Mercredi 23 mai<\/p>\n
R\u00e9pondants <\/em>: Ren\u00e9 Alladaye (U. de Toulouse 2-Le Mirail), Brigitte F\u00e9lix (U. du Maine) et Diane Sabatier (U. de Perpignan)<\/p>\n Lieux<\/em> : salle Multi du d\u00e9partement d’\u00e9tudes hispaniques (b\u00e2timent Y, 2nd \u00e9tage) durant la journ\u00e9e et Amphi Y (b\u00e2timent Y, RDC) pour la r\u00e9union de 18h<\/p>\n – 10:00: Val\u00e9rie Rauzier, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claude Chastagner). – 10:30: Fran\u00e7ois Hugonnier, U. of Paris-Ouest Nanterre, France (supervisor: H\u00e9l\u00e8ne Aji). 11:00 Pause<\/em><\/p>\n – 11:30: Mary Boyington, U. of Provence, Aix-Marseille, France (supervisor: Annick Duperray). \u201cHenry James et Maupassant: modalit\u00e9s de l\u2019\u00e9tranget\u00e9.\u201d<\/p>\n 12:00 Discussion<\/em><\/p>\n 12:30 D\u00e9jeuner<\/em><\/p>\n – 14:30: Joey Mass\u00e9, U. of La R\u00e9union \/ U. of Poitiers, France (supervisors: Eileen Williams-Wanquet and Liliane Louvel). – 15:00: Ferdous Grama, U. Paul Val\u00e9ry, Montpellier, France \/ U. of Constantine, Algeria (supervisors: Claudine Raynaud and Nasr Eddine Megherbi). 15:30 Pause<\/em><\/p>\n – 16:00: Souleymane Ba, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claudine Raynaud). 16:30 Discussion<\/em><\/p>\n – 18:00 Arnaud Roujou de Boub\u00e9e (Fulbright \/ French American Commission) : Bourses et soutien \u00e0 la recherche \/ Fellowships and support for researchers.<\/p>\n Val\u00e9rie Rauzier, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claude Chastagner).<\/strong> Ce travail porte sur l’art de deux Ame\u0301ricaines: Diamanda Galas et Kathy Acker et tout particulie\u0300rement sur la place centrale du corps dans leurs travaux. En effet, bien que leur supports soient tre\u0300s diffe\u0301rents (l’une est pianiste et chanteuse, l’autre e\u0301tait e\u0301crivaine), toutes deux utilisent le corps comme sce\u0300ne the\u0301\u00e2trale, le lieu ultime d’une mise en sce\u0300ne, d’une auto- repre\u0301sentation et de l’expression propre d’un sujet affranchi. Il s’agit alors d’une prise de pouvoir d’un sujet authentique.<\/p>\n Le corps devient aussi are\u0300ne, lieu de sacrifice ou\u0300 se re\u0301ve\u0300le la ve\u0301rite\u0301: celle du corps alie\u0301ne\u0301, objectifie\u0301. Elles mettent en e\u0301vidence les limites qui lui sont impose\u0301es, les techniques et strate\u0301gies d’oppression du discours dominant.<\/p>\n A l’issue de ces de\u0301nonciations, le un corps devient champ de bataille, ou\u0300 elles appellent a\u0300 la re\u0301bellion. Une subversion ne\u0301cessairement organique, manifestement visce\u0301rale de l’ordre e\u0301tabli s’instaure en contre-pouvoir et pr\u00f4ne une de\u0301colonisation du corps.<\/p>\n Toutes deux interpre\u0300tent, e\u0301crivent et re\u0301e\u0301crivent, re\u0301ve\u0300lent, de fa\u00e7on re\u0301ciproque mais e\u0301galement re\u0301fle\u0301chie. L’expe\u0301rience de l’audience est e\u0301minemment et parfois violemment physique elle aussi, inscrite profonde\u0301ment dans les corps. Leur oeuvre est incarne\u0301e d’un e\u0301lan expe\u0301rimentaliste par lequel elles de\u0301construisent et rede\u0301construisent les diverses structures de pouvoir.<\/p>\n Les proble\u0300mes et questions que j’ai rencontre\u0301es jusqu’ici sont d’ordre essentiellement me\u0301thodologique. L’aspect interdisciplinaire du sujet (e\u0301tudes culturelles, artistiques -the\u0301\u00e2tre, musique, litte\u0301rature- musicologie, the\u0301orie queer et fe\u0301ministe) ne facilite en rien mon travail. De plus les sources secondaires sur les travaux de ces artistes sont assez rares. Fran\u00e7ois Hugonnier, U. of Paris-Ouest Nanterre, France (supervisor: H\u00e9l\u00e8ne Aji).