e8re dans les po\u00e9tiques modernistes de la citation (dans les collages citationnels d\u2019Eliot, Pound, Moore, Zukofsky, mais aussi chez Williams par le biais de l\u2019ekphrasis). Mais l\u2019h\u00e9ritage ne se transmet pas uniquement \u00e0 la mani\u00e8re d\u2019un objet (textuel) qui change de lieu, de main (inscription). On pourrait utilement se pencher sur les formes de l\u2019appropriation qui rendent impossible l\u2019identification de l\u2019origine du corps plus ou moins \u00e9tranger \u00e0 l\u2019\u0153uvre : depuis l\u2019hommage distant (\u00ab Homage to Sextus Propertius \u00bb) \u00e0 la reprise ironique, de la polyphonie (\u00ab Hugh Selwyn Mauberley \u00bb) \u00e0 la citation inavou\u00e9e (\u00ab in my beginning is my end \u00bb), sans oublier la traduction-r\u00e9\u00e9criture (\u00ab The Seafarer \u00bb) qui vaut \u00e9galement reconnaissance de filiation, le modernisme entretient avec la tradition une relation que l\u2019on peut qualifier de paradoxale, la convoquant, la r\u00e9voquant tour \u00e0 tour, la convoquant pour mieux la r\u00e9voquer.
\nPour que les po\u00e8tes modernistes soient en position de l\u00e9gataires ou de testateurs, il faut qu\u2019une instance se porte garante des liens de filiation pr\u00e9sum\u00e9s. Un h\u00e9ritage, pour se constituer, pour se transmettre, suppose n\u00e9cessairement une forme de prise \u00e0 t\u00e9moin lanc\u00e9e de facto \u00e0 l\u2019endroit du lecteur\/critique. Ce fut notoirement le cas de l\u2019Ecole du New Criticism, gardien autoproclam\u00e9 du testament moderniste, qui endossa la responsabilit\u00e9 d\u2019instituer, et de veiller \u00e0 la conservation de l\u2019H\u00e9ritage du Nouveau. Il convient d\u2019interroger la fonction et le travail du d\u00e9positaire, f\u00fbt-ce au risque de dresser un portrait du critique en notaire de la chose litt\u00e9raire, en pr\u00e9pos\u00e9 \u00e0 l\u2019identification de lign\u00e9es et \u00e0 l\u2019intronisation\/exclusion d\u2019h\u00e9ritiers.
\nLes lieux et les fonctionnements institutionnels et \u00e9ditoriaux o\u00f9 les h\u00e9ritages se font et se d\u00e9font m\u00e9ritent d\u2019\u00eatre examin\u00e9s. Les logiques qui pr\u00e9sident \u00e0 la r\u00e9daction de biographies autoris\u00e9es, la constitution de soci\u00e9t\u00e9s savantes (Robert Lowell Society etc.), l\u2019\u00e9laboration d\u2019anthologies, pourraient \u00e9galement \u00eatre pass\u00e9es au crible. Lorsque Jerome Rothenberg et Pierre Jorris d\u00e9clarent en pr\u00e9ambule de leur anthologie : \u00ab we have tried not to be restricted by a superficial avant-gardism but to allow the inclusion of all works that we feel significantly test the limits of poetry \u00bb (Poems for the Millenium 1, p. 13), ce geste ne va pas sans contreparties qui peuvent prendre la forme d\u2019exclusion ou de minoration qu\u2019il faudrait interroger, tant il est vrai que, dans la po\u00e9sie am\u00e9ricaine du XXe si\u00e8cle, canons et contre-canons dessinent leurs contours \u00e0 coup de r\u00e9f\u00e9rences qui ne se transmettent pas toujours sur un mode lin\u00e9aire. Les tenants de la po\u00e9sie exp\u00e9rimentale peuvent s\u2019inscrivent dans des lign\u00e9es multiples et contradictoires. John Ashbery, volontiers rapproch\u00e9 de Wallace Stevens, inspire les Language Poets qui, pourtant, ne se reconnaissent gu\u00e8re dans l\u2019esth\u00e9tique stevensienne. Ce constat ne tient pas seulement de l\u2019anecdote, car il nous invite \u00e0 nous interroger sur ce qui, chez certains auteurs d\u2019avant-garde, rel\u00e8ve de l\u2019h\u00e9ritage non-revendiqu\u00e9, de la filiation inavou\u00e9e, ignor\u00e9e, contradictoire.
\nToute revendication d\u2019h\u00e9ritage ressortit forc\u00e9ment \u00e0 une fiction, tout au moins \u00e0 un discours qui s\u2019autorise \u00e0 reconna\u00eetre l\u2019existence d\u2019un lien patrimonial. En interrogeant les motifs de ce geste, motifs dont l\u2019\u00e9ventail va des pr\u00e9occupations esth\u00e9tiques aux engagements politiques, on sera amen\u00e9 \u00e0 se demander si le sc\u00e9nario qui sous-tend le concept bloomien d\u2019agon suffit \u00e0 rendre compte de tous les effets de transmission qui se jouent au sein du corpus moderniste, puis entre celui-ci et les esth\u00e9tiques post-modernistes. De toute \u00e9vidence, l\u2019h\u00e9ritage se th\u00e9matise volontiers sur le mode de la confrontation, comme en t\u00e9moignent les \u0153uvres rang\u00e9es sous la banni\u00e8re de la po\u00e9sie dite confessional, qui se construisent autour d\u2019h\u00e9ritages (familiaux, id\u00e9ologiques) \u00e0 assimiler ou \u00e0 saccager. Mais il se n\u00e9gocie \u00e9galement par un travail sur la forme dont on pourra se demander s\u2019il est exempt d\u2019investissements libidinaux ou id\u00e9ologiques : villanelles, sonnets, sestines sont des formes h\u00e9rit\u00e9es que les po\u00e9tiques de la modernit\u00e9 et de la postmodernit\u00e9 am\u00e9ricaine retravaillent de part et d\u2019autre de l\u2019axe Pound\/Stevens, et dont l\u2019intitul\u00e9 du colloque nous invite \u00e0 \u00e9tudier les avatars au fil du XX\u00b0 si\u00e8cle.
\nVos propositions doivent \u00eatre envoy\u00e9es \u00e0 isabelle.alfandary@free.fr and Axel.Nesme@univ-lyon2.fr<\/p>\n

On the Functions and Fictions of the Modernist Inheritance<\/strong><\/p>\n

Isabelle Alfandary (University Paris-Est) and Axel Nesme (University Lyon-2)<\/p>\n

In ordinary representation the notion of inheritance conjures up a dual relationship between an heir and his\/her forebear. Yet all forms of transmission require the presence of a witness who is summoned to testify that a transference has indeed taken place, and whose neutrality may never be taken for granted. Central to the problematic of inheritance are two complementary configurations: one in which an heir and the legacy bequeathed upon him\/her are joined following certain rules that need to be defined and explored ; the other involving the function of the third party, whether he\/she is a simple witness, or has been appointed to preserve the inheritance.
\nThe heir-legacy relationship is particularly evident in Modernist poetics of the quote\u2014in Eliot\u2019s, Pound\u2019s, Moore\u2019s, and Zukofsky\u2019s citational practices as well as in Williamsian ekphrasis. Inheritance, however, is not just passed on in the form of a (textual) object which changes hands and\/or places (as an inscription). We need to examine the appropriation strategies which make it impossible to identify the origin of the more or less foreign body within the work. By means of distant homages (\u201cHomage to Sextus Propertius\u201d), ironic echoes, polyphony (\u201cHugh Selwyn Mauberley\u201d) unidentified quotes (\u201cin my beginning is my end\u201d), translations\/rewritings (\u201cThe Seafarer\u201d) which are as many ways of acknowledging filiation, Modernism maintains a paradoxical relationship to tradition, alternately convoking and revoking it\u2014or convoking tradition the better to revoke it.
\nIn order for Modernist poets to be in a position to bequeathe or receive a bequest, some agency needs to testify to the alleged filiation. In order for an inheritance to be gathered and transmitted, the reader\/critic needs de facto to be called upon to testify. This was famously the case with New Criticism, the self-proclaimed guardian of the Modernist testament, which took upon itself to establish and watch over the preservation of the Heritage of the New. The function and the work of such depositories call for investigation, albeit at the risk of drawing a portrait of the critic as a notary of things literary, or as a functionary appointed to the identification of lineages, in charge of securing the throne of lawful heirs, while protecting if from others who may lay claim to it.
\nThe institutional loci and functioning modes where and whereby legacies are assembled and undone deserve to be examined, as do the various logics which preside over the writing of authorized biographies, the creation of scholarly societies (the Robert Lowell Society, etc.), and the editing of anthologies. When Jerome Rothenberg and Pierre Jorris wrote in the introduction to the first volume of Poems for the Millenium, \u201cwe have tried not to be restricted by a superficial avant-gardism but to allow the inclusion of all works that we feel significantly test the limits of poetry,\u201d this critical gesture was inevitably accompanied by a series of exclusions and devaluations which need to be analyzed, especially since in 20th-century American poetry the emergence of canons and countercanons followed a trajectory which was anything but linear. Proponents of experimental poetry may fall within multiple, if not contradictory lineages. While John Ashbery, for instance, is often compared to Wallace Stevens, he inspired several Language Poets who do not recognize themselves in Stevensian aesthetics. Far from being simply anecdotal, such observations indicate that we need to study those legacies which are intentionally ignored by certain avant-garde authors, as well as various forms of unacknowedged, repressed or contradictory inheritance.
\nClaiming an inheritance inevitably requires a modicum of ficitonalization\u2014or at the very least a discourse which draws its authority from acknowedging a patrimonial link. By questioning the motives behind this gesture, which range from aesthetic to political considerations, we will be led to ask ourselves whether the scenario underlying the Bloomian concept of agon suffices to account for all the avatars of transmission which are played out within the modernist corpus, as well as between Modernism and Post-Modern aesthetics. Obviously, issues of inheritance are often voiced thematically in terms of confrontation, as witness those works which were grouped under the banner of confessional poetry, all of which were built around family or ideological inheritances to be assimilated and\/or ransacked. But inheritance also involves formal strategies which may carry their share of ideological and libidinal cathexes: the villanelle, the sonnet, the sestina are inherited poetic forms in which Modernist and Post-Modern poetics have reinvested on either side of the Pound\/Stevens divide, and whose transformations the title of this year\u2019s conference invites us to trace throughout the twentieth century.
\nProposals should be sent to isabelle.alfandary@free.fr and Axel.Nesme@univ-lyon2.fr<\/p>\n

