{"id":53,"date":"2021-11-29T13:44:29","date_gmt":"2021-11-29T13:44:29","guid":{"rendered":"https:\/\/afea.fr\/bordeaux2022\/?p=53"},"modified":"2022-05-30T08:01:16","modified_gmt":"2022-05-30T08:01:16","slug":"ateliers-et-appels-a-communications","status":"publish","type":"post","link":"https:\/\/afea.fr\/bordeaux2022\/2021\/11\/29\/ateliers-et-appels-a-communications\/","title":{"rendered":"Ateliers et appels \u00e0 communications"},"content":{"rendered":"\n<div data-wp-interactive=\"core\/file\" class=\"wp-block-file\"><object data-wp-bind--hidden=\"!state.hasPdfPreview\"  class=\"wp-block-file__embed\" data=\"https:\/\/afea.fr\/bordeaux2022\/wp-content\/uploads\/sites\/6\/2021\/11\/53eme-Congres-AFEA-2022-Ateliers-et-appels-a-communications.pdf\" type=\"application\/pdf\" style=\"width:100%;height:600px\" aria-label=\"Contenu embarqu\u00e9 Contenu embarqu\u00e9 53eme Congr\u00e8s de l&#039;AFEA - 2022 - Ateliers et appels \u00e0 communications (PDF)..\"><\/object><a id=\"wp-block-file--media-49d758fc-f01e-4796-b6c4-d1c785d45f4c\" href=\"https:\/\/afea.fr\/bordeaux2022\/wp-content\/uploads\/sites\/6\/2021\/11\/53eme-Congres-AFEA-2022-Ateliers-et-appels-a-communications.pdf\">53eme Congr\u00e8s de l&rsquo;AFEA &#8211; 2022 &#8211; Ateliers et appels \u00e0 communications (PDF)<\/a><a href=\"https:\/\/afea.fr\/bordeaux2022\/wp-content\/uploads\/sites\/6\/2021\/11\/53eme-Congres-AFEA-2022-Ateliers-et-appels-a-communications.pdf\" class=\"wp-block-file__button\" download aria-describedby=\"wp-block-file--media-49d758fc-f01e-4796-b6c4-d1c785d45f4c\">T\u00e9l\u00e9charger<\/a><\/div>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>Le PDF ci-dessus reprend la liste des ateliers, pr\u00e9sent\u00e9e en int\u00e9gralit\u00e9 sur cette page.<\/p>\n\n\n\t\t\t\t<div class=\"wp-block-uagb-table-of-contents uagb-toc__align-left uagb-toc__columns-1  uagb-block-51ad22d5      \"\n\t\t\t\t\tdata-scroll= \"1\"\n\t\t\t\t\tdata-offset= \"30\"\n\t\t\t\t\tstyle=\"\"\n\t\t\t\t>\n\t\t\t\t<div class=\"uagb-toc__wrap\">\n\t\t\t\t\t\t<div class=\"uagb-toc__title\">\n\t\t\t\t\t\t\tTable des mati\u00e8res\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"uagb-toc__list-wrap \">\n\t\t\t\t\t\t<ol class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#atelier-1-dans-lombre-de-maurice-edgar-et-gaston-passeurs-m\u00e9connus-et-canons-litt\u00e9raires-au-xxe-si\u00e8cle\" class=\"uagb-toc-link__trigger\">Atelier 1 Dans l\u2019ombre de Maurice Edgar et Gaston \u2014 Passeurs m\u00e9connus et canon(s) litt\u00e9raire(s) au XXe si\u00e8cle<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-1-in-the-shadow-of-maurice-edgar-and-gaston-forgotten-mediators-and-literary-canons-in-the-20th-century\" class=\"uagb-toc-link__trigger\">Panel #1 In the shadow of Maurice Edgar and Gaston \u2014 Forgotten mediators and literary canon(s) in the 20th century<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-2-ladaptation-au-cin\u00e9ma-et-\u00e0-la-t\u00e9l\u00e9vision-l\u00e9gitimit\u00e9-autorit\u00e9-canon\" class=\"uagb-toc-link__trigger\">Atelier 2 L\u2019adaptation au cin\u00e9ma et \u00e0 la t\u00e9l\u00e9vision : l\u00e9gitimit\u00e9, autorit\u00e9, canon<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-2-film-and-television-adaptation-legitimacy-authority-canonicity\" class=\"uagb-toc-link__trigger\">Panel #2 Film and television adaptation: legitimacy, authority, canonicity<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-3-l\u00e9tat-am\u00e9ricain-avec-et-apr\u00e8s-trump-ill\u00e9gitimit\u00e9-des-institutions-et-pratiques-du-politique\" class=\"uagb-toc-link__trigger\">Atelier 3 L\u2019\u00c9tat am\u00e9ricain avec et apr\u00e8s Trump : (il)l\u00e9gitimit\u00e9 des institutions et pratique(s) du politique<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#r\u00e9f\u00e9rences\" class=\"uagb-toc-link__trigger\">R\u00e9f\u00e9rences<\/a><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-3-the-american-state-with-and-after-trump-illegitimate-institutions-and-political-processes\" class=\"uagb-toc-link__trigger\">Panel #3 The American State with and after Trump: (il)legitimate Institutions and Political Process(es)<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-4-gestes-cartographiques-le-canon-po\u00e9tique-am\u00e9ricain-\u00e0-l\u00e9preuve-de-lespace\" class=\"uagb-toc-link__trigger\">Atelier 4 Gestes cartographiques : le canon po\u00e9tique am\u00e9ricain \u00e0 l\u2019\u00e9preuve de l\u2019espace<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-4-cartographic-gestures-putting-the-american-poetic-canon-to-the-test-of-space\" class=\"uagb-toc-link__trigger\">Panel #4 Cartographic Gestures: Putting the American Poetic Canon to the Test of Space<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-5-confer-mais-pour-quoi-faire-strat\u00e9gies-r\u00e9f\u00e9rentielles-entre-l\u00e9gitimit\u00e9-et-jeu-dautorit\u00e9\" class=\"uagb-toc-link__trigger\">Atelier 5 Confer : mais pour quoi faire ? Strat\u00e9gies r\u00e9f\u00e9rentielles, entre l\u00e9gitimit\u00e9 et jeu d\u2019autorit\u00e9<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-5-when-texts-refer-to-other-texts-playing-with-legitimacy-and-redefining-authority-through-textual-references\" class=\"uagb-toc-link__trigger\">Panel #5 When texts refer to other texts: playing with legitimacy and redefining authority through textual references<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-6-the-world-is-full-of-books-that-narrate-the-deeds-and-utter-the-praises-of-men-\u00e9critures-et-r\u00e9\u00e9critures-canoniques-de-lhistoire-du-long-19e-si\u00e8cle-\u00e9tatsunien-au-prisme-des-figures-\u00e9minentes\" class=\"uagb-toc-link__trigger\">Atelier 6 \u00ab The world is full of books that narrate the deeds and utter the praises of men \u00bb : \u00c9critures et r\u00e9\u00e9critures canoniques de l\u2019histoire du long 19e si\u00e8cle \u00e9tatsunien au prisme des figures \u00ab \u00e9minentes \u00bb<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-6-the-world-is-full-of-books-that-narrate-the-deeds-and-utter-the-praises-of-men-rewriting-the-historical-canon-of-the-long-19th-century-through-the-united-states-eminent-figures\" class=\"uagb-toc-link__trigger\">Panel #6 \u201cThe world is full of books that narrate the deeds and utter the praises of men\u201d: (re)writing the historical canon of the long 19th century through the United States\u2019 \u201ceminent\u201d figures<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-7-not-regular-tv-contestation-et-l\u00e9gitimation-en-s\u00e9ries\" class=\"uagb-toc-link__trigger\">Atelier 7 \u00ab Not \u2018regular\u2019 TV \u00bb : contestation et l\u00e9gitimation en s\u00e9ries<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-7-not-regular-tv-negotiating-the-canon-in-serial-productions\" class=\"uagb-toc-link__trigger\">Panel #7 \u201cNot \u2018regular\u2019 TV\u201d : negotiating the canon in serial productions<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-8-l\u00e9gitimit\u00e9-autorit\u00e9-et-canons-dans-le-domaine-\u00e9cocritique-et-\u00e9copo\u00e9tique\" class=\"uagb-toc-link__trigger\">Atelier 8 L\u00e9gitimit\u00e9, autorit\u00e9 et canons dans le domaine \u00e9cocritique et \u00e9copo\u00e9tique<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-8-legitimacy-authority-and-canons-in-ecocriticism-and-ecopoetics\" class=\"uagb-toc-link__trigger\">Panel #8 Legitimacy, Authority, and Canons in Ecocriticism and Ecopoetics<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-9-ill\u00e9gitime-non-canonique-un-vrai-g\u00e2chis-de-papier-le-r\u00f4le-de-l\u00e9chec-dans-la-culture-de-limprim\u00e9-aux-\u00e9tats-unis\" class=\"uagb-toc-link__trigger\">Atelier 9 Ill\u00e9gitime, non-canonique, un vrai g\u00e2chis de papier : le r\u00f4le de l\u2019\u00e9chec dans la culture de l\u2019imprim\u00e9 aux \u00c9tats-Unis<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#references\" class=\"uagb-toc-link__trigger\">References<\/a><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-9-illegitimate-uncanonical-and-a-total-waste-of-paper-failures-in-us-print-culture\" class=\"uagb-toc-link__trigger\">Panel #9 Illegitimate, uncanonical, and \u201ca total waste of paper\u201d: failures in US print culture<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-10-l\u00e9volution-des-canons-hollywoodiens\" class=\"uagb-toc-link__trigger\">Atelier 10 L\u2019\u00e9volution des canons hollywoodiens<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#suggestions-bibliographiques\" class=\"uagb-toc-link__trigger\">Suggestions bibliographiques<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-10-the-evolution-of-hollywood-canons\" class=\"uagb-toc-link__trigger\">Panel #10 The evolution of Hollywood canons<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-11-l\u00e9gitimit\u00e9s-politiques-en-temps-de-crise\" class=\"uagb-toc-link__trigger\">Atelier 11 L\u00e9gitimit\u00e9(s) politique(s) en temps de crise<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#bibliographie\" class=\"uagb-toc-link__trigger\">Bibliographie<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-11-political-legitimacies-in-time-of-crisis\" class=\"uagb-toc-link__trigger\">Panel #11 Political legitimacies in time of crisis<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-12-can-the-masters-tools-ever-dismantle-the-masters-house-r\u00e9cits-canoniques-r\u00e9cits-alternatifs-et-contre-r\u00e9cits-lgbtq\" class=\"uagb-toc-link__trigger\">Atelier 12 Can the master\u2019s tools ever dismantle the master\u2019s house? R\u00e9cits canoniques, r\u00e9cits alternatifs et contre-r\u00e9cits LGBTQ+.<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-12-can-the-masters-tools-ever-dismantle-the-masters-house-lgbtq-canonical-alternative-and-counter-narratives-in-the-us\" class=\"uagb-toc-link__trigger\">Panel #12 Can the Master\u2019s Tools Ever Dismantle the Master\u2019s House? LGBTQ+ Canonical, Alternative, and Counter-narratives in the US<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-13-la-mort-de-lauteurle-retour-fiction-po\u00e9sie-arts-visuels\" class=\"uagb-toc-link__trigger\">Atelier 13 La mort de l\u2019auteur\u2013le retour (fiction, po\u00e9sie, arts visuels)<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-13-the-death-of-the-authorredux-fiction-poetry-visual-arts\" class=\"uagb-toc-link__trigger\">Panel #13 The death of the author\u2013redux (fiction, poetry, visual arts)<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-14-faire-d\u00e9faire-refaire-le-canon-po\u00e9tique\" class=\"uagb-toc-link__trigger\">Atelier 14 Faire, d\u00e9faire, refaire le canon po\u00e9tique<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-14-making-unmaking-remaking-the-poetic-canon\" class=\"uagb-toc-link__trigger\">Panel #14 Making, Unmaking, Remaking the poetic canon<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-15-crise-de-l\u00e9gitimit\u00e9-des-m\u00e9dias-traditionnels-n\u00e9gocier-lautorit\u00e9\" class=\"uagb-toc-link__trigger\">Atelier 15 Crise de l\u00e9gitimit\u00e9 des m\u00e9dias traditionnels : n\u00e9gocier l\u2019autorit\u00e9<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-15-mainstream-medias-legitimacy-crisis-negotiating-authority\" class=\"uagb-toc-link__trigger\">Panel #15 Mainstream media\u2019s legitimacy crisis: negotiating authority<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-16-anthologies-canons-et-contre-canons\" class=\"uagb-toc-link__trigger\">Atelier 16 Anthologies, canons et contre-canons<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-16-anthologies-canons-and-counter-canons\" class=\"uagb-toc-link__trigger\">Panel #16 Anthologies, canons, and counter canons<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-17-contre-l\u00e9gitimit\u00e9s-modernistes-les-expatri\u00e9s-am\u00e9ricains-et-le-monde-nocturne-de-lentre-deux-guerres-en-france-1919-1939\" class=\"uagb-toc-link__trigger\">Atelier 17 Contre-l\u00e9gitimit\u00e9s modernistes: les expatri\u00e9s am\u00e9ricains et le monde nocturne de l\u2019entre-deux-guerres en France (1919-1939)<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-17-modernist-counter-legitimacies-american-expatriates-and-french-nightlife-between-the-wars-1919-1939\" class=\"uagb-toc-link__trigger\">Panel #17 Modernist counter-legitimacies: American expatriates and French nightlife between the wars (1919-1939)<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-18-canons-transnationaux-en-am\u00e9rique-diasporas-mobilit\u00e9s-et-d\u00e9placements-dans-les-arts\" class=\"uagb-toc-link__trigger\">Atelier 18 Canon(s) transnationaux en Am\u00e9rique : diasporas, mobilit\u00e9s et d\u00e9placements dans les arts<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-18-transnational-canonicity-in-america-diasporas-mobilities-and-placelessness-in-the-arts\" class=\"uagb-toc-link__trigger\">Panel #18 Transnational canonicity in America: diasporas, mobilities, and placelessness in the arts<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-19-les-autobiographies-militantes-et-politiques-strat\u00e9gies-de-l\u00e9gitimation-et-postures-dautorit\u00e9\" class=\"uagb-toc-link__trigger\">Atelier 19 Les autobiographies militantes et politiques : strat\u00e9gies de l\u00e9gitimation et postures d\u2019autorit\u00e9<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#r\u00e9f\u00e9rences\" class=\"uagb-toc-link__trigger\">R\u00e9f\u00e9rences<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-19-activist-and-political-autobiographies-legitimation-strategies-and-postures-of-authority\" class=\"uagb-toc-link__trigger\">Panel #19 Activist and Political Autobiographies: Legitimation Strategies and Postures of Authority<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-20-argentique-canonique-qui-sont-les-photographes\" class=\"uagb-toc-link__trigger\">Atelier 20 Argentique canonique ? Qui sont les photographes ?<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-20-the-photographic-canon-photographers-and-practices-in-perspective\" class=\"uagb-toc-link__trigger\">Panel #20 The photographic canon? Photographers and Practices in Perspective<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-21-les-destin\u00e9es-historiques-comme-fondement-de-la-l\u00e9gitimit\u00e9-le-genre-biographique-dans-la-culture-populaire\" class=\"uagb-toc-link__trigger\">Atelier 21 Les destin\u00e9es historiques comme fondement de la l\u00e9gitimit\u00e9 : le genre biographique dans la culture populaire<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-21-historical-destinies-as-the-foundation-of-legitimacy-the-biographical-genre-in-pop-cultural-studies\" class=\"uagb-toc-link__trigger\">Panel #21 Historical destinies as the foundation of legitimacy: the biographical genre in pop cultural studies<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-22-beating-my-head-against-the-wall-l\u00e9gitimit\u00e9-autorit\u00e9-canons-dans-la-musique-et-la-danse-am\u00e9ricaines-19\u00e8me-21\u00e8me-si\u00e8cles\" class=\"uagb-toc-link__trigger\">Atelier 22 \u00ab Beating My Head Against the Wall \u00bb : L\u00e9gitimit\u00e9, autorit\u00e9, canons dans la musique et la danse am\u00e9ricaines (19\u00e8me-21\u00e8me si\u00e8cles)<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-22beating-my-head-against-the-wall-legitimacy-authority-and-the-canon-in-american-music-and-dance-19th-21st-centuries\" class=\"uagb-toc-link__trigger\">Panel #22\u201cBeating My Head Against the Wall \u201c:Legitimacy, Authority, and the Canon in American Music and Dance (19th-21st Centuries)<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-23-les-nouvellistes-am\u00e9ricains-et-la-nouvelle-comme-institution-culturelle-aux-\u00e9tats-unis\" class=\"uagb-toc-link__trigger\">Atelier 23 Les nouvellistes am\u00e9ricains et la nouvelle comme institution culturelle aux \u00c9tats-Unis<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-23-american-short-story-writers-and-the-american-short-story-as-cultural-institution\" class=\"uagb-toc-link__trigger\">Panel #23 American short story writers and the American short story as cultural institution<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#works-cited\" class=\"uagb-toc-link__trigger\">Works cited<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#atelier-24-f\u00e9miniser-le-western-au-21st-si\u00e8cle-l\u00e9gitimer-le-discours-f\u00e9minin-et-d\u00e9fier-lautorit\u00e9-masculine\" class=\"uagb-toc-link__trigger\">Atelier 24 F\u00e9miniser le Western au 21st si\u00e8cle : L\u00e9gitimer le discours f\u00e9minin et d\u00e9fier l\u2019autorit\u00e9 masculine<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#r\u00e9f\u00e9rences\" class=\"uagb-toc-link__trigger\">R\u00e9f\u00e9rences<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-24-feminizing-the-western-in-the-21st-century-legitimizing-female-discourse-and-challenging-male-authority\" class=\"uagb-toc-link__trigger\">Panel #24 Feminizing the Western in the 21st Century : Legitimizing Female Discourse and Challenging Male Authority<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-25-alliances-et-alli\u00e9es-du-socialisme-dynamiques-de-l\u00e9gitimation-des-socialismes-\u00e9tats-uniens\" class=\"uagb-toc-link__trigger\">Atelier 25 Alliances et alli\u00e9\u00b7es du socialisme : dynamiques de l\u00e9gitimation des socialismes \u00e9tats-uniens<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-25-alliances-and-allies-of-socialism-legitimization-dynamics-of-american-socialisms\" class=\"uagb-toc-link__trigger\">Panel #25 \u201cAlliances and allies of socialism: legitimization dynamics of American socialisms\u201d<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-26-lhistoire-orale-et-les-enjeux-de-la-l\u00e9gitimit\u00e9-historique\" class=\"uagb-toc-link__trigger\">Atelier 26 L\u2019histoire orale et les enjeux de la l\u00e9gitimit\u00e9 historique<\/a><ul class=\"uagb-toc__list\"><li class=\"uagb-toc__list\"><a href=\"#bibliographie\" class=\"uagb-toc-link__trigger\">Bibliographie<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/li><li class=\"uagb-toc__list\"><a href=\"#panel-26-oral-history-and-historical-legitimacy\" class=\"uagb-toc-link__trigger\">Panel #26 Oral history and historical legitimacy<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-27-des-canons-n\u00e9gatifs-mauvaises-anthologies-de-po\u00e9sie-et-anthologies-de-mauvaise-po\u00e9sie\" class=\"uagb-toc-link__trigger\">Atelier 27 Des canons n\u00e9gatifs : \u201cmauvaises\u201d anthologies de po\u00e9sie et anthologies de \u201cmauvaise\u201d po\u00e9sie<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-27-negative-canons-bad-anthologies-of-poetry-anthologies-of-bad-poetry\" class=\"uagb-toc-link__trigger\">Panel #27 Negative canons: \u201cbad\u201d anthologies of poetry, anthologies of \u201cbad\u201d poetry.<\/a><li class=\"uagb-toc__list\"><a href=\"#atelier-28-le-nouveau-canon-de-la-politique-\u00e9trang\u00e8re-am\u00e9ricaine-quelle-l\u00e9gitimit\u00e9\" class=\"uagb-toc-link__trigger\">Atelier 28 Le nouveau canon de la politique \u00e9trang\u00e8re am\u00e9ricaine : quelle l\u00e9gitimit\u00e9 ?<\/a><li class=\"uagb-toc__list\"><a href=\"#panel-28-what-is-the-legitimacy-of-the-new-canon-of-us-foreign-policy\" class=\"uagb-toc-link__trigger\">Panel #28 What is the legitimacy of the new canon of US foreign policy?<\/a><\/ul><\/ul><\/ul><\/ul><\/ul><\/ul><\/ul><\/ul><\/ol>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><strong>L\u00e9gitimit\u00e9, Autorit\u00e9, Canons \/ Legitimacy, Authority, Canons<\/strong><\/p>\n\n\n\n<p><strong>APPELS A COMMUNICATIONS\/ CALLS FOR PAPERS<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 1 Dans l\u2019ombre de Maurice Edgar et Gaston \u2014 Passeurs m\u00e9connus et canon(s) litt\u00e9raire(s) au XXe si\u00e8cle<\/h3>\n\n\n\n<p><em>C\u00e9cile Cottenet (Aix-Marseille Universit\u00e9) et Peggy Pacini (CY Cergy Paris Universit\u00e9)<\/em><\/p>\n\n\n\n<p>La relation \u00ab sp\u00e9ciale \u00bb entre la France et la litt\u00e9rature des \u00c9tats-Unis illustr\u00e9e encore r\u00e9cemment par le magazine <em>America<\/em>, est depuis longtemps av\u00e9r\u00e9e. En d\u00e9fendant, dans <em>La R\u00e9publique mondiale des Lettres<\/em> (1999), l\u2019id\u00e9e que Paris fut un m\u00e9ridien de Greenwich de la litt\u00e9rature mondiale, Pascale Casanova mettait en avant l\u2019importance de \u00ab grands interm\u00e9diaires transnationaux (\u2026), grands cosmopolites souvent polyglottes, (\u2026) [qui] sont en effet des sortes d\u2019agents de change, des \u2018cambistes\u2019 charg\u00e9s d\u2019exporter d\u2019un espace \u00e0 l\u2019autre des textes dont ils fixent, par l\u00e0 m\u00eame, la valeur litt\u00e9raire \u00bb (37). De fait, le processus de canonisation ainsi d\u00e9crit en termes \u00e9conomiques auquel participent ces \u00ab cambistes \u00bb ne saurait \u00eatre dissoci\u00e9 du champ litt\u00e9raire et \u00e9ditorial fran\u00e7ais dans lequel interagissent \u2018cambistes\u2019 et interm\u00e9diaires professionnels de l\u2019\u00e9dition dont beaucoup restent m\u00e9connus.<\/p>\n\n\n\n<p>L\u2019exemple le plus c\u00e9l\u00e8bre \u2013 et mythique \u2013 du r\u00f4le de l\u2019espace litt\u00e9raire et \u00e9ditorial fran\u00e7ais dans la canonisation de la litt\u00e9rature \u00e9tats-unienne est certainement celui de William Faulkner, consacr\u00e9 d\u00e8s les ann\u00e9es 1930 \u00e0 Paris, mais seulement \u00e0 partir du milieu des ann\u00e9es 1940 outre-<\/p>\n\n\n\n<p>Atlantique. L\u2019histoire litt\u00e9raire, et les archives d\u2019\u00e9diteurs, montrent ce que cette canonisation doit \u00e0 l\u2019articulation du travail du traducteur (Maurice Edgar Coindreau), de l\u2019\u00e9diteur (Gallimard), des \u00ab prescripteurs \u00bb (Val\u00e9ry Larbaud et Andr\u00e9 Malraux, par le biais de leurs pr\u00e9faces respectives \u00e0 <em>Sanctuaire<\/em> [1934] et <em>Tandis que j\u2019agonise<\/em> [1933]), mais aussi des critiques, Sartre au premier plan, qui hissa Faulkner au panth\u00e9on de g\u00e9nies du roman comprenant Dosto\u00efevski, Kafka, Stendhal, et Dos Passos. Dans l\u2019ombre, cependant, d\u2019autres \u00ab passeurs \u00bb \u0153uvr\u00e8rent au transfert et \u00e0 la cons\u00e9cration de Faulkner, et de bien d\u2019autres auteurs \u00e9tats-uniens : on pense, dans ce sillage, \u00e0 Michel Mohrt, au service de traductions chez Gallimard en 1957, \u00e0 Jean Paulhan, l\u2019un des premiers interlocuteurs de Coindreau \u00e0 la <em>NRF<\/em> d\u00e8s le d\u00e9but des ann\u00e9es 1930, ou encore \u00e0 l\u2019agence litt\u00e9raire William A. Bradley.<\/p>\n\n\n\n<p>Interrogeant les dimensions historique et \u00e9conomique de la litt\u00e9rature, cet atelier vise \u00e0 identifier ces m\u00e9diateurs \u00e9ditoriaux m\u00e9connus, fran\u00e7ais ou \u00e9trangers install\u00e9s en France, \u00e0 \u00e9clairer et \u00e0 analyser au long du XXe si\u00e8cle leur r\u00f4le effectif dans la cons\u00e9cration fran\u00e7aise et parfois ult\u00e9rieurement outre-Atlantique, de la litt\u00e9rature des \u00c9tats-Unis ; \u00e0 mettre au jour les interactions, harmonieuses ou conflictuelles, les r\u00e9seaux tiss\u00e9s par ces interm\u00e9diaires au sein des champs \u00e9ditoriaux fran\u00e7ais et \u00e9tats-unien. On notera que tous ne furent pas des d\u00e9couvreurs, et l\u2019on peut imaginer que dans bien des cas, la canonisation de certaines \u0153uvres outreAtlantique avait pr\u00e9c\u00e9d\u00e9, et de fait, entra\u00een\u00e9, leur passage en France.<\/p>\n\n\n\n<p>Une attention particuli\u00e8re, mais non exclusive, sera port\u00e9e aux \u00e9diteurs, directeurs \u00e9ditoriaux, critiques, directeurs de collection mais \u00e9galement de revues, et agents litt\u00e9raires. L\u2019atelier cherchera, dans la mesure du possible, \u00e0 pr\u00e9senter un ensemble de cas diversifi\u00e9s, tant au plan du genre (<em>gender<\/em>) des auteurs et des interm\u00e9diaires, qu\u2019\u00e0 celui de leur identit\u00e9 \u00ab ethnoraciale \u00bb, et \u00e0 celui du genre litt\u00e9raire. Sera \u00e9galement encourag\u00e9 le d\u00e9centrement vers des p\u00f4les \u00e9ditoriaux ext\u00e9rieurs \u00e0 Paris.<\/p>\n\n\n\n<p>Les propositions de communications (abstract de 300 \u00e0 400 mots + br\u00e8ve biobibliographie) sont \u00e0 envoyer \u00e0 C\u00e9cile Cottenet, Aix-Marseille Universit\u00e9 (<a href=\"mailto:cecile.cottenet@univ-amu.fr\">cecile.cottenet@univ-amu.fr<\/a>) et Peggy Pacini, CU Cergy Paris Universit\u00e9 (<a href=\"mailto:peggy.pacini@cyu.fr\">peggy.pacini@cyu.fr<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #1 In the shadow of Maurice Edgar and Gaston \u2014 Forgotten mediators and literary canon(s) in the 20<sup>th<\/sup> century<\/h3>\n\n\n\n<p>As illustrated even recently by the French magazine <em>America<\/em>, the \u00ab special \u00bb relation between France and US literature is long-standing. In the <em>World Republic of Letters<\/em> (2004 for the English translation), Pascale Casanova developed the idea of Paris as a \u201cGreenwich meridian\u201d of world literature while emphasizing the importance of \u201c[t]he great, often polyglot, cosmopolitan figures of the world of letters [who] act in effect as foreign exchange brokers, responsible for exporting from one territory to another texts whose literary value they determine by virtue of this very activity\u201d (21). Described in such economic terms, the process of canonization in which these \u201cexchange brokers\u201d participate cannot be disconnected from the French literary and publishing fields where \u2018brokers\u2019 and professional publishing intermediaries interact. And yet, many of these intermediaries remain in the shadows.<\/p>\n\n\n\n<p>The case of William Faulkner, first acclaimed in Paris in the 1930s, before achieving fame in his home country a decade later, is perhaps the most famous \u2013 and mythical \u2013 example of the role the French literary and publishing fields played in canonizing US literature. Literary history, and publishers\u2019 archives, reveal that this was the result of the combined work of his translator (Maurice Edgar Coindreau), his publisher (Gallimard), literary prescribers (Val\u00e9ry Larbaud and Andr\u00e9 Malraux, who respectively authored the French prefaces to <em>Sanctuary<\/em> [1934] and <em>As I Lay Dying<\/em> [1933]); and eventually of critics, including Sartre who anointed Faulkner a genius, alongside novelists Dostoevsky, Kafka, Stendhal, and Dos Passos. Not as well known in this capacity, other \u201cpasseurs\/ mediators\u201d also worked at importing and canonizing Faulkner and countless other US authors\u2014Michel Mohrt, for Gallimard\u2019s Foreign Rights department, Jean Paulhan, one of Coindreau\u2019s first contacts at the <em>NRF<\/em> in the early 1930s, or literary agent William A. Bradley, to name but a few.<\/p>\n\n\n\n<p>Viewing literature in the 20<sup>th<\/sup> century from historical and economic perspectives, this panel will seek to identify within the publishing world some of these forgotten French or expatriate mediators, their role in the canonizing of US literature in France, and possibly later in the United States, their interaction with one another, their influence on and role in local and transatlantic networks both in the French and US publishing fields. Inarguably, all did not \u201cdiscover\u201d authors, and in many cases, US canonization had in fact preceded, and led to, their importation to France.<\/p>\n\n\n\n<p>While a particular focus will be placed on publishers, editors (book, series, or review editors), critics, and literary agents, other professions will also be considered. The organizers wish to bring together a diversified array of case studies, both in terms of the ethnicity and gender of authors and mediators, and of literary genre. Speakers are also encouraged to explore French print culture outside of Paris.<\/p>\n\n\n\n<p>Proposals (abstract of 300 to 400 words + short bio-bibliography) are to be sent to C\u00e9cile Cottenet (<a href=\"mailto:cecile.cottenet@univ-amu.fr\">cecile.cottenet@univ-amu.fr<\/a> ) and Peggy Pacini (<a href=\"mailto:peggy.pacini@cyu.fr\">peggy.pacini@cyu.