{"id":333,"date":"2012-06-20T12:31:52","date_gmt":"2012-06-20T12:31:52","guid":{"rendered":"http:\/\/localhost\/annualconference\/french-association-for-american-studies\/afea-conference\/previous-graduate-student-symposiums\/2012-graduate-student-symposium\/333\/"},"modified":"2012-06-20T12:31:52","modified_gmt":"2012-06-20T12:31:52","slug":"2012-graduate-student-symposium","status":"publish","type":"post","link":"https:\/\/afea.fr\/annualconference\/french-association-for-american-studies\/afea-conference\/previous-graduate-student-symposiums\/2012-graduate-student-symposium\/333\/","title":{"rendered":"2012 Graduate Student Symposium"},"content":{"rendered":"

Wednesday, May 23
\n<\/strong><\/p>\n

Graduate Symposium in Literature<\/h2>\n

Organizers <\/em>: Fran\u00e7oise Palleau (U. Paris Nord-13) & Fran\u00e7ois Specq (ENS de Lyon)<\/p>\n

Respondents <\/em>: Ren\u00e9 Alladaye (U. de Toulouse 2-Le Mirail), Brigitte F\u00e9lix (U. du Maine) and Diane Sabatier (U. de Perpignan)<\/p>\n

Places<\/em> : “Multi” room of the LEA dept (Building Y, 3rd floor) during the day and Amphi Y (Building Y, Ground floor) at 6pm<\/p>\n

PROGRAM <\/h2>\n

– 10:00: Val\u00e9rie Rauzier, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claude Chastagner).
\n\u201cDiamanda Gal\u00e0s et Kathy Acker: Les Artistes Objectent.\u201d<\/p>\n

– 10:30: Fran\u00e7ois Hugonnier, U. of Paris-Ouest Nanterre, France (supervisor: H\u00e9l\u00e8ne Aji).
\n\u201cLes interdits de la repr\u00e9sentation dans les \u0153uvres de Paul Auster et Jerome Rothenberg.\u201d <\/p>\n

11:00 Coffee break<\/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 Lunch break<\/em><\/p>\n

– 14:30: Joey Mass\u00e9, U. of La R\u00e9union \/ U. of Poitiers, France (supervisors: Eileen Williams-Wanquet and Liliane Louvel).
\n\u201cThe Relationship Between Text and Image in the Works of Siri Hustvedt.\u201d<\/p>\n

– 15:00: Ferdous Grama, U. Paul Val\u00e9ry, Montpellier, France \/ U. of Constantine, Algeria (supervisors: Claudine Raynaud and Nasr Eddine Megherbi).
\n\u201cAlice Walker, An Activist Writer.\u201d <\/p>\n

15:30 Coffee break<\/em><\/p>\n

– 16:00: Souleymane Ba, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claudine Raynaud).
\n\u201cColson Whitehead: vers une \u00e9criture post-raciale?\u201d <\/p>\n

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

ABSTRACTS<\/h2>\n

Val\u00e9rie Rauzier, U. Paul Val\u00e9ry, Montpellier, France (supervisor: Claude Chastagner).<\/strong>
\n\u201cDiamanda Gal\u00e0s et Kathy Acker: Les Artistes Objectent.\u201d<\/strong><\/p>\n

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.
\nLe 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.
\nJ’espe\u0300re pouvoir lors des doctoriales trouver inspiration, e\u0301change, et de possibles collaborations et ainsi palier l’isolation.<\/p>\n

Fran\u00e7ois Hugonnier, U. of Paris-Ouest Nanterre, France (supervisor: H\u00e9l\u00e8ne Aji).<\/strong>
\n\u201cLes interdits de la repr\u00e9sentation dans les \u0153uvres de Paul Auster et Jerome Rothenberg.\u201d <\/strong><\/p>\n

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 Traumatisme et \u00e9criture du d\u00e9sastre dans Man in the Dark de Paul Auster \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.
\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.
\nIt 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>
\n\u201cThe Relationship Between Text and Image in the Works of Siri Hustvedt.\u201d<\/strong><\/p>\n

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>
\n\u201cAlice Walker, An Activist Writer.\u201d <\/strong><\/p>\n

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>
\n\u201cColson Whitehead: vers une \u00e9criture post-raciale?\u201d <\/strong><\/p>\n