<\/strong> Je r\u00e9dige actuellement la premi\u00e8re partie de mon Doctorat sous la direction d\u2019H\u00e9l\u00e8ne Aji. Le titre que nous avions originalement choisi, et qui sera peut-\u00eatre modifi\u00e9 \u00e0 l\u2019issue de la r\u00e9daction, \u00e9tait \u00ab Les interdits de la repr\u00e9sentation dans les \u0153uvres de Paul Auster et Jerome Rothenberg \u00bb. Mes recherches portent sur l\u2019\u00e9criture diasporique juive-am\u00e9ricaine de Paul Auster et Jerome Rothenberg, deux \u00e9crivains s\u00e9culiers qui ont exploit\u00e9 en profondeur \u2014 et tent\u00e9 de repousser \u2014 les possibilit\u00e9s de repr\u00e9sentations et de t\u00e9moignage offertes par le langage, sous des formes tr\u00e8s diverses : po\u00e9sie, essai, happening, commentaire en prose, anthologie et fiction.<\/p>\n Bien que leurs \u0153uvres et leurs carri\u00e8res soient diff\u00e9rentes, les motivations qui animent leur activit\u00e9 d\u2019\u00e9criture sont similaires. L\u2019un milite pour les formes linguistiques et po\u00e9tiques avant-gardistes \u00ab en dehors de la litt\u00e9rature \u00bb, l\u2019autre est largement \u00e9tabli dans le \u00ab mainstream \u00bb, bien que d\u2019une fa\u00e7on originale et novatrice. Pr\u00e9cisions encore que ni l\u2019un ni l\u2019autre ne rejette le \u00ab mainstream \u00bb (Rothenberg l\u2019affirme lors de sa d\u00e9finition d\u2019\u00ab outsider poetry \u00bb). La c\u00e9l\u00e8bre formule de Marina Tsvetayeva leur sert de point d\u2019ancrage : \u00ab All poets are jews \u00bb (ce qui signifie \u00e9galement \u00ab All poets are not Jews \u00bb, ajoute Rothenberg). [[Par exemple, Auster et Rothenberg parodient la travers\u00e9e des grands espaces et de la \u00ab wilderness \u00bb am\u00e9ricaine. Leur vision de l\u2019Am\u00e9rique s\u2019inscrit par ailleurs dans l\u2019h\u00e9ritage de Franz Kafka (Amerika). Leur engagement politique et artistique militant est marqu\u00e9 au d\u00e9part par les mouvements de contestation contre la guerre du Vietnam. 1968 est une date marquante pour ces deux \u00e9crivains New-Yorkais d\u2019origine. Nous esp\u00e9rons aboutir \u00e0 une d\u00e9finition de leur \u00e9criture juive-am\u00e9ricaine dans la troisi\u00e8me partie de la th\u00e8se.]]Auster et Rothenberg recherchent un langage nouveau issu d\u2019un h\u00e9ritage juif europ\u00e9en et d\u2019un h\u00e9ritage am\u00e9ricain repoussant les limites du dicible et de la repr\u00e9sentation, reformulant les questionnements identitaires et laissant une place importante \u00e0 l\u2019imagination afin de parvenir \u00e0 un t\u00e9moignage \u00ab plus complet \u00bb. Tous deux invit\u00e9s \u00e0 t\u00e9moigner lors de la conf\u00e9rence \u00ab Secular Jewish Culture \/ Radical Poetic Practice \u00bb mod\u00e9r\u00e9e par Charles Bernstein \u00e0 New York en 2004, ils offrent une vision compl\u00e9mentaire et repr\u00e9sentative d\u2019un mouvement radical juif am\u00e9ricain qui milite pour la reconnaissance des formes linguistiques \u00e9voluant en dehors des techniques r\u00e9f\u00e9rentielles les plus reconnues. Leurs investigations philosophiques, po\u00e9tiques et linguistiques sont en grande partie h\u00e9rit\u00e9es de leurs filiations intellectuelles et artistiques juives, exp\u00e9riment\u00e9es et affin\u00e9es lors de leurs travaux de recherches m\u00e9moriels et ancestraux (hommage, m\u00e9moire, anthologie, midrash<\/em>, r\u00e9\u00e9criture, etc.).<\/p>\n Dans la premi\u00e8re partie de ma th\u00e8se, je traite des repr\u00e9sentations de l\u2019\u00e9crivain comme passeur et travailleur solitaire ali\u00e9n\u00e9, qu\u2019Edmond Jab\u00e8s et Paul Celan, leurs influences communes et premi\u00e8res, reconnaissent \u00e9galement comme analogique \u00e0 la condition juive. Les liens entre l\u2019errance diasporique et l\u2019histoire de la cr\u00e9ation des Etats-Unis y sont \u00e9galement abord\u00e9s. Auster et Rothenberg ont effectu\u00e9 les premiers pas de leur parcours d\u2019\u00e9crivains juifs-am\u00e9ricains en tant que commentateurs, intervieweurs et traducteurs des \u00e9crivains de la diaspora (Celan, Jab\u00e8s, Reznikoff, Oppen, etc.).