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022. <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 2 L\u2019adaptation au cin\u00e9ma et \u00e0 la t\u00e9l\u00e9vision : l\u00e9gitimit\u00e9, autorit\u00e9, canon<\/h3>\n\n\n\n<p><em>Shannon Wells-Lassagne et Candice Lemaire (Universit\u00e9 de Bourgogne)<\/em><\/p>\n\n\n\n<p>La pr\u00e9occupation constante que portent le cin\u00e9ma et la t\u00e9l\u00e9vision aux questions de l\u00e9gitimit\u00e9 fait \u00e9cho \u00e0 leur pratique de l\u2019adaptation. Aux pr\u00e9mices de ces deux formes d\u2019art, l\u2019adaptation se pensait comme une mani\u00e8re de l\u00e9gitimer la capacit\u00e9 d\u2019un film \u00e0 retranscrire les r\u00e9cits les plus iconiques \u00e0 l\u2019\u00e9cran, tandis que la t\u00e9l\u00e9vision am\u00e9ricaine recouvrait des b\u00e9n\u00e9fices plus financiers li\u00e9s \u00e0 l\u2019adaptation\u2014pr\u00e9textant le passage \u00e0 l\u2019\u00e9cran d\u2019\u00e9missions radio c\u00e9l\u00e8bres (<em>Gunsmoke, I Love Lucy, The Goldbergs<\/em>) pour encourager l\u2019achat de t\u00e9l\u00e9viseurs, finan\u00e7ant ainsi la transition des grandes chaines (CBS, ABC, NBC) d\u2019un support \u00e0 l\u2019autre. En \u00e9tablissant cette distinction entre talent artistique et b\u00e9n\u00e9fices commerciaux, c\u2019est l\u2019affrontement entre l\u2019argent et l\u2019art que ces deux media m\u00e9taphorisent et que les trois concepts connexes de l\u00e9gitimit\u00e9, autorit\u00e9 et canon ont en partage. La l\u00e9gitimit\u00e9 s\u2019obtient soit par la canonisation de certains r\u00e9alisateurs en <em>auteurs<\/em>, inscrivant leur \u0153uvre dans le canon filmique, soit par le succ\u00e8s de la vente de places, d\u2019abonnements ou d\u2019encarts publicitaires : un paradoxe r\u00e9cemment repris par Martin Scorsese dans sa d\u00e9nonciation de l\u2019impact des productions Marvel sur le paysage filmique.<\/p>\n\n\n\n<p>L\u2019adaptation, quant \u00e0 elle, n\u2019a que rarement atteint le m\u00eame niveau de l\u00e9gitimit\u00e9 que son texte source, se trouvant trop souvent rel\u00e9gu\u00e9e \u00e0 un r\u00f4le subalterne, sauf dans le cas o\u00f9 la source nous est inconnue (<em>Die Hard, Mars Attacks<\/em>!), o\u00f9 la notori\u00e9t\u00e9 du r\u00e9alisateur finit par gommer cette question de l\u2019origine (<em>Rebecca<\/em>, et la plupart des films de Hitchcock), voire les deux (<em>Casablanca<\/em>, <em>It\u2019s a Wonderful Life<\/em>, <em>2001 : A Space Odyssey). <\/em>Dans sa qu\u00eate de l\u00e9gitimit\u00e9, \u00e0 la fois en tant que discipline et champ d\u2019\u00e9tude, l\u2019adaptation s\u2019est toujours affront\u00e9e aux questions d\u2019autorit\u00e9 et de canon : quel r\u00f4le joue l\u2019auteur d\u2019un texte source dans une adaptation ? Quel \u00e9gard doit-on \u00e0 un texte canonique que l\u2019on transpose ?<\/p>\n\n\n\n<p>Le th\u00e8me choisi pour le pr\u00e9sent congr\u00e8s semble donc particuli\u00e8rement pertinent pour r\u00e9fl\u00e9chir \u00e0 l\u2019adaptation audiovisuelle. Les communications pourront porter sur les axes suivants sans pour autant s\u2019y restreindre (une telle liste n\u2019est bien entendu pas exhaustive) :<\/p>\n\n\n\n<p>&#8211; L\u2019affirmation ou la remise en question du caract\u00e8re et de l\u2019interpr\u00e9tation canoniques d\u2019un texte source. A ce titre, <em>Fargo <\/em>et son adaptation t\u00e9l\u00e9visuelle, ou encore l\u2019adaptation filmique et t\u00e9l\u00e9visuelle des<em> Watchmen <\/em>en sont de bons exemples. On peut \u00e9galement songer aux nombreuses r\u00e9interpr\u00e9tations filmiques et t\u00e9l\u00e9visuelles d\u2019auteurs canoniques tels que Jane Austen ou William Shakespeare : <em>Pride and Prejudice and Zombies<\/em>, <em>Upstart Crow\u2026.<\/em><\/p>\n\n\n\n<p>&#8211; La question de la l\u00e9gitimit\u00e9 des sources des \u0153uvres adapt\u00e9es, ou le support choisi pour cette adaptation. On pourra ainsi s\u2019interroger sur les web-s\u00e9ries adapt\u00e9es de textes reconnus comme <em>Carmilla <\/em>de Joseph Sheridan Le Fanu, aux jeux vid\u00e9o et leur rapport \u00e0 l\u2019adaptation et \u00e0 leur source (<em>The Witcher<\/em>), ou enfin au lien entre le produit d\u00e9riv\u00e9 et la narration transm\u00e9dia.<\/p>\n\n\n\n<p>&#8211; L\u2019influence de l\u2019auctorialit\u00e9 sur l\u2019adaptation filmique et t\u00e9l\u00e9visuelle, ou les relations conflictuelles entre un auteur et son adaptation. J.K. Rowling ou encore Andrew Lloyd Webber constituent de r\u00e9cents exemples d\u2019auteurs d\u00e9savouant (ou d\u00e9savou\u00e9s par) leur cr\u00e9ation et leur \u00e9quipe de cr\u00e9ation initiale.<\/p>\n\n\n\n<p>Seront accept\u00e9es les communications en anglais ou en fran\u00e7ais, d\u2019une dur\u00e9e de 20 minutes. Les propositions de communications seront \u00e0 envoyer avant le 17 janvier 2022. Elles devront inclure le titre de la communication ainsi qu\u2019un r\u00e9sum\u00e9 (environ 200 mots, en anglais ou en fran\u00e7ais, sous forme d\u2019un document Word enregistr\u00e9 sur le mod\u00e8le \u00ab AFEA2022 + votre nom \u00bb), une br\u00e8ve notice biobibliographique, votre affiliation universitaire et vos coordonn\u00e9es.<\/p>\n\n\n\n<p>Les propositions devront \u00eatre envoy\u00e9es aux deux adresses suivantes : shannon.wellslassagne@u-bourgogne.fr et candice.lemaire@u-bourgogne.fr.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #2 Film and television adaptation: legitimacy, authority, canonicity<\/h3>\n\n\n\n<p>Film and television\u2019s long-held concerns with questions of legitimacy are intrinsically linked to their practice of adaptation: in their infancy as art forms, adaptation was a way to prove film\u2019s ability to portray the most iconic stories on screen, while arguably American television made obvious the more financial benefits associated with adaptation, using the screen transposition of well-known radio shows (<em>Gunsmoke<\/em>, <em>I Love Lucy<\/em>, <em>Dragnet<\/em>, <em>The Goldbergs<\/em>) to lure people into buying a television to finance the national networks\u2019 (CBS, ABC, NBC) move from one medium to the other. In this foregrounding of aesthetic artistry and commercial benefits, the two media ultimately represent the struggle of money versus art shared by these three overlapping disciplines. Legitimacy can be found in the canonization of certain directors as <em>auteurs<\/em>, enshrining their work in the canon of film history \u2013 or it can be found in the financial manna of ticket, ad, or subscription sales, a paradox recently highlighted by Martin Scorsese\u2019s comments on Marvel films and their effect on filmmaking as a whole.<\/p>\n\n\n\n<p>Adaptation, for its part, has rarely acquired the legitimacy of its source text, all too often relegated to a secondary position in relation to its predecessor, unless the source is either unknown (<em>Die Hard<\/em>, <em>Mars Attacks!<\/em>), the filmmaker\u2019s renown sufficient to make its origins irrelevant (<em>Rebecca<\/em>, or indeed most Hitchcock films) \u2013 or both (<em>Casablanca<\/em>, <em>It\u2019s a Wonderful Life<\/em>, <em>2001: A Space Odyssey<\/em>).In its own attempts to acquire legitimacy, both for the discipline and the works it studies, adaptation has always foregrounded issues of authority and canonicity: what role does the author of a source text play in an adaptation? What deference should be shown to a canonical text adapted to a new medium?<\/p>\n\n\n\n<p>As such, this year\u2019s theme seems particularly suited to a study of audiovisual adaptation. We welcome papers that focus on (but are not limited to) the following themes:<\/p>\n\n\n\n<p>&#8211; Case studies foregrounding or challenging the canonicity or a canonical interpretation of their source texts (<em>Fargo <\/em>and its television adaptation, the film and television adaptations of<em> Watchmen<\/em>, the many reinterpretations of canonical authors like Jane Austen or William Shakespeare for film and television: <em>Pride and Prejudice and<\/em> <em>Zombies<\/em>, <em>Upstart Crow\u2026<\/em>)<\/p>\n\n\n\n<p>&#8211; Case studies arguing the legitimacy of their sources or their medium through adaptation (webseries of well-known texts like Le Fanu\u2019s <em>Carmilla<\/em>; videogame narratives and their relationship to source or adaptation (<em>The Witcher<\/em>), the relationship between the \u201ctie-in\u201d product and transmedia storytelling)<\/p>\n\n\n\n<p>&#8211; Case studies studying the impact of auteur theory on film and television adaptation, or contentious relationships between an author and its adaptation (J.K. Rowling or Andrew Lloyd Webber are recent examples of authors disavowing or disavowed by their creation and its associated creative team).<\/p>\n\n\n\n<p>This list of topics is of course not exhaustive.<\/p>\n\n\n\n<p>Papers can be written in English or French and should not exceed 20 minutes. The deadline for paper proposals is January 17<sup>th<\/sup>, 2022. Proposals should include the paper title, as well as a 200word abstract (in English or French &#8211; in the form of a Word document saved as \u201cAFEA2022 + your name\u201d), a short biographical note (one page-long maximum), your academic affiliation and your contact information.<\/p>\n\n\n\n<p>Proposals must be sent to the following two email addresses: shannon.wells-lassagne@ubourgogne.fr and candice.lemaire@u-bourgogne.fr .<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 3 L\u2019\u00c9tat am\u00e9ricain avec et apr\u00e8s Trump : (il)l\u00e9gitimit\u00e9 des institutions et pratique(s) du politique<\/h3>\n\n\n\n<p><em>Aurore Portet (Sciences Po Lyon) et Maxime Chervaux (Institut Fran\u00e7ais de G\u00e9opolitique \u2013 Universit\u00e9 Paris 8)<\/em><\/p>\n\n\n\n<p>Malgr\u00e9 des appels \u00e0 \u00ab ass\u00e9cher le marais \u00bb et \u00e0 lutter contre \u00ab l\u2019\u00c9tat profond \u00bb, Donald Trump n\u2019a que partiellement cherch\u00e9 \u00e0 d\u00e9construire l\u2019\u00c9tat administratif am\u00e9ricain. On peut, au contraire, affirmer qu\u2019il a \u00ab embrass\u00e9 les leviers de la discr\u00e9tion et du pouvoir pr\u00e9sidentiels inh\u00e9rents \u00e0 la fonction ex\u00e9cutive moderne \u00bb (Sidney M. Milkis &amp; Nicholas Jacobs, 2017) et m\u00eame travaill\u00e9 \u00e0 asseoir davantage l\u2019autorit\u00e9 et la l\u00e9gitimit\u00e9 de l\u2019ex\u00e9cutif sur les autres branches du gouvernement f\u00e9d\u00e9ral (Skowronek et al., 2021). Les soubresauts de la jeune administration Biden montrent \u00e9galement que son successeur est d\u00e9pendant de ses choix r\u00e9glementaires (accords de Doha sur les modalit\u00e9s du retrait d\u2019Afghanistan, Titre 42 du Code des \u00c9tats-Unis sur l\u2019expulsion des migrants ill\u00e9gaux) et humains (nominations politiques titularis\u00e9es, d\u00e9partements ex\u00e9cutifs durablement sous-staff\u00e9s (Adam Edelman, 2021 ; Badger et al., 2021)). Sur certains sujets autrefois pol\u00e9miques, Biden s\u2019inscrit d\u2019ailleurs essentiellement dans la continuit\u00e9 de Donald Trump (<em>Space Force<\/em>, guerre commerciale avec la Chine). Dans ce contexte, ce panel souhaite accueillir les contributions qui chercheraient \u00e0 mettre en lumi\u00e8re le bilan administratif et r\u00e9glementaire de l\u2019administration Trump et des premiers mois de Joe Biden ainsi que la d\u00e9pendance de la Maison blanche \u00e0 un \u00e9ventuel \u00ab sentier \u00bb trumpien (Pierson, 2004).<\/p>\n\n\n\n<p>Donald Trump est le vecteur d\u2019une synth\u00e8se de courants anti\u00e9tatiques, de mouvements et sentiments extra-partisans, et de divers acteurs vou\u00e9s \u00e0 profond\u00e9ment reprendre en main la p\u00e9n\u00e9tration de l\u2019\u00c9tat administratif dans la soci\u00e9t\u00e9 am\u00e9ricaine. Cette reprise en main s\u2019est accompagn\u00e9e d\u2019attaques contre la d\u00e9mocratie repr\u00e9sentative (droit de vote, modalit\u00e9 de l\u2019\u00e9lection, reconnaissance et certification des r\u00e9sultats) qui ont transform\u00e9 un d\u00e9bat sur la l\u00e9gitimit\u00e9 et l\u2019efficacit\u00e9 du personnel politique en une critique profonde des institutions. En cons\u00e9quence, tout d\u00e9bat politique dans un environnement politique si divis\u00e9, \u00e0 droite comme \u00e0 gauche, m\u00e8ne \u00e0 un conflit autour de l\u2019autorit\u00e9 et de la l\u00e9gitimit\u00e9 de l\u2019Etat qui se trouve \u00ab souvent divorc\u00e9 de la r\u00e9alit\u00e9 factuelle \u00bb (Lizza et al., 2021). Ce panel est ainsi ouvert \u00e0 l\u2019analyse de ces nouveaux discours politiques et des m\u00e9thodes d\u2019action et de l\u00e9gitimation qu\u2019ils d\u00e9ploient. Comment interpr\u00e9ter et analyser le mouvement <em>Stop the Steal <\/em>? Et les audits infructueux mais r\u00e9p\u00e9t\u00e9s des r\u00e9sultats de la derni\u00e8re pr\u00e9sidentielle ? Quelles sont les facettes de cette crise g\u00e9n\u00e9rale de l\u2019autorit\u00e9 au sein du gouvernement am\u00e9ricain ?<\/p>\n\n\n\n<p>Naturellement, cette conflictualit\u00e9 ne doit pas masquer la diversit\u00e9 d\u2019exp\u00e9rimentations politiques qui ont pr\u00e9c\u00e9d\u00e9es, accompagn\u00e9es et succ\u00e9d\u00e9es \u00e0 la pr\u00e9sidence Trump et qui peuvent lui faire \u00e9cho de pr\u00e8s ou de loin. On peut ainsi penser aux changements \u00e9lectoraux de la derni\u00e8re d\u00e9cennie (l\u2019<em>instant runoff<\/em> r\u00e9cemment adopt\u00e9 \u00e0 New York et en Alaska) ou aux commissions de red\u00e9coupage des cartes \u00e9lectorales. En quelques mots, ce panel souhaite v\u00e9ritablement \u00ab analyser le d\u00e9veloppement politique am\u00e9ricain au fur et \u00e0 mesure qu\u2019il a lieu \u00bb (Theda Skocpol, 2016) et notamment l\u2019ampleur de la r\u00e9silience du syst\u00e8me constitutionnel (Skowronek &amp; Orren, 2020) et administratif am\u00e9ricain, ainsi que des r\u00e9seaux et syst\u00e8mes d\u2019acteurs qui les constituent, au moment o\u00f9 certains estiment les \u00c9tats-Unis plus que jamais en crise (Robert Kagan, 2021).<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Aurore Portet (<a href=\"mailto:aurore.portet@sciencespo-lyon.fr\">aurore.portet@sciencespo-lyon.fr<\/a>) et Maxime Chervaux (<a href=\"mailto:maxime.chervaux@univ-paris8.fr\">maxime.chervaux@univ-paris8.fr<\/a>) avant le 17 janvier 2022.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">R\u00e9f\u00e9rences<\/h4>\n\n\n\n<p>Adam Edelman. (2021, April 10). <em>High number of Trump political appointees sought permanent jobs in final year<\/em> [NBC]. https:\/\/www.nbcnews.com\/politics\/donald-trump\/highnumber-trump-political-appointees-sought-permanent-jobs-final-year-n1262234<\/p>\n\n\n\n<p>Arendt, H. (2006). What is Authority? In <em>Between past and future: Eight exercises in political thought<\/em>. Penguin Books.<\/p>\n\n\n\n<p>Badger, E., Bui, Q., &amp; Parlapiano, A. (2021, February 1). \u201cThe Government Agencies That<\/p>\n\n\n\n<p>Became Smaller, and Unhappier, Under Trump.\u201d <em>The New York Times<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-the-new-york-times wp-block-embed-the-new-york-times\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" title=\"The Government Agencies That Became Smaller, and Unhappier, Under Trump\" src=\"https:\/\/www.nytimes.com\/svc\/oembed\/html\/?url=https%3A%2F%2Fwww.nytimes.com%2F2021%2F02%2F01%2Fupshot%2Ftrump-effect-government-agencies.html#?secret=4pKYTXqTv0\" data-secret=\"4pKYTXqTv0\" scrolling=\"no\" frameborder=\"0\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Gallup. (2007, June 22). <em>Confidence in Institutions<\/em>. Gallup.Com.<\/p>\n\n\n\n<p><a href=\"https:\/\/news.gallup.com\/poll\/1597\/Confidence-Institutions.aspx\">https:\/\/news.gallup.com\/poll\/1597\/Confidence-Institutions.aspx<\/a><\/p>\n\n\n\n<p>Lizza, R., Palmeri, T., Bade, R., &amp; Daniels, E. (2021, September 25). <em>POLITICO Playbook:<\/em><\/p>\n\n\n\n<p><em>\u2018Audit\u2019 movement gains steam \u2014 even after Arizona<\/em>. POLITICO. https:\/\/politi.co\/3kG2O6b Pierson, P. (2004). <em>Politics in time: History, institutions, and social analysis<\/em>. Princeton University Press.<\/p>\n\n\n\n<p>Robert Kagan. (2021, September 23). <em>Opinion | Our constitutional crisis is already here<\/em>. The Washington Post. https:\/\/www.washingtonpost.com\/opinions\/2021\/09\/23\/robert-kaganconstitutional-crisis\/<\/p>\n\n\n\n<p>Sidney M. Milkis &amp; Nicholas Jacobs. (2017). \u2018I Alone Can Fix It\u2019 Donald Trump, the Administrative Presidency, and Hazards of Executive-Centered Partisanship. <em>The Forum<\/em>, <em>15<\/em>(3), 583\u2013613. https:\/\/www.degruyter.com\/view\/journals\/for\/15\/3\/articlep583.xml?language=en<\/p>\n\n\n\n<p>Skowronek, S., Dearborn, J. A., &amp; King, D. S. (2021). <em>Phantoms of a beleaguered republic: The deep state and the unitary executive<\/em>. Oxford University Press.<\/p>\n\n\n\n<p>Skowronek, S., &amp; Orren, K. (2020). The Adaptability Paradox: Constitutional Resilience and<\/p>\n\n\n\n<p>Principles of Good Government in Twenty-First-Century America. <em>Perspectives on Politics<\/em>,<\/p>\n\n\n\n<p><em>Volume 18<\/em>(Issue 2), 1\u201316. https:\/\/doi.org\/10.1017\/S1537592719002640<\/p>\n\n\n\n<p>Theda Skocpol. (2016). Analyzing American Political Development as It Happens. In R. M. Valelly, S. Mettler, &amp; R. C. Lieberman (Eds.), <em>The Oxford handbook of American political development<\/em>. Oxford University Press.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #3 The American State with and after Trump: (il)legitimate Institutions and Political Process(es)<\/h3>\n\n\n\n<p>Despite calls to \u201cdrain the swamp\u201d and fight the \u201cDeep State,\u201d Donald Trump has only partially attempted to deconstruct the American Administrative State. Instead, it can be argued that he has \u201cembraced the levers of presidential discretion and power inherent in the modern executive office\u201d (Sidney M. Milkis &amp; Nicholas Jacobs, 2017) and even worked to further entrench executive authority and legitimacy over the other branches of the federal government (Skowronek et al., 2021). The hesitations of the young Biden administration also show how dependent the new President is on his predecessor\u2019s regulatory choices (Doha agreements on the terms of withdrawal from Afghanistan, Title 42 of the United States Code on the deportation of illegal migrants) and appointments (tenured political appointees, permanently understaffed executive departments (Adam Edelman, 2021; Badger et al., 2021)). On some issues that were controversial in the previous mandate, Biden is surprisingly aligned with Donald Trump (Space Force, trade war with China). In this context, this panel would like to welcome contributions that seek to shed light on the administrative and regulatory record of the Trump administration and Joe Biden\u2019s early months as well as the White House\u2019s dependence on a possible Trumpian \u201cpathway\u201d (Pierson, 2004).<\/p>\n\n\n\n<p>Donald Trump draws from a range of anti-state currents, extra-partisan movements and sentiments, and a series of actors striving to reclaim the penetration of the administrative state in American society. Their attempted takeover has been accompanied by attacks on representative democracy (voting rights, election procedures, recognition and certification of election results) that have transformed a debate on the legitimacy and effectiveness of political leaders into a profound critique of institutions. As a result, any political debate in such a divided political environment, on both the right and the left, leads to a conflict around the authority and legitimacy of the State that is \u201coften divorced from factual reality\u201d (Lizza et al., 2021). This panel is thus open to the analysis of these new political discourses and the methods of action and legitimization they deploy. How can we interpret and analyze the Stop the Steal movement, or the unsuccessful but repeated audits of the results of the last presidential election? What are the facets of this general crisis of authority in the American government?<\/p>\n\n\n\n<p>Of course, this conflict should not obscure the diversity of political experiments that have preceded, accompanied, and followed the Trump presidency and that may echo it in some way. We can think of the electoral changes of the last decade (the instant runoff recently adopted in New York and Alaska) or the independent redistricting commissions. In a word, this panel really wants to \u201canalyze American political development as it happens\u201d (Theda Skocpol, 2016) and in particular the extent of the resilience of the American constitutional and administrative system (Skowronek &amp; Orren, 2020), including the networks and systems of actors that constitute them, at a time when some believe the United States is rocked by a profound crisis (Kagan, 2021).<\/p>\n\n\n\n<p>500-word proposals and a short biographical statement should be sent to Aurore Portet (<a href=\"mailto:aurore.portet@sciencespo-lyon.fr\">aurore.portet@sciencespo-lyon.fr<\/a>) and Maxime Chervaux (<a href=\"mailto:maxime.chervaux@univparis8.fr\">maxime.chervaux@univparis8.fr<\/a>) before 17 January 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 4 Gestes cartographiques : le canon po\u00e9tique am\u00e9ricain \u00e0 l\u2019\u00e9preuve de l\u2019espace<\/h3>\n\n\n\n<p><em>Yasna Bozhkova (Universit\u00e9 Sorbonne Nouvelle) et Aurore Clavier (Universit\u00e9 de Lille)<\/em><\/p>\n\n\n\n<p>Des \u0153uvres de la Renaissance am\u00e9ricaine aux exp\u00e9rimentations de la New American Poetry, en passant par les monuments du Modernisme, le canon am\u00e9ricain s\u2019est le plus souvent constitu\u00e9 autour de lieux embl\u00e9matiques : \u00e9tats ou r\u00e9gions (Nouvelle Angleterre, Californie), villes (Concord, New York, San Francisco, Chicago), quartiers (Greenwich, Harlem), ou encore microcosmes institutionnels (Harvard, Black Mountain College, Berkeley).<\/p>\n\n\n\n<p>En d\u00e9finissant les contours litt\u00e9raires de la jeune nation, ces ancrages ont non seulement contribu\u00e9 \u00e0 affirmer la position de l\u2019Am\u00e9rique au sein d\u2019une cartographie culturelle d\u2019o\u00f9 elle \u00e9tait longtemps rest\u00e9e exclue, mais ils ont aussi permis la remise en jeu continuelle de marges multiformes, \u00e0 partir desquelles avant-gardes, communaut\u00e9s \u00e9clips\u00e9es, ou identit\u00e9s singuli\u00e8res ont fait entendre la voix des \u00ab excentr\u00e9s \u00bb (C. Thomas).<\/p>\n\n\n\n<p>Nous nous proposerons ici d\u2019interroger les rapports entre le canon \u2013 envisag\u00e9 \u00e0 la fois dans sa construction h\u00e9g\u00e9monique et dans ses multiples reconfigurations \u2013, et les diff\u00e9rentes cat\u00e9gories spatiales qui informent nos lectures de la litt\u00e9rature, et plus particuli\u00e8rement de la po\u00e9sie \u00e9tatsunienne.<\/p>\n\n\n\n<p>Notre r\u00e9flexion pourra s\u2019appuyer sur les questions suivantes, sans pour autant s\u2019y limiter :<\/p>\n\n\n\n<p>&#8211; En quoi l\u2019espace, et les gestes cartographiques qui tentent de lui donner forme, de fa\u00e7on concr\u00e8te ou m\u00e9taphorique, contribuent-ils \u00e0 la fabrique du canon, ou comment \u0153uvrent-ils au contraire \u00e0 le d\u00e9stabiliser, \u00e0 le d\u00e9centrer ou m\u00eame \u00e0 le d\u00e9construire ?<\/p>\n\n\n\n<p>&#8211; Comment les po\u00e8tes ont-ils utilis\u00e9 les ressources de leur medium (typographie, vers, page), et de sa diffusion (magazine, recueil, anthologie), pour d\u00e9finir leur position au sein, en p\u00e9riph\u00e9rie, ou en dehors du canon, voire au carrefour de traditions diverses ?<\/p>\n\n\n\n<p>&#8211; Quel usage la critique a-t-elle fait \u00e0 son tour de ces textes, des cat\u00e9gories spatiales qu\u2019ils ont eux-m\u00eames esquiss\u00e9es, ou de ses propres outils cartographiques, pour mettre au jour, situer, quadriller, isoler, ou exclure les diff\u00e9rents ph\u00e9nom\u00e8nes po\u00e9tiques dont elle entendait rendre compte ? En quoi le prisme de l\u2019espace nous aide-t-il \u00e0 appr\u00e9hender les positionnements et les points aveugles de l\u2019histoire litt\u00e9raire, depuis les accusations de provincialisme longtemps adress\u00e9es aux \u00c9tats-Unis, jusqu\u2019aux \u00ab canon wars \u00bb de la fin du 20<sup>\u00e8me<\/sup> si\u00e8cle, ou encore \u00e0 l\u2019ouverture grandissante de la critique \u00e0 des auteurs longtemps demeur\u00e9s marginaux ?<\/p>\n\n\n\n<p>&#8211; De quelle mani\u00e8re les passeurs de la po\u00e9sie am\u00e9ricaine en France ou ailleurs, se sontils faits les relais de ces g\u00e9ographies litt\u00e9raires et critiques, ou en ont-ils au contraire modifi\u00e9 les contours \u00e0 travers les \u00e9changes, traductions, publications qui ont, depuis plus d\u2019un si\u00e8cle, nourri \u00ab la conversation transatlantique \u00bb (A. Lang) ?<\/p>\n\n\n\n<p>&#8211; Plus largement, de quelle fa\u00e7on le paradigme spatial, tel qu\u2019il s\u2019est impos\u00e9 depuis plusieurs d\u00e9cennies (\u00e0 travers la g\u00e9ocritique, l\u2019\u00e9cocritique, ou les cartographies num\u00e9riques, par exemple), peut-il offrir un compl\u00e9ment, si ce n\u2019est m\u00eame un contrepoint n\u00e9cessaire, \u00e0 la seule logique historique du canon (ainsi que le montre par exemple le projet \u00ab Living Nations, Living Words \u00bb de la Poet Laureate Joy Harjo) ? En quoi les figures nombreuses que ce paradigme rec\u00e8le \u2013 topos, topique, constellations, cercles, centres, fronti\u00e8res, marges, pour n\u2019en citer que quelques-unes \u2013, op\u00e8rent-elles, au-del\u00e0 de leur s\u00e9duction m\u00e9taphorique, comme des outils m\u00e9thodologiques pr\u00e9cieux, \u00e0 m\u00eame d\u2019ouvrir la fabrique du canon \u00e0 des constructions litt\u00e9raires dynamiques, participatives, et d\u00e9livr\u00e9es de toute tentation hi\u00e9rarchisante, \u00e0 rebours des s\u00e9lections fig\u00e9es et vite d\u00e9pass\u00e9es de l\u2019anthologie, ou des grands r\u00e9cits de l\u2019histoire litt\u00e9raire ?<\/p>\n\n\n\n<p>&#8211; Comment des \u00e9chelles aussi diverses, et parfois contradictoires, que le \u00ab local \u00bb, le \u00ab r\u00e9gional \u00bb, le \u00ab national \u00bb, le \u00ab continental \u00bb ou le \u00ab mondial \u00bb questionnent-elle \u00ab l\u2019am\u00e9ricanit\u00e9 \u00bb m\u00eame du canon ? Comment le refus de cl\u00f4ture du geste cartographique nous invite-t-il, en somme, \u00e0 repenser nos conceptions et nos usages de ce dernier, et nos d\u00e9finitions de ce qui fait l\u2019Am\u00e9rique ?<\/p>\n\n\n\n<p>Les propositions de 300 mots accompagn\u00e9es d\u2019une courte biographie sont \u00e0 envoyer \u00e0 Yasna Bozhkova (<a href=\"mailto:yasna.bozhkova@sorbonne-nouvelle.fr\">yasna.bozhkova@sorbonne-nouvelle.fr<\/a>) et Aurore Clavier (<a href=\"mailto:aurore.clavier@univlille.fr\">aurore.clavier@univlille.fr<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #4 Cartographic Gestures: Putting the American Poetic Canon to the Test of Space<\/h3>\n\n\n\n<p>From the works of the American Renaissance to the experiments of the New American Poetry, via the monuments of Modernism, the American canon has more often than not been formed around emblematic places: states or regions (New England, California), cities (Concord, New York, San Francisco, Chicago), neighborhoods (Greenwich, Harlem), or institutional microcosms (Harvard, Black Mountain College, Berkeley).<\/p>\n\n\n\n<p>By defining the literary contours of the young nation, these landmarks have not only contributed to affirming the United States\u2019 position in a cultural cartography from which it had long remained excluded but have also allowed the continuous reengagement of diverse marginal groups, from which avant-gardes, eclipsed communities, or singular identities have raised various kinds of \u201coutsider\u201d voices (C. Thomas).<\/p>\n\n\n\n<p>The objective of this workshop is to question the links between the canon\u2014seen both as a hegemonic construction and in its multiple reconfigurations\u2014and the different spatial categories that inform our reading of American literature, and of poetry in particular. The questions we would like to raise include\u2014but are not limited to\u2014the following:<\/p>\n\n\n\n<p>&#8211; How does space, and how do the cartographic gestures that try to give it shape, either concretely or metaphorically, contribute to the making of the canon? Conversely, how do they destabilize, decenter or even deconstruct it?<\/p>\n\n\n\n<p>&#8211; How have poets used the means of their medium (typography, lineation, page), and of its dissemination (journals, collections, anthologies), to define their position inside, on the periphery of, or outside the canon, or even at the crossroads of diverse traditions? &#8211; What use have literary critics made of these texts and of these spatial categories that they have outlined themselves, or of their own mapping tools, in order to bring to light, situate, crisscross, isolate or exclude the different poetic phenomena that they wanted to study? How does the prism of space help us grasp the positions and the blind spots of literary history, from the accusations of provincialism that have long targeted the United States, to the \u201ccanon wars\u201d of the end of the 20<sup>th<\/sup> century, or literary scholarship\u2019s increasing openness towards authors formerly considered marginal?<\/p>\n\n\n\n<p>&#8211; How have the mediators of American literature in France and elsewhere become the disseminators of these literary and critical geographies, or, conversely, how have they altered them through the exchanges, translations, and publications that have, for more than a century, nourished \u201cthe transatlantic conversation\u201d (A. Lang)?