{"id":529,"date":"2014-06-30T10:51:31","date_gmt":"2014-06-30T10:51:31","guid":{"rendered":"http:\/\/localhost\/annualconference\/association-francaise-detudes-americaines\/congres-afea\/congres-anterieurs\/congres-2014-paris-les-etats-unis-modeles-contre-modeles-fin-des-modeles\/liste-des-ateliers-pour-le-congres\/529\/"},"modified":"2014-06-30T10:51:31","modified_gmt":"2014-06-30T10:51:31","slug":"liste-des-ateliers-pour-le-congres","status":"publish","type":"post","link":"https:\/\/afea.fr\/annualconference\/congres-anterieurs\/congres-2014-paris-les-etats-unis-modeles-contre-modeles-fin-des-modeles\/liste-des-ateliers-pour-le-congres\/529\/","title":{"rendered":"Liste des ateliers"},"content":{"rendered":"

Liste des ateliers pour le Congr\u00e8s 2014 (doc word)<\/a><\/p>\n

Les propositions sont \u00e0 envoyer avant le 20 D\u00e9cembre 2013<\/strong>. <\/p>\n

1. R\u00e9cits et\/en\/de po\u00e9sie. – Narratives And\/Of\/In Poetry<\/h2>\n

Vincent Broqua<\/a>, UPEC et Christophe Lamiot Enos<\/a><\/p>\n

A ne m\u00eame consid\u00e9rer que la p\u00e9riode d\u00e9finie depuis l\u2019av\u00e8nement de la modernit\u00e9 litt\u00e9raire, intervenant vers la fin du XIX\u00e8me si\u00e8cle aux Etats-Unis d\u2019Am\u00e9rique, po\u00e8mes et r\u00e9cits ne se construisent ni ne se d\u00e9veloppent sans emprunts r\u00e9ciproques ou \u00e9troites relations.
\nFeuilles d\u2019herbe<\/em> de W. Whitman propose ainsi un ensemble de textes lyriques se lisant aussi comme une histoire, avec des personnages particuliers, et les divers fils et intrigues qui les nouent. Du point de vue de la narratologie, l\u2019histoire sous-jacente au volume de Whitman s\u2019organise au moins suivant l\u2019extension de la sympathie ou de l\u2019enthousiasme du po\u00e8te\u2014soit, en d\u2019autres termes, une certaine aventure sur les limites du genre lyrique. Au commencement du XX\u00e8me si\u00e8cle, comment appr\u00e9cier pleinement les formes br\u00e8ves d\u2019une G. Stein, sans un passage par la prose de La Fabrique des Am\u00e9ricains (1925)? Des \u0153uvres devenues canoniques, telles La Terre Vaine de T.S. Eliot et Paterson de W.C. Williams passent par un recours fort \u00e0 des structures narratives. La po\u00e9sie dite d\u2019inspiration confessionnelle contient ses principales vis\u00e9es narratives \u00e0 m\u00eame ce qui la nomme. L\u2019attention port\u00e9e au rep\u00e9rage dans le temps et dans l\u2019espace, dans les travaux des Objectivistes, font bien souvent de ceux-ci des objets d\u2019\u00e9tude privil\u00e9gi\u00e9s pour qui s\u2019int\u00e9resse aux t\u00e9moignages d\u2019une \u00e9poque. Les po\u00e8tes language aiment \u00e0 pr\u00e9senter leurs travaux comme op\u00e9rant la subversion de discours dominants, des points de vue culturel et \u00e9conomique\u2014de tels discours correspondant eux-m\u00eames \u00e0 des r\u00e9cits sp\u00e9cifiques avec leurs techniques propres.
\nPlus pr\u00e8s de nous chronologiquement, les deux cat\u00e9gories de la prose et du vers tendent \u00e0 se m\u00ealer jusques \u00e0 se confondre, dans la po\u00e9sie conceptuelle (cf. I\u2019ll Drown My Book, Conceptual Writing by Women<\/em>, ed. C Bergvall, L. Browne, T. Carmody et V. Place, 2012) et la notion d\u2019hybridit\u00e9 (telle que propos\u00e9e par C. Swensen, American Hybrid<\/em>: A Norton Anthology of New Poetry, 2009, \u00e9dit\u00e9e avec David St. John). La recherche continu\u00e9e chez A. Notley d\u2019une \u00ab \u00e9pop\u00e9e f\u00e9minine \u00bb rappelle s\u2019il en \u00e9tait besoin que le recours au r\u00e9cit, en po\u00e9sie, n\u2019a rien de neuf. L\u2019Iliade<\/em> et l\u2019Odyss\u00e9e<\/em> d\u2019Hom\u00e8re ne sont-elles pas \u00e9crites en vers ? Comme le soulignent de plus en plus les r\u00e9centes traductions du bestseller d\u2019entre les bestsellers de tous les temps, soit la Bible, celle-ci est aussi un po\u00e8me\u2014en entier, sans parler du \u00ab Chant des Chants \u00bb bien s\u00fbr, plus traditionnellement consid\u00e9r\u00e9 comme appartenant directement \u00e0 la po\u00e9sie.
\nEn parall\u00e8le et sous la perspective de la th\u00e9orie et de la critique litt\u00e9raires, le r\u00e9cit a commenc\u00e9 \u00e0 recevoir ses lettres de noblesse au XX\u00e8me si\u00e8cle avec S. Freud et les d\u00e9veloppements de la psychanalyse, par exemple. Dans le domaine de la critique, T. Todorov a \u00e9t\u00e9 le premier \u00e0 proposer la \u00ab narratologie \u00bb comme concept (1969) et R. Barthes, G. Genette et A. Greimas parmi d\u2019autres ont \u00e9voqu\u00e9 avec la \u00ab narrativit\u00e9 \u00bb, un ph\u00e9nom\u00e8ne translinguistique allant au-del\u00e0 des distinctions entre les genres. Outre les d\u00e9finitions r\u00e9ciproques de \u00ab r\u00e9cit \u00bb et de \u00ab narrativit\u00e9 \u00bb, les s\u00e9mioticiens proposent aussi la recherche et l\u2019\u00e9tablissement de \u00ab narr\u00e8mes \u00bb ou constituants minimaux des r\u00e9cits. Ils posent les notions de \u00ab syntaxe narrative \u00bb et de \u00ab macrostructure \u00bb comme outils potentiels pour des avanc\u00e9es plus cons\u00e9quentes dans le domaine de la narratologie.
\n\u00ab R\u00e9cits et\/en\/de po\u00e9sie \u00bb se propose d\u2019examiner en quelle mesure telle ou telle \u0153uvre sp\u00e9cifique de la modernit\u00e9 po\u00e9tique en anglais des Etats-Unis d\u2019Am\u00e9rique m\u00eale, concurrence, joue de, se rapporte \u00e0, subvertit ou prolonge des r\u00e9cits bien reconnaissables\u2014quelle que soit la tradition \u00e0 laquelle ceux-ci appartiennent. Etablir un lien entre po\u00e8me(s) et r\u00e9cit(s) porte la promesse de jeter un regard renouvel\u00e9 sur les interactions entre mod\u00e8les et contre-mod\u00e8les quant au r\u00e9cit en prose ou en vers\u2014ou bien faut-il mieux dire \u00abquant au r\u00e9cit en vers ou en prose \u00bb ? <\/p>\n

Narratives And\/Of\/In Poetry<\/em>
\nVincent Broqua<\/a>, UPEC et Christophe Lamiot Enos<\/a>, Universit\u00e9 de Rouen<\/p>\n

Since the inception of modernity, dated as back as in the late XIXth century in the United States of America, poems and narratives in English from the USA have developed and evolved in tight relationships.
\nW. Whitman\u2019s Leaves of Grass<\/em> proposes a series of lyrical pieces that reads like a story with its various characters and threads or plots. From the perspective of narratology, the underlying story in Whitman\u2019s seminal work is the poet\u2019s seemingly all-encompassing sympathy or enthusiasm for his world\u2014in other words, the extents of lyricism. Beginning of XXth century, G. Stein\u2019s verse can scarcely be appreciated without also evoking her very extensive work in prose form, best exemplified by The Making of Americans. Cornerstone<\/em> pieces such as T.S. Eliot\u2019s The Waste Land <\/em> and W.C. Williams\u2019s Paterson rely on strong storylines. Today, the two categories of prose and verse tend to merge in conceptual poetry (L. Browne) and the notion of hybridity (as propounded by C. Swensen). A. Notley\u2019s ongoing pursuit of a truly feminine epic reminds us that resorting to narrative in poetry is nothing new: indeed, Homer\u2019s Iliad <\/em> and Odyssey <\/em> are written in verse. As more and more stressed by recent translations, the bestseller of all bestsellers which is the Bible, as partly authored by Moses, is also a poem\u2014in its entirety, not to mention its \u201cSong of Solomon\u201d part traditionally identified as poetry.
\nParalleling such a sketchily evoked tradition and from the perspective of literary theory and criticism, narratives claimed a paramount importance with S. Freud and subsequent varieties of psychoanalysis. In the field of literary analysis, T. Todorov was the first to propose \u201cnarratology\u201d as both concept and practice (1969) and R. Barthes, G. Genette and A. Greimas among others would discuss \u201cnarrativity\u201d as translinguistic and not specific to any particular genre. Besides distinguishing between \u201cnarrative\u201d and \u201cnarrativity,\u201d semioticians propose to look for \u201cnarremes\u201d or minimal constituents of a narrative and \u201cposit narrative syntax\u201d and \u201cmacrostructure\u201d as other forensic tools for further research in the field of narratology.
\n\u201cNarratives And\/In\/Of Poetry\u201d proposes to examine to what extent specific works from the modern United States of America, in English, mix, compete, or play with\/relate to, subvert or continue widely acknowledged narratives\u2014from whatever tradition these may be. Establishing and commenting upon clear relationships between narratives and poetry may well bring a renewed insight into the interplay of models and counter models, as far as narratives in poetry and prose go\u2014or is it \u201cnarratives in prose and poetry?\u201d<\/p>\n

Les propositions sont \u00e0 envoyer \u00e0 Christophe Lamiot Enos<\/a> et Vincent Broqua<\/a> avant le 20 d\u00e9cembre 2013<\/p>\n

2. Our American Cousins: Revaluing Models in American Theatre and Performance – Our American Cousins: Revaluing Models in American Theatre and Performance<\/h2>\n

Xavier Lemoine<\/a> (Marne-la-Vall\u00e9e)
\nMarie Pecorari <\/a>(Paris-Sorbonne) <\/p>\n

L’historiographie th\u00e9\u00e2trale a longtemps accr\u00e9dit\u00e9 l’hypoth\u00e8se d’une invention de l’\u00e9criture dramatique am\u00e9ricaine au d\u00e9but du 20e si\u00e8cle, \u00e0 la suite d’une \u00e9mancipation brutale vis-\u00e0-vis des mod\u00e8les europ\u00e9ens. Avec Eugene O’Neill en p\u00e8re fondateur, elle serait tardivement parvenue \u00e0 exprimer une identit\u00e9 et un idiome vernaculaires.
\nL’objectif de cet atelier consistera \u00e0 r\u00e9\u00e9valuer et \u00e0 bousculer ce paradigme \u00e0 la lumi\u00e8re des \u00e9volutions critiques r\u00e9centes, ainsi qu’\u00e0 interroger les processus de constitution du r\u00e9pertoire.
\nParmi les exemples de sujets possibles, dont la liste n’est pas limitative:
\n-la mise en question des formes et approches donnant la primaut\u00e9 au drame
\n-la formation et\/ou l’inclusion de mod\u00e8les antagonistes et l’\u00e9volution de leur fortune critique (le drame et la performance d’avant le 20e si\u00e8cle, les \u00e9critures dramatiques exp\u00e9rimentales d’apr\u00e8s-guerre, les th\u00e9\u00e2tres des minorit\u00e9s, la performance)
\n-la dissolution des mod\u00e8les (la table rase de l’avant-garde d’apr\u00e8s-guerre, le r\u00e9examen des fronti\u00e8res disciplinaires de la pratique et de la th\u00e9orie, la production de formes am\u00e9ricaines de th\u00e9\u00e2tre dans un contexte mondialis\u00e9 et multiculturel)
\n-le retour aux mod\u00e8les (la (r\u00e9)incorporation du drame dans le \u201cth\u00e9\u00e2tre d’images\u201d, les reprises de performances, le th\u00e9\u00e2tre am\u00e9ricain comme mod\u00e8le imit\u00e9 au-del\u00e0 des fronti\u00e8res)<\/p>\n

Les propositions sont \u00e0 envoyer avant le 20 d\u00e9cembre 2013 \u00e0 Xavier Lemoine<\/a> (Marne-la-Vall\u00e9e ) et Marie Pecorari <\/a>(Paris-Sorbonne)<\/p>\n

Our American Cousins: Revaluing Models in American Theatre and Performance<\/em><\/p>\n

Theatrical historiography has long relied on the narrative that American drama was invented in the early 20th century, when it finally wrenched itself from European models. With Eugene O’Neill as a founding father figure, it belatedly found ways to convey its vernacular identity and idiom.
\nThe aim of the workshop is to reappraise and challenge this paradigm in the light of recent scholarly developments and to interrogate canon-building processes.
\nPossible topics include, but are not limited to:
\n-questioning drama-centric forms of and approaches to theatre
\n-the formation and\/or inclusion of antagonistic models and their changing critical fortune (pre-20th century drama and performance, post-war experimental drama, minority theatre, performance)
\n-the dissolution of models (the tabula rasa approach of the post-war avant-garde, rethinking disciplinary boundaries in practice and theory, producing American brands of theatre in a global, multicultural context)
\n-.the return to models (the (re)incorporation of drama in the \u201ctheatre of images\u201d, performance art reenactments, American theatre as a model emulated beyond the borders)<\/p>\n

3. Mod\u00e8les et contre-mod\u00e8les de l\u2019autobiographie am\u00e9ricaine des XIXe et XXe si\u00e8cles – Models and counter-models in 19th and 20th century American Autobiography<\/h2>\n

Ada Savin<\/a> , UVSQ, Sandrine Ferr\u00e9-Rode<\/a>(UVSQ)<\/p>\n

L’historiographie th\u00e9\u00e2trale a longtemps accr\u00e9dit\u00e9 l’hypoth\u00e8se d’une invention de l’\u00e9criture dramatique am\u00e9ricaine au d\u00e9but du 20e si\u00e8cle, \u00e0 la suite d’une \u00e9mancipation brutale vis-\u00e0-vis des mod\u00e8les europ\u00e9ens. Avec Eugene O’Neill en p\u00e8re fondateur, elle serait tardivement parvenue \u00e0 exprimer une identit\u00e9 et un idiome vernaculaires.
\nL’objectif de cet atelier consistera \u00e0 r\u00e9\u00e9valuer et \u00e0 bousculer ce paradigme \u00e0 la lumi\u00e8re des \u00e9volutions critiques r\u00e9centes, ainsi qu’\u00e0 interroger les processus de constitution du r\u00e9pertoire.
\nParmi les exemples de sujets possibles, dont la liste n’est pas limitative:
\n-la mise en question des formes et approches donnant la primaut\u00e9 au drame
\n-la formation et\/ou l’inclusion de mod\u00e8les antagonistes et l’\u00e9volution de leur fortune critique (le drame et la performance d’avant le 20e si\u00e8cle, les \u00e9critures dramatiques exp\u00e9rimentales d’apr\u00e8s-guerre, les th\u00e9\u00e2tres des minorit\u00e9s, la performance)
\n-la dissolution des mod\u00e8les (la table rase de l’avant-garde d’apr\u00e8s-guerre, le r\u00e9examen des fronti\u00e8res disciplinaires de la pratique et de la th\u00e9orie, la production de formes am\u00e9ricaines de th\u00e9\u00e2tre dans un contexte mondialis\u00e9 et multiculturel)
\n-le retour aux mod\u00e8les (la (r\u00e9)incorporation du drame dans le \u201cth\u00e9\u00e2tre d’images\u201d, les reprises de performances, le th\u00e9\u00e2tre am\u00e9ricain comme mod\u00e8le imit\u00e9 au-del\u00e0 des fronti\u00e8res)<\/p>\n

Les propositions sont \u00e0 envoyer avant le 20 d\u00e9cembre 2013 \u00e0 Xavier Lemoine<\/a> (Marne-la-Vall\u00e9e) et Marie Pecorari <\/a>(Paris-Sorbonne) <\/p>\n

\u201cAutobiographies have been written in almost every part of the country by presidents and thieves, judges and professors, Indians and immigrants (of nearly every nationality), by ex-slaves and slave owners, by men and women in practically every line of work, abolitionists to zookeepers, by adolescents and octogenarians, counterfeiters, captives, muggers, muckrakers, preachers, and everybody else. The catalogue is as great as one of Walt Whitman’s own\u2026 or greater. It is the true Song of Myself. And Ourselves.\u201d
\nA partir d\u2019une r\u00e9flexion suscit\u00e9e par cette citation tir\u00e9e d\u2019un article pionnier de Robert F. Sayre qui souligne l\u2019ampleur et la vari\u00e9t\u00e9 du ph\u00e9nom\u00e8ne autobiographique am\u00e9ricain, cet atelier se propose de mettre en relation les mod\u00e8les euro-am\u00e9ricains de l\u2019\u00e9criture autobiographique et les contre-mod\u00e8les qui ont pu \u00e9merger en Am\u00e9rique du Nord. Si l\u2019on peut consid\u00e9rer que le r\u00e9cit de vie proprement ancr\u00e9 en terre am\u00e9ricaine commence par le r\u00e9cit de captivit\u00e9 de Mary Rowlandson, publi\u00e9 en 1682, c\u2019est bien l\u2019autobiographie de Benjamin Franklin qui \u00e9tablit le mod\u00e8le de la \u00ab success story \u00bb \u00e0 l\u2019am\u00e9ricaine, mod\u00e8le maintes fois imit\u00e9 mais aussi largement remis en cause.
\nLe genre autobiographique tel qu\u2019il s\u2019\u00e9labore au XIXe si\u00e8cle pr\u00e9sente de multiples innovations par rapport aux mod\u00e8les et aux contre-mod\u00e8les existants. Bien que l\u2019on ne puisse les consid\u00e9rer comme des autobiographies \u00e0 proprement parler, Walden de Thoreau, Song of Myself et Specimen Days de Whitman rel\u00e8vent du genre autobiographique \u00e0 travers l\u2019utilisation que font leurs auteurs de leur exp\u00e9rience personnelle du continent am\u00e9ricain dans toute sa diversit\u00e9 g\u00e9ographique, historique et humaine. Par la remise en cause de l\u2019exemplarit\u00e9 de l\u2019autobiographie am\u00e9ricaine, les auteurs du XIXe si\u00e8cle de r\u00e9cits de captivit\u00e9, de r\u00e9cits d\u2019esclave ou de r\u00e9cits am\u00e9rindiens interrogent eux aussi jusqu\u2019aux fondements du mod\u00e8le autobiographique, ne serait-ce qu\u2019en permettant l\u2019\u00e9mergence d\u2019un dialogue entre les marges et le \u00ab centre \u00bb de la soci\u00e9t\u00e9 am\u00e9ricaine. N\u2019a-t-on pas dit de la D\u00e9claration d\u2019Ind\u00e9pendance am\u00e9ricaine, r\u00e9dig\u00e9e de surcro\u00eet par trois autobiographes (Thomas Jefferson, Benjamin Franklin et John Adams), qu\u2019elle s\u2019apparentait \u00e0 un r\u00e9cit d\u2019esclave dans lequel le peuple am\u00e9ricain se lib\u00e9rait de son oppresseur comme l\u2019esclave se lib\u00e8re de son ma\u00eetre ? Colons en captivit\u00e9, esclaves en fuite et Am\u00e9rindiens : ces voix de \u00ab l\u2019Autre \u00bb, qui \u00e9manent de la p\u00e9riph\u00e9rie, permettent non seulement d\u2019am\u00e9ricaniser le r\u00e9cit de vie, mais aussi de renouveler le genre par l\u2019\u00e9criture de r\u00e9cits collaboratifs ou la confrontation avec d\u2019autres genres (on pense notamment au genre m\u00e9lodramatique qui s\u2019immisce dans le r\u00e9cit d\u2019esclave d\u2019Harriet Jacobs, Incidents in the Life of a Slave Girl, ou au picaresque et au travestissement \u2013entendu au sens propre comme au sens figur\u00e9, c\u2019est-\u00e0-dire racial du terme\u2013 dans le r\u00e9cit d\u2019Ellen et William Craft, Running a Thousand Miles for Freedom).
\nAu cours des ann\u00e9es soixante, le ph\u00e9nom\u00e8ne de la contre-culture apporte son lot de mod\u00e8les alternatifs tels les neo-slave narratives (Octavia Butler, Margaret Walker) et les autobiographies \u00ab ethniques \u00bb (Maxine Hong Kingston, Richard Rodriguez) qui remettent en cause les mod\u00e8les existants. L\u2019autobiographie am\u00e9ricaine, dans ses avatars les plus r\u00e9cents, que ce soit sous forme imprim\u00e9e ou \u00e9lectronique, prend ses distances avec les mod\u00e8les \u00e9tablis pour s\u2019int\u00e9resser par exemple plus sp\u00e9cifiquement au corps et \u00e0 ses handicaps (Lucy Grealy) ou bien par le recours \u00e0 la photographie pour accompagner les textes (Eudora Welty, Scott Momaday).
\n \t\t\t\t\t\t***
\nVos propositions li\u00e9es \u00e0 cette probl\u00e9matique sont les bienvenues (400 mots). Adressez-les \u00e0 Ada Savin<\/a> et \u00e0 Sandrine Ferr\u00e9-Rode<\/a> avec une br\u00e8ve notice bio-bibliographique avant le 20 d\u00e9cembre 2013.<\/p>\n

Models and counter-models in 19th and 20th century American Autobiography <\/em>
\n\u201cAutobiographies have been written in almost every part of the country by presidents and thieves, judges and professors, Indians and immigrants (of nearly every nationality), by ex-slaves and slave owners, by men and women in practically every line of work, abolitionists to zookeepers, by adolescents and octogenarians, counterfeiters, captives, muggers, muckrakers, preachers, and everybody else. The catalogue is as great as one of Walt Whitman’s own\u2026 or greater. It is the true Song of Myself. And Ourselves.
\nTaking as a starting point renowned scholar Robert Sayre\u2019s remark on the bewildering number of American autobiographies and their variety, this workshop will question the relationship between Euro-American autobiographical models and the counter-models that have sprung and evolved in North America. If life writing firmly anchored on American soil began with the Narrative of the Captivity and Restoration of Mrs Mary Rowlandson (1682), it was Franklin\u2019s Autobiography that set the pattern for the American success story, a model that was to be widely followed but also largely contested.
\nThe 19th-century autobiographical scene offers innovative variations on the model as well as counter-models of the genre. If not autobiographies as such, Thoreau\u2019s Walden, Whitman\u2019s Song of Myself and Specimen Days are clearly autobiographical in their use of the author\u2019s personal experience of the continent\u2019s geography, history and human variety. Calling into question the exemplarity of American autobiography, 19th-century authors of captivity narratives, slave narratives and Indian narratives alter the model fundamentally, even as they implicitly engage in a dialogue with their mainstream predecessors. The Declaration of Independence, written by three autobiographers \u2013 Jefferson, Adams and Franklin \u2013 has even been considered a variant of the slave narrative in which the American people seeks freedom from their Master. Writing from the margins of American society, captives, fugitive slaves and Indians Americanize life writing by inaugurating collaborative writing or mixing genres (the melodramatic in Harriet Jacobs\u2019s Incidents in the Life of a Slave Girl; the picaresque and \u201cpassing\u201d in William and Ellen Craft\u2019s Running a Thousand Miles for Freedom).
\nThe 1960s counterculture produced alternative models of life writing, such as neo-slave narratives (Octavia Butler, Margaret Walker) or ethnic autobiographies (Maxine Hong Kingston, Richard Rodriguez) further extend the boundaries of the genre, calling into question existing models. Recent American autobiography, whether in print or in digital form, tends to depart from previous models and counter-models in its focus on the body and its disabilities (Lucy Grealy) or in the use of photographs that accompany the text (Eudora Welty, Scott Momaday).
\n\t\t\t\t ***
\nWe welcome proposals (400-words) around these topics and authors (the list is by no means exclusive). Please address them with a short bio-bibliographical presentation to Ada Savin<\/a> and Sandrine Ferr\u00e9-Rode<\/a> before December 20, 2013.<\/p>\n

4. La langue mod\u00e8le de la r\u00e9publique des lettres (1828-1919) – Linguistic models for the Republic of Letters (1828-1919) <\/em> <\/strong>
\nMichel Imbert<\/a>, Universit\u00e9 Paris Diderot-Paris 7
\nDe la parution du dictionnaire de Noah Webster qui institue une langue nationale \u00e0 partir de l\u2019anglais standard (1828) \u00e0 la somme de H.L Mencken qui recense les am\u00e9ricanismes (1919), la question du mod\u00e8le linguistique de la jeune nation n\u2019a cess\u00e9 d\u2019obs\u00e9der les esprits. Comment constituer la langue commune de la premi\u00e8re d\u00e9mocratie moderne qui ambitionne de servir d\u2019exemple universel sans s\u2019enfermer \u00e0 nouveau dans un purisme scl\u00e9rosant qui ferait fi de la diversit\u00e9 intrins\u00e8que des formes dialectales et plus largement encore, des syst\u00e8mes foisonnants de signes visuels ou musicaux, non verbaux, en marge de la langue parl\u00e9e ou \u00e9crite? D\u00e8s 1836, dans Nature, Emerson enjoint les lettr\u00e9s non seulement de ne plus se conformer aux mod\u00e8les europ\u00e9ens mais de d\u00e9caper la gangue de la langue. La cr\u00e9ation po\u00e9tique doit demeurer un processus dynamique \u00e0 rebours des formes fig\u00e9es. Tout en pr\u00e9tendant jouer un r\u00f4le cl\u00e9 sur la sc\u00e8ne publique, les transcendantalistes pensent que la langue \u00e9volue et s\u2019efface comme une formation \u00e9ph\u00e9m\u00e8re. Or, l\u2019\u00e9tat transitoire du langage lui interdit par nature de devenir la pierre angulaire de l\u2019\u00e9tat-nation \u00e0 \u00e9difier. Qui plus est, l\u2019efflorescence des lettres en Am\u00e9rique \u00e0 partir des ann\u00e9es 1840 s\u2019enracine dans le non-dit inarticul\u00e9 de la langue officielle. Comment traduire la langue originelle du c\u0153ur, celle des femmes ou des enfants assujettis \u00e0 la lettre de la loi (The Scarlet Letter) ? Comment redonner la parole aux travailleurs de la mer, comment restituer la vox populi d\u00e9form\u00e9e par ses repr\u00e9sentants tyranniques (Moby-Dick) ? Comment transcrire le cri barbare (\u00ab the barbaric yawp \u00bb) des peaux-rouges ou des foules sauvages au nom des laiss\u00e9s-pour-compte du mod\u00e8le unique ? La recherche d\u2019un mod\u00e8le alternatif de langue r\u00e9publicaine s\u2019av\u00e8re difficile d\u00e8s lors que le mythe d\u2019une langue f\u00e9d\u00e9ratrice menace de voler en \u00e9clats. Or, ces troubles du langage ont insuffl\u00e9 un nouvel \u00e9lan aux lettres d\u2019Am\u00e9rique qui, du m\u00eame coup, sont tent\u00e9es d\u2019\u00e9riger en contre-mod\u00e8le le d\u00e9r\u00e8glement de la phras\u00e9ologie consacr\u00e9e par l\u2019usage. Changement de paradigme : au lieu d\u2019\u00e9purer le pot pourri de la tribu suivant l\u2019injonction d\u2019Emerson (\u00ab wise men pierce the rotten diction \u00bb), la litt\u00e9rature s\u2019emploie d\u00e9sormais \u00e0 disloquer l\u2019idiome du village global. Apr\u00e8s la guerre de S\u00e9cession, le roman se mue en chambre d\u2019\u00e9chos o\u00f9 r\u00e9sonne la cacophonie d\u2019une nation qui ne parle d\u00e9cid\u00e9ment plus la m\u00eame langue tant elle se subdivise en une multitude de sociolectes. Les romanciers r\u00e9alistes (Howells, Crane, Norris, London) prennent acte de la segmentation du corps politique en fonction des classes, des races, des sexes et des g\u00e9n\u00e9rations. Le dialecte des sous-prol\u00e9taires dans Maggie, l\u2019argot de la Fronti\u00e8re dans Mc Teague ou Roughing It, le Pidgin English de Jim dans Adventures of Huckleberry Finn sont autant d\u2019irr\u00e9gularit\u00e9s dans la trame suppos\u00e9e homog\u00e8ne de l\u2019Anglais am\u00e9ricain qui ne peut plus contenir les harmoniques idiomatiques qui le parasitent et qui percent sous la langue dominante en passe de devenir langue universelle. \u00ab Why, Huck, doan\u2019 de French people talk de same way we does ? \u00bb d\u00e9ment de fa\u00e7on \u00e9loquente l\u2019illusion d\u2019une seule et m\u00eame langue en partage sur l\u2019ensemble du territoire national et promise de surcro\u00eet \u00e0 devenir la nouvelle lingua franca du cosmopolitisme plan\u00e9taire. Le r\u00eave de se couler dans le m\u00eame moule se dissipe \u00e0 mesure que l\u2019Am\u00e9rique se d\u00e9clare multilingue. Par le truchement de ses \u00e9crivains, l\u2019Am\u00e9rique du Melting Pot se d\u00e9couvre irr\u00e9versiblement multiculturelle et plurilingue et la r\u00e9publique des lettres, loin de canoniser une pl\u00e9iade d\u2019\u00e9crivains phares, amplifie le bruit de fond de l\u2019autre Am\u00e9rique, celle des minorit\u00e9s tenues en lisi\u00e8re. En d\u00e9finitive, la litt\u00e9rature aura donn\u00e9 lieu \u00e0 ces confrontations in\u00e9dites entre des modes d\u2019expression disparates, infiniment modul\u00e9s; elle aura simul\u00e9 et mod\u00e9lis\u00e9 \u00e0 la mani\u00e8re d\u2019un jeu de guerre, un conflit de codes d\u00e9saccord\u00e9s.
\nL\u2019objectif de cet atelier sera de s\u2019interroger sur l\u2019\u00e9volution d\u2019un mod\u00e8le linguistique invariablement modifi\u00e9 tout au long du XIXe si\u00e8cle \u00e0 travers quelques sp\u00e9cimens d\u2019\u00e9crits envisag\u00e9s simultan\u00e9ment sous l\u2019angle po\u00e9tique et politique.
\nVos propositions de communication sont \u00e0 adresser \u00e0
\nMichel Imbert<\/a> (Universit\u00e9 Paris Diderot, Paris7) avant le 20 d\u00e9cembre 2013.<\/p>\n