12. Shakespeare aux Etats-Unis : les paradoxes de l\u2019h\u00e9ritage <\/strong><\/p>\n

Vincent Broqua (Universit\u00e9 Paris-Est Cr\u00e9teil) et Ronan Ludot-Vlasak (Universit\u00e9 Grenoble3)
\nSi, comme le dit l\u2019appel \u00e0 communication du congr\u00e8s, \u00ab le pouvoir d’invention de la langue et du renouvellement des formes, perceptible dans la po\u00e9sie am\u00e9ricaine depuis Whitman et Dickinson, traduit la volont\u00e9 de (se) cr\u00e9er \u00e0 partir de rien, \u00bb qu\u2019en est-il alors de la place fondamentale de Shakespeare dans la culture am\u00e9ricaine ? Tout \u00e0 la fois force l\u00e9gitimante de la jeune r\u00e9publique, faire-valoir dans les luttes antibritanniques, et enjeu litt\u00e9raire chez les auteurs majeurs du canon am\u00e9ricain (de Melville \u00e0 Faulkner, en passant par James, Twain, en n\u2019oubliant pas Philip Roth et une majorit\u00e9 de po\u00e8tes des XIXe et XXe si\u00e8cles), Shakespeare a un statut paradoxal dans la culture am\u00e9ricaine et embl\u00e9matique de cette derni\u00e8re : il est celui dont toute la culture h\u00e9rite et pourtant, au d\u00e9part, il n\u2019a rien d\u2019am\u00e9ricain. En outre, bien que le dramaturge participe de l\u2019\u00e9mergence d\u2019une sc\u00e8ne litt\u00e9raire am\u00e9ricaine, il n\u2019en reste pas moins l\u2019auteur qui, plus que tout autre, incarne depuis le XVIIIe si\u00e8cle le g\u00e9nie litt\u00e9raire anglais. Cet h\u00e9ritage prend d\u2019ailleurs des formes diverses : s\u2019il est pour certains, un bien que l\u2019on doit respectueusement pr\u00e9server, il est \u00e9galement r\u00e9cup\u00e9r\u00e9, d\u00e9tourn\u00e9, travesti \u00e0 l\u2019envi.
\nSi la volont\u00e9 de cr\u00e9er \u00e0 partir de rien, ou, comme le dit Whitman d\u2019\u00e9viter de se nourrir dans les \u00ab spectres \u00bb des livres (\u00ab Song of Myself \u00bb, Section 3), conduit la culture, la litt\u00e9rature et les arts am\u00e9ricains \u00e0 \u00ab exp\u00e9rimenter \u00bb (D. H. Lawrence disait que les po\u00e8tes am\u00e9ricains \u00e9taient conscients de la rupture qu\u2019ils op\u00e9raient et de la transgression qui \u00e9tait son corollaire), la reprise de Shakespeare dans la culture am\u00e9ricaine et son assimilation n\u2019est-elle pas en contradiction \u00e9vidente avec sa d\u00e9finition m\u00eame ? Comment la culture am\u00e9ricaine (litt\u00e9rature, art, cin\u00e9ma, institutions culturelles etc.) a-t-elle h\u00e9rit\u00e9 de Shakespeare ? Pourquoi le dramaturge a-t-il une si grande importance? Face \u00e0 la diversit\u00e9 signifiante des modalit\u00e9s selon lesquelles le dramaturge est r\u00e9invent\u00e9 dans la litt\u00e9rature et la culture am\u00e9ricaines, on pourra se demander s\u2019il existe un Shakespeare am\u00e9ricain. Quelles formes prennent les interpr\u00e9tations, adaptations et citations de Shakespeare : en quoi sont-elles cr\u00e9atrices de litt\u00e9rature ou de culture am\u00e9ricaines (au-del\u00e0 de l\u2019\u00e9vidence qui tient \u00e0 dire qu\u2019elles participent de la culture am\u00e9ricaine parce qu\u2019elles sont produites aux Etats-Unis) qui font \u00ab b\u00e9gayer \u00bb l\u2019idiome shakespearien \u2013 une langue \u00e9trang\u00e8re et \u00e0 la fois famili\u00e8re ? Voici quelques unes des questions que cet atelier souhaite penser.
\nOn ne se limitera pas \u00e0 la question litt\u00e9raire : on parlera des adaptations filmiques, des mises en sc\u00e8nes, des lieux du th\u00e9\u00e2tre et de l\u2019\u00e9tude de Shakespeare, des usages \u2013 contrast\u00e9s ou non \u2013 de Shakespeare dans la culture highbrow et lowbrow, des genres, de la citation shakespearienne (dans la litt\u00e9rature, l\u2019histoire des id\u00e9es, mais \u00e9galement dans la sph\u00e8re politique ou au cin\u00e9ma), des relectures tant critiques que litt\u00e9raires de l\u2019\u0153uvre du dramaturge et po\u00e8te \u00e9lisab\u00e9thain. En d\u2019autres termes, on s\u2019int\u00e9ressera avant tout au devenir f\u00e9cond de cet h\u00e9ritage.
\nVos propositions sont \u00e0 envoyer \u00e0 Vincent Broqua (vincentbroqua@gmail.com) et Ronan Ludot-Vlasak (ronan.ludot-vlasak@u-grenoble3.fr) <\/p>\n

Shakespeare in the United States: a paradoxical legacy<\/strong><\/p>\n

Vincent Broqua (Universit\u00e9 Paris-Est Cr\u00e9teil) and Ronan Ludot-Vlasak (Universit\u00e9 Grenoble3)
\nIf, as the call for papers of the conference argues, \u201cthe power of invention of language and the renewal of forms, which has been felt in American poetry since Whitman and Dickinson, shows a desire to create (oneself) out of nothing,\u201d what about Shakespeare\u2019s crucial place in American culture? As he was both a legitimizing force in the early Republic and a major literary issue for American writers, his status in American culture is both paradoxical and emblematic of this very culture: he was, and still is, a literary figure American culture inherits, and yet he was not an American at first. Although the playwright contributes to the advent of a national literature, he remains nonetheless the author who, more than any other one, has been a symbol of the English literary genius since the 18th century. This legacy is also multiple: while some consider that the Bard is to be preserved and worshipped, others recuperate, distort and transform his works.
\nIf the desire to create out of nothing \u2013 or, as Whitman said, to avoid \u201cfeed[ing] on the spectres in books\u201d \u2013 leads American culture, literature and art to experiment (D.H. Lawrence argued that American poets were conscious of the break they created and of the ensuing transgression), is not the recycling of Shakespeare and his assimilation in American culture in obvious contradiction with the definition of this very culture? How did American culture (its literature, art, cinema and cultural institutions) inherit Shakespeare? Why is the playwright\u2019s place so central in it? Given that Shakespeare is reinvented in so many ways in the USA, one may also wonder if there is such a thing as a unique American Shakespeare. What happens when Shakespeare is interpreted, adapted, or quoted? How do these forms of appropriation generate American literature or culture (beyond the mere fact that they originate in the US) and make the Shakespearean idiom \u201cstutter\u201d \u2013a language that is both familiar and foreign to them? Those are some of the issues this workshop would like to explore.
\nWe will not focus on literature only: this workshop will envisage film adaptations, stage productions, theatrical venues, the study of Shakespeare, the sometimes contrasted uses of Shakespeare in highbrow and lowbrow culture as well as literary genres, Shakespearean quotations (in literature, history of ideas, but also in political discourse or in films), critical and literary re-readings of the Elizabethan playwright and poet. In other terms, this workshop will explore the fertile development of this legacy.
\nAbstracts should be submitted to Vincent Broqua (vincentbroqua@gmail.com) and Ronan Ludot-Vlasak (ronan.ludot-vlasak@u-grenoble3.fr). <\/p>\n

13. Commencer ou recommencer?
\nTransferts litt\u00e9raires et culturels dans l\u2019espace anglo-am\u00e9ricain, 1776-1891<\/strong><\/p>\n

Thomas Constantinesco (Universit\u00e9 Paris Diderot) et Laurent Folliot (ENS) <\/p>\n

Benjamin Franklin dut en partie sa prosp\u00e9rit\u00e9 d\u2019imprimeur \u00e0 la publication, en 1742, de la Pamela de Richardson. La suj\u00e9tion culturelle que sugg\u00e8re l\u2019anecdote ne prit pas fin avec l\u2019Ind\u00e9pendance des \u00c9tats-Unis : jusque tard dans le XIXe si\u00e8cle, la communaut\u00e9 de langue et le prestige de Londres ou d\u2019\u00c9dimbourg rendent difficile aux auteurs am\u00e9ricains d\u2019ignorer la massive production britannique. Et si la Renaissance am\u00e9ricaine est g\u00e9n\u00e9ralement d\u00e9finie comme le moment d\u2019accession \u00e0 la maturit\u00e9 culturelle de la nation, son aspiration \u00e0 faire table rase du pass\u00e9 pour instaurer \u00ab an original relation to the Universe \u00bb (Emerson) la rend en m\u00eame temps h\u00e9riti\u00e8re d\u2019une modernit\u00e9 largement anglaise, du projet baconien \u00e0 la po\u00e9sie romantique (\u00ab Come forth into the light of things \u00bb, \u00e9crivait Wordsworth en 1798) en passant par la tradition du Dissent.
\n\tCet atelier voudrait se pencher sur les h\u00e9ritages multiples l\u00e9gu\u00e9s par les lettres anglaises (du roman gothique \u00e0 la po\u00e9sie \u00ab cosmopolite \u00bb de Byron et Browning, en passant par Scott, Charles Lamb ou le romantisme lakiste) \u00e0 la litt\u00e9rature am\u00e9ricaine du XIXe si\u00e8cle (de Brockden Brown et Irving jusqu\u2019\u00e0 Dickinson et au-del\u00e0). On souhaiterait, par ailleurs, ouvrir la perspective, en s\u2019int\u00e9ressant par exemple \u00e0 la place qu\u2019occupent, en retour, l\u2019Am\u00e9rique et sa litt\u00e9rature dans l\u2019imaginaire anglais, mais aussi en \u00e9voquant des probl\u00e9matiques plus strictement historiques, comme les institutions du transfert culturel vers les \u00c9tats-Unis. <\/p>\n

\u00c0 titre de pistes possibles, mais la liste n\u2019est pas exhaustive, on pourra envisager des \u00e9tudes sur :
\n–\tIrving et ses sketches de la Vieille Angleterre.
\n–\tBrockden Brown, Poe, et le gothique am\u00e9ricain.
\n–\tByronisme et cosmopolitisme : Poe, Hawthorne, Melville.
\n–\tPaine et les transcendantalistes.
\n–\tCooper et Walter Scott.
\n–\tMelville et toute la litt\u00e9rature anglaise \u2013 sans parler de quelques autres.
\n–\tL\u2019Italie de Hawthorne est-elle anglaise ?
\n–\tWordsworth (ou Blake) dans la Renaissance am\u00e9ricaine [chez Emerson, Thoreau et Melville?]
\n–\tBoston, capitale de la culture am\u00e9ricaine ou relais de l\u2019Europe ?
\n–\tLes Essays of Elia de Charles Lamb et Bartleby
\n–\tJoel Barlow, po\u00e8te et homme d\u2019affaires anglo-am\u00e9ricain
\n–\tHopkins et Whitman<\/p>\n

Vos propositions sont \u00e0 envoyer \u00e0 thomas.constantinesco@univ-paris-diderot.fr et \u00e0
\n laurent.folliot@ens.fr<\/p>\n

Beginnings Anew? Literary and Cultural Transfers Across the Atlantic, 1776-1891
\n<\/strong><\/p>\n

Thomas Constantinesco (University Paris Diderot) and Laurent Folliot (ENS )<\/p>\n

Part of Benjamin Franklin\u2019s success as a printer stemmed from his publishing Richardson\u2019s bestselling Pamela in the American colonies (1742). The cultural subordination this anecdote suggests did not end with US Independence: until late into the 19th century, the preeminence of London and Edinburgh as well as the sheer fact of English as a shared language made it difficult for American writers to ignore Britain\u2019s vast literary output. Although the American Renaissance is generally seen as the nation\u2019s coming of age, its very aspiration to a life freed from the cobwebs of the European past and to \u201can original relation to the Universe\u201d (Emerson) inscribed it within an essentially English tradition of modernity, running from Baconianism to Romantic poetry by way of Dissent.
\n\tThis workshop will have as its main focus the manifold legacy left by English literature (from the gothic novel through Scott, Lamb or \u2018Lake School\u2019 Romanticism to Byron or Browning\u2019s \u2018cosmopolitan\u2019 outlook) to 19th-century American authors (from Brockden Brown and Irving to Dickinson and beyond). However, other related issues should also be considered, including the resonance of American literature in Britain itself, as well as the emergence of an Anglo-American \u2018public sphere\u2019 through various literary and cultural institutions. <\/p>\n