<\/p>\n\n\n\n<p>&#8211; More broadly speaking, how can the spatial paradigm, such as it has become increasingly prominent in the past few decades (through geocriticism, ecocriticism, or digital mapping projects, for instance), offer a complement, or even a necessary counterpoint, to the solely historical logic of the canon (as shows for example the project \u201cLiving Nations, Living Worlds\u201d of the Poet Laureate Joy Harjo)? How do the numerous forms this paradigm may take\u2014topos, constellations, circles, centers, frontiers, margins, to name but a few\u2014operate, beyond their metaphorical appeal, as precious methodological tools, capable of opening the canon to dynamic and participatory literary constructions without any hierarchical dimension, against the grain of the rigid and quickly obsolete selections of anthologies, or of the great narratives of literary history?<\/p>\n\n\n\n<p>&#8211; How do scales as varied, and sometimes as contradictory, as the \u201clocal,\u201d the \u201cregional,\u201d the \u201cnational,\u201d the \u201ccontinental\u201d or the \u201cglobal\u201d question the very \u201cAmericanness\u201d of the canon? How does the rejection of closure typical of cartographic gestures invite us,<\/p>\n\n\n\n<p>in short, to rethink our conceptions and uses of the canon, as well as our definitions of American identity?<\/p>\n\n\n\n<p>Proposals of 300 words accompanied by a short biography must be sent to Yasna Bozhkova (yasna.bozhkova@sorbonne-nouvelle.fr) and Aurore Clavier (aurore.clavier@univ-lille.fr) no later than January 17<sup>th<\/sup>, 2022<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 5 <em>Confer <\/em>: mais pour quoi faire ? Strat\u00e9gies r\u00e9f\u00e9rentielles, entre l\u00e9gitimit\u00e9 et jeu d\u2019autorit\u00e9<\/h3>\n\n\n\n<p><em>Atelier propos\u00e9 par Pauline Pilote (Universit\u00e9 Bretagne Sud) et Julien N\u00e8gre (ENS Lyon)<\/em><\/p>\n\n\n\n<p>* Sir W. Jones, Diss. Antiq. Ind. Zod.<\/p>\n\n\n\n<p>\u2020 Plut. De Plac. Philos. lib. ii, cap. 20.<\/p>\n\n\n\n<p>\u2021 Achill. Tat. Isag. cap. 19; Ap. Petav. t. iii. p. 81 ; Stob. Eclog. Phys. lib. i. p. 56. Plutarch de plac. p. p.<\/p>\n\n\n\n<p>\u2016 Diog. Laert. in Anaxag. 1. ii. sec. 8. Plat Apol. t. i. p. 26. Plut. de Superst. t. ii, p. 269. Xenoph. Mem. 1. iv. p. 815.<\/p>\n\n\n\n<p>\u00a7 Aristot. Meteor. 1. ii. c. 2 ; <em>Idem<\/em>. Probl. sec. 15; Stob. Ecl. Phys. 1. i. p. 55. Bruck. Hist. Phil, t. i. p. 1154, et alii.<\/p>\n\n\n\n<p>Parmi les diff\u00e9rentes strat\u00e9gies dont dispose le texte litt\u00e9raire pour \u00e9tablir sa propre l\u00e9gitimit\u00e9, la r\u00e9f\u00e9rence \u00e0 des documents ext\u00e9rieurs est l\u2019un des moyens les plus s\u00fbrs de faire autorit\u00e9. \u00c0 la mani\u00e8re d\u2019un ouvrage scientifique, le texte s\u2019appuie sur des objets qui lui sont ext\u00e9rieurs : sources manuscrites, textes ant\u00e9rieurs, trait\u00e9s, mais aussi cartes de g\u00e9ographie, documents d\u2019archives, comptes rendus, etc. Au premier abord, ces diff\u00e9rents objets sont convoqu\u00e9s car ils viennent apporter une forme de garantie : d\u2019authenticit\u00e9, de v\u00e9racit\u00e9, d\u2019exactitude, notamment. Ils servent \u00e0 placer le texte de fiction au sein d\u2019un r\u00e9seau de documents qui assurent la l\u00e9gitimit\u00e9 des propos avanc\u00e9s (notamment dans le contexte fictionnel), que ce soit par la r\u00e9f\u00e9rence \u00e0 un texte consid\u00e9r\u00e9 comme canonique ou par le renvoi \u00e0 des documents hors du champ litt\u00e9raire.<\/p>\n\n\n\n<p>Mais ils permettent aussi d\u2019ouvrir le texte vers un horizon plus large, le moment de la r\u00e9f\u00e9rence devenant un espace liminal qui est \u00e0 la fois intratextuel, et ouvert vers l\u2019ext\u00e9rieur. En t\u00e9moigne tout particuli\u00e8rement l\u2019usage des notes de page dans les textes de fiction, qui cr\u00e9ent sur la page, sous le texte principal, un espace textuel \u00e0 part, o\u00f9 va jusqu\u2019\u00e0 se d\u00e9ployer parfois, au-del\u00e0 du simple renvoi, une histoire parall\u00e8le. La note infrapaginale ou la r\u00e9f\u00e9rence extratextuelle ouvrent une porte vers d\u2019autres textes et d\u2019autres objets et brouillent ainsi la fronti\u00e8re entre le texte et son ext\u00e9rieur.<\/p>\n\n\n\n<p>En d\u00e9signant ainsi son dehors, le texte laisse alors voir ses coutures : il place au premier plan son statut d\u2019artefact, mais laisse \u00e9galement deviner la pr\u00e9sence de l\u2019auteur ou autrice, chef d\u2019orchestre habituellement escamot\u00e9 derri\u00e8re les voix narratives, qui r\u00e9investit son texte pour montrer sa pr\u00e9sence. Loin du simple <em>name-dropping<\/em>, le recours \u00e0 une r\u00e9f\u00e9rence qui est exploit\u00e9e par le texte devient le moment d\u2019un dialogue entre l\u2019auteur et son lectorat, autour d\u2019une connaissance partag\u00e9e si la r\u00e9f\u00e9rence est litt\u00e9raire ou culturelle, ou une invitation \u00e0 aller prolonger le r\u00e9cit vers d\u2019autres lectures quand une r\u00e9f\u00e9rence pr\u00e9cise est donn\u00e9e. Il s\u2019agit alors de dessiner, autour du texte, un lieu commun et de cr\u00e9er une connivence entre l\u2019auteur et son lectorat.<\/p>\n\n\n\n<p>Cet atelier cherche ainsi \u00e0 s\u2019interroger sur le r\u00f4le et la pr\u00e9sence des notes de bas de page dans les textes litt\u00e9raires, et, plus largement, sur la question de <em>la r\u00e9f\u00e9rence <\/em>comme strat\u00e9gie d\u00e9lib\u00e9r\u00e9e, par exemple \u00e0 des documents non-litt\u00e9raires dans des ouvrages fictionnels. \u00c0 quoi servent les <em>confer <\/em>(cf.) dans un texte ? Que permet ce d\u00e9bordement du cadre textuel ? Pourquoi imiter les codes de l\u2019\u00e9criture scientifique ? On pourra \u00e9galement \u00e9tudier les strat\u00e9gies mises en place lors de r\u00e9f\u00e9rences \u00e0 des textes canoniques. Dans ces cas-l\u00e0, quel r\u00f4le joue le recours \u00e0 un texte canonique ? En quoi ce texte fait-il autorit\u00e9 ? Pourquoi lier un texte de fiction \u00e0 d\u2019autres textes, fictionnels ou non ? Que peut-on alors dire de l\u2019auteur et de la fa\u00e7on dont il se positionne par rapport \u00e0 d\u2019autres ? La r\u00e9f\u00e9rence prend-elle une valeur ou un sens particulier dans le contexte am\u00e9ricain ? Quelle l\u00e9gitimit\u00e9 apporte le recours \u00e0 des textes issus du canon britannique, par exemple, dans la litt\u00e9rature am\u00e9ricaine ?<\/p>\n\n\n\n<p>Mais que dire aussi des r\u00e9f\u00e9rences qui jouent avec ces enjeux de l\u00e9gitimation ? Que faire par exemple de la note ci-dessus, issue de <em>A History of New-York <\/em>de Washington Irving (1809), qui joue avec ce syst\u00e8me de r\u00e9f\u00e9rentialit\u00e9 pour produire une note illisible ? ou fausse, lorsque les objets extratextuels convoqu\u00e9s sont eux aussi fictifs ? Que faire d\u2019un texte comme <em>House of Leaves <\/em>de Mark Danielewski (2000) o\u00f9 les notes en viennent progressivement \u00e0 raconter une histoire parall\u00e8le ? L\u2019emploi de la r\u00e9f\u00e9rence est en effet intimement li\u00e9 \u00e0 la question du canon : faire r\u00e9f\u00e9rence \u00e0 un autre texte peut certes contribuer \u00e0 ancrer encore davantage un texte d\u00e9j\u00e0 canonique, mais peut \u00e9galement servir \u00e0 d\u00e9construire cette canonicit\u00e9, comme on le voit \u00e0 l\u2019\u0153uvre dans certains textes postmodernes par exemple.<\/p>\n\n\n\n<p>Nous invitons donc des communications qui examinent des textes litt\u00e9raires dans lesquels sont mises en \u0153uvre des strat\u00e9gies d\u00e9lib\u00e9r\u00e9es de r\u00e9f\u00e9rence \u00e0 des objets ext\u00e9rieurs, notamment par le biais de notes de bas de page ou d\u2019autres proc\u00e9d\u00e9s textuels localis\u00e9s. Les propositions pourront porter sur l\u2019ensemble de l\u2019histoire litt\u00e9raire am\u00e9ricaine, sans distinction d\u2019\u00e9poque.<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Julien N\u00e8gre (julien.negre@ens-lyon.fr) et Pauline Pilote (pauline.pilote@univ-ubs.fr) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #5 When texts refer to other texts: playing with legitimacy and redefining authority through textual references<\/h3>\n\n\n\n<p>Referring to existing documents is one of the most effective strategies for a literary text to establish its own legitimacy and authority. By referring to exterior documents such as manuscript sources, previous publications, treatises, but also geographical maps, archival documents, or first-person accounts, the literary text imitates the codes of scientific writings and appears to prove its own authenticity, veracity, and precision. Such exterior objects connect the text with a network of documents that help establish its legitimacy through references to more canonical texts or non-literary items.<\/p>\n\n\n\n<p>Such documents also open a larger horizon within the text, the reference itself becoming a liminal space placed inside the text but opening a window onto the outside world. This is particularly true of footnotes in fictional texts: placed under the main body of text, footnotes constitute a separate textual space in which a secondary story can be told. Footnotes and extratextual references create a passageway to other texts and other objects and blur the limit between the text and the outside world.<\/p>\n\n\n\n<p>By gesturing at these exterior objects, the text also reveals its own artificiality (its status as an artefact) and brings to the fore the central role played by the author himself or herself as the stage-director of the book as a whole: instead of hiding behind narrative voices, the author steps into the spotlight by referring to documents that exist in the world he or she shares withhis or her readers. As opposed to simple name-dropping, textual references allow for a dialogue and connection between author and reader through shared cultural references, or an invitation to read other texts. In this case the reference establishes a common ground shared by author and reader.<\/p>\n\n\n\n<p>This workshop intends to examine the role and the presence of footnotes in literary texts and, more generally, the question of deliberate referential strategies, typically to non-literary documents in fictional texts. Why use \u201ccf.\u201d in a text? What is made possible through the reference to something beyond the frame of the text itself? Why imitate the habits of scientific writings? Papers can also examine the strategic use of references to canonical texts. What is the function of such a reference? How and why are certain texts more authoritative than others? What is the use of drawing a connection between one text and another? Do textual references have a specific value and meaning in the American context? Do references to the British canon bring a specific legitimacy to American literature?<\/p>\n\n\n\n<p>Such references also allow for a playful redefinition of legitimacy. The footnote quoted above can be found in Washington Irving\u2019s <em>A History of New-York <\/em>(1809), in which the author deliberately produces footnotes that are so crowded and cryptic that they become illegible. Texts can also include references to objects that simply do not exist. Mark Danielewski\u2019s <em>House of Leaves <\/em>(2000), for example, is characterized by an overabundance of footnotes, to the point that a second, parallel story gradually emerges from this specific textual space. Referring to other texts is intimately connected to the question of the canon: references tend to reinforce the canonical nature of oft-quoted texts, but they can also be used to deconstruct it, as many postmodernist texts do.<\/p>\n\n\n\n<p>We invite proposals that examine literary texts containing deliberate references to exterior objects (texts, maps, archives, sources, etc.), be it through the use of footnotes or other localized textual devices. Papers may focus on any aspect and period of American literary history.<\/p>\n\n\n\n<p>Proposals should be sent to Julien N\u00e8gre (<a href=\"mailto:julien.negre@ens-lyon.fr\">julien.negre@ens-lyon.fr<\/a>) and Pauline Pilote (<a href=\"mailto:pauline.pilote@univ-ubs.fr\">pauline.pilote@univ-ubs.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 6 \u00ab The world is full of books that narrate the deeds and utter the praises of men \u00bb : \u00c9critures et r\u00e9\u00e9critures canoniques de l\u2019histoire du long 19e si\u00e8cle \u00e9tatsunien au prisme des figures \u00ab \u00e9minentes \u00bb<\/h3>\n\n\n\n<p><em>H\u00e9l\u00e8ne Cottet et H\u00e9l\u00e8ne Quanquin (Universit\u00e9 de Lille)<\/em><\/p>\n\n\n\n<p>Cet atelier invite les sp\u00e9cialistes de litt\u00e9rature et de civilisation des \u00c9tats-Unis \u00e0 se pencher sur le cas des figures \u00ab \u00e9minentes \u00bb \u2013 femmes et hommes \u2013 du long 19<sup>e<\/sup> si\u00e8cle : selon quelles logiques, quels crit\u00e8res, quelles valeurs, choisit-on les figures repr\u00e9sentatives, fondatrices, ou encore canoniques de la nation ? Comment ces choix ont-ils \u00e9volu\u00e9 historiquement ? Qui les porte ? Pour cerner les enjeux attenants \u00e0 ces c\u00e9l\u00e9brations, d\u00e9sacralisations, et r\u00e9habilitations des grands individus, il s\u2019agit ici de se pencher sur l\u2019\u00e9criture de l\u2019histoire et de l\u2019histoire litt\u00e9raire du long 19<sup>e<\/sup> si\u00e8cle. Parmi les sujets qui pourront \u00eatre abord\u00e9s, nous discernons notamment :<\/p>\n\n\n\n<p>&#8211; La r\u00e9\u00e9valuation des grandes figures du long 19<sup>e<\/sup> si\u00e8cle \u00e9tatsunien.<\/p>\n\n\n\n<p>On pensera tout d\u2019abord aux hommes et femmes politiques : Thomas Jefferson et George Washington, par exemple, P\u00e8res Fondateurs esclavagistes que les travaux d\u2019historiennes telles qu\u2019Annette Gordon-Reed et Erica Armstrong Dunbar respectivement ont contribu\u00e9 \u00e0 pr\u00e9senter sous un autre jour, donnant \u00e0 voir la r\u00e9alit\u00e9 m\u00eame de la R\u00e9volution Am\u00e9ricaine ; les pionni\u00e8res f\u00e9ministes, \u00e0 l\u2019instar de Susan B. Anthony et Elizabeth Cady Stanton, dont les positions racistes et nativistes ont fait l\u2019objet de r\u00e9\u00e9valuations plus ou moins r\u00e9centes (Michele Mitchell ; Lori D. Ginzberg), et qui ont construit dans <em>The History of Woman Suffrage<\/em> une m\u00e9moire du mouvement pour les droits des femmes du long 19<sup>e<\/sup> si\u00e8cle qui excluait l\u2019action de nombreuses militantes noires et blanches (Lisa Tetrault). Les \u00ab grands auteurs \u00bb du 19<sup>e<\/sup> si\u00e8cle ont \u00e9t\u00e9 \u00e9galement reconsid\u00e9r\u00e9s avec les <em>canon wars<\/em>,initi\u00e9es dans les ann\u00e9es 1980, qui remettaient en cause l\u2019influence h\u00e9g\u00e9monique de figures telles que Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, et Edgar Allan Poe. Quel est l\u2019h\u00e9ritage aujourd\u2019hui de ces querelles ? Comment comprendre, par exemple, les arguments r\u00e9cents de Dana Nelson lorsqu\u2019elle explique que les nombreuses r\u00e9visions du canon n\u2019emp\u00eachent pas la persistance d\u2019un discours exceptionnaliste sur la litt\u00e9rature des \u00c9tats-Unis au 19<sup>e<\/sup> si\u00e8cle ?<\/p>\n\n\n\n<p>&#8211; La mat\u00e9rialisation d\u2019un statut d\u2019exception.<\/p>\n\n\n\n<p>Les monuments et statues qui consacrent les grandes figures des \u00c9tats-Unis ont \u00e9galement leur histoire, et cette figuration des individus d\u2019exception dans l\u2019espace public cristallise de nombreux d\u00e9bats. \u00c0 nouveau, il s\u2019agit de savoir qui inclure, qui effacer, comment repr\u00e9senter physiquement l\u2019importance du grand homme et de la grande femme (du gigantisme de Rushmore \u00e0 des repr\u00e9sentations beaucoup plus euph\u00e9mis\u00e9es), et dans quels espaces. Les portraits et la circulation des images et des premi\u00e8res photographies sont des pratiques qui m\u00e9ritent \u00e9galement d\u2019\u00eatre interrog\u00e9es, par exemple \u00e0 partir de la figure de Frederick Douglass, cens\u00e9ment l\u2019homme le plus photographi\u00e9 du 19<sup>e<\/sup> si\u00e8cle, ou encore \u00e0 partir des d\u00e9bats sur les visages qui, \u00e0 l\u2019instar de Harriet Tubman, pourraient figurer sur les billets de banque. On peut \u00e9galement noter l\u2019importance de pratiques \u00e9ditoriales : les collections prestigieuses dans lesquelles sont publi\u00e9.e.s les grand.e.s auteurs et autrices, une pratique qui remonte notamment \u00e0 James T. Fields pour promouvoir ses \u00ab Olympiens \u00bb, le r\u00f4le des anthologies ou encore des encyclop\u00e9dies pour mettre en avant la l\u00e9gitimit\u00e9 de certaines figures. Enfin, la mat\u00e9rialisation d\u2019un statut d\u2019exception passe parfois par les maisons-mus\u00e9es des figures c\u00e9l\u00e8bres \u2013 de Monticello aux demeures de Mark Twain et de Harriet Beecher Stowe \u00e0 Hartford.<\/p>\n\n\n\n<p>&#8211; Les \u00ab grands noms \u00bb<\/p>\n\n\n\n<p>C\u2019est aussi dans la transmission de leurs pr\u00e9noms et patronymes que l\u2019on donne un h\u00e9ritage aux grandes figures. Qu\u2019il s\u2019agisse de noms d\u2019\u00e9coles, par exemple (Longfellow \u00e9tant, ici, particuli\u00e8rement populaire au 19<sup>e<\/sup> si\u00e8cle), mais aussi du choix de placer son enfant dans une lign\u00e9e exceptionnelle en lui donnant le nom d\u2019une personnalit\u00e9 publique (on pense par exemple aux abolitionnistes tels que William Lloyd Garrison et Frederick Douglass qui nomm\u00e8rent leurs enfants d\u2019apr\u00e8s les grandes figures du mouvement).<\/p>\n\n\n\n<p>&#8211; L\u2019\u00e9criture biographique de l\u2019histoire et de l\u2019histoire litt\u00e9raire.<\/p>\n\n\n\n<p>La th\u00e9orie des \u00ab grands hommes \u00bb correspond \u00e0 un paradigme historiographique qui met en avant les r\u00e9cits biographiques, pour lequel il existe un grand engouement au 19<sup>e<\/sup> si\u00e8cle, ce dont attestent des collections telles que <em>American Men of Letters <\/em>ou <em>American Statesmen<\/em>. D\u00e8s le dernier quart du si\u00e8cle, historiens professionnels et sp\u00e9cialistes de litt\u00e9rature s\u2019en prennent aux limites du genre, qui n\u2019en d\u00e9montre pas moins un besoin d\u2019h\u00e9ro\u00efsation des grandes figures ainsi que l\u2019importance donn\u00e9e \u00e0 la moralit\u00e9 et \u00e0 l\u2019exemplarit\u00e9 de celles-ci. Aujourd\u2019hui, l\u2019\u00e9criture biographique permet bien souvent, au contraire, de contrer ces r\u00e9gimes d\u2019exceptionnalit\u00e9, qu\u2019il s\u2019agisse de red\u00e9couvrir des figures tenues pour mineures, ou de proposer des biographies collectives et de mettre en avant des g\u00e9n\u00e9alogies par exemple militantes.<\/p>\n\n\n\n<p>&#8211; Les difficult\u00e9s d\u2019\u00e9criture pos\u00e9es par le statut de la \u00ab grande femme \u00bb.<\/p>\n\n\n\n<p>Comment \u00e9crit-on les vies des \u00ab grandes femmes \u00bb du long 19<sup>e<\/sup> si\u00e8cle ? Exclues de fait des collections <em>American Men of Letters <\/em>ou <em>American Statesmen<\/em>, elles sont pourtant les sujets de biographies et d\u2019articles encyclop\u00e9diques. On pensera par exemple aux \u201cbiographies des femmes \u00e9minentes\u201d (<em>biographies of eminent women<\/em>) et aux \u00ab listes \u00bb des grandes figures f\u00e9minines, tr\u00e8s populaires au 19<sup>e<\/sup> si\u00e8cle (Gerda Lerner). Leur h\u00e9ro\u00efsation n\u2019est pas pour autant chose ais\u00e9e : Margaret Fuller et Emily Dickinson, par exemple, posent de nombreux probl\u00e8mes d\u2019\u00e9criture, leurs r\u00e9ussites \u00e9tant pr\u00e9sent\u00e9es sous l\u2019angle de l\u2019\u00e9chec, o\u00f9 la biographie devient une \u00ab correction \u00bb masculine de ces existences non arrim\u00e9es aux normes de la domesticit\u00e9. Ainsi que le notait Gerda Lerner, les \u00ab grandes femmes \u00bb ne sauraient \u00eatre tenues pour repr\u00e9sentatives, elles sont au contraire exceptionnelles ou \u00ab d\u00e9viantes \u00bb. Restent-elles alors des figures isol\u00e9es, sans h\u00e9ritage ? Comment leurs histoires circulaient-elles, et de quelles mani\u00e8res ces figures rel\u00e9gu\u00e9es \u00e0 la minorit\u00e9 \u2014 souvent infantilis\u00e9es \u2014 sont-elles devenues, \u00e0 leur tour, repr\u00e9sentatives ?<\/p>\n\n\n\n<p>Les propositions de communication (r\u00e9sum\u00e9 de 500 mots accompagn\u00e9 d\u2019une liste de r\u00e9f\u00e9rences et d\u2019une biobibliographie de 200 mots) sont \u00e0 envoyer \u00e0 H\u00e9l\u00e8ne Cottet (<a href=\"mailto:helene.cottet@univlille.fr\">helene.cottet@univlille.fr<\/a>) et H\u00e9l\u00e8ne Quanquin (<a href=\"mailto:helene.quanquin@univ-lille.fr\">helene.quanquin@univ-lille.fr<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #6 \u201cThe world is full of books that narrate the deeds and utter the praises of men\u201d: (re)writing the historical canon of the long 19<sup>th<\/sup> century through the United States\u2019 \u201ceminent\u201d figures<\/h3>\n\n\n\n<p>This workshop will bring together scholars of U.S. literature and history to study the \u201ceminent\u201d figures\u2014women and men\u2014of the long 19<sup>th<\/sup> century. What are the criteria and the values which inform the selection of the individuals we define as canonical, founding, or representative? How have these selections changed through time? Who makes the decisions? To explore what lies at stake in the celebration, debunking, or rehabilitation of great individuals means looking at the ways in which the history and literary history of the long 19<sup>th<\/sup> century have been written and re-written. Among the topics that can be taken up, we welcome a discussion of the following issues:<\/p>\n\n\n\n<p>&#8211; Reappraising the great figures of the long 19<sup>th<\/sup> century<\/p>\n\n\n\n<p>We can discuss the fate of political figures : Thomas Jefferson and George Washington, for example, both slave-holding Founding Fathers who were shown in a new light by the scholarship of Annette Gordon-Reed and Erica Armstrong Dunbar respectively, changing our perception of the very nature of the American Revolution; feminist pioneers, such as Susan B. Anthony and Elizabeth Cady Stanton whose nativism and racism has been reassessed (Michele Mitchell, Lori Ginzberg), and who, in <em>the History of Woman Suffrage<\/em>, presented a distorted version of the movement for women\u2019s rights that excluded a number of black and white female activists (Lisa Tetrault). The \u201cgreat authors\u201d of the 19<sup>th<\/sup> century have also been under scrutiny ever since the \u201ccanon wars\u201d which were launched in the 1980s and which took issue with the hegemonic influence of a small group of white male authors such as Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, and Edgar Allan Poe. How have these quarrels changed our appreciation of U.S. literature today? What should we make of Dana Nelson\u2019s recent argument, for instance, that despite revisionist claims exceptionalism continues to inform our discourse and our curricula on U.S. literature in the 19<sup>th<\/sup> century?<\/p>\n\n\n\n<p>&#8211; Material manifestations of an exceptional status<\/p>\n\n\n\n<p>The statues and monuments which enshrine the great figures of the United States also have their history, and the presence of these figures in public spaces has been the topic of many debates. At issue, again, are questions such as: who to feature, who to erase, how to encode physically the importance of the great man or woman (moving from the hyperbolic Mount Rushmore to much more understated monuments), and in which spaces? Portraits and the spreading of images and of photographs are also a very relevant topic, starting for example with Frederick Douglass, purportedly the most photographed man of the 19<sup>th<\/sup> century, or discussions about the images\u2014such as Harriet Tubman\u2019s\u2014to put on banknotes. We can also look into editorial practices, such as the prestigious series in which great authors are published (a strategy which we can trace back to James T. Fields as he was promoting his \u201cOlympians\u201d), or the role of anthologies and encyclopedias to legitimate certain figures. Finally, an exceptional status can become enshrined through house museums \u2013 from Monticello to Mark Twain\u2019s and Harriet Beecher Stowe\u2019s houses in Hartford. &#8211; The \u201cgreat names\u201d<\/p>\n\n\n\n<p>Major figures are also given a legacy through the appropriation of their first and last names. These may be given to schools, for instance (with Longfellow an especially popular name in the late 19th century), but also to one\u2019s children, who symbolically integrate an exceptional lineage when they are named after a public figure (we can think for examples of abolitionists such as William Lloyd Garrison and Frederick Douglass, who named their children after the movement\u2019s major activists).<\/p>\n\n\n\n<p>&#8211; Biography and the writing of political history and literary history.<\/p>\n\n\n\n<p>The \u201cGreat Men\u201d theory of history was dependent on biographical narratives which were very popular throughout the 19<sup>th<\/sup> century, as shown by publishing projects such as the <em>American Men of Letters <\/em>series or the <em>American Statesmen <\/em>series. By the end of the 19<sup>th<\/sup> century, professional historians and literature scholars increasingly abandoned this genre, which nonetheless testifies to the public\u2019s passion for the heroic and to the moral qualities and exemplarity which great figures are asked to demonstrate. Today, on the contrary, biographies \u2014whether they uncover the lives of marginalized figures, offer collections of portraits, or retrace genealogies of activism\u2014are often used to go against the grain of exceptionalism.<\/p>\n\n\n\n<p>&#8211; Writing the \u201cgreat woman\u201d: pitfalls and recurring scenarios.<\/p>\n\n\n\n<p>How to write the lives of the \u201cgreat women\u201d of the long 19<sup>th<\/sup> century? Excluded from series such as the <em>American <\/em>Men<em> of Letters <\/em>or <em>American States<\/em>men, they were nonetheless portrayed in biographies and encyclopedia articles. We can think for example of the \u201cbiographies of eminent women,\u201d and of the \u201clists\u201d of great women which were very popular in the 19<sup>th<\/sup> century (Gerda Lerner). The heroic paradigm is, however, often ill-suited to these figures: the lives of Margaret Fuller and Emily Dickinson for instance, have been told in odd ways, their successes often presented as failures by male writers striving to \u201ccorrect\u201d the mistakes of these idiosyncratic experiences which were insufficiently domestic. As Gerda Lerner has explained, \u201cgreat women\u201d were not shown as representative but as \u201cexceptional\u201d or \u201cdeviant.\u201d Did they remain, then, isolated figures, cut off from any legacy? How did their life-stories circulate, and in which ways have these \u201cminor\u201d figures\u2014who were very often infantilized when they were presented to the public\u2014become, in turn, representative?<\/p>\n\n\n\n<p>500-word proposals with a list of references and a 200-word biographical statement should be sent to H\u00e9l\u00e8ne Cottet (<a href=\"mailto:helene.cottet@univ-lille.fr\">helene.cottet@univ-lille.fr<\/a>) and H\u00e9l\u00e8ne Quanquin (<a href=\"mailto:helene.quanquin@univ-lille.fr\">helene.quanquin@univ-lille.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 7 \u00ab Not \u2018regular\u2019 TV \u00bb : contestation et l\u00e9gitimation en s\u00e9ries<\/h3>\n\n\n\n<p><em>Emmanuelle Delano\u00eb-Brun (Universit\u00e9 de Paris) et Alexis Pichard (Universit\u00e9 de ParisNanterre)<\/em><\/p>\n\n\n\n<p>En 1996, Robert J. Thompson c\u00e9l\u00e9brait l\u2019entr\u00e9e de la t\u00e9l\u00e9vision dans son second \u00e2ge d\u2019or en \u00e9voquant quelques s\u00e9ries de <em>networks <\/em>comme <em>Hill Street Blues<\/em>, qui se distinguaient des autres productions de l\u2019\u00e9poque par leurs ambitions narratives et esth\u00e9tiques. Dix ans plus tard, Kim Akass et Janet McCabe d\u00e9limitaient les contours d\u2019une t\u00e9l\u00e9vision dite \u00ab de qualit\u00e9 \u00bb, alors que l\u2019\u00e9mergence de la cha\u00eene c\u00e2bl\u00e9e HBO propulsait la production s\u00e9rielle vers de nouvelles exigences. \u00ab <em>It\u2019s not TV. It\u2019s HBO<\/em> \u00bb, promettait la cha\u00eene de 1997 \u00e0 2006, \u00e9tablissant une distinction qui fonctionna longtemps comme principal crit\u00e8re d\u00e9finitionnel de programmes de qualit\u00e9. D\u2019ailleurs, Thompson l\u2019\u00e9crivait lui-m\u00eame d\u00e8s 1996 : \u00ab <em>Quality TV is best defined by what it\u2019s not. It\u2019s not \u2018regular\u2019 TV.<\/em> \u00bb La t\u00e9l\u00e9vision ne pouvait \u00eatre qualitative que lorsqu\u2019elle reniait son identit\u00e9 populaire et qu\u2019elle lorgnait vers les arts plus nobles, le cin\u00e9ma en t\u00eate.