Linguistic models for the Republic of Letters (1828-1919) <\/em>
\nFrom the publication in 1828 of Noah Webster\u2019s Dictionary that instituted a common national idiom that departed from Standard English to H.L.Mencken\u2019s tentative thesaurus of americanisms(1919), the question of elaborating a specific linguistic model for the rising nation has always been a haunting issue. How could the leading democracy that claimed to usher in a new political era and to set an example for the whole world constitute a common language that was allegedly a purer brand of English even as it broke with the King\u2019s English and incorporated varieties of regional dialects? How could men of letters devise a linguistic model without obliterating traces of oral speech for the sake of purism and, more largely, without blotting out the teeming diversity of non-verbal, visual and musical signs that lurked on the fringe? As early as 1836, in Nature, Emerson urged American \u00ab scholars \u00bb not only to stop conforming themselves to European models but to cleanse \u00ab rotten diction \u00bb by regenerating the living Word. He extolled poetry as a dynamic process of creation at variance with frozen forms. While they claimed to play a prominent part on the public stage, Transcendentalists assumed that language was bound to evolve and vanish like all transient configurations and that it could not serve as the immovable corner-stone of democracy on account of its mutability. By nature, the state of language precluded its political use by the State. Besides, the blossoming of Letters in the 1840s stemmed from the endeavor to express what remained unsaid in ideological phraseologies of all ilk. How could you spell out the aboriginal language of the heart, that of women and children subjected to the letter of the law (The Scarlet Letter)? How could you serve as a spokesman for inarticulate laborers like the seamen and thus be attuned to the voice of the People (vox populi) without distorting it like its tyrannical representatives(Moby-Dick)? How could you transcribe \u00ab the barbaric yawp \u00bb of Redskins or Red mobs in the name of outcasts? The search for an adequate alternative linguistic model was increasingly challenged as the myth of a common idiom threatened to break into pieces. But such speech difficulties have, paradoxically enough, instilled a new spirit to American letters that have sought to turn linguistic disorder and the disruption of the common usage into a counter-model of sorts. A radical change took place in terms of paradigm: instead of attempting to purify native speech in keeping with Emerson\u2019s injunction (\u00ab wise men pierce the rotten diction \u00bb), American literature seemed intent on disarticulating the mother tongue by recording outlandish varieties of vernacular. After the Civil War, the novel turned into an echo chamber that resonated with the hubbub of a disunited nation that definitely did not speak the same language anymore: instead, it transcribed the multifarious shades of popular speech. Realistic novelists (Howells, Crane, Norris, London) registered the segmentation of the body politic into sub-sections according to categories such as class, race, gender and generations. The slang of the urban underworld in Maggie, Frontier dialect in Mc Teague or Roughing it, Jim\u2019s Pidgin English in Adventures of Huckleberry Finn are so many irregularities in the supposedly homogenous fabric of American English that could hardly contain the eerie harmonics of idiomatic speech that pierced through American English even as it passed for a universal language. \u00ab Why, Huck, doan\u2019 de French people talk de same way we does ? \u00bb speaks for itself as it belies the illusion of sharing a common tongue not only across the national territory but more largely all over the world. Linguistic unity would not cement the Melting Pot and the United States proclaimed themselves utterly multilingual. Through the intermediary of its writers, the nation of immigrants had become an outspoken advocate of multiculturalism and the republic of letters, far from enshrining a few canonical writings, relayed and amplified the clamor of the other America, that of minorities in the margins. All in all American literature, instead of promoting a single model, has collected and confronted differing modes of expression, an infinite array of modulations. It has contrived a small-scale war game by simulating the conflict of discordant codes. The purpose of this workshop is to reflect on the transformation of a linguistic model throughout the XIXth century by observing a few specimens of writings from a literary and political standpoint.
\nSend your proposals to Michel Imbert <\/a>by December 20<\/p>\n

5. Fin(s) du livre ? – The End(s) of the Book? <\/em> <\/strong>
\nGwen Le Cor<\/a> et St\u00e9phane Vanderhaeghe<\/a> \u2013 Universit\u00e9 Paris 8<\/p>\n

\t\u00ab A book is never \u2018self-identical.\u2019 A book doesn\u2019t close on itself as a static, inert artifact between boards or covers. \u00bb Prenant appui sur ces propos que Johanna Drucker tire d\u2019une r\u00e9flexion de Jerome McGann, cet atelier vise \u00e0 interroger la fa\u00e7on dont le livre, en tant que support et m\u00e9dia, dans sa mat\u00e9rialit\u00e9 m\u00eame \u2014 et ce, qu\u2019il l\u2019abolisse dans la lin\u00e9arit\u00e9 du texte ou l\u2019exhibe au contraire dans sa spatialisation \u2014, mod\u00e9lise ou modalise des exp\u00e9riences et des parcours de lecture. Ce faisant, on pourra se demander s\u2019il existe un mod\u00e8le (pattern) du livre ou si les livres, en un sens \u00e9tendu pouvant aller jusqu\u2019\u00e0 comprendre aussi bien le livre d\u2019artiste que le livre num\u00e9rique, les hypertextes ou plus largement la litt\u00e9rature \u00e9lectronique, ne sont pas toujours en qu\u00eate des mod\u00e8les \u2014 formels et dynamiques \u2014 auxquels ils s\u2019efforcent, dans un m\u00eame mouvement, de r\u00e9sister.
\n\tOn pourra \u00e0 cet \u00e9gard questionner l\u2019impact et l\u2019influence r\u00e9ciproques qu\u2019ont pu exercer l\u2019un sur les autres, livre et nouveaux m\u00e9dias. Il s\u2019agit donc autant de s\u2019interroger sur des mod\u00e8les de lecture tels que le codex, dans la lin\u00e9arit\u00e9 qu\u2019il est suppos\u00e9 incarner, a pu et continue de les vectoriser, que sur la remise en question des \u00ab lectures mod\u00e8les \u00bb qui, sous-tendues par une approche lin\u00e9aire, prennent un parti r\u00e9solument interpr\u00e9tatif et herm\u00e9neutique pour s\u2019op\u00e9rer en fonction et en vertu de cette orientation vectoris\u00e9e \u00e0 l\u2019int\u00e9rieur du livre, dans le but d\u2019y d\u00e9busquer un sens qu\u2019elles postulent, ce faisant, en fin de parcours, et qui, en retour, justifie tant leur existence que leur pratique critique ; car dans les termes de Michel Serres, \u00ab qu\u2019il n\u2019y ait rien \u00e0 lire, au bout de toute lecture, qui le supportera ? \u00bb Or, la dynamique de la \u00ab manipulation \u00bb \u00e0 l\u2019?uvre dans la mat\u00e9rialit\u00e9 m\u00eame de l\u2019objet-livre, d\u2019une part, ou les reconfigurations textuelles g\u00e9n\u00e9r\u00e9es par la litt\u00e9rature num\u00e9rique, d\u2019autre part, semble contrevenir \u00e0 de tels \u00ab mod\u00e8les \u00bb en posant d\u2019embl\u00e9e l\u2019\u00e9ph\u00e9m\u00e8re du ou d\u2019un sens, voire son \u00e9puisement dans des pratiques r\u00e9solument performatives (on peut citer entre autres exemples Skin de Shelley Jackson ou des auteurs comme Stephanie Strickland ou Judd Morrissey\u2026).
\n\tComme le souligne encore Jean-Luc Nancy dans Au fond des images : \u00ab Le texte, c\u2019est textile, c\u2019est de l\u2019\u00e9toffe de sens. Mais le sens en tant que tel n\u2019a pas d\u2019\u00e9toffe, pas de fibres ni de consistance, pas de grain ni d\u2019\u00e9paisseur. \u00bb Comment d\u00e8s lors le livre, et plus g\u00e9n\u00e9ralement les mati\u00e8res textuelles dans leurs diverses modalit\u00e9s (objet-livre, \u00ab livre \u00bb num\u00e9rique\u2026), si tant est que leur effet est de produire une \u00e9criture textile qui interroge en retour le tissage et le tressage de\/du sens, permettent-ils d\u2019articuler la pens\u00e9e d\u2019une \u00e9criture textile et celle de l\u2019immat\u00e9riel du sens ? Quel(s) (contre-)mod\u00e8le(s) s\u2019ab\u00ee\/yment ici ? Ceci reviendrait donc \u00e0 penser, dans toute l\u2019ambigu\u00eft\u00e9 du terme, la ou les fin(s) du livre \u2014 quelle fin\/finalit\u00e9 pour quel livre ?
\n\tOn pourra en outre s\u2019attacher \u00e0 la mani\u00e8re dont le livre tresse l\u2019h\u00e9t\u00e9rog\u00e8ne, en faisant entrer en r\u00e9sonance des mod\u00e8les issus des arts plastiques, du cin\u00e9ma, de la photographie, ou encore des sciences. Si on peut penser au livre d\u2019artiste et si le roman contemporain, que l\u2019on songe entre autres aux ?uvres de Mark Z. Danielewski, Jonathan Safran Foer ou Steve Tomasula, trouve une place de choix dans cette r\u00e9flexion, on pourra tout autant retracer l\u2019histoire de la litt\u00e9rature am\u00e9ricaine pour voir que de telles forces sont peut-\u00eatre d\u00e9j\u00e0 \u00e0 l\u2019?uvre en d\u2019autres temps (on peut, l\u00e0 encore parmi d\u2019autres, penser \u00e0 Melville \u2014 des ruptures, bifurcations, digressions narratives de Moby Dick \u00e0 la pratique cyclique, entre boucles et r\u00e9it\u00e9rations, d\u2019un roman comme The Confidence-Man, etc. \u2014 ou aux exp\u00e9rimentations modernistes et post-modernistes qui substituent aux mod\u00e8les lin\u00e9aires des contre-mod\u00e8les alliant, par exemple, pratiques de collages et juxtapositions de type cubiste venant d\u00e9lib\u00e9r\u00e9ment brouiller le sens, par exemple chez Faulkner ou Coover, ou encore chez des po\u00e8tes comme John Cage ou Susan Howe parmi tant d\u2019autres\u2026). Dans quelle mesure l\u2019\u00e9criture n\u2019est-elle pas alors toujours, et ce, jusque dans ses pratiques intertextuelles, un jeu de copier\/coller, de recomposition permanente, et d\u2019alt\u00e9ration en profondeur des mod\u00e8les qu\u2019elle instaure ? Quelles modalit\u00e9s de lecture, quels \u00ab modes d\u2019emploi \u00bb se plaisent \u00e0 (d\u00e9)jouer les livres \u2014 en quel temps, \u00e0 quelle \u00e9poque ? Quels mod\u00e8les mettent-ils en crise et ces mod\u00e8les peuvent-ils se penser en dehors de leur mise en crise ?
\n\tEn d\u2019autres termes, cet atelier se propose d\u2019interroger la tension qui, dans l\u2019?uvre litt\u00e9raire, s\u2019instaure entre texte et support, entre ligne et plan, entre vecteur et espace, entre page et interface\u2026 <\/p>\n

The End(s) of the Book? <\/em>
\nGwen Le Cor<\/a> and St\u00e9phane Vanderhaeghe<\/a> \u2014 Universit\u00e9 Paris 8<\/p>\n

\t\u201cA book is never \u2018self-identical.\u2019 A book doesn\u2019t close on itself as a static, inert artifact between boards or covers.\u201d Starting from a remark Johanna Drucker derives from Jerome McGann\u2019s analysis, this workshop seeks to question how the book, both as object and medium, shapes and models reading experiences and reading paths in its very materiality, and this whether it abolishes materiality in the text\u2019s linearity or brings it to light in its spatial dimension. We can thus wonder if there is such a thing as a pattern for the book or if books\u2014in their multiplicity which encompasses artists\u2019 books, digital books, hypertexts or more generally electronic literature\u2014are not constantly seeking out models, be they formal or dynamic, which they simultaneously attempt to challenge.
\n\tThis questioning can accordingly focus on the respective impacts and influences that books and new media can wield on one another. The aim of this workshop is thus both to probe reading models as defined and vectorized by the codex in the presumed linearity it embodies, and to see how model readings underpinned by such linear approaches come to be contested\u2014readings fostered by interpretative and hermeneutic biases that postulate meaning along such linear vectors eventually to posit it at the end of the reading experience which thereby meets the legitimization of its moves and critical findings. For, as Michel Serres contends, \u201cthat there might be nothing to gain at the end of all reading, who could bear it?\u201d Yet, the dynamics of handling and manipulation produced by the book-as-object in its very fabric on the one hand, and by the flickering textualities that digital literature generates on the other, seem to offset such models of \u201cexemplary\u201d readings by stressing the transient and flickering quality of meaning or of a meaning, not to say its exhaustion in performative works (among which the works of Stephanie Strickland or Judd Morrissey, to name but a few, along with Shelley Jackson\u2019s Skin\u2026).
\n\tAs further stated by Jean-Luc Nancy: \u201cText is textile; it is the material of sense. But sense as such has no material, no fibers or consistency, no grain or thickness.\u201d (The Ground of the Image) Given that the book\u2019s central property, then, is to produce a textile writing which in turn questions the weaving and lacing of sense, how can the book, or more generally the very fabric of writing\u2014be it physical or digital\u2014articulate writing as textile with a sense that is deemed immaterial? What (counter)-model(s) can be found, or made to founder here? Ultimately, this entails a reflection of\/on the end(s) of books, with all the shades of nuances thus implied: what end(s) for what book(s)?
\n\tIt is also possible to focus on the way the book knits the heterogeneous by borrowing from models derived from the plastic arts, the cinema, photography, or even science. If artists\u2019 books first come to mind, and if the place of the contemporary American novel seems prominent in this reflection, especially in the works of Mark Z. Danielewski, Jonathan Safran Foer or Steve Tomasula, one could also retrace the history of American literature to see that such forces may already come to play in previous periods. One might think, for instance and among others, of Melville\u2014whether in the ruptures, bifurcations and narrative digressions of Moby Dick, or in the cyclical process of The Confidence Man perhaps exemplified by feedback loops and reiterations, etc. Other examples might include modernist and post-modernist experiments replacing linear models with counter-models playing with cubist-style juxtapositions and collages which deliberately blur meaning as in the works of Faulkner or Coover, or in poets like John Cage and Susan Howe among many others\u2026 To what extent, then, is writing not always a permanent game of cut and paste, notably, but not only, in its intertextual dimension, a game of radical alteration of the models it installs? What reading modes, and, in their material manipulations, what \u201creading manuals\u201d do books appear to play out and outplay\u2014in what moments of the book\u2019s history? What are the models that they critically unsettle and can such models be thought of independently of the crisis that fosters them?
\n\tIn other words, this workshop aims to question the tensions between text and medium, line and plane, vector and space, page and interface, which invest all literary works.
\nLes propositions sont \u00e0 adresser \u00e0 Gwen Le Cor<\/a> et St\u00e9phane Vanderhaeghe<\/a> \u2014 Universit\u00e9 Paris 8 avant le 20 d\u00e9cembre 2013.<\/p>\n

6. Mimesis, mythe(s), mod\u00e8le(s) dans la po\u00e9sie et la fiction am\u00e9ricaines (post)modernes – Mimesis, myth(s), model(s) in (post)modern American poetry and fiction<\/h2>\n

Richard Anker<\/a> (Universit\u00e9 Blaise Pascal \u2013 Clermont Ferrand 2)
\net Cl\u00e9ment Oudart<\/a>
\n(Universit\u00e9 Toulouse II \u2013 Le Mirail)<\/p>\n

Si, au seuil de l\u2019Occident, Platon veut bannir les po\u00e8tes de la cit\u00e9, c\u2019est parce qu\u2019ils sont des conteurs de mythes, des faiseurs de mod\u00e8les imitables qui risquent d\u2019\u00e9loigner les citoyens de la v\u00e9rit\u00e9. Le mythe, selon Platon, est un instrument d\u2019identification, autrement dit un instrument mim\u00e9tique. Nietzsche, cependant, nourrit le soup\u00e7on que Platon lui-m\u00eame n\u2019\u00e9crit pas autre chose que des \u00ab romans philosophiques \u00bb en s\u2019appropriant le mythe en tant que fable mim\u00e9tique du vrai. Le soup\u00e7on de Nietzsche proc\u00e8de en partie de sa connaissance des romantiques d\u2019I\u00e9na qui, eux, avaient r\u00eav\u00e9 d\u2019un roman qui, s\u2019il avait \u00e9t\u00e9 achev\u00e9, aurait consist\u00e9 en une r\u00e9p\u00e9tition du platonisme, en ce qu\u2019ils consid\u00e9raient le roman comme la forme la mieux adapt\u00e9e d\u2019une prise en charge esth\u00e9tique de l\u2019Absolu, ou de la m\u00e9taphysique telle que la philosophie l\u2019avait transmise jusqu\u2019\u00e0 la crise ouverte par la Critique de Kant. D\u2019o\u00f9 l\u2019appel constant des romantiques \u00e0 cr\u00e9er, \u00e0 partir de l\u2019Art et de la Litt\u00e9rature elle-m\u00eame, un nouveau mythe, ou une nouvelle religion. Tout se passe donc comme si le mythe, rel\u00e9gu\u00e9 \u00e0 la marge de l\u2019Occident par la philosophie, avait fait retour dans la naissance m\u00eame de la Litt\u00e9rature (comprise en tant que d\u00e9passement des belles lettres), ou en tant que naissance de la Litt\u00e9rature. Pourtant, puisque ce n\u2019est pas seulement le mythe proscrit par Platon qui fait retour ainsi, mais aussi ce qu\u2019il faudrait bien appeler le mythe \u00ab philosophique \u00bb lui-m\u00eame, ou, si l\u2019on pr\u00e9f\u00e8re, l\u2019onto-mim\u00e9tologique de Platon, deux modalit\u00e9s du mythe se m\u00ealent dans l\u2019invention de la Litt\u00e9rature, deux modalit\u00e9s dont on voudrait tenter de d\u00e9m\u00ealer les r\u00e9percussions dans l\u2019apr\u00e8s-romantisme.
\nL\u2019objectif de cet atelier sera de s\u2019interroger sur l\u2019\u00e9criture moderne et postmoderne am\u00e9ricaine en tant que r\u00e9p\u00e9tition du mod\u00e8le romantique, le mot \u00ab r\u00e9p\u00e9tition \u00bb \u00e9tant compris ici dans ses multiples acceptions : reprise, renversement, accomplissement, restauration, sublimation, d\u00e9passement, rel\u00e8ve, Aufhebung, etc. Dans son traitement probl\u00e9matique de l\u2019histoire et de la tradition, la modernit\u00e9 du modernisme po\u00e9tique am\u00e9ricain (chez Pound et H.D., en particulier) prendrait forme dans son exhumation de mod\u00e8les archa\u00efques, primitifs, ou encore, mythiques. Or il s\u2019agit d\u00e9j\u00e0 de l\u2019un des crit\u00e8res de la \u00ab modernit\u00e9 \u00bb intempestive du premier romantisme allemand, qui se pr\u00e9occupait \u00e0 l\u2019origine de \u00ab la po\u00e9sie de l\u2019Antiquit\u00e9 \u00bb, et visait \u00e0 op\u00e9rer la \u00ab reprise critique \u00bb des \u0153uvres dionysiaques de la Gr\u00e8ce tragique pour cr\u00e9er (ou \u00ab refaire, en moderne \u00bb) \u00ab la grande \u0153uvre classique dont manque l\u2019\u00e9poque \u00bb et ainsi \u00ab surpasser et compl\u00e9ter l\u2019Antiquit\u00e9 dans ce qu\u2019elle a d\u2019inachev\u00e9 ou d\u2019inaccompli, dans ce qu\u2019elle n\u2019a pas r\u00e9ussi \u00e0 effectuer de l\u2019id\u00e9al classique qu\u2019elle entrevoyait. Ce qui revient \u00e0 op\u00e9rer la \u201csynth\u00e8se\u201d de l\u2019Antique et du Moderne, ou [\u2026] \u00e0 relever\u2014aufheben\u2014l\u2019opposition de l\u2019Antique et du Moderne. \u00bb (Ph. Lacoue-Labarthe et J.-L. Nancy, L\u2019Absolu litt\u00e9raire, 1978, 19-20). Mais l\u00e0 o\u00f9 le mythe en tant que mod\u00e8le archa\u00efque est exhum\u00e9 dans l\u2019optique du renouveau litt\u00e9raire chez les po\u00e8tes modernistes, le roman am\u00e9ricain postmoderne (Gaddis, Hawkes, Gass, Coover) semble s\u2019\u00e9riger \u00e0 partir d\u2019une certaine hantise du mythe, ou d\u2019une volont\u00e9 de le transcender esth\u00e9tiquement, comme le sugg\u00e8re le titre du livre de Marc Ch\u00e9netier, Au-del\u00e0 du soup\u00e7on, qui porte sur les auteurs des ann\u00e9es 60-80, plus r\u00e9ticents que leurs pr\u00e9d\u00e9cesseurs vis-\u00e0-vis de ce qu\u2019ils voient comme des r\u00e9percussions culturelles et socio-politiques du mythe. Il s\u2019agira donc de mettre en relief les ambigu\u00eft\u00e9s des avant-gardes modernistes face aux mod\u00e8les, tant\u00f4t v\u00e9n\u00e9r\u00e9s, tant\u00f4t honnis, et d\u2019aborder la question de leur propre h\u00e9ritage pour les g\u00e9n\u00e9rations de l\u2019apr\u00e8s-guerre, ce dans l\u2019optique de d\u00e9limiter dans leur sp\u00e9cificit\u00e9 historique et g\u00e9n\u00e9rique les \u00ab usages \u00bb litt\u00e9raires du mythe depuis le modernisme. Nous encourageons tout particuli\u00e8rement des r\u00e9flexions sur l’\u00e9mergence de la po\u00e9sie moderniste et sur les auteurs de l\u2019apr\u00e8s-guerre, de Williams, Pound, Stein et H.D. \u00e0 Duncan, Olson et Creeley, ou \u00e0 John Ashbery et Michael Palmer, et de Gaddis \u00e0 Everett, ou \u00e0 Marcus, en passant par Barth, Barthelme, Pynchon, Markson ou encore Abish.<\/p>\n

Les propositions sont \u00e0 envoyer conjointement \u00e0 Richard Anker<\/a> et \u00e0 Cl\u00e9ment Oudart<\/a><\/p>\n

Mimesis, myth(s), model(s) in (post)modern American poetry and fiction<\/em>
\nIf Plato at the dawn of the West sought to expulse the poets from the Republic, it was because poets were considered makers of myth, that is makers of models the imitation of which he feared would alienate citizens from truth. Plato saw myth as an instrument of identification, in other words as a mimetic instrument. Nietzsche however suspected that Plato had himself written \u201cphilosophical novels\u201d in appropriating myth as a mimetic fable of truth. Nietzsche\u2019s suspicion was nourished by his knowledge of the romantics of Jena who, themselves, had dreamt of a novel which, had it ever been achieved, would have amounted to a repetition of Platonism, insofar as they considered the novel as the form best suited for an aesthetic rendering of the Absolute, or of metaphysics such as it had been historically transmitted by philosophy until the Kantian crisis. Inseparable for the romantics from this aesthetics of the Absolute was the call for Art and Literature to create a new myth, indeed a new religion. Everything occurs as if myth, relegated to the margins of Western thought by philosophy, had returned to its center by way of Literature (understood as irreducible to \u201cbelles lettres\u201d), or as the birth of Literature. Yet since it is not only the myth that Plato had banished which returns in this way, but also what one is obliged to call \u201cphilosophical\u201d myth itself, or, if one prefers, the onto-mimetology invented by Plato, two modalities of myth turn out to be operative in the invention of Literature, two modalities of which it is the aim of this workshop to explore the repercussions in the wake of romanticism.
\nThis workshop will seek to inquire into modern and postmodern writing insofar as it is a repetition of the romantic model, where the word repetition should be understood in all its acceptations: reappraisal, reversal, performance, accomplishment, restoration, sublimation, transcendence, Aufhebung, etc. Through its complex relation to history and tradition, the modernity of major modernist poetic works (like Pound or H.D.\u2019s) could be seen as stemming from its ability to excavate archaic, primitive or mythic models. This tension already underlies the \u201cmodernity\u201d of early German romanticism, which was initially concerned with \u201cClassic poetry\u201d and sought to \u201ccritically reappraise\u201d the Dionysian works by Greek playwrights in order to create (or \u201cremake, in modern fashion\u201d) \u201cthe great classic work this century is lacking\u201d and thereby \u201coutshine and supplement Antiquity in its incompleteness, in its incompletion, in its failed attempt to implement the classic ideal it had glimpsed. This boils down to performing a \u201csynthesis\u201d of the Ancient and the Modern, or (\u2026) to reappraise\u2014aufheben\u2014the opposition of Ancient and Modern\u201d (Ph. Lacoue-Labarthe et J.-L. Nancy, L\u2019Absolu litt\u00e9raire, 19-20). However while myth as an archaic model is unearthed by the modernist poets and embraced for its ability to \u201c(re)make it new\u201d, postmodern novelists (Gaddis, Hawkes, Gass, Coover), more wary of the cultural and socio-political repercussions of myth-making, tend either to eschew myth or strive to transcend it aesthetically, as is suggested by the title of Marc Ch\u00e9netier\u2019s study of fiction from the 1960-1980\u2019s, Au-del\u00e0 du soup\u00e7on. Our goal, therefore, is to bring out the essential ambivalence characterizing the modernist avant-gardes\u2019 relations to models, in turn revered and abhorred, and to question the modernist legacy as bestowed upon the postwar generations. Studies of the rise of modernist poetry as well as postwar literary works are particularly welcome, ranging from Williams, Pound, Stein and H.D. to Olson, Duncan and Creeley or to John Ashbery and Michael Palmer, and from Gaddis to Everett or Marcus, through Barth, Barthelme, Pynchon, Markson or Abish.<\/p>\n