Possible topics include, but are not limited to:
\n–\tIrving and his sketches of Old England.
\n–\tBrockden Brown, Poe, and the American Gothic.
\n–\tByronism and cosmopolitanism: Poe, Hawthorne, Melville.
\n–\tPaine and the Transcendentalists
\n–\tCooper and Walter Scott.
\n–\tMelville and the whole of English literature \u2013 along with a few others.
\n–\tIs Hawthorne\u2019s Italy English?
\n–\tWordsworth (or Blake) and the American Renaissance [in Emerson, Thoreau and Melville?]
\n–\tBoston: America\u2019s cultural capital or Europe\u2019s outpost?
\n–\tCharles Lamb\u2019s Essays of Elia and Bartleby
\n–\tJoel Barlow, Anglo-American poet and businessman
\n–\tHopkins and Whitman
\nProposals should be sent to thomas.constantinesco@univ-paris-diderot.fr and to laurent.folliot@ens.fr<\/p>\n


\n14. Entre h\u00e9ritage et testament : les paradoxes de la transmission h\u00e9r\u00e9ditaire dans la litt\u00e9rature et dans les arts<\/strong><\/p>\n

Mathieu Duplay (Universit\u00e9 Paris Diderot \u2014 Paris 7)
\n\t\u00ab Notre h\u00e9ritage n\u2019est pr\u00e9c\u00e9d\u00e9 d\u2019aucun testament \u00bb, \u00e9crivait Ren\u00e9 Char dans Feuillets d\u2019Hypnos (1946). Ce constat paradoxal situe le sujet d\u2019\u00e9nonciation, le \u00ab nous \u00bb, au c\u0153ur d\u2019une temporalit\u00e9 qui, pour \u00eatre celle de la transmission h\u00e9r\u00e9ditaire, n\u2019en est pas moins discontinue et non lin\u00e9aire. Discontinue, car le geste par lequel le l\u00e9gataire prend possession de son bien ne prend pas la rel\u00e8ve de celui du testateur, mais donne apr\u00e8s coup \u00e0 percevoir son absence : quelque chose a peut \u00eatre pr\u00e9c\u00e9d\u00e9, mais cet avant ind\u00e9termin\u00e9 est aussi autre chose qui sans doute appelait d\u2019autres suites et qui, \u00e0 ce titre, r\u00e9siste \u00e0 l\u2019appropriation r\u00e9trospective. Non lin\u00e9aire, car rien n\u2019interdit de penser qu\u2019il peut aussi, malgr\u00e9 tout, y avoir un testament et que celui ci, s\u2019il existe, demeure en attente d\u2019un destinataire dont on ne sait rien, hormis qu\u2019il n\u2019est pas \u00ab nous \u00bb. Les biens que \u00ab nous \u00bb recevons en h\u00e9ritage nous appartiennent parce que nous nous en saisissons : ce que nous recevons d\u2019eux, c\u2019est la facult\u00e9 de raconter une histoire litt\u00e9ralement sans pr\u00e9c\u00e9dent, qui doit \u00e0 cela d\u2019\u00eatre pleinement la n\u00f4tre, de d\u00e9buter avec nous et de nous renseigner sur ce que nous sommes. Par cons\u00e9quent, ils ne peuvent \u00eatre d\u00e9lib\u00e9r\u00e9ment transmis \u00e0 un individu ou \u00e0 un groupe d\u00e9termin\u00e9, puisque le seul testament qui vaille d\u00e9signe un l\u00e9gataire qui n\u2019existe pas encore et que par cons\u00e9quent on ne peut pas nommer \u2014 double paradoxe o\u00f9 Hannah Arendt, dans On Revolution (1963), voit une d\u00e9finition de la libert\u00e9 politique.
\n\tL\u2019enjeu du pr\u00e9sent atelier consistera \u00e0 examiner la r\u00e9sonance de cette probl\u00e9matique dans la litt\u00e9rature et dans les arts am\u00e9ricains (cin\u00e9ma, arts plastiques, musique). D\u2019un c\u00f4t\u00e9, on examinera la mani\u00e8re dont les diverses pratiques esth\u00e9tiques interrogent les discours de la pr\u00e9destination cens\u00e9s garantir la l\u00e9gitimit\u00e9 de la transmission h\u00e9r\u00e9ditaire, qu\u2019elle soit litt\u00e9raire, artistique, culturelle, politique ou territoriale ; on s\u2019int\u00e9ressera notamment \u00e0 ce que l\u2019h\u00e9ritage occulte ou d\u00e9nie, \u00e0 ce dont il prend la place ou aux histoires interrompues dont il cherche en vain \u00e0 dissimuler les traces. D\u2019un autre c\u00f4t\u00e9, on se penchera sur les d\u00e9clinaisons \u00e0 la fois esth\u00e9tiques et politiques du paradoxe en vertu duquel ce que le l\u00e9gataire re\u00e7oit, c\u2019est d\u2019abord la facult\u00e9 d\u2019\u00eatre lui m\u00eame, quitte \u00e0 renier les pr\u00e9d\u00e9cesseurs auxquels pourtant il doit tout, \u00e0 l\u2019instar des transcendantalistes. Enfin, on r\u00e9fl\u00e9chira aux multiples manifestations du geste testamentaire en litt\u00e9rature et dans les arts, \u00e0 la mani\u00e8re dont il fait signe vers un apr\u00e8s tout en refusant de l\u2019identifier pr\u00e9cis\u00e9ment, \u00e0 sa fa\u00e7on de m\u00e9nager, au sein d\u2019un projet de transmission parfois m\u00fbrement pr\u00e9m\u00e9dit\u00e9, la place de la discontinuit\u00e9, de la nouveaut\u00e9 et de la surprise.
\nVos propositions doivent \u00eatre envoy\u00e9es \u00e0 mduplay@club-internet.fr
\n
\nFrom Inheritance to Testament: The Paradoxes of Hereditary Transmission in Literature and the Arts<\/strong><\/p>\n

Mathieu DUPLAY (Universit\u00e9 Paris Diderot \u2014 Paris 7)
\n\t\u201cNotre h\u00e9ritage n\u2019est pr\u00e9c\u00e9d\u00e9 d\u2019aucun testament\u201d (\u201cOur inheritance was left to us by no testament\u201d), Ren\u00e9 Char wrote in Feuillets d\u2019Hypnos (1946). This paradoxical observation associates the speaker\/writer, referred to in the first person plural, with a form of temporality which, despite being linked to hereditary transmission, is presented as discontinuous and non linear. Discontinuous, as the act whereby the legatee takes possession of what now belongs to him\/her does not logically follow from the signing of a will, but instead reveals that such a will is nowhere to be found. Something may have existed before the legacy was claimed and thus can be said to have \u201cpreceded\u201d it, as Char\u2019s initial formulation implies; however, this indeterminate \u201csomething\u201d probably prefigured very different developments and thus does not lend itself to appropriation by later generations. Non linear, as Char does not rule out the possibility that there may be a testament after all, albeit one whose recipient is unknown, save for the fact that s\/he is not \u201cus.\u201d In other words, what \u201cwe\u201d inherit belongs to \u201cus\u201d because we claim it as ours; it confers upon us the ability to tell a new story of which we are the sole initiators and which thereby shows us who and what we are. As a consequence, such an inheritance cannot be deliberately bequeathed to a specific individual, since the only legacy worth mentioning is intended for a recipient who as yet does not exist and who, consequently, cannot be named. In the final pages of On Revolution (1963), Hannah Arendt suggests that this paradox encapsulates the essence of political freedom.
\n\tThe purpose of this workshop will be to examine the implications of this issue in literature and in the arts as practised in America (including film, music, and the visual arts). On the one hand, participants may wish to focus on the ways in which various aesthetic practices challenge the belief in predestination invoked in order to legitimize hereditary transmission, whether of literature or literary traditions, art and the artistic canon, political institutions, and territory. Particular attention may be given to what the act of claiming an inheritance denies rather than affirms, to the unrealized possibilities of which it takes no account (except in order to repudiate them), and to the incomplete narratives whose traces it vainly seeks to erase. On the other hand, participants will examine the aesthetic and political expressions of the paradox whereby what the legatee receives is the right to be him\/herself and thus to reject the predecessors to whom s\/he owes everything, as illustrated with particular clarity in the writings of the nineteenth century transcendentalists. Lastly, attention will be given to the significance of willing or bequeathing something to someone as expressed in literature and in the arts\u2014to the way in which a will or testament, no matter how carefully premeditated, gestures towards a future which it declines to identify with any precision, as if in order to leave room for novelty, discontinuity, and surprise.
\nProposals should be sent to mduplay@club-internet.fr <\/p>\n


\n15. L\u2019h\u00e9ritage : une histoire de femmes ? <\/strong>

\nSt\u00e9phanie Durrans (Universit\u00e9 Bordeaux 3) <\/p>\n

Cet atelier vous invite \u00e0 consid\u00e9rer la notion d\u2019h\u00e9ritage dans ses rapports avec la position des personnages f\u00e9minins dans la litt\u00e9rature am\u00e9ricaine mais aussi des femmes \u00e9crivains. L\u2019h\u00e9ritage a souvent \u00e9t\u00e9 utilis\u00e9 comme moteur du r\u00e9cit ou deus ex machina pour orienter de mani\u00e8re d\u00e9cisive la destin\u00e9e des personnages de fiction. Il joue notamment un r\u00f4le cl\u00e9 dans le roman sentimental qui s\u2019\u00e9panouit au XIXe si\u00e8cle, ne serait-ce que par les nombreuses tentatives de captation d\u2019h\u00e9ritage qui y sont mises en sc\u00e8ne.
\nOn pourra s\u2019interroger sur le traitement particulier des personnages f\u00e9minins et la fa\u00e7on dont ils g\u00e8rent cet h\u00e9ritage attendu ou inesp\u00e9r\u00e9. A l\u2019inverse, quelles strat\u00e9gies adoptent les femmes exclues du droit successoral ? Revendiquent-elles un autre type d\u2019h\u00e9ritage, de nature plus spirituelle peut-\u00eatre ? Y aurait-il lieu de distinguer entre \u00ab patrimoine \u00bb et \u00ab h\u00e9ritage \u00bb lorsqu\u2019on aborde le champ de la litt\u00e9rature f\u00e9minine ? Quelle est la place du jardin (par opposition \u00e0 la terre, domaine a priori r\u00e9serv\u00e9 \u00e0 l\u2019homme) pour les femmes soucieuses de s\u2019inscrire dans une logique de continuit\u00e9 et de reconnaissance vis-\u00e0-vis de leurs a\u00efeules ? Le fait que la transmission soit per\u00e7ue comme une affaire d\u2019homme est \u00e9galement source de tensions et de paradoxes pour les femmes qui entrent en \u00e9criture, tout particuli\u00e8rement lorsque certaines femmes \u00e9crivains se voient nier le droit de se r\u00e9clamer d\u2019une filiation patriarcale. A quelles strat\u00e9gies les femmes \u00e9crivains ont-elles recours dans leur qu\u00eate d\u2019affirmation de soi ? Se positionnent-elles d\u00e9lib\u00e9r\u00e9ment dans le sillage des grands ma\u00eetres ou se tournent-elles au contraire vers d\u2019autres formes d\u2019h\u00e9ritage qui les m\u00e8nent \u00e0 la red\u00e9couverte de mod\u00e8les f\u00e9minins jusqu\u2019alors refoul\u00e9s ?
\n
\nVos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 stephaniedurrans@club-internet.fr<\/p>\n