<\/p>\n\n\n\n<p>Depuis lors, malgr\u00e9 les r\u00e9sistances, les s\u00e9ries t\u00e9l\u00e9vis\u00e9es ont \u00e9t\u00e9 \u00e9rig\u00e9es comme forme d\u2019art \u00e0 part enti\u00e8re : elles ont maintenant leurs festivals, leur panth\u00e9on de stars \u2013 <em>showrunners<\/em>, sc\u00e9naristes, actrices et acteurs. Elles ont leurs <em>TV studies<\/em>, leurs publications academiques consacr\u00e9es, leurs entr\u00e9es dans les formations et s\u00e9minaires universitaires. Pour autant, les d\u00e9bats autour de ce qui fait la qualit\u00e9 d\u2019une s\u00e9rie ont toujours cours et t\u00e9moignent de la persistance d\u2019une approche \u00e9litiste, et socialement ancr\u00e9e, de ce nouvel acteur culturel. Cela se remarque par exemple au niveau des hi\u00e9rarchies prescriptives qui se sont mises en place dans le but de l\u00e9gitimer le genre, et dans la formation des canons s\u00e9riels selon une culture \u00e9litaire, canons qui s\u2019imposent autant qu\u2019ils sont contest\u00e9s.<\/p>\n\n\n\n<p>Par ailleurs, venues d\u2019un univers culturel longtemps d\u00e9nigr\u00e9, les s\u00e9ries dialoguent avec les canons culturels, litt\u00e9raires, cin\u00e9matographiques, th\u00e9\u00e2traux, photographiques, litt\u00e9raires, musicaux, \u00e0 mesure qu\u2019elles y cherchent leur place. De <em>South Park<\/em> \u00e0 <em>American Horror Story<\/em>, des <em>Simpsons<\/em> \u00e0 <em>Fargo<\/em>, de <em>Charmed<\/em> \u00e0 <em>Game of Thrones <\/em>ou <em>Succession<\/em>, les s\u00e9ries brassent des r\u00e9f\u00e9rences qui disent un rapport au canon, entre l\u00e9gitimation, r\u00e9cup\u00e9ration, et contestation, entre r\u00e9v\u00e9rence et irr\u00e9v\u00e9rence. Un regard critique vis-\u00e0-vis des processus de constitution des valeurs et canons culturels s\u2019y d\u00e9ploie aussi, par la voix de celles et ceux qui en sont exclu.e.s, mais en revendiquent leur part. De <em>Master of None <\/em>\u00e0 <em>Sense8<\/em>, de <em>Buffy <\/em>\u00e0 <em>How to Get Away with Murder<\/em>, les s\u00e9ries se font espace de revendication d\u2019autres rapports \u00e0 l\u2019autorit\u00e9 et aux formes de domination dont le canon est aussi une expression, d\u2019autres rapports \u00e0 la construction de normes culturelles.<\/p>\n\n\n\n<p>Cet atelier souhaite inviter \u00e0 des communications qui consid\u00e9reront les multiples fa\u00e7ons dont les s\u00e9ries t\u00e9l\u00e9vis\u00e9es tissent des rapports critiques avec le canon et les forces culturelles, id\u00e9ologiques, sociales, qu\u2019il cristallise, dans le temps m\u00eame o\u00f9 il se constitue, fluctuant, contest\u00e9, mais \u00e9galement constructif, dans la cr\u00e9ation s\u00e9rielle et culturelle contemporaine.<\/p>\n\n\n\n<p>Les propositions (r\u00e9sum\u00e9 de 300 mots environ accompagn\u00e9 d\u2019une notice biographique) sont \u00e0 envoyer conjointement \u00e0 Emmanuelle Delano\u00eb-Brun (emmanuelle.delanoebrun@u-paris.fr) et Alexis Pichard (apichard@parisnanterre.fr) avant le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #7 \u201cNot \u2018regular\u2019 TV\u201d : negotiating the canon in serial productions<\/h3>\n\n\n\n<p>In 1996, Robert J. Thompson considered television had entered into its second golden age, noting how such network series as <em>Hill Street Blues<\/em> stood out from other productions in their narrative and aesthetic ambitions. Ten years later, Kim Akass and Janet McCabe purported to delineate the contours of \u201cquality\u201d television, while HBO propelled serial production to new heights. \u201cIt\u2019s not TV. It\u2019s HBO,\u201d HBO boasted from 1997 to 2006, establishing a distinction that long served as the defining criterion for quality programming. As Thompson wrote in 1996: \u201cQuality TV is best defined by what it\u2019s not. It\u2019s not \u2018regular\u2019 TV. Television could only be qualitative when it renounced its popular credentials and looked to the more noble arts, more specifically to cinema, first and foremost.<\/p>\n\n\n\n<p>Television series have since then been recognized as an art form in their own right, despite early resistance: they now have their festivals, their pantheon of stars \u2013 showrunners, screenwriters, actresses and actors. They have their TV studies, their dedicated academic publications, their entries in university courses and seminars. Still, the debates over what earns a series its \u00ab quality \u00bb stamp testify to the persistence of an elitist and socially anchored approach to the new cultural player. Prescriptive hierarchies are used to legitimize the genre, establishing serial canons along elitist lines, brooding resistance and contestation.<\/p>\n\n\n\n<p>Furthermore, as products of a long-denigrated culture, series have from the start engaged in a dialogue with other cultural, literary, cinematographic, photographic, theatrical, musical canons, while seeking their place in the cultural discourse. Like many others, <em>South Park<\/em>, <em>American Horror Story<\/em>, <em>The Simpsons<\/em>, <em>Fargo<\/em>, <em>Charmed<\/em>, <em>Game of Thrones<\/em> or again <em>Succession<\/em> play on multilayered intertexts that express a relationship to other cultural canons, however irreverentially at times. Series also offer spaces where to deploy critical perspectives on the processes of how cultural values and canons are established, as outsiders claim their share of the cultural discourse. From <em>Master of None<\/em> to <em>Sense8<\/em>, from <em>Buffy<\/em> to <em>How to Get Away with Murder<\/em>, series explore other relationships to authority and forms of domination of which the canon is also an expression, other relationships to the construction of cultural norms.<\/p>\n\n\n\n<p>With these multiple lines of approach in mind, this workshop wishes to invite papers that will consider the multiple ways in which television series weave critical relationships with the canon and the cultural, ideological, and social forces that it crystallizes, in the very time when it is constituted, fluctuating, contested, but also constructive, in contemporary serial and cultural creation.<\/p>\n\n\n\n<p>Proposals (300 words abstracts with a biographical note) should be sent jointly to Emmanuelle Delano\u00eb-Brun (<a href=\"mailto:emmanuelle.delanoebrun@u-paris.fr\">emmanuelle.delanoebrun@u-paris.fr<\/a>) and Alexis Pichard (<a href=\"mailto:apichard@parisnanterre.fr\">apichard@parisnanterre.fr<\/a>) before January 31, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 8 L\u00e9gitimit\u00e9, autorit\u00e9 et canons dans le domaine \u00e9cocritique et \u00e9copo\u00e9tique<\/h3>\n\n\n\n<p><em>Yves-Charles Grandjeat (Universit\u00e9 de Bordeaux Montaigne, B\u00e9n\u00e9dicte Meillon, Universit\u00e9 de Perpignan Via Domitia, et Fr\u00e9d\u00e9rique Spill, Universit\u00e9 de Picardie Jules Verne)<\/em><\/p>\n\n\n\n<p>L\u2019essor de l\u2019\u00e9cocritique comme champ de recherche aux \u00c9tats-Unis, dans les ann\u00e9es quatre-vingt-dix, a \u00e9t\u00e9 marqu\u00e9 par des \u00e9tudes portant majoritairement sur des textes sign\u00e9s par des hommes blancs, qui, \u00e0 la mani\u00e8re de Henry David Thoreau, John Muir, Edward Abbey, Barry Lopez ou Rick Bass, ont momentan\u00e9ment d\u00e9laiss\u00e9 leur milieu urbain pour vivre seuls dans les bois ou dans les grands espaces de la \u2018wilderness,\u2019 pour explorer ce que la nature sauvage pourrait leur r\u00e9v\u00e9ler. La domination de ce sch\u00e9ma fut telle qu\u2019Annie Dillard, pour son <em>Pilgrim at Tinker Creek<\/em>, qu\u2019elle r\u00e9digea \u00e0 partir de d\u00e9ambulations dans la zone p\u00e9ri-urbaine qui \u00e9tait la sienne, se sentit oblig\u00e9e d\u2019escamoter cette proximit\u00e9 de la ville pour cr\u00e9er l\u2019illusion que bien que femme, elle se pliait aux st\u00e9r\u00e9otypes associ\u00e9s \u00e0 la tradition de la \u2018nature writing\u2019 c\u00e9l\u00e9br\u00e9e par la critique et les maisons d\u2019\u00e9dition.<\/p>\n\n\n\n<p>N\u00e9anmoins, bien d\u2019autres \u0153uvres aux dimensions \u00e9copo\u00e9tiques ont \u00e9t\u00e9 produites qui n\u2019ont pas au d\u00e9part trouv\u00e9 leur place dans les canons. Bien que longtemps rel\u00e9gu\u00e9s \u00e0 la marge des corpus classiques, nombre d\u2019auteurs et autrices issus de peuples premiers, parmi lesquels Leslie Marmon Silko, N. Scott Momaday, Paula Gunn Allen, Louise Erdrich, Simon Ortiz et Linda Hogan, ont cependant \u0153uvr\u00e9 \u00e0 d\u00e9santhropocentrer notre regard sur le monde et \u00e0 faire place dans nos discours \u00e0 des voix issues de groupes minoris\u00e9s et, au-del\u00e0 de l\u2019humain, aux voix et aux rythmes de la terre. Par ailleurs, une partie de la critique a, depuis le tournant du si\u00e8cle, entrepris de faire la lumi\u00e8re sur les apports \u00e9colitt\u00e9raires d\u2019auteurs et autrices afro-am\u00e9ricains tels Frederick Douglass, Harriet Jacobs, W.E.B. Dubois, Maya Angelou et bien s\u00fbr Toni Morrison, d\u00e9passant ainsi une approche majoritairement centr\u00e9e sur la question raciale en rapport avec l\u2019histoire de l\u2019esclavagisme et la lutte pour les droits civiques. En outre, m\u00eame si elles attirent encore moins l\u2019attention en France qu\u2019aux \u00c9tats-Unis, les autrices et penseuses \u00e9cof\u00e9ministes comme Riane Eisler, Susan Griffin, Carolyn Merchant, Charlene Spretnak et Starhawk ont cependant largement contribu\u00e9 aux nombreux d\u00e9centrements de la perspective induits par les approches \u00e9cocritiques et \u00e9copo\u00e9tiques, ainsi qu\u2019\u00e0 une r\u00e9flexivit\u00e9 \u00e9copo\u00e9tique. Dans le m\u00eame temps, certain.e.s \u2018penseureuses\u2019 investi.e.s dans les mouvements de contreculture \u00e9tasuniens des ann\u00e9es soixante et soixante-dix (notamment Th\u00e9odore Roszak) ont b\u00e2ti le socle d\u2019une \u00e9copsychologie fond\u00e9e sur la capacit\u00e9 \u00e0 nous relier \u00e0 notre inconscient \u00e9cologique par lequel s\u2019exprimerait toujours notre dialogue avec les voix de la terre. Ces influences se retrouvent dans l\u2019\u00e9laboration d\u2019une \u00e9coph\u00e9nom\u00e9nologie telle que la con\u00e7oit David Abram \u00e0 partir de Merleau-Ponty, mais aussi dans ces mouvances \u00e0 la fois philosophiques et litt\u00e9raires trop longtemps marginalis\u00e9es que sont les \u00e9cof\u00e9minismes, l\u2019\u00e9copsychologie, et les courants issus des savoirs traditionnels. Enfin, gr\u00e2ce \u00e0 des auteurs et autrices comme Wendell Berry, Barbara Kingsolver, Bobbie Ann Mason, Ann Pancake, Tim Gautreaux et Ron Rash, un autre courant irriguant les champs \u00e9cocritique et \u00e9copo\u00e9tique prend sa source dans une litt\u00e9rature r\u00e9gionaliste relayant des cultures rurales et r\u00e9habilitant des langages vernaculaires et des modes de vies longtemps d\u00e9class\u00e9s par les \u00e9lites intellectuelles et urbaines dominant les milieux universitaires.<\/p>\n\n\n\n<p>\u00c0 l\u2019heure o\u00f9 la visibilit\u00e9 et la l\u00e9gitimit\u00e9 des peuples premiers et des femmes dans les combats \u00e9cologiques sont souvent mises en avant sur la sc\u00e8ne politique et m\u00e9diatique, qu\u2019en est-il de la place et de l\u2019autorit\u00e9 accord\u00e9es dans les domaines \u00e9cocritiques et \u00e9copo\u00e9tiques \u00e0 toutes ces voix humaines trop longtemps minoris\u00e9es par une intelligentsia majoritairement masculine, blanche et issue de classes urbaines privil\u00e9gi\u00e9es ?<\/p>\n\n\n\n<p>En France, il aura fallu attendre que l\u2019un de nos plus grands penseurs contemporains, Bruno Latour, th\u00e9orise les diff\u00e9rents visages de Ga\u00efa pour qu\u2019on les reconsid\u00e8re enfin avec s\u00e9rieux, alors m\u00eame qu\u2019ils \u00e9taient d\u00e9j\u00e0 au c\u0153ur d\u2019une \u00e9laboration indig\u00e8ne, \u00e9cof\u00e9ministe, et \u00e9copsychologique aussi rationnelle que po\u00e9tique et politique, mais qui a longtemps \u00e9t\u00e9 balay\u00e9e comme relevant de sympathiques \u00e9lucubrations r\u00e9gressives, \u2018pa\u00efennes\u2019 et non-pertinentes. Il aura fallu attendre que Philippe Descola \u00e9labore une anthropologie structuraliste pour permettre de repenser le caract\u00e8re \u00e9difiant des ontologies animistes et tot\u00e9miques propres aux peuples indig\u00e8nes. Il aura fallu attendre les approches bioacoustiques de Murray Schafer et Bernie Krause pour que les notions d\u2019un \u2018chant du monde\u2019 ou de \u2018paysages sonores\u2019 soient r\u00e9\u00e9valu\u00e9es. Il s\u2019agira, dans ce contexte, d\u2019\u00e9clairer dans le cadre de cet atelier la fa\u00e7on dont les \u00e9copo\u00e8tes et \u00e9copo\u00e9tesses, les auteurs et autrices d\u2019une \u00e9colitt\u00e9rature qui n\u2019entre pas dans les cases de la traditionnelle \u2018nature writing\u2019 \u00e9tasunienne offrent n\u00e9anmoins des entr\u00e9es pr\u00e9cieuses pour r\u00e9\u00e9valuer les liens entre humains et autres qu\u2019humains, ainsi qu\u2019entre langages humains et langages autres qu\u2019humains.<\/p>\n\n\n\n<p>Les propositions de communications en anglais ou en fran\u00e7ais sont \u00e0 envoyer \u00e0 Yves-Charles Grandjeat (Yves.Grandjeat@u-bordeaux-montaigne.fr), B\u00e9n\u00e9dicte Meillon (benedicte.meillon@univ-perp.fr) et Fr\u00e9d\u00e9rique Spill (frederique.spill@u-picardie.fr) au plus tard pour le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #8 Legitimacy, Authority, and Canons in Ecocriticism and Ecopoetics<\/h3>\n\n\n\n<p>The rise of ecocriticism in the United States in the 1990\u2019s depended on studies mainly focusing on texts penned by white males who, like David Henry Thoreau, John Muir, Edward Abbey, Barry Lopez or Rick Bass, temporarily fled their urban homes to go live in the woods or somewhere out in the \u201cwilderness.\u201d In doing so, these writers were aiming to explore what revelations nature might hold in store for them. This typical schema prevailed to the point that, when writing <em>Pilgrim at Tinker Creek,<\/em> inspired by her peregrinations in her own neighborhood, Annie Dillard felt obligated to obliterate the suburban context from which her writing emerged, thus creating the illusion that, although writing as a woman, she could otherwise comply with the standards associated with the much celebrated \u2018nature writing\u2019 tradition.<\/p>\n\n\n\n<p>However, many other ecopoetic works have been published that were initially left out of the canons. Even though they long remained excluded from classical corpuses, many indigenous writers such as Leslie Marmon Silko, N. Scott Momaday, Paula Gunn Allen, Louise Erdrich, Simon Ortiz, and Linda Hogan have yet carefully labored to shift the dominant, anthropocentric gaze prevailing in the Western world. At the same time, these writers made room in the house of fiction and discourse for voices belonging to minoritized groups. Moreover, they reclaimed the voices and rhythms of the earth. Besides, since the turn of the century, some critics have started shedding new light on African American ecoliterary contributions from writers such as Frederick Douglass, Harriet Jacobs, W.E.B. Dubois, Maya Angelou, and, of course, Toni Morrison, calling attention to dimensions of their writing beyond issues tied to the history of slavery and civil rights movement. In addition, and even though they had until very recently garnered even less attention in France than in the USA, ecofeminist writers and thinkers such as Riane Eisler, Susan Griffin, Carolyn Merchant, Charlene Spretnak, or Starhawk have largely contributed both to the many shifts in perspectives induced by ecocritical and ecopoetic approaches, and to ecopoetic self-reflexivity. At the same time, while partaking in the counterculture movement of the sixties and seventies, thinkers such as Theodore Roszak have laid the foundations of ecopsychology. To put it in a nutshell, ecopsychology rests on our capacity to relate to the ecological unconscious still informing our ongoing dialogue with the earth\u2019s other-than human-voices. While they long remained marginalized, these influences are now visible in the ecophenomenology elaborated by David Abram, who taps into Merleau-Ponty\u2019s work as much as in the philosophical and literary insights first provided by ecofeminism, ecopsychology, and traditional knowledges. Last but not least, thanks to writers such a Wendell Berry, Barbara Kingsolver, Bobbie Ann Mason, Ann Pancake, Tim Gautreaux, and Ron Rash, there is another current irrigating ecocritical and ecopoetic studies and which draws from regionalist literature. Relaying rural cultures, this regional literature has worked toward the rehabilitation of vernacular languages and lifestyles which have long been under-estimated by the intellectual and urban elites dominating academia.<\/p>\n\n\n\n<p>As first peoples and women are now being given much media visibility and political legitimacy and are being recognized as important agents of ecological struggles\/environmental struggles, how might this compare with the place and authority granted in ecocriticism and ecopoetics to all those human voices who have been minoritized for way too long by an intelligentsia predominantly composed of white males who, for the most part, additionally come from privileged urban classes?<\/p>\n\n\n\n<p>In France, it took for one of our greatest, contemporary thinkers\u2014namely Bruno Latour\u2014 to theorize the many faces of Gaia so that these could finally be taken seriously. These were in fact already at the heart of indigenous, ecofeminist, and ecopsychological theories and practices which were meant to be at once poetic and political, and which yet have long been dismissed overall as sweet, pagan, regressive, and finally irrelevant propositions. It took for Philippe Descola to elaborate a structural anthropology for people to envision the potential enlightenment contained in the animistic and totemic worldviews characteristic of indigenous groups. It took for the bioacoustic approaches of Murray Schafer and Bernie Krause for intellectuals to reexamine the ancient notion of a \u201csong of the world\u201d and reconsider the existence of \u201csoundscapes.\u201d In this context, this panel aims to cast light on the ways in which ecopoets writing a kind of prose or poetry that cannot easily be wedged into the early canon of \u201cnature writing\u201d may yet be offering precious insights to help us reevaluate the ties between humans and other-than-humans, and to potentially redeem the links between human and otherthan-human languages.<\/p>\n\n\n\n<p>Abstracts in French and English must be sent to Yves-Charles Grandjeat (<a href=\"mailto:Yves.Grandjeat@ubordeaux-montaigne.fr\">Yves.Grandjeat@ubordeaux-montaigne.fr<\/a>), B\u00e9n\u00e9dicte Meillon (<a href=\"mailto:benedicte.meillon@univ-perp.fr\">benedicte.meillon@univ-perp.fr<\/a>), and Fr\u00e9d\u00e9rique Spill (<a href=\"mailto:frederique.spill@u-picardie.fr\">frederique.spill@u-picardie.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 9 Ill\u00e9gitime, non-canonique, un vrai g\u00e2chis de papier : le r\u00f4le de l\u2019\u00e9chec dans la culture de l\u2019imprim\u00e9 aux \u00c9tats-Unis<\/h3>\n\n\n\n<p><em>Nicolas Labarre (Universit\u00e9 Bordeaux Montaigne) and Isabelle Licari-Guillaume (Universit\u00e9 C\u00f4te d\u2019Azur).<\/em><\/p>\n\n\n\n<p>Il n\u2019est pas rare de voir l\u2019\u00e9chec \u00e9lev\u00e9 en \u00e9tape cl\u00e9 d\u2019un r\u00e9cit d\u2019apprentissage ; chez J.K. Rowling par exemple, qui d\u00e9clarait dans un discours \u00e0 Harvard en 2008 : \u00ab <em>Rock bottom became a solid foundation on which I rebuilt my life<\/em>. \u00bb Dans ce cas, l\u2019\u00e9chec participe de la construction de la posture de l\u2019auteur (Meizoz), il est transmu\u00e9 en p\u00e9rip\u00e9tie, en \u00e9preuve campbellienne avant le triomphe final qu\u2019est le livre lui-m\u00eame. Mais qu\u2019en est-il des vrais \u00e9checs ? Qu\u2019en est-il des livres mal \u00e9crits et opportunistes, de ceux qui sont d\u2019un ennui mortel et qui ne sont rien d\u2019autre qu\u2019un \u00ab g\u00e2chis de papier \u00bb (Rokk) ? Nous nous int\u00e9ressons \u00e0 ces livres, ces bandes dessin\u00e9es et ces magazines qui constituent les d\u00e9chets non-canoniques et ill\u00e9gitimes de la culture contemporaine de l\u2019imprim\u00e9.<\/p>\n\n\n\n<p>L\u2019\u00e9chec, comme la beaut\u00e9, rel\u00e8vent de la facult\u00e9 de jugement dans un contexte sp\u00e9cifique, et dans certains cas, l\u2019\u00e9chec r\u00e9sulte de l\u2019intensit\u00e9 du battage m\u00e9diatique qui entoure un livre. Vingt ans apr\u00e8s avoir cr\u00e9\u00e9 <em>The Dark Knight Returns<\/em>, un r\u00e9cit de super-h\u00e9ros central dans le canon du genre (Beaty et Woo, 57), Frank Miller est ainsi revenu au personnage pour \u00e9crire <em>All Star Batman and Robin the Boy Wonder<\/em>, avec le dessinateur vedette Jim Lee. Cette entreprise s\u2019est av\u00e9r\u00e9e d\u00e9sastreuse sur pratiquement tous les plans (le travail de Lee faisant peut-\u00eatre exception), avec une s\u00e9rie s\u2019enfon\u00e7ant un peu plus dans l\u2019illisibilit\u00e9 \u00e0 chaque num\u00e9ro, et l\u2019histoire est rest\u00e9e inachev\u00e9e. Cet \u00e9chec tr\u00e8s m\u00e9diatis\u00e9 a n\u00e9anmoins g\u00e9n\u00e9r\u00e9 une \u0153uvre \u00ab <em>infamous<\/em> \u00bb, c\u00e9l\u00e8bre pour son \u00e9chec-m\u00eame, m\u00e9morable et, pour certains lecteurs, agr\u00e9able pr\u00e9cis\u00e9ment parce qu\u2019elle d\u00e9joue les attentes.<\/p>\n\n\n\n<p>Dans une culture o\u00f9 les notes et \u00e9valuations sont omnipr\u00e9sentes, les \u00e9checs exceptionnels ont quelque chose de touchant. Lorsqu\u2019un livre, un magazine ou une bande dessin\u00e9e quitte la ti\u00e9deur du m\u00e9diocre pour entrer dans le cercle restreint des v\u00e9ritables d\u00e9sastres ou du \u00ab <em>trash <\/em>\u00bb. Au cin\u00e9ma, de telles \u0153uvres ont fini par former un canon sous-culturel \u00e0 part enti\u00e8re, celui des films Z et des \u00ab nanars \u00bb. Des tendances similaires existent dans la presse \u00e9crite, comme par exemple les <em>Bad Sex Awards<\/em>, qui c\u00e9l\u00e8brent les fautes de go\u00fbt flagrantes dans les sc\u00e8nes \u00e9rotiques.<\/p>\n\n\n\n<p>Certains \u00e9checs commerciaux tiennent quant \u00e0 eux moins au contenu de l\u2019\u0153uvre qu\u2019\u00e0 son mode de publication. En 2007, DC comics lan\u00e7ait le label Minx, destin\u00e9 aux adolescentes et positionn\u00e9 en alternative aux mangas, avec \u00e0 sa t\u00eate Karen Berger et Shelly Bond, deux responsables \u00e9ditoriales \u00e0 succ\u00e8s. Pourtant, les romans graphiques Minx ont \u00e9t\u00e9 un \u00e9chec retentissant. Les analyses <em>a<\/em> <em>posteriori<\/em> ont montr\u00e9 qu\u2019ils avaient \u00e9t\u00e9 class\u00e9s par les libraires dans la cat\u00e9gorie \u201cbandes dessin\u00e9es\u201d plut\u00f4t que \u201c<em>Young Adult<\/em>\u201d, \u00e9chouant ainsi \u00e0 atteindre leur lectorat. Les mod\u00e8les de distribution, de promotion et de marketing jouent donc un r\u00f4le essentiel dans le succ\u00e8s ou l\u2019\u00e9chec des livres et des magazines. Cela \u00e9tant, l\u2019\u00e9chec commercial n\u2019emp\u00eache pas n\u00e9cessairement les \u0153uvres de conna\u00eetre un succ\u00e8s critique \u00e0 long terme.<\/p>\n\n\n\n<p>Nous recherchons des contributions explorant le r\u00f4le de l\u2019\u00e9chec dans la culture de l\u2019imprim\u00e9 aux \u00c9tats-Unis, y compris les bandes dessin\u00e9es, les livres pour enfants, les magazines et les romans. En particulier, nous aimerions explorer les nombreuses fa\u00e7ons dont l\u2019\u00e9chec et la canonicit\u00e9 ne s\u2019excluent pas mutuellement, notamment parce que l\u2019\u00e9chec, tout comme le canon, est une notion discursive et hautement contingente.<\/p>\n\n\n\n<p>Nous sommes particuli\u00e8rement int\u00e9ress\u00e9s par les th\u00e8mes suivants :<\/p>\n\n\n\n<p>&#8211; <em>Le seuil de l\u2019\u00e9chec<\/em> : Qu\u2019est-ce qui distingue les simples m\u00e9diocrit\u00e9s des \u00e9checs complets ? Quels seuils une \u0153uvre doit-elle franchir pour \u00eatre identifi\u00e9e comme un \u00e9chec total, et comment ces seuils sont-ils cr\u00e9\u00e9s et maintenus de mani\u00e8re discursive ?<\/p>\n\n\n\n<p>&#8211; <em>Apprendre de l\u2019\u00e9chec<\/em> : comment les r\u00e9cits des \u00e9diteurs rendent-ils compte des \u00e9checs, et comment ces \u00e9checs affectent-ils les d\u00e9cisions ult\u00e9rieures ? Ce processus d\u2019apprentissage est-il similaire \u00e0 celui subi par les cr\u00e9ateurs eux-m\u00eames ? Les lecteurs apprennent-ils eux-m\u00eames des \u00e9checs ?<\/p>\n\n\n\n<p>&#8211; <em>Le plaisir de l\u2019\u00e9chec<\/em> : pourquoi prenons-nous plaisir \u00e0 lire des r\u00e9cits d\u2019\u00e9chec ? L\u2019\u00e9chec a-t-il une valeur pour les cr\u00e9ateurs ? Dans quelle mesure peut-on consid\u00e9rer les livres \u201ccultes\u201d comme des \u00e9checs ?<\/p>\n\n\n\n<p>&#8211; <em>L\u2019\u00e9chec et le \u00ab <\/em>trash<em> \u00bb<\/em> : si les deux notions pr\u00e9sentent des similitudes, toutes les \u0153uvres trash ne sont pas des \u00e9checs en soi ou pour le public auquel elles sont destin\u00e9es. M\u00eame les genres peu recommandables, comme l\u2019horreur ou la pornographie, rec\u00e8lent des succ\u00e8s et des \u00e9checs.<\/p>\n\n\n\n<p>&#8211; <em>Au mauvais endroit au mauvais moment<\/em> : De mauvaises strat\u00e9gies commerciales peuvent-elles compromettre le succ\u00e8s de bons livres ? Dans quels cas l\u2019\u00e9chec commercial devient-il un motif ult\u00e9rieur de fiert\u00e9, et quels sont les m\u00e9canismes permettant de dissocier succ\u00e8s esth\u00e9tique et \u00e9chec commercial ?<\/p>\n\n\n\n<p>&#8211; <em>Condamn\u00e9s \u00e0 l\u2019\u00e9chec<\/em> : certains personnages, genres, th\u00e8mes et lectorats sont-ils plus susceptibles d\u2019\u00e9chouer que d\u2019autres ? Comment expliquer l\u2019existence <em>Bad Sex Awards<\/em> mentionn\u00e9s plus haut, alors qu\u2019il n\u2019existe pas de prix pour les plus mauvaises sc\u00e8nes de conduite ou m\u00eame pour les plus mauvaises explications scientifiques, par exemple ?<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Nicolas Labarre (nicolas.labarre@u-bordeauxmontaigne.fr) et Isabelle Licari-Guillaume (Isabelle.LICARI-GUILLAUME@univcotedazur.fr) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">References<\/h4>\n\n\n\n<p>Beaty, Bart, and Benjamin Woo. <em>The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books<\/em>. New York: Palgrave Macmillan, 2016.<\/p>\n\n\n\n<p>Cartmell, I. Q. Hunter, H. Kaye, &amp; I. Whelehan (Eds.), <em>Trash Aesthetics: Popular Culture and its Audience<\/em>. Film\/Fiction 2. London: Pluto, 1997.<\/p>\n\n\n\n<p>Glynn, Kevin. <em>Tabloid culture: trash taste, popular power, and the transformation of American television<\/em>. Durham: Duke UP, 2000.<\/p>\n\n\n\n<p>Meizoz, J\u00e9r\u00f4me. <em>Postures litt\u00e9raires. Mises en sc\u00e8ne moderne de l\u2019auteur<\/em>: essai. Gen\u00e8ve: Slatkine, 2007.<\/p>\n\n\n\n<p>Rokk. \u201cComic Book Review: Countdown to Final Crisis #23\u201d. Comic Book Revolution, Nov. 23, 2007. <a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">https:\/\/www.comicbookrevolution.com\/comic<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">&#8211;<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">book<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">&#8211;<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">review<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">&#8211;<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">countdown<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">&#8211;<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\">23\/<\/a><a href=\"https:\/\/www.comicbookrevolution.com\/comic-book-review-countdown-23\/\"> <\/a>Witek, Joseph. \u201cIf a Way to the Better There Be: Excellence, Mere Competence, and The Worst Comics Ever Made.\u201d <em>Image [&amp;] Narrative<\/em> 17, no. 4 : 2016.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #9 Illegitimate, uncanonical, and \u201ca total waste of paper\u201d: failures in US print culture<\/h3>\n\n\n\n<p>It is not uncommon to see failure romanticised as a low point that reveals one\u2019s true self &#8211; confer J.K. Rowling (\u201crock bottom became a solid foundation on which I rebuilt my life\u201d, she said in a 2008 speech at Harvard). In such cases, failure plays a role in the construction of the author\u2019s posture (Meizoz) &#8211; it is a narrative conceit, the Campbellian ordeal before the final triumph that is the book itself. Yet what of the real failures? What of the badly written, the exploitative, the supremely boring trash, amounting to nothing but \u201ca total waste of paper\u201d (Rokk)? We are interested in those books, comics and magazines that form the uncanonical, illegitimate refuse of modern print culture.<\/p>\n\n\n\n<p>Failure, like beauty, is in the eye of the beholder, and in some cases, failure is made spectacular by the intensity of the hype surrounding the book. Twenty years after creating The Dark Knight Returns, one of the most canonical superhero narratives (Beaty and Woo, 57) Frank Miller returned to the character to write All Star Batman and Robin the Boy Wonder, along with star artist Jim Lee. That endeavour proved disastrous on virtually all fronts (barring perhaps Lee\u2019s art), with one reviewer noting that the series \u201cjust spirals deeper and deeper into the abyss of unreadable\u201d, and the story was left unfinished. That high-profile failure nevertheless generated an infamous work, memorable and to some readers pleasurable, precisely because of its inability to conform to expectations.