300-word proposals should be sent both to Richard Anker<\/a> and Cl\u00e9ment Oudart<\/a><\/p>\n

7. Mod\u00e8les et territoires de la litt\u00e9rature – Models and the territories of literature<\/h2>\n

Anthony Larson<\/a>, Universit\u00e9 Rennes 2<\/p>\n

Dans Dialogues, une conversation avec Claire Parnet, Gilles Deleuze intitule de mani\u00e8re assez provocatrice \u00ab De la sup\u00e9riorit\u00e9 de la litt\u00e9rature anglaise-am\u00e9ricaine \u00bb le chapitre qu\u2019il consacre \u00e0 la litt\u00e9rature . Au fil de cette longue discussion, le lecteur retrouve des termes cl\u00e9s de la r\u00e9flexion deleuzienne sur la litt\u00e9rature : \u00ab ligne de fuite \u00bb, \u00ab d\u00e9- et re-territorialisation \u00bb, \u00ab d\u00e9lirer \u00bb, et \u00ab devenir \u00bb , mais ce qui surprend sans doute le plus ici est de constater que cette discussion centrale sur la litt\u00e9rature est ouvertement li\u00e9e \u00e0 une tradition litt\u00e9raire sp\u00e9cifique (au d\u00e9triment d\u2019autres traditions, notamment fran\u00e7aise). Comment Deleuze est-il amen\u00e9 \u00e0 d\u00e9clarer la sup\u00e9riorit\u00e9 d\u2019une tradition litt\u00e9raire nationale \u00ab sup\u00e9rieure \u00bb par rapport \u00e0 d\u2019autres, \u00e9tant donn\u00e9 qu\u2019une telle position semble en opposition totale avec la r\u00e9flexion globale de Deleuze ?
\nUne des r\u00e9ponses est peut-\u00eatre \u00e0 rechercher dans une logique plus profonde, en l\u2019occurrence dans la notion de devenir qui selon D justifie la sup\u00e9riorit\u00e9 de la litt\u00e9rature anglaise-am\u00e9ricaine. Quand Gilles Deleuze \u00e9voque la litt\u00e9rature et notamment la litt\u00e9rature am\u00e9ricaine, il ne parle pas d\u2019une tradition ou d\u2019un mod\u00e8le de litt\u00e9rature qui aurait sa propre histoire, ou qui \u00e9voluerait par rapport \u00e0 d\u2019autres traditions nationales. Au contraire, il envisage la litt\u00e9rature en tant que concept. Pour Deleuze, un concept est une r\u00e9ponse philosophique \u00e0 un probl\u00e8me particulier et dans le contexte de la litt\u00e9rature, le probl\u00e8me qui semble concerner Deleuze est celui de la tradition litt\u00e9raire ou du mod\u00e8le. La litt\u00e9rature elle-m\u00eame r\u00e9pond \u00e0 la lecture traditionnelle (dans les deux sens du terme : comme \u00ab tradition litt\u00e9raire \u00bb et comme \u00ab habitude de lecture \u00bb) en brisant le mod\u00e8le, la \u00ab loi \u00bb du signifiant et de l\u2019interpr\u00e9tation. Pour Deleuze, on pourrait dire que la litt\u00e9rature est sup\u00e9rieure quand elle fonctionne comme concept car elle remet en question le mod\u00e8le et ses illusions, ses fronti\u00e8res, et sa logique de calque. Quand la litt\u00e9rature cr\u00e9e des lignes de fuite, elle va jusqu\u2019aux limites de la grammaire, la poussant dans ses retranchements. Devenir-d\u00e9lire, elle atteint une puissance sup\u00e9rieure qui affecte l\u2019interpr\u00e9tation. Envisag\u00e9e sous cet angle, la \u00ab sup\u00e9riorit\u00e9 \u00bb de la litt\u00e9rature se lib\u00e8re de ses attaches territoriales et nationales.
\nN\u00e9anmoins, un territoire sp\u00e9cifiquement am\u00e9ricain reste bien pr\u00e9sent dans la litt\u00e9rature qu\u2019affectionne Deleuze. Cette relation paradoxale s\u2019explique peut-\u00eatre par la relation que l\u2019on peut \u00e9tablir avec deux autres termes cl\u00e9s dans la r\u00e9flexion deleuzienne : diff\u00e9rence et r\u00e9p\u00e9tition. L\u2019histoire g\u00e9ographique des Etats-Unis est effectivement celle de la r\u00e9p\u00e9tition politique et sociale, inscrite dans une diff\u00e9rence de r\u00e9volution et de rupture. C\u2019est peut-\u00eatre dans cette histoire sp\u00e9cifiquement am\u00e9ricaine que r\u00e9side un \u00ab moteur \u00bb de cr\u00e9ation litt\u00e9raire, de cr\u00e9ation de la litt\u00e9rature. Pour Deleuze, cr\u00e9er, c\u2019est r\u00e9sister : la puissance de la litt\u00e9rature am\u00e9ricaine et sa sup\u00e9riorit\u00e9 sont inscrits dans sa r\u00e9sistance aux mod\u00e8les et \u00e0 la r\u00e9p\u00e9tition.
\nDepuis l\u2019apparition d\u2019une litt\u00e9rature coloniale jusqu\u2019au pr\u00e9sent, on s\u2019int\u00e9ressera \u00e0 ce qui semble distinguer ce territoire de la litt\u00e9rature am\u00e9ricaine : qu\u2019il s\u2019agisse des tentatives de la litt\u00e9rature am\u00e9ricaine d\u2019\u00e9tablir une \u00ab voix \u00bb propre ou de mettre en ?uvre un projet qui embrasserait toute la nation (the \u00ab great American project \u00bb), on soulignera la qu\u00eate d\u2019une \u00e9nergie cr\u00e9ative qui cherche \u00e0 r\u00e9p\u00e9ter dans la diff\u00e9rence, \u00e0 r\u00e9sister et d\u00e9truire les mod\u00e8les.<\/p>\n

Models and the territories of literature<\/em><\/p>\n

In Dialogues, a conversation with Claire Parnet, Gilles Deleuze entitles a long reflection on literature with the provocative heading \u201cOn the Superiority of Anglo-American Literature\u201d. The chapter-length reflection is on important traits in Anglo-American literature such as \u201cflight,\u201d \u201cde-territorialization\u201d, \u201cdeliria\u201d, and \u201cbecoming.\u201d While these latter themes are easily recognizable as central to the Deleuzian enterprise, tying them to a specific literary tradition (and openly condemning other traditions, such as the French one) comes as a surprise. How can one claim \u201csuperiority\u201d for a certain national literary tradition, especially given that such a position appears to be in complete opposition to the larger work of Deleuze?
\nPerhaps the answer is in a deeper mechanics at work in the chapter heading, in its becoming. When Deleuze speaks of literature, and specifically American literature, he is not speaking so much of a tradition, a model of literature with its history and developments in relation to other national traditions, but of a concept of literature. For Deleuze, a concept is a philosophical response to a specific problem and the problem is expressly that of the literary tradition or model. Literature that breaks the model, the \u201ctyranny\u201d of the signifier and interpretation (for placing literatures inside of \u201ctraditions\u201d necessarily requires interpretation, a God-like point of view) is superior because it reveals the model for what it is: an illusion, a boundary, a pre-traced copy of a defining idea. When literature \u201cflees\u201d this model, pushing up against and beyond the limits of grammar, \u201cbecoming-deliria\u201d it reaches a higher (and superior) power, affecting one\u2019s ability to interpret. Read this way, Deleuze\u2019s \u201csuperior\u201d literature loses any ties to a national territory in a \u201ctraditional\u201d sense.
\nYet a territory tied specifically to the American continent remains in Deleuze\u2019s eyes. Might this paradoxical relationship be understood more clearly in light of another pair of terms from Deleuze\u2019s work, those of difference and repetition? In America\u2019s very geographical destiny as a repetition of earlier political and social structures, inscribed in the difference of revolutionary change, might one not find a central \u201cmotor\u201d of literary creation? For Deleuze, to create is to resist and the specific power of American literature (its superiority) is in its territorially inscribed resistance to models or repetitions. Time after time, from early colonial literature, to the young republic, through the establishment of a distinctly \u201cAmerican\u201d voice, to the quest for and undoing of the \u201cgreat\u201d American literary project, can one not trace a creative urge to repeat with difference, to resist and overthrow the model, foreign or native?
\nLes propositions sont \u00e0 envoyer \u00e0 Anthony Larson<\/a> avant le 20 d\u00e9cembre 2013.<\/p>\n

8. The US : models, counter-models… an end to models ?<\/h2>\n

Jagna Oltarzewska<\/a>, Universit\u00e9 Paris 4<\/p>\n

Models of critical reading have succeeded each other and jostled for position over the course of the 20th century and into the early years of the 21st. A complex history of cross-cultural influence, belated translation and conjunctural rediscovery has made and unmade interpretive communities with increasing swiftness since the 1960s. Emerging from a historical moment with its distinctive episteme, critical models enjoy a long afterlife and resist chronological ordering; Russian Formalism influences structuralism, which in turn looms large in Lacan\u2019s psychoanalytic theory; while the Lacanian \u201creal\u201d has been energetically taken up by trauma studies (Cathy Caruth), feminism and gender studies (Joan Copjec), as well as postmodern approaches to the visual arts (Hal Foster). Much of the recent history of critical models in literary and cultural theory is the history of two-way transatlantic transfer and reception, with the curious temporal disjunctions and felicities that attend the recontextualization of seminal works decades after their initial publication (Fredric Jameson\u2019s Political Unconscious (1981) translated into French in 2012, its resonance as yet uncertain; Carol Gilligan\u2019s In a Different Voice, making considerable impact in France in a paperback edition of 2008, although an earlier French translation (1986) had passed unnoticed). The New Criticism, a powerful and by no means defunct model of critical practice which dominated the American academy from the 1930s to the mid-1950s, had roots in a late Romantic ideology of the sensuous particular, and its interpretations aspired to resolve divergent meanings in the ultimate unity of an autonomous and autotelic work \u2013 the celebrated \u201curn\u201d or \u201cicon\u201d. The New Critics were committed to a methodology of \u201cclose reading\u201d, an imperative which has continued to impress itself on successive generations of literary scholars, regardless of critical orientation. While Paul de Man announced the \u201cdead-end\u201d of Formalist criticism as early as 1953, critical practice and pedagogy continued to espouse New Critical methods well into the 1970s; and they survive today as the spontaneous philosophy and practice of many a critic and teacher. If the influence of the Geneva School (Georges Poulet taught at Johns Hopkins in the 1950s) and the early structuralist writings of Barthes and Genette (imported into the US in the 70s and early 80s) favoured the continued deployment of formalist methodologies, albeit with a scientific spin, counter-models began to assert themselves with a vengeance in the 70s and 80s, when the intersecting claims of sex, race and class reinstated the neglected questions of identity and history. French theory (Fran\u00e7ois Cusset) was to serve a twin agenda in this context: in the US, Derrida\u2019s \u2018deconstruction\u2019 was instrumentalized as a radical practice of reading, exposing insuperable fractures within the \u2018organic\u2019 work; while Foucault\u2019s concept of power found favour with gender studies and postcolonial approaches anxious to expose and critique mechanisms of oppression. The hybridization and diversification of critical discourses has accelerated from the 90s to the present day. Contemporary commentators call attention to the \u201cdisordered\u201d or \u201cdisorganized\u201d state of theory and practice at the present time (Vincent B. Leitch), to the \u201ccuriously hybrid and unstable mix\u201d of disciplines informing what was once known as \u2018literary theory\u2019, now simply as \u2018theory\u2019(Philip Rice and Patricia Waugh). <\/p>\n

In view of the above, we might ask the following: <\/p>\n

1. What insight, if any, does the eclectic, \u201cdisorganized\u201d use of critical models offer into our changing times? In an intellectual climate that appears endlessly accommodating, can counter-models \u2013 truly oppositional models \u2013 still arise?<\/p>\n

2. In the last twenty-five years, the study of literary texts has ceded to the study of cultural forms, many of them image-based. The absorption of the literary into the cultural occurs in tandem with the absorption of literary theory by cultural studies. \u201cCultural studies\u201d is de facto not just an institutional practice, but the dominant paradigm which defines our institutional space, the space within which scholarship is now conducted. What are the unspoken politics of such a space? Do critical paradigms still compete? Is there a polarization of institutional space, or are we witnessing its homogenization? What would a \u2018counter-model\u2019 resemble, today? What, exactly, would it \u2018counter\u2019?<\/p>\n

3. Perry Anderson has recently sketched the shape of the inter-state system in the first decades of the 21st century; the waning of the US as global hegemon and the emergence of a new pentarchy \u2013 the US, the EU, China, India, Russia, a new \u201cconcert of powers\u201d with a prosaic basis \u2013 economic interdependence. Collective commitment to the world market means that ideological differences are relegated to the background. What emancipatory or utopian energies can theoretical models harness in order to renew themselves in such a conjuncture? <\/p>\n

4. Do critical models refract national ideologies? This, from Terry Eagleton: \u201cThe history of modern American criticism is among other things a rhythm of restless oscillation between a Heideggerian servility to the literary object, and an anarchic assertion of readers\u2019 power over this dominative discourse. Perhaps both positions answer to enduring motifs of American ideology: the first to a \u2018frontier\u2019 consciousness that Nature was there before we were; the second to a euphoric individualism which sucks all Nature into its maw.\u201d (1981) Is there any substance to such correlations? How do transnational and globalizing forces act on the \u2018national\u2019 matrix of theoretical models, supposing such a matrix exists? <\/p>\n

Que ce soit en France ou aux \u00c9tats-Unis, les mod\u00e8les de lecture critique se succ\u00e8dent \u00e0 un rythme impressionnant depuis les ann\u00e9es 1970 ; leur histoire rel\u00e8ve d\u2019un processus complexe d\u2019influences r\u00e9ciproques, de traductions tardives, de red\u00e9couvertes conjoncturelles. Les communaut\u00e9s interpr\u00e9tatives se cr\u00e9ent, se d\u00e9font et se reconstruisent au fil de ces \u00e9v\u00e9nements. Les mod\u00e8les interpr\u00e9tatifs r\u00e9sistent \u00e0 toute tentative de classement chronologique : le formalisme russe informe le structuralisme, qui occupe une place importante dans la th\u00e9orie lacanienne ; le \u00ab r\u00e9el \u00bb lacanien est repris, \u00e0 son tour, par les \u00ab trauma studies \u00bb (Caruth), les \u00e9tudes sur le genre (Copjec), les esth\u00e9tiques postmodernes (Hal Foster), la philosophie d\u2019inspiration psychanalytique (\u017di\u017eek, Badiou). L\u2019histoire r\u00e9cente des mod\u00e8les de lecture critique est avant tout celle d\u2019un dialogue transatlantique marqu\u00e9 par les succ\u00e8s et les ratages impr\u00e9visibles qui hantent toute sc\u00e8ne d\u2019interlocution. La France se met \u00e0 traduire une pens\u00e9e am\u00e9ricaine (Butler, Gilligan, Jameson, Spivak…) impr\u00e9gn\u00e9e de \u00ab French Theory \u00bb (Cusset), traduction dont les enjeux et les cons\u00e9quences restent, pour l\u2019heure, incertains. Reconnue longtemps comme mod\u00e8le h\u00e9g\u00e9monique dans le milieu universitaire am\u00e9ricain, la \u00ab New Criticism \u00bb dont on annonce un peu pr\u00e9matur\u00e9ment les \u00ab impasses \u00bb en 1953 (Paul de Man), persiste jusqu\u2019\u00e0 ce jour sous la forme d\u2019une philosophie spontan\u00e9e de la lecture et de la p\u00e9dagogie. Les lectures critiques d\u2019inspiration formaliste se pratiquent jusque dans les ann\u00e9es 70, d\u00e9cennie pendant laquelle les contre-mod\u00e8les commencent \u00e0 s\u2019affirmer, forts des revendications issues de la matrice \u00ab sex, race and class \u00bb. Les probl\u00e9matiques refoul\u00e9es de l\u2019histoire et de l\u2019identit\u00e9 sont r\u00e9int\u00e9gr\u00e9es ; dans le m\u00eame temps, les champs ouverts \u00e0 la lecture critique connaissent une vaste expansion, les approches d\u2019inspiration s\u00e9miologique et les \u00ab cultural studies \u00bb multipliant de mani\u00e8re exponentielle les objets d\u2019\u00e9tude. Depuis les ann\u00e9es 90, on assiste \u00e0 une prolif\u00e9ration de mod\u00e8les critiques, \u00e0 l\u2019hybridation des discours interpr\u00e9tatifs et \u00e0 leur diversification. Le th\u00e9oricien Vincent B. Leitch attire l\u2019attention sur l\u2019\u00e9tat \u00ab d\u00e9sordonn\u00e9 \u00bb des pratiques th\u00e9oriques contemporaines; Patricia Waugh et Philip Rice pointent \u00ab le m\u00e9lange [disciplinaire] instable et curieusement hybride \u00bb qui informe ce que l\u2019on avait coutume d\u2019appeler la \u00ab th\u00e9orie litt\u00e9raire \u00bb et qu\u2019on conna\u00eet simplement, aujourd\u2019hui, sous le nom de \u00ab theory \u00bb.<\/p>\n

Les questions qu\u2019on sera amen\u00e9 \u00e0 se poser sont les suivantes :<\/p>\n

– l\u2019utilisation \u00e9clectique et \u00ab d\u00e9sordonn\u00e9e \u00bb de mod\u00e8les refl\u00e8te-t-elle une conjoncture ? Dans un climat qui para\u00eet accueillir un tr\u00e8s grand nombre de mod\u00e8les critiques, qu\u2019en est-il du mod\u00e8le oppositionnel, du v\u00e9ritable contre-mod\u00e8le ?
\n– quelle est la politique d\u2019un espace institutionnel r\u00e9gi par les approches relevant des \u00ab cultural studies \u00bb ? Est-ce un espace qui favorise l\u2019\u00e9mergence du nouveau ?
\n– \u00e0 l\u2019\u00e8re d\u2019un n\u00e9olib\u00e9ralisme globalisant, quelles sont les \u00e9nergies \u00e9mancipatrices dont les contre-mod\u00e8les pourraient se pr\u00e9valoir ?
\n– le mod\u00e8le critique s\u2019ancre-t-il dans une id\u00e9ologie relevant de l\u2019\u00e9tat-nation ? (Eagleton) Une matrice id\u00e9ologique \u00ab nationale \u00bb ne se d\u00e9lite-t-elle pas sous la pression des forces transnationales et globalisantes ? Quelles en sont les cons\u00e9quences pour l\u2019\u00e9mergence \u2013 et l\u2019utilisation \u2013 des mod\u00e8les ?
\nPaper proposals dealing with any aspect of the questions raised above are warmly welcomed. As are papers dealing with questions of cross-cultural transfer and reception of critical models. Please send proposals to Jagna Oltarzewska<\/a> before December 20, 2013.<\/p>\n

9. Au-del\u00e0 du mod\u00e8le puritain ? Le Voyage du P\u00e8lerin comme intertexte de la fiction \u00e9tats-unienne – Revising the Puritan Model? The Pilgrim\u2019s Progress as the ur-text of US fiction<\/h2>\n

Claude Le Fustec<\/a> , Universit\u00e9 Rennes 2 et Anne Ullmo<\/a> , Universit\u00e9 Lille 3<\/p>\n

Dans The Reign of Wonder (1965), Tony Tanner d\u00e9clare: \u201cit is hard to think of many major American novels which do not in some way incorporate in them the notion of a search, a quest, a more than physical journey.\u201d Le rapport presque obsessionnel que l\u2019imaginaire culturel \u00e9tats-unien semble entretenir avec l\u2019all\u00e9gorie de Bunyan, The Pilgrim\u2019s Progress, semble confirmer l\u2019analyse de Tanner. Du symbole identitaire que repr\u00e9sentent les \u00ab P\u00e8res P\u00e8lerins \u00bb aux r\u00e9centes adaptations cin\u00e9matographiques du voyage du p\u00e8lerin comme celle de Dany Carrales en 2008, l\u2019imaginaire am\u00e9ricain semble habit\u00e9 par l\u2019all\u00e9gorie de Bunyan. En litt\u00e9rature, les plus grands auteurs y ont eu recours, qu\u2019il s\u2019agisse de Hawthorne, dont la nouvelle \u00ab The Celestial Railroad \u00bb est une r\u00e9\u00e9criture, ou de la c\u00e9l\u00e8bre \u00e9pop\u00e9e des fermiers migrants dans Les Raisins de la col\u00e8re. Le voyage du p\u00e8lerin donne sa profondeur tragique \u00e0 l\u2019utopie d\u2019un Gatsby et constitue le fondement des hallucinations du voyage beat, comme l\u2019a lui-m\u00eame reconnu Kerouac, et \u00e0 sa suite Krakauer (Into the Wild, 1996).
\nToutefois, mod\u00e8le du voyage vers un nouveau monde, la qu\u00eate du p\u00e8lerin est constamment r\u00e9-\u00e9crite, parodi\u00e9e, subvertie. Souvent mal\u00e9fique chez Hawthorne (\u00ab Ethan Brand \u00bb), vou\u00e9e \u00e0 l\u2019\u00e9chec chez Edith Wharton (The House of Mirth), elle se r\u00e9v\u00e8le illusoire pour Gatsby et que dire des d\u00e9lires mystico-alcoolis\u00e9s de Salvatore Paradise ? Or l\u2019all\u00e9gorie puritaine, cette possession jug\u00e9e d\u00e9sormais inutile par les fermiers migrants qui s\u2019en d\u00e9font avant leur d\u00e9part pour la Californie dans le roman de Steinbeck, continue de structurer la litt\u00e9rature am\u00e9ricaine, aussi bien postmoderne (The Crying of Lot 49, parodie de la qu\u00eate religieuse selon Brian D. Ingraffia) que \u00ab minoritaire \u00bb (on songera notamment au roman A Mercy de Toni Morrison, paru en 2008).
\nCet atelier aimerait inviter des communications examinant le rapport de la fiction \u00e9tats-unienne au mod\u00e8le que semble donc constituer l\u2019all\u00e9gorie puritaine de Bunyan, depuis le 19\u00e8 si\u00e8cle jusqu\u2019\u00e0 nos jours. On pourra examiner le type d\u2019intertextualit\u00e9 mise en jeu, reprise, simple parodie ou rapports symboliques plus complexes, se poser la question de ce que devient l\u2019all\u00e9gorie d\u2019un point de vue formel ainsi que ce qu\u2019il en est de la qu\u00eate de sens, notamment dans les avatars les plus contemporains du Voyage du P\u00e8lerin. On tentera ainsi \u00e9ventuellement de poser la question de la sp\u00e9cificit\u00e9 d\u2019une esth\u00e9tique \u00e9tats-unienne model\u00e9e par un certain rapport \u00e0 la transcendance.
\nLes propositions de communication (environ 200 mots) sont \u00e0 envoyer \u00e0 Claude Le Fustec<\/a> et Anne Ullmo<\/a> avant le 20 d\u00e9cembre 2013.<\/p>\n

Revising the Puritan Model? The Pilgrim\u2019s Progress as the ur-text of US fiction. <\/em> <\/p>\n

\tIn The Reign of Wonder (1965), Tony Tanner stated: \u201cit is hard to think of many major American novels which do not in some way incorporate in them the notion of a search, a quest, a more than physical journey.\u201d This is clearly illustrated by the omnipresence of Bunyan\u2019s Pilgrim\u2019s Progress in US culture. From the voyage of the first settlers famously known as the \u201cPilgrim Fathers,\u201d to contemporary versions of the English puritan allegory such as the 2008 film adaptation by Dany Carrales, Bunyan\u2019s spiritual quest seems to have had a special appeal for US imagination. From the early days of US fiction, it has been rewritten, as in Hawthorne\u2019s \u201cThe Celestial Railroad\u201d or Steinbeck\u2019s famous epic The Grapes of Wrath. Gatsby\u2019s utopian and tragic quest is yet another one of its versions, while Bunyan\u2019s allegory is the basis of the hallucinated beat trip, as Kerouac himself acknowledged, a model subsequently taken up by Krakauer (Into the Wild, 1996).
\nHowever, as the model of the quest for a new World, The Pilgrim\u2019s Progress keeps being revised, parodied, subverted by US fiction. It often leads the pilgrim to evil rather than to the Celestial City in Hawthorne\u2019s stories, is doomed to failure in Wharton\u2019s House of Mirth, is exposed as illusory in The Great Gatsby and becomes equated with intoxication in Kerouac\u2019s On the Road. Still, useless though it might seem to the migrants who leave it behind among the many belongings that they now deem worthless as they set out on their journey to California in The Grapes of Wrath, the puritan allegory remains an undisputable component of contemporary US fiction, whether postmodern (The Crying of Lot 49 is a parody of the religious quest according to Brian D. Ingraffia) or African American (as in Toni Morrison\u2019s 2008 A Mercy).
\nThis workshop would like to discuss this relationship between US fiction and Bunyan\u2019s allegory as an uhr text of this fiction since the 19th century. Possible approaches might be the ways in which The Pilgrim\u2019s Progress is being revised, parodied or echoed both from the point of view of its allegorical form and symbolic significance, and the consequences this has with regards to its quest for meaning. One central concern could be to try and examine the link between American fiction and its evolving concern for transcendence.
\nAbstracts (200 words) should be sent to Claude Le Fustec<\/a> and Anne Ullmo<\/a> before December 20, 2013.<\/p>\n

10. D\u2019un usage particulier du mod\u00e8le : vices et vertus du plagiat dans la litt\u00e9rature am\u00e9ricaine – One Way of Using a Literary Model: Virtues and Vices of Plagiarism in American Literature<\/h2>\n

G\u00e9rald Pr\u00e9her<\/a>(Universit\u00e9 Catholique de Lille) et Fr\u00e9d\u00e9rique Spill<\/a>ill (Universit\u00e9 de Picardie Jules Vernes, Amiens).<\/p>\n