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

\nGraduate Symposium in Civilization<\/h2>\n

Organizer: <\/em>Luc Benoit \u00e0 la Guillaume (Paris-Ouest Nanterre) <\/p>\n

Respondents<\/em>: Eliane Liddell (Perpignan Via Domitia) ; Jim Cohen (Paris 3-Sorbonne nouvelle) ; Mathilde Arriv\u00e9 (Montpellier 3-Paul Val\u00e9ry) ; Nathalie Caron (UPEC-Paris 12) ; Caroline Rolland-Diamond (Paris-Ouest Nanterre) ; Mark Meigs (Paris-Diderot-Paris 7)<\/p>\n

This graduate symposium is dedicated to Naomi Wulf, in memoriam<\/p>\n

Places<\/em>: “Multi” room of the LEA dept (Building Y, 3rd floor) during the day and Amphi Y (Building Y, Ground floor) at 6pm<\/p>\n

Local Contact for the Graduate Symposium<\/em>: Diane SABATIER<\/a><\/p>\n

PROGRAM <\/h2>\n

“Multi” room of the LEA dept (Building Y, 3rd floor)<\/strong><\/p>\n

9:15 Welcome and opening comments<\/em><\/p>\n

– 9:30-10:15 Workshop 1<\/strong>: Education since 1945<\/p>\n

Respondent<\/em>: Eliane Liddell (Perpignan Via Domitia) <\/p>\n

– Marion Pulce, \u00ab The use of racial criteria in American educational policy after the 2007 Supreme Court decision Parents v. Seattle \u00bb (Lyon II)
\n– Laurie B\u00e9reau, \u00ab ‘Crisis in Education’ : the debate on education in the United States after 1945 \u00bb (Strasbourg) <\/p>\n

10:15-10:45 Discussion <\/p>\n

10:45-11:00 Coffee break<\/em><\/p>\n

– 11:00-12:00 Workshop 2<\/strong>: Race, ethnicity and religion<\/p>\n

Respondent<\/em>: Jim Cohen (Paris 3-Sorbonne nouvelle)
\n– Nicolas Martin-Breteau, \u00ab Sports in the long civil rights movement : 1890s 1960s \u00bb (Paris, EHESS)
\n– C\u00f4me Perotin, \u00ab Studying an insular community in New York City : primary sources and independence with the Hasidic Jewish community in Williamsburg, Brooklyn \u00bb (Paris 8)<\/p>\n

12:00-12:30 Discussion<\/p>\n

12:30-14:30 Lunch<\/em><\/p>\n

-14:30-15:15 Workshop 3<\/strong>: Art and science<\/p>\n

Respondent: <\/em>Mathilde Arriv\u00e9 (Montpellier 3-Paul Val\u00e9ry)
\n– Ang\u00e9lique Quillay, \u00ab The Magic Lantern at the Institute of Pennsylvannia Hospital \u00bb (Paris Diderot-Paris 7)
\n– Cristelle Terroni, \u00ab Researching alternative spaces in the 1970s : the specificity of working on non-institutional entities \u00bb (Lyon 2)<\/p>\n

15:15-15:45 Discussion<\/p>\n

15:45-16:00 Coffee break<\/em><\/p>\n

-16:00-16:45 Workshop 4<\/strong>: Louisiana before and after the Civil War <\/p>\n

Respondents<\/em>: Nathalie Caron (UPEC-Paris 12) & Caroline Rolland-Diamond (Paris-Ouest Nanterre)
\n– Mark Leon De Vries, \u00ab Political violence during Reconstruction in Louisiana’s Red River Valley \u00bb (Leiden, Netherlands)
\n– Andreas H\u00fcbner, \u00ab Off to Louisiana. Colonial Officers, ‘German’ settlers, and the making of the ‘c\u00f4te des allemands’, 1720-1820 \u00bb (Giessen, Germany)<\/p>\n

-16:45-17:30 Workshop 5<\/strong>: Political architecture<\/p>\n

Respondent<\/em>: Mark Meigs (Paris Diderot-Paris 7)
\n– David Assatiani, \u00ab Political architecture as a nation’s self-representation : the US capitol and the national Mall in Washington DC \u00bb (Hamburg, Germany)<\/p>\n

Amphi Y (Building Y, Ground floor)<\/strong><\/p>\n

18:00<\/strong>: Arnaud Roujou de Boubee (Fulbright\/ French American Commission): Bourses et soutien \u00e0 la recherche \/ Fellowships and support for researchers<\/p>\n