<\/p>\n\n\n\n<p>In a culture where ratings are everywhere, there is something touching about outstanding failures. When a book, magazine or comic leaves the tepid realm of the mediocre in order to enter the select circle of absolute trash. In cinema, such works have come to form a subcultural canon of their own, from Z-movies to films so-bad-they\u2019re-good. Yet similar trends exist in print culture, one prime example being the Bad Sex Awards, which celebrates resounding failures of good taste in erotic scenes.<\/p>\n\n\n\n<p>Some commercial failures have to do not with the contents of the work itself, but with the context within which it was published. In 2007, DC comics launched Minx, an imprint aimed at teenage girls that sought to provide them with an alternative to manga. At its helm were Karen Berger and Shelly Bond, two successful editors with impeccable credentials. Yet the<\/p>\n\n\n\n<p>Minx books were a resounding failure. The postmortem revealed that they were shelved under \u201ccomics\u201d rather than \u201cyoung adult,\u201d and failed to reach their readers. This goes to show that distribution, promotion, and marketing models play a vital role in the success or failure of books and magazines. Yet commercial failure does not necessarily prevent works from becoming critically successful in the long run.<\/p>\n\n\n\n<p>We invite contributions exploring the role of failure in US print culture, including comics, children\u2019s books, magazines, and novels. In particular, we would like to explore the many ways in which failure and canonicity are not mutually exclusive, if only because failure, no less than the canon, is a discursive and highly contingent notion.<\/p>\n\n\n\n<p>Suggested topics of inquiry include:<\/p>\n\n\n\n<p>&#8211; Trying hard to fail: What distinguishes mere mediocrities from utter failures? What thresholds does a work need to cross to be identified as the latter, and how are these thresholds discursively created and maintained?<\/p>\n\n\n\n<p>&#8211; Learning from failure: how do publishers\u2019 narratives account for failures, and how do these failures affect later decisions? Is this learning process similar to the ones undergone by the creators themselves? Do readers themselves learn from failures?<\/p>\n\n\n\n<p>&#8211; The pleasure of failure: why is it that we enjoy reading failed narratives? Does failure have value for creators? To what extent can we regard \u201ccult\u201d books as failures?<\/p>\n\n\n\n<p>&#8211; Failure and trash: while the two notions harbor similarities, not all trashy works are failures on their own terms or for their intended audience. Even disreputable and \u201ctrashy\u201d genres, such as horror or pornography, harbor successes and failures.<\/p>\n\n\n\n<p>&#8211; In the wrong place at the wrong time: Can bad commercial strategies undermine the success of good books? In what cases does commercial failure become a badge of honor, and what are the mechanisms enabling the dissociation of aesthetic success and commercial failure?<\/p>\n\n\n\n<p>&#8211; Doomed to failure: are some characters, genres, themes, and readerships more likely to fail than others? How can we explain the existence of the aforementioned Bad Sex award in literature, while no such prize exists for Bad Driving Scene or even Bad Scientific Explanation, for instance?<\/p>\n\n\n\n<p>Proposals should be sent to Nicolas Labarre (<a href=\"mailto:nicolas.labarre@u-bordeaux-montaigne.fr\">nicolas.labarre@u-bordeaux-montaigne.fr<\/a>) and Isabelle Licari-Guillaume (<a href=\"mailto:Isabelle.LICARI-GUILLAUME@univ-cotedazur.fr\">Isabelle.LICARI-GUILLAUME@univ-cotedazur.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 10 L\u2019\u00e9volution des canons hollywoodiens<\/h3>\n\n\n\n<p><em>Julie Assouly (Universit\u00e9 Artois) et Christophe Chambost (Universit\u00e9 Bordeaux-Montaigne).<\/em><\/p>\n\n\n\n<p>Comment naissent et \u00e9voluent les canons du cin\u00e9ma hollywoodien ? Quelle l\u00e9gitimit\u00e9 leur apportent le syst\u00e8me des studios et le succ\u00e8s plan\u00e9taire des films produits dans l\u2019\u00e8re dite \u00ab classique \u00bb ? Quel fut le r\u00f4le jou\u00e9 par les fondateurs juifs d\u2019Hollywood dans l\u2019\u00e9tablissement de ces canons ? Quel est le r\u00f4le de mouvements artistiques ext\u00e9rieurs (l\u2019expressionisme allemand, la Nouvelle Vague, le n\u00e9o-r\u00e9alisme italien, ou derni\u00e8rement les influences asiatiques ou sud-am\u00e9ricaines) dans l\u2019\u00e9volution de ces canons ? Peut-on parler d\u2019hybridation des canons de cin\u00e9mas nationaux pendant la p\u00e9riode des studios ?<\/p>\n\n\n\n<p>Les mouvements transnationaux favorisent cette hybridation \u00e0 l\u2019\u0153uvre dans des blockbusters et films commerciaux am\u00e9ricains r\u00e9alis\u00e9s par des r\u00e9alisateurs fran\u00e7ais (Jeunet, Gondry, Audiard), britanniques (Hitchcock, Gilliam, Scott, McQueen), asiatiques (John Woo, Ang Lee, Park Chan-wook ou sud-am\u00e9ricains (Cuar\u00f3n, I\u00f1\u00e1rritu, Del Toro) qui acqui\u00e8rent une l\u00e9gitimit\u00e9 \u00e0 Hollywood sans \u00eatre de culture nord-am\u00e9ricaine. On peut s\u2019interroger sur la part que prennent les \u00e9changes transnationaux dans l\u2019\u00e9volution et la l\u00e9gitimation des canons hollywoodiens aujourd\u2019hui, ou bien sur leur remise en question. Les canons du cin\u00e9ma classique hollywoodien font-ils toujours autorit\u00e9 \u00e0 l\u2019heure de l\u2019hybridit\u00e9 culturelle, g\u00e9n\u00e9rique et m\u00eame m\u00e9diale ? Quel est le r\u00f4le jou\u00e9 par les autres arts dans l\u2019\u00e9tablissement et l\u2019\u00e9volution de ces canons ?<\/p>\n\n\n\n<p>Il serait \u00e9galement pertinent de prendre en compte les films ind\u00e9pendants dont l\u2019un des traits d\u00e9finitoires a longtemps \u00e9t\u00e9 sa r\u00e9sistance au rouleau-compresseur hollywoodien imposant ses normes par sa puissance financi\u00e8re. Par ailleurs, le renversement des codes des genres (le pastiche, la parodie\u2026) peut \u00eatre consid\u00e9r\u00e9 comme une strat\u00e9gie d\u00e9ploy\u00e9e par les studios pour se moquer de leurs propres canons, tout en en cr\u00e9ant de nouveaux. Les ann\u00e9es 80-90 ont d\u2019ailleurs vu se d\u00e9velopper des com\u00e9dies parodiques dont l\u2019autod\u00e9rision a fait le succ\u00e8s.Telles sont les questions et r\u00e9flexions, non exhaustives, auxquelles ce panel s\u2019int\u00e9resse.<\/p>\n\n\n\n<p>Nous invitons les coll\u00e8gues int\u00e9ress\u00e9s \u00e0 soumettre un abstract d\u2019environ 2000 signes (espaces compris) ainsi qu\u2019une courte bibliographie. Merci de joindre \u00e9galement un court paragraphe biographique. Les propositions sont \u00e0 envoyer \u00e0 Julie Assouly (<a href=\"mailto:Julie.assouly@gmail.com\">Julie.assouly@gmail.com<\/a>) et Christophe Chambost (<a href=\"mailto:Christophe.chambost@wanadoo.fr\">Christophe.chambost@wanadoo.fr<\/a>) avant le 17 janvier 2022.<\/p>\n\n\n\n<p>Les communications se feront en langue anglaise pour les besoins d\u2019une \u00e9ventuelle publication.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Suggestions bibliographiques<\/h4>\n\n\n\n<p>Bordwell, David, <em>The Way Hollywood Tells It: Story and Style in Modern Movies<\/em>, Berkeley, University of California Press, 2006.<\/p>\n\n\n\n<p>Bourget, Jean-Loup et Jacqueline Nacache (eds.), <em>Le classicisme Hollywoodiens<\/em>, Rennes, PUR, 2009.<\/p>\n\n\n\n<p>Etcheverry, Michel, \u00ab Morts et renaissances du cin\u00e9ma hollywoodien \u00bb, <em>Revue Fran\u00e7aise d\u2019\u00c9tudes Am\u00e9ricaines<\/em>, 76 (1), 1998, 93-103.<\/p>\n\n\n\n<p>Gabler, Neal, <em>An Empire of Their Own: How the Jews Invented Hollywood<\/em>, New York, Anchor Books, 1988.<\/p>\n\n\n\n<p>Howes, David (ed), <em>Cross-Cultural Consumption: Global Markets, Local Realities.<\/em> Routledge, 1996.<\/p>\n\n\n\n<p>Larry Langman, <em>Destination Hollywood: The Influence of Europeans on American Filmmaking<\/em>, Jefferson (N.Ca.), McFarland, 2000.<\/p>\n\n\n\n<p>Mendik, Xavier and Steven Jay Schneider (eds.), <em>Underground U.S.A.: Filmmaking Beyond the Hollywood Canon<\/em>, London, Wallflower Press, 2002.<\/p>\n\n\n\n<p>Rosen, Philip, \u201cHistory, Textuality, Nation: Kracauer, Burch, and some problems in the study of national cinema\u201d (1984) in Valentina Vitali, Paul Willemen (eds.), <em>Theorising national cinema<\/em>, London, BFI Publishing, 2006, 17-29.<\/p>\n\n\n\n<p>Stam, Robert, <em>World Literature, Transnational Cinema, and Global Media: Towards a Transartistic Commons<\/em>, Routledge, 2019.<\/p>\n\n\n\n<p>Stam Robert &amp; Ella Shohat, \u00ab From the Imperial Family to the Transnational Imagery: Media Spectatorship in the Age of Globalization \u00bb, <em>Global\/Local: Cultural Production and Transnational Imagery<\/em>,Rob Wilson &amp; Wimal Dissanayate (ed.), Durham, Duke University Press, 1996.<\/p>\n\n\n\n<p>Shaw, Deborah, <em>The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro Gonzales I\u00f1\u00e1rritu, and Alfonso Cuaron<\/em>, Manchester University Press, 2013.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #10 The evolution of Hollywood canons<\/h3>\n\n\n\n<p>How do Hollywood canons emerge and evolve? What form of legitimacy did the studio system and international success of Hollywood films produced in the so called \u201cclassical era\u201d give to this model? What was the role of the Jewish founders of Hollywood (Gabler 1989) in the creation of these canons? What is the role played by external art movements and trends (e.g., German expressionism, the French New Wave, Italian neorealism or more recently Asian and South American directors) in the evolution of these canons? Can we consider that the studio era enabled the hybridization of the canons of national cinemas? And to what extent are these canons still legitimate today?<\/p>\n\n\n\n<p>Transnational movements favor such hybridization which is visible in American blockbusters and mainstream films made by French (Jeunet, Gondry, Audiard), British (Hitchcock, Gilliam, Scott, McQueen), Asian (John Woo, Ang Lee, Park Chan-wook) or South American (Cuar\u00f3n, I\u00f1\u00e1rritu, Del Toro) directors, who have gained a form of legitimacy in Hollywood without sharing a North American cultural background. One can question the role played by international exchanges in the evolution and legitimation of Hollywood canons today. Do classic Hollywood canons still prevail in the age of cultural, generic and even medial hybridity? What is the role of other art forms in the creation and evolution of these canons?<\/p>\n\n\n\n<p>One should also consider the case of independent cinema whose main principle has long been its endeavor to resist the crushing influence of the Hollywood juggernaut imposing its norms through financial power. On the other hand, the debunking of generic conventions (e.g., pastiche, parody) can be considered as a strategy adopted by the studios to mock their own canons while creating new ones (e.g., 1980s-90s comedies).<\/p>\n\n\n\n<p>These questions and reflections, though not exclusive, will be welcomed for consideration in this workshop. We will ask colleagues wishing to submit a paper to send us a 2000-character abstract (spaces included) and a short bibliography along with a short biographical note to Julie Assouly (<a href=\"mailto:Julie.assouly@gmail.com\">Julie.assouly@gmail.com<\/a>) and Christophe Chambost (<a href=\"mailto:Christophe.chambost@wanadoo.fr\">Christophe.chambost@wanadoo.fr<\/a>) before January 17, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 11 L\u00e9gitimit\u00e9(s) politique(s) en temps de crise<\/h3>\n\n\n\n<p><em>Olivier Richomme (Universit\u00e9 Lyon 2) et \u00c9ric Rouby (Institut de Recherche Montesquieu, Universit\u00e9 de Bordeaux)<\/em><\/p>\n\n\n\n<p>Les concepts de l\u00e9gitimit\u00e9 et d\u2019autorit\u00e9 sont deux faces d\u2019une m\u00eame pi\u00e8ce, centrale dans la compr\u00e9hension moderne des faits politiques. Au d\u00e9but du 20<sup>e<\/sup> si\u00e8cle, le sociologue Max Weber subdivisait la l\u00e9gitimit\u00e9 \u2013 comprise comme la croyance des individus dans le caract\u00e8re socialement acceptable de l\u2019autorit\u00e9 des gouvernants, des institutions politiques et des r\u00e8gles qu\u2019ils prescrivent \u2013 en trois id\u00e9aux-types appel\u00e9s \u00e0 se combiner dans la pratique (l\u00e9gitimit\u00e9 traditionnelle, charismatique et l\u00e9gale-rationnelle).<\/p>\n\n\n\n<p>Les \u00c9tats-Unis offrent de parfaits exemples de la mise en \u0153uvre et du travail de ces modes de l\u00e9gitimation du pouvoir. Au travers la place pr\u00e9pond\u00e9rante des r\u00e9f\u00e9rences politiques (par les R\u00e9publicains comme par les D\u00e9mocrates) \u00e0 la constitution am\u00e9ricaine, des appels aux P\u00e8res fondateurs, \u00e0 l\u2019exceptionnalisme am\u00e9ricain et autres mythes fondateurs, ils illustrent le poids de la l\u00e9gitimit\u00e9 traditionnelle dans le politique. Au travers de la tendance \u00e0 la personnalisation de la fonction politique, de l\u2019image du <em>Commander in Chief<\/em>, ils montrent l\u2019importance de la l\u00e9gitimit\u00e9 charismatique. \u00c9galement comprise comme \u00ab comp\u00e9tence technique reconnu \u00e0 un individu \u00bb, la l\u00e9gitimit\u00e9 charismatique permet de mettre en lumi\u00e8re une tension (particuli\u00e8rement pr\u00e9gnante depuis le d\u00e9but de la pand\u00e9mie de covid-19) entre expertise et \u00ab sagesse populaire \u00bb.<\/p>\n\n\n\n<p>Aux \u00c9tats-Unis certaines critiques des institutions porteuses de l\u2019autorit\u00e9 l\u00e9gale-rationnelle resurgissent de mani\u00e8re r\u00e9currente. Ainsi, il est r\u00e9guli\u00e8rement reproch\u00e9 \u00e0 la Cour Supr\u00eame son caract\u00e8re partisan ou son poids politique malgr\u00e9 le fait que ses membres ne soient pas \u00e9lus. Parall\u00e8lement, le faible taux d\u2019approbation que conna\u00eet le Congr\u00e8s r\u00e9v\u00e8le une g\u00eane de la population face \u00e0 ses proc\u00e9dures parfois jug\u00e9es trop lentes ou trop opaques et ses querelles partisanes qui d\u00e9naturent son r\u00f4le. Le d\u00e9bat sur la s\u00e9paration des pouvoirs (aussi vieux que la cr\u00e9ation des \u00c9tats-Unis eux-m\u00eames) entre autorit\u00e9 centrale et pouvoir des \u00c9tats f\u00e9d\u00e9r\u00e9s permet \u00e9galement de voir une autre dimension de cette lutte de l\u00e9gitimit\u00e9 politique. Tout comme c\u2019est le cas de la lutte entre pouvoirs l\u00e9gislatif, ex\u00e9cutif et judiciaires encadr\u00e9s par le fameux syst\u00e8me de freins et contrepoids et qui est notamment illustr\u00e9e par des critiques mobilisant les termes de \u00ab pr\u00e9sidence imp\u00e9riale \u00bb ou de \u00ab gouvernement des juges \u00bb. Enfin, une lutte similaire est observable au travers des r\u00e9sistances face aux programmes des organisations internationales (en mati\u00e8re environnementale ou sanitaire par exemple) qui se voient opposer des discours revendiquant la souverainet\u00e9 nationale des \u00c9tats-Unis.<\/p>\n\n\n\n<p>Cependant, au fur et \u00e0 mesure que l\u2019\u00e9cart politique cr\u00e9\u00e9 par la polarisation s\u2019accentue aux \u00c9tats-Unis, les critiques et accusations concernant l\u2019ill\u00e9gitimit\u00e9 des gouvernants, des institutions, des normes d\u00e9mocratiques am\u00e9ricaines ou des discours sont exacerb\u00e9s et cr\u00e9ent diff\u00e9rentes acceptions irr\u00e9conciliables non seulement de la forme de l\u2019autorit\u00e9 publique, mais \u00e9galement du r\u00e9el. Ainsi, les \u00ab faits alternatifs \u00bb sont venus appuyer les arguments de l\u2019administration Trump, la presse est devenue \u00ab ennemie du peuple \u00bb, les r\u00e9sultats des \u00e9lections ne b\u00e9n\u00e9ficient plus du <em>losers\u2019 consent<\/em> et le camp d\u2019en face (qu\u2019il soit d\u00e9mocrate ou r\u00e9publicain selon o\u00f9 l\u2019on se place) ne semble plus \u00eatre un partenaire politique avec qui un minimum d\u2019espace symbolique puisse \u00eatre partag\u00e9 \u00e0 mesure que l\u2019incompr\u00e9hension vis-\u00e0-vis des prises de positions des opposants grandit (comme le montre les tensions autour des questions de genre, par exemple). Les repr\u00e9sentants sont tant\u00f4t vus comme \u00e9tant trop corrompus, cyniques, politiquement corrects ou d\u00e9connect\u00e9s de la r\u00e9alit\u00e9.<\/p>\n\n\n\n<p>Cette perte extr\u00eame de l\u00e9gitimit\u00e9 vient justifier, en parall\u00e8le, des discours, des prises de positions et des actions plus radicales qui remettent en cause les fondements d\u00e9mocratiques am\u00e9ricains. Le charcutage \u00e9lectoral ou les r\u00e9formes du droit de vote sont motiv\u00e9s par des int\u00e9r\u00eats partisans et justifi\u00e9s par l\u2019id\u00e9e selon laquelle certains \u00e9lecteurs seraient moins l\u00e9gitimes que d\u2019autres \u00e0 participer \u00e0 la vie de la cit\u00e9. Les r\u00e9sultats d\u2019\u00e9lections sont remis en cause jusqu\u2019au plus haut niveau de l\u2019\u00c9tat sur les bases de fraudes imaginaires. Les proc\u00e9dures, jug\u00e9es trop lourdes et trop lentes, de l\u2019\u00c9tat de droit sont abandonn\u00e9es au profit d\u2019une promesse de rapidit\u00e9, d\u2019efficacit\u00e9 et de r\u00e9sultats tangibles. Parall\u00e8lement, tous ces efforts sont \u2013 \u00e0 leur tour \u2013 autant d\u2019\u00e9l\u00e9ments politiques jug\u00e9es ill\u00e9gitimes par leurs opposants dans la mesure o\u00f9 ils sont per\u00e7us comme allant \u00e0 l\u2019encontre de principes fondamentaux. Ainsi, le r\u00f4le et la figure de l\u2019opposition d\u00e9mocratique se voient boulevers\u00e9s.<\/p>\n\n\n\n<p>Dans ce contexte \u00e9merge une lutte de l\u00e9gitimit\u00e9(s) au sein du d\u00e9bat politique dont la gestion de la pand\u00e9mie de covid-19 offre une parfaite illustration. Avec d\u2019un c\u00f4t\u00e9 la l\u00e9gitimit\u00e9 populaire d\u2019un pr\u00e9sident \u00e9lu d\u00e9tenant la parole officielle de l\u2019\u00c9tat (en la personne de Donald Trump) et de l\u2019autre celle des experts sanitaires, plusieurs r\u00e9alit\u00e9s et plusieurs logiques d\u2019actions ont sembl\u00e9 avoir \u00e9t\u00e9 renvoy\u00e9es dos-\u00e0-dos. Cet atelier proposera donc d\u2019analyser les dynamiques contemporaines de l\u00e9gitimit\u00e9 et d\u2019ill\u00e9gitimit\u00e9, de l\u00e9gitimation et de d\u00e9l\u00e9gitimation du pouvoir politique aux \u00c9tats-Unis dans le contexte de polarisation politique. Il s\u2019agira de contribuer \u00e0 l\u2019analyse des causes, des m\u00e9canismes et des cons\u00e9quences des formes de remise en cause de l\u2019autorit\u00e9 publique.<\/p>\n\n\n\n<p>Les propositions de communication (r\u00e9sum\u00e9 de 500 mots accompagn\u00e9 d\u2019une liste de r\u00e9f\u00e9rences et d\u2019une biobibliographie) sont \u00e0 envoyer \u00e0 Olivier Richomme (<a href=\"mailto:Olivier.Richomme@univlyon2.fr\">Olivier.Richomme@univlyon2.fr<\/a>) et Eric Rouby (<a href=\"mailto:eric.rouby@gmail.com\">eric.rouby@gmail.com<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Bibliographie<\/h4>\n\n\n\n<p>Anderson, C. <em>et al.<\/em> (2005). <em>Losers\u2019 Consent: Elections and Democratic Legitimacy<\/em>. Oxford University Press.<\/p>\n\n\n\n<p>Berger, Peter L., &amp; Luckmann, T. (1991). <em>The Social Construction of Reality<\/em>. Penguin.Binder, L. &amp; La Palombara, J. (1971). <em>Crises and Sequences in Political Development<\/em>, Princeton University Press.<\/p>\n\n\n\n<p>Cain, Bruce. (2015) <em>Democracy: More or Less<\/em>. Cambridge University Press.<\/p>\n\n\n\n<p>Fletcher, J., Russell, P., and Tetlock, P. (1996). <em>The Clash of Rights: Liberty, Equality, and Legitimacy in Pluralist Democracy<\/em>. Yale University Press.<\/p>\n\n\n\n<p>Lepore, J. (2010). <em>The White of Their Eyes: The Tea Party\u2019s Revolution and the Battle over American History<\/em>. Princeton University Press.<\/p>\n\n\n\n<p>Levitsky, S. &amp; Ziblatt, D. (2018). <em>How Democracies Die: What History Reveals about our Future<\/em>. Viking.<\/p>\n\n\n\n<p>March, J. G. &amp; Olsen J. P. (1986). <em>Rediscovering Institutions: The Organizational Basis of Politics<\/em>. The Free Press.<\/p>\n\n\n\n<p>Meyer, J. W., &amp; Rowan, B. (1977). Institutionalized Organizations: Formal Structure as Myth and Ceremony. <em>American Journal of Sociology<\/em>, 83(2), 340\u2013363.<\/p>\n\n\n\n<p>Pierson, P. &amp; Skocpol T. (2007). <em>The Transformation of American Politics: Activist Government and the Rise of Conservatism<\/em>. Princeton University Press.<\/p>\n\n\n\n<p>Rioux, J-P. (2007), <em>Les populismes<\/em>, Tempus Perrin.<\/p>\n\n\n\n<p>Rogowski, R. (1974). <em>Rational Legitimacy: A theory of Political Support<\/em>. Princeton University Press.<\/p>\n\n\n\n<p>Weber M. (2003). <em>\u00c9conomie et soci\u00e9t\u00e9 <\/em>(nouvelle \u00e9dition). 2 tomes. Agora.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #11 Political legitimacies in time of crisis<\/h3>\n\n\n\n<p>The concepts of legitimacy and authority are two sides of the same coin, central to the modern understanding of political events. At the beginning of the 20th century, the sociologist Max Weber subdivided legitimacy \u2013 understood as the belief of individuals in the socially acceptable character of the authority of rulers, of political institutions and the rules they prescribe \u2013 into three ideal types that combine in practice (traditional, charismatic, and rationallegal legitimacy).<\/p>\n\n\n\n<p>American politics offers perfect examples of the workings of these types of political legitimacy. References to the Constitution of the United States, appeals to the Founding Fathers (by both Republicans and Democrats), American exceptionalism and other founding myths are ubiquitous in American politics and illustrate the weight of traditional authority. The tendency to personalize political functions or the image of the \u201cCommander in Chief\u201d, for example, show the importance of charismatic authority. Also understood as a \u201ccertain quality or knowledge of an individual\u201d that is \u201cregarded as of divine origin or as exemplary\u201d, charismatic legitimacy allows us to highlight a tension \u2013 particularly acute since the beginning of the covid-19 pandemic \u2013 between expertise and \u201cpopular wisdom\u201d.<\/p>\n\n\n\n<p>In the United States, criticisms towards the institutions that carry rational-legal authority are constant. The Supreme Court is regularly criticized for the partisan character of its rulings or its political weight despite being composed of unelected members. At the same time, the low approval rating of Congress reveals public distrust of legislative procedures that are sometimes considered too slow, inefficient or confusing. Moreover, partisan quarrels distort the role of Congress. The debate over the separation of powers (dating as far back as the creation of the United States itself) between federal and State governments also reveals another dimension of this struggle for political legitimacy. The imbalance between the legislative, executive, and judicial branches of government theoretically prevented by the system of checks and balances has led critics to use the terms \u201cimperial presidency\u201d or \u201cgovernment of judges\u201d. Finally, a similar struggle can be observed regarding the refusal to abide by international organizations mandates (in environmental or health matters, for example), which are opposed by national sovereignty discourses.<\/p>\n\n\n\n<p>However, as the political gap created by polarization in the United States widens, criticisms and accusations of the illegitimacy of rulers, institutions, American democratic norms, or discourses are exacerbated and create different irreconcilable understandings not only of the form of public authority, but also of reality itself. As opponents\u2019 points of view are distorted (as shown by the tensions around gender issues, for example) \u201calternative facts\u201d are called upon to support the positions and policies of the Trump administration. The press has become the \u201cenemy of the people\u201d. Election results are no longer strengthened by \u201closers\u2019 consent\u201d, and the opposition (whether Democrat or Republican, depending on where one stands) no longer seems to be a political partner with whom one can share fundamental principles and values and a minimum of \u201csymbolic space\u201d. Representatives are sometimes described as corrupt, cynical, \u201cpolitically correct\u201d or out of touch with reality.<\/p>\n\n\n\n<p>Furthermore, this extreme loss of legitimacy justifies speeches, stances and actions that are more radical and challenges the foundations of American democracy. Electoral gerrymandering or voting reforms are motivated by partisan interests and justified by the idea that some voters are less legitimate than others to be part of the polity. Election results are challenged at the highest levels of government without evidence. The procedures of the rule of law \u2013 considered too cumbersome and slow \u2013 are abandoned in favor of the promise of efficiency and tangible results. All these efforts are \u2013 in turn \u2013 political elements deemed illegitimate by their opponents insofar as they seem to go against fundamental principles. As a result, the very idea of democratic opposition is completely shattered.<\/p>\n\n\n\n<p>In this context, different forms of legitimacy compete on the political scene, the management of the covid-19 pandemic being a perfect illustration. Several realities and modes of action collide with one another when for instance the democratic legitimacy of an elected president representing the official position of the United States contradicts that of health experts whose recommendations are based on scientific analyses. This workshop aims therefore to analyze the contemporary dynamics of legitimacy and illegitimacy, of legitimization and delegitimization of political power in the United States in the context of political polarization. It will contribute to the analysis of the causes, mechanisms, and consequences of the questioning of public authority.<\/p>\n\n\n\n<p>500-word proposals with a list of references and a biographical statement should be sent to Olivier Richomme (<a href=\"mailto:Olivier.Richomme@univ-lyon2.fr\">Olivier.Richomme@univ-lyon2.fr<\/a>) and Eric Rouby (<a href=\"mailto:eric.rouby@gmail.com\">eric.rouby@gmail.com<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 12 <em>Can the master\u2019s tools ever dismantle the master\u2019s house?<\/em> R\u00e9cits canoniques, r\u00e9cits alternatifs et contre-r\u00e9cits LGBTQ+.<\/h3>\n\n\n\n<p><em>Cassandre Di Lauro (Universit\u00e9 de Lille), Audrey Haensler (Universit\u00e9 Paul Val\u00e9ry-Montpellier 3) et Charlotte Thomas-H\u00e9bert (Universit\u00e9 Paris 1)<\/em><\/p>\n\n\n\n<p>Parler de canon \u00ab suppose la pr\u00e9sence d\u2019une autorit\u00e9 capable de d\u00e9cr\u00e9ter, de reconna\u00eetre les textes qui le composent \u00bb(Lucas, 2021). La notion met en place un rapport vertical, une hi\u00e9rarchie qui repose sur la domination et l\u2019exclusion : s\u2019il y a autorit\u00e9, c\u2019est qu\u2019il y a des autoris\u00e9\u00b7e\u00b7s et des non-autoris\u00e9\u00b7e\u00b7s, des personnes dominantes et domin\u00e9es. Le canon pose ainsi l\u2019existence intrins\u00e8que d\u2019une alt\u00e9rit\u00e9, d\u2019un\u00b7e autre vu\u00b7e d\u2019abord comme inf\u00e9rieur\u00b7e, mais aussi diff\u00e9rent\u00b7e, anormal\u00b7e, ex-centrique ou d\u00e9viant\u00b7e.<\/p>\n\n\n\n<p>Dans son acception restrictive, en tant que discours des marges contestant la cat\u00e9gorisation cis-h\u00e9t\u00e9ronormative, le <em>queer <\/em>se place d\u2019embl\u00e9e comme adversaire id\u00e9al au processus canonique. Cette polarisation entra\u00eene alors un questionnement \u00e9pist\u00e9mologique : est-il possible de parler de \u201ccanon queer\u201d ou bien est-ce paradoxal, voire oxymoronique? Assigner un genre &#8211; \u00e0 la fois litt\u00e9raire et social &#8211; et une qualit\u00e9 \u00e0 certaines oeuvres s\u2019accorde-t-il avec le projet de d\u00e9cloisonnement radical de la th\u00e9orie<em> quee<\/em>r ? Peut-on accoler \u201ccanon\u201d et \u201cqueer\u201d sans priver ce dernier de sa qualit\u00e9 subversive et de sa port\u00e9e r\u00e9volutionnaire ? En d\u2019autres termes, et en reprenant la formulation d\u2019Audre Lorde ([1984] 2007), les outils du ma\u00eetre peuvent-ils un jour d\u00e9manteler la maison de celui-ci ?