Un mod\u00e8le se d\u00e9finit commun\u00e9ment comme une chose ou une personne qui, en vertu de ses caract\u00e9ristiques et souvent de ses qualit\u00e9s, sert de r\u00e9f\u00e9rence \u00e0 l\u2019imitation ou \u00e0 la reproduction. Nombreux sont les \u00e9crivains am\u00e9ricains qui,ouvertement et sans aff\u00e9terie, revendiquent leurs mod\u00e8les. Longtemps emprunt\u00e9s au vieux continent (ainsi Shakespeare d\u00e9tient-il sans nul doute une position immuable \u00e0 la t\u00eate du palmar\u00e8s des mod\u00e8les litt\u00e9raires), ces mod\u00e8les sont aussi bien susceptibles d\u2019\u00eatre engendr\u00e9s par l\u2019Am\u00e9rique elle-m\u00eame : parmi eux, William Faulkner a \u00e9t\u00e9\u2014et il est probablement encore\u2014un mod\u00e8le \u00e9crasant, que Flannery O\u2019Connor, se frayant une voie dans son sillage, comparait astucieusement \u00e0 la locomotive vrombissante du Dixie Limited. Dans un article intitul\u00e9 \u00ab Faulkner\u2019s Enduring Dixie Limited \u00bb, Thomas Inge fait porter l\u2019ombre et l\u2019influence de Faulkner, revendiqu\u00e9e par des auteurs aussi vari\u00e9s que Lillian Hellman, Richard Wright, Chester Himes, William Styron, Richard Ford, Cormac McCarthy, Toni Morrison et Ron Rash (pour n\u2019en citer que quelques-uns), jusqu\u2019\u00e0 la Chine contemporaine : ainsi Mo Yan, d\u00e9tenteur du Prix Nobel de Litt\u00e9rature 2012, se r\u00e9clame-t-il de Faulkner, Le Bruit et la fureur \u00e9tant, de son propre aveu, l\u2019un des romans qui ont le plus marqu\u00e9 son travail d\u2019\u00e9crivain.
\nL\u2019imitation, consciente ou non, d\u2019un mod\u00e8le est g\u00e9n\u00e9ralement suscit\u00e9e par un fort sentiment d\u2019admiration : or, de l\u2019hommage au plagiat, la fronti\u00e8re est parfois poreuse et t\u00e9nue \u2013 on pense au scandale qui a suivi la publication des nouvelles de Brad Vice qui avaient alors \u00e9t\u00e9 retir\u00e9es du commerce avant de repara\u00eetre dans une version expurg\u00e9e en 2007. \u00ab Au sens moral, \u00e9crit Michel Schneider dans son remarquable essai intitul\u00e9 Voleur de mots, le plagiat d\u00e9signe un comportement r\u00e9fl\u00e9chi, visant \u00e0 faire usage des efforts d\u2019autrui et \u00e0 s\u2019approprier mensong\u00e8rement les r\u00e9sultats intellectuels de son travail. Le plagiat au sens strict se distingue de la cryptomn\u00e9sie, oubli inconscient des sources, ou de l\u2019influence involontaire, par le caract\u00e8re conscient de l\u2019emprunt et de l\u2019effacement de ses sources \u00bb (38). M\u00eame s\u2019il est souvent difficile d\u2019en d\u00e9montrer la preuve, le plagiat s\u2019apparente donc \u00e0 un d\u00e9lit de contrefa\u00e7on. Dans l\u2019entretien que Vanessa Place a accord\u00e9 \u00e0 Marion Charret-Del Bove et Fran\u00e7oise Palleau-Papin pour Transatlantica (1, 2012), l\u2019\u00e9crivaine explique avoir pouss\u00e9 les limites en publiant Gone With the Wind sous son propre nom, assumant pleinement son vol : \u00ab I also did a version of the book where I didn\u2019t do anything to the text, it just had the entire book Gone With The Wind republished with my name on it. I keep trying to explain that I\u2019m stealing it, I\u2019m not parodying, I\u2019m not rephrasing, I\u2019m not adding artistic value, I\u2019m just stealing \u00bb.
\nMais est-il seulement possible pour un auteur de s\u2019\u00e9manciper de tout mod\u00e8le ? Une \u0153uvre peut-elle pr\u00e9tendre faire table rase de celles qui la pr\u00e9c\u00e8dent ? L\u2019originalit\u00e9 absolue n\u2019est-elle pas un fantasme ? Walter Benjamin ne d\u00e9non\u00e7ait-il pas d\u00e9j\u00e0 le f\u00e9tichisme de l\u2019einmalig, ce qui ne se verra jamais qu\u2019une fois ? De m\u00eame, l\u2019id\u00e9e selon laquelle un auteur pourrait revendiquer l\u2019autorit\u00e9 d\u2019une ?uvre originale dont il serait \u00e9galement le propri\u00e9taire n\u2019est-elle pas aujourd\u2019hui d\u00e9su\u00e8te ? Un texte n\u2019est-il pas in\u00e9vitablement, comme Roland Barthes nous invite \u00e0 le penser, constitu\u00e9 de citations \u00ab anonymes, irrep\u00e9rables et cependant d\u00e9j\u00e0 lues : ?\u2026? des citations sans guillemets \u00bb ? Plagier autrui n\u2019est-ce pas, en derni\u00e8re analyse, apprendre \u00e0 \u00eatre soi ? Tandis que Proust invitait les \u00e9crivains \u00e0 \u00ab se purger du vice naturel d\u2019idol\u00e2trie et d\u2019imitation \u00bb et \u00e0 pasticher ouvertement les auteurs admir\u00e9s pour \u00ab redescendre \u00e0 n\u2019\u00eatre plus que ?soi? \u00bb, l\u2019un de ses fervents lecteurs estime que \u00ab ?l?e plagiat est l\u2019occasion de penser cette n\u00e9cessit\u00e9 d\u2019en passer par les autres (images, miroirs, captures, d\u00e9faites) pour devenir quelqu\u2019un \u00bb (Schneider 84).En tant qu\u2019imitation d\u2019un mod\u00e8le port\u00e9e \u00e0 son comble, le plagiat s\u2019apparenterait-il donc \u00e0 un processus identitaire ? Ferait-il partie int\u00e9grante de la recherche d\u2019un style singulier ?
\nLe post-modernisme fait volontiers l\u2019\u00ab apologie du plagiat \u00bb, pour emprunter\u2014plagier\u2014le titre d\u2019un ouvrage de Jean-Luc Hennig, le consid\u00e9rant comme une ressource de l\u2019\u00e9criture. Tandis que, dans son article \u00ab The Ecstasy of Influence \u00bb, Jonathan Lethem vante les beaut\u00e9s de la r\u00e9utilisation d\u2019une oeuvre confront\u00e9e \u00e0 un nouveau destin\u2014\u00ab the beauty of second use \u00bb (64)\u2014,Jonathan Safran Foer fait sensation en d\u00e9coupant litt\u00e9ralement \u00e0 l\u2019int\u00e9rieur d\u2019un texte, Les Boutiques de cannelle (1934),pour en faire \u00e9merger une histoire in\u00e9dite : \u00ab I took my favorite book, Bruno Schulz\u2019s Street of Crocodiles, and by removing words carved out a new story \u00bb. Sous la forme de Tree of Codes (2010), le texte de Schulz, qui n\u2019est alors plus tout \u00e0 fait son texte mais un texte qui lui ressemble, conna\u00eet alors une seconde vie, pr\u00e8s de soixante-dix ans apr\u00e8s la mort de son auteur.L\u2019id\u00e9e tr\u00e8s borg\u00e9sienne d\u2019une litt\u00e9rature universelle qui prendrait la forme d\u2019une galerie des glaces o\u00f9 la notion d\u2019auteur s\u2019abolirait dans un interminable vertige sous-tend \u00e9galement The History of Love (2005), o\u00f9 Nicole Krauss poursuit une r\u00e9flexion po\u00e9tique sur la tentation d\u2019usurper l\u2019?uvre d\u2019autrui et sur ses cons\u00e9quences.Est-ce un hasard si son roman met \u00e9galement en sc\u00e8ne un personnage qui, pour arrondir ses fins de mois, exerce les fonctions de mod\u00e8le posant nu, tout rabougri qu\u2019il est, sous le regard d\u2019une classe de dessinateurs ? C\u2019est cette r\u00e9flexion sur les voies de frayage entre mod\u00e8le et plagiat que nous vous invitons \u00e0 explorer avec nous.<\/p>\n

Les propositions sont \u00e0 adresser \u00e0 G\u00e9rald Pr\u00e9her<\/a> et Fr\u00e9d\u00e9rique Spill<\/a> avant le 20 d\u00e9cembre 2013.<\/p>\n

One Way of Using a Literary Model: Virtues and Vices of Plagiarism in American Literature<\/em><\/p>\n

Many American writers have openly and unashamedly used literary models for their work. A literary model is usually defined as an author or text that is imitated or copied on account of its particular characteristics, most frequently its specific qualities. For a long time the models selected came from the Old Continent (Shakespeare must hold the all time record), but more recently models are just as likely to be found in the canon of American literature. William Faulkner, for example, has been and probably still is an overwhelming inspiration for many, so much so that Flannery O\u2019Connor, seeking to find her own path in his shadow, would astutely compare him to the Dixie Limited, a chugging locomotive. In an article entitled \u201cFaulkner\u2019s Enduring Dixie Limited\u201d, Thomas Inge charts the extent of Faulkner\u2019s influence, claimed by such varied authors as Lillian Hellman, Richard Wright, Chester Himes, William Styron, Richard Ford, Cormac McCarthy, Toni Morrison and Ron Rash (to name but a few), reaching as far as contemporary China where Mo Yan, winner of the Nobel Prize for Literature in 2012, speaks of his debt to Faulkner; The Sound and the Fury being, on his own admission, one of the novels which has left the strongest impression on his own writing.
\nImitating a model, consciously or not, is generally caused by a strong feeling of admiration. However, between homage and plagiarism the dividing line is sometimes very thin \u2013 the scandal following the publication of Brad Vice\u2019s short stories, which were withdrawn from sale before being rereleased in a distinctly expurgated version in 2007, immediately comes to mind. In his remarkable essay Voleur des Mots (Word Thief), Michel Schneider writes: \u201cFrom a moral point of view, plagiarism is a premeditated activity, aiming to make use of other people\u2019s efforts and to appropriate the intellectual fruit of their labors. Plagiarism in the strictest sense of the word is not the same thing as cryptomnesia, where the writers is unaware he is copying the source texts, or involuntary influence, as it implies conscious borrowing of words whose source is deliberately not mentioned\u201d (38). Even if it is often difficult to prove it, plagiarism is the same thing as forgery, which is a crime. In Marion Charret-Del Bove and Fran\u00e7oise Palleau-Papin\u2019s interview with Vanessa Place, published in Transatlantica (1, 2012), the writer explains how she got as close as possible to the limit by publishing Gone With the Wind under her own name, openly admitting her theft: \u201cI also did a version of the book where I didn\u2019t do anything to the text, it just had the entire book Gone With The Wind republished with my name on it. I keep trying to explain that I\u2019m stealing it, I\u2019m not parodying, I\u2019m not rephrasing, I\u2019m not adding artistic value, I\u2019m just stealing\u201d.
\nBut is it really possible for an author to be free of all literary models? Can a work ignore all those that have preceded it? Is absolute originality any more than a dream? Has not Walter Benjamin already denounced the fetishism inherent in the einmalig \u2013 that which is only seen one single time? Along the same lines, is not the idea that a writer, by claiming the authorship of an original work, also becomes its owner a little out-of-date? Is not a text, as Roland Barthes invites us to think, just a collection of quotations, \u201canonymous, unplaceable and yet words we have already read […], quotations without inverted commas In the last resort, isn\u2019t plagiarizing someone else a way to learn to be oneself? While Proust invited writers to \u201cget rid of the natural vices of idolatry and imitation\u201d and to write open pastiches of the authors they admired in order to \u201cgo back down to being just oneself\u201d, one of his fervent readers considers that \u201cplagiarism is an opportunity to think thorough the need we all have to go via other people (imagining, reflecting, capturing and failing to live up to them) in order to become somebody\u201d (Schneider 84). As the supreme form of imitation, may we see plagiarism as similar to a process of finding one\u2019s identity? Is it an integral part of the search for a style of one\u2019s own?
\nPostmodernism is quite willing \u201cTo Justify Plagiarism\u201d, to borrow \u2013 or plagiarize \u2013 the title of a book by Jean-Luc Hennig, considering it as just another resource for the writer. On the other hand, in his article \u201cThe Ecstasy of Influence\u201d, Jonathan Lethem boasts of the beauties of reusing a work in order to give it a new destiny \u2013 \u201cthe beauty of second use\u201d (64). Jonathan Safran Foer created a sensation by literally cutting out pieces of a text to create a new story: \u201cI took my favorite book, Bruno Schulz\u2019s Street of Crocodiles, and by removing words carved out a new story\u201d. Published in this new form as Tree of Codes (2010), Schulz\u2019s text, which is no longer quite his text, but a text that resembles it, gains a second life, more than seventy years after the death of its author. Borges\u2019s idea of a universal literature that takes the form of a hall of mirrors where the idea of an author would be abolished in an endless spiral also forms the basis of The History of Love (2005), where Nicole Krauss reflects on the temptation to usurp the authorship of other people\u2019s work and the consequences of such an action. Is it just chance if the novel also includes a character who, in order to balance his monthly budget, in spite of being hunched up, works as a nude model in front of a class full of art students? We invite participants to explore with us this shadow country between being inspired by a literary model and plagiarizing it.
\nProposals should be sent to Fr\u00e9d\u00e9rique Spill<\/a> and G\u00e9rald Pr\u00e9her<\/a>, by December 20, 2013.<\/p>\n

11. WAGNER EN AM\u00c9RIQUE : modele(s )et contre-modele(s) wagnerien(s) dans la litt\u00e9rature et les arts am\u00e9ricains – Wagner in America:
\nWagnerian Model(s) and counter-model(s) in American Literature and Arts<\/h2>\n

Mathieu Duplay<\/a> (Universit\u00e9 Paris Diderot \u2014 Paris 7)
\nAxel Nesme<\/a> (Universit\u00e9 Lumi\u00e8re \u2014 Lyon 2)<\/p>\n

\u00ab Is there a poetry of the future just dawning as the music of the future dawned some years ago ? Is Walt Whitman another and greater Richard Wagner ? \u00bb se demandait un journaliste du Chicago Herald en 1890. L’objectif de cet atelier sera d’interroger la fortune du \u00ab vieil enchanteur \u00bb aux Etats-Unis. Il pourra y \u00eatre question de l’histoire des mises en sc\u00e8ne wagn\u00e9riennes aux Etats-Unis, de l\u2019influence qu\u2019a exerc\u00e9e sur celles-ci le mod\u00e8le bayreuthien, mais aussi de l\u2019apport sp\u00e9cifique des Etats-Unis en mati\u00e8re de direction d\u2019orchestre (James Levine) et d\u2019art vocal (Lillian Nordica, Helen Traubel, Eleanor Steber, James King, Deborah Voigt) en r\u00e9ponse aux choix esth\u00e9tiques des grands chefs et des artistes europ\u00e9ens du XIXe si\u00e8cle jusqu\u2019\u00e0 nos jours. A un autre niveau, on pourra s\u2019interroger sur la mani\u00e8re dont l\u2019accueil r\u00e9serv\u00e9 aux Etats-Unis \u00e0 la musique de Wagner et \u00e0 ses interpr\u00e8tes europ\u00e9ens les plus prestigieux (notamment pendant la p\u00e9riode 1933-1945) s\u2019est accompagn\u00e9e d’une r\u00e9interpr\u00e9tation originale de ses ?uvres dans un contexte culturel, social, politique et id\u00e9ologique tr\u00e8s diff\u00e9rent de celui qui les a vues na\u00eetre. Plus qu\u2019aucun autre compositeur, Wagner a suscit\u00e9 chez certains de ses admirateurs une forme de v\u00e9n\u00e9ration, qui ne fait pas obstacle \u00e0 une dynamique complexe d\u2019appropriation et de relecture dont les r\u00e9sultats s\u2019av\u00e8rent parfois contraires \u00e0 ses intentions explicites. Ce fut notamment le cas en 1903 lorsque le Metropolitan Opera choisit de monter une production de Parsifal malgr\u00e9 l’opposition de Cosima Wagner et les instructions \u00e9crites du musicien qui souhaitait que cette ?uvre ne soit ex\u00e9cut\u00e9e qu’\u00e0 Bayreuth \u2014 acte de naissance d’un \u00ab Wagner am\u00e9ricain \u00bb dont il conviendrait de dessiner la figure, tout sauf fig\u00e9e et sans doute assez diff\u00e9rente de celle qui a marqu\u00e9 l’histoire culturelle europ\u00e9enne.
\nIl s\u2019agira aussi d\u2019examiner le r\u00f4le d\u2019inspirateur que Wagner a jou\u00e9 aupr\u00e8s des artistes am\u00e9ricains, sans se limiter au domaine de la musique et des arts de la sc\u00e8ne. On examinera par exemple l’impact de Wagner sur la musique am\u00e9ricaine dite \u00ab classique \u00bb et notamment sur les compositeurs, librettistes et metteurs en sc\u00e8ne qui contribuent au renouveau de l\u2019op\u00e9ra am\u00e9ricain depuis les ann\u00e9es 1980 (John Adams, Philip Glass, Alice Goodman, Peter Sellars\u2026). Quel est le Wagner vers lequel se tournent des artistes d\u2019aujourd’hui lorsqu\u2019ils cherchent \u00e0 repenser le th\u00e9\u00e2tre lyrique apr\u00e8s Sch?nberg et John Cage (Europeras, 1987-1991) ? Quels \u00e9chos la conception wagn\u00e9rienne du Gesamtkunstwerk est-elle susceptible d\u2019\u00e9veiller chez des musiciens et des gens de th\u00e9\u00e2tre qui entendent dialoguer avec l\u2019avant-garde europ\u00e9enne tout en cherchant \u00e0 apporter aux d\u00e9bats esth\u00e9tiques de notre \u00e9poque une contribution originale, dans un contexte culturel o\u00f9 la distinction entre musique \u00ab savante \u00bb et musique \u00ab populaire \u00bb est beaucoup plus floue qu\u2019en Europe ? On s\u2019int\u00e9ressera \u00e9galement aux auteurs de musiques de films hollywoodiens (depuis Bernard Herrmann jusqu’\u00e0 James Horner, sans oublier Erich Wolfgang Korngold), mais aussi au mod\u00e8le, voire au contre-mod\u00e8le parodique que l\u2019auteur du Ring repr\u00e9sente depuis longtemps pour certains musiciens et metteurs en sc\u00e8ne de cin\u00e9ma. On songe par exemple \u00e0 l\u2019exploitation burlesque de la musique wagn\u00e9rienne \u00e0 laquelle les Warner Brothers se livrent dans What\u2019s Opera, Doc ? o\u00f9 l\u2019idylle de Bugs Bunny et d\u2019Elmer Fudd rev\u00eat les accents du ch?ur des p\u00e8lerins de Tannh\u00e4user. On pense \u00e9galement \u00e0 The Producers de Mel Brooks, dont le sc\u00e9nario pr\u00e9voyait un serment pr\u00eat\u00e9 \u00e0 Siegfried sur fond de chevauch\u00e9e des Walkyries, ou \u00e0 Charlie Chaplin, dont le Dictateur danse sur la musique de Lohengrin un m\u00e9galomane ballet aux antipodes des danses hongroises de Brahms qui accompagnent l’inoffensif man\u00e8ge de son sosie le barbier. Beaucoup plus pr\u00e8s de nous, Quentin Tarantino rend \u00e0 Siegfried un hommage ambigu dans Django Unchained (2013). Par ailleurs, on n\u2019oubliera pas non plus que le (contre-)mod\u00e8le wagn\u00e9rien continue d\u2019exercer une influence sur les autres arts, comme en t\u00e9moignent les ?uvres inspir\u00e9es par Tristan und Isolde au plasticien Bill Viola.
\nEnfin, c’est aussi la pr\u00e9sence de Wagner dans l\u2019\u00e9criture am\u00e9ricaine qu\u2019il conviendra d\u2019examiner. Quels ont \u00e9t\u00e9 les \u00e9chos litt\u00e9raires de la th\u00e9orie du Gesamtkunstwerk dont, par exemple, W. E. B. DuBois se r\u00e9clame dans The Souls of Black Folk ? Comment les nombreuses citations du Ring et de Tristan interviennent-elles dans la semiosis de \u00ab The Love Song of J. Alfred Prufrock \u00bb et dans The Waste Land ? Pour des raisons historiques et esth\u00e9tiques qu\u2019il conviendrait de (r\u00e9)interroger, cette question concerne plus particuli\u00e8rement les \u00e9critures modernistes, mais elle se pose d\u00e9j\u00e0 dans les romans de Willa Cather, qui dresse dans The Song of the Lark (1915) le portrait d’une cantatrice wagn\u00e9rienne n\u00e9e dans le Colorado et implicitement pr\u00e9sent\u00e9e comme une figure exemplaire de l’artiste am\u00e9ricain(e). De m\u00eame, il ne faut pas oublier le r\u00f4le que jouent les emprunts ou les renvois \u00e0 Wagner dans les textes post\u00e9rieurs au modernisme, dans le contexte d’une r\u00e9flexion esth\u00e9tique, id\u00e9ologique, voire \u00e9thique et politique sur laquelle p\u00e8se le souvenir de la Shoah (on pense par exemple aux allusions r\u00e9currentes \u00e0 l’antis\u00e9mitisme de Wagner dans les derniers romans de David Markson).
\nMerci d’envoyer vos propostions \u00e0 Mathieu Duplay<\/a> et Axel Nesme<\/a> avant le 20 d\u00e9cembre 2013<\/p>\n

Wagner in America:
\nWagnerian Model(s) and counter-model(s) in American Literature and Arts<\/em>
\n\u201cIs there a poetry of the future just dawning as the music of the future dawned some years ago? Is Walt Whitman another and greater Richard Wagner?\u201d a journalist for the Chicago Herald asked in 1890. In this workshop, we wish to examine the \u201cold sorcerer\u2019s\u201d reception in America. We welcome studies on the production history of Wagner\u2019s operas in the United States as well as on the influence of Bayreuth as a model or counter-model, but also on the specific contributions of American conductors (James Levine) and vocal artists (Lillian Nordica, Helen Traubel, Eleanor Steber, James King, Deborah Voigt) to Wagnerian interpretation, and on how these relate to the aesthetic choices made by major European conductors and singers since the 19th century. On another level, we wish to examine the ways in which the reception of Wagner\u2019s music and the welcome extended in the United States to his most prestigious European interpreters (especially between 1933 and 1945) have led to creative reappraisals of his works in a cultural, social, political, and ideological context far removed from the one in which they were first performed. More than any other composer, Wagner has been the object of a form of near-religious worship by his most devoted followers, but this has never stood in the way of complex modes of re-appropriation and reinterpretation whose results sometimes contradict his own explicit intentions. This happened for instance in 1903 when the Metropolitan Opera company staged a production of Parsifal in the face of strong opposition from Cosima Wagner and despite the composer\u2019s express desire that this particular work be performed only at Bayreuth. In retrospect, this historic production marks the appearance of an \u201cAmerican Wagner\u201d whose changing features are worthy of interest, different as they are from those of the musician who has left such a strong imprint on European culture.
\nWe also wish to examine how Wagner has inspired American artists, including (but not limited to) other musicians. For instance, attention could be paid to Wagner\u2019s impact on so-called \u201cclassical\u201d American music and particularly on the composers, librettists, and stage producers responsible for the rebirth of American opera since the 1980s (John Adams, Philip Glass, Alice Goodman, Peter Sellars\u2026). To what aspects of Wagner\u2019s works do contemporary American artists most strongly respond as they try to rethink musical theater after Schoenberg and John Cage (Europeras, 1987-1991)? What echoes does the Wagnerian concept of the Gesamtkunstwerk awaken among musicians, writers, and performers who seek to respond to the European avant-garde even as they try to make original contributions to contemporary aesthetic debates, in the context of a culture where the distinction between \u201cart\u201d and \u201cpopular\u201d music is much less meaningful than in Europe? Attention will also be paid to Hollywood film composers (Bernard Herrmann, James Horner, Erich Wolfgang Korngold) as well as to the Wagnerian model or counter-model invoked by a number of film directors. The following examples come to mind: the Warner Brothers\u2019 burlesque rendition of Wagner\u2019s musical showpieces in What\u2019s Opera, Doc? where Bugs Bunny\u2019s and Elmer Fudd\u2019s idyll is sung to the music of the Pilgrim\u2019s Choir from Tannh\u00e4user; Mel Brooks\u2019s The Producers, whose original screenplay contained an oath to Siegfried with the ride of the Valkyries as a musical background; and Charlie Chaplin\u2019s The Great Dictator, where Adenoyd Hinkel\u2019s famous megalomaniac ballet to the music of Lohengrin stands in sharp contrast to Brahms\u2019s Hungarian Dances, the musical accompaniment to which are set the harmless antics of Hinkel\u2019s body double, the barber. Much closer to us, Quentin Tarantino pays an ambiguous homage to Siegfried in his recent movie Django Unchained (2013). Contributions could also focus on the influence exerted by the Wagnerian (counter-)model in other artistic fields, as suggested for instance by video artist Bill Viola\u2019s reinterpretation of Tristan und Isolde.
\nFinally, Wagner’s presence in American writing needs to be examined. What were the literary echoes of the theory of the Gesamtkunstwerk to which W.E.B. Du Bois explicitly refers in The Soul of Black Folk? How do the numerous quotes from The Ring and Tristan und Isolde build into the semiosis of Eliot\u2019s \u201cThe Love Song of J. Alfred Prufrock\u201d and The Waste Land? For historical and aesthetic reasons that bear further examination, this question seems particularly relevant in the case of Modernist writing; however, similar issues already arise in the works of Willa Cather, whose 1915 novel The Song of the Lark deals with a Colorado-born opera singer implicitly presented as a paragon of the American artist. Likewise, attention could be paid to the role played by Wagnerian quotations or allusions in literature produced after the Modernist era, where they raise fresh aesthetic, ideological, ethical, and political questions in the wake of the Holocaust. (For example, David Markson\u2019s last novels frequently mention Wagner\u2019s anti-semitism.)
\nMerci d’envoyer vos propostions \u00e0 Mathieu Duplay<\/a> et Axel Nesme<\/a> avant le 20 d\u00e9cembre 2013<\/p>\n

12. La ville am\u00e9ricaine et la nouvelle question urbaine – The American City and the New Urban Question<\/h2>\n

Catherine Pouzoulet, Universit\u00e9 Lille 3<\/p>\n

La colonisation des Am\u00e9riques est n\u00e9e d\u2019un r\u00eave, et les origines de l\u2019Am\u00e9rique moderne furent d\u2019abord dans l\u2019invention d\u2019un nouveau monde par les Europ\u00e9ens de la Renaissance. Au moment o\u00f9 ceux-ci se prenaient \u00e0 imaginer les plans de ce qui pourrait \u00eatre une ville id\u00e9ale, le Nouveau Monde fit figure de laboratoire d\u2019exp\u00e9rimentation de ce nouvel art de b\u00e2tir la ville.
\nRapidement cependant la ville nord-am\u00e9ricaine devint plus un repoussoir qu\u2019un mod\u00e8le, avec son urbanisation anarchique, son absence de monumentalisme, et son aspect grouillant qui fait par exemple dire \u00e0 Max Weber, d\u00e9couvrant en 1904 Chicago que \u00ab cette \u00e9norme ville, plus \u00e9tendue que Londres, ressemble \u00e0 un homme \u00e9corch\u00e9 dont on verrait fonctionner les visc\u00e8res \u00bb. Si une image urbaine sp\u00e9cifiquement am\u00e9ricaine finit par cr\u00e9er chez les voyageurs europ\u00e9ens une certaine fascination \u2013 la ville am\u00e9ricaine, au premier chef New York, avec ses gratte-ciel, son skyline, et son quartier des affaires \u2013 la ville am\u00e9ricaine repr\u00e9sente aussi un mod\u00e8le urbanistique radicalement divergent du mod\u00e8le europ\u00e9en en termes de division fonctionnelle des espaces et de g\u00e9ographie sociale (mod\u00e8le de l\u2019Ecole de Chicago).
\nC\u2019est dans le contexte du passage \u00e0 une \u00e9conomie dite post-industrielle et de transition vers un capitalisme financier globalis\u00e9 que de nouvelles convergences se dessinent entre ville am\u00e9ricaine et ville europ\u00e9enne. Non seulement on peut parler, comme Guy Burgel, de \u00ab revanche des villes \u00bb mais peut-\u00eatre aussi de revanche de la ville am\u00e9ricaine. Car l\u2019\u00e9mergence d\u2019une nouvelle forme urbaine, la ville globale centre de d\u00e9cision d\u2019un nouveau capitalisme financier, est d\u2019abord mise en \u00e9vidence par Saskia Sassen et Hank Savitch \u00e0 New York , ainsi qu\u2019\u00e0 Londres et Tokyo, avant d\u2019\u00eatre \u00e9tendue \u00e0 une nouvelle hi\u00e9rarchie de \u00ab villes de flux \u00bb (Olivier Mongin), si bien qu\u2019aujourd\u2019hui les m\u00eames logiques semblent \u00e0 l\u2019?uvre en Am\u00e9rique et en Europe, au Sud et au Nord, dans le monde occidental comme dans les nouvelles puissances \u00e9conomiques que sont l\u2019Inde, la Chine, et le Br\u00e9sil. D\u00e9nombr\u00e9es \u00e0 13 en 1985, Sassen estimait \u00e0 72 le nombre de villes globales vingt ans plus tard.
\nLa question d\u2019un mod\u00e8le urbain am\u00e9ricain se pose-t-elle encore alors que Shangai, Singapour ou Hong Kong ont sur de nombreux points d\u00e9pass\u00e9 Manhattan ? Ne faudrait-il pas alors, \u00e0 l\u2019instar de Saskia Sassen, parler de mod\u00e8le de ville globale, qui serait la forme spatiale de la globalisation ? Cet atelier se propose d\u2019ouvrir le d\u00e9bat sur l\u2019avenir des villes, en explorant en particulier les liens entre ville et capitalisme, notamment \u00e0 travers les th\u00e9matiques suivantes :
\n-gentrification et revalorisation des centres historiques
\n-d\u00e9marches innovantes dans la reconqu\u00eate des friches industrielles
\n– enjeux de mobilit\u00e9 et incidence des r\u00e9seaux de transport sur les acc\u00e8s au march\u00e9 du travail
\n-violences urbaines, tensions inter-communautaires, et mont\u00e9e de nouvelles exclusions
\n– enjeux de d\u00e9veloppement durable
\n-gouvernance et financiarisation des politiques publiques
\n– strat\u00e9gies de valorisation immobili\u00e8re
\nLes propositions sont \u00e0 envoyer \u00e0 Catherine Pouzoulet<\/a> avant le 20 d\u00e9cembre 2013.<\/p>\n