ABSTRACTS<\/h2>\n

Marion Pulce<\/strong><\/p>\n

The use of racial criteria in American educational policy after the 2007 Supreme Court decision Parents v. Seattle<\/strong><\/p>\n

In June 28, 2007, in Parents<\/em> Involved in Community Schools v. Seattle School District N\u00b01<\/em>, the US Supreme Court\u2014in a 5-4 decision\u2014struck down plans designed by the Seattle and the Jefferson County, Ky., school systems making use of the racial criterion in the assignment of students to their public schools. Through the particular case of Seattle, the overarching goal of my Ph.D. dissertation is to study the policymaking role of the Supreme Court: how a social issue becomes an object of litigation, how it is framed by the federal judiciary, through a decision which is not devoid of political implications, and then how a strict judicial norm is concretely implemented and in turn affects the American society.<\/p>\n

Moreover, the recent decision of the Supreme Court can be seen as part of a larger effort to dismantle the gains of the Civil Rights era. After decades of decisions that contained ambiguity as to the contours of desegregation law, for a few years and under the impulse of its conservative majority, the Court has been pushing to roll back racial equality policies (including affirmative action programs). Such manifest conservative judicial activism demonstrates how educational policymaking is increasingly shaped by the judiciary rather than the legislator\u2014all the more easily as the legislative and the executive seem to have abdicated their influence on desegregation policy to the courts since the 1970s.<\/p>\n

In my presentation, I will explain first why the educational public policies at stake were established in Seattle and how public dissatisfaction regarding those policies led to judiciarization. Indeed, as in many American cities, students in Seattle go to their neighborhood schools which are de facto<\/em> segregated. Thus, Seattle appears as a good example of how the recent Supreme Court decisions limiting rights under school desegregation law, along with structural factors such as residential segregation, have led to a wave of resegregation that has been sweeping the U.S. since the 1990s. In order to redress the situation and promote racial diversity, the Seattle School District adopted in 1998 a \u201cvoluntary plan\u201d which took into consideration the race of students\u2014among other criteria\u2014to assign them to the district\u2019s high schools so that the racial make-up of the student body in each high school would reflect that of the district as a whole. However, in 2001, a group of dissatisfied parents formed an association called Parents Involved in Community Schools (PICS) and sued the school district claiming that their children had been refused attendance to their preferred school because of their race and were thus victims of discrimination.<\/p>\n

The second part of my presentation will be devoted to the analysis of the Supreme Court decision declaring Seattle\u2019s plan unconstitutional, in order to show how it rests on the Constitution and on legal precedents but most importantly on an ideological principle\u2014colorblindness\u2014and two conflicting judicial philosophies (textualism versus pragmatism).<\/p>\n

Laurie B\u00e9reau<\/strong><\/p>\n

\u2018 Crisis in Education<\/em> <\/strong>\u2019 : The Debate on Education in the United States after 1945 <\/strong><\/p>\n

The notion of a \u201ccrisis in education\u201d in America is nowadays a staple of discussions about the state of the schools. It is regularly relayed by general interest media, which never fail to report on the decline of American children’s scores in international tests such as PISA or on the rampant mediocrity in the classrooms of the nations. <\/p>\n

It was not always so. To trace back the first manifestations of this discourse pattern, we will turn to the period of the long 1950s. <\/p>\n

In the aftermath of WW2, a debate on education emerged in the United States. It opposed the advocates of a return to the teaching of a core curriculum in schools to the followers of John Dewey’s educational progressivism and of modern pedagogy. While the term \u201ccrisis\u201d had been used before in relation to the financial and material issues in schools, it came to designate at the time a questioning of the very foundations of education in America. What should schools teach and how should it be taught? Were schools meant to favor the personal development of children or to prepare them as future full members of society?<\/p>\n

The Cold War context and the imperatives of the furious competition with the Soviet Union made these unresolved issues all the more critical. The stakes of the debate were raised, and matters of education made a matter of national security. <\/p>\n

This research project is set at the crossroads between a variety of fields: history of education but also cultural history, the history of ideas and semiotics. It aims at understanding the dynamics of the debate, while evaluating its impact in society. To draw up a plural perspective of the different shapes the debate took, this dissertation will be grounded in a varied set of primary sources reflecting the period in which they were written, among which presidential discourse, newspaper editorials, essays and monographs meant for people at large, general interest magazines such as Life<\/em>, and Hollywood films. All combined, those sources will enlighten the stakes of the debate and its repercussions.<\/p>\n