Women\u2019s stories: a tale of inheritance?<\/strong><\/p>\n

St\u00e9phanie Durrans (University Bordeaux 3)
\n
\nThis workshop will focus on the theme of inheritance as it affects both the lives of women characters in American literature and those of women writers wrestling with imposed patterns of inheritance or, at worst, with patriarchal society\u2019s attempts to deny their inheritance rights altogether. Inheritance has often been used as a catalyst of action or as deus ex machina in order to give a decisive turn to the fates of fictional characters \u2013 be they male or female. It definitely plays a key role in 19th-century sentimental fiction, which features various attempts at depriving characters of their legitimate inheritance rights.
\nParticipants are invited to examine the specific position of women characters who come into an inheritance that they may not necessarily have expected. Inversely, what strategies are adopted by those who are denied a right to inherit? Do they claim another form of inheritance \u2013 of a more spiritual nature maybe? Could it be useful to establish a distinction between \u201cpatrimony\u201d and \u201cinheritance\u201d when dealing with women\u2019s literature? If we consider land inheritance as a male preserve, what part does the garden play for women who seek to establish a female literary lineage? Men\u2019s privileged position in the field of inheritance also fosters a number of tensions and paradoxes for young women writers who can be regarded as frauds, impostors or, at best, pale imitators when they claim the literary inheritance of male mentors. What strategies do women writers resort to in their quest for self-assertion and literary recognition? Do they deliberately position themselves as heirs to the great masters or do they turn instead to other forms of inheritance that can lead them to rediscover female models they had hitherto neglected?
\n
\nProposals should be sent to stephaniedurrans@club-internet.fr<\/p>\n

16. \u00c9critures minoritaires : entre h\u00e9ritage impossible et r\u00e9invention des traditions<\/strong><\/p>\n

Michel Feith (Universit\u00e9 de Nantes) et Claudine Raynaud (Universit\u00e9 Paul Val\u00e9ry, Montpellier III).
\nLa question de l\u2019h\u00e9ritage se pose de fa\u00e7on particuli\u00e8rement aigu\u00eb dans le cas des litt\u00e9ratures minoritaires am\u00e9ricaines. Productions d\u2019\u00e9crivains \u00ab hyphenated \u00bb, sont-elles pour autant des litt\u00e9ratures \u00ab \u00e0 trait-d\u2019union \u00bb, susceptibles d\u2019\u00eatre ghetto\u00efs\u00e9es dans le statut d\u2019\u00e9critures \u00ab mineures \u00bb ? Leur embl\u00e8me typographique sugg\u00e8re-t-il l\u2019\u00e9tablissement de passerelles entre traditions diverses, \u00ab mainstream \u00bb et ethniques, ou n\u2019est-il qu\u2019un \u00ab trait de d\u00e9sunion \u00bb, contestant radicalement, depuis les marges, les canons id\u00e9ologiques et litt\u00e9raires de la nation ?
\n Certains h\u00e9ritages sont impos\u00e9s, d\u2019autres consentis. Ainsi, dans le domaine afro-am\u00e9ricain, le lien \u00e0 l\u2019Afrique est le plus souvent revendiqu\u00e9, alors que le pass\u00e9 de l\u2019esclavage p\u00e8se des poids conjugu\u00e9s du trauma individuel et collectif, du complexe du survivant, de la dette, sur une \u00e9criture qui se fait arch\u00e9ologie de l\u2019indicible. \u00ab Not a story to pass on \u00bb (Morrison, Beloved) : dans l\u2019ambigu\u00eft\u00e9 de l\u2019expression se r\u00e9v\u00e8lent les contradictions d\u2019un h\u00e9ritage impossible, en souffrance. M\u00e9moire de l\u2019oppression, de l\u2019ali\u00e9nation dans le regard de l\u2019Autre, ou au contraire valorisation des richesses de la culture du groupe ethnique, ou encore hommage rendu, dans des sagas familiales, \u00e0 l\u2019instinct de survie et \u00e0 la pers\u00e9v\u00e9rance de g\u00e9n\u00e9rations d\u2019anc\u00eatres fondateurs, constituent un fonds commun \u00e0 de nombreuses litt\u00e9ratures minoritaires. Les textes mettent souvent en sc\u00e8ne des situations de transmission, orales ou non, qui rendent palpable l\u2019importance de l\u2019h\u00e9ritage, non seulement comme contenu mais aussi comme processus.

\nL\u2019humour est un des traits essentiels de ces traditions minoritaires : ce n\u2019est pas par hasard que des auteurs comme Henry Louis Gates, Jr. ou Gerald Vizenor ont d\u00e9fini la figure du trickster comme un trope fondamental des litt\u00e9ratures noire et am\u00e9rindienne. L\u2019humour et la d\u00e9rision sont en effet une strat\u00e9gie de survie, ainsi qu\u2019une critique voil\u00e9e d\u2019un ordre social et symbolique injuste. Mais la tradition de la subversion peut vite s\u2019inverser en subversion de la tradition : fig\u00e9e, celle-ci devient \u00e9touffante. Les querelles litt\u00e9raires sur la question de l\u2019authenticit\u00e9 \u2013 telles celle qui a oppos\u00e9 Frank Chin \u00e0 Maxine Hong Kingston \u00e0 propos de la fid\u00e9lit\u00e9 au canon mythique et litt\u00e9raire chinois, ou la r\u00e9\u00e9criture parodique des textes de l\u2019 \u00ab exp\u00e9rience noire \u00bb dans Erasure, de Percival Everett \u2013 s\u2019ins\u00e8rent dans la probl\u00e9matique tr\u00e8s am\u00e9ricaine du droit \u00e0 r\u00e9inventer les traditions h\u00e9rit\u00e9es, voire \u00e0 s\u2019en affranchir.
\nMais les litt\u00e9ratures minoritaires ne r\u00e9sultent pas simplement du face-\u00e0-face entre tradition ethnique et tradition dominante, qu\u2019il se conjugue sur le mode de l\u2019affrontement ou du m\u00e9tissage. Si les h\u00e9ritages sont sans cesse \u00e0 r\u00e9inventer, l\u2019on peut se construire des \u00ab usable pasts \u00bb par \u00e9pissage des traditions, qu\u2019il s\u2019agisse du classique parall\u00e8le entre Noirs et Juifs, dont The Human Stain, de Philip Roth, repr\u00e9sente l\u2019un des avatars r\u00e9cents, de l\u2019inspiration extr\u00eame-orientale de Gerald Vizenor, ou encore de la pr\u00e9sence de la Gr\u00e8ce antique dans les \u00e9crits de Percival Everett. Un tel \u00e9clectisme pr\u00e9sente-t-il un risque de dilution au sein du domaine am\u00e9ricain, ou au contraire, comme semble le montrer l\u2019exemple de la litt\u00e9rature des Chicanos, l\u2019ouverture au m\u00e9tissage n\u2019offre-t-elle pas une promesse de renouvellement permanent des litt\u00e9ratures minoritaires et de leurs traditions ?
\nVos propositions doivent \u00eatre envoy\u00e9es \u00e0 Michel.Feith@univ-nantes.fr et \u00e0 claudine.raynaud@univ-montp3.fr<\/p>\n

Minority Literatures : Between Impossible Inheritance and Reinvention of Traditions <\/strong><\/p>\n

Michel Feith (Universit\u00e9 de Nantes) and Claudine Raynaud (Universit\u00e9 Paul Val\u00e9ry, Montpellier3)
\nThe question of heritage is particularly acute in the field of minority literatures. Are the works of \u201chyphenated\u201d writers necessarily hyphenated themselves, special-interest literatures to be pigeon-holed on the side-shelves of libraries? Does their typographic emblem symbolize the bridging of diverse traditions, mainstream and ethnic, or is it a divisive slash that radically questions, from the sidelines, the ideological and literary canons of the nation?
\nSome inheritances are claimed; some are imposed. In the African American field, for example, the filiation with Africa is often valorized, whereas the slave past weighs down with a conjunction of individual and collective trauma, survivor\u2019s complex, and indebtedness, upon texts that become archeologies of the unspeakable. \u201cNot a story to pass on\u201d: the ambiguity of the concluding formula of Toni Morrison\u2019s Beloved is laden with the contradictions of an impossible inheritance of suffering and dehumanization. Memories of oppression, alienation in the Other\u2019s gaze; or, on the contrary, the praise of the cultural wealth of the minority group; the tribute, in family sagas or family romances, to the survival instinct and endurance of generations of founding ancestors; all these themes constitute a common ground to many minority literatures. The texts often stage situations of transmission, oral or written, which flesh out the importance of heritage, not only as patrimony but as process.
\nHumor is a key feature in these minority traditions, as confirmed by the choice, by such renowned critics as Henry Louis Gates. Jr. and Gerald Vizenor, of the figure of the trickster as a defining trope of Black and Native literatures. Humor and derision are survival strategies, as well as a veiled critique of an unfair social and symbolic order. But the tradition of subversion may quickly be reversed into the subversion of tradition: when fixed in essences, heritage can become stifling. The literary debates on authenticity \u2013 visible in Frank Chin and Maxine Hong Kingston\u2019s argument on the subject of faithfulness to the Chinese literary and mythic canon, or in Percival Everett\u2019s parodic revisiting of the \u201cblack experience\u201d school of writing \u2013 are part of a very American problematic: the right and feasibility to reinvent inherited traditions, of to dispense with them altogether.
\nYet, minority literatures do not result only from a face-off, or a compromise, between mainstream and ethnic traditions. If inheritances are to be remade constantly, one can frame \u201cusable pasts\u201d out of a splicing of multiple traditions, as in the classic parallel between African Americans and Jews, one of whose latest avatars is Philip Roth\u2019s The Human Stain; the Chinese and Japanese influences in Gerald Vizenor\u2019s novels and poetry; or the presence of Ancient Greece in Percival Everett\u2019s writings. Could such eclecticism pose a threat of dilution into the mainstream or, as suggested by Chicano literature, does not mestizaje open up a promise of permanent renewal for minority literatures and traditions?
\nProposals should be sent to Michel.Feith@univ-nantes.fr and to claudine.raynaud@univ-montp3.fr<\/p>\n


\n17. L\u2019H\u00e9ritage national et les failles de la \u00ab communaut\u00e9 imagin\u00e9e \u00bb dans la litt\u00e9rature am\u00e9ricaine du XIXe si\u00e8cle<\/strong><\/p>\n

Mark Niemeyer (Universit\u00e9 de Bourgogne, Dijon)<\/p>\n

De nombreuses \u0153uvres litt\u00e9raires am\u00e9ricaines du XIXe si\u00e8cle participent \u00e0 la cr\u00e9ation de l\u2019image d\u2019un nouveau pays unifi\u00e9, de ce que Benedict Anderson appelle la \u00ab communaut\u00e9 imagin\u00e9e \u00bb de la nation. Si ces romans, nouvelles, po\u00e8mes, essais et r\u00e9cits de voyage refl\u00e8tent certains aspects du d\u00e9bat contemporain sur l\u2019identit\u00e9 nationale am\u00e9ricaine en cours de formation, ils ont \u00e9galement contribu\u00e9 \u00e0 la cr\u00e9er. Ce faisant, les auteurs exploitent souvent des donn\u00e9es historiques g\u00e9ographiques ou culturelles. Cependant, l\u2019image de cette communaut\u00e9 ainsi cr\u00e9\u00e9e pr\u00e9sente souvent des incoh\u00e9rences et des contradictions. Cet atelier explorera l\u2019utilisation de ces h\u00e9ritages en vue de la cr\u00e9ation d\u2019une \u00ab communaut\u00e9 imagin\u00e9e \u00bb dans la litt\u00e9rature am\u00e9ricaine du XIXe si\u00e8cle et s\u2019efforcera de faire ressortir les failles qui apparaissent, ici et l\u00e0, dans ces images d\u2019une nation am\u00e9ricaine cens\u00e9e \u00eatre unie.
\n
\nVos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 mark.niemeyer@noos.fr <\/p>\n

National Heritage and Faults in the Image of the Imagined Community of the Nation in Nineteenth-Century American Literature<\/strong><\/p>\n