[[Un premier r\u00e9sultat de cet aspect de mes recherches a \u00e9t\u00e9 publi\u00e9 dans \u00ab Diaspora Re-writing in the Works of Secular Jewish-American Writers Paul Auster and Jerome Rothenberg \u00bb (in Hyphen, Special Number on Diaspora Writing Across the World, Shimla, India, 2011).]] Auster et Rothenberg ont ainsi confront\u00e9 leurs aspirations \u00e0 celles de ces \u00e9crivains de l\u2019indicible pour forger leur propre syst\u00e8me s\u00e9miotique, afin de parvenir \u00e0 d\u00e9fier les interdits de la repr\u00e9sentation et d\u00e9passer les limites du langage. Arrivant bient\u00f4t au terme de ma premi\u00e8re partie, je m\u2019appr\u00eate \u00e0 r\u00e9diger une derni\u00e8re sous-partie sur l\u2019indicible mystique, qui est \u00e0 distinguer de l\u2019indicible traumatique, et dont l\u2019exp\u00e9rimentation est pour Auster et Rothenberg une \u00e9tape importante vers l\u2019expression de l\u2019inexprimable, symbolis\u00e9e notamment par le nom impronon\u00e7able de YHWH. Ces \u00e9crivains sont fascin\u00e9s par l\u2019acte de nommer, qui est lui-m\u00eame \u00e0 l\u2019origine de l\u2019activit\u00e9 po\u00e9tique. <\/p>\n Paul Auster et Jerome Rothenberg sont des \u00e9crivains d\u2019apr\u00e8s Auschwitz, Hiroshima et le 11 Septembre. C\u2019est l\u00e0 que s\u2019articule le deuxi\u00e8me grand axe de ma th\u00e8se, dont j\u2019ai propos\u00e9 un premier r\u00e9sultat scientifique lors du colloque international \u00ab Perspectives on 9\/11 \u00bb,[[\u00ab\u00a0Traumatisme et \u00e9criture du d\u00e9sastre dans Man in the Dark de Paul Auster\u00a0\u00bb (Universit\u00e9 Aix-Marseille \/ UQAM, octobre 2010).]] et dont j\u2019aborderai un autre aspect, sp\u00e9cifiquement dans l\u2019\u0153uvre de Rothenberg cette fois, lors du Congr\u00e8s de l\u2019AFEA 2012 (atelier \u00ab H\u00e9ritages Modernistes \u00bb avec Axel Nesme et Isabelle Alfandary). Pour reprendre deux termes clefs de Maurice Blanchot, Auster et Rothenberg sont des \u00e9crivains du \u00ab d\u00e9sastre <\/em>\u00bb et leurs techniques de \u00ab d\u00e9tour \u00bb <\/em>pour re-pr\u00e9senter l\u2019\u00e9v\u00e9nement traumatique sont singuli\u00e8res (le traumatisme sera abord\u00e9 dans les champs linguistique, philosophique, psychanalytique et litt\u00e9raire). Dans la compilation Triptych <\/em>(2007), Rothenberg donne d\u2019abord voix \u00e0 ses anc\u00eatres fantasm\u00e9s de Pologne ainsi qu\u2019aux Indiens d\u2019Am\u00e9rique (Poland\/1931<\/em> [1974]), puis aux t\u00e9moins int\u00e9graux, ceux qui n\u2019ont pas pu parler lors du d\u00e9sastre de la Shoah, terme pr\u00e9f\u00e9rable \u00e0 Holocauste mais inad\u00e9quat pour Rothenberg qui le renomme Khurbn<\/em> (1989), signifiant \u00ab d\u00e9sastre \u00bb ou \u00ab destruction \u00bb en Yiddish. Dans le dernier volet The Burning Babe<\/em> (2006), Rothenberg t\u00e9moigne enfin des attentats du 11 septembre dont il fut l\u2019un des t\u00e9moins direct. Se d\u00e9marquant de l\u2019\u0153uvre de Charles Reznikoff, comme il me l\u2019a sp\u00e9cifi\u00e9 lors de notre entrevue, Rothenberg produit des po\u00e8mes alternant entre t\u00e9moignage brut et imagination, avec une grande libert\u00e9 sp\u00e9culative (illustr\u00e9e par l\u2019utilisation de la gematria<\/em>, proc\u00e9d\u00e9 d\u2019association po\u00e9tique num\u00e9rologique inspir\u00e9 des kabbalistes).