This project is not meant to be an assessment of the positions taken in the debate and to determine whether modern pedagogy and progressivism outperform a traditional approach and a core curriculum system. It is an attempt at understanding the positions of both sides, at tracing the dynamics of the debate, at uncovering its ideological dimension, and at considering its political repercussions. While most studies in history of education tend to treat that field as an isolated entity whose evolutions are only remotely connected to developments in society, this research project is set on recontextualizing questions of education and tracing the influence of greater societal forces on its dynamics. The debate on education of the 1950s serves as a rich object of study due to its pivotal dimension, addressing the unresolved issues inherited from the creation of a unified school system while paving the way for subsequent significant debates such as the culture wars. <\/p>\n

Nicolas Martin-Breteau<\/strong><\/p>\n

Sports in the long civil rights movement : 1890s 1960s<\/strong><\/p>\n

I would like to present some of the main results of my ongoing doctoral research on the meaning and role of sports in the long Civil rights movement, i.e., from the 1890s to the 1960s. My Ph.D. is focused on the African American communities of Washington, D.C., and Baltimore.<\/p>\n

Until today, sports has remained an overlooked facet of African Americans’ struggle for civil rights.
\nFew historians have taken this topic seriously. Yet, sport is of foremost importance to understand the
\ngenesis of this long-lasting effort toward political equality launched by black people in America.<\/p>\n

From the early 20th century, upper- and middle-class African Americans have consciously used
\nathletics as a means to \u201cuplift\u201d their whole \u201crace\u201d and to secure its social assimilation. In the
\nbroader context of the toughening of violence toward black people since the end of the Civil War
\nand the abolition of slavery, sport was aimed to reinforce the \u201ccharacter\u201d of the \u201crace\u201d by
\ndeveloping African American youth\u2019s discipline, courage, loyalty, team spirit, sportsmanship and
\nfair play. Educated in the best black high schools and colleges open to black people, these young
\ngentlemen and ladies were believed to be able to dismantle commonplace racist stereotypes on
\nAfrican Americans\u2019 alleged biological and moral inferiority.<\/p>\n

Thus, athletics was aimed to create \u201creal\u201d men and women, equal in value and manhood to their white fellow citizens. This education, based on the Greek precept of a sound mind in a sound body,
\nshould help young middle-class African Americans, once grown-ups, embody the image of race
\nmen and women, that is, of leaders whose moral duty was to uplift their entire racial group, and to
\nto secure its symbolic recognition, social assimilation, and civil rights.
\nMy presentation will present the first part of my Ph.D., that is, the ideology of the building of
\nbodily \u201ccharacter\u201d through sports, and the institutions\u2014like the high schools, the universities, the
\nYMCAs and YWCAs\u2014which promoted a wide range of educative programs to reach this political goal.<\/p>\n

More broadly, my presentation will explain the largely-shared opinion in the American society
\nbetween the 1890s and the 1960s stating that athletics was a means to promote equality, tolerance and
\ndemocracy. In other words, I will stress why athletics was (still is) situated at the very core of the
\n\u201cAmerican dream\u201d political mythology.<\/p>\n

C\u00f4me Perotin<\/strong><\/p>\n

Studying an insular community in New York City : primary sources and independence with the Hasidic Jewish community in Williamsburg, Brooklyn<\/strong><\/p>\n

I\u2019m currently a PhD candidate at the Institut Fran\u00e7ais de G\u00e9opolitique of Paris 8 University (IFG). My researches focuses on the Hasidic (Orthodox) Jewish community and the housing issues in Williamsburg, Brooklyn, NY from the 90\u2019s until nowadays. More generally, I\u2019m trying to consider these matters in the bigger context of the New-York\u2019s urban politics (and how to resist gentrification) and religious issues in the US. Following the recommendations of my advisor Fr\u00e9d\u00e9rick Douzet, I applied and got a Fulbright scholarship to do field work in New-York, as a visiting scholar at the City University of New-York (CUNY) Graduate Center for the years 2010\/2011. <\/p>\n