<\/p>\n\n\n\n<p>Cet atelier s\u2019int\u00e9resse au <em>queer<\/em>, dans son sens \u00e0 la fois restrictif et extensif, c\u2019est \u00e0 dire comme terme g\u00e9n\u00e9rique d\u00e9signant la communaut\u00e9 LGBTQ+. Il cherche \u00e0 interroger les rapports entre norme et marge au sein d\u2019une communaut\u00e9 historiquement stigmatis\u00e9e. Sans offrir de r\u00e9ponse p\u00e9remptoire, il propose de r\u00e9fl\u00e9chir ensemble aux diff\u00e9rentes fa\u00e7ons qu\u2019a eues et a encore la communaut\u00e9 de s\u2019emparer de la notion de \u00ab textes canoniques \u00bb, compris en tant que performances, discours, r\u00e9cits de soi, ou encore objets audiovisuels, litt\u00e9raires et politiques (Barthes, [1974] 2002). S\u2019approprier un canon ou en g\u00e9n\u00e9rer un nouveau, en d\u00e9tournant des r\u00e9cits h\u00e9g\u00e9moniques ou en cr\u00e9ant des contre-r\u00e9cits, permet-il \u00e0 ces textes d\u2019agir comme autant de \u00ab chevaux de Troie \u00bb, d\u2019objets infiltr\u00e9s dont la forme et le fond viennent chambouler l\u2019ordre culturel, social et politique (Wittig, 2001) ? Dans quelles conditions ces contre-r\u00e9cits sont-ils produits, que font-ils aux r\u00e9cits dominants et quels effets ont-ils sur la communaut\u00e9 LGBTQ+ en elle-m\u00eame ?<\/p>\n\n\n\n<p>Cet atelier se veut interdisciplinaire et en ceci invite les contributions provenant des \u00e9tudes litt\u00e9raires, culturelles, cin\u00e9matographiques mais aussi de la sociologie et des sciences sociales.<\/p>\n\n\n\n<p>Un premier axe s\u2019int\u00e9ressera \u00e0 l\u2019existence et \u00e0 la possibilit\u00e9 de production d\u2019un canon LGBTQ+. Les classements recensant les \u201cclassiques\u201d de la culture <em>queer<\/em> abondent et se recoupent, en particulier sur Internet. Ces convergences font ressortir des \u0153uvres &#8211; tels <em>Orlando<\/em> de Virginia Woolf (1928), <em>Giovanni\u2019s Room<\/em> de James Baldwin (1956) ou <em>The Color Purple<\/em> d\u2019Alice Walker (1982) pour les romans ou <em>The Watermelon Woman<\/em> (1996), <em>But I\u2019m A Cheerleader<\/em> (1998), ou <em>Brokeback Mountain<\/em> (2005) pour les films &#8211; qui semblent faire consensus. On pourra ainsi chercher \u00e0 comprendre ce qui, dans ses \u0153uvres, remporte l\u2019unanimit\u00e9, en s\u2019attachant \u00e0 faire ressortir les caract\u00e9ristiques r\u00e9currentes dans la repr\u00e9sentation des personnages LGBTQ+ ou la pr\u00e9dominance de certains facteurs, comme le genre de l\u2019aut\u00b7eur\u00b7rice et des protagonistes, l\u2019\u00e9poque, le m\u00e9dium, etc. L\u2019\u00e9volution de ces corpus de textes \u00e9rig\u00e9s au rang de canon pourra aussi \u00eatre analys\u00e9e \u00e0 l\u2019aune des bouleversements sociaux, culturels, \u00e9conomiques et technologiques du XXe et XXIe si\u00e8cle. Une seconde piste de r\u00e9flexion consistera \u00e0 interroger les desseins \u00e0 l\u2019\u0153uvre derri\u00e8re la constitution de tels classements : dans quelle mesure la cr\u00e9ation d\u2019un canon permet-elle de l\u00e9gitimer une sousculture face \u00e0 la culture dominante ? Dans la continuit\u00e9 des r\u00e9flexions entam\u00e9es par Bammer (1982), les articulations entre fabrique d\u2019un canon et fabrique d\u2019une identit\u00e9 communautaire pourront \u00e9galement \u00eatre d\u00e9velopp\u00e9es, jusqu\u2019\u00e0 s\u2019interroger sur la possibilit\u00e9 d\u2019un canon unique, homog\u00e8ne, pour la communaut\u00e9 LGBTQ+. N\u2019existe-il pas plut\u00f4t <em>des<\/em> canons pour des communaut\u00e9s plurielles, selon que l\u2019on soit Lesbienne, Gay, Bi\u00b7e, Trans, Queer et\/ou Intersexe, \u00e0 l\u2019intersection de diff\u00e9rentes identit\u00e9s de race et de classe ? Enfin, en reprenant des probl\u00e9matiques d\u00e9j\u00e0 soulev\u00e9es par plusieurs anthologies gays telles que <em>The Gay Canon. Great Books Every Gay Man Should Read<\/em> (Drake, 1998) ou <em>The Columbia Anthology of Gay Literature: Readings from Western Antiquity to the Present <\/em>(Fone, 1998), une question de d\u00e9finition s\u2019impose : de quoi parle-t-on quand on parle de canon <em>queer <\/em>? Est-ce l\u2019orientation ou l\u2019identit\u00e9 sexuelle de l\u2019aut\u00b7eur\u00b7rice qui donne au texte cette qualit\u00e9 (Sedgwick, 1990) ? Estce le contenu ? Est-ce la r\u00e9ception (Haggerty, 2000) ? Dans quelle mesure le caract\u00e8re <em>queer<\/em> d\u2019un texte doit-il \u00eatre explicite ? Quid des textes crypto-lesbiens ou crypto-gays ? Enfin, on pourra s\u2019interroger sur les relations dialectiques que ces r\u00e9cits alternatifs ou contre-r\u00e9cits <em>queer<\/em> entretiennent avec le canon dominant, entre pastiche, parodie, r\u00e9\u00e9criture, ou mise \u00e0 distance radicale.<\/p>\n\n\n\n<p>Dans la continuit\u00e9 de ces questionnements, un deuxi\u00e8me axe choisira de se concentrer sur le rapport des individus au(x) canon(s) dominant(s), h\u00e9t\u00e9ronormatif(s). Le canon est alors d\u2019abord entendu comme un point d\u2019identification prescriptif (Bamberg &amp; Andrews, 2004) qui en fait, du moins <em>a priori<\/em>, un instrument de renforcement des normes sociales de genre et de sexualit\u00e9. Sa r\u00e9ception par des populations marginales, ext\u00e9rieures \u00e0 la norme, peut n\u00e9anmoins le transformer en un terrain fertile d\u2019interrogation voire de d\u00e9voiement id\u00e9ologique lorsqu\u2019elle rel\u00e8ve non plus d\u2019une lecture h\u00e9g\u00e9monique mais propose au contraire une lecture n\u00e9goci\u00e9e, voire oppositionnelle (Hall, 1973) des textes. Dans la lign\u00e9e des \u00e9tudes f\u00e9ministes, \u00e9tudes de genre et \u00e9tudes <em>queer<\/em>, l\u2019atelier invite ainsi \u00e0 s\u2019interroger sur les possibles relectures, contrelectures ou r\u00e9appropriations subversives des r\u00e9cits canoniques <em>mainstream<\/em>. Si l\u2019on admet que toute r\u00e9ception est n\u00e9cessairement production de sens (Eco, 1985) ces lectures \u00e0 contre-sens parviennent-elles pour autant \u00e0 subvertir le canon dominant, \u00e0 le <em>queeriser<\/em> ? Renforcent-elles au contraire l\u2019id\u00e9ologie dominante originellement encod\u00e9e dans le texte ? La question est celle de la capacit\u00e9 d\u2019action d\u2019une lecture dissidente (Sinfield, 1992) du canon : que peuvent les r\u00e9appropriations du canon par un \u00ab contre-public \u00bb (Warner, 2005) LGBTQ ? L\u2019atelier accueillera des communications qui s\u2019int\u00e9resseront au lien parfois ambigu qu\u2019entretiennent populations et militant.e.s LGBTQ aux r\u00e9cits canoniques, entre rejet, assimilation et d\u00e9tournements ludiques, \u00e0 la mani\u00e8re par exemple du <em>camp<\/em> ou des performances <em>drag<\/em> qui rejouent autant qu\u2019ils interrogent les performances canoniques du genre (Sontag, 1964 ; Butler, 1990).<\/p>\n\n\n\n<p>Un troisi\u00e8me axe se concentrera sur ce que le canon LGBTQ+ fait \u00e0 la communaut\u00e9 en elle-m\u00eame. A l\u2019exemple des comm\u00e9morations de Stonewall, qui r\u00e9sonnent de mani\u00e8res diff\u00e9rentes selon les \u00e9poques et construisent, \u00e0 travers leur patrimonialisation, ces \u00e9v\u00e8nements comme l\u2019\u00e9tincelle qui d\u00e9clencha le mouvement pour les droits des personnes LGBTQ+ (Armstrong &amp; Crage, 2006) : comment un r\u00e9cit alternatif dans un contexte <em>mainstream<\/em> devient-il h\u00e9g\u00e9monique, voire normatif, dans une sous-culture ? Et quelles relations entretiennent les flancs radicaux et r\u00e9formistes au sein de communaut\u00e9s marginalis\u00e9es ? Comme l\u2019illustre la canonisation r\u00e9cente de Marsha P. Johnson et Sylvia Riveira, quels sujets se retrouvent l\u00e9gitim\u00e9s ou d\u00e9-l\u00e9gitim\u00e9s, dans quelle(s) ar\u00e8ne(s) (militante, m\u00e9diatique, politique ou autres) cela se passe-t-il, et quels processus le favorisent-il ? Ou bien encore, dans un plus large contexte d\u2019assimilationnisme et d\u2019institutionnalisation des luttes LGBTQ+ (Marche, 2017), qui sont les sujets <em>queer <\/em>exemplaires ? Quels facteurs sociaux (race, classe, \u00e2ge et plus.) contribuent \u00e0 les produire ? A quelles injonctions implicites ou explicites se conforment-ils ?<\/p>\n\n\n\n<p>Merci d\u2019envoyer vos propositions par email aux responsables scientifiques au plus tard le 17 janvier 2022: Cassandre Di Lauro (cassandre.dilauro@gmail.com), Audrey Haensler (audrey.haensler@univ-paris1.fr) et Charlotte Thomas-H\u00e9bert (charlotte.thomashebert@univ-paris1.fr)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #12 Can the Master\u2019s Tools Ever Dismantle the Master\u2019s House? LGBTQ+ Canonical, Alternative, and Counter-narratives in the US<\/h3>\n\n\n\n<p>To speak of a canon \u201cpresupposes the presence of an authority capable of asserting, of recognizing the texts that make it up\u201d (Lucas, 2021). The notion sets up a vertical relationship, a hierarchy based on domination and exclusion: if there is an authority, it is because there are authorized and unauthorized, dominant, and dominated people. The canon thus posits the intrinsic existence of an otherness, of another first deemed as inferior, but also different, abnormal, ex-centric or deviant.<\/p>\n\n\n\n<p>In its restrictive meaning, as a discourse of the margins contesting cis-heteronormative categorization, the <em>queer<\/em> places itself as an ideal adversary to the canonical process. This polarization leads to an epistemological questioning: is there such a thing as a \u201cqueer canon,\u201d or is it paradoxical, even oxymoronic? Does assigning a genre and a quality to certain works fit with the project of queer theory of radical decompartmentalization? Can \u201ccanon\u201d and \u201cqueer\u201d be associated without depriving the latter of its subversive quality and revolutionary scope? In other words, and in the wake of Audre Lorde\u2019s ([1984] 2007) famous statement, can the master\u2019s tools ever dismantle the master\u2019s house?<\/p>\n\n\n\n<p>This panel focuses on queer narratives, both in their restrictive and extensive sense, i.e., as a generic term for the LGBTQ+ community. It seeks to question the relationship between norm and margin within a historically stigmatized community. Without offering any definitive answers, it wants to think of the different ways in which the community appropriates the notion of \u201ccanonical texts,\u201d understood here as performances, discourses, self-narratives, as well as audiovisual, literary, and political objects (Barthes, [1974] 2002). Does claiming a canon as one\u2019s own or generating a new one &#8211; thus diverting hegemonic narratives or creating counternarratives &#8211; allow these texts to act as \u201cTrojan horses\u201d, i.e., infiltrated objects whose form and content upset the cultural, social, and political order (Wittig, 2001)? Under what conditions are these counter-narratives produced, what do they do to dominant narratives and what effects do they have on the LGBTQ+ community itself?<\/p>\n\n\n\n<p>This panel is interdisciplinary and therefore invites contributions from literary, cultural and film studies as well as from sociology and other subfields of social sciences.<\/p>\n\n\n\n<p>A first line of inquiry will focus on the existence and production of a queer canon. Listings of \u201cqueer classics\u201d abound and overlap, especially on the Internet. The inclusion of some of them &#8211; novels such as Virginia Woolf\u2019s <em>Orlando<\/em> (1928), James Baldwin\u2019s <em>Giovanni\u2019s Room<\/em> (1956) or Alice Walker\u2019s <em>The Color Purple<\/em> (1982); or films such as<em> The Watermelon Woman<\/em> (1996), <em>But I\u2019m A Cheerleader<\/em> (1998), or <em>Brokeback Mountain <\/em>(2005) &#8211; seems to be unquestioned. We can thus try to understand what, in these works, creates unanimous support, by bringing out the recurrent characteristics in the representation of LGBTQ+ characters or the predominance of certain factors, such as the author\u2019s and the protagonists\u2019 genders, the time period, the type of medium, etc. The evolution of these canonical texts can also be analyzed in light of the social, cultural, economic and technological upheavals of the 20th and 21st centuries. Another line of inquiry will question what is at work behind the constitution of such classifications: to what extent does the creation of a canon make it possible to legitimize a subculture in the eyes of the dominant culture? Following Bammer\u2019s reflections (1982), the articulations between the making of a canon and the making of a community identity could also be developed and go as far as questioning the possibility of a unique, homogeneous canon for the LGBTQ+ community. Are there not <em>several<\/em> canons for plural communities, depending on whether one is Lesbian, Gay, Bisexual, Trans, Queer and\/or Intersex, and at the intersection of different racial and class identities? Consequently, and as discussed in several gay anthologies such as <em>The Gay Canon. Great Books Every Gay Man Should Read<\/em> (Drake, 1998) or <em>The Columbia Anthology of Gay Literature: Readings from Western Antiquity to the Present<\/em> (Fone, 1998), definition is a key issue: what are we talking about when we speak of the queer canon? Is it the author\u2019s sexual orientation or gender identity that make the text queer (Sedgwick, 1990)? Is it the content? Is it its reception (Haggerty, 2000)? How explicitly queer does a text have to be? What about crypto-lesbian or crypto-gay texts? Finally, what kind of relationship do these alternative narratives or queer counter-narratives have with the dominant canon, between pastiche, parody, rewriting, or radical distancing?<\/p>\n\n\n\n<p>A second line of inquiry will then focus on the nature of the relationship tying queer individuals and heteronormative master narratives together. Although the canon is to be understood as a prescriptive point of identification (Bamberg &amp; Andrews, 2004) which tends to reinforce gender and sexual norms, the way that it is received and interpreted by marginal populations, standing outside the norm, can transform master narratives into a fertile ground for interrogating, negotiating, or opposing the ideologies embedded at their core (Hall, 1973). In the tradition of feminist, gender and queer studies, this panel calls for papers exploring the possible re-readings, counter-readings, or subversive reappropriations of dominant heteronormative texts through alternative readings. Provided that any act of reception is always also an act of production of meaning (Eco, 1985), can these alternative readings truly subvert the canon, change its meaning by queering it? On the contrary, are they bound to endlessly reproduce and reinforce the dominant ideology encoded in the text? What change can a dissident reading (Sinfield, 1992) of a canonical text by an LGBTQ counter-public (Warner, 2005) produce? This panel welcomes communications interested in the ambiguous relationship between LGBTQ individuals and activists and dominant texts, be it rejection, assimilation, or playful diversions, such as camp (Sontag, 1964) or drag performances, which simultaneously reproduce and question canonical gender performances (Butler, 1990).<\/p>\n\n\n\n<p>Finally, a third line of inquiry will focus on what the LGBTQ+ canon does to the community itself. For example, what happened at Stonewall resonates differently across time and place, as the events have become part of the national cultural heritage (Armstrong &amp; Crage, 2006) while recently reemerging as a site of radical uprising. In this light, how does an alternative or counter-narrative in a mainstream context become hegemonic, even normative, in a subculture? And what relationships do radical and reformist flanks have within marginalized communities? As the recent canonization of Marsha P. Johnson and Sylvia Riveira illustrates, which subjects are legitimized or de-legitimized, in which arena(s) (activist, media, political, or otherwise) does this happen, and which processes foster it? Or, in a broader context of assimilationism and institutionalization of LGBTQ+ struggles (Marche, 2017), who are the exemplary queer subjects? Which social factors (race, class, age, and more) help produce them? To which implicit or explicit injunctions do they conform to?<\/p>\n\n\n\n<p>Please send your proposals by email to the panel organizers no later than January 17<sup>th<\/sup>, 2022:<\/p>\n\n\n\n<p>Cassandre Di Lauro (<a href=\"mailto:cassandre.dilauro@gmail.com\">cassandre.dilauro@gmail.com<\/a>), Audrey Haensler (<a href=\"mailto:audrey.haensler@univ-paris1.fr\">audrey.haensler@univ-paris1.fr<\/a>), and Charlotte Thomas-H\u00e9bert (<a href=\"mailto:charlotte.thomashebert@univ-paris1.fr\">charlotte.thomashebert@univ-paris1.fr<\/a>).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 13 La mort de l\u2019auteur\u2013le retour (fiction, po\u00e9sie, arts visuels)<\/h3>\n\n\n\n<p><em>H\u00e9l\u00e8ne Aji (\u00c9cole Normale Sup\u00e9rieure) et Monica Manolescu (Universit\u00e9 de Strasbourg\/IUF)<\/em><\/p>\n\n\n\n<p>Cet atelier invite une r\u00e9flexion sur les pratiques et discours qui remettent en question la figure de l\u2019auteur depuis le modernisme et jusqu\u2019\u00e0 l\u2019\u00e9poque contemporaine, dans la litt\u00e9rature et dans les arts. Avec les th\u00e9ories de T.S. Eliot sur l\u2019impersonnalit\u00e9 (et leurs mises en \u0153uvre par les Imagistes d\u2019Ezra Pound ou par les Objectivistes autour de William Carlos Williams et Louis Zukofsky), avec la g\u00e9n\u00e9ralisation des proc\u00e9d\u00e9s de d\u00e9sinvestissement de la voix narrative (dans le sillage du journalisme litt\u00e9raire d\u2019Ernest Hemingway ou de John Steinbeck comme dans les passages de \u00ab camera eye \u00bb de John Dos Passos) ou la mont\u00e9e en puissance du pr\u00e9cisionnisme, le questionnement sur les modes d\u2019intervention auctoriale devient de plus en plus technique et pressant. Du niveau syntaxique (suppression du \u00ab je \u00bb ou au contraire omnipr\u00e9sence d\u2019un \u00ab je \u00bb limitant voire \u00e9touffant) au niveau id\u00e9ologique (production de personnages et d\u2019intrigues cal\u00e9es sur des sc\u00e9narii \u00e0 port\u00e9e didactique dans le roman prol\u00e9tarien) voire au niveau philosophique (remise en cause de l\u2019int\u00e9grit\u00e9 du sujet dans des textes mettant en sc\u00e8ne un chorus d\u00e9personnalis\u00e9 comme dans les op\u00e9ras de Gertrude Stein), l\u2019origine du discours est malmen\u00e9e et sa l\u00e9gitimit\u00e9 contest\u00e9e.<\/p>\n\n\n\n<p>Apr\u00e8s 1945, cette contestation se trouve renforc\u00e9e par la double mise en p\u00e9ril de l\u2019engagement politique, discr\u00e9dit\u00e9 par les prises de position fasciste d\u2019un Ezra Pound, ou r\u00e9duit au silence par d\u00e9sespoir comme par r\u00e9flexe de sauvegarde personnelle comme dans le cas de George Oppen. Le roman am\u00e9ricain de l\u2019apr\u00e8s-guerre oscille entre diff\u00e9rentes postures, qui vont de la proclamation d\u2019un auteur fort, que l\u2019on a pu qualifier de tyrannique, chez Nabokov, jusqu\u2019\u00e0 la remise en question de celui-ci dans les techniques de \u00ab cut-up \u00bb de la Beat Generation qui mettent l\u2019accent sur la dimension al\u00e9atoire de l\u2019\u00e9criture. L\u2019\u0153uvre d\u2019art s\u2019abstrait ou se minimalise comme dans un mouvement de r\u00e9traction hors d\u2019un monde marqu\u00e9 au sceau des conformismes et des coercitions. Dans les marges, les artistes am\u00e9ricains d\u00e9veloppent alors diff\u00e9rentes pratiques collectives et inclusives, avec de nombreuses ramifications dans les <em>happenings<\/em> d\u2019Allan Kaprow, dans les mod\u00e8les de co-cr\u00e9ation exp\u00e9riment\u00e9s \u00e0 Black Mountain College, et plus r\u00e9cemment dans l\u2019art conversationnel (Helen Mayer Harrison et Newton Harrison) ou dans l\u2019art participatif mettant l\u2019accent sur l\u2019engagement du spectateur et sur la dimension sociale et politique (Mierle Laderman Ukeles, Mel Chin, Rick Lowe, Rirkrit Tiravanija).<\/p>\n\n\n\n<p>\u00c9minemment fond\u00e9es sur des pratiques, plus qu\u2019une th\u00e9orie de l\u2019art, ces nouvelles modalit\u00e9s de l\u2019engagement esth\u00e9tique peuvent aussi \u00eatre comprises (dans leur r\u00e9ception et dans leur conception) comme un retrait non interventionniste inspir\u00e9 du bouddhisme zen (John Cage, Jackson Mac Low, Gary Snyder), inform\u00e9 par la variante fin-de-20<sup>e<\/sup>-si\u00e8cle d\u2019un dandysme d\u00e9sabus\u00e9 (Kenneth Goldsmith, Vanessa Place) ou mod\u00e9lis\u00e9 par des algorithmes qui d\u00e9poss\u00e8dent l\u2019auteur de son objet (Christian B\u00f6k, Craig Dworkin) : les paradigmes sont nombreux pour approcher ce \u00ab g\u00e9nie \u00bb d\u00e9tr\u00f4n\u00e9 dont parle Marjorie Perloff dans <em>Unoriginal Genius<\/em>.<\/p>\n\n\n\n<p>Dans la fiction am\u00e9ricaine contemporaine, la figure de l\u2019auteur prend tout autant un tournant critique. Les \u00e9crivains qui \u00e9crivent apr\u00e8s le Roland Barthes de \u00ab La Mort de l\u2019auteur \u00bb (1968) et le Michel Foucault de \u00ab Qu\u2019est-ce qu\u2019un auteur ? \u00bb (1969), vers\u00e9s en th\u00e9orie critique, r\u00e9pondent \u00e0 ces th\u00e8ses provocatrices et prolongent la discussion dans leurs \u0153uvres de fiction. Auteurs et critiques participent ainsi au m\u00eame d\u00e9bat. La figure de l\u2019auteur se projette dans la fiction am\u00e9ricaine contemporaine avec une distance ironique et m\u00e9tacritique. Ainsi, le double de l\u2019auteur fait surface chez Richard Powers, o\u00f9 il se confronte \u00e0 l\u2019effritement des canons litt\u00e9raires classiques et aux d\u00e9fis de l\u2019intelligence artificielle (<em>Galatea 2.2<\/em>), chez Percival Everett, o\u00f9 il subit l\u2019effacement et se heurte aux attentes du march\u00e9 litt\u00e9raire (<em>Erasure<\/em>, <em>Percival Everett by Virgil Russell<\/em>), ou chez Ben Marcus, dans <em>Notable American Women<\/em> et <em>The Flame Alphabet<\/em>, o\u00f9 toute production langagi\u00e8re devient toxique et ind\u00e9sirable. Chez Ben Lerner, le double de l\u2019auteur se construit dans les t\u00e2tonnements et les contradictions de narrateurs peu fiables, qui \u00e9mettent des doutes sur le pouvoir de l\u2019art et sur leur propre autorit\u00e9 (<em>Leaving the Atocha Station<\/em> et <em>10 :04<\/em>). Enfin, la question de l\u2019intention auctoriale se pose avec une acuit\u00e9 particuli\u00e8re apr\u00e8s la mort physique de l\u2019auteur dans le processus de publication de romans rest\u00e9s inachev\u00e9s comme <em>The Pale King<\/em> de David Foster Wallace ou <em>The Original of Laura<\/em> de Vladimir Nabokov.<\/p>\n\n\n\n<p>On pourra donc s\u2019int\u00e9resser tant aux \u0153uvres qui th\u00e9matisent l\u2019autorit\u00e9 de l\u2019auteur qu\u2019aux textes critiques et th\u00e9oriques qui l\u2019interrogent, le corpus \u00e9voqu\u00e9 pr\u00e9c\u00e9demment n\u2019\u00e9tant que purement indicatif d\u2019un nombre de possibilit\u00e9s.<\/p>\n\n\n\n<p>Les propositions de communication (environ 300 mots) sont \u00e0 envoyer conjointement \u00e0 H\u00e9l\u00e8ne Aji (<a href=\"mailto:helene.aji@ens.psl.eu\">helene.aji@ens.psl.eu<\/a>) et \u00e0 Monica Manolescu (<a href=\"mailto:manoles@unistra.fr\">manoles@unistra.fr<\/a>), accompagn\u00e9es d\u2019une br\u00e8ve note biobibliographique (environ 150 mots) avant le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #13 The death of the author\u2013redux (fiction, poetry, visual arts)<\/h3>\n\n\n\n<p>This workshop invites papers that discuss practices and discourses that question the figure of the author since modernism up to today in literature and the arts. Authorial intervention comes under scrutiny in more technical and pressing ways after T. S. Eliot\u2019s theories of impersonality (that influenced Ezra Pound\u2019s Imagists or the Objectivists coalescing around William Carlos Williams and Louis Zukofsky), after the generalized relinquishment of narrative voice (in the wake of Ernest Hemingway\u2019s and John Steinbeck\u2019s literary journalism, or in John Dos Passos\u2019s \u201ccamera eye\u201d passages) and after the rise of Precisionism. The origin of discourse is challenged, and its legitimacy is undermined on several levels, be it syntactic (suppression of the \u201cI\u201d or, on the contrary, omnipresence of a reductive, stifling \u201cI\u201d), ideological (production of characters and plots modeled on didactic scenarios in proletarian novels) or even philosophical (the integrity of the subject is defied in texts that feature depersonalized choruses as is the case in Gertrude Stein\u2019s operas).<\/p>\n\n\n\n<p>After 1945, this charge is reinforced by the double danger represented by political commitment, which was discredited by Ezra Pound\u2019s fascist stance, or silenced by despair, out of an impulse for self-preservation in the case of George Oppen. The postwar American novel oscillates between distinct postures, from the assertion of a powerful author, which some have called tyrannical, in Nabokov, to the abandon of authorial control in the \u201ccut-up\u201d techniques of the Beat generation, which emphasize the random element in writing. The work of art becomes abstract or minimalist in a gesture of withdrawal from a world characterized by conformism and coercion. On the margins, American artists develop various collective and inclusive practices that ramify in various directions: Allan Kaprow\u2019s happenings, the models of cocreation experimented at Black Mountain College, and more recently the conversational art of Helen Mayer Harrison and Newton Harrison or participatory art highlighting the spectator\u2019s engagement and the social and political dimension (Mierle Laderman Ukeles, Mel Chin, Rick Lowe, Rirkrit Tiravanija).<\/p>\n\n\n\n<p>Largely based on practices rather than an artistic theory, these new modes of commitment can also be understood, as far as their reception and conception are concerned, as a noninterventionist withdrawal inspired by Zen Buddhism (John Cage, Jackson Mac Low, Gary Snyder), informed by a late-20<sup>th<\/sup>-century avatar of disillusioned dandyism (Kenneth Goldsmith,<\/p>\n\n\n\n<p>Vanessa Place) or shaped by algorithms that deprive the author of his or her object (Christian B\u00f6k, Craig Dworkin). These are some of the paradigms that allow us to understand the overthrown \u201cgenius\u201d discussed by Marjorie Perloff in <em>Unoriginal Genius<\/em>.<\/p>\n\n\n\n<p>In contemporary American fiction, the figure of the author also takes a critical turn. The writers writing after Roland Barthes\u2019s \u201cDeath of the Author\u201d (1968) and Michel Foucault\u2019s \u201cWhat is an Author?\u201d (1969) are conversant with critical theory and respond to these provocative theses, continuing the debate in their works of fiction. Authors and critics engage in the same discussion. The figure of the author displays an ironical and metacritical distance. Thus, doubles of the author surface in Richard Powers, where the author is confronted with the dismemberment of the classical canon and the challenges of artificial intelligence (<em>Galatea 2.2<\/em>), in Percival Everett\u2019s novels that present the erasure of the author and his clashes with the literary market (<em>Erasure<\/em>, <em>Percival Everett by Virgil Russell<\/em>) or in Ben Marcus\u2019s <em>Notable American Women<\/em> and <em>The Flame Alphabet<\/em>, where all linguistic production is toxic and undesirable. In Ben Lerner, the double of the author is constructed out of the hesitations and contradictions of unreliable narrators who express doubts about the power of art and their own authority (<em>Leaving the Atocha Station<\/em> and <em>10:04<\/em>). Finally, the question of authorial intention becomes crucial after the physical death of the author in the process of editing and publishing unfinished novels such as David Foster Wallace\u2019s <em>The Pale King<\/em> or Vladimir Nabokov\u2019s <em>The Original of Laura<\/em>.<\/p>\n\n\n\n<p>We invite papers that explore authorial authority on a thematic level or from critical and theoretical perspectives. The above-mentioned works are simply indicative of a certain number of possibilities.<\/p>\n\n\n\n<p>Please send proposals (up to 300 words) jointly to H\u00e9l\u00e8ne Aji (<a href=\"mailto:helene.aji@ens.psl.eu\">helene.aji@ens.psl.eu<\/a>) and Monica Manolescu (<a href=\"mailto:manoles@unistra.fr\">manoles@unistra.fr<\/a>), accompanied by a short bio-bibliographical notice (up to 150 words) by January 17, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 14 Faire, d\u00e9faire, refaire le canon po\u00e9tique<\/h3>\n\n\n\n<p><em>Abigail Lang (Universit\u00e9 de Paris) et Vincent Broqua (Universit\u00e9 de Paris 8)<\/em><\/p>\n\n\n\n<p>Pour sonder les processus de canonisation de la po\u00e9sie \u00e9tats-unienne, nous invitons \u00e0 une r\u00e9flexion sans limite de p\u00e9riode, de corpus ou de m\u00e9thodologie, afin de r\u00e9interroger cette question fondamentale des \u00e9tudes litt\u00e9raires depuis la po\u00e9tique, l\u2019histoire, la sociologie litt\u00e9raire ou toute autre perspective qui permettra de repenser la fa\u00e7on dont le canon po\u00e9tique \u00e9tats-unien se fait, se d\u00e9fait et se refait.