<\/p>\n Reconnaissant la couverture du New Yorker<\/em> r\u00e9alis\u00e9e par Art Spiegelman (2001) comme un chef d\u2019\u0153uvre de l\u2019anti-repr\u00e9sentation, Paul Auster d\u00e9crit bri\u00e8vement la chute des tours comme \u00e9tant la re-pr\u00e9sentation<\/em> (ou autrement dit, la d\u00e9localisation<\/em>) des \u00e9v\u00e9nements de la Shoah, dont il a insist\u00e9 sur le caract\u00e8re indicible dans son \u0153uvre de jeunesse (po\u00e9sie, essais sur Reznikoff, Jab\u00e8s, Celan, Oppen, et son m\u00e9moire The Invention of Solitude <\/em>[1982]) : \u00ab in the fire and smoke of three thousand incinerated bodies, a holocaust was visited upon us \u00bb (Collected Prose<\/em>, 2003). Cette phrase est d\u2019ailleurs r\u00e9p\u00e9t\u00e9e exactement mot pour mot, bien que de fa\u00e7on elliptique, lors de la conclusion du roman The Brooklyn Follies <\/em>(2005). Dans Oracle Night <\/em>(2004), on remarque le m\u00eame tarissement du discours lorsque la voix narrative du r\u00e9cit dans le r\u00e9cit se trouve enferm\u00e9e avec son personnage principal dans un abri antiatomique. Ni Paul Auster, ni ses personnages de fiction ne s\u2019attardent \u00e0 d\u00e9crire l\u2019\u00e9v\u00e9nement traumatique, mais celui-ci est pourtant le moteur sous-jacent de l\u2019ensemble de son \u0153uvre post-11 septembre. Auster a recours \u00e0 des d\u00e9tours m\u00e9taphoriques, linguistiques et m\u00eame uchroniques pour d\u00e9fier les limites du langage. Dans son essai sur Reznikoff, Auster d\u00e9plorait l\u2019impossibilit\u00e9 de t\u00e9moigner directement des \u00e9v\u00e9nements indicibles d\u2019Auschwitz. Dans ses romans posant souvent la question de la th\u00e9odic\u00e9e (In the Country of Last Things<\/em>, Oracle Night<\/em>), le langage devient vecteur d\u2019un contenu r\u00e9f\u00e9rentiel en dehors du langage et de la repr\u00e9sentation, mettant en doute la validit\u00e9 du mat\u00e9riau linguistique et de la relation arbitraire et peu fiable entre signe linguistique et objet. J\u2019ai abord\u00e9 ce ph\u00e9nom\u00e8ne en d\u00e9tail dans le chapitre \u00ab Speaking the Unspeakbale: Auster\u2019s Semeotic World \u00bb [[The Invention of Illusions: International Perspectives on Paul Auster<\/em>, ed. Stefania Ciocia and Jes\u00fas A. Gonz\u00e1lez, Newcastle: Cambridge Scholars Publishing, 2011, (Chapter 12), 259-287.]] ainsi que lors de mon intervention sur \u00ab L\u2019artiste faussaire et la cr\u00e9ation du r\u00e9el : The Brooklyn Follies<\/em> de Paul Auster \u00bb dans le cadre du congr\u00e8s de l\u2019AFEA 2011.<\/p>\n La difficult\u00e9 principale que je rencontre est une impression de retenue de l\u2019\u00e9criture due au risque d\u2019anticipation sur certaines id\u00e9es pr\u00e9vues pour \u00eatre trait\u00e9es ult\u00e9rieurement dans le d\u00e9veloppement. Cela me procure paradoxalement l\u2019alternance d\u2019un sentiment de coh\u00e9sion de la probl\u00e9matique globale et de doutes profonds sur la validit\u00e9 de mon plan d\u00e9taill\u00e9. Ce probl\u00e8me semble \u00eatre li\u00e9 au fait que la v\u00e9ritable conceptualisation, le r\u00e9sultat concret de la recherche, n\u2019arrive qu\u2019au fil de l\u2019\u00e9criture. Les conclusions provisoires participent \u00e0 une vision d\u2019ensemble et s\u2019acheminent pas \u00e0 pas vers une r\u00e9ponse plurielle et mouvante aux questions pos\u00e9es initialement. Mon travail porte sur des \u00e9crivains qui placent le questionnement au c\u0153ur de l\u2019acticit\u00e9 d\u2019\u00e9criture et de leur esth\u00e9tique. Par cons\u00e9quent, il m\u2019est parfois difficile, \u00e0 mon tour, d\u2019obtenir d\u2019autre r\u00e9sultat qu\u2019une question. Mais n\u2019est-ce-pas l\u00e0, et en dehors de tout particularisme, un aspect universel de la recherche litt\u00e9raire ?<\/p>\n Mary Boyington, U. of Provence, Aix-Marseille, France (supervisor:Annick Duperray). \u201cHenry James et Maupassant: modalit\u00e9s de l\u2019\u00e9tranget\u00e9.