My approach is geopolitical, which means I study one territory \u201cWilliamsburg\u201d, the power rivalries that occurs on it, and the different strategies of the local stakeholders. That\u2019s why it was necessary to spend as much time as possible in the field, observing and conducting interviews. I was also looking for electoral, urban planning, and housing data that were not available from France. <\/p>\n

Having the Fulbright scholarship support was really helpful, but I was still confronted with several difficulties during my eleven months in New-York. Besides the obvious issues \u2013 finding a place to live in a very expensive city, interacting with bad skills in English -, my work was complicated because I was dealing with a very insular community that is does not welcome outsiders \u2013I\u2019m not Jewish-, especially not researchers. Most of the previous (sociological and anthropological) studies have been done with the blessing of the Rebbe, the religious leader of this community, by Jewish scholars. Moreover, housing in this neighborhood is a very hot (contemporary) topic with many political ties and fights. The local leaders, elected officials, and city agencies were sometimes reluctant to answer my questions or providing me with what I was looking for. <\/p>\n

The first part of my effort has consisted in being accepted by the Hasidic leadership, without asking for the Rebbe\u2019s blessing, and other local stakeholders by networking and showing my objectives and competences: I developed relationships with political operatives and finally worked for (and with) them. During that same year I also started questioning my objectivity and wonder how to use information given by people that trust me or which I collected data from, without their full consent, especially if it could do a disservice to them. <\/p>\n

Now that I\u2019m back in France and writing my PhD, I wonder firstly if I could have done a better job and how? With a blessing from the Rebbe? Secondly, I don\u2019t know what information I should use or not. I don\u2019t want to be at odds with the community whereas I would like to approach the subject differently. <\/p>\n

Ang\u00e9lique Quillay<\/strong><\/p>\n

\nThe Magic Lantern at the Institute of Pennsylvania Hospital <\/strong><\/p>\n

The magic lantern, precursor of today\u2019s slide projectors, was used to amuse
\nchildren or to instruct adults. During the 19th and early 20th century, most
\neducational, religious and social institutions had magic lanterns and a collection of
\nglass lantern slides. The Institute of Pennsylvania Hospital, opened in 1841 as the
\nPennsylvania Hospital for the Insane, retained its collection of old slides. They
\nwere saved, partly because of the institution\u2019s interest in history, but largely
\nbecause of the role that lantern slides played in the hospital\u2019s early treatment of
\nthe mentally ill. <\/p>\n

Beginning in 1843, Dr. Thomas Kirkbride, the hospital\u2019s superintending physician,
\nintroduced the magic lantern into his \u2018Evening Entertainments\u2019, a series of lectures
\nand concerts designed for the patients. Kirkbride\u2019s 1854 book, On the Construction, <\/em>
\nOrganisation, and General Arrangements of Hospitals for the Insane<\/em>, popularized the
\ndetails of his asylum philosophy. Kirkbride turned the therapeutic goals of \u2018moral
\ntreatment\u2019 into a practical plan of asylum management, and visitors came from all
\nover the world to see his model mental hospital. The institution was known for the
\nenvironment that it offered its patients : the lantern slide shows, the Museum with
\nits curiosities, the musical instruments in every ward, the ornamented walks of the
\nhospital and its deer park. <\/p>\n

By 1857, Dr. Kirkbride and his assistant physician Dr. Lee had developed an
\n\u2018Annual Course of Lectures and Evening Entertainments\u2019<\/em> consisting of 122 lectures
\nover a nine month period. A carefully worked out progression of travelogs was
\nrelieved by scientific demonstrations, concerts and literary evenings. The slide
\nshows began with views of the Hospital grounds and buildings, and familiar
\nPhiladelphia views, and returned in the final lectures to Philadelphia views and the
\ngrounds and friends of the Hospital. In between, the lectures took the audience to
\nWashington, Niagara Falls, New York, Paris, England, Ireland, Scotland, St
\nPetersburg & Moscow, Switzerland, Greece, India, Egypt and the Holy Land\u2026 <\/p>\n

Kirkbride\u2019s program of 1857, published with the hospital\u2019s Annual Report<\/em> of that
\nyear, constitutes an early organization of materials. This was the shape that magic
\nlantern shows would take in popular theaters and halls outside the hospital. <\/p>\n

I would like to comment on \u2018moral treatment\u2019 and choose a few series of images to
\ndo so, in particular The International Centennial Exposition <\/em>(1876) because the fair
\ntook place in Philadelphia. The development of Fairmount Park during the late
\n1860s threw a vast landscape with scenic drives near enough to the Hospital to be
\nenjoyed by patients. Wilson\u2019s firm produced over two thousand images of the
\nCentennial and one hundred were selected for the Hospital\u2019s needs. <\/p>\n