The American City and the New Urban Question<\/em>
\nCatherine Pouzoulet, Universit\u00e9 Lille 3<\/p>\n

The colonization of the Americas was born out of a dream and the origins of modern America are to be found in the invention of a new world by the Europeans of the Renaissance era. As they took to imagining the plans of an ideal city, the New World became a laboratory where to experiment the new art of building cities.
\nYet the North American city soon became a reality that repelled more than it called for imitation, with its chaotic urbanization, its lack of aesthetic concerns, and its hyperdensity. This is how Max Weber, visiting Chicago in 1904, describes a sprawling city, larger than London, that made him think of a skinless man lying with his bowels exposed. If, by the 20th century, a distinctive American urban image did end up fascinating European visitors, first of all Manhattan with its skyscrapers, its skyline and CBD, the American city represented an inversion of the European model in terms of specialization of urban spaces and social geography (the School of Chicago model).
\nFrom the 1980\u2019s, with the shift to a post-industrial economy and a globalized financial capitalism, new convergences emerged between American and European cities. It was not only the \u201crevenge of the cities\u201d (Guy Burgel) but the revenge of the American city. The emergence of a new urban form, the global city theorized by Saskia Sassen as the center of a new financial capitalism, was modeled after the transformations of New York City, as well as to a lesser extent London and Tokyo, before being observed in a new hierarchy of \u201ccities in flux\u201d (Olivier Mongin), so that by now the same processes seem to be at work in America as well as European cities, in the South as well as in the North, in the western world as in the new economic giants, China, India and Brazil.
\nNumbered at 13 in 1985, global cities by Sassen\u2019s estimate were by 2005 up to 72! In this context, when Shangai, Singapour or Hong Kong are presented as the new models, is the notion of an American model still relevant? Or should we consider, as Sassen does, a model of a global city as the spatial inscription of globalization?
\nThe workshop calls for contributions opening the debate on the future of our cities, while addressing the links between cities and financial capitalism, through a discussion of such themes as:
\n-Gentrification and the revival of historical centers
\n– innovative approaches to the upgrading of industrial wastelands
\n-mobility and impact of transportation networks on people\u2019s ability to access the job market
\n-urban violence, inter-ethnic tensions, and new forms of social exclusion
\n-environmental sustainability of cities
\n-governance and financialization of public policies
\n– real estate development and speculation<\/p>\n

Proposals should be sent to Catherine Pouzoulet<\/a> by December 20.<\/p>\n

13. Les Etats-Unis et le monde: vers la fin du “mod\u00e8le” am\u00e9ricain ? – The United States and the world: toward the end of the American “model” ?<\/h2>\n

Isabelle Vagnoux<\/a> (LERMA, Aix-Marseille Universit\u00e9,)<\/p>\n

Au lendemain de la Deuxi\u00e8me Guerre mondiale, les \u00c9tats-Unis se sont faits les architectes d\u2019un Nouvel ordre mondial cens\u00e9 promouvoir la d\u00e9mocratie lib\u00e9rale et ainsi assurer la paix. Cette p\u00e9riode fut v\u00e9cue par Washington comme une v\u00e9ritable naissance (cf Present at the Creation de Dean Acheson) \u00e0 leur nouveau r\u00f4le de superpuissance. Pendant plus d\u2019un demi-si\u00e8cle, les \u00c9tats-Unis ont domin\u00e9 le monde, r\u00e9pandant avec des fortunes diverses leurs valeurs et l\u2019American Way of life.
\nDepuis l\u2019av\u00e8nement du XXIe si\u00e8cle, cependant, le leadership am\u00e9ricain est bouscul\u00e9. Ce sont tout d\u2019abord les attentats du 11 septembre qui mettent en \u00e9vidence les fragilit\u00e9s de l\u2019hyperpuissance. C\u2019est \u00e9galement la mont\u00e9e en puissance d\u2019autres pays, en germe depuis les ann\u00e9es 1990, the rise of the rest, selon la formule de Fareed Zakaria, qui remet en question le leadership am\u00e9ricain. C\u2019est enfin une crise \u00e9conomique et sociale sans pr\u00e9c\u00e9dent depuis la Grande d\u00e9pression qui frappe le pays. \u00ab Tout empire p\u00e9rira \u00bb \u00e9crivait l\u2019historien Jean-Baptiste Duroselle. Que reste-t-il aujourd\u2019hui du leadership am\u00e9ricain ? Sommes-nous \u00e0 l\u2019or\u00e9e d\u2019un monde \u00ab post-am\u00e9ricain \u00bb ? Ou bien les \u00c9tats-Unis sont-ils entr\u00e9s dans un nouveau type de puissance (leading from behind) ? Comment les \u00c9tats-Unis continuent-ils \u00e0 r\u00e9pandre leur \u00ab mod\u00e8le \u00bb et leurs valeurs ? D\u2019autres mod\u00e8les \u00e9mergent-ils ?
\nCet atelier s\u2019int\u00e9ressera \u00e9galement aux d\u00e9riv\u00e9s de la politique \u00e9trang\u00e8re et notamment aux migrations vers les \u00c9tats-Unis et au r\u00f4le transnational des diasporas. Les \u00c9tats-Unis constituent-ils toujours un aimant pour les populations du monde entier ? Quel impact ont eu la crise \u00e9conomique et sociale, les lois discriminatoires adopt\u00e9es par certains \u00c9tats, les reconduites \u00e0 la fronti\u00e8re, mais aussi, a contrario, les d\u00e9cisions de justice condamnant les mesures les plus discriminatoires, et les r\u00e9centes dispositions pr\u00e9sidentielles (DACA, 2012) ? \u00c0 l\u2019heure o\u00f9 d\u2019autres \u00e9conomies peuvent para\u00eetre plus s\u00e9duisantes, \u00e0 l\u2019heure o\u00f9 la r\u00e9forme migratoire est devenue un enjeu politique, le \u00ab mod\u00e8le \u00bb am\u00e9ricain demeure-t-il toujours attractif ?
\nLes propositions sont \u00e0 envoyer \u00e0 Isabelle Vagnoux<\/a> avant le 20 d\u00e9cembre.<\/p>\n

The United States and the world: toward the end of the American “model” ?<\/em>
\nIn the post-World War II era the United States became the self-proclaimed architect of a new world order designed to promote liberal democracies and thus ensure peace. Washington gave birth (Present at the Creation by Dean Acheson) to the \u2018Free World\u2019s\u2019 superpower. For more than half a century, the United States was a force of world domination as it disseminated, more or less successfully, its values and the Amercian Way of Life.
\nSince the dawn of the 21st century, American leadership has been disrupted\/undermined. The 9\/11 moment exposed the hyperpower\u2019s underlying fragilities. Simultaneously, since the 1990s, the rise of the rest, in the words of Fareed Zakaria, had been emerging in other countries. And it was especially the social and economic crises, unprecedented since the Great Depression which devastated the nation. \u201cAll empires will perish\u201d, wrote the historian Jean-Baptiste Duroselle. What remains today of American leadership? Are we on the verge of a \u201cpost-American\u201d world? Or has the United States engaged a new form of power strategy \u2013 \u201cleading from behind\u201d? How has the United States continued to spread its \u201cmodel\u201d and values? Have other models emerged?
\nThis panel will also be concerned with the consequences of foreign policy, notably migrations towards the United States and the role of transnational diasporas. Is the United States still a magnet for populations the world over? What impact has the economic and social crisis had with regards to discriminatory laws adopted by certain states, deportations, and also, to the contrary, legal decisions condemning discriminatory measures or recent presidential policies (DACA 2012)? At a time when other economies may be perceived as offering greater opportunities, when migration reform has become a key political stake, has the American \u201cmodel\u201d maintained its attractiveness?
\nPAPER POPOSALS SHOULD BE SENT TO ISABELLE VAGNOUX (isabelle.vagnoux@univ-amu.fr) BY DECEMBER 20, 2013<\/p>\n

14. L\u2019UNIVERSIT\u00c9 AUX ETATS-UNIS : mod\u00e8les, contre-mod\u00e8les, m\u00e9ta-mod\u00e8les – The Universtity in the United States: models, conter-models, meta-models<\/h2>\n

Fran\u00e7ois Cusset, Thierry Labica, V\u00e9ronique Rauline
\n\u00ab Culture \/ cultures \u00bb, EA370<\/p>\n

Dans cet atelier, nous proposons d\u2019envisager la probl\u00e9matique g\u00e9n\u00e9rale du Congr\u00e8s 2014 \u00e0 travers le prisme de l\u2019Universit\u00e9. Toute proposition de communication qui visera \u00e0 articuler une r\u00e9flexion sur la notion de \u00ab mod\u00e8le \u00bb et un ancrage dans le \u00ab lieu Universit\u00e9 \u00bb \u00e9tats-unien sera examin\u00e9e. Les propositions, qui pourront relever de tous les champs des \u00e9tudes am\u00e9ricaines, pourront, par exemple, interroger :
\n la notion de \u00ab mod\u00e8le \u00bb \u00e0 la lumi\u00e8re de l\u2019ambivalence constitutive du syst\u00e8me universitaire aux Etats-Unis envers ses r\u00e9f\u00e9rents historiques, imm\u00e9diats ou plus lointains, dans \u00ab l\u2019ancien monde universitaire \u00bb ;
\n le syst\u00e8me universitaire \u00e9tats-unien en tant que \u00ab contre-mod\u00e8le \u00bb, s\u2019\u00e9mancipant, partiellement, des \u00ab mod\u00e8les \u00bb europ\u00e9ens, en particulier allemand et britannique ;
\n la dimension r\u00e9gulatrice de l\u2019institution universitaire aux Etats-Unis, appareil de reproduction d\u2019un \u00ab mod\u00e8le \u00bb d\u2019int\u00e9gration sociale, et sa transformation progressive, en trente ans de saccage n\u00e9olib\u00e9ral, en un m\u00e9canisme de production de cet ordre social ;
\n l\u2019\u00e9mergence et la diffusion sur les campus \u00e9tats-unien de \u00ab contre-mod\u00e8les \u00bb de rapport au(x) savoir(s) ;
\n la port\u00e9e, aux Etats-Unis et dans le monde, de formes endog\u00e8nes de contestation des \u00ab mod\u00e8les \u00bb universitaires, qu\u2019il s\u2019agisse, par exemple, des d\u00e9bats autour des fronti\u00e8res disciplinaires ou des \u00ab Canon Wars \u00bb ;
\n l\u2019exportation de la marque \u00ab universit\u00e9 am\u00e9ricaine \u00bb et la diffusion plan\u00e9taire d\u2019un \u00ab mod\u00e8le \u00bb universitaire \u00ab made in USA \u00bb, tr\u00e8s largement fantasm\u00e9 ;
\n les r\u00e9actions, complexes et passionn\u00e9es, dans le milieu universitaire fran\u00e7ais, par rapport \u00e0 ce soi-disant \u00ab mod\u00e8le am\u00e9ricain \u00bb, tels que les r\u00e9cents d\u00e9bats sur les MOOCs (\u00ab Massive Open On-line Courses \u00bb), pr\u00e9sent\u00e9s comme nouveau \u00ab mod\u00e8le \u00bb de transmission du\/des savoirs, ont pu les r\u00e9actualiser ;
\n la c\u00e9l\u00e9bration, mondialement m\u00e9diatis\u00e9e, de la fin du \u00ab mod\u00e8le Universit\u00e9 \u00bb, par exemple par le mouvement \u00ab Uncollege \u00bb qui, dans son manifeste (dont l\u2019\u00e9pigraphe initiale est une citation de Mark Twain), en appelle \u00e0 la \u00ab d\u00e9viance acad\u00e9mique \u00bb et \u00e0 l\u2019av\u00e8nement d\u2019une nouvelle g\u00e9n\u00e9ration de \u00ab hackademics \u00bb.<\/p>\n

Propositions \u00e0 envoyer avant le 20 d\u00e9cembre \u00e0 Fran\u00e7ois Cusset: (fran\u00e7oisqc@free.fr) , Thierry Labica (thierry.labica@yahoo.fr) et V\u00e9ronique Rauline (veronique.rauline@wanadoo.fr ).<\/p>\n

The Universtity in the United States: models, conter-models, meta-models<\/em><\/p>\n

Fran\u00e7ois Cusset, Thierry Labica, V\u00e9ronique Rauline
\n\u00ab Culture \/ cultures \u00bb, EA370<\/p>\n

This workshop will consider the general theme of the 2014 AFEA Conference from the perspective of the University in the United States. All proposals aiming at developing an analysis on the notion of \u00ab model \u00bb anchored in American Academia will be examined. The proposals may relate to any of the fields covered by American studies and, for instance, question:
\n– the notion of \u00ab model \u00bb in relation to the original ambivalence of the university system in the United States towards their immediate or more distant historical references in the old academic world;
\n– the university system in the United States as a counter-model, emancipating itself, at least partially, from the European \u2013especially German and British\u2013 models;
\n– the regulating dimension of the academic institution in the United States, an instrument to reproduce a specific model of social integration and, through thirty years of neoliberal \u00ab shcock therapy \u00bb, to produce and reinforce the new social order;
\n– the emergence and dissemination on American campuses of counter-models of production and transmission of knowledge;
\n– the extent to which existing models such as literary canons or disciplinary paradigms are challenged and contested from within, in the American but also larger global academic scene;
\n– the exportation of the trademark \u00ab American University \u00bb and the worldwide imposition of a largely fantasized university model Made in USA;
\n– the complex and passionate reactions among French academics to this so-called \u00ab American model \u00bb, as exemplified, for instance, by the recent debate in France over MOOCs, presented as a new model of knowledge transmission;
\n– the global celebration of the end of any type of \u00ab University model \u00bb, for instance by the \u00ab Uncollege \u00bb movement which, in its manifesto \u2013whose epigraph is a quotation by Mark Twain\u2013calls for \u00ab academic deviance \u00bb and for the advent of a new generation of \u00ab hackademics \u00bb.<\/p>\n

Contact : Fran\u00e7ois Cusset<\/a>, Thierry Labica<\/a>, V\u00e9ronique Rauline<\/a> <\/p>\n

15. \u201cThe Bonded\/Resistant Slave Body and the Emergence of Neoliberalism in the U.S. Context\u201d<\/strong>
\nAshley Byock, English Department, Edgewood College<\/p>\n

In his lectures of the 1970s at the Coll\u00e8ge de France, Foucault theorizes that the modern state purports to defend the security of the populace through an exclusion of those imagined to threaten it. Positing the populace as the new figure of sovereignty, the neoliberal state puts itself forward as the model of democracy and equality. Foucault\u2019s analysis centers on the shift in European states from the monarchic sovereign to the populace-as-sovereign, but how does the North American context intersect with this model of the evolution in Western culture from a juridical to a disciplinary to a security-centered socio-political structure?
\nMuch earlier than Emerson’s assertion of a uniquely American voice speaking for a distinctive American culture, culture imagined itself to be exceptional as the seat of true equality and democracy. This vision of American Liberty defined itself in contradistinction to a Europe imagined to be weighted down by traditionalism and outmoded hierarchies. At the same time, far more than in the European context, U.S. Ways of imagining liberty were always undergirded by the logic of neoliberalism so that individual freedom was always effectively enmeshed with the primacy of the \u201cfree market\u201d. According to this logic, identity can be consumed.
\nThis panel proposes to argue that in order for the antebellum U.S. Culture to conceive of itself as a model democracy, the scandal of slavery had to be imaginatively resolved and its inconsistency with the logic of universal inherent rights covered over. In order to look closely at how security has become the dominant Western mode in the U.S. Context, the distinctiveness of the U.S. Context must be disentangled from its purported exceptionalism.
\nIf the American conceptualization of freedom equated liberty with the neoliberal model, how does slavery fit in there?
\nThis panel invites contributions that address the question: How can an examination of slavery and its aftermath help us to understand this internal contradiction? How did the emergence of neoliberal thinking naturalize human bondage, and how did certain individuals and group challenge this contradiction?
\nThis panel is particularly interested in how figurations and representations of the slave body came into play. We welcome diverse perspectives and approaches to this questions.
\nPlease send proposals to Ashley Byock<\/a> before December 20, 2013.<\/p>\n

16. \u201cCreative Disruption\u201d: Quand la gauche conteste l\u2019exceptionnalisme am\u00e9ricain – Creative Disruption: How the Left Challenges American Exceptionalism<\/em> <\/strong>
\nAmbre Ivol (Universit\u00e9 de Nantes), Jean-Baptiste Velut (Universit\u00e9 Paris 3)<\/p>\n

\u201cPourquoi n’y a t-il pas de socialisme aux Etats-Unis?\u201d Une telle question a nourri, de fa\u00e7on r\u00e9currente, les d\u00e9bats sur l’exceptionnalisme am\u00e9ricain. Certains ont consid\u00e9r\u00e9 que la r\u00e9ponse rel\u00e8ve de l’abondance mat\u00e9rielle (Sombart), d’autres ont argu\u00e9 de l’absence de conflit de classe (Hartz), d’autres encore \u00e9voquent les divisions dues \u00e0 la question raciale (Morone, Marable) ou aux tendances conservatrices au sein du mouvement ouvrier (Aronowitz). Si ces diverses interpr\u00e9tations comportent des \u00e9l\u00e9ments pertinents, elles impliquent n\u00e9anmoins aussi la perp\u00e9tuation d’un mode narratif exceptionnaliste qui tend \u00e0 effacer, voire \u00e0 d\u00e9consid\u00e9rer, les effets des mouvements progressistes aux Etats-Unis. A ce titre, l’utilisation du terme \u201cL’autre Am\u00e9rique\u201d par les medias fran\u00e7ais est un indice suppl\u00e9mentaire de la marginalisation des politiques de gauche dans les repr\u00e9sentations classiques du pays. Pourtant, comme l’ont montr\u00e9 certains historiens (Zinn, Kazin) et sociologues (Piven, Aronowitz), la contestation sociale a, historiquement, influ\u00e9 sur ce qui est d\u00e9sormais consid\u00e9r\u00e9 comme le \u201cmod\u00e8le\u201d politique et culturel des Etats-Unis. L’inscription des modes militants de ces \u201cr\u00eaveurs\u201d se d\u00e9cline tant au rythme des pics contestataires (New Deal, longue d\u00e9cennie des ann\u00e9es 1960) que sur le temps long de l’histoire du pays. A ce titre, celle-ci se d\u00e9ploie \u00e9galement en dehors, voire en de\u00e7\u00e0, du champ politique national.<\/p>\n

Cet atelier propose d’explorer comment les mouvements de gauche ont \u00e9labor\u00e9 et continuent de d\u00e9velopper des visions du monde ou contre-mod\u00e8les visant \u00e0 contester ou se r\u00e9approprier certaines notions consid\u00e9r\u00e9es comme propres \u00e0 l’exceptionnalisme am\u00e9ricain \u2013 soit en se revendiquant des id\u00e9aux des p\u00e8res fondateurs (Hall), en red\u00e9finissant les contours du nationalisme (Hall, Hutchins) ou encore en capitalisant sur l’esprit entrepreneurial am\u00e9ricain dans le but de perturber les sph\u00e8res commerciale, politique et culturelle.
\nNotre objectif est d’\u00e9tudier dans quelle mesure l’action contestataire est inh\u00e9rente aux cycles de crise et de renouveau de la soci\u00e9t\u00e9 am\u00e9ricaine. L’atelier s’emploiera \u00e0 \u00e9clairer de telles dynamiques, ayant trait par exemple aux interactions entre personnes ou groupes militants, aux oppositions entre les mouvements et leurs opposants (contre-mouvements) ou encore aux processus par lesquels les id\u00e9aux de gauche sont accept\u00e9s, rejet\u00e9s, transform\u00e9s mais aussi coopt\u00e9s pour \u00eatre int\u00e9gr\u00e9s aux instances institutionnelles.
\nLes contributions \u00e0 vocation comparatiste ou crois\u00e9e (mettant en regard, par exemple, la social-d\u00e9mocratie am\u00e9ricaine et les exp\u00e9riences de l’Etat-providence en Europe ou pr\u00e9sentant, au-del\u00e0 des Etats-Unis, le mouvement altermondialiste dans son contexte international) seront \u00e9galement bienvenues. A ce titre, les propositions pourront interroger les ressorts internationaux de la contestation sociale pour faire ressortir les sp\u00e9cificit\u00e9s culturelles des tentatives de \u201ctiers-parti\u201d dans un pays o\u00f9 l’influence \u00e9lectorale continue de repr\u00e9senter un obstacle majeur \u00e0 l’efficacit\u00e9 et au pragmatisme organisationnels de la gauche.
\nNous sommes particuli\u00e8rement int\u00e9ress\u00e9s par les mouvements sociaux contestant le capitalisme et la politique \u00e9trang\u00e8re aux Etats-Unis ; cependant les propositions relevant d’autres formes oppositionnelles (infra)politiques pourront \u00e9galement trouver leur place dans cet atelier.
\nMerci d’envoyer vos suggestions Ambre Ivol<\/a>, universit\u00e9 de Nantes et Jean-Baptiste Velut<\/a> avant le 20 d\u00e9cembre 2013.<\/p>\n

Creative Disruption: How the Left Challenges American Exceptionalism<\/em>
\nAmbre Ivol, universit\u00e9 de Nantes et Jean-Baptiste Velut, Universit\u00e9 Paris 3<\/p>\n

\u201cWhy is there no socialism in America?\u201d This question has long nurtured debates on American exceptionalism. Some argued that the answer lies in material abundance or \u201croast beef and apple pie\u201d (Sombart); others famously \u2013 or notoriously \u2013 highlighted the putative absence of class conflict (Hartz); yet others pointed to the legacy of racial divisions (Morone, Marable) or the conservative trends within the labor movement (Aronowitz). Regardless of their respective pertinence, these interpretations tend to perpetuate an exceptionalist narrative that overshadows, if not simply dismisses the legacy of American progressive movements. The very use of the term \u201cL\u2019Autre Am\u00e9rique\u201d (The Other America) in the French media is indicative of the marginalization of progressive politics in common representations of the United States. Yet, as social historians (Zinn, Kazin) and sociologists (Piven, Aronowitz) have shown, leftwing movements have not only challenged but also considerably shaped what is today considered as the American political and cultural \u201cmodel\u201d. This legacy is not confined to the New Deal or the 1960s. Under the radar of national politics, between prominent cycles of contention, American \u201cdreamers\u201d have contributed to transform politics and culture.
\nThis panel seeks to explore how leftwing movements developed and continue to develop alternative worldviews or counter-models in order to challenge or re-appropriate common notions of American exceptionalism \u2013 be it by reclaiming the Founding Fathers\u2019 ideals (Hall), by redefining the contours of nationalism (Hall, Hutchins) or by capitalizing on America\u2019s entrepreneurial spirit to disrupt the business, cultural and political spheres.
\nOur purpose is to show that disruptive action is inherent to the crisis and renewal of American society. We invite contributions that will shed light on the dynamics of contention, e.g. the interactions among advocacy groups and individual activists, the clashes between movements and \u201ccounter-movements\u201d, the processes by which radical ideas are accepted, rejected, transformed or co-opted by mainstream politics.
\nWe also encourage contributions addressing the limits of the exceptionalist framework through a comparative lens (e.g. US social democracy and its European counterparts; the Global Justice movement in the US and beyond, etc.). For instance, proposals may focus on the international politics of the US Left so as to bring out the cultural specificities of Third Party politics in a country where electoral influence has constituted a major impediment to institutional efficiency and pragmatic politics.
\nWe are particularly interested in movements challenging American capitalism and US foreign policy although we will certainly consider contributions focusing on other political or infrapolitical forms of contentious action.
\nProposals should be sent to Ambre Ivol<\/a>, universit\u00e9 de Nantes et Jean-Baptiste Velut<\/a> Universit\u00e9 Paris 3 and<\/p>\n

17. Traverser l\u2019Atlantique : La circulation des discours et des dispositifs d\u2019action publique entre l\u2019Europe et les \u00c9tats-Unis – Bridging the Atlantic: The Circulation of Public Policy and Discourse between Europe and America<\/h2>\n

Elisa Chelle (IEP Grenoble) et Gilles Chrsitoph (ENS Lyon)<\/p>\n

Bien qu\u2019enracin\u00e9e de part en part dans des id\u00e9es europ\u00e9ennes, la nation am\u00e9ricaine s\u2019est construite sur l\u2019ambition de rompre radicalement avec le \u00ab vieux continent \u00bb. Depuis lors, l\u2019\u00ab exceptionnalisme am\u00e9ricain \u00bb se donne \u00e0 voir comme mythe fondateur de ses institutions et de sa culture politique. Dans le domaine des politiques publiques, comme dans d\u2019autres domaines, l\u2019Europe demeure un mod\u00e8le et un contre-mod\u00e8le pour les \u00c9tats-Unis, tout comme les \u00c9tats-Unis sont devenus un mod\u00e8le et un contre-mod\u00e8le pour l\u2019Europe. L\u2019attitude des Am\u00e9ricains \u00e0 l\u2019\u00e9gard du mod\u00e8le social europ\u00e9en constitue un exemple de choix. Alors que les lib\u00e9raux tournent en d\u00e9rision le march\u00e9 du travail europ\u00e9en, dont la rigidit\u00e9 passe pour la source d\u2019un fort taux de ch\u00f4mage et d\u2019une faible croissance, les forces progressistes voient dans l\u2019\u00c9tat providence europ\u00e9en une source d\u2019inspiration. Inversement, si le capitalisme am\u00e9ricain a suscit\u00e9 une forme d\u2019admiration pour son dynamisme \u00e9conomique, celle-ci est \u00e9mouss\u00e9e par les cons\u00e9quences d\u00e9l\u00e9t\u00e8res de ce dynamisme pour le lien social aux \u00c9tats-Unis. \u00c0 l\u2019\u00e9vidence, bien que la politique \u00e9conomique am\u00e9ricaine ait fait des \u00e9mules en Europe, les mesures fiscales et sociales n\u2019ont fait qu\u2019accro\u00eetre les in\u00e9galit\u00e9s qui y r\u00e8gnent. La tardive et difficile adoption d\u2019une couverture sant\u00e9 \u00ab universelle \u00bb a cependant d\u00e9montr\u00e9 une volont\u00e9 politique de r\u00e9sorber les effets d\u2019une soci\u00e9t\u00e9 individualiste et communautaire.
\nCet atelier se propose d\u2019examiner la relation complexe qui lie les \u00c9tats-Unis \u00e0 l\u2019Europe dans le large domaine des politiques publiques \u00e0 travers le double prisme des transferts de politiques et de la circulation des discours. Par le biais des processus de transferts de politiques, les \u00c9tats-Unis ont import\u00e9 les zones d\u2019entreprises depuis le Royaume-Uni et export\u00e9 le cr\u00e9dit d\u2019imp\u00f4t en France, entre autres exemples. Qu\u2019elles finissent par \u00eatre adopt\u00e9es ou non, les politiques publiques voyagent \u00e9galement de part et d\u2019autre de l\u2019Atlantique sous forme de discours. Les nouveaux \u00e9conomistes parisiens ont ainsi ouvert la France des ann\u00e9es 1970 aux id\u00e9es des anarcho-capitalistes am\u00e9ricains, qui ont th\u00e9oris\u00e9 une soci\u00e9t\u00e9 lib\u00e9r\u00e9e du joug de l\u2019\u00c9tat dans laquelle l\u2019ensemble des probl\u00e8mes sociaux seraient redevables d\u2019une solution \u00e9conomique. En retour, l\u2019appel lanc\u00e9 par Henri Lefebvre en 1968 en faveur d\u2019une vie urbaine v\u00e9ritablement participative a suscit\u00e9 la prolif\u00e9ration \u00e0 travers les \u00c9tats-Unis d\u2019organisations promouvant le droit \u00e0 la ville.
\nLes communications propos\u00e9es dans le cadre de cet atelier pourront s\u2019int\u00e9resser aux processus de transferts de politiques et \u00e0 la circulation des discours entre les \u00c9tats-Unis et l\u2019Europe, ainsi qu\u2019au r\u00f4le jou\u00e9 dans ces processus et dans cette circulation par les experts, les militants et les think tanks, qui participent \u00e0 la fois du monde de l\u2019expertise et du militantisme.
\nLes propositions de communication devront \u00eatre adress\u00e9es \u00e0 \u00c9lisa Chelle<\/a> et Gilles Christoph<\/a> avant le 20 d\u00e9cembre.<\/p>\n