\u201d<\/strong><\/p>\n This dissertation analyses the uncanny in the tales of Henry James and Guy de Maupassant and the critical reception of Maupassant by James. It became increasingly clear that Henry James was an ideal choice to study in conjunction with the uncanny. James\u2019s realistic ghost tales give the reader unlimited possibilities for interpretation. The literary corpus concentrates on the ghost tales, published after 1890, and include The Turn of the Screw<\/em>, Sir Edmund Orme<\/em>, Owen Wingrave<\/em>, The Friends of Friends<\/em>, and the Jolly Corner<\/em>. James himself described the psychological elements of his supernatural tales as the \u201cstrange and sinister embroidered on the very type of the normal and easy\u201d and these elements tie directly into Freuds theory of the uncanny being rooted in what is familiar and \u201chomely\u201d. <\/p>\n After deciding on Henry James, working with not only his works of fiction, I began to explore the volumes of critical essays and literary criticism written by the author. He painstakingly wrote volumes on his contemporaries, colleagues, and literary influences. Although his main focus on his French counterparts were celebrated novelists, James does write of Maupassant\u2019s mastery of the short story. Although James does not analyze Maupassant\u2019s contes fantastiques<\/em> directly, we can use the essays and writings in Literary Criticism<\/em> (Vol. II), The Art of Fiction<\/em>, the essay Guy de Maupassant,<\/em> and the preface to the English translation of the Odd Number<\/em> to establish James\u2019 critical reception of Maupassant and the subsequent manifestations of this French influence on the uncanny elements of his ghost tales. I will further explore how these tales developed following the publications of Maupassant\u2019s tales Le Horla<\/em>, Qui sait<\/em>, and Lui<\/em>, as these works gave precedent to the uncanny elements in James\u2019s ghost tales. <\/p>\n This dissertation is organized into three sections: establishing the uncanny in relation to fantastic \/supernatural nineteenth-century literature; literary criticism and critical reception of Maupassant by James; analysis of tales and demonstration of influential elements of the uncanny. Critical elements will include an analysis of the literary genre to which these tales belong and a psychoanalytical approach to literary analysis as well as reception studies. I will use not only Freud\u2019s essay on the uncanny, subsequent writings on Freud, along with other literary criticism on fantastic literature, and most importantly James\u2019s writings on Maupassant.<\/p>\n I feel this dissertation will make a significant contribution to the academy and will bring a new perspective to current scholarly publications in the area of James studies and in comparative literature.<\/p>\n Joey Mass\u00e9, U. of La R\u00e9union \/ U. of Poitiers, France (supervisors: Eileen Williams-Wanquet and Liliane Louvel).<\/strong> My PhD project is currently entitled: \u201cThe relationship between text and image in the works of Siri Hustvedt.\u201d The corpus consists of five novels: The Blindfold<\/em> (1992), The Enchantment of Lily Dahl <\/em>(1996), What I loved<\/em> (2003), Sorrows of an American<\/em> (2007) and A Summer Without Men<\/em> (2011). Siri Hustvedt is an American writer of Norwegian origin. She has lived in New York City for the past thirty years. Since the 1980s, Siri Hustvedt has had a rich literary career, writing poetry, novels and collections of essays. She is very interested in psychoanalysis and neuroscience. In her works of fiction, one cannot help but notice the importance given to the notions of identity, memory and imagination. Moreover, art seems to impregnate most of her works. Indeed, the narrative is often set in the New York art world and the author introduces descriptions of works of art in her novels.