Then, I would like to put this part of my work in perspective and comment on the
\nstaging of scientific curiosities outside the hospital. <\/p>\n

Thomas Kirkbride died in 1883. Under the influence of neurology, the younger
\ngeneration of psychiatrists rejected moral treatment but the revival of interest in
\n\u2018milieu therapy\u2019 in the United States in the 1950s underlined the contributions
\nmade by Kirkbride in the field of psychiatry. <\/p>\n

Cristelle Terroni<\/strong><\/p>\n

Researching alternative spaces in the 1970s: the specificities of working on non-institutional entities. <\/strong><\/p>\n

What are the problems we as researchers face when confronted with the study of non-institutional entities? What are the solutions we can offer in response? These are the two questions I will answer through the development of one specific example: the study of alternative spaces in the 1970s in New York and Buffalo (N.Y.). [[Provisional title of my PhD thesis: The Status and Artistic Production of Alternative Spaces in New York and Buffalo, 1969-1980: three case studies<\/em>. (Title in French: Statut et Production Artistique des Espaces Alternatifs \u00e0 New York et Buffalo, 1969-1980: 3 \u00e9tudes de cas). <\/em>]]<\/p>\n

In 2009 I chose to study three of these art spaces as a subject for my PhD thesis [[Artists Space <\/em>in New York, 112 Greene Street Workshop <\/em>also in New York and Hallwalls<\/em>, a space located in Buffalo, upstate New York.]] , without being aware that their fragile and marginal status within the art world would determine so many parameters of my subsequent work. And yet, from the composition of a specific corpus of spaces to the methods of investigation I now use, the non-institutional nature of alternative spaces has deeply shaped my work. My intent in this paper is to present how and why.<\/p>\n

Alternative spaces were born in the early 1970s in New York and in other important cultural centers in the United States, like Chicago or San Francisco. However, it is in New York that they flourished. From their early beginnings as alternative venues of experimental art, alternative spaces positioned themselves at the margins of the institutional and market-oriented art world of the early 1970s (composed of art galleries and museums mainly) It is the marginality of this status which is at the origin of the expression \u201calternative spaces\u201d. [[Julie Ault gave an interesting definition of this expression in 2002: \u00abI have applied a fairly broad definition of \u201calternative structure\u201d, one that considers the roots and missions of organizations claiming to fill a particular kind of void; to counter the status quo of mercantile circuits; to address needs of artists and audiences not addressed elsewhere; or to define themselves as anti-establishment, anti-institutional, experimental, artist-initiated, artist-run, artist centered, or a combination of the above.\u00bb <\/em>Julie Ault, Alternative art New York, 1965-1985 <\/em>(Minneapolis, MN: University of Minnesota Press, 2002), p. 4. ]]
\n. The non-institutional nature of alternative spaces was at the origin of the first difficulties I faced as a young researcher on this subject, namely that of finding (available) archival documents on their artistic activities. I will first show how the scarcity of archives is inherent to the non-institutional nature of alternative spaces and how this initial difficulty shaped the first steps of my work, from the composition of a specific corpus of spaces to the search for additional primary sources (oral archives, interviews, exhibition catalogues and magazines as indirect sources of primary information).<\/p>\n

In the second part of my presentation, I will explain how the non-institutional nature of alternative spaces decided on the two methods of study I use in my academic work on these spaces, the case study and the contextual approach. As non-institutional structures, alternative spaces indeed possess unique identities which require the use of case studies to be fully understood, whereas their oppositional stance as non-institutional entities can only be understood through the study of the political, artistic and economic context in which they are born. <\/p>\n

Mark Leon De Vries<\/strong><\/p>\n

Political violence during Reconstruction in Louisiana’s Red River Valley<\/strong><\/p>\n

Throughout Reconstruction, neither the local Republican regimes nor the Federal government succeeded in establishing a viable and legitimate biracial democracy in the South. Despite three constitutional amendments, the various Reconstruction and Enforcement Acts, recurrent military intervention the majority of Southern whites succeeded in wearing down all efforts at fundamental reform through a sustained campaign of political violence and intimidation. This campaign did not so much \u2018defeat\u2019 the Reconstruction regimes, supported as they were by the Federal army, but rather undermined the legitimacy of both local and Federal government, which failed to provide the most basic function of any state: security and the rule of law.<\/p>\n