Mark Niemeyer (Universit\u00e9 de Bourgogne, Dijon)<\/p>\n

Many works of nineteenth-century American literature participate in the creation of the image of a new and unified country, of what Benedict Anderson calls the \u201cimagined community\u201d of the nation. If these novels, short stories, poems, essays and travel narratives reflect contemporary conceptions of the American national identity that was in the process of being formed, they participate at the same time in the creation itself of that identity. And in this act of creation, authors often exploit the historic, cultural and geographic heritage of the United States. However, this heritage is sometimes deformed and the image of this community often presents inconsistencies and contradictions. This workshop will explore the use of these heritages in the creation of the national imagined community in nineteenth-century American literature and try to highlight the flaws, or faults, which appear, here and there, in these images of a supposedly unified American nation.
\n
\nProposals should be sent to mark.niemeyer@noos.fr
\n<\/p>\n

18. L\u2019H\u00e9ritage esth\u00e9tique dans la litt\u00e9rature sino-am\u00e9ricaine<\/strong><\/p>\n

Marie-Claude Perrin-Chenour (Universit\u00e9 Paris-Ouest)
\nLa litt\u00e9rature sino-am\u00e9ricaine est souvent lue comme de la sociologie. C\u2019est oublier que le premier but de ses auteurs est de jouer avec des codes esth\u00e9tiques et de croiser des formes inspir\u00e9es d\u2019univers vari\u00e9s pour produire des \u0153uvres originales. Le rapport de l\u2019Occident avec la Chine fonctionne, depuis Marco Polo, sur le mode de l\u2019\u00e9change artistique. La r\u00e9cente exposition du Louvre sur la Cit\u00e9 interdite montre qu\u2019\u00e0 l\u2019\u00e9poque o\u00f9 les Cours europ\u00e9ennes agr\u00e9mentaient leurs peintures et la d\u00e9coration de leurs palais de \u00ab chinoiseries \u00bb, les Empereurs chinois faisaient peindre leurs portraits, \u00ab \u00e0 l\u2019occidentale \u00bb, par des j\u00e9suites fran\u00e7ais ou italiens qui incorporaient leur mod\u00e8le dans des paysages au lavis trait\u00e9s comme des peintures chinoises classiques. La pollinisation g\u00e9n\u00e9rique et esth\u00e9tique entre cultures orientale et occidentale n\u2019est donc pas un ph\u00e9nom\u00e8ne r\u00e9cent, mais, depuis le XIXe si\u00e8cle, la fixation aux Etats-Unis de populations chinoises immigr\u00e9es a permis \u00e0 ce ph\u00e9nom\u00e8ne de se d\u00e9mocratiser.
\nCet atelier abordera la probl\u00e9matique de l’emprunt de genres litt\u00e9raires occidentaux (tels que l’autobiographie ou le roman) pour y d\u00e9crire une exp\u00e9rience \u00e9trang\u00e8re \u00e0 la fois au mode de vie occidental, mais aussi aux valeurs esth\u00e9tiques de ce nouveau monde. Les communications se concentreront sur la transmission d’un patrimoine culturel h\u00e9rit\u00e9 du pass\u00e9 chinois et de la trace que cet h\u00e9ritage laisse dans des \u0153uvres dont la forme est souvent tr\u00e8s \u00e9loign\u00e9e des genres litt\u00e9raires privil\u00e9gi\u00e9s dans le pays d’origine (la l\u00e9gende, la po\u00e9sie classique et l’op\u00e9ra). Nous tenterons de faire affleurer dans les textes les r\u00e9surgences de ces formes litt\u00e9raires transmises par une culture \u00e9crite et orale riche de sa philosophie, de sa “peinture-\u00e9criture”, mais aussi de modes d’expression dans lesquels la voix a une place pr\u00e9pond\u00e9rante (fables d\u00e9clam\u00e9es, chant). Nous examinerons les m\u00e9tamorphoses subies par cet h\u00e9ritage au contact d’autres formes esth\u00e9tiques mais aussi la fa\u00e7on dont il rejoint et compl\u00e8te le patrimoine culturel am\u00e9ricain en le transformant en profondeur.
\nVos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 marie-claude.chenour@wanadoo.fr<\/p>\n

Aesthetic Heritage in Chinese-American Literature<\/strong>
\nMarie-Claude Perrin-Chenour (Universit\u00e9 Paris-Ouest)
\nChinese-American literature is often assessed in merely sociological terms. Critics tend to forget thus that the main goal of its writers is to play with aesthetic codes and to produce highly original forms derived from various cultural sources. Since Marco Polo\u2019s journey to China, European exchanges with the Orient have been as much artistic as commercial. The current exhibition at the Louvre museum on the Forbidden City has revealed that, at the time when European Courts decorated their palaces with Chinese works of art, the Chinese Emperors had their portraits painted in \u201cWestern fashion\u201d by French and Italian Jesuits who incorporated their models within typical Chinese ink-wash landscapes. Generic and aesthetic hybridization thus is not a recent phenomenon. But, since the 19th century, the settlement of Chinese immigrant populations in the United States has made it more democratic.
\nThe aim of this workshop will be to study how Chinese-American writers have borrowed Western literary genres (such as the autobiography or the novel) to give shape to their experience of the New World, but at the same time to convey aesthetic values foreign to a Western way of life. Papers will focus on the transmission of a cultural heritage handed down from a (sometimes reconstructed) Chinese past and on the traces left by this heritage in works of art that often bear little resemblance to the forms and genres practiced in the Old World (opera, legends and classic poetry). They will attempt at retrieving from the texts the shadowy presence of these original forms which have been transmitted to their authors through a written culture fraught with philosophical and artistic references, but also through popular storytelling in which the \u201cvoice\u201d is of paramount importance (epic stories, fables, songs). Papers will examine the metamorphoses undergone by this heritage when brought into contact with other aesthetic forms, and also the way this heritage profoundly transformed the American cultural and literary experience.
\nProposals should be sent to marie-claude.chenour@wanadoo.fr<\/p>\n

19. Stratigraphies d\u2019une nation : \u00e9crire l\u2019Am\u00e9rique \u00e0 l\u2019\u00e9preuve du temps long <\/strong>

\nC\u00e9cile Roudeau (Paris 3-Sorbonne Nouvelle)
\nAlors m\u00eame que la D\u00e9claration d\u2019Ind\u00e9pendance am\u00e9ricaine jette les bases d\u2019une temporalit\u00e9 nationale et r\u00e8gle son compte \u00e0 l\u2019h\u00e9ritage colonial, affleure, intempestive, dans les ann\u00e9es de la \u00ab jeune R\u00e9publique \u00bb, une \u00e9trange profondeur temporelle difficilement compatible avec l\u2019id\u00e9ologie de l\u2019amn\u00e9sie constructive ou l\u2019ancienne lecture typologique, qui faisait correspondre l\u2019histoire nationale \u00e0 la geste biblique. Si Cuvier et ses pairs, dans la vieille Europe secou\u00e9e par les r\u00e9volutions, esp\u00e8rent alors \u00ab repousser les limites du temps comme les astronomes avait repouss\u00e9 celles de l\u2019espace \u00bb, de l\u2019autre c\u00f4t\u00e9 de l\u2019Atlantique, un amateur naturaliste \u00e0 l\u2019aura r\u00e9volutionnaire, Thomas Jefferson, creuse la terre am\u00e9ricaine en qu\u00eate, lui aussi, d\u2019une autre temporalit\u00e9 qui donnerait \u00e0 la jeune nation une g\u00e9n\u00e9alogie et un h\u00e9ritage propres. Mammouth, fossiles et autres artefacts aborig\u00e8nes deviennent alors les signes d\u2019une s\u00e9dimentation non europ\u00e9enne, sans pour autant conforter le paradigme national. Le d\u00e9sir de fonder la nation en nature gr\u00e2ce \u00e0 une excavation de ses esp\u00e8ces originelles, d\u2019inventer un h\u00e9ritage, voire une h\u00e9r\u00e9dit\u00e9, continentale \u00e0 la jeune R\u00e9publique, fait surgir une temporalit\u00e9 qui paradoxalement menace d\u2019estomper la d\u00e9coupe spatio-temporelle qu\u2019on appelle \u00ab nation \u00bb.
\nA l\u2019instar des historiens qui, tel Thomas Carlyle arpentant les champs de bataille de l\u2019\u00e8re puritaine, se mettent alors \u00e0 user de la langue de la g\u00e9ologie, voire de la pal\u00e9ontologie, les hommes et femmes de lettres am\u00e9ricains fouillent les strates du pass\u00e9 en qu\u00eate d\u2019un nouvel h\u00e9ritage. Dans quelle mesure l\u2019extension du continuum historique jusqu\u2019\u00e0 l\u2019\u00e8re des fossiles affecte l\u2019\u00e9criture m\u00eame ? Si l\u2019on part, en revanche, de l\u2019hypoth\u00e8se, tout aussi pr\u00e9gnante \u00e0 l\u2019\u00e9poque, d\u2019une trame trou\u00e9e du temps, comment construire une narration qui puisse s\u2019accommoder de ces blancs, de cette nouvelle contingence de l\u2019histoire ? En interrogeant le temps comme continuum, la longue dur\u00e9e g\u00e9ologique devient principe perturbateur de narration.
\nLa veine g\u00e9ologique affleure \u00e0 maintes reprises dans la litt\u00e9rature du XIXe si\u00e8cle am\u00e9ricain : stratigraphies fantasques dans Mardi de Melville, parodie d\u2019excavation dans Life on the Mississippi de Mark Twain, coupes g\u00e9ologiques d\u2019un H. D. Thoreau, fouilles r\u00e9gionalistes dans le pass\u00e9 local\u2026La g\u00e9ologie et la pal\u00e9ontologie font m\u00eame office de tropes m\u00e9ta critiques, quand les lettres britanniques, sous la plume de Oliver Wendell Holmes, James Russell Lowell ou Henry James, deviennent \u00ab sp\u00e9cimens fossilis\u00e9s \u00bb ou \u00ab m\u00e9gath\u00e9ria litt\u00e9raires \u00bb. Il ne s\u2019agit donc pas tant de \u00ab rendre \u00bb la litt\u00e9rature am\u00e9ricaine \u00e0 la longue dur\u00e9e, comme le sugg\u00e8re Wai-Chee Dimock \u2013 le temps long y est partout pr\u00e9sent \u2013 que de l\u2019envisager depuis cet angle, qui n\u2019a souvent \u00e9t\u00e9 qu\u2019un point aveugle de la critique. Tirant profit du regain d\u2019int\u00e9r\u00eat, outre-Atlantique, pour l\u2019extension du temps historique1, cet atelier entend explorer, depuis le bord litt\u00e9raire, comment le legs g\u00e9ologique se pense et s\u2019\u00e9crit dans les lettres am\u00e9ricaines du XIXe si\u00e8cle, comment l\u2019ouverture du r\u00e9f\u00e9rent am\u00e9ricain \u00e0 la longue dur\u00e9e continentale \u00e9branle les fondations d\u2019une narration nationale.
\n1.Henry Gee, In search of Deep Time: Beyond the Fossil Record to a New History of Life, New York: The Free Press, 1999; Wai-Chee Dimock, Through Other Continents: American Literature Across Deep Time, Princeton: Princeton University Press, 2006; David Lord Smail, On Deep History and the Brain, Berkeley: University of California Press, 2008.
\nVos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 cecile.roudeau@univ-paris3.fr<\/p>\n

Writing Across Deep Time: American Literary Stratigraphies and the Sedimentation of a National Narrative<\/strong><\/p>\n