<\/p>\n The purpose of my research is to study the strong presence of the visual in Siri Hustvedt\u2019s fiction. Her stories are saturated with vivid and lively descriptions of paintings, photographs and art exhibitions. These literary descriptions of visual works, called ekphrasis,<\/em> seem to be central to the novels\u2019 plots. This research examines the function of the introduction of images in a literary text and questions the impact of this event on the reader\/viewer\u2019s mind. This study will deal with art and identity or how the descriptions of works of art contribute to characterization. Indeed, art in various forms does not appear as a mere object of contemplation \u2014 the characters face the works of art in a violent and direct way, thus revealing complex psyches. <\/p>\n This research aims at a thorough study of Siri Hustvedt\u2019s works of fiction, which has not been undertaken in France so far. What is more, it could also contribute to the development of intermedial studies. I will make use of the works of Liliane Louvel L\u2019\u0153il du texte<\/em>. Texte et image dans la litt\u00e9rature de langue anglaise<\/em> (1998) Texte et Image. Images \u00e0 lire, textes \u00e0 voir<\/em> (2002) et Le Tiers Pictural. Pour une critique interm\u00e9diale<\/em> (2010) as a theoretical and critical method to analyze the function of the image in a literary text, its various modes of insertion as well as its effects on the reader\/viewer. Using the research work done during my master\u2019s degree on The Blindfold<\/em>, I will resort to a number of methods and theories of art history, such as Erwin Panofsky\u2019s iconographic analysis and Charles Sanders Peirce\u2019s modern theory of signs. I will also be using the theories of poststructuralist and postmodern philosophers, such as Jacques Derrida, Gilles Deleuze and Cl\u00e9ment Rosset for my analysis of perception and reality. Finally, I will refer to the works of Susan Sontag, Roland Barthes and Philippe Dubois for the study of the photographs in the novels, focusing on the theories of portrait photography and its reception.<\/p>\n After a brief summary of my research, I intend to explain its progress and the results obtained so far. Then, I propose to present some of the methodological issues that I am concerned with such as the need to elaborate a more precise research question as well as how to organize a thesis plan.<\/p>\n Ferdous Grama, U. Paul Val\u00e9ry, Montpellier, France \/ U. of Constantine, Algeria (supervisors: Claudine Raynaud and Nasr Eddine Megherbi). <\/strong> Alice Walker defines herself in the subtitle of one of her collections as an activist writer (Anything We Love Can Be Saved. A Writer\u2019s Activism <\/em>[1997]) while she plays down her militant involvement in the Mississippi Civil Rights Movement. One of the main figures of the African American literary scene and Black American feminism through her conception of \u201cwomanism\u201d and her writings (\u201cAdvancing Luna and Ida B. Wells\u201d [1982]), Alice Walker is a controversial political writer whose poetic and novelistic writings are related to her often autobiographical essays \u2014\u201cIn Search of Our Mother\u2019s Gardens\u201d (1984), \u201cLiving by the Word\u201d (1988), and \u201cAnything We Love Can Be Saved\u201d (1997)\u2014and public interventions in the struggles of the African American minority and the feminist fight.<\/p>\n My thesis will first examine Alice Walker\u2019s novel Meridian<\/em> that was published in 1976. It portrays the struggle of black women against sexism and racism and their quest for self-identity, a theme discussed in her essay \u201cThe Civil Rights Movement, What Good Was It?\u201d (1967). Set in the 1960\u2019s and the 1970\u2019s, Meridian<\/em> tells the story of Meridian Hill, a young drop out coming of age in the boiling sixties and her involvement in the Civil Rights Movement in the South. It is a novel that asserts the movement\u2019s vision of freedom and nonviolence by bringing constantly to the fore questions of political significance as it examines the meanings, methods and goals of revolutionary actions. Walker transposes in this work some of her own personal experiences as an activist in the Civil Rights Movement and also stages most of questions that relate to black History and the role of African American women as activists and artists. Clearly, Walker has