Louisiana experienced the most prolonged Reconstruction effort of any Southern state, and often functioned as a testing ground and bellwether for various national policies. The Red River Valley suffered by far the most violence during Reconstruction of any region within Louisiana, and probably in the entire South. This region thus provides an excellent context to study the dynamics by which Southern whites succeeded in undermining the legitimacy of Republican regimes through legal and extra-legal opposition, and in particular through political violence and intimidation.<\/p>\n

Developments in Northern public opinion and in national politics sealed the fate of the last Republican regimes in the South in the winter of 1876\/\u201977. Northern support might have been more robust, however, if not for the failure of these regimes to provide a secure and legitimate governments. The failure of both local and Federal government to enforce the rule of law and provide stability within the South in the face of Southern white recalcitrance holds the key to understanding the failure of attempts to reform the South during Reconstruction. In retrospect, this failure in the face of organized violence and intimidation might appear inevitable. The historical record, however, shows that where local Republican leaders and Federal commanders offered a robust response, such violence could be quelled and freedmen could effectively participate in the political process. <\/p>\n

Attempts to reform the political, economic, and racial institutions of the South clashed with the regions political and legal culture and would have required a long term commitment by the Federal government for their enforcement. Southern whites prevented this through a strategy of escalating violence and resistance to which neither local authorities nor the Federal government provided an adequate response. The central question this thesis addresses is how various manifestations of local and Federal governments responded to this escalating violence and intimidation throughout the Reconstruction period and why, ultimately, they proved either unable or unwilling to provide even a modicum of security and obedience to the rule of law. This analysis will take into account both structural factors, such as practical, ideological and legal obstacles faced by the Federal and local governments, as well as the practical strategies and repertoires developed by both the Southern whites and government agents in their struggle for dominance in the Red River Valley.<\/p>\n

Andreas H\u00fcbner<\/strong><\/p>\n

Off to Louisiana: Colonial Officers, \u201cGerman\u201d Settlers and the Making of the C\u00f4te des Allemands, 1720\u20131820 <\/strong><\/p>\n

From 1720 onwards, the so-called German Coast of Louisiana, located about 30 miles upriver from New Orleans, was settled by indentured servants. While originating from various regions of nowadays Germany and different places all over Europe, for instance from Alsace, Hungary or Switzerland, these migrants were altogether marked as Germans by early French census-takers. Accordingly, their settlement was named C\u00f4te des Allemands in French and Costa de los Alemanes in Spanish colonial times. The migrants themselves soon came to be known as the Germans of Louisiana. As such they entered the historiographies of colonial Louisiana as hard working man and diligent housewives and mothers (cf. Merrill). They were even to be incorporated into the narratives of the Louisiana Creoles, when nineteenth-century German-American filiopietists declared them to be the \u201cCreoles of German descent\u201d (Deiler).<\/p>\n

Taking these observations as a starting point, my dissertation aims at exploring the cultural history of these migrants and at understanding the techniques of cultural labeling that shaped the image of these migrants in history. In depth, while concentrating on the space of the German Coast, the dissertation examines techniques of mapping and surveying, politics of demography and governance, and practices of everyday life and remembering under French, Spanish, and early American administrations. Historical sources considered include maps, land grants and claims, census records, administrative correspondence, sacramental records, memoirs, histories, and travel journals. Analyzing these sources, the dissertation explicitly asks how meaning, knowledge, and certain narratives are produced in colonial contexts and how long-lasting power relations and social hierarchies are being inscribed. Thus, I hope to sharpen our understanding of the formation of Creole culture in Louisiana, its social hierarchies, and its cultural labeling of ethnicities and identities. More generally, I hope to provide a reconceptualization of Creole cultures, hierarchies and identities in the Circum-Caribbean space from 1720 to 1820. <\/p>\n