Bridging the Atlantic: The Circulation of Public Policy and Discourse between Europe and America<\/em>
\nElisa Chelle (IEP Grenoble) et Gilles Christoph (ENS Lyon)<\/p>\n

Though built from European ideas through and through, the American nation was founded on the ambition to break radically from the \u201cold continent\u201d, giving rise to \u201cAmerican exceptionalism\u201d as a defining myth for political institutions and culture. In public policy, as in many other areas, Europe was and remains a model and counter-model for America, just as America has become a model and counter-model for Europe. The attitudes of Americans to the European social model are a case in point. While free-market advocates deride Europe\u2019s rigidified labor markets as the source of the continent\u2019s high unemployment and slow growth, progressives envy the comprehensive welfare system of the core European states. Another case in point are the attitudes of Europeans toward American capitalism, the admiration for America\u2019s economic dynamism being mitigated by the wariness of the strain such dynamism imposes on the country\u2019s social fabric. Indeed, if American economic policy has long been a source of emulation for European policymakers, social and fiscal policy has dug the trenches of a deeply unequal society. The late and difficult adoption of a \u201cuniversal\u201d health coverage (Patient Protection and Affordable Care Act) demonstrated some political interest in curbing the scope of an individualistic and communitarian society.
\nThis workshop offers to explore the complicated relationship between America and Europe in the broad field of socio-economic policy via two main avenues, that of policy transfers and that of discursive representations. Through the policy transfer process, the United States have imported enterprise zones from the United Kingdom and exported the negative income tax to France, among countless similar instances. Irrespective of whether they ultimately make it to the political agenda, policy initiatives also flow back and forth across the Atlantic as discursive representations. For example, the 1970s Parisian \u201cnouveaux \u00e9conomistes\u201d were drawn to the American anarcho-capitalist ideal of a polity freed from any kind of governmental organization, where all social problems could be taken care of by market solutions, and conversely Henri Lefebvre\u2019s 1968 demand for a genuinely participatory urban life has spurred the proliferation of \u201cright to the city\u201d organizations throughout America.
\nPapers will be welcome that offer insights into the process of policy transfer and the flow of discursive representations between the United States and Europe and into the role played in these processes and flows by experts and activists as well as by think tanks, which straddle the world of expertise and activism. Abstracts should be sent to \u00c9lisa Chelle<\/a>and Gilles Christophe<\/a> before December 20.<\/p>\n

18. \u00ab La construction de mod\u00e8les politiques alternatifs au lib\u00e9ralisme de la Guerre froide\u00bb<\/strong>
\nAnne OLIVIER-MELLIOS<\/a>, Universit\u00e9 Lumi\u00e8re Lyon 2 Soraya GU\u00c9NIFI<\/a>, Universit\u00e9 Sorbonne Nouvelle \u2013 Paris 3 <\/p>\n

La p\u00e9riode d\u2019apr\u00e8s-guerre aux \u00c9tats-Unis red\u00e9finit les clivages politiques et id\u00e9ologiques. La pr\u00e9\u00e9minence du mod\u00e8le de Guerre froide redessine sensiblement les contours du lib\u00e9ralisme am\u00e9ricain en \u00e9vacuant toute r\u00e9f\u00e9rence \u00e0 l\u2019exp\u00e9rience de l\u2019 \u2018ancienne gauche\u2019 (Old Left) des ann\u00e9es 1930, au profit d\u2019une r\u00e9flexion politique marqu\u00e9e notamment par l\u2019anticommunisme, ainsi que par les th\u00e9ories de l\u2019\u00e9quilibre tel le Centre Vital (Vital Center) d\u00e9velopp\u00e9 par Arthur Schlesinger. Avec l\u2019installation de nombreux intellectuels lib\u00e9raux comme les fameux \u00ab New York Jewish Intellectuals \u00bb au sein des centres institutionnels (universit\u00e9s, m\u00e9dias, gouvernement), ce mod\u00e8le d\u2019\u00e9volution politique s\u2019impose comme une forme de realpolitik en r\u00e9ponse au clivage est-ouest. Pour de nombreux observateurs de la gauche am\u00e9ricaine, le mod\u00e8le id\u00e9ologique et politique qu\u2019offre le lib\u00e9ralisme de la Guerre froide (Cold War liberalism) permet donc de d\u00e9crire fid\u00e8lement plus d\u2019une d\u00e9cennie de consensus et de conformisme.
\nCependant, dans la recherche d\u2019une appr\u00e9ciation plus nuanc\u00e9e, d\u2019autres courants historiographiques ont p\u00e9riodiquement \u00e9mis l\u2019hypoth\u00e8se selon laquelle les ann\u00e9es 1950 offraient \u00e9galement un cadre de r\u00e9flexion politique lib\u00e9ral alternatif, en continuit\u00e9 avec les id\u00e9aux de justice sociale c\u00e9l\u00e9br\u00e9s par la Old Left, et comme antichambre de la contestation de la Nouvelle Gauche des ann\u00e9es 1960. En effet, rejetant l\u2019opposition est-ouest comme paradigme id\u00e9ologique et combattant la chasse aux sorci\u00e8res comme manifestation nationale de cette doctrine, de nombreux intellectuels et activistes am\u00e9ricains travaill\u00e8rent \u00e0 construire un mod\u00e8le alternatif bas\u00e9 sur l\u2019entente internationale et la libert\u00e9 d\u2019expression. Les artisans de cette rh\u00e9torique alternative se trouvent non seulement chez les fondateurs de l\u2019\u00e9cole r\u00e9visionniste (C. Wright Mills, William Appleman Williams), mais aussi dans l\u2019exp\u00e9rience organisationnelle pacifiste, anti-nucl\u00e9aire et m\u00eame anti-s\u00e9gr\u00e9gation (rappelons que de nombreuses associations pour la promotion de l\u2019\u00e9galit\u00e9 raciale \u00e9taient la cible des chasseurs des sorci\u00e8res), ainsi que dans la presse de gauche (I.F. Stone\u2019s Weekly, Monthly Review, National Guardian).
\nCet atelier vise donc \u00e0 mettre en \u00e9vidence la construction par des intellectuels, activistes ou m\u00eame artistes de mod\u00e8les alternatifs \u00e0 la rh\u00e9torique de la Guerre froide chez les progressistes am\u00e9ricains. Il s\u2019agit d\u2019y questionner les diff\u00e9rentes approches visant \u00e0 mod\u00e9liser le champ politique et historiographique afin d\u2019y r\u00e9introduire des figures et mouvements progressistes marginalis\u00e9s et de reconstruire la r\u00e9alit\u00e9 politique et id\u00e9ologique d\u2019une p\u00e9riode de transformation du lib\u00e9ralisme aux Etats-Unis.
\nMerci d’envoyer vos propositions avant le 20 d\u00e9cembre.<\/p>\n

19. Nouvelles technologies de l\u2019information et de la communication et reconfiguration des relations d\u2019emploi – The new information and communication technologies and the restructuring of employment relationships <\/em> <\/strong>
\nOlivier Frayss\u00e9, Universit\u00e9 Paris 4 et Eliza Koechlin, <\/p>\n

Il n\u2019est pas exag\u00e9r\u00e9 de dire que les \u00c9tats-Unis ont \u00e9t\u00e9 \u00e0 l\u2019origine de la diss\u00e9mination \/ exportation de trois r\u00e9gimes ou mod\u00e8les de travail au cours du \u00ab si\u00e8cle am\u00e9ricain \u00bb.
\nLe premier est l\u2019embrigadement des ouvriers attach\u00e9s \u00e0 la machine sur la ligne de montage : le Fordisme. Les id\u00e9ologies v\u00e9hicul\u00e9es \u00e9taient alors la maximisation de la production par l\u2019utilisation de la technologie et le rationalisme scientifique.
\nLe second fut le compromis social issu du New Deal et recadr\u00e9 par la loi Taft-Hartley, que l\u2019\u00e9cole fran\u00e7aise de la r\u00e9gulation a \u00e9galement baptis\u00e9 Fordisme. Ses slogans id\u00e9ologiques \u00e9taient la n\u00e9gociation, l\u2019\u00e9quilibre et le compromis. Le troisi\u00e8me mod\u00e8le, dit \u00ab n\u00e9o-lib\u00e9ral \u00bb, int\u00e8gre le paradigme du t\u00e9l\u00e9travail (travail virtuel) et du \u00ab capitalisme num\u00e9rique \u00bb ainsi que la dynamique de la mondialisation. Les ma\u00eetres mots \u00e0 pr\u00e9sent sont libert\u00e9, flexibilit\u00e9 et le gouvernement par le march\u00e9.
\nLes contributions pourront porter sur tous les sujets li\u00e9s \u00e0 cette probl\u00e9matique, formation des r\u00e9gimes\/mod\u00e8les, expansion, r\u00e9ception \u00e0 l\u2019\u00e9tranger. Les approches historiques, g\u00e9ographiques, sociologiques, \u00e9conomiques sont les bienvenues. Le corpus peut inclure les m\u00e9dias, la litt\u00e9rature et le cin\u00e9ma.
\nLes propositions de communication (400 mots) sont \u00e0 envoyer \u00e0 Olivier Frayss\u00e9<\/a> et Elisabeth Koechlin<\/a> avant le 20 d\u00e9cembre.<\/p>\n

The new information and communication technologies and the restructuring of employment relationships <\/em>
\nOlivier Frayss\u00e9, Universit\u00e9 Paris 4 et Eliza Koechlin<\/p>\n

The United States may rightly be said to have been at the origin of the dissemination \/ exportation of three work regimes or models over \u201cthe American century\u201d:
\nThe first work regime was the regimentation of workers bound to the machine on the assembly line known as Fordism. Its ideological underpinnings were the maximization of production, science and rationality. The second was the social compromise between Capital and Labor born of the New Deal and recast by the Taft-Hartley Act, which the French school of regulation also called Fordism. It was founded on regulation, balance and compromise in industrial relations. The third one is the current \u201cneo-liberal\u201d model that incorporates the paradigm of \u201cvirtual work\u201d and \u201cdigital capitalism\u201d as well as the dynamic of globalization. Freedom, flexibility and market-driven management have become the main tenets of this new creed.
\nContributions are welcomed on any and all related subjects, including formation, ideological justification, expansion and reception abroad. These may be based on historical, sociological, geographical and\/or economic approaches. The corpus can be extended to include the media, literature and cinema.
\nProposals (400 words) are to be sent to Olivier Frayss\u00e9<\/a> and Elisabeth Koechlin<\/a> by December 20.<\/p>\n

20. Culture rebelle ou mod\u00e8le ? Le populaire et ses genres, entre d\u00e9fi aux conventions et \u00e9tablissement de nouvelles normes. – “Challenging Conventions or Establishing New Norms? The Use of Genres in US Popular Culture.”<\/h2>\n

Elsa Grassy, Universit\u00e9 de Strasbourg & John Dean, Universit\u00e9 de Versailles: <\/p>\n

La culture am\u00e9ricaine populaire use et abuse des genres, et semble reposer sur un m\u00e9canisme perp\u00e9tuel de subversion et de construction de normes, a priori oppos\u00e9 au concept m\u00eame de \u00ab populaire \u00bb.
\nIl s\u2019agira lors de cet atelier, dans le cadre du th\u00e8me g\u00e9n\u00e9ral du congr\u00e8s, \u00ab Les Etats-Unis, mod\u00e8les, contre-mod\u00e8les\u2026 fin des mod\u00e8les ? \u00bb de r\u00e9fl\u00e9chir au r\u00f4le de la culture populaire dans l\u2019\u00e9conomie des mod\u00e8les culturels, notamment par un examen du statut de ses genres, et de la fa\u00e7on dont ils ont \u00e9t\u00e9 utilis\u00e9s, d\u00e9pass\u00e9s ou remplac\u00e9s aux XXe et XXIe si\u00e8cles.
\nUne des questions centrales que nous poserons est le rapport entre les conventions et la cr\u00e9ativit\u00e9. Les exigences des genres ont-elles permis \u00e0 la culture populaire de se renouveler et de se sophistiquer, ou bien l\u2019ont-elles enferm\u00e9e dans des sch\u00e9mas connus, et amen\u00e9e ainsi vers une r\u00e9p\u00e9tition et donc appauvrissement intellectuel et cr\u00e9atif ?
\nComme en t\u00e9moigne la bibliographie constitu\u00e9e pour cet atelier, poser la question du genre dans la culture populaire peut para\u00eetre t\u00e9moigner du m\u00eame manque d\u2019imagination : le sujet a d\u00e9j\u00e0 maintes fois \u00e9t\u00e9 analys\u00e9. Nous inviterons les participants \u00e0 cet atelier \u00e0 l\u2019explorer sous l\u2019angle de la d\u00e9finition m\u00eame du populaire et de ses rapports avec le conformisme. Alors que le populaire offre une alternative aux r\u00e8gles et aux conventions de la culture savante, il poss\u00e8de ses propres codes, qu\u2019on peut briser et subvertir. Le populaire lance-t-il un d\u00e9fi \u00e0 l\u2019orthodoxie de la culture institu\u00e9e, ou bien ne peut-il proposer qu\u2019un autre type de conformit\u00e9 ? Musique, mode, BD, litt\u00e9rature pulp, films de super-h\u00e9ros, sport\u2026 il n\u2019est pas un domaine populaire qui ne connaisse l\u2019opposition entre le mainstream et l\u2019underground, entre le populaire quantitatif qui remporte l\u2019adh\u00e9sion du plus grand nombre, et la marge alternative qui se d\u00e9finit par opposition \u00e0 la masse. La norme du plus grand nombre est subvertie, pour cr\u00e9er une nouvelle norme, qu\u2019un nouveau mouvement viendra bient\u00f4t renverser. Les genres du populaire lui apportent ainsi une structure autant que des occasions de la renverser.
\nIl se pourrait alors que, bien que les genres et leurs conventions semblent a priori s\u2019opposer \u00e0 l\u2019esprit de libert\u00e9 et d\u2019accessibilit\u00e9 du populaire, ils participent en r\u00e9alit\u00e9 \u00e0 la simplicit\u00e9 et \u00e0 l\u2019imm\u00e9diatet\u00e9 qui caract\u00e9risent ce domaine culturel. Les genres fournissent au public une satisfaction suppl\u00e9mentaire par la reconnaissance de conventions, de personnages-types, de ressorts dramatiques \u2013 satisfaction qui peut \u00e0 tout moment glisser vers la saturation ou l\u2019ennui.
\nNous aborderons \u00e9galement la question de l\u2019origine : la culture populaire am\u00e9ricaine a-t-elle h\u00e9rit\u00e9 ses genres des traditions dans lesquelles elle puise son inspiration ? Les a-t-elle modifi\u00e9s, et comment ? Des folklores scandinave, germanique, celte et anglo-saxon, en passant par les mythologies europ\u00e9ennes, asiatiques et moyen-orientales et la Bible, la culture populaire am\u00e9ricaine s\u2019est enrichie de traditions narratives qui lui ont fourni forme et fond. Nous apercevrons ainsi aussi peut-\u00eatre comment les genres populaires refl\u00e8tent cet h\u00e9ritage et le fait que \u00ab l\u2019histoire des \u00c9tats-Unis est celle de l\u2019interaction entre la culture de la Vieille Europe et l\u2019environnement d\u2019un Nouveau Monde, c\u2019est-\u00e0-dire celle d\u2019une modification pr\u00e9coce de la culture par l\u2019environnement, et de la modification cons\u00e9cutive de l\u2019environnement par cette culture \u00bb (Nevins & Commager; Pocket History of the US).
\nNous laissons le choix aux participants : film, musique, litt\u00e9rature pulp, polars, modes vestimentaires, sport, jouets, argot, jeunesse, seniors, crime organis\u00e9, classes moyennes des banlieues, \u00e0 l\u2019\u00e9chelle f\u00e9d\u00e9rale ou des Etats, lecteurs, auditeurs, internautes\u2026 quels que soient le public et le m\u00e9dium vis\u00e9s, le genre, en tant que mod\u00e8le, contre-mod\u00e8le, aspirant \u00e0 la fin des mod\u00e8les ( ?) conduira n\u00e9cessairement \u00e0 poser des questions essentielles sur le fonctionnement de la culture populaire am\u00e9ricaine.
\nLes propositions de communication de 300 mots maximum, ainsi qu\u2019une courte biographie, sont \u00e0 envoyer \u00e0 John Dean<\/a>) et Elsa Grassy<\/a> avant le 20 d\u00e9cembre 2013. <\/p>\n

“Challenging Conventions or Establishing New Norms? The Use of Genres in US Popular Culture.”<\/em><\/p>\n

They are used and abused. Supported and subverted. Genres are the basic models and slippery building blocks that shape all US popular culture.
\nWith particular regard to “The USA: Models, Counter-models, the End of Models,” our inquiry addresses the issue of how American popular culture genres have been used, surpassed, or replaced in the 20th- and 21st-centuries’ global gallery of popular culture. Consider the creative tension. Do genres provide the supple rules by which the popular culture of all mass media achieves freedom of expression? Or are popular culture genres cumbersome molds more than they are means?
\nThe critical mass of genre study in popular culture is immense (see brief bibliography below). But, among others, a list would easily include: Adorno, Aristotle, Benjamin, Frye, Bakhtin, Chandler, Eco, Barthes, Jameson, King, Lyotard, Calwetti, and others.
\nWhile the popular offers an alternative to the rules and conventions of high culture, it does have its own codes that one can challenge and break. Beyond the multitude of popular genres \u2013 from music to fashion, from comic book genres to pulp literature, superhero movies and sports \u2013 the rift between the popular mainstream and the subcultural underground is evidence to the fact that norms structure the popular as much as they muddle it.
\nCould it be that while genre conventions seem at first to be at odds with the popular ethos, they might in fact add to the attractiveness and straightforwardness of popular culture. Are genre conventions the key to why audiences find popular culture so satisfying? Or \u2013 alternatively \u2013 superficial? Plus, how do popular genres facilitate repetition and continuity for both producer and receiver? How do they effect reciprocity, provide a given social construct, stabilize personal and national identity?
\nWe invite participants in this workshop session to question the relation between popular culture and conformity. Does the popular challenge high culture’s orthodoxy because it doesn’t like rules, or does it create another set of conventions — however funkier? Does this go beyond genre conventions? It seems that one of the dynamics of the popular is the tension between a mainstream and an underground set of genres – both successful in their own way – that edge each other on. While the mainstream popular culture flourishes in a more quantitative, conservative, comforting way, the underground exists in a more qualitative, subversive way that is in-your-face and rebellious.
\nThen there’s the question of sources. Where do genre models come from? Consider how Europe and the Mediterranean, Scandinavian, Germanic, and “Anglo-Saxon” legends, the Judeo-Christian Bible, mythologies of the Near and Middle East, routes and roots which extent to the Far East, and indigenous US popular culture models have each generated form and meaning. Isn’t here the way to a wealth of inquiries? Specially since the “story of America is the story of the interaction of an Old World culture & a New World environment \u2013 the early modification of the culture by environment, and the subsequent modification of the environment by the culture\u201d (Nevins & Commager; Pocket History of the US).
\nChoose any popular medium or consumer group — from dolls to movies, clothing styles to spoken slang, youth culture through geriatric clusters, thug-headed organized criminals through suburban simpletons, the fandom of sports or adherents of detective fiction, the US audience regional or nation-wide in its relation to listenership, viewership, readership or digital web traffic — and the model of genres is essential to understanding why a particular expression of popular culture works or not.
\nSend your proposals (300 words + a short biography) to both John Dean<\/a> and Elsa Grassy<\/a> before December 20, 2012.<\/p>\n

21. “Quel futur mod\u00e8le pour l’Am\u00e9rique politique: destin\u00e9 manifestement partisane ou union r\u00e9invent\u00e9e? What future model for political America: manifestly gridlocked destiny or reinvented union?<\/em> <\/strong>
\nJ\u00e9r\u00f4me Noirot, Ecole Centrale, Lyon
\nDepuis la mise en oeuvre du New Deal sous Franklin Delano Roosevelt et l\u2019opposition subs\u00e9quente de Barry Goldwater et de Ronald Reagan \u00e0 l\u2019\u00e9largissement du r\u00f4le de l\u2019Etat qui a r\u00e9sult\u00e9 de cette politique, deux mod\u00e8les distincts de la soci\u00e9t\u00e9 am\u00e9ricaine semblent se faire face au point de g\u00e9n\u00e9rer des blocages politiques et l\u00e9gislatifs consid\u00e9r\u00e9s comme n\u00e9fastes pour la prosp\u00e9rit\u00e9 du pays. Cette confrontation repose sur les r\u00e9ponses pr\u00e9tendument antinomiques que les deux mod\u00e8les apportent \u00e0 deux questions philosophiques et politiques essentielles : quelles doivent \u00eatre la nature du contrat social am\u00e9ricain et la r\u00e9partition appropri\u00e9e des responsabilit\u00e9s individuelles, sociales et politiques ? Par ailleurs, quel doit \u00eatre le r\u00f4le de la Constitution et, plus g\u00e9n\u00e9ralement, de la tradition jud\u00e9o-chr\u00e9tienne dans la codification de cette r\u00e9partition ?
\nD\u2019un c\u00f4t\u00e9, se trouve le mod\u00e8le con\u00e7u par les P\u00e8res Fondateurs de la nation \u00e0 la fin du 18\u00e8me si\u00e8cle. Ce mod\u00e8le refl\u00e8te l\u2019id\u00e9e selon laquelle l\u2019individu est, du simple fait de sa nature, dot\u00e9 des droits inali\u00e9nables notamment d\u00e9finis dans la D\u00e9claration d\u2019Ind\u00e9pendance. Dans le but de prot\u00e9ger ces droits et d\u2019\u00e9viter \u00ab la guerre de tous contre tous \u00bb redout\u00e9e par Thomas Hobbes, les individus sont amen\u00e9s \u00e0 s\u2019associer. Telle est la dynamique du contrat social qui donne finalement naissance \u00e0 l\u2019Etat, dont le r\u00f4le consiste alors essentiellement \u00e0 favoriser l\u2019exercice serein des droits individuels. Toutefois, en raison de ce qui est analys\u00e9 comme la d\u00e9pravation originelle de la nature humaine, manifest\u00e9e \u00e0 travers l\u2019\u00e9go\u00efsme et la propension \u00e0 la domination, la prudence recommande de borner l\u2019exercice du pouvoir politique. C\u2019est donc de la crainte du despotisme que d\u00e9coule le principe de la s\u00e9paration des pouvoirs. Selon les P\u00e8res Fondateurs, l\u2019\u00e9laboration d\u2019une constitution \u00e9crite devient alors indispensable pour proc\u00e9der \u00e0 cette s\u00e9paration, \u00e0 la fois horizontalement entre le l\u00e9gislatif, l\u2019ex\u00e9cutif, et le judiciaire, et verticalement, entre l\u2019Etat f\u00e9d\u00e9ral et les Etats f\u00e9d\u00e9r\u00e9s. Cependant, \u00e0 lui seul, le document constitutionnel n\u2019est pas en mesure de pr\u00e9server l\u2019int\u00e9grit\u00e9 du contrat social r\u00e9publicain fond\u00e9 sur le principe de la libert\u00e9 individuelle. Les P\u00e8res fondateurs soulignent, en effet, l\u2019importance de cultiver simultan\u00e9ment, parmi gouvernants et gouvern\u00e9s, le sens de la vertu, comprise alors comme la capacit\u00e9 morale d\u2019inspiration religieuse de dompter les passions \u00e9go\u00efstes dans l\u2019int\u00e9r\u00eat g\u00e9n\u00e9ral.
\nL\u2019autre mod\u00e8le du contrat social am\u00e9ricain, successivement con\u00e7u, compl\u00e9t\u00e9 et partiellement mis en oeuvre par Woodrow Wilson, Franklin Roosevelt, Lyndon Baines Johnson et aujourd\u2019hui Barack Obama, envisage avec optimisme la capacit\u00e9 de l\u2019Etat \u00e0 relever les d\u00e9fis \u00e9conomiques, sociaux, et soci\u00e9taux contemporains. Selon ce sch\u00e9ma de pens\u00e9e, l\u2019Etat prend des contours plus unitaires que f\u00e9d\u00e9raux et doit pouvoir ainsi syst\u00e9matiquement intervenir afin d\u2019administrer l\u2019\u00e9gale r\u00e9partition des avantages du progr\u00e8s, permettre l\u2019exercice de la libert\u00e9 individuelle, notamment \u00e0 travers l\u2019acc\u00e8s universel aux soins et \u00e0 l\u2019\u00e9ducation, et adapter la tradition \u00e0 l\u2019\u00e9volution des pratiques courantes. Dans ce cadre, la s\u00e9paration des pouvoirs \u00e9labor\u00e9e par les P\u00e8res Fondateurs est d\u00e9nonc\u00e9e comme un carcan d\u00e9suet. D\u2019o\u00f9 la volont\u00e9, sinon de r\u00e9\u00e9crire la Constitution, de faire au moins du texte un instrument souple, vivant et \u00e9volutionniste mieux \u00e0 m\u00eame de capter les valeurs contemporaines, un concept connu sous le nom de living constitution.
\nCet atelier examinera l\u2019ampleur et l\u2019intensit\u00e9 des d\u00e9saccords politiques, l\u00e9gislatifs et juridiques que semblent g\u00e9n\u00e9rer ces deux mod\u00e8les distincts de la soci\u00e9t\u00e9 am\u00e9ricaine tant au niveau f\u00e9d\u00e9ral qu\u2019\u00e0 celui des Etats f\u00e9d\u00e9r\u00e9s. En particulier, la question sera pos\u00e9e de savoir si ces d\u00e9saccords peuvent \u00eatre le reflet de positionnements partisans plus ou moins artificiels, dict\u00e9s par la notion d\u2019alternance d\u00e9mocratique, ou s\u2019ils se manifestent comme une sorte de contrepoids \u00e0 l\u2019unification des pouvoirs ex\u00e9cutif et l\u00e9gislatif que l\u2019on peut peut-\u00eatre d\u00e9tecter depuis la pr\u00e9sidence de George W. Bush lorsque l\u2019un des deux partis d\u00e9tient ces pouvoirs simultan\u00e9ment. En d\u2019autres termes, sommes-nous en pr\u00e9sence de tensions centrifuges av\u00e9r\u00e9es, qu\u2019il conviendra, le cas \u00e9ch\u00e9ant, d\u2019\u00e9valuer et dont il faudra envisager les cons\u00e9quences \u00e0 plus long terme, ou existe-t-il encore aujourd\u2019hui aux Etats-Unis un socle culturel commun, dont les communicants s\u2019efforceront alors de d\u00e9finir le contenu et les potentialit\u00e9s ? Si la survie des nations repose sur la dynamique du renouveau perp\u00e9tuel, l\u2019atelier se demandera si le renouveau am\u00e9ricain peut passer par l\u2019\u00e9laboration d\u2019une synth\u00e8se entre d\u2019une part, l\u2019innovation, et d\u2019autre part, la r\u00e9actualisation de principes ancestraux.<\/p>\n