drawn upon important elements of her own life for the novel, sometimes paralleling them, sometimes inverting them. I will try to investigate the links between the writing of black History and the aesthetics developed to put forward what Walker defines as \u201cspiritual survival\u201d. <\/p>\n The development of a Black American feminism in the 1970\u2019s, regional registration (the South), the centrality of The Color Purple<\/em> (1982) where Walker denounces patriarchal black culture, the claim for a matrilineal heritage (Zora Neale Hurston), the struggle against female genital mutilation (The Temple of<\/em> My Familiar<\/em> [1989], Possessing the Secret of Joy<\/em> [1992], By The Light of My Father\u2019s Smile<\/em> [1998], Warrior Marks<\/em> [1993]), the quest for identity and Walker\u2019s final phase that many define as philosophical \u201cNew Age\u201d will be the milestones of this analysis that is marked by controversy. If the relationship between the autobiographical and the other genres (novel, poetry and essay) constitutes the hallmark of Walker\u2019s literary work, it is then important to define the links between politics and aesthetics. What are the implications of this interaction on the notion of \u2018author\u2019, the figure of the writer, the place given to the reader? What incursions does Walker\u2019s literary work ultimately perform into the black feminist discourse? In short, what is at stake in Walker\u2019s concept of \u201cthe black revolutionary artist\u201d in its relationship to her craft as poet and novelist?. Finally, what is the purpose from writing Meridian<\/em>? How does Walker, as a feminist black writer, deal with the trauma of the black community through her novel?<\/p>\n Souleymane Ba, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claudine Raynaud).<\/strong> In an article that was published, a year after Barack Obama\u2019s election, under the title \u201cThe Year of Living Post-Racially\u201d (2009), Colson Whitehead ironically discusses the meaning of race in the mainstream American literature, popular culture, and politics. In this article, Whitehead presents himself as a candidate for the position of a \u201cpost-racial czar.\u201d Indeed, about his potential artistic mission, he postulates the changes he would like to make: \u201cAnd literature? Take Beloved, the Pulitzer Prize-winning novel by Toni Morrison [\u2026] Let us improve Ms. Morrison\u2019s timeless classic. We keep the name \u2014 it\u2019s so totally, invitingly post-racial \u2014 but make the eponymous ghost more Casper-like. Without making her Casper-looking. That would totally change the aesthetic intent of the book\u201d (Whitehead, The New York Times, 2009). The question \u201cis Colson Whitehead Post-racial in his aesthetics?\u201d constitutes to some extent a problematic with regard to the tradition of African American literature in the sense that from the slave narratives to the Black Arts aesthetics with a detour through the Harlem Renaissance movement, this literary tradition presents Art as a form of propaganda, a device to fight racism, deconstruct white supremacy, and advance a positive portrayal of the black character. <\/p>\n Yet, Whitehead seems to have a different standpoint on the role of literature in society and the role of the novelist in his community far from what the Harlem Renaissance and Black Arts Movement writers claim. Whitehead\u2019s writing is often described as not carrying the burden of that canonically racial consciousness or protest. John Updike notes from Colson Whitehead\u2019s novels that his black characters are not like Richard Wright\u2019s or Ralph Ellison\u2019s characters who are over-burdened by the racial struggles (Updike, Due Considerations, 258). <\/p>\n In Sag Harbor (2010), the plot evolves around a Black middle-class family that has a big house in the heart of Manhattan; they send their kids to a private language immersion school where French professors teach them; they go to Sag Harbor island for their summer vacations. And Zone One (2011) presents a post-apocalyptic world infected by zombies. Racism and racial prejudices are temporarily inexistent. Therefore these two plots are not built around the racial identity quest motif.