C\u00e9cile Roudeau (Paris 3-Sorbonne Nouvelle)<\/p>\n

In the age of revolution, the \u201cshot\u201d fired by Cuvier and his peers, who hoped to \u201cburst the limits of time as the astronomers had burst the limits of space,\u201d was heard round the world indeed. In the young United States of America, Jefferson\u2019s fascination with the underground vestiges of a continental temporality, his active promotion of the \u201cAmerican Mammoth\u201d and excavation of Indian mounds indicated the resonance of this revolution in historicity, and signaled the anxiety of a \u201cFounder\u201d whose nation, born of a denial of the colonial past, was yet without a genealogy. In this pivotal moment of American history, the abysmal and still obscure heritage of deep time was opening up under the feet of the nation\u2019s new citizens as archives of a new type were being disinterred \u2013 fossils known as \u201cnature\u2019s medals or coins;\u201d valleys and volcanoes now to be read as the new \u201cannals\u201d of the world. But deciphering the palimpsest of the earth\u2019s strata was not an easy task. The questions kept cropping up with each new fossil: was this the nation\u2019s heritage, its newly recovered heredity? Or was there, in the earth\u2019s, as in the nations\u2019 history, revolutions and radical discontinuities? How to account for the disturbingly \u201ccivilized\u201d relics of an Indian past? Would comparative philology help to find the \u201cparent stock\u201d of the aboriginal tongues of America? In a word, could the nation cash nature\u2019s coins and capitalize on a continental heritage that challenged its temporal axis even as it offered America a native sedimentation?
\nWhile historians used the geological and paleontological paradigm, like Thomas Carlyle in the battlefields of the Puritan times, men and women of letters likewise burrowed through the layers of the past, and tried to reconsider the very possibility of a national narrative across deep time. To what extent does the extension of the historical continuum into the ages of fossils affect storytelling? On the other hand, if the hypothesis of a discontinuous past is to be taken for granted, how to build a narrative on the lapses of time and the new contingencies of human and prehuman history? Questioning the perception of time as the \u201cproduct of the density of events, and their proximity and relatedness to one another in chains of cause and effect\u201d (Gee), deep time challenges the modalities of narration itself.
\nThe renewed interest in the extension of historical time in the late 1990s and 2000s 1 will be the framework of this workshop. \u201cDeep time\u201d surfaces again and again in nineteenth-century American literature: in Melville\u2019s parodic description of the \u201cIsles of Fossils\u201d in Mardi, Thoreau\u2019s stratigraphy of Massachusetts, or Twain\u2019s humorous account of excavations in Life on The Mississippi as well as in the regionalists\u2019 digging of the local past. As recent studies in Victorian literature have shown, paleontology and geology also functioned as meta-critical tropes giving American writers like Oliver Wendell Holmes, James Russell Lowell or even Henry James a sarcastic metaphor to dismiss British letters as \u201cliterary Megatheria\u201d or \u201cfossilized specimens.\u201d American literature, then, needs not so much to be restored to a longue dur\u00e9e (Dimock)\u2014deep history keeps outcropping throughout its pages\u2014as reconsidered from that perspective which has too often been but a blind spot of criticism. This workshop will explore how nineteenth-century American fiction addressed the question of heritage through a geological and genealogical bias that built up new legacies and a new continental scope even as it loosened up the chronology of the national narrative.
\n1.Henry Gee, In search of Deep Time: Beyond the Fossil Record to a New History of Life, New York: The Free Press, 1999; Wai-Chee Dimock, Through Other Continents: American Literature Across Deep Time, Princeton: Princeton University Press, 2006; David Lord Smail, On Deep History and the Brain, Berkeley: University of California Press, 2008.
\nProposals should be sent to cecile.roudeau@univ-paris3.fr<\/p>\n

20. Le doute en h\u00e9ritage: jeux et enjeux critiques de l’intertextualit\u00e9 dans la fiction am\u00e9ricaine contemporaine.<\/strong><\/p>\n

Fran\u00e7oise Sammarcelli (Universit\u00e9 Paris IV, Paris-Sorbonne)
\n
\n\t“Au-del\u00e0 du soup\u00e7on”, souvent travers\u00e9e par le doute, la fiction am\u00e9ricaine contemporaine a d\u00e9velopp\u00e9 des strat\u00e9gies vari\u00e9es pour n\u00e9gocier avec diverses formes d\u2019h\u00e9ritages et, dans ce cadre, les effets intertextuels rel\u00e8vent d’une mise en tension du pass\u00e9 litt\u00e9raire et esth\u00e9tique, tout comme d’une probl\u00e9matisation du sens. Cet atelier se propose de repenser l’h\u00e9ritage, un peu comme Edgar Allan Poe qui, dans ses \u00ab contes grotesques \u00bb, s’interrogeait sur la possibilit\u00e9 incertaine d’une litt\u00e9rature am\u00e9ricaine qui ne soit pas une copie de la litt\u00e9rature anglaise de son temps et qui d\u00e9finissait l’originalit\u00e9 comme brassage nouveau d’\u00e9l\u00e9ments pr\u00e9-existants. De John Barth \u00e0 William Gaddis, de Percival Everett \u00e0 Steve Tomasula, le poids de la m\u00e9moire se module souvent dans le recours \u00e0 la r\u00e9p\u00e9tition ou \u00e0 la parodie, et le rapport \u00e0 l\u2019h\u00e9ritage (litt\u00e9raire, g\u00e9n\u00e9tique, \u00e9conomique, etc) se joue en termes de r\u00e9flexivit\u00e9 dans des textes qui posent fr\u00e9quemment un d\u00e9fi herm\u00e9neutique. Il s’agira d’examiner les jeux de l’intertextualit\u00e9 (voire de son volet inters\u00e9miotique) dans la fiction contemporaine et de se demander en quoi le doute (d\u2019origine ancienne) qu’ils instaurent ou manifestent contribue \u00e0 une revitalisation inqui\u00e8te. En explorant les emplois transgressifs de la citation ou de l\u2019allusion, la red\u00e9finition des conventions g\u00e9n\u00e9riques, les strat\u00e9gies par lesquelles la fiction subvertit les limites formelles d’un texte (entre autres aspects), on envisagera donc aussi le ph\u00e9nom\u00e8ne intertextuel dans sa dimension critique et sa relation \u00e0 l\u2019\u00e9pist\u00e9m\u00e9 contemporaine.
\nVos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 frasamm@club-internet.fr <\/p>\n

A legacy of doubt : intertextual strategies and their critical effects in contemporary American fiction<\/strong>
\nFran\u00e7oise Sammarcelli (University Paris IV, Paris Sorbonne)<\/p>\n

\t\u00ab Beyond suspicion \u00bb, often permeated by doubt as to its legitimacy, contemporary American fiction has developed various strategies to negociate with its heritage, so that intertextual effects contribute both to an ambiguous reactivation of the aesthetic and literary past and to a problematization of meaning. This workshop aims to reconsider the issue of heritage, somewhat like Poe who, in his \u00ab grotesque \u00bb tales, investigated the possibility of inventing an American literature genuinely different from the British literature of his time, and who defined originality as a new reshuffling of pre-existing elements. From John Barth to William Gaddis, from Percival Everett to Steve Tomasula, the burden of memory has often been inscribed through the use of repetition or parody, while the attempt to deal with the literary (genetic, economic) heritage has entailed self-reflexivity in texts that often raise hermeneutic challenges. The speakers will try to examine intertextual (and sometimes intersemiotic) experiments in contemporary fiction and study how the (often deep-rooted) doubt they convey contributes to an ambivalent revitalization. While exploring the transgressive use of quotations or allusions, the redefinition of generic conventions or the strategies that help subvert the formal boundaries of a text (among other aspects), the workshop will therefore also address the intertextual phenomenon in its critical dimension and its relation to the contemporary episteme.
\nProposals should be sent to frasamm@club-internet.fr <\/p>\n

Arts et m\u00e9dias \/ Arts and the Media<\/h2>\n

21. L\u2019h\u00e9ritage dans l\u2019art am\u00e9ricain des origines \u00e0 nos jours : transmissions, translations, r\u00e9actions, ruptures
\nClaudine Armand (Universit\u00e9 Nancy 2)
\nParler d\u2019h\u00e9ritage(s) dans le domaine de l\u2019art am\u00e9ricain semble relever d\u2019un truisme dans un pays qui est le creuset de diff\u00e9rentes cultures. En outre, le poids de l\u2019Europe a particuli\u00e8rement pes\u00e9 sur le continent nord-am\u00e9ricain depuis l\u2019aube de la conqu\u00eate jusqu\u2019au milieu du XXe si\u00e8cle. Qu’il s’agisse des artistes-explorateurs et des premiers portraitistes, des r\u00e9alistes urbains ou, encore, des peintres de paysage, l\u2019empreinte de l\u2019Europe est partout visible, que ce soit par imitation, par assimilation, ou par rejet. Ainsi, on pourra rappeler l\u2019influence consid\u00e9rable de Reynolds sur Benjamin West, consid\u00e9r\u00e9 comme le p\u00e8re de l\u2019\u00e9cole am\u00e9ricaine, sa carri\u00e8re \u00e0 Londres, son atelier, lieu de rassemblement des jeunes peintres am\u00e9ricains ; l\u2019attrait grandissant de Paris d\u00e8s la moiti\u00e9 du XIXe si\u00e8cle sous l\u2019\u00e9gide de Baudelaire et des modernistes ; les nombreux \u00e9changes, collaborations entre artistes fran\u00e7ais et am\u00e9ricains (Duchamp, Man Ray, Cornell, L\u00e9ger, Stieglitz etc.) ; les apports et influences r\u00e9ciproques qui ont contribu\u00e9 \u00e0 l\u2019\u00e9mergence de l\u2019Ecole de New York. On \u00e9voquera \u00e9galement les figures de la dissension, de la r\u00e9sistance et de la r\u00e9bellion (par exemple, les rivalit\u00e9s entre r\u00e9gionalistes et modernistes, la remise en question de l\u2019h\u00e9ritage europ\u00e9en par Barnett Newman, entre autres, et le d\u00e9sir de faire table rase apr\u00e8s la deuxi\u00e8me guerre mondiale); les divers modes de d\u00e9tournement, de transgression, de ruptures ou bien de m\u00e9tissage du modernisme au post-modernisme et au monde contemporain \u00e0 l\u2019heure de la globalisation, dans l\u2019art mais aussi dans l\u2019architecture. On n’oubliera pas non plus les artistes am\u00e9rindiens, afro-am\u00e9ricains et ceux issus des autres minorit\u00e9s (hispaniques, etc.) dans leur rapport \u00e0 leur propre h\u00e9ritage et \u00e0 celui des autres am\u00e9ricains.
\n\tPour analyser la question de l\u2019h\u00e9ritage \/ des h\u00e9ritages aux Etats-Unis, plusieurs axes de r\u00e9flexion pourront \u00eatre envisag\u00e9s et \u00e9tudi\u00e9s sous des angles divers (esth\u00e9tique, historique, id\u00e9ologique, politique, philosophique, ethnique, culturel\u2026) et \u00e0 travers les concepts d\u2019emprunt, de transfert, de d\u00e9tournement, d\u2019appropriation et de d\u00e9construction, d\u2019hybridation etc. :<\/p>\n

–\tnature de l\u2019h\u00e9ritage. Comment est pens\u00e9 ce paradigme ? Qui est concern\u00e9 ? De quel h\u00e9ritage parle-t-on lorsque l\u2019on est issu d\u2019un groupe minoritaire ?
\n–\tmodalit\u00e9s et enjeux de la transmission
\n–\tpoids de la tradition picturale (peinture de chevalet, hi\u00e9rarchie des genres\u2026), choix des dispositifs (installations, multi-m\u00e9dia\u2026)
\n–\tidentit\u00e9(s), filiation et singularit\u00e9 : impact et relecture des diff\u00e9rents mouvements artistiques europ\u00e9ens et am\u00e9ricains, (tous les ismes de l\u2019art mais aussi la Harlem Renaissance et l\u2019art des artistes afro-am\u00e9ricains contemporains, l\u2019h\u00e9ritage de l\u2019art am\u00e9rindien vu \u00e0 travers The Studio School \u00e0 Santa Fe sous le patronage de Dorothy Dunn et repens\u00e9 par le sculpteur Allan Hauser\u2026)
\n–\tr\u00f4le et influence de critiques et historiens d\u2019art (Greenberg et son emprise sur les artistes expressionnistes abstraits)
\n–\th\u00e9ritage de figures tut\u00e9laires : Picasso, Duchamp, Mondrian, John Cage, Allan Kaprow, Hans Hofmann etc. en peinture et sculpture mais aussi Mies van der Rohe, Frank Lloyd Wright etc. en architecture
\n–\tAndy Warhol et ses h\u00e9ritiers : Basquiat, Koons, Haring, June Paik\u2026
\n–\td\u00e9placement de l\u2019\u0153uvre, d\u00e9placement du regard (choix de lieux alternatifs, Land Art, Street Art, pratiques curatoriales et critique institutionnelle\u2026)
\n–\torigines et originalit\u00e9. Remise en question de la notion d\u2019auteur : \u00e9clatement, dispersion, m\u00e9langes, hybridation, brouillage, h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 (exp\u00e9riences collectives, comme Group Material, Bernadette Corporation ou Bruce High Quality Foundation\u2026)<\/p>\n