What future model for political America: manifestly gridlocked destiny or reinvented union?<\/em>
\nConventional wisdom has it that ever since New Deal policies were first carried out and fuelled conservative opposition to the growth of government, two increasingly distinct visions of American society have vied for public support and moved the nation closer to political gridlock with potentially dire economic consequences. The gap between these two visions is said to originate in the seemingly irreconcilable answers which they give to two basic philosophical and political questions: first, what are respectively the proper limits of government and individual freedom? Second, what role should the Constitution, and more generally the country\u2019s Judeo-Christian heritage, play in marking out those limits?
\nOn one side is the vision of the Founding Fathers who designed a system of government focusing on the primacy of inalienable individual rights particularly as defined in the Declaration of Independence. From this perspective, the need to protect such rights and obviate any risk of a \u201cwar of all against all\u201d mechanically brings individuals together and societies into existence. That in turn leads to the creation of government whose role consists essentially in promoting the peaceful exercise of individual rights and freedoms. However because of the fallen condition of human nature as reflected in selfishness and the lust for domination, limits must be set to political power. It is therefore to neutralize the threat of tyranny that separation of power came to be adopted as a guiding principle by the Founding Fathers. The Founders regarded a written constitution as the essential tool to codify that separation both horizontally between the legislative, the executive and the judiciary, and vertically between the federal government and the States. Yet such a constitution could not on its own guarantee the success of a republican form of government based on the consistent exercise of individual freedom. The Founding Fathers therefore stressed the need to foster durably, both among the governed and their elected representatives, the notion of virtue described as the religiously-inspired moral ability to tame selfish impulses for the common good.
\nThe opposing vision of American society has successively been conceived and partly implemented by Woodrow Wilson, Franklin Delano Roosevelt, Lyndon Baines Johnson, and today Barack Obama. It is based on a more optimistic view of government\u2019s ability to craft solutions to contemporary social and economic issues. Consequently, less divided government may well be needed to share out the country\u2019s wealth more equitably, allow the exercise of individual freedom more fully particularly through universal access to health care and education, and adjust tradition to changing lifestyles. Seen from this perspective, the Constitution is dismissed as both obsolete and a political, social, and economic straitjacket that needs to be made more \u201cliving\u201d, flexible, and inclusive to reflect society\u2019s constantly changing norms.
\nThe aim of this panel is to examine the actual scope and depth of the increasingly strident political, legislative, and judicial strifes that the two visions of American society seem to be generating both at the federal level and within the States. More particularly, the panel will look into whether such strifes reflect artificially partisan positioning naturally dictated by the rules of democratic electioneering, or whether they act as a check on the growing unification of the executive and legislative branches that may have been developing since the presidency of George W. Bush whenever either party has held the two branches simultaneously. In other words, is American society hopeless riven by divergent philosophical and political views of its nature and function, or is there still enough common ground for the American people to shape their country\u2019s destiny consensually? If the survival of nations does depend on constant renewal, the panel will test the proposition that American renewal may ultimately rest on a combination of innovation and tradition in yet another rendition of E Pluribus Unum. <\/p>\n

Merci d’envoyer vos propostitions \u00e0 J\u00e9r\u00f4me Noirot<\/a> avant le 20 d\u00e9cembre.<\/p>\n

22. Race-consciousness v. colorblindness : two competing models<\/strong>
\nOlivier Richomme, Universit\u00e9 Lyon 2.<\/p>\n

Since the minority rights revolution of the 1960\u2019s, the US has implemented race-conscious public policies in order to reform its institutions and eradicate racial discrimination. In spite of the undeniable results they produced these policies have been highly controversial. From a pratical standpoint opponents argue that they are imperfect tools that are too divisive and need to be temporary. But maybe more importantly, from a phylosophical standpoint they argue that these policies do nothing to eliminate racism, quite the contrary. They contend that taking race into account to fight racism actually amounts to the reification of race and undermines the meritocratic ideal. Scociologists and political scientists in many countries have been discussing these two rival models for decades and have tried to determine the better approach to reach race equality. And in this international discussion, the US has often been used as a model or a countermodel.
\nThis workshop proposes to analyse the political and cultural clash between the race-conscious and colordblind models in a comparative approach or in one centered solely on the US. For exemple one could discuss the role the US plays in other countries as a model or a countermodel in the debates about the implementation of anti-discrimination public policies. But because the american system is often used as a caricature by proponents and opponents alike, it could also be useful for our workshop to focus on the US and the ways in which this issue divides the country and often cuts across party lines and ethno-racial affiliations. Indeed a more detailed analysis of the debate around race and equality in the US through the political instrumentalisation, the tortuous jurisprudence or the opaque implementation of race-conscious public policies (affirmative action policies in jobs recruitment and university enrollment, busing of school children and eletoral redistricting\u2026) would allow us to highlight how this figth between these two models has defined the political and cultural landscape of the last half century.<\/p>\n

Proposals to be sent to Olivier Richomme<\/a> by December 20.<\/p>\n

23. Les Etats-Unis : mod\u00e8le ou contre-mod\u00e8le \u00e9cologique ? – Is the US an Environmental Example or Counter-Example?<\/h2>\n

Gelareh Djahansouz-Yvard (Universit\u00e9 d’Angers)
\n La politique de l’environnement s\u2019enracine au coeur de la culture am\u00e9ricaine. Le respect de la terre et de ses ressources fait partie des mythes fondateurs am\u00e9ricains. Le mouvement \u00e9cologique de la deuxi\u00e8me moiti\u00e9 du 20\u00e8me si\u00e8cle trouve ses origines \u00e0 la fin du dix-neuvi\u00e8me et au d\u00e9but du vingti\u00e8me si\u00e8cle, \u00e9poque \u00e0 laquelle les actions concernaient la protection des terres du domaine public. Les Am\u00e9ricains ont \u00e9t\u00e9 parmi les premiers \u00e0 agir en mati\u00e8re d’environnement, pr\u00e9servant d’abord les terres, puis \u00e9tendant cette action, un si\u00e8cle plus tard, \u00e0 la lutte contre les diverses pollutions. C’est \u00e0 partir de la deuxi\u00e8me moiti\u00e9 du 20\u00e8me si\u00e8cle avec l’apparition des diverses pollutions, que l’on peut noter une \u00e9volution dans la mentalit\u00e9 des Am\u00e9ricains et un int\u00e9r\u00eat v\u00e9ritable pour l’environnement sur tous les plans, ce qui a conduit le gouvernement f\u00e9d\u00e9ral \u00e0 brandir le flambeau de la lutte contre toutes les formes de pollution et \u00e0 devenir le pr\u00e9curseur du mouvement \u00e9cologique sur le plan international. Les initiatives \u00e9cologiques et \u00e9nerg\u00e9tiques des Etats-Unis ont servi de mod\u00e8le aux autres pays industrialis\u00e9s. Mais l\u2019attitude du gouvernement am\u00e9ricain et son r\u00f4le dominant dans la communaut\u00e9 internationale en tant que mod\u00e8le \u00e9cologique ont \u00e9volu\u00e9 depuis les trente derni\u00e8res ann\u00e9es, les int\u00e9r\u00eats \u00e9conomiques passant en premier, bien avant les pr\u00e9occupations \u00e9cologiques. Si certains \u00e9tats, comme la Californie, peuvent faire figure de mod\u00e8le en mati\u00e8re d\u2019environnementalisme, ce n\u2019est pas le cas du gouvernement am\u00e9ricain qui a refus\u00e9 d\u2019assumer son r\u00f4le de leader \u00e9cologique global, en d\u00e9pit des efforts de l\u2019administration actuelle pour donner l\u2019exemple afin de relancer l\u2019\u00e9conomie verte en promouvant les \u00e9nergies alternatives et les emplois verts. D\u2019autres pays industrialis\u00e9s, comme le Canada ou certains membres de l\u2019UE, ont pris de l\u2019avance dans le domaine.
\n L\u2019objectif de cet atelier est d\u2019analyser les enjeux politiques, \u00e9conomiques, sociaux et id\u00e9ologiques de l\u2019\u00e9cologie aux Etats-Unis afin de s\u2019interroger sur l\u2019existence d\u2019un mod\u00e8le ou contre-mod\u00e8le am\u00e9ricain. Les propositions pourront explorer l’environnementalisme dans l’ar\u00e8ne politique am\u00e9ricaine aux niveaux local, national, ou international, ainsi que l\u2019impact des partis politiques sur les diverses administrations pr\u00e9sidentielles et le Congr\u00e8s. Pays de contraste et de diversit\u00e9, on pourra \u00e9galement s\u2019interroger sur l\u2019importance accord\u00e9e \u00e0 l\u2019\u00e9cologie dans la soci\u00e9t\u00e9 am\u00e9ricaine et dans l\u2019existence quotidienne des Am\u00e9ricains aujourd’hui.
\nLes propositions de communication doivent \u00eatre adress\u00e9es \u00e0 Gelareh Djahansouz-Yvard<\/a> avant le 20 d\u00e9cembre.<\/p>\n

Is the US an Environmental Example or Counter-Example?<\/em>
\nGelareh Djahansouz-Yvard (University of Angers)<\/p>\n

Environmentalism is at the heart of American culture. Respect for the land and its resources has always been one of America’s founding myths. The environmental movement of the second half of the 20th century had its roots in the late nineteenth and early twentieth centuries, an era which focused on the protection of public lands. The Americans were among the first to fight in favor of protecting the environment, initially by preserving nature, then a century later, by fighting against various forms of pollution. The Americans changed their approach to the environment in the mid-20th century and a genuine interest for the environment at all levels appeared, which encouraged the federal government to take up the battle against all forms of pollution and assume a leading role in the environmental movement internationally. The ecological and energy initiatives of the US served as examples for other industrialized countries. However the attitude of the U.S. government as an environmental role model has evolved in the last thirty years, as economic concerns have taken precedence over ecological concerns. If some states, such as California, are looked on as environmental models, such is certainly not the case for the US government, which refused to assume a leadership role in global environmentalism, in spite of the present administration\u2019s efforts to set an example to boost the green economy by promoting alternative energies and green jobs. Other industrialized nations, such as Canada or some members of the European Union, have emerged as international environmental leaders.
\nThe aim of this workshop is to analyze the political, economic, social and ideological issues at stake concerning the environment today, in order to understand whether the US can be considered as an environmental example or counter-example for the rest of the world. This workshop welcomes papers dealing with state, federal and global environmental policies, as well the impact of political parties on various presidential administrations and the Congress. The US is a nation of contrast and diversity; therefore papers may also focus on the importance of environmental protection in American society and daily life today.
\nProposals for papers should be sent to Gelareh Djahansouz-Yvard<\/a> by December 20.<\/p>\n

24. Le Mod\u00e8le m\u00e9diatique am\u00e9ricain en question: fondements, mutations, \u00e9volutions. – Questioning the US Media Model: Foundations, Changes, Evolutions. <\/em> <\/strong>
\nDivina Frau-Meigs, Universit\u00e9 Paris 3, S\u00e9bastien Mort, Universit\u00e9 de Lorraine<\/p>\n

Arch\u00e9type du mod\u00e8le \u00ab lib\u00e9ral nord-atlantique \u00bb selon David C. Hallin et Paolo Mancini (Comparing Media Systems: Three Models of Media and Politics, 2004), le syst\u00e8me m\u00e9diatique am\u00e9ricain est fond\u00e9 sur quatre principes qui le distinguent tr\u00e8s nettement des mod\u00e8les m\u00e9diatiques europ\u00e9ens : l\u2019intervention limit\u00e9e de l\u2019Etat dans la gestion des supports techniques et des contenus, la pr\u00e9pond\u00e9rance de la diffusion commerciale \u2013 apparue tr\u00e8s t\u00f4t historiquement \u2013 et la quasi-absence de diffusion publique, le niveau \u00e9lev\u00e9 de professionnalisation des m\u00e9dias d\u2019information rendu possible par l\u2019adh\u00e9sion \u00e0 des normes et codes explicitement \u00e9dict\u00e9s et ratifi\u00e9s \u2013 dont la \u00ab norme d\u2019objectivit\u00e9 \u00bb constitue le pilier central \u2013, et l\u2019ind\u00e9pendance par rapport au pouvoir politique, garante \u00e0 la fois du statut de contrepouvoir des m\u00e9dias et de leur rentabilit\u00e9 financi\u00e8re.
\nAu cours des derni\u00e8res d\u00e9cennies, le mod\u00e8le m\u00e9diatique am\u00e9ricain a toutefois subi des mutations de taille, et ce, sous les effets conjugu\u00e9s de l\u2019\u00e9volution technologique \u2013 av\u00e8nement de la t\u00e9l\u00e9vision c\u00e2bl\u00e9e \u00e0 partir des ann\u00e9es 1980 et de l\u2019Internet au tournant des ann\u00e9es 2000 \u2013, des changements du cadre l\u00e9gislatif \u2013 abrogation de la Fairness Doctrine en 1987 et passage du Telecommunications Act of 1996 \u2013 et de la mondialisation. Le mod\u00e8le m\u00e9diatique am\u00e9ricain de l\u2019\u00e8re num\u00e9rique est donc bien diff\u00e9rent de celui de l\u2019\u00e8re hertzienne, et ces changements ne sont pas sans effets sur la fa\u00e7on dont les publics se repr\u00e9sentent le monde, sur l\u2019engagement politique ni sur la participation citoyenne.
\nCet atelier se propose d\u2019explorer les fondements du syst\u00e8me m\u00e9diatique am\u00e9ricain dans le domaine de l\u2019information, ses sp\u00e9cificit\u00e9s, et ses mutations historiques et \u00e9volutions r\u00e9centes. Les communications pourront porter sur les th\u00e8mes suivants :<\/p>\n

– la d\u00e9r\u00e9glementation et ses effets : d\u00e9multiplication de l\u2019offre, lib\u00e9ration de la parole partisane,
\n– les mutations du journalisme : red\u00e9finition de l\u2019objectivit\u00e9, crowd-sourcing
\n– l\u2019info-divertissement,
\n– l\u2019information en continu,
\n– les m\u00e9dias alternatifs et leur relation \u00e0 la citoyennet\u00e9,
\n– le documentaire \u00ab \u00e0 la Michael Moore \u00bb
\n– les nouveaux contrats spectatoriels,
\n– la segmentation de l\u2019offre et ses effets : polarisation des publics, \u00e9mergence de communaut\u00e9s \u00e0 int\u00e9r\u00eats sp\u00e9cifiques (issue publics)<\/p>\n

Ces th\u00e8mes ne sont pas limitatifs, ni exclusifs d\u2019autres propositions de communication. Les propositions n\u2019exc\u00e9deront pas 2 000 signes et devront \u00eatre envoy\u00e9es conjointement \u00e0 S\u00e9bastien Mort<\/a>et Divina Frau-Meigs<\/a> avant le 20 d\u00e9cembre 2013. <\/p>\n

Questioning the US Media Model: Foundations, Changes, Evolutions. <\/em>
\nDivina Frau-Meigs, Universit\u00e9 Paris 3, S\u00e9bastien Mort, Universit\u00e9 de Lorraine.<\/p>\n

As part of its annual conference on \u201cThe USA: Models, Counter-Models, The End of Models?\u201d (May 21st to 24th, 2014), the French Association of American Studies invites participants to a workshop on the US media model entitled \u201cQuestioning the US Media Model: Foundations, Changes, Evolutions.\u201d <\/p>\n

Defined as archetypal of the \u201cLiberal or North-Atlantic\u201d model by David C. Hallin and Paolo Mancini (Comparing Media Systems: Three Models of Media and Politics, 2004), the US media model is based on four distinctive principles: a limited Government intervention in the regulation of technology and content, the predominance of commercial broadcasting\u2014an early development in the history of US media\u2014and an almost inexistent public broadcasting, a high level of professionalization resulting from journalists\u2019 abiding by explicitly stated and ratified norms and codes\u2014chief among which is the \u201cobjectivity norm\u201d\u2014and the very low degree of political parallelism guaranteeing both the status of US media as watchdog and their financial profitability.
\nOver the past decades, the US media model has undergone significant changes resulting altogether from technological evolutions\u2014the advent of cable television from the 1980s and of the Internet at the turn of the 21st century\u2014changes in the legislative framework\u2014the repeal of the Fairness Doctrine in 1987 and the enactment of the Telecommunications Act of 1996\u2014and globalization. The US media model of the digital era does differ from that of the broadcast era, with considerable effects on how publics cultivate their representations of the world, on political engagement, as well as on citizen agency and participation.
\nThis workshop aims to explore the foundations of the US media model, its specificity, the historical changes it underwent, as well as its recent evolutions. It invites papers addressing, but not limited to, the following topics:
\n– Deregulation and its effects: infinite media offer, unrestricted partisan discourse
\n– Changes in journalism: redefinition of objectivity, crowd-sourcing
\n– Infotainment,
\n– 24-hour news
\n– Alternative media and how they relate to citizenship
\n– Michael Moore style documentaries
\n– New forms of spectatorial contracts
\n– Media segmentation and its effects: audience polarization, emergence of issue publics
\nAbstracts not exceeding 3,000 characters should be sent jointly to S\u00e9bastien Mort<\/a> and Divina Frau-Meigs<\/a> by 20 December 2013. <\/p>\n

25. \u00ab Mod\u00e8le de charit\u00e9 chr\u00e9tienne \u00bb ou nation pluraliste ? L\u2019Am\u00e9rique comme (contre) mod\u00e8le religieux – \u201cA Model of Christian Charity\u201d or a Pluralistic Nation? America as a Religious (Counter-) Model<\/h2>\n

Nathalie Caron (Paris Sorbonne) et Sabine Remanofsky (ENS Lyon)<\/p>\n

Parce que l\u2019Am\u00e9rique a \u00e9t\u00e9 imagin\u00e9e d\u00e8s l\u2019origine la fois comme cit\u00e9 protestante exemplaire \u2013 \u00ab la cit\u00e9 sur la colline \u00bb de John Winthrop \u2013 et comme refuge spirituel pour les pers\u00e9cut\u00e9s d\u2019Europe, elle se pose tour \u00e0 tour comme mod\u00e8le de puret\u00e9 r\u00e9form\u00e9e et comme havre de tol\u00e9rance religieuse. Les colonies auraient en effet \u00e9t\u00e9 fond\u00e9es en r\u00e9action contre les mod\u00e8les europ\u00e9ens en mati\u00e8re de religion, que ce soit par des puritains d\u00e9sireux de fonder la cit\u00e9 protestante parfaite, ou bien par des Anglais tels le quaker William Penn, soucieux d\u2019\u00e9tablir dans le nouveau monde une terre d\u2019accueil o\u00f9 r\u00e9gnerait la libert\u00e9 de culte.
\nCette lecture d\u2019une Am\u00e9rique chr\u00e9tienne tol\u00e9rante, terre d\u2019asile religieuse, ainsi que la mise en place d\u2019un cadre constitutionnel favorable au foisonnement des diff\u00e9rentes d\u00e9nominations du protestantisme comme des autres religions, explique que les \u00c9tats-Unis soient fr\u00e9quemment cit\u00e9s comme exemple de pluralisme religieux par des personnalit\u00e9s politiques ou l\u00e9gislateurs europ\u00e9ens. Les \u00c9tats-Unis constituent \u00e9galement un exemple pour avoir \u00e9t\u00e9 l\u2019un des premiers pays occidentaux \u00e0 \u00e9tablir une s\u00e9paration durable entre \u00c9glises et \u00c9tat, en 1791, soit plus de cent ans avant la loi fran\u00e7aise de 1905.
\nMod\u00e8le de pluralisme et de la\u00efcit\u00e9 pr\u00e9coces, les \u00c9tats-Unis sont souvent aussi per\u00e7us comme un contre-mod\u00e8le de s\u00e9cularisation, en raison du fort taux de religiosit\u00e9, ainsi que de l\u2019imbrication du religieux et du politique, telle qu\u2019elle appara\u00eet par exemple lors de moments politiques symboliques forts, comme les serments pr\u00e9sidentiels pr\u00eat\u00e9s sur la Bible, ou bien encore telle qu\u2019elle a pu \u00eatre manifest\u00e9e par la proximit\u00e9 de certaines personnalit\u00e9s politiques avec des pr\u00e9dicateurs \u00e9vang\u00e9liques en vue comme Billy Graham ou Jerry Falwell.
\nLes communications de cet atelier pourront s\u2019int\u00e9resser \u00e0 l\u2019exceptionnalisme am\u00e9ricain en mati\u00e8re de religion ou encore interroger la notion de \u00ab la\u00efcit\u00e9 \u00e0 l’am\u00e9ricaine \u00bb, dans ses fonctions de mod\u00e8le et de contre mod\u00e8le, \u00e0 la fois pour la France mais aussi pour d’autres pays europ\u00e9ens. Les contributions examinant la pr\u00e9gnance culturelle de la religion aux \u00c9tats-Unis et les confusions que le \u00ab retard \u00bb de la s\u00e9cularisation occasionne seront \u00e9galement bienvenues. Dans une perspective historique, enfin, on pourra s\u2019int\u00e9resser tout autant \u00e0 la volont\u00e9 des premiers puritains de fonder la cit\u00e9 religieuse exemplaire qu\u2019aux d\u00e9bats du XIXe si\u00e8cle concernant l’exemplarit\u00e9 du protestantisme am\u00e9ricain par rapport aux catholicisme et protestantisme du vieux continent jug\u00e9s d\u00e9voy\u00e9s ou trop lib\u00e9raux, ou encore au mod\u00e8le religieux incarn\u00e9 par les Etats-Unis pendant la Guerre froide.<\/p>\n

\u201cA Model of Christian Charity\u201d or a Pluralistic Nation? America as a Religious (Counter-) Model<\/em><\/p>\n

Nathalie Caron (Paris Sorbonne) and Sabine Remanofsky (ENS Lyon)<\/p>\n

Because America has been perceived as being both, since its origin, a model Protestant land\u2014John Winthrop\u2019s \u201ccity upon a hill\u201d\u2014and a spiritual refuge for the persecuted of Europe, the country alternatively appears as a model of reformed purity and a haven of religious tolerance. It is indeed commonly assumed that the American colonies were founded in reaction against European religious models, whether be it by Puritans, desirous of founding the perfect Protestant city or by Englishmen such as the Quaker William Penn, who sought to establish a promised land of religious freedom in the New World.
\nAmerica\u2019s image as a religious asylum having fostered the proliferation of the various denominations of Protestantism and the emergence of many other religions, together with a particularly favorable constitutional framework, explains why the United States is often viewed as an example of religious pluralism by European politicians or lawmakers. The United States also constitutes an example of early secularism, since the First Amendment established a durable separation between Church and State as early as 1791, more than a hundred years before France\u2019s 1905 law.
\nA model of pluralism and secularism, the United States is also regarded as a counter-model of secularization, given its high rates of religiosity and also what has been perceived as an excessive intertwining of religion with politics, which transpires during symbolic moments, such as the incumbent president\u2019s oath of office taken on the Bible, or has been evinced by the proximity between politicians and world-famous preachers like Billy Graham or Jerry Falwell.
\nThis panel welcomes papers dealing with American religious exceptionalism and with the specificity of American \u201cla\u00efcit\u00e9\u201d in its function both as a model and a counter-model for France but also for other European countries. Contributions examining the enduring cultural significance of religion in the United States and the confusions American \u201cbackwardness\u201d in terms of secularization engenders will also be welcome. Historically, proposals may address topics as varied as the early Puritans\u2019 plan to establish an exemplary religious city in the New World, the nineteenth-century debates surrounding the exemplarity of American Protestantism as opposed to the Old World\u2019s corrupt or too liberal Protestantism or Catholicism, or the place of the United States as a religious role model during the Cold War.
\nLes propositions sont \u00e0 envoyer avant le 20 d\u00e9cembre 2013 \u00e0 Nathalie Caron<\/a> et Sabine Remanofsky<\/a>. <\/p>\n