<\/p>\n\n\n\n<p>Comment une (d\u00e9)canonisation a-t-elle lieu ? Comment des autrices et auteurs oubli\u00e9.e.s sont-il.elle.s red\u00e9couvert.e.s ? Comment d\u2019autres tombent-il.elle.s en d\u00e9faveur ? Qu\u2019est-ce qui rend une \u0153uvre \u00e0 nouveau actuelle ? Comment des corpus classiques sont-ils boulevers\u00e9s par des relectures ?<\/p>\n\n\n\n<p>La po\u00e9sie comme champ de contestation. On peut penser le champ po\u00e9tique comme lieu d\u2019affrontement entre des po\u00e8tes et des po\u00e9tiques. Quels sont les enjeux de ces affrontements ? La reconnaissance symbolique, et les b\u00e9n\u00e9fices \u00e9ventuellement \u00e9conomiques qui l\u2019accompagnent ? Des valeurs esth\u00e9tiques, \u00e9thiques ou politiques ? Comment ces diff\u00e9rents enjeux s\u2019\u00e9noncent-ils et s\u2019articulent-ils ? Comment le champ po\u00e9tique s\u2019en trouve-t-il redessin\u00e9 et le genre po\u00e9tique lui-m\u00eame red\u00e9fini, par la remise en question de ses formes et de ses fonctions ?<\/p>\n\n\n\n<p>Comment les crit\u00e8res d\u2019\u00e9valuation des textes ont-ils \u00e9volu\u00e9 et que disent-ils de leur \u00e9poque et de la soci\u00e9t\u00e9 \u00e9tats-unienne ?<\/p>\n\n\n\n<p>&#8211; H.D., T. S. Eliot, James Weldon Johnson, Ezra Pound, Gertrude Stein: les po\u00e8tes modernistes se sont saisis de la question des classiques, de la tradition et des chefsd\u2019\u0153uvres : comment les g\u00e9n\u00e9rations suivantes ont-elles poursuivi et reformul\u00e9 ce questionnement ?<\/p>\n\n\n\n<p>&#8211; Les crit\u00e8res des New Critics mettaient en avant l\u2019esth\u00e9tique : quels sont les nouveaux crit\u00e8res d\u2019\u00e9valuation au moment o\u00f9 la litt\u00e9rature semble vouloir prendre un tournant \u00e9thique et pragmatique ?<\/p>\n\n\n\n<p>&#8211; Comment les diff\u00e9rentes approches critiques et, plus particuli\u00e8rement, la multiplication des studies outre-Atlantique modifient-t-elles l\u2019appr\u00e9hension des textes et la constitution du canon ? S\u2019ouvre-t-il verticalement (hi\u00e9rarchiquement) ou horizontalement (pour inclure des textes non-litt\u00e9raires) ?<\/p>\n\n\n\n<p>&#8211; Avec la globalisation et l\u2019accent port\u00e9 sur la transnationalit\u00e9, le canon devient-il plus international ? Multiculturel ? Quelle place y occupent les traductions ? Quelle place y tient le d\u00e9tour par l\u2019\u00e9tranger ? Le canon po\u00e9tique \u00e9tats-unien est-il diff\u00e9rent \u00e0 l\u2019\u00e9tranger?<\/p>\n\n\n\n<p>&#8211; \u00c0 quoi certaines \u0153uvres doivent-elles de traverser les \u00e9poques ? Peut-on encore invoquer leur universalit\u00e9 ?<\/p>\n\n\n\n<p>Canon et minorit\u00e9s. Actuellement, la prise en compte des minorit\u00e9s conduit non seulement \u00e0 une r\u00e9\u00e9valuation, voire \u00e0 une d\u00e9construction du canon po\u00e9tique, mais aussi \u00e0 la confection d\u2019outils critiques mettant en \u00e9chec la pens\u00e9e dominante. Quelles ont \u00e9t\u00e9 les strat\u00e9gies des po\u00e9tesses et des critiques f\u00e9ministes (de Sandra Gilbert et Susan Gubar et Gloria Anzald\u00f9a \u00e0 Vida Count) ? Les proc\u00e9d\u00e9s de canonisation sont-ils genr\u00e9s ? Comment d\u00e9colonise-t-on le canon aujourd\u2019hui ? En minimisant l\u2019approche historique ou en la d\u00e9construisant (Cathy Park Hong, Juliana Spahr) ? En incluant des sources orales et multilingues ? En \u00e9largissant le spectre g\u00e9n\u00e9rique de ce qu\u2019on appelle po\u00e9sie ? Pour les minorit\u00e9s ou les po\u00e9tiques contestataires, s\u2019agit-il de prendre place dans le canon, de cr\u00e9er des canons alternatifs, ou d\u2019en r\u00e9cuser la notion m\u00eame ? Comment tenir ces positions ? Et dans ces r\u00e9\u00e9valuations, qu\u2019en est-il de la po\u00e9tique ?<\/p>\n\n\n\n<p>Comment s\u2019articulent canon, c\u00e9l\u00e9brit\u00e9 et popularit\u00e9 ? D\u2019autres questions pourront \u00eatre abord\u00e9es comme celle des instances l\u00e9gitimantes (prix litt\u00e9raires, bourses, syllabi, Norton anthology, r\u00e9seaux sociaux &#8230;) et leur \u00e9volution. On pourra aussi s\u2019interroger sur les rapports entre canon, c\u00e9l\u00e9brit\u00e9 et popularit\u00e9, que l\u2019on pense aux po\u00e8tes de la beat generation ou, plus r\u00e9cemment aux instapo\u00e8tes tels que Rupi Kaur. Quel est le statut de ces productions dans le champ po\u00e9tique \u00e9tats-unien?<\/p>\n\n\n\n<p>Les propositions de communication de 300 mots, accompagn\u00e9es d\u2019une notice biographique de 150 mots sont \u00e0 envoyer \u00e0 Abigail Lang (<a href=\"mailto:abigail.lang@u-paris.fr\">abigail.lang@u-paris.fr<\/a>) et \u00e0 Vincent Broqua (<a href=\"mailto:vincent.broqua@univ-paris8.fr\">vincent.broqua@univ-paris8.fr<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #14 Making, Unmaking, Remaking the poetic canon<\/h3>\n\n\n\n<p>This panel for the French Association of American Studies seeks to investigate the processes of (de)canonization in US Poetry. We wish to open this typically literary question to the long history of US poetry and a wide range of objects and we welcome contributions using any disciplinary methodology (e.g. poetics, history, or literary sociology) that will illuminate how the US poetic canon is made, unmade and remade.<\/p>\n\n\n\n<p>How does (de)canonization occur? How are forgotten authors rediscovered? How do others fall into disrepute? What makes a work relevant again? How do re-readings modify classic corpuses?<\/p>\n\n\n\n<p>Poetry as a field of contestation. The poetic field can be conceived as a space structured by confrontation, be it that of poets or poetics. What are the stakes of such confrontations? Symbolic recognition, and the economical benefits that may ensue? Aesthetic, ethical or political values? How are these stakes expressed and articulated? How do such confrontations reshape the poetic field and redefine the poetic genre itself, challenging its forms and function?<\/p>\n\n\n\n<p>How have the criteria for evaluating poems evolved and how do these evolutions reflect their times and US society?<\/p>\n\n\n\n<p>&#8211; Modernist poets such as H.D., T. S. Eliot, James Weldon Johnson, Ezra Pound and Gertrude Stein took up the question of tradition, masterpieces and classics: how did the following generations reformulate these questions?<\/p>\n\n\n\n<p>&#8211; New Critics emphasized aesthetics: what are the new criteria for evaluative criticism at a time when literature appears to be taking an ethical and pragmatic turn?<\/p>\n\n\n\n<p>&#8211; How have multiplying studies and critical theories modified the view and use of texts? Is the canon opening vertically (hierarchically) or horizontally (to include non-literary texts)?<\/p>\n\n\n\n<p>&#8211; With globalization and the emphasis on transnationality is the canon becoming more international? Multicultural? What place do translations hold? Are some works sooner recognized abroad? Is the US poetic canon different abroad?<\/p>\n\n\n\n<p>&#8211; Why are some works standing the test of time? Can one still invoke the notion of universality? And if so, under what conditions ?<\/p>\n\n\n\n<p>Canon and minorities. The current revaluation of poetry from the perspective of minorities is challenging the canon and calling for new critical tools to question dominant thought. What were the strategies of feminist poets and critics (from Sandra Gilbert and Susan Gubar, or Gloria Anzald\u00f9a to Vida Count)? Are the processes of canonization gendered? How does one decolonize the canon? By downplaying historical approaches (Cathy Park Hong, Juliana Spahr)? By including oral and multilingual sources? By broadening the generic spectrum of poetry? Do activist and minority poetics seek to enter the canon, to create alternative ones, or to do away with the notion entirely? Are these positions tenable? And what becomes of poetics in the context of such re-evaluations?<\/p>\n\n\n\n<p>How do canon, celebrity and popularity relate to each other?<\/p>\n\n\n\n<p>Speakers are also encouraged to reflect on canon-making authorities (literary prizes, scholarships, syllabi, the Norton anthology, social networks, etc.) and their evolution. Or on the vexed articulation of canon, celebrity and popularity, as exemplified by the poets of the beat generation or instapoets such as Rupi Kaur. What is the status of their work?<\/p>\n\n\n\n<p>300-words proposal and a 150-word biographical presentation should be sent to Abigail Lang (<a href=\"mailto:abigail.lang@u-paris.fr\">abigail.lang@u-paris.fr<\/a>) and Vincent Broqua (<a href=\"mailto:vincent.broqua@univ-paris8.fr\">vincent.broqua@univ-paris8.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 15 Crise de l\u00e9gitimit\u00e9 des m\u00e9dias traditionnels : n\u00e9gocier l\u2019autorit\u00e9<\/h3>\n\n\n\n<p><em>Charles Joseph (Le Mans Universit\u00e9), Ana\u00efs Le F\u00e8vre-Berthelot (Universit\u00e9 Rennes 2) et David Lipson (Universit\u00e9 de Strasbourg).<\/em><\/p>\n\n\n\n<p>L\u2019\u00e9cosyst\u00e8me culturel de plus en plus num\u00e9ris\u00e9 dans lequel nous \u00e9voluons aujourd\u2019hui ne fait plus aucun doute. La pand\u00e9mie de Covid a particip\u00e9 \u00e0 son essor, et nous sommes d\u00e9sormais toutes et tous au contact de la profusion d\u2019objets qu\u2019il g\u00e9n\u00e8re en continu, bien qu\u2019\u00e0 des degr\u00e9s d\u2019engagement variables selon les utilisations que chacun\u00b7e a des r\u00e9seaux sociaux et d\u2019internet. Le tournant digimoderne tel qu\u2019envisag\u00e9 par Alan Kirby (2009) et la transformation vers une culture \u00e9minemment participative dans une logique de convergences (Henry Jenkins, 2013) constituent le socle sur lequel se construit une culture d\u00e9mat\u00e9rialis\u00e9e qui se d\u00e9ploie sur toute une vari\u00e9t\u00e9 de canaux de diffusions et soul\u00e8ve de nouveaux d\u00e9bats.<\/p>\n\n\n\n<p>Le succ\u00e8s des r\u00e9seaux sociaux et des contenus qui y circulent va de pair avec une crise de l\u00e9gitimit\u00e9 et parfois une remise en cause du fonctionnement \u00e9conomique des m\u00e9dias traditionnels, qu\u2019ils proposent des informations ou du divertissement. Dans ce contexte, la fronti\u00e8re devient floue entre faits et fiction, mais aussi entre auteur\u00b7ices \/ producteur\u00b7ices et spectateur\u00b7ices \/ consommateur\u00b7ices (Frank Rose, 2011), ce qui peut encourager la cr\u00e9ativit\u00e9 et la subversion des canons, mais aussi g\u00e9n\u00e9rer des tensions politiques et \u00e9conomiques.<\/p>\n\n\n\n<p>Dans le domaine de la fiction et du divertissement (TV, jeux vid\u00e9o, cin\u00e9ma, musique&#8230;), les pratiques participatives ainsi que les productions amateurs ou semi-professionnelles ne semblent pas encore faire vaciller les m\u00e9dias traditionnels qui s\u2019inspirent, associent, voire s\u2019approprient les contenus produits sur internet et les r\u00e9seaux sociaux. L\u2019accessibilit\u00e9 nouvelle des outils de production et de diffusion est susceptible d\u2019encourager une plus grande diversit\u00e9 des contenus, l\u2019\u00e9mergence de voix subalternes et le d\u00e9tournement des canons, mais on constate \u00e9galement un ph\u00e9nom\u00e8ne de r\u00e9cup\u00e9ration par les conglom\u00e9rats m\u00e9diatiques et les plateformes qui dominent le march\u00e9.<\/p>\n\n\n\n<p>Dans le domaine de l\u2019information et de l\u2019infodivertissement, la remise en cause des hi\u00e9rarchies est plus \u00e9vidente : les m\u00e9dias traditionnels sous le feu des critiques finissent par pr\u00eater du cr\u00e9dit aux discours qui se d\u00e9veloppent sur les nouveaux m\u00e9dias, qui substituent la conviction \u00e0 la d\u00e9monstration, la croyance \u00e0 la pens\u00e9e, et qui sapent les fondements habituels de l\u2019autorit\u00e9 informationnelle que sont le respect des faits et la v\u00e9rification des sources. Paradoxalement, l\u2019hybridation qui s\u2019impose aux m\u00e9dias traditionnels pour maintenir une position dominante est indissociable d\u2019une remise en cause de l\u2019autorit\u00e9, des canons et des faits.<\/p>\n\n\n\n<p>Parmi les ph\u00e9nom\u00e8nes li\u00e9s \u00e0 ces transformations des usages m\u00e9diatiques, on peut citer la r\u00e9cup\u00e9ration par un chanteur de country blanc d\u2019une video TikTok r\u00e9alis\u00e9e par une femme noire qui critiquait le genre (<a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">beer<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">truck<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">truck<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">tiktok<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">sound<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">hits<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">the<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">&#8211;<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">radio<\/a><a href=\"https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hits-the-radio\">)<\/a> ; le passage de cr\u00e9ateur\u00b7ices de contenus en ligne sur des cha\u00eenes de t\u00e9l\u00e9vision (cf. Rachel Bloom, Issa Rae, Ilana Glazer and Abbi Jacobson, Derek Waters) ; la publication de fanfictions par des maisons d\u2019\u00e9dition traditionnelles ; les processus de d\u00e9sinformation et leur complexe d\u00e9construction (cf. Nicki Minaj \u00e0 propos du vaccin contre le Covid 19) ; le ph\u00e9nom\u00e8ne QAnon et le d\u00e9veloppement de son r\u00e9seau de commentateurs ; l\u2019exclusion de Donald Trump des r\u00e9seaux sociaux apr\u00e8s le 6 janvier 2021 et ses r\u00e9percussions ; la place de la satire aujourd\u2019hui dans le paysage m\u00e9diatique am\u00e9ricain comme potentiel facteur aggravant de la charge contre les \u00ab fake news media \u00bb (cf. <em>South Park<\/em>, <em>The Daily Show<\/em> &amp; <em>Klepper<\/em>).<\/p>\n\n\n\n<p>Les propositions pourront analyser : les s\u00e9ries, le cin\u00e9ma, la musique, les podcasts, les programmes d\u2019information, les documentaires, les organes de presse et de l\u2019audiovisuel, les contenus (d\u2019utilisateurs professionnels et amateur) publi\u00e9s sur les r\u00e9seaux sociaux ; et les liens complexes que ces supports entretiennent avec les syst\u00e8mes de production, leur circulation et leur r\u00e9ception, dans le souci non pas d\u2019opposer les mod\u00e8les, mais de mettre au jour leur imbrication.<\/p>\n\n\n\n<p>Les questions suivantes pourront \u00eatre soulev\u00e9es : la rupture est-elle si nette d\u2019un mod\u00e8le \u00e0 l\u2019autre ? La production de contenus num\u00e9riques remet-elle profond\u00e9ment en cause la position d\u2019autorit\u00e9 des m\u00e9dias plus anciens ou les canons qui leur sont associ\u00e9s ? Comment se construit la l\u00e9gitimit\u00e9 \u2013 d\u2019un point de vue discursif, formel, technologique \u2013 en fonction des m\u00e9dias et des publics ? Comment ces pratiques red\u00e9finissent-elles la figure de l\u2019auteur\u00b7ice et que fontelle \u00e0 son autorit\u00e9 ? Sous quelles conditions ces transformations permettent-elles l\u2019\u00e9mergence de nouvelles voix ? Comment ces nouvelles pratiques de production et de consommation des contenus s\u2019inscrivent-elles dans des rapports de pouvoir intersectionnels ? De quels rapports au r\u00e9el ces pratiques t\u00e9moignent-elles ? Quelles sont les cons\u00e9quences sociales, \u00e9conomiques et politiques de ces transformations ?<\/p>\n\n\n\n<p>Les propositions de communication seront envoy\u00e9es conjointement \u00e0 Charles Joseph (<a href=\"mailto:charles.joseph@univ-lemans.fr\">charles.joseph@univ-lemans.fr<\/a>), Ana\u00efs Le F\u00e8vre-Berthelot (<a href=\"mailto:anais.lefevre@univ-rennes2.fr\">anais.lefevre@univ-rennes2.fr<\/a>) et David Lipson (<a href=\"mailto:lipson@unistra.fr\">lipson@unistra.fr<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #15 Mainstream media\u2019s legitimacy crisis: negotiating authority<\/h3>\n\n\n\n<p>The digitized cultural ecosystem that we live in today is without a doubt here to stay. The Covid pandemic has contributed to its rise, and we are now all connected to or affected by the profusion of objects that it continuously generates, although with varying degrees of involvement depending on the uses that each person has of social networks and the internet. The digimodernistic watershed moment imagined by Alan Kirby (2009) and the transformation towards an eminently participative culture following the logic of convergences (Henry Jenkins, 2013) constitute the basis on which a dematerialized culture is built. The latter, disseminated on a wide variety of distribution channels, raises new issues and debates.<\/p>\n\n\n\n<p>The success of social networks and the content spread therein, go hand in hand with a legitimacy crisis, oft calling into question the mainstream media\u2019s economic business model, whether they offer information or entertainment. In this context, the line between fact and fiction is blurred, but also between author\/producer and viewer\/consumer (Frank Rose, 2011), which can encourage creativity and the repurposing of standards and norms, yet on the other hand can also generate political and economic tension.<\/p>\n\n\n\n<p>In fiction and entertainment (TV, video games, cinema, music&#8230;), participatory media projects as well as amateur or semi-professional productions have not yet seemed to supplant mainstream media, which are inspired by, associate with, and even appropriate content produced on the Internet and social networks. The new accessibility of production and broadcasting tools is likely to encourage a greater diversity of content, the emergence of subordinate voices and the subversion of standards and norms, but this is also co-opted by media conglomerates and platforms that dominate the market.<\/p>\n\n\n\n<p>In news and infotainment, calling into question hierarchies is easier to notice: the beleaguered mainstream media end up lending credence to the discourses that develop on new media, which substitute conviction for demonstration, belief for thought, and which undermine the usual foundations of informational authority: respect for facts and verification of sources. Paradoxically, the hybridization that is imposed on the mainstream media to maintain a dominant position is inseparable from a questioning of authority, norms, and facts.<\/p>\n\n\n\n<p>Among the phenomena linked to this transformation of media uses, we can cite a white country singer who appropriates a TikTok video made by a black woman criticizing the country genre (https:\/\/www.npr.org\/2021\/08\/13\/1027537457\/beer-beer-truck-truck-tiktok-sound-hitsthe-radio); the migration of online content creators to television channels (cf. Rachel Bloom, Issa Rae, Ilana Glazer and Abbi Jacobson, Derek Waters); the publication of fan fiction by traditional publishing houses; the process of misinformation and its complex deconstruction (cf. Nicki Minaj on the Covid 19 vaccine); the QAnon phenomenon and the development of its network of commentators; the exclusion of Donald Trump from social networks after January 6, 2021 and its repercussions; the place of satire today in the American media landscape as a potential aggravating factor in the criticism leveled against the \u201cfake news media\u201d (cf. <em>South Park<\/em>, <em>The Daily Show<\/em> &amp; <em>Klepper<\/em>).<\/p>\n\n\n\n<p>Proposals could analyze TV series, cinema, music, podcasts, news programs, documentaries, press and audiovisual media, content (professional and amateur) published on social networks; and the complex links that these outlets have with production, distribution, and reception, with the aim of not opposing them, but of revealing how they are interwoven and interdependent.<\/p>\n\n\n\n<p>The following questions may be raised: is the fracture between one model and the other so clear? Does the production of digital content profoundly call into question the position of authority of older media, or the standards and norms associated with them? How is legitimacy constructed &#8211; from a discursive, formal, technological point of view &#8211; according to the media and different audiences? How do these media experiments redefine the figure of the author and what do they do to his or her authority? Under what conditions do they allow the emergence of new voices? How do these new production and consumption of content models fit into intersectional power relations? What relationship to reality do these practices reflect? What are the social, economic, and political consequences of these instances of media transformation?<\/p>\n\n\n\n<p>Proposals should be sent jointly to Charles Joseph (<a href=\"mailto:charles.joseph@univ-lemans.fr\">charles.joseph@univ-lemans.fr<\/a>), Ana\u00efs Le F\u00e8vre-Berthelot (<a href=\"mailto:anais.lefevre@univ-rennes2.fr\">anais.lefevre@univ-rennes2.fr<\/a>) and David Lipson (<a href=\"mailto:lipson@unistra.fr\">lipson@unistra.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022. <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 16 Anthologies, canons et contre-canons<\/h3>\n\n\n\n<p><em>Marie-Jeanne Rossignol (Universit\u00e9 de Paris) et Marl\u00e8ne Daut (University of Virginia) Discutant : Yohann Lucas (Universit\u00e9 de Rouen Normandie).<\/em><\/p>\n\n\n\n<p>Comme le d\u00e9montre efficacement la th\u00e8se de Yohann Lucas, une anthologie ne sert pas seulement \u00e0 \u00ab canoniser \u00bb des auteurs classiques d\u00e9j\u00e0 connus<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn1\"><sup>[1]<\/sup><\/a>. Le format de l\u2019anthologie, tel qu\u2019il a \u00e9t\u00e9 utilis\u00e9 par les Africains-Am\u00e9ricains en particulier, a servi \u00e0 mettre en valeur des textes m\u00e9connus mais \u00e9galement \u00e0 structurer un nouveau \u00ab canon \u00bb : <em>The New Negro <\/em>(1925)d\u2019Alain Locke, <em>The Negro Caravan<\/em> (1941) de Sterling A. Brown, Arthur P. Davis et Ulysses Lee, <em>Early Negro Writing <\/em>de Dorothy Porter(1971) et la <em>Norton Anthology of African American Literature<\/em> (1997) de Henry Louis Gates Jr. et Nellie McKay sont quelques-uns des titres les plus embl\u00e9matiques. L\u2019anthologie africaine-am\u00e9ricaine du XX<sup>e<\/sup> si\u00e8cle n\u2019est d\u2019ailleurs pas un objet enti\u00e8rement nouveau, puisqu\u2019elle s\u2019inscrit dans des pratiques d\u2019anthologisation et de compilation plus anciennes, qu\u2019on pense aux biographies collectives de Noirs c\u00e9l\u00e8bres \u00e0 destination de la communaut\u00e9 africaine-am\u00e9ricaine, par exemple <em>The Black Man<\/em> (1863) de William Wells Brown, ou aux listes et bibliographies de textes africains-am\u00e9ricains \u00e9tudi\u00e9es par Elizabeth McHenry dans son r\u00e9cent ouvrage, <em>To Make Negro Literature<\/em> (2021)<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn2\"><sup>[2]<\/sup><\/a>. Le cas des Africains-Am\u00e9ricains n\u2019est pas isol\u00e9 \u2013 m\u00eame s\u2019il comporte des singularit\u00e9s \u2013 et les anthologies jouent aujourd\u2019hui plus largement un r\u00f4le dans la remise en question du savoir canonique, nourrissant les d\u00e9bats sur le colonialisme atlantique comme le rappelle la r\u00e9cente anthologie <em>Haitian Revolutionary Fictions<\/em><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn3\"><sup>[3]<\/sup><\/a>. On peut \u00e9galement penser au combat f\u00e9ministe qui est aussi pass\u00e9 par la compilation d\u2019anthologies, la plus connue \u00e9tant peut-\u00eatre <em>The Norton Anthology of Literature by Women. The Traditions in English<\/em>, de Sandra M. Gilbert and Susan Gubar (troisi\u00e8me \u00e9dition en 2007), qui a \u00e0 la fois accompagn\u00e9 le mouvement de \u00ab recovery \u00bb des femmes \u00e9crivains am\u00e9ricaines, et ouvert la voie \u00e0 d\u2019autres entreprises telles que celles port\u00e9es par les femmes de couleur, les femmes lesbiennes, par exemple<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn4\"><sup>[4]<\/sup><\/a>.<\/p>\n\n\n\n<p>Dans cet atelier, nous voudrions r\u00e9fl\u00e9chir \u00e0 l\u2019anthologie et au r\u00f4le qu\u2019elle peut jouer dans la construction de canons, et plus pr\u00e9cis\u00e9ment de contre-canons. Quelles communaut\u00e9s se sont empar\u00e9es du format \u00ab anthologie \u00bb aux \u00c9tats-Unis et ailleurs pour mieux l\u2019utiliser aux fins de diffusion d\u2019un corpus peu connu ? Quels sont les objectifs des directeurs et directrices de publication lorsqu\u2019ils et elles rassemblent des textes (litt\u00e9raires ou autres) ? Ces anthologies \u00ab contre-canoniques \u00bb constituent-elles une transition indispensable pour construire un savoir collectif plus divers, ou risquent-elles de figer un savoir \u00ab minoritaire \u00bb dans des niches particuli\u00e8res et au final isol\u00e9es ?<\/p>\n\n\n\n<p>Merci d\u2019envoyer vos propositions avant le 17 janvier 2022 \u00e0 Marl\u00e8ne Daut (<a href=\"mailto:mld9b@virginia.edu\">mld9b@virginia.edu<\/a>) et Marie-Jeanne Rossignol (<a href=\"mailto:marie-jeanne.rossignol@u-paris.fr\">marie-jeanne.rossignol@u-paris.fr<\/a>)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #16 Anthologies, canons, and counter canons<\/h3>\n\n\n\n<p>As Yohann Lucas\u2019 s dissertation shows, an anthology is not only supposed to \u00ab canonize \u00bb already well-known classic authors.<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn5\"><sup>[5]<\/sup><\/a> Anthologies, as they have been used by African Americans most particularly, have served to bring little-known texts to the public\u2019s attention, but also to structure a new \u00ab canon \u00bb : <em>The New Negro <\/em>(1925)by Alain Locke, <em>The Negro Caravan<\/em> (1941) by Sterling A. Brown, Arthur P. Davis and Ulysses Lee, <em>Early Negro Writing <\/em>by Dorothy Porter(1971) and the <em>Norton Anthology of African American Literature<\/em> (1997) edited by Henry Louis Gates Jr. and Nellie McKay, are some of the most emblematic titles. Those 20<sup>th<\/sup> century anthologies are not radically new objects, since they are inscribed in older practices of anthology-making and compilation : one can think of the collective biographies of famous African Americans which were prepared by and for the black community in the 19<sup>th<\/sup> century, for example <em>The Black Man<\/em> (1863) by William Wells Brown, or the lists and bibliographies of African American texts which Elizabeth McHenry recently studied in her book <em>To Make Negro Literature<\/em> (2021).<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn6\"><sup>[6]<\/sup><\/a> The case of African Americans is not isolated\u2014even if it has specificities\u2014and anthologies today play a more important role in the questioning of canonical knowledge, and fuel debates on Atlantic colonialism as the recent anthology <em>Haitian Revolutionary Fictions <\/em>reminds us.<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn7\"><sup>[7]<\/sup><\/a> Feminist struggles are also documented through anthologies, the most famous of which being probably <em>The Norton Anthology of Literature by Women. The Traditions in English<\/em> by Sandra M. Gilbert and Susan Gubar (3<sup>rd<\/sup> edition 2007); it both accompanied the movement of \u00ab recovery \u00bb of American women writers and opened the way to other works such as those which were carried out by women of color and lesbians for example.<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn8\"><sup>[8]<\/sup><\/a><\/p>\n\n\n\n<p>In this panel, we would like to think about anthologies and the role they can play in the construction of canons, most particularly counter-canons. Which communities have seized upon anthologies in the United States and elsewhere in order better to use this particular format so as to make little-known works more widely known? What are the goals of the editors of such publications when they collect texts, whether they be literary texts or other documents? Are those \u00ab counter-canonical \u00bb anthologies a necessary transition if we want to edify a more diverse form of collective knowledge, or are they likely to shunt \u00ab minority \u00bb knowledge to specific, and eventually isolated, niches?