Vos propositions de communication doivent \u00eatre envoy\u00e9es \u00e0 Claudine.Armand@univ-nancy2.fr<\/p>\n

Heritage in American art from its origins to today: transmission, translation, reactions, breaks<\/strong><\/p>\n

Claudine Armand (Universit\u00e9 Nancy 2)<\/p>\n

To speak of \u201cheritage(s)\u201d in American art seems like a truism in a country which blends together so many different cultures. Furthermore, from the early days of the conquest until the middle of the 20th century, the influence of Europe on North America has been tremendous. Whether we look at the works of the first artist-explorers and portraitists, of the urban realists or of the landscape artists, the imprint of Europe is visible everywhere, be it by imitation, assimilation or rejection. For instance, we may recall the profound influence that Reynolds exerted on Benjamin West, regarded as the father of the American school, his career and his studio in London being a magnet for young American painters; the ever-increasing attraction of Paris as early as the mid-19th century under the aegis of Baudelaire and the modernists; the numerous exchanges and collaborations between French and American artists (Duchamp, Man Ray, Cornell, L\u00e9ger, Stieglitz etc.); the reciprocal contributions and influences which have played a role in the rise of the New York School. We may also highlight the figures of dissent, of resistance and rebellion (for example, the rivalries between the regionalists and the modernists, the questioning of the European heritage by Newman, among others, and the desire to start from scratch after World War II; the various forms of subversion, transgression and breaks, of crossbreeding and cross-fertilization from modernism to postmodernism in our contemporary era of globalization in art and architecture. Likewise, we should not forget Native, African American and other minority artists (Latino, etc.) and their reaction to their own heritage and to that of other Americans.
\n\tTo analyze the notion of heritage(s) in the United States, several fields of study may be addressed and approached from various angles (aesthetic, historical, ideological, political, philosophical, ethnic, cultural\u2026) and by means of concepts such as borrowing, subversion, appropriation and deconstruction, hybridization etc.:<\/p>\n

–\tthe nature of the heritage and reflection on the paradigm. Who is concerned? What heritage is referred to by a minority group?
\n–\tthe modes of transmission and what is at stake in them
\n–\tthe heritage of pictorial tradition (easel painting, hierarchy of genres\u2026), choice of practices (installations, multi-media techniques\u2026)
\n–\tidentity(ies), lineage and singularity: the impact and re-reading of various European and American art movements (all the Isms in art but also movements like the Harlem Renaissance and the art of contemporary African Americans, the legacy of Native American art as seen through The Studio School in Santa Fe under the patronage of Dorothy Dunn and reinterpreted by sculptor Allan Hauser\u2026)
\n–\tthe role and influence of art historians and critics (Greenberg\u2019s power and influence over the abstract expressionists)
\n–\tthe legacy of tutelary artists like Picasso, Duchamp, Mondrian, Allan Kaprow, Hans Hofmann etc. in painting and sculpture but also of Mies van der Rohe, Frank Lloyd Wright etc. in architecture
\n–\tAndy Warhol\u2019s heirs: Basquiat, Koons, Haring, June Paik\u2026
\n–\tthe concept of displacement of the work, of the artist\u2019s and the viewer\u2019s gaze (choice of alternative sites, Land Art, Street Art, curatorial practices and institutional critique\u2026)
\n–\tthe concepts of origins and originality. Questioning and challenging the notion of authorship: fragmentation, dispersal, blending, hybridization, blurring, heterogeneity (collective experiences such as Group Material, Bernadette Corporation or Bruce High Quality Foundation\u2026)<\/p>\n

Proposals should be sent to Claudine.Armand@univ-nancy2.fr<\/p>\n

22. S\u00e9ries t\u00e9l\u00e9vis\u00e9es am\u00e9ricaines: les h\u00e9ritages<\/strong><\/p>\n

Sarah Hatchuel (Universit\u00e9 du Havre) et Ariane Hudelet (Universit\u00e9 Paris Diderot)<\/p>\n

En envisageant la s\u00e9rie t\u00e9l\u00e9vis\u00e9e comme objet esth\u00e9tique, id\u00e9ologique, narratif et socioculturel, cet atelier se propose d\u2019explorer la notion d\u2019h\u00e9ritage dans ce genre t\u00e9l\u00e9visuel. Les communications pourront croiser les pistes sugg\u00e9r\u00e9es ci-dessous :
\n
\nApproches socioculturelles et questions id\u00e9ologiques :
\n– repr\u00e9sentations et enjeux des successions familiales (Six Feet Under, Brothers and Sisters…);
\n– batailles juridiques autour des h\u00e9ritages (Law & Order, Ally McBeal, Drop Dead Diva,…)
\n– repr\u00e9sentations des relations parents\/enfants, apparitions spectrales des parents (Dexter, Lost, Big Love, Grey’s Anatomy…)
\n– guerres de succession, historiques ou imaginaires (Rome, Game of Thrones…)
\n– h\u00e9ritages mythologiques (Battlestar Galactica, The Wire\u2026)
\n– h\u00e9ritages de “race” et de “genre” comme bases dramatiques (Roots, Mad Men, Queer as Folk…)
\n– h\u00e9ritages historiques, politiques et sociaux (The Wire, Treme…)<\/p>\n

Intertextualit\u00e9, interm\u00e9dialit\u00e9, interpicturalit\u00e9 :
\n– h\u00e9ritages artistiques et g\u00e9n\u00e9riques: influences du cin\u00e9ma, de la litt\u00e9rature, des beaux-arts et des autres s\u00e9ries (Desperate Housewives, Mad Men\u2026)
\n– spin-offs, suites et prequels (CSI, Private Practice, Caprica…)
\n– remakes (Battlestar Galactica, The Prisoner, V…)<\/p>\n

Les communications pourront \u00eatre en fran\u00e7ais ou en anglais.
\nLes propositions de communication (un r\u00e9sum\u00e9 de 300 mots et une notice biographique de 100 mots, en fran\u00e7ais ou en anglais) sont \u00e0 envoyer \u00e0 shatchuel@noos.fr et ariane.hudelet@wanadoo.fr.<\/p>\n

US TV Series: heritage and inheritance.<\/strong><\/p>\n

Sarah Hatchuel (Universit\u00e9 du Havre) and Ariane Hudelet (Universit\u00e9 Paris Diderot)<\/p>\n

Bearing in mind that TV series can be regarded as aesthetic, ideological, narrative and sociocultural objects, this workshop will focus on the notions of inheritance and heritage in this television genre. We will welcome paper proposals focusing on the connections between the following aspects:<\/p>\n

Sociocultural approaches and ideological issues:
\n– the representations (and stakes) of family successions (Six Feet Under, Brothers and Sisters…)
\n– legal battles over inheritance (Law & Order, Ally McBeal, Drop Dead Diva…)
\n– relationships between parents and children; spectral apparitions of parents (Dexter, Lost, Big Love, Grey\u2019s Anatomy…)
\n– wars of succession, whether historical or imaginary (Rome, Game of Thrones…)
\n– mythological heritage (Battlestar Galactica, The Wire\u2026)
\n– heritage of race and gender (Roots, Mad Men, Queer as Folk…)
\n– historical, political and social heritage (The Wire, Treme…)<\/p>\n

Intertextuality, intermediality and interpictoriality:
\n– heritage of arts and genres : the influences of cinema, literature, fine arts and other series (Desperate Housewives, Mad Men\u2026)
\n– spin-offs, sequels and prequels (CSI, Private Practice, Caprica…)
\n– remakes (Battlestar Galactica, The Prisoner, V…)<\/p>\n

Papers may be given either in English or in French. <\/p>\n

Please send a 300-word abstract and a 100-word biographical note (in English or in French) to shatchuel@noos.fr and ariane.hudelet@wanadoo.fr.<\/p>\n

23. Ic\u00f4nes photographiques. Les photographies qui ont \u00ab fait \u00bb l’Am\u00e9rique<\/strong>
\nJean Kempf, Universit\u00e9 Lumi\u00e8re Lyon 2.
\nOn s\u2019interrogera dans cet atelier sur des photographies (ou des s\u00e9ries) qui, en atteignant le statut d\u2019ic\u00f4nes, ont activement particip\u00e9 \u00e0 la construction voire \u00e0 la critique de l\u2019Am\u00e9rique. En devenant ic\u00f4nes, ces photographies se sont constitu\u00e9es en partie comme lieux de m\u00e9moire et sont donc entr\u00e9es dans une \u00e9conomie de l\u2019h\u00e9ritage. On entendra par l\u00e0 bien s\u00fbr le recyclage de ces images dans des formes et des contextes vari\u00e9s, mais aussi leur potentiel \u00e9cho sur d\u2019autres images (photographiques ou non) conduisant \u00e0 leur r\u00e9interpr\u00e9tation au fil du temps, des besoins et des spectateurs.
\nIl s\u2019agira de comprendre comment ce ph\u00e9nom\u00e8ne s\u2019est produit, de faire appara\u00eetre par la confrontation des diff\u00e9rences temporelles et des objets eux-m\u00eames, et ainsi de contribuer \u00e0 une histoire de la transmission aux Etats-Unis.
\nLes propositions porteront sur une photographie, ou une s\u00e9rie de photographies, et aborderont la question sous un angle historique qui fera appara\u00eetre \u00e0 la fois la gen\u00e8se de l\u2019image, sa post\u00e9rit\u00e9 et donc sa \u00ab valeur \u00bb m\u00e9morielle dans l\u2019h\u00e9ritage. On pourra porter une attention particuli\u00e8re aux nouveaux \u00ab flux \u00bb d\u2019images que permet le num\u00e9rique et ce que ceux-ci apportent \u00e0 de nouvelles formes de m\u00e9moire.
\nNous souhaiterions que les contributeurs puissent venir d\u2019horizons vari\u00e9s, sans \u00eatre n\u00e9cessairement des sp\u00e9cialistes de la photographie.
\nVos propositions doivent \u00eatre envoy\u00e9es \u00e0 Jean.Kempf@univ-lyon2.fr<\/p>\n

Photographic Icons. The photographs that \u00ab made \u00bb America
\nJean Kempf, Universit\u00e9 Lumi\u00e8re Lyon 2.
\nThis workshop will concentrate on the photographs (or series of photographs) which have become cultural icons and as such have actively participated in the making \u2014 and sometimes even the criticism \u2014 of America. In becoming icons, these photos have turned into sites of memory and entered the economy of inheritance. This was done through their recycling in various forms and contexts, as well as the potential echo they had on other images (and not simply other photographs) leading to their reinterpretation through time according to social needs and the changing nature of audiences.
\nWe expect papers to suggest how this phenomenon took place and to contribute to a history of photographic transmission in the US by confronting the issues of time and of the variations in the nature of the objects themselves.
\nProposals will involve a single image or a series of images (without excluding digital images and digital fluxes) and will adopt a historical perspective, showing the genesis and the posterity of the image and thus its memorial value in the process of inheritance.
\nContributors from all fields and not simply from the history of photography are welcome.
\nPlease send proposals to Jean.Kempf@univ-lyon2.fr<\/p>\n