26. Super-h\u00e9ros et mod\u00e9lisation(s) – Superheroes and modelization(s)<\/h2>\n

Yann Roblou, Universit\u00e9 de Valenciennes et Cl\u00e9mentine Tholas, UPEC.
\nSuper-h\u00e9ros et mod\u00e9lisation(s)
\nSi une grande partie des productions culturelles sont aujourd\u2019hui per\u00e7ues comme transnationales, il est une composante de la culture populaire du vingti\u00e8me si\u00e8cle qui peut \u00eatre identifi\u00e9e d\u2019embl\u00e9e comme particuli\u00e8rement am\u00e9ricaine : les super-h\u00e9ros. Ils demeurent strictement am\u00e9ricains pendant plusieurs d\u00e9cennies, s\u2019affirmant comme le parangon de l\u2019identit\u00e9 nationale. N\u00e9s dans les Comic Books des ann\u00e9es 1930 (Superman, 1938), popularis\u00e9s par la radio mais surtout par le cin\u00e9ma et la t\u00e9l\u00e9vision \u00e0 partir des ann\u00e9es 1970, les super-h\u00e9ros n\u2019ont rien perdu de leur superbe depuis leur cr\u00e9ation et sont omnipr\u00e9sents sur l\u2019ensemble de la toile m\u00e9diatique internationale. Qui aurait cru que ces costauds en collant aux noms presque simplistes deviendraient des ambassadeurs privil\u00e9gi\u00e9s des id\u00e9aux \u00e9tats-unien \u00e0 travers le monde ?
\nEn effet, les super-h\u00e9ros sur papier, petit \u00e9cran ou grand \u00e9cran ont un super-pouvoir in\u00e9gal\u00e9 : ils sont f\u00e9d\u00e9rateurs, puisqu\u2019ils renvoient \u00e0 des situations et des valeurs \u00e0 la fois particuli\u00e8res et universelles. Le secret de cette force d\u2019adh\u00e9sion tient dans leur capacit\u00e9 \u00e0 suivre les \u00e9volutions de la soci\u00e9t\u00e9 am\u00e9ricaine ainsi que l\u2019histoire et l\u2019actualit\u00e9 internationale, offrant ainsi une certaine vision du familier et du connu. Ils s\u2019inscrivent dans un maintenant en perp\u00e9tuel mutation et remportent de fait la m\u00eame adh\u00e9sion chez les adolescents et des amateurs plus \u00e2g\u00e9s. Ils illustrent de fa\u00e7on d\u00e9tourn\u00e9e ou directe, l\u2019histoire des soci\u00e9t\u00e9s et des \u00e9changes internationaux, de la mont\u00e9e du totalitarisme en Europe \u00e0 la mondialisation, en passant par la guerre froide, la d\u00e9s\u00e9gr\u00e9gation, l\u2019\u00e9galit\u00e9 sexuelle, l\u2019\u00e9clatement de la famille nucl\u00e9aire, l\u2019essor du communautarisme, la mondialisation, entre autres.
\nLe caract\u00e8re prot\u00e9iforme des aventures de super-h\u00e9ros, li\u00e9 \u00e0 l\u2019utilisation de diff\u00e9rents formats montre que le genre semble difficilement \u00e9puisable. Les super-h\u00e9ros et leur univers arrivent m\u00eame \u00e0 inspirer d\u2019autres formes de cr\u00e9ation dites plus nobles, telles que la litt\u00e9rature (Sylvia Plath, Superman and Paula Brown\u2019s New Snowsuit, 1955, Michael Chandon, The Amazing Adventure of Kavalier and Clay, 2000 ou Marco Mancassola, La Vie sexuelle des super-h\u00e9ros, 2011), ou sont utilis\u00e9s pour r\u00e9g\u00e9n\u00e9rer et r\u00e9\u00e9crire des histoires et des ?uvres classiques (on pense aux deux Sherlock Holmes de Guy Ritchie ou tout simplement \u00e0 la mythologie grecque et romaine, voire aux Morality Plays). Les super-h\u00e9ros peuvent d\u00e9sormais appara\u00eetre comme une sorte de prisme f\u00e9cond pour la cr\u00e9ation ou la compr\u00e9hension qui pourrait d\u00e9cloisonner les formes artistiques et r\u00e9duire les distances entre les cultures highbrow et lowbrow, m\u00eame s\u2019ils appartiennent \u00e0 un syst\u00e8me de production extr\u00eamement rentable, bas\u00e9 sur la r\u00e9p\u00e9tition (s\u00e9rialit\u00e9), la multiplication et la consommation (produits d\u00e9riv\u00e9s).
\nForts de cette capacit\u00e9 de transformation pour toujours coller au moment pr\u00e9sent et de cette intertextualit\u00e9, les super-h\u00e9ros semblent ind\u00e9modables, unificateurs et constituent donc, au m\u00eame titre que d\u2019autres cr\u00e9ations culturelles, un instrument efficace du soft-power, certes \u00e9tats-unien mais pas exclusivement. Outils de propagande \u00ab douce \u00bb, ch\u00e8re \u00e0 la diplomatie publique, les super-h\u00e9ros distillent un message discret mais actif aux publics de diff\u00e9rentes \u00e9poques ou de divers lieux. Sous couvert de divertissement et de l\u00e9g\u00e8ret\u00e9, ils peuvent jouer, sans que l\u2019on s\u2019en aper\u00e7oive, leur r\u00f4le d’agents de promotion d\u2019un syst\u00e8me id\u00e9ologique, politique et \u00e9conomique, tout en offrant par moment une double lecture de l\u2019Am\u00e9rique \u00e0 la fois glorifiante et critique. Cette dualit\u00e9 permettrait de promouvoir de fa\u00e7on moins frontale et plus subtile un syst\u00e8me social ou de pens\u00e9e comme mod\u00e8le \u00e0 suivre, sans l\u2019imposer lourdement. Par exemple, la repr\u00e9sentation du corps masculin peut figurer la puissance nationale et la capacit\u00e9 \u00e0 convaincre l\u2019autre de sa sup\u00e9riorit\u00e9, proposant alors un discours sur les \u00e9changes internationaux.
\nAlors que nous sommes en plein dans ce que certains appellent \u00ab l\u2019\u00e8re moderne \u00bb des super-h\u00e9ros, il convient de s\u2019interroger sur l\u2019efficacit\u00e9 de leur syst\u00e8me de repr\u00e9sentation et la constance de leur force de conviction. S’appuyant sur les dimensions sociales, politiques, \u00e9conomiques mais aussi esth\u00e9tiques, litt\u00e9raires ou linguistiques des super-h\u00e9ros sur papier comme \u00e0 l\u2019\u00e9cran, les propositions d\u2019intervention pourront se focaliser sur quelques pistes non-exhaustives de r\u00e9flexion: les super-h\u00e9ros sont-ils purement am\u00e9ricains ou sont-ils une r\u00e9appropriation de mod\u00e8les culturels (europ\u00e9ens) pr\u00e9existants? Le passage de la bande dessin\u00e9e \u00e0 d’autres supports (le cin\u00e9ma, les dessins anim\u00e9s, les jeux vid\u00e9o…) a-t-il entra\u00een\u00e9 une modification des personnages (situations, enjeux, discours…) mod\u00e8les? Comment s’articulent des productions plus critiques ou noires comme Mystery Men (1999), The Incredibles (2004), Superhero Movie (2008), Kick-Ass (2010, 2013), Death of a Superhero (2011), All Superheroes Must Die (2011)… dans leur rapport au mod\u00e8le des superproductions? Quel avenir y a-t-il pour les films de super-h\u00e9ros \u00e0 Hollywood? Aujourd\u2019hui, les super-h\u00e9ros peuvent-ils toujours servir de mod\u00e8le(s) pour de la diffusion de syst\u00e8mes culturels et de valeurs ?
\nLes propositions sont \u00e0 envoyer avant le 20 d\u00e9cembre \u00e0 Yann Roblou<\/a>, Universit\u00e9 de Valenciennes et Cl\u00e9mentine Thola<\/a>, UPEC.<\/p>\n

Superheroes and modelization(s)<\/em>
\nA large portion of today\u2019s cultural productions can be perceived as transnational. Yet one component of the popular culture of the twentieth century may be identified as typically American: the superhero. He has remained a strictly American fixture for several decades, be it only because he epitomized national identity. Born in the comic books of the 1930s (Superman, 1938), he became a popular figure through the radio and essentially through television and the movies from the seventies onwards. Since then, he hasn\u2019t lost any of his attraction as his omnipresence on the worldwide media web testifies. Who would have thought those almost simplistic tough guys in tights could become the heralds of American ideals throughout the world?
\nAs a matter of fact, superheroes on the printed page, the small and the silver screens possess an unequaled power: they federate, since they echo at once particular and universal values. The secret behind this capacity for adhesion stems from their being able to be in sync with the evolutions of the American society as well as the current international affairs and history, thus offering a certain perception of the familiar and the known. They are inscribed in the perpetually evolving here and now and so allow a similar type of adhesion from young and old(er) audiences alike. More or less directly they illustrate the history of societies and international exchanges, from the rise of totalitarianism in Europe to globalization, as well as the Cold War, the Civil Rights movement, sexual equality, the end of the nuclear family, the soaring communitarianism, globalization, among other things.
\nThe protean dimension of the superheroes\u2019 adventures, as it is intimately connected to the recourse to different media, seems unlikely to wane. These characters and the universes they induce are even able to inspire other so-called nobler forms of creation. Literature is one of them as Sylvia Plath\u2019s 1955 Paula Brown\u2019s New Snowsuit, Michael Chandon\u2019s The Amazing Adventure of Kavalier and Clay (2000) or Marco Mancassola\u2019s La Vie sexuelle des super-h\u00e9ros (2011) testify. They may also be used to regenerate or rewrite classical stories or works: Guy Ritchie\u2019s two Sherlock Holmes movies, Greek and Roman mythologies or even Morality Plays come to mind. Super-heroes now seem to appear as a pregnant type of prism which could help create, comprehend and thus help to desegregate art forms as well as bring highbrow and lowbrow cultural phenomena closer, all the while bearing in mind these characters belong to a highly profitable system of production based on repetition (serialization), multiplication and consumption (product placement and by-products).
\nBecause of their capacity to transform to be able to keep up with the times and of the intertextuality they promote, superheroes seem impervious to the changes of fashion while preserving, like other cultural creations, unifying traits which make them powerful tools of the principally (but not uniquely) US soft power. As constituents of the \u201csoft\u201d propaganda that is so dear to foreign policy, superheroes distillate a discreet yet active message to audiences in different times and places. Under the guise of light entertainment, they manage to play the undetectable role of agents promoting a political, economic and ideological system, while proposing a two-fold (both critical and glorifying) observation of America. This duality could allow for a less frontal, less heavy-handed promotion of a social system or way of thinking to be emulated. For instance, the representation of the male body may embody both national power and the means to convince the Other of one\u2019s superiority, thus may formulate a discourse on international relations.
\nAs we are in the midst of what is being called the \u201cmodern age\u201d of superheroes, it is necessary to ponder over the efficiency of that system of representation and the permanence of its force of persuasion. Paper proposals, while drawing from social, political, economic as well as aesthetic, literary or linguistic dimensions, could focus on some of the following (non exhaustive) avenues of reflection: are superheroes purely American and to what extent are they re-appropriations of pre-existing cultural (European) models? Have the original (model) characters, when passing from one medium (comic books) to another (film, cartoons, animated films, video games…), been modified and if so, to what extent (in terms of situations, discourses, values…)? How is it possible to connect darker or more critical productions – such as Mystery Men (1999), The Incredibles (2004), Superhero Movie (2008), Kick-Ass (2010, 2013), Death of a Superhero (2011) \u2013 to the dominant production of blockbusters? What is the future of superhero movies in Hollywood? Can superheroes still serve as models for the diffusion of cultural and value systems nowadays?<\/p>\n

Proposals to be sent to Yann Roblou<\/a>, Universit\u00e9 de Valenciennes et Cl\u00e9mentine Thola<\/a>, UPEC, by December 20. <\/p>\n

27. Les s\u00e9ries t\u00e9l\u00e9vis\u00e9es am\u00e9ricaines : mod\u00e8les, contre-mod\u00e8les, fin des mod\u00e8les – American TV series: Models, Counter-Models, The End of Models?<\/h2>\n

Anne Cr\u00e9mieux, Universit\u00e9 Paris Ouest-Nanterre, Shannon Wells-Lassagne
\nM\u00eame si les Etats-Unis ne sont pas les seuls \u00e0 produire des s\u00e9ries \u00e0 succ\u00e8s (on pense aux telenovelas ou aux japanimations), ils dominent tr\u00e8s largement le march\u00e9 mondial. Or les s\u00e9ries am\u00e9ricaines proposent, comme l\u2019ensemble de la production audio-visuelle am\u00e9ricaine, une repr\u00e9sentation le plus souvent en accord avec les valeurs que l\u2019Am\u00e9rique offre en \u00ab mod\u00e8le \u00bb. Parall\u00e8lement, elles sont devenues par leur succ\u00e8s un mod\u00e8le de production, de construction narrative, de diversit\u00e9 et de long\u00e9vit\u00e9 pour le reste du monde.
\nPour autant, ces mod\u00e8les ne sont pas infaillibles et on notera d\u2019ailleurs que nombre de s\u00e9ries am\u00e9ricaines ne sont pas des productions originales mais s\u2019inspirent au contraire de s\u00e9ries de tous horizons, dont l\u2019importation est difficile et que l\u2019on pr\u00e9f\u00e8re re-produire pour le public am\u00e9ricain, comme Queer as Folk ou The Office, venues de Grande-Bretagne, ou Ugly Betty, inspir\u00e9e de la s\u00e9rie colombienne Yo soy Betty, la fea. Que d\u00e9couvre-t-on \u00e0 l\u2019analyse de ces transfuges ? Quels \u00e9l\u00e9ments du mod\u00e8le doivent \u00eatre modifi\u00e9s pour int\u00e9grer la production nationale ? La nature s\u00e9rielle que pr\u00e9f\u00e8rent de nombreuses s\u00e9ries t\u00e9l\u00e9vis\u00e9es actuelles ne trouve-t-elle pas son mod\u00e8le dans le roman-feuilleton du dix-neuvi\u00e8me si\u00e8cle, dans lequel la BBC a d\u2019ailleurs puis\u00e9 pour cr\u00e9er parmi les mini-s\u00e9ries les plus poignantes de l\u2019histoire de la t\u00e9l\u00e9vision ? Les s\u00e9ries t\u00e9l\u00e9vis\u00e9es am\u00e9ricaines n\u2019ont jamais \u00e9t\u00e9 autant pris\u00e9es du public, des critiques et depuis relativement peu, des universitaires. Or elles ont acquis leurs lettres de noblesse en abordant des th\u00e9matiques qui questionnent la d\u00e9mocratie am\u00e9ricaine, comme dans Oz ou Breaking Bad. Les h\u00e9ros d\u00e9prim\u00e9s de Six Feet Under, The Sopranos ou Deadwood s\u2019opposent par bien des aspects aux valeurs traditionnelles de la soci\u00e9t\u00e9 am\u00e9ricaine. D\u2019autres h\u00e9ros sadiques ou psychopathes (Hannibal, Dexter) explorent les potentiels narratifs de l\u2019anti-h\u00e9ros, tandis que des s\u00e9ries comme Desperate Housewives, Glee ou Weeds transgressent les codes du soap opera pour offrir une satire des banlieues et du \u00ab r\u00eave am\u00e9ricain \u00bb. Autant de \u00ab contre-mod\u00e8les \u00bb qui fascinent les t\u00e9l\u00e9spectateurs. La production des s\u00e9ries les plus prestigieuses par des cha\u00eenes c\u00e2bl\u00e9es que sont HBO ou Showtime mais aussi des r\u00e9seaux internet, comme YouTube, ou des entreprises de vid\u00e9o \u00e0 la demande comme Netflix, lib\u00e8rent les auteurs de contraintes constitutives des mod\u00e8les du pass\u00e9. Ainsi, les limites de la repr\u00e9sentation du sexe et de la violence sont sans cesse repouss\u00e9es (Game of Thrones), les dialogues ne semblent plus censur\u00e9s (The Wire) et les exp\u00e9rimentations formelles sont l\u00e9gion (24 et ses split-screens qui donnent l\u2019illusion du temps r\u00e9el, Damages et sa chronologie fragment\u00e9e). Peut-on alors parler de \u00ab fin des mod\u00e8les \u00bb ou tout du moins, de leur renouvellement infini ?
\nLes propositions de communication sont \u00e0 envoyer \u00e0 Anne Cr\u00e9mieux<\/a> et Shannon Wells-Lassagne<\/a> avant le 20 d\u00e9cembre.<\/p>\n

American TV series: Models, Counter-Models, The End of Models?<\/em>
\nAnne Cr\u00e9mieux, Universit\u00e9 de Nanterre, Shannon Wells-Lassagne<\/p>\n

The United States may not be the only country to produce successful television series (one has only to think of telenovelas or japanimation), but there is no doubt that it has long dominated the world market. However, like all products of the American film industry, television series present a vision of American values offered as a model to the viewer. Likewise, their success has inspired the rest of the world to follow in their footsteps, causing them to become a model in terms of production, narrative construction, diversity and longevity.
\nNonetheless, the American model is far from infallible; in fact, many American series are not original ideas, but adaptations from different sources that studios prefer to reconstruct for an American public. Shows like Queer as Folk or The Office both originally hail from Britain, while Ugly Betty is adapted from the Colombian series Yo soy Betty, la fea. What can we learn from the analysis of these cultural reappropriations? What parts of the model need be modified to assimilate into the country\u2019s cultural framework? Likewise, the seriality that has become the preferred model for many current shows could itself be considered an importation from the nineteenth-century serialized novel, whose adaptations (particularly by the BBC) spawned some of the most poignant miniseries in the history of television.
\nAmerican television series have never been so popular with the public, the critics, and fairly recently, with the academic community. Their success, however, resides in their willingness to take on subjects that challenge the notion of American democracy, \u2014think of Breaking Bad or Oz. The depressed heroes of Six Feet Under, The Sopranos, or Deadwood reject many traditional American values, while the sadists and psychopaths in Hannibal or Dexter take the narrative possibilities of the antihero to a new level. In a less threatening way, series like Weeds, Desperate Housewives or Glee transgress soap codes to satirize suburbia and the American Dream, and create \u201ccounter-models\u201d that clearly fascinate many viewers.
\nThe production model of television is also being transformed, as prestigious shows by premium cable networks like HBO or Showtime, webseries by internet channels like YouTube, or shows created by VOD companies like Netflix free authors from the constraints of past models. Be it the break with the censorship imposed on representations of sex and violence (Game of Thrones) and the use of profanity (The Wire) or the formalist experimentation rampant in contemporary TV (24 and its split-screens that give the impression of experiencing events in real time, or Damages and its broken chronology), small screen fiction seems to have come into its own. As such, does this suggest the death of older models \u2013 or rather, the endless emergence of new ones?
\nAbstracts should be sent to Anne Cr\u00e9mieux<\/a> and Shannon Wells-Lassagne<\/a> by December 20.<\/p>\n

28. Le mod\u00e8le \u00e0 l\u2019\u00e9preuve des genres : du cin\u00e9ma muet au nouvel Hollywood<\/strong>
\nAnne-Marie Paquet-Deyris, Universit\u00e9 Paris Ouest-Nanterre, Gilles Menegaldo, Universit\u00e9 de Poitiers.<\/p>\n

La question des mod\u00e8les et contre-mod\u00e8les se pose \u00e0 l\u2019\u00e9vidence dans la cin\u00e9ma am\u00e9ricain sous diff\u00e9rents aspects. Le syst\u00e8me des studios a longtemps impos\u00e9 des mod\u00e8les structurels, \u00e9conomiques, esth\u00e9tiques, mais aussi id\u00e9ologiques (ce qui n\u2019a pas emp\u00each\u00e9 les divers talents de s\u2019exprimer, parfois en \u00ab contrebande \u00bb comme le rappelle Scorsese) et le cin\u00e9ma ind\u00e9pendant n\u2019a pu d\u00e9velopper de mani\u00e8re significative des contre-mod\u00e8les en termes d\u2019organisation et de production, mais aussi au plan narratif et formel que tardivement, \u00e0 la fin de l\u2019\u00e8re des studios. L\u2019autre question majeure concerne les relations entre les mod\u00e8les dominants du cin\u00e9ma hollywoodien et le cin\u00e9ma europ\u00e9en qui s\u2019en inspire ou les conteste.
\nCet atelier vise \u00e0 explorer un aspect particulier de cette vaste probl\u00e9matique, la question du genre qui traverse l\u2019histoire du cin\u00e9ma hollywoodien. Compte tenu des nombreux travaux consacr\u00e9s r\u00e9cemment aux \u00e9changes et regards crois\u00e9s entre Hollywood et le cin\u00e9ma europ\u00e9en, nous souhaitons nous consacrer plut\u00f4t \u00e0 la question de la gen\u00e8se des genres, \u00e0 la pluralit\u00e9 des histoires des genres et des mod\u00e8les g\u00e9n\u00e9riques, et \u00e0 leurs diverses mutations. Un int\u00e9r\u00eat particulier sera port\u00e9 au cin\u00e9ma muet qui voit tr\u00e8s t\u00f4t l\u2019\u00e9mergence de genres comme le western qui donne tr\u00e8s vite lieu \u00e0 des mod\u00e8les ou encore le film de gangster qui existe tr\u00e8s t\u00f4t dans l\u2019histoire du cin\u00e9ma (avec The Musketeers of Pig Alley (1912) de DW Griffith ou Regeneration (1915) de Raoul Walsh) associant souvent intrigue criminelle et m\u00e9lodrame (selon des mod\u00e8les issus de la litt\u00e9rature et du th\u00e9\u00e2tre). D\u2019autres genres se constituent plus tardivement et d\u2019abord de mani\u00e8re moins mod\u00e9lis\u00e9e. Ainsi le film fantastique (ou film d\u2019horreur) existe de mani\u00e8re sporadique d\u00e8s les ann\u00e9es vingt, souvent issu de sources litt\u00e9raires (Frankenstein, Dr Jekyll et Mr Hyde etc.) et souvent aussi sous influence du cin\u00e9ma expressionniste europ\u00e9en, mais ne se constitue en genre relativement codifi\u00e9 qu\u2019au d\u00e9but des ann\u00e9es trente, avec en particulier, le cycle de films produits par Universal. De m\u00eame la com\u00e9die ne constitue ses principaux mod\u00e8les (com\u00e9die sophistiqu\u00e9e, burlesque, screwball) qu\u2019\u00e0 partir de l\u2019av\u00e8nement du parlant m\u00eame si le mode existe bien plus t\u00f4t. Un genre comme le film noir (m\u00eame si cette \u00e9tiquette g\u00e9n\u00e9rique est parfois contest\u00e9e), ne se constitue que r\u00e9trospectivement sur la base d\u2019un discours th\u00e9orique qui vient d\u2019ailleurs. D\u2019autres mod\u00e8les g\u00e9n\u00e9riques comme le road movie sont reconnus plus tardivement. La transformation des mod\u00e8les g\u00e9n\u00e9riques est aussi tributaire des \u00e9volutions technologiques (li\u00e9es au parlant par exemple) et des id\u00e9ologies, mais elle peut \u00eatre induite par d\u2019autres facteurs, comme par exemple la censure interne (PCA) qui oblige les studios \u00e0 proposer de nouveaux mod\u00e8les sc\u00e9naristiques pour les films de gangster \u00e0 partir de 1934. La question des contre-mod\u00e8les se pose aussi tr\u00e8s t\u00f4t et elle permet de faire \u00e9voluer les genres, afin de d\u00e9passer des mod\u00e8les trop st\u00e9r\u00e9otyp\u00e9s et fig\u00e9s dans la r\u00e9p\u00e9tition (c\u2019est le cas des diff\u00e9rents avatars du western). Une rupture plus radicale en termes de mod\u00e8le g\u00e9n\u00e9rique se produit au d\u00e9but des ann\u00e9es soixante dix (avec le nouvel Hollywood en particulier) en raison du d\u00e9veloppement d\u2019un cin\u00e9ma moins d\u00e9pendant des grands studios, parfois provocateur et subversif. On pourra examiner les diverses mutations g\u00e9n\u00e9riques qui se produisent \u00e0 cette p\u00e9riode m\u00eame si certains mod\u00e8les dominants perdurent.
\nLes propositions doivent \u00eatre adress\u00e9es \u00e0 Anne-Marie Paquet-Deyris<\/a> et Gilles M\u00e9n\u00e9galdo<\/a> avant le 20 d\u00e9cembre . <\/p>\n

29. \u00ab D\u00e9tourner les mod\u00e8les au cin\u00e9ma \u00bb – \u201cOverturning the models on screen\u201d<\/h2>\n

Emmanuelle Delano\u00eb-Brun, Universit\u00e9 Paris Diderot-Paris 7 et Delphine Letort, Universit\u00e9 du Mans.<\/p>\n

Le cin\u00e9ma classique hollywoodien ob\u00e9it \u00e0 des conventions de mise en sc\u00e8ne et a impos\u00e9 des structures narratives dont David Bordwell, Janet Staiger et Kristin Thompson se sont efforc\u00e9s de d\u00e9limiter les contours dans The Classical Hollywood Cinema (1985). Bien que l\u2019industrie des studios ait ?uvr\u00e9 pour le maintien de ces r\u00e8gles filmiques cens\u00e9es pr\u00e9server la production cin\u00e9matographique de la censure, nombreux sont les r\u00e9alisateurs qui ont affirm\u00e9 leur voix d\u2019auteur en d\u00e9tournant ces conventions. Alfred Hitchcock, Howard Hawks, Orson Welles ou encore Billy Wilder entre autres ont ainsi laiss\u00e9 leur empreinte sur les genres qu\u2019ils ont contribu\u00e9 \u00e0 modeler et \u00e0 transformer. \u00c9rig\u00e9s en mod\u00e8le par la th\u00e9orie des auteurs, dont les Cahiers du cin\u00e9ma ont fait l\u2019apologie en en soulignant l\u2019originalit\u00e9, les films de ces r\u00e9alisateurs ont marqu\u00e9 la m\u00e9moire du cin\u00e9ma hollywoodien \u00e0 travers des sc\u00e8nes devenues \u00ab cultes \u00bb, des personnages arch\u00e9typaux (d\u00e9tectives priv\u00e9s, femmes fatales, cow-boys, etc.), ainsi que des stars dont les visages semblent \u00e9ternels\u2026 Tous ont \u00e9t\u00e9 pastich\u00e9s et parodi\u00e9s, d\u00e9montrant \u00e0 la fois l\u2019autorit\u00e9 des ma\u00eetres et le plaisir de \u00ab d\u00e9tourner les mod\u00e8les \u00bb. Entre hommage et influence, l\u2019h\u00e9ritage du cin\u00e9ma hollywoodien est convoqu\u00e9 pour mieux \u00eatre mis \u00e0 distance dans des films r\u00e9flexifs qui interrogent le pouvoir des mythes. De la blaxploitation au n\u00e9o-noir, du remake au n\u00e9o-western, le cin\u00e9ma contemporain ne cesse d\u2019affirmer son ind\u00e9pendance \u00e0 l\u2019\u00e9gard des mod\u00e8les dont il renverse les codes et les st\u00e9r\u00e9otypes, mais dont il ravive aussi la s\u00e9duction troublante. Les r\u00e9\u00e9critures sont autant de tentatives de subversion ou au contraire de r\u00e9activation des mod\u00e8les, entreprise esth\u00e9tique dont les fondements sont \u00e9galement id\u00e9ologiques. Nous invitons les participants de cet atelier \u00e0 explorer cette tension cr\u00e9atrice d\u2019un art cin\u00e9matographique nouveau \u00e0 l\u2019\u00e9cran, tentative de subversion qui est aussi un jeu subtil avec les mod\u00e8les.
\nMerci d’envoyer vos proposition \u00e0 Emmanuelle Delanoe-Brun<\/a> et Delphine Letort<\/a> avant le 20 d\u00e9cembre. <\/p>\n

\u201cOverturning the models on screen\u201d<\/em>
\nEmmanuelle Delanoe-Brun, Delphine Letort<\/p>\n

The narrative conventions and mise-en-sc\u00e8ne strategies employed in Hollywood classical cinema have provided the focus of study in The Classical Hollywood Cinema (David Bordwell, Janet Staiger, Kristin Thompson, 1985). Although the studio industry strove to maintain a set of film rules, which were to protect Hollywood films from censorship, many directors asserted their authorial voice by deviating from these conventions. Alfred Hitchcock, Howard Hawks, Orson Welles, Billy Wilder, among others, left their imprint on the genres they helped shape and transform. These directors\u2019 films were hailed as models to be emulated by the authors\u2019 theory, which the Cahiers du cin\u00e9ma promoted while underlining their originality. They marked the memory of cinema through creating \u201ccult\u201d scenes, archetypal characters (private eyes, femmes fatales, cow-boys, etc.) and stars whose features appear eternal. All of these elements have been pastiched and parodied, both establishing the authority of the masters and testifying to the pleasure of \u201coverturning the models\u201d. The legacy of Hollywood cinema inspires homages and reveals its influence on films that reflexively engage with the power of its mythology. From Blaxploitation and neo-noir to remakes and neo-westerns, contemporary cinema is characterized by its independence from models whose codes and stereotypes filmmakers overturn, simultaneously reviving their troubling seductiveness. Re-writings represent attempts to subvert and to rejuvenate the models, questioning the ideological underpinning of an aesthetic tradition. We invite the participants of this workshop to explore the creative tension between present and past cinema, turning acts of subversion into a subtle play with the models.
\nProposals should be sent to Emmanuelle Delanoe-Brun<\/a> and Delphine Letort<\/a> by December 20.<\/p>\n","protected":false},"excerpt":{"rendered":"

Liste des ateliers pour le Congr\u00e8s 2014 (doc word) Les propositions sont \u00e0 envoyer avant le 20 D\u00e9cembre 2013. 1. R\u00e9cits et\/en\/de po\u00e9sie. – Narratives And\/Of\/In Poetry Vincent Broqua, UPEC et Christophe Lamiot Enos A ne m\u00eame consid\u00e9rer que la p\u00e9riode d\u00e9finie depuis l\u2019av\u00e8nement de la modernit\u00e9 litt\u00e9raire, intervenant vers la fin du XIX\u00e8me si\u00e8cle […]<\/p>\n","protected":false},"author":5,"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":[58],"tags":[],"class_list":["post-529","post","type-post","status-publish","format-standard","hentry","category-congres-2014-paris-les-etats-unis-modeles-contre-modeles-fin-des-modeles"],"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":"J\u00e9r\u00f4me Viala-Gaudefroy","author_link":"https:\/\/afea.fr\/annualconference\/author\/jeromevg\/"},"uagb_comment_info":0,"uagb_excerpt":"Liste des ateliers pour le Congr\u00e8s 2014 (doc word) Les propositions sont \u00e0 envoyer avant le 20 D\u00e9cembre 2013. 1. R\u00e9cits et\/en\/de po\u00e9sie. – Narratives And\/Of\/In Poetry Vincent Broqua, UPEC et Christophe Lamiot Enos A ne m\u00eame consid\u00e9rer que la p\u00e9riode d\u00e9finie depuis l\u2019av\u00e8nement de la modernit\u00e9 litt\u00e9raire, intervenant vers la fin du XIX\u00e8me si\u00e8cle…","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/529"}],"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\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/comments?post=529"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/posts\/529\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/media?parent=529"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/categories?post=529"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/annualconference\/wp-json\/wp\/v2\/tags?post=529"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}