Regarding methodology, the dissertation draws from (German) cultural history (cf. Daniel) and Atlantic History (cf. Games). Especially the concept of cis-Atlantic History is of interest for it offers a way to put the developments and transformations at the German Coast into Atlantic perspective. The dissertation tries, for example, to connect emerging notions about German ethnicity and identity in colonial Louisiana with discussions on nationality, empire and race in France (cf. Vidal). With reference to cultural history, the dissertation means to stress the differences between self-descriptions, ascriptions, and inscriptions when studying the source material. The dissertation will, for instance, emphasize how early colonial descriptions of \u2018German\u2019 settlers as laborious were repeated over and over again and, hence, were inscribed into Louisiana\u2019s collective memory. In this very sense, the dissertation hopes to discuss, challenge and deconstruct narratives and historiographies that out of the perception of a colony in crisis design a success story of its early \u2018German\u2019 migrants. <\/p>\n

David Assatiani<\/strong><\/p>\n

Political Architecture as a Nation\u2019s Self-representation: The United States Capitol and the National Mall in Washington, D.C.<\/strong><\/p>\n

My doctoral thesis concerns itself with Washington, D.C. in terms of political architecture. The focus is primarily on iconological analysis of the Capitol of the United States and the National Mall in their historical perspective. The intention is to characterize important visual aspects of self-representation of the American nation. Above and beyond this visual perception, several other aspects also tend to be particularly interesting. <\/p>\n

The United States Capitol is one of the distinctive US landmarks known throughout the world. It serves as an embodiment of democracy in the capital of each federal state. As is generally known, several European temples and cathedrals served stylistically and architecturally as prototypes for the building. Its significance is being variously accentuated through its size, use of forms and topography. However, above all else, the Capitol is a temple of popular government in its every possible manifestation which makes it truly unique. While constructed as a dome in its design vocabulary, the Capitol symbolizes United States\u2019 democratic practices. <\/p>\n

The history of construction of the Capitol, its placement specifics within the landscape of the capital city as well as awareness of citizens in dealing with this national symbol greatly aid in understanding the nature of American society. Yet a study of mere optical appearance of the building, disclosing the stunning symbolism in the Capitol can hardly suffice in achieving complete comprehension of the cultural significance of the Capitol to the Nation. One needs, moreover, to apply certain imponderables revealed through the symbols and conception of the building in relation to the cultural history of the country. It is therefore of essential importance to make use of analysis methods of history and cultural anthropology in order to fully grasp the emotional significance conveyed by the Capitol.<\/p>\n

The American community spirit finds its expression in staging an exceptional visual and design culture. This is particularly remarkable in maintaining a comprehensive planning approach to what is commonly referred to as the Monumental Core of Washington, D.C. In this context, the mere building envelope of the Congress cannot be of exclusive interest, because the understanding of American democracy implies first and foremost participation of its citizens in the process of building political awareness. This framework, for instance, is consequently practiced by ingenuously and effectively integrating public spaces into the dynamics of everyday life. The National Mall which was pointedly designed to serve both people and politics, seems to be crucial in this respect. In combination with the Capitol, the National Mall creates a successful approach to political communication. Here, one might find a piazza-tradition of a sort where leisure and relaxation coexist with political opposition and demonstration under the wings of the common national symbol of Congress. The aim of the study is to show that the United States Capitol turns out not to be solitary in creating a visual aura of the American Nation. It appears to be dependent on a broad range of relationships in order to serve as a temple of democracy. <\/p>\n","protected":false},"excerpt":{"rendered":"

Wednesday, May 23 Graduate Symposium in Literature Organizers : Fran\u00e7oise Palleau (U. Paris Nord-13) & Fran\u00e7ois Specq (ENS de Lyon) Respondents : Ren\u00e9 Alladaye (U. de Toulouse 2-Le Mirail), Brigitte F\u00e9lix (U. du Maine) and Diane Sabatier (U. de Perpignan) Places : “Multi” room of the LEA dept (Building Y, 3rd floor) during the day […]<\/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":[12],"tags":[],"class_list":["post-333","post","type-post","status-publish","format-standard","hentry","category-previous-graduate-student-symposiums"],"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":"Wednesday, May 23 Graduate Symposium in Literature Organizers : Fran\u00e7oise Palleau (U. Paris Nord-13) & Fran\u00e7ois Specq (ENS de Lyon) Respondents : Ren\u00e9 Alladaye (U. de Toulouse 2-Le Mirail), Brigitte F\u00e9lix (U. du Maine) and Diane Sabatier (U. de Perpignan) Places : “Multi” room of the LEA dept (Building Y, 3rd floor) during the day…","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/333"}],"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=333"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/333\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/media?parent=333"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/categories?post=333"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/tags?post=333"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}