<\/p>\n Such a lack of activism in Whitehead\u2019s novels is viewed by Kenneth Warren as a sign of class difference and a form of individual identity formation that does not identify with the community (What Was African American Literature? 2011, 110). Bernard Bell also comes to the same conclusion in his book, The Contemporary African American Novel (2004) that links Whitehead to the group of the New Black Aesthetics (NBA). <\/p>\n So in this following analysis a particular attention will be devoted to showing what does Whitehead have in common with this burgeoning NBA initiated by Trey Ellis (The New Black Aesthetics, 2008)? In what terms is Whitehead\u2019s writing post-racial? The analysis of two master tropes: satire and signifying will show the Whitehead\u2019s take on canonical texts and critical issues in the tradition, like passing, heroism, naming, etc.<\/p>\n","protected":false},"excerpt":{"rendered":" Mercredi 23 mai<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[49],"tags":[],"class_list":["post-327","post","type-post","status-publish","format-standard","hentry","category-doctoriales-2012"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"cremieux","author_link":"https:\/\/afea.fr\/annualconference\/author\/cremieux\/"},"uagb_comment_info":0,"uagb_excerpt":"Mercredi 23 mai","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/327"}],"collection":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/comments?post=327"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/327\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/media?parent=327"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/categories?post=327"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/tags?post=327"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nOrganisateurs <\/em>: Fran\u00e7oise Palleau (U. Paris Nord-13) & Fran\u00e7ois Specq (ENS de Lyon)<\/p>\nPROGRAMME <\/h2>\n
\n\u201cDiamanda Gal\u00e0s et Kathy Acker: Les Artistes Objectent.\u201d<\/p>\n
\n\u201cLes interdits de la repr\u00e9sentation dans les \u0153uvres de Paul Auster et Jerome Rothenberg.\u201d <\/p>\n
\n\u201cThe Relationship Between Text and Image in the Works of Siri Hustvedt.\u201d<\/p>\n
\n\u201cAlice Walker, An Activist Writer.\u201d <\/p>\n
\n\u201cColson Whitehead: vers une \u00e9criture post-raciale?\u201d <\/p>\nABSTRACTS<\/h2>\n
\n\u201cDiamanda Gal\u00e0s et Kathy Acker: Les Artistes Objectent.\u201d<\/strong><\/p>\n
\nJ’espe\u0300re pouvoir lors des doctoriales trouver inspiration, e\u0301change, et de possibles collaborations et ainsi palier l’isolation.<\/p>\n
\n\u201cLes interdits de la repr\u00e9sentation dans les \u0153uvres de Paul Auster et Jerome Rothenberg.\u201d <\/strong><\/p>\n
\nMy initial research for this dissertation had centered on nineteenth century American tales and how the development of the French conte fantastique<\/em> evolved in comparison. The original project was entirely too vast and could not adequately analyze the trans-Atlantic connections between authors and the common influences on their supernatural tales in one disseration. Through further analysis, I came to focus on the uncanny (inquietante \u00e9tranget\u00e9<\/em>) and its development during the nineteenth century, leading up to Fred\u2019s essay The Uncanny<\/em> in 1919, and on finding the right duo of authors to examine.<\/p>\n
\n\u201cThe Relationship Between Text and Image in the Works of Siri Hustvedt.\u201d<\/strong><\/p>\n
\n\u201cAlice Walker, An Activist Writer.\u201d <\/strong><\/p>\n
\n\u201cColson Whitehead: vers une \u00e9criture post-raciale?\u201d <\/strong><\/p>\n