24. Hollywood : entre terre d’Am\u00e9rique et h\u00e9ritage europ\u00e9en<\/strong><\/p>\n

Gilles Menegaldo (Universit\u00e9 de Poitiers) et Anne-Marie Paquet Deyris (Universit\u00e9 Paris Ouest Nanterre)<\/p>\n

Le cin\u00e9ma hollywoodien a partie li\u00e9e avec la notion d\u2019h\u00e9ritage de diverses mani\u00e8res. L\u2019industrie cin\u00e9matographique a \u00e9t\u00e9 cr\u00e9\u00e9e et d\u00e9velopp\u00e9e par des immigrants d\u2019origine europ\u00e9enne, principalement d\u2019Europe centrale et de l\u2019Est. De nombreux r\u00e9alisateurs, sc\u00e9naristes, chefs op\u00e9rateurs, d\u00e9corateurs immigr\u00e9s au mis leur talent au service des studios. Ils sont venus, au gr\u00e9 des circonstances socio-politiques, nourrir le processus de cr\u00e9ation sur le nouveau continent, apportant leur savoir-faire, leur culture et leur histoire. Parmi ces artistes, certains se sont impos\u00e9s et ont fait carri\u00e8re (Fritz Lang, Michael Curtiz, Joseph von Sternberg, Ernst Lubitsch, Billy Wilder, Robert Siodmak, Rouben Mamoulian pour citer quelques exemples).
\nAlors que Lubitsch adapte des pi\u00e8ces hongroises \u00e0 l\u2019\u00e9cran, Mamoulian utilise un type de montage m\u00e9taphorique assez \u00e9loign\u00e9 du montage transparent classique. L\u2019h\u00e9ritage du cin\u00e9ma expressionniste marque l\u2019esth\u00e9tique des films d\u2019horreur et des films noirs gr\u00e2ce au travail de chefs op\u00e9rateurs comme Karl Freund ou Nicolas Musuraca. Le talent de Jacques Tourneur alli\u00e9 \u00e0 celui de Val Lewton permet ainsi \u00e0 la RKO de se renflouer financi\u00e8rement au d\u00e9but des ann\u00e9es 1940. L\u2019h\u00e9ritage litt\u00e9raire europ\u00e9en est \u00e9galement au c\u0153ur de cet \u00e9lan cr\u00e9ateur. De nombreuses \u0153uvres classiques ont ainsi \u00e9t\u00e9 adapt\u00e9es par Hollywood d\u00e8s les d\u00e9buts du cin\u00e9ma.
\n
\nMais le cin\u00e9ma hollywoodien se nourrit aussi d\u2019un autre h\u00e9ritage qui lui est propre, celui de la terre d\u2019Am\u00e9rique. Il met en sc\u00e8ne les paysages spectaculaires et l\u2019histoire \u00e9pique de ce territoire dans un genre comme le \u00ab western \u00bb qui n\u2019\u00e9tait au d\u00e9part qu\u2019un simple adjectif. Genre fondateur et sui generis s\u2019il en est, il impose sa propre cat\u00e9gorie qui devient synonyme de r\u00e9cit des origines de la nation am\u00e9ricaine. Son esth\u00e9tique, sa grammaire et ses grands motifs ne cessent d\u2019\u00eatre repris et partiellement r\u00e9invent\u00e9s depuis L\u2019Attaque du Grand Rapide d\u2019Edwin Porter en 1903, jusqu\u2019aux variations plus r\u00e9centes du n\u00e9o-western telles Appaloosa en 2008 o\u00f9 Ed Harris d\u00e9cline de fa\u00e7on d\u00e9cal\u00e9e les codes du western. La figure f\u00e9minine ambigu\u00eb au c\u0153ur du r\u00e9cit filmique divise le couple de justiciers comme elle divise la communaut\u00e9 familiale et fait vaciller les certitudes du h\u00e9ros Ethan (John Wayne) lorsqu\u2019il retrouve sa ni\u00e8ce Debbie (Natalie Wood) indianis\u00e9e dans La Prisonni\u00e8re du d\u00e9sert (John Ford, 1956).
\nLe cin\u00e9ma rend aussi compte des grands \u00e9v\u00e9nements de l\u2019histoire \u00e9tats-unienne, se nourrissant de son propre h\u00e9ritage culturel et infl\u00e9chissant \u00e0 l\u2019\u00e9cran ses propres mythes, comme celui du Grand Pacificateur Lincoln dans les nombreux films qui lui ont \u00e9t\u00e9 consacr\u00e9s depuis le d\u00e9but du XXe si\u00e8cle (Abraham Lincoln de Griffith, 1930, avec John Huston, ou Young Mr Lincoln, de John Ford, 1939, entre autres) ou encore la figure du gangster, avatar d\u00e9voy\u00e9 de la modernit\u00e9 urbaine. Il met en sc\u00e8ne les grandes phases de la constitution de la nation am\u00e9ricaine sous forme de grandes fresques historiques depuis Naissance d\u2019une Nation de Griffith en 1915, jusqu\u2019\u00e0 Autant en emporte le vent de Victor Fleming en 1939 et les \u00ab heritage films \u00bb (Martin Scorsese, The Age of Innocence, 1993) par exemple.
\n
\nLes communications de cet atelier viseront \u00e0 explorer certains des aspects de cet h\u00e9ritage duel et complexe. Les intitul\u00e9s et r\u00e9sum\u00e9s d\u2019environ 1\/2 page sont \u00e0 envoyer conjointement \u00e0 :
\n
\npaquet.deyris@yahoo.fr ET gilles.menegaldo@univ-poitiers.fr<\/p>\n

Hollywood movies are connected to the central notion of heritage in a number of ways. The cinema industry was created by and thrived thanks to immigrants of European descent, mainly from Central and Eastern Europe. Numerous immigrant directors, screenwriters, cinematographers and set designers brought their talents to the great studios. They came over under the pressure of socio-political problems and shaped the creative process once on the American soil, contributing their expertise, culture and history. Among these talented artists, some took center stage such as Fritz Lang, Michael Curtiz, Joseph von Sternberg, Ernst Lubitsch, Billy Wilder, Robert Siodmak or Rouben Mamoulian more specifically.
\nWhile Lubitsch was adapting Hungarian plays for the screen, Mamoulian devised a kind of metaphorical montage which greatly differed from the classicly transparent editing process. The rich heritage of expressionistic cinema influences the horror movies and films noirs\u2019 aesthetic thanks to the work of cinematographers such as Karl Freund or Nicolas Musuraca. It was Jacques Tourneur\u2019s talent along with Val Lewton\u2019s which helped RKO keep afloat at the beginning of the 1940s. The European literary heritage is also at the heart of this creative momentum. Quite a few classics were adapted by Hollywood as early as the silent era.
\n
\nBut Hollywood cinema also feeds upon another type of heritage which is characteristically American and is intrinsically connected to the Nation\u2019s mythic origins, the land itself. It started staging spectacular landscapes and epic historical episodes very early on in the western film, a descriptive label which was a mere adjective. Somewhat of a sui generis genre par excellence, the western creates its own idiosyncratic category and came to embody America\u2019s mythic past thanks to a body of specific film conventions. Its aesthetic, grammar and great motifs will be time and time again recycled, reworked on, reinvented ever since the release of the alleged first \u201cwestern\u201d ever, The Great Train Robbery, by Edwin Porter in 1903 to the later variations on a renovated set of conventions in Ed Harris\u2019 Appaloosa (2008), for instance. The ambiguous female figure in the movie forces the two sheriffs apart as it sowed the seeds of division in the family circle in John Ford\u2019s The Searchers (1956) for instance, causing the hero Nathan (John Wayne) to doubt his own convictions when trying to find his niece Debbie (Natalie Wood) abducted by Indians.
\n
\nCinema also chronicles major events in the history of the United States, feeding on its own cultural heritage and indefinitely reformatting its own myths on screen, as the Great Pacificator\u2019s in the numerous films about or starring Lincoln ever since the beginning of the twentieth century (D.W. Griffith\u2019s 1930 Abraham Lincoln starring John Huston, or John Ford\u2019s 1939 Young Mr Lincoln starring Henry Fonda, among others), or else the gangster figure, a depraved avatar of the urban modernity. It captures the great movements of the American Nation by orchestrating epic tableaux like Griffith\u2019s 1915 Birth of A Nation or Victor Fleming\u2019s 1939 Gone with the Wind and \u201cheritage films\u201d like Martin Scorsese\u2019s 1993 The Age of Innocence for example.
\n
\nThe papers of this workshop will explore some of the central aspects of this two-fold complex heritage. The proposals with their titles and short summaries should be sent out CONJOINTLY to:
\npaquet.deyris@yahoo.fr & gilles.menegaldo@univ-poitiers.fr<\/p>\n

<\/p>\n

Rappel\/ Reminder
\n
\nAteliers interdisciplinaires \/ Interdisciplinary Workshops <\/strong> <\/p>\n

– Shakespeare aux Etats-Unis : les paradoxes de l\u2019h\u00e9ritage \/
\nShakespeare in the United States: a paradoxical legacy
\nVincent Broqua (University Paris-Est Cr\u00e9teil) and Ronan Ludot-Vlasak (University Grenoble3)
\n(cet atelier figure d\u00e9j\u00e0 sous la rubrique Litt\u00e9rature, atelier 12. This workshop has already been listed under the heading Literature, workshop 12)<\/p>\n

– Entre h\u00e9ritage et testament : les paradoxes de la transmission h\u00e9r\u00e9ditaire dans la litt\u00e9rature et dans les arts \/
\nFrom Inheritance to Testament : The Paradoxes of Hereditary Transmission in Literature and the Arts
\nMathieu Duplay (Universit\u00e9 Paris Diderot \u2014 Paris 7)
\n(cet atelier figure d\u00e9j\u00e0 sous la rubrique Litt\u00e9rature, atelier 14. This workshop has already been listed under the heading Literature, Workshop 14)<\/p>\n

– Le combat anti-esclavagiste, 1765-1865 : \u00e9criture et histoire
\nThe Anti-slavery struggle, 1765-1865, History and the Written Word
\nArlette Frund (Universit\u00e9 Fran\u00e7ois Rabelais, Tours) et Marie-Jeanne Rossignol (Universit\u00e9 Paris Diderot)
\n(cet atelier figure d\u00e9j\u00e0 sous la rubrique Histoire et Civilisation, atelier 4. This workshop has already been listed under the heading History and Civilization, workshop )<\/p>\n

– Que faire, puisque nous n\u2019avons plus la terre en h\u00e9ritage?
\nIf we cannot inherit the earth, what next?
\nWendy Harding (Universit\u00e9 Toulouse-Le Mirail) et Jacky Martin (University Paul Val\u00e9ry, Montpellier)
\n(cet atelier figure d\u00e9j\u00e0 sous la rubrique Histoire et Civilisation, atelier 5. This workshop has already been listed under the heading History and Civilization, workshop 5)<\/p>\n

– L\u2019H\u00e9ritage esth\u00e9tique dans la litt\u00e9rature sino-am\u00e9ricaine
\nAesthetic Heritage in Chinese-American Literature
\nMarie-Claude Perrin-Chenour (Universit\u00e9 Paris-Ouest)
\n(cet atelier figure d\u00e9j\u00e0 sous la rubrique Litt\u00e9rature, atelier 18. This workshop has already been listed under the heading Literature, workshop 18)<\/p>\n

– Cultures et litt\u00e9ratures LGBTQ
\nLGBTQ Cultures and Literatures
\nH\u00e9l\u00e8ne Tison (Universit\u00e9 de Tours)
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