<\/p>\n\n\n\n<p>Please send a 500-word abstract and a one-page bio-bibliography to Marl\u00e8ne Daut (<a href=\"mailto:mld9b@virginia.edu\">mld9b@virginia.edu<\/a>) and Marie-Jeanne Rossignol (<a href=\"mailto:marie-jeanne.rossignol@u-paris.fr\">marie-jeanne.rossignol@u-paris.fr<\/a>) by January 17, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 17 Contre-l\u00e9gitimit\u00e9s modernistes: les expatri\u00e9s am\u00e9ricains et le monde nocturne de l\u2019entre-deux-guerres en France (1919-1939)<\/h3>\n\n\n\n<p><em>Beno\u00eet Tadi\u00e9 (Universit\u00e9 Rennes 2)<\/em><\/p>\n\n\n\n<p><em>La nuit, le champagne, la joie, la fi\u00e8vre, la danse encore, les fleurs, les femmes, les danses. (Les M\u00e9moires de Josephine Baker, 1927)<\/em><\/p>\n\n\n\n<p><em>All the old habitu\u00e9s were there, the low-down gans and old-an-hard youth, girls and men, white, brown and black, mingled colors and odoers come together, drinking, gossipping, dancing and perspiring to the sound of international jazz (Claude McKay, <\/em>Romance in Marseille<em>, 2020)<\/em><\/p>\n\n\n\n<p>Cet atelier cherchera \u00e0 reconstruire certaines exp\u00e9riences d\u2019\u00e9crivains, artistes et acteurs culturels am\u00e9ricains lorsqu\u2019ils entrent en contact avec, ou \u00e9crivent sur, le monde underground, souvent louche, de la vie nocturne fran\u00e7aise pendant l\u2019entre-deux-guerres. Il vise, plus g\u00e9n\u00e9ralement, \u00e0 relier ces exp\u00e9riences v\u00e9cues aux exp\u00e9riences esth\u00e9tiques du modernisme, telles qu\u2019elles s\u2019expriment par exemple dans la th\u00e9orie d\u2019Eugene Jolas sur le \u00ab langage de la nuit \u00bb, dans les \u00e9crits de Djuna Barnes, Henry Miller, Claude McKay et Glenway Wescott, ou dans les magazines am\u00e9ricains alors bas\u00e9s \u00e0 Paris. Son objectif est de pr\u00e9ciser la cartographie toujours <em>in progress<\/em> de l\u2019exp\u00e9rience culturelle am\u00e9ricaine en France en mettant en lumi\u00e8re certaines de ses facettes encore peu connues.<\/p>\n\n\n\n<p>Plus sp\u00e9cifiquement, deux lieux, Paris et Marseille, se d\u00e9tachent dans le paysage fran\u00e7ais comme deux p\u00f4les principaux de la vie nocturne am\u00e9ricaine et deux foyers sp\u00e9cifiques et contrast\u00e9s de socialisation et de cr\u00e9ativit\u00e9. Si les deux villes r\u00e9sonnent des accords du jazz international, leurs rythmes nocturnes s\u2019av\u00e8rent cependant fonci\u00e8rement distincts. En tant qu\u2019elle repr\u00e9sente une \u00ab capitale v\u00e9ritable, bien que m\u00e9connue, de l\u2019Atlantique noir \u00bb (W. J. Maxwell), Marseille <em>by night<\/em> vibre des accords et d\u00e9saccords physiques, culturels et politiques d\u2019une population de travailleurs noirs (marins, dockers, prostitu\u00e9es, militants politiques) engag\u00e9s dans un ou plusieurs courants diasporiques. Paris g\u00e9n\u00e8re d\u2019autre formes d\u2019\u00e9changes : expatri\u00e9s et touristes de passage y sont les clients et les agents d\u2019une vie nocturne vibrionnante m\u00ealant \u00e9rotisme, pornographie et culture populaire. Ce constat invite \u00e0 confronter les exp\u00e9riences am\u00e9ricaines propres \u00e0 ces deux villes afin d\u2019affiner, tout en la complexifiant, notre compr\u00e9hension des textes, des p\u00e9riodiques et des circulations. On pourra ainsi mieux comprendre dans quelle mesure les mondes nocturnes sond\u00e9s par les Am\u00e9ricains constituent des sc\u00e8nes discursives \u00e0 part enti\u00e8re, voire des \u00ab contrepublics subalternes \u00bb (Nancy Fraser), o\u00f9 se vivent et se formulent des exp\u00e9riences \u00e9mancip\u00e9es des normes r\u00e9gnant sur les formes plus institutionnelles de la culture.<\/p>\n\n\n\n<p>Les propositions (250-300 mots) sont \u00e0 envoyer pour le 17 janvier 2022 \u00e0 Beno\u00eet Tadi\u00e9 (<a href=\"mailto:benoit.tadie@univ-rennes2.fr\">benoit.tadie@univ-rennes2.fr<\/a>) accompagn\u00e9es d\u2019une courte biographie.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #17 Modernist counter-legitimacies: American expatriates and French nightlife between the wars (1919-1939)<\/h3>\n\n\n\n<p><em>La nuit, le champagne, la joie, la fi\u00e8vre, la danse encore, les fleurs, les femmes, les danses. <\/em>(Les M\u00e9moires de Josephine Baker<em>, 1927<\/em>)<\/p>\n\n\n\n<p><em>All the old habitu\u00e9s were there, the low-down gangs and old-and-hard youth, girls andmen, white, brown and black, mingled colors and odors come together, drinking, gossipping, dancing and perspiring to the sound of international jazz (Claude McKay, <\/em>Romance in Marseille<em>, 2020)<\/em><\/p>\n\n\n\n<p>This workshop will seek to reconstruct some of the experiences of American writers, artists and cultural actors as they entered in contact with or wrote about the underground, often louche, world of nightlife in French cities during the interwar period. It will, more broadly, seek to connect these lived experiences to the aesthetic experiments of modernism, as reflected for example in Eugene Jolas\u2019s theory of the \u201clanguage of night,\u201d in the writings of Djuna Barnes, Henry Miller, Claude McKay and Glenway Wescott, or in the Paris-based American magazines of the time. By shedding light on the role of mediators, exchanges and circulations, it will contribute to a more precise mapping of American cultural experiences in France in the interwar years.<\/p>\n\n\n\n<p>Moroever, within the French landscape, the two cities of Paris and Marseilles stand out as the two main poles of American nightlife and as two distinctive and contrasting focuses of socialization and creativity. Though the two cities were steeped in the vanguardism of international jazz, their nightly rhythms were crucially different. As the \u201ctrue if disregarded capital of the Black Atlantic\u201d (W. J. Maxwell), Marseilles vibrated with the physical, cultural and political accords and disaccords of a population of black workers \u2014 sailors, dockers, prostitutes, political activists \u2014 at the crossroads of several diasporic currents. In Paris, expatriates and tourists were both the clients and agents of a permissive nightlife blending eroticism, pornography and popular culture. Confronting such site-specific American experiences invites further exploration and confrontation of texts, magazines, exchanges and circulations, with a view to deepening and complexifying our understanding of the intersections between different cultural centres and strata. It will also help to understand to what extent the French nightworlds thus probed by Americans may constitute alternative discursive scenes, \u201csubaltern counterpublics\u201d (Nancy Fraser), where experiences emancipated from the norms governing the more institutionalized cultural forms may be lived and formulated.<\/p>\n\n\n\n<p>Proposals (250-300 words) should be sent along with a short biography to Beno\u00eet Tadi\u00e9 (<a href=\"mailto:benoit.tadie@univ-rennes2.fr\">benoit.tadie@univ-rennes2.fr<\/a>) by 17 January 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 18 Canon(s) transnationaux en Am\u00e9rique : diasporas, mobilit\u00e9s et d\u00e9placements dans les arts<\/h3>\n\n\n\n<p><em>M\u00e9lanie Joseph-Vilain (Universit\u00e9 de Bourgogne) et Kerry-Jane Wallart (Universit\u00e9 d\u2019Orl\u00e9ans)<\/em><\/p>\n\n\n\n<p>Face \u00e0 la mont\u00e9e des mobilit\u00e9s<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn9\"><sup>[9]<\/sup><\/a> globalis\u00e9es et \u00e0 leur concentration accrue aux \u00c9tats-Unis (et depuis les \u00c9tats-Unis), Arjun Appadurai a propos\u00e9 de remplacer la notion d\u2019identit\u00e9s am\u00e9ricaines \u00ab \u00e0 trait d\u2019union \u00bb par le terme de \u00ab transnation<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn10\"><sup>[10]<\/sup><\/a> \u00bb. Le champ des \u00e9tudes transnationales qui a r\u00e9cemment \u00e9merg\u00e9 fournit un r\u00e9servoir de cat\u00e9gories appropri\u00e9es pour interpr\u00e9ter une part importante de la production artistique am\u00e9ricaine de la fin du vingti\u00e8me et du d\u00e9but du vingt-et-uni\u00e8me si\u00e8cles, qui comprend des auteurs ayant immigr\u00e9 aux \u00c9tats-Unis (\u00e0 commencer par Salman Rushdie, pr\u00e9c\u00e9demment une figure majeure d\u2019autres litt\u00e9ratures :<\/p>\n\n\n\n<p>indienne, pakistanaise et britannique), ou depuis les \u00c9tats-Unis (par exemple Eddy Harris, qui s\u2019est install\u00e9 en France). Ces mobilit\u00e9s transnationales peuvent associer les deux mouvements : c\u2019est le cas de Jumpha Lahiri, une \u00ab Indienne non r\u00e9sidente \u00bb n\u00e9e \u00e0 Londres, \u00e9lev\u00e9e dans le Rhode Island, qui vit d\u00e9sormais \u00e0 Rome et \u00e9crit en italien.<\/p>\n\n\n\n<p>Des influences centrip\u00e8tes et centrifuges caract\u00e9risent paradoxalement \u00e0 la fois le canon am\u00e9ricain (depuis Herman Melville et ses voyages \u00e0 l\u2019\u00e9tranger jusqu\u2019\u00e0 Chimamanda Ngozie Adichie, dont le roman <em>Americanah<\/em> figure d\u00e9sormais aux programmes d\u2019une grande majorit\u00e9 d\u2019universit\u00e9s am\u00e9ricaines) et les marges de la reconnaissance litt\u00e9raire. Les formes artistiques transnationales se sont constitu\u00e9es, ou ont \u00e9t\u00e9 interpr\u00e9t\u00e9es, comme des mouvements (l\u2019afrofuturisme, par exemple) ou des tendances (l\u2019afropolitanisme, par exemple). En revisitant ou en remettant en question les normes et conventions qui r\u00e9gissent la r\u00e9ception des \u0153uvres, ces formes artistiques offrent un point de vue unique sur ces codes ; on peut citer, par exemple, la fa\u00e7on dont Edwige Danticat associe le t\u00e9moignage, l\u2019autobiographie, l\u2019essai et le documentaire dans <em>Brother, I\u2019m Dying<\/em>, l\u2019utilisation innovante des m\u00e9dias sociaux par Teju Cole, ou encore les activit\u00e9s vari\u00e9es de Shailja Patel (performance, th\u00e9\u00e2tre, po\u00e9sie) r\u00e9unies dans <em>Migritude<\/em>, une \u0153uvre qui traduit artistiquement son exp\u00e9rience transnationale.<\/p>\n\n\n\n<p>Les red\u00e9finitions du canon am\u00e9ricain d\u00e9passent les fronti\u00e8res linguistiques, avec des auteurs \u00ab chicanos \u00bb comme Cherrie Moraga ou Gloria Anzald\u00faa, dont le bilinguisme devient la matrice d\u2019o\u00f9 \u00e9mergent les critiques th\u00e9oriques de structures patriarcales et de dominations (n\u00e9o-)coloniales. Ce type de circulation peut \u00e9galement \u00eatre \u00e0 l\u2019\u0153uvre avec l\u2019op\u00e9ra de Jorge Martin, <em>Before Night Falls<\/em>, dont la premi\u00e8re repr\u00e9sentation a eu lieu en 2010 et qui est inspir\u00e9 du texte autobiographique publi\u00e9 en 1992 par Reinaldo Arenas. De tels exemples r\u00e9v\u00e8lent comment des pratiques \u00ab translangagi\u00e8res<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn11\"><sup>[11]<\/sup><\/a> \u00bb d\u00e9ploy\u00e9es par les \u00e9crivains diasporiques peuvent devenir des outils permettant d\u2019explorer des identit\u00e9s personnelles, collectives et artistiques.<\/p>\n\n\n\n<p>Dans le champ des arts visuels, toute une g\u00e9n\u00e9ration d\u2019Am\u00e9ricains d\u2019origine asiatique, par exemple, a \u00e9merg\u00e9. Ces artistes explorent leurs racines complexes et leurs appartenances multiscalaires \u00e0 travers un certain nombre de techniques transm\u00e9diales (Kang Seung Lee, Oscar yi Hou, Hangama Amiri, Bambou Gili). On pourrait aussi scruter la tradition d\u00e9sormais bien \u00e9tablie de romans graphiques et bandes dessin\u00e9es am\u00e9ricains \u00ab transnationaux \u00bb, du <em>Maus<\/em> d\u2019Art Spiegelman aux \u0153uvres de Joe Sacco. Le champ de notre r\u00e9flexion inclut aussi les \u00e9tudes filmiques et m\u00e9diatiques.<\/p>\n\n\n\n<p>Les d\u00e9fis lanc\u00e9s par ces artistes \u00e0 des h\u00e9ritages parfois fig\u00e9s sont \u00e0 la fois r\u00e9cents et en conformit\u00e9 avec une certaine tradition am\u00e9ricaine fond\u00e9e sur le mouvement et le d\u00e9placement marginal : cet atelier voudrait aussi revenir sur une certaine continuit\u00e9 de l\u2019exp\u00e9rience diasporique aux \u00c9tats-Unis depuis la \u00ab d\u00e9couverte \u00bb de l\u2019Am\u00e9rique par les colons europ\u00e9ens. On pourrait donc envisager des communications visant \u00e0 repenser la dimension diasporique des \u0153uvres de Mark Twain, Henry James, T.S. Eliot, de la \u00ab G\u00e9n\u00e9ration perdue \u00bb, de Richard Wright et James Baldwin, Sylvia Plath, ou encore des Beatniks ; ou encore une analyse de l\u2019\u0153uvre d\u2019artistes qui, bien que n\u2019\u00e9tant pas am\u00e9ricains, ont trouv\u00e9 l\u2019inspiration aux \u00c9tats-Unis (D.H. Lawrence, Anita Desai). Il est m\u00eame possible de revenir sur des moments fondateurs, par exemple les premi\u00e8res ann\u00e9es de la R\u00e9publique (Washington Irving, ou Alexis de Toqueville), afin de remettre en question la qualit\u00e9 unique de la litt\u00e9rature am\u00e9ricaine con\u00e7ue comme la traduction litt\u00e9raire d\u2019un projet politique s\u2019appuyant sur un \u00ab exceptionnalisme \u00bb am\u00e9ricain ; cette id\u00e9e doit \u00eatre confront\u00e9e avec des positionnements divergents, des voix discordantes et des modalit\u00e9s artistiques subversives.<\/p>\n\n\n\n<p>Cet atelier vise \u00e0 reconfigurer l\u2019am\u00e9ricanit\u00e9 pour en faire le site de tensions th\u00e9oriques et de d\u00e9placements m\u00e9thodologiques entre l\u2019int\u00e9rieur et l\u2019ext\u00e9rieur, entre l\u2019appartenance et le d\u00e9racinement, entre la stase et le mouvement, entre r\u00e9sonances et dissonances, inclusion et exclusion, ordre et d\u00e9sordre. A une \u00e9poque o\u00f9 Jos\u00e9phine Baker est sur le point d\u2019entrer au Panth\u00e9on, nous aimerions proposer un espace idoine pour r\u00e9fl\u00e9chir de fa\u00e7on critique aux divergences li\u00e9es \u00e0 la construction de la nation et \u00e0 ses repr\u00e9sentations esth\u00e9tiques, \u00e0 la canonicit\u00e9 et aux diverses formes d\u2019autorit\u00e9.<\/p>\n\n\n\n<p>Pri\u00e8re d\u2019envoyer vos propositions (longues de 170 \u00e0 200 mots) et une courte pr\u00e9sentation biobibliographique (70 \u00e0 100 mots) \u00e0 M\u00e9lanie Joseph-Vilain (<a href=\"mailto:melanie.joseph-vilain@ubourgogne.fr\">melanie.joseph-vilain@ubourgogne.fr<\/a>) et Kerry-Jane Wallart (<a href=\"mailto:kerry-jane.wallart@univ-orleans.fr\">kerry-jane.wallart@univ-orleans.fr<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #18 Transnational canonicity in America: diasporas, mobilities, and placelessness in the arts<\/h3>\n\n\n\n<p>In view of the increased mobilities<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn12\"><sup>[12]<\/sup><\/a> of globalisation and of their marked concentration in (and out of) the United States, Arjun Appadurai has suggested that the practice of \u201chyphenated\u201d American identities be replaced by the term \u201ctransnation.\u201d<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn13\"><sup>[13]<\/sup><\/a> The recently established field of transnational studies provides an apt toolbox of categories in order to interpret a wide section of American arts in the late twentieth and early twenty-first century, with authors who have immigrated to the United States (starting with Salman Rushdie, a former pillar of other literatures, Indian, Pakistani, and British), from the United States (as Eddy Harris did, settling in France). These mobilities can associate both movements, as is the case with Jumpha Lahiri, a \u201cNon Resident Indian\u201d born in London, raised in Rhode Island who now lives in Rome, and writes in Italian.<\/p>\n\n\n\n<p>Centripetal and centrifugal influences are paradoxically part of the American canon (from Herman Melville, who travelled abroad, to Chimamanda Ngozi Adichie, whose <em>Americanah<\/em> now figures on the syllabi of a vast majority of American universities), and of the margins of literary recognition. Transnational art forms have constituted themselves, or been interpreted, as movements (afrofuturism) or trends (afropolitanism). They provide a unique glimpse at the norms and conventions which rule audience response, as they revisit or challenge them; one could quote the combination of testimony, autobiography, essay, and documentary that Edwige Danticat\u2019s <em>Brother, I\u2019m Dying<\/em> constitutes; Teju Cole\u2019s innovative use of social media; or Shailja Patel\u2019s various activities as performer, playwright, poet and activist, brought together in <em>Migritude<\/em>, an artistic rendering of her transnational experience.<\/p>\n\n\n\n<p>The redefinitions of the American canon also cut across languages, with such chicano authors as Cherrie Moraga or Gloria Anzald\u00faa, whose bilingualism becomes a matrix for theoretical critiques of patriarchal structures and (neo-)colonial dominations. These circulations are also at play with Jorge Mart\u00edn\u2019s opera <em>Before Night Falls<\/em>, which premiered in 2010 and was based upon the 1992 autobiographical text by Reinaldo Arenas. They testify to the way in which \u201ctranslanguaging<a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftn14\"><sup>[14]<\/sup><\/a>\u201c practices used by diasporic writers become a tool for explorations of personal, collective, and artistic identities.<\/p>\n\n\n\n<p>In the field of the visual arts, a whole new generation of Asian American has been seen to emerge who explore their tangled roots and multi-scalar belongings through a number of<\/p>\n\n\n\n<p>transmedial techniques (Kang Seung Lee, Oscar yi Hou, Hangama Amiri, Bambou Gili). One could also look at the now long-standing tradition of transnational \u201cAmerican\u201d graphic albums, from Art Spiegelman\u2019s<em> Maus<\/em> to Joe Sacco\u2019s works. The remit of our reflexion also includes film studies and media studies.<\/p>\n\n\n\n<p>The challenges to cemented legacies which are posited by these artists are both recent and aligned with a certain American tradition of motion and marginal displacement: this workshop wishes to recall how there is a continuum of diasporic experience in the United States since the \u201cdiscovery\u201d of America by Europeans, at least. We would welcome papers re-thinking the diasporic dimension of the works of Mark Twain, Henry James, T.S. Eliot, the \u201cLost Generation\u201d, Richard Wright and James Baldwin, Sylvia Plath, or the Beatniks, for instance; or of the works by non-American artists who have \u2013 also \u2013 found inspiration in the United States (D.H. Lawrence, Anita Desai). It is even possible to go back to such foundational moments as the early years of the Republic (Washington Irving, or Alexis de Toqueville) in order to call into question the uniqueness of American literature: a literary translation of the political project which posited an American exceptionalism which must be confronted with divergent positionalities, off-key voices and subversive artistic modalities.<\/p>\n\n\n\n<p>The potential workshop purports to reconfigure Americanness as a site of theoretical tensions and methodological shifts between the inside and the outside, between belonging and uprootedness, between stasis and motion, resonances and dissonances, inclusion and exclusion, order and disorder. At a time when Josephine Baker is about to enter the Pantheon, we would like to create a space for critical thinking around the tangentialities of nation-building and aesthetic representations, of canonicity and diverse authorships.<\/p>\n\n\n\n<p>Please send proposals (170 to 200 words) and a short bio-bibliographical presentation (70 to 100 words) to M\u00e9lanie Joseph-Vilain (<a href=\"mailto:melanie.joseph-vilain@u-bourgogne.fr\">melanie.joseph-vilain@u-bourgogne.fr<\/a>) Kerry-Jane Wallart (<a href=\"mailto:kerry-jane.wallart@univ-orleans.fr\">kerry-jane.wallart@univ-orleans.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 19 Les autobiographies militantes et politiques : strat\u00e9gies de l\u00e9gitimation et postures d\u2019autorit\u00e9<\/h3>\n\n\n\n<p><em>Hugo Bouvard et Guillaume Marche (Universit\u00e9 Paris-Est Cr\u00e9teil)<\/em><\/p>\n\n\n\n<p>Les r\u00e9cits autobiographiques, qu\u2019il s\u2019agisse d\u2019ouvrages publi\u00e9s sous la forme d\u2019autobiographies \u00e0 proprement parler, de m\u00e9moires, de t\u00e9moignages, de journaux, ou de textes mis en ligne sur un blog, une plateforme de r\u00e9seau social ou un site internet personnel, sont fr\u00e9quemment employ\u00e9s par des militant\u00b7es et acteur\u2219rices de mouvements sociaux, par des \u00e9lu\u00b7es et responsables politiques comme des outils permettant de se construire ou de reconstruire une \u00ab identit\u00e9 strat\u00e9gique \u00bb (Collovald 1988). \u00c0 ce titre, ces autobiographies militantes et politiques (terme recouvrant ici l\u2019\u00e9ventail des formes pr\u00e9c\u00e9demment cit\u00e9es) peuvent \u00eatre analys\u00e9es comme des strat\u00e9gies litt\u00e9raires et scripturales \u00ab de pr\u00e9sentation ou de production de soi \u00bb (Le Bart 2012), qui permettent par exemple \u00e0 leur auteur\u00b7rice d\u2019asseoir ou de consolider une l\u00e9gitimit\u00e9, voire de r\u00e9tablir une autorit\u00e9 mise \u00e0 mal. Par exemple, dans le contexte \u00e9tatsunien, la publication d\u2019un ouvrage \u00e0 caract\u00e8re autobiographique est aujourd\u2019hui devenue un passage presque oblig\u00e9 pour tout\u00b7e pr\u00e9sidentiable cherchant \u00e0 obtenir l\u2019investiture de son parti (Lepore 2019). Cet atelier interroge la fa\u00e7on dont ces formes narratives refl\u00e8tent ou, au contraire, mettent en cause ces processus de l\u00e9gitimation, que ce soit dans l\u2019espace des mouvements sociaux ou dans la sph\u00e8re politique institutionnalis\u00e9e.<\/p>\n\n\n\n<p>D\u00e8s l\u2019\u00e9poque coloniale \u2013 o\u00f9 des r\u00e9cits comme l\u2019histoire de la Virginie de John Smith racontent aussi une exp\u00e9rience individuelle v\u00e9cue de la colonisation \u2013, puis pendant la p\u00e9riode r\u00e9volutionnaire \u2013 o\u00f9 l\u2019autobiographie de Benjamin Franklin place l\u2019histoire de sa propre vie sous le sceau de la conqu\u00eate de l\u2019ind\u00e9pendance \u2013 et au-del\u00e0, des r\u00e9cits autobiographiques ont servi d\u2019outils de l\u00e9gitimation pour des dirigeant\u2219es politiques et leaders d\u2019organisations militantes. Peut-on consid\u00e9rer que ces textes ont constitu\u00e9 des canons du genre de l\u2019autobiographie militante et politique, en vertu par exemple du statut de \u00ab p\u00e8re fondateur \u00bb conf\u00e9r\u00e9 \u00e0 Benjamin Franklin ? Quels ont pr\u00e9cis\u00e9ment \u00e9t\u00e9 leur influence et leur h\u00e9ritage sur les ouvrages qui leur ont succ\u00e9d\u00e9 ? De mani\u00e8re g\u00e9n\u00e9rale, rel\u00e8ve-t-on des formes plus ou moins directes d\u2019intertextualit\u00e9 entre ces autobiographies militantes et politiques d\u2019une \u00e9poque \u00e0 une autre ?<\/p>\n\n\n\n<p>Le genre de l\u2019autobiographie militante et politique pose centralement la question du rapport de l\u2019individu au collectif : r\u00e9cit \u00e0 la premi\u00e8re personne et centr\u00e9 sur un individu dans ses rapports au corps social, l\u2019autobiographie militante et politique peut \u00eatre vectrice d\u2019affirmation de l\u2019autorit\u00e9 \u2013 tel\u2219le chef\u2219fe de file se posera ainsi en r\u00e9f\u00e9rence de son mouvement, de son parti \u2013 comme de contestation \u2013 on se posera \u00e0 rebours, en franc-tireur\u2219se ou en frondeur\u00b7se. La narrativit\u00e9 et la litt\u00e9rarit\u00e9 de l\u2019\u00e9criture autobiographique, la singularit\u00e9, mais aussi l\u2019exemplarit\u00e9 d\u2019une exp\u00e9rience qu\u2019elles mettent en exergue sont-elles des outils particuli\u00e8rement efficaces ou des ressources particuli\u00e8rement pr\u00e9cieuses pour ce faire ? L\u2019auctorialit\u00e9 que conf\u00e8re l\u2019\u00e9criture autobiographique est-elle en elle-m\u00eame vectrice ou productrice d\u2019autorit\u00e9, de l\u00e9gitimit\u00e9 ou de canonicit\u00e9 ?<\/p>\n\n\n\n<p>Ce genre peut aussi \u00eatre une forme investie par des pr\u00e9tendant\u2219es frappant \u00e0 la porte du c\u00e9nacle de la l\u00e9gitimit\u00e9, ou par des <em>outsiders<\/em>, traditionnellement exclu\u00b7es du jeu politique en raison de leur sexe, de leur appartenance raciale ou ethnique, de leur confession religieuse, de leur orientation sexuelle, ou encore de caract\u00e9ristiques construites comme handicaps. Comment l\u2019appartenance minoritaire est-elle alors mise en r\u00e9cit, accentu\u00e9e ou euph\u00e9mis\u00e9e ? S\u2019agit-il de contester les formes traditionnelles du r\u00e9cit politique autobiographique, voire de proposer un contre-r\u00e9cit ? L\u2019appartenance simultan\u00e9e \u00e0 plusieurs groupes minoritaires fait-elle l\u2019objet d\u2019un discours que l\u2019on pourrait qualifier d\u2019intersectionnel, ou bien la priorit\u00e9 est-elle donn\u00e9e, dans le r\u00e9cit, \u00e0 telle ou telle identit\u00e9 ? Les auteur\u00b7rices pr\u00e9tendent-ils et elles y porter la parole de leur(s) groupe(s) d\u2019appartenance ? En particulier, comment sont mis en sc\u00e8ne les liens avec les mouvements sociaux fond\u00e9s autour de cette appartenance minoritaire \u2013 les mouvements f\u00e9ministes, pour les droits civils et civiques des personnes en situation de handicap, contre la stigmatisation des musulman\u00b7es, etc. ? Le registre de l\u2019exemplarit\u00e9 est-il alors dominant dans ces ouvrages, ou est-il concurrenc\u00e9 par d\u2019autres registres (l\u2019authenticit\u00e9, l\u2019universalit\u00e9, etc.) ? Et, qu\u2019il s\u2019agisse de l\u00e9gitimation des <em>outsiders<\/em>, d\u2019affirmation ou de contestation de l\u2019autorit\u00e9, dans quelle mesure ces r\u00e9cits autobiographiques se plient-ils ou, au contraire, r\u00e9sistent-ils \u00e0 des scripts standardis\u00e9s ou pr\u00e9\u00e9tablis, comme celui du <em>coming out<\/em>, de l\u2019h\u00e9ro\u00efsme, de la r\u00e9silience, du retournement du stigmate, etc. ?<\/p>\n\n\n\n<p>Du point de vue de leur production, on sait que l\u2019\u00e9criture des autobiographies politiques est souvent d\u00e9l\u00e9gu\u00e9e, en partie ou en totalit\u00e9, \u00e0 une tierce personne (Le Bart 2012) : qu\u2019est-ce que l\u2019identit\u00e9 de ces pr\u00eate-plumes, quand elle est connue, peut nous enseigner sur les liens entre journalistes politiques, essayistes, et professionnel\u00b7les de la politique ? On pourra \u00e9galement s\u2019int\u00e9resser aux enjeux de publication, mais aussi de non-publication de ces r\u00e9cits autobiographiques : quelles dynamiques \u00e9ditoriales et \u00e9conomiques sont \u00e0 l\u2019\u0153uvre dans la l\u00e9gitimation ou le discr\u00e9dit de ces voix ? Dans quelle mesure la publication, mais aussi son support et la diffusion qu\u2019il favorise ou non, est-elle factrice de l\u00e9gitimation ? Faut-il accorder un statut distinct aux r\u00e9cits publi\u00e9s et non publi\u00e9s \u2013 et, le cas \u00e9ch\u00e9ant, comment traiter des seconds ?<\/p>\n\n\n\n<p>Du point de vue de la r\u00e9ception, quel public ces r\u00e9cits visent-ils ? Comment sont-ils re\u00e7us par celui-ci ? Quelles luttes se d\u00e9ploient autour de la formulation de verdict quant au succ\u00e8s ou \u00e0 l\u2019\u00e9chec (commercial, litt\u00e9raire, politique) de ces ouvrages, et donc de ces strat\u00e9gies de l\u00e9gitimation ? On peut \u00e9galement se demander dans quelle mesure l\u2019\u00e9criture, ou peut-\u00eatre surtout la publication, la diffusion et la promotion d\u2019une autobiographie politique peut contribuer \u00e0 combattre les pr\u00e9jug\u00e9s et discriminations (antis\u00e9mites, islamophobes, racistes, x\u00e9nophobes, validistes, homophobes, sexistes, transphobes\u2026). On pourra aussi, dans une perspective interdisciplinaire, se demander si, dans leur r\u00e9ception, la valeur, la l\u00e9gitimit\u00e9 et la cr\u00e9dibilit\u00e9 de ces r\u00e9cits se mesure aussi \u00e0 l\u2019aune de crit\u00e8res de litt\u00e9rarit\u00e9. Autrement dit, les canons de l\u2019\u00e9criture litt\u00e9raire sont-ils invoqu\u00e9s comme \u00e9talons de l\u00e9gitimit\u00e9 des voix autobiographiques militantes ou politiques \u2013 qui ne manifestent pas forc\u00e9ment d\u2019ambition litt\u00e9raire \u2013 et les litt\u00e9ratures dites minoritaires \u2013 <em>Native American, African American, Italian American, Arab American, women\u2019s literature<\/em> \u2013 leur fournissent-elles des cadres, des sch\u00e8mes, voire des canons auxquels se r\u00e9f\u00e9rer ou, au contraire, se mesurer ou s\u2019affronter ?<\/p>\n\n\n\n<p>Se pose enfin la question du statut \u00e0 accorder \u00e0 ces autobiographies militantes et politiques, si l\u2019on souhaite s\u2019en servir comme sources pour \u00e9crire l\u2019histoire des mouvements sociaux et de la vie politique. Faut-il poser la question de leur fiabilit\u00e9 et, si oui, comment ? Une autobiographie politique vaut-elle pour elle-m\u00eame ou n\u2019a-t-elle de sens que mise en s\u00e9rie, compar\u00e9e avec d\u2019autres ? La valeur heuristique de ces r\u00e9cits tient-elle au fait qu\u2019ils donnent \u00e0 entendre des voix qui sont par ailleurs r\u00e9duites au silence ou insuffisamment audibles ? Proposent-ils des contre-r\u00e9cits dont l\u2019\u00e9tude et la prise en compte permettent d\u2019enrichir et d\u2019approfondir, voire de renouveler la compr\u00e9hension des mutations sociopolitiques qu\u2019ils relatent ? On pr\u00eatera aussi bien attention au texte, \u00e0 ses matrices narratives et \u00e0 ses topiques qu\u2019au m\u00e9tadiscours (le titre, les premi\u00e8re et quatri\u00e8me pages de couverture, les remerciements, les pr\u00e9face et postface, les photographies ou vid\u00e9os qui accompagnent le texte, etc.), tout en faisant preuve de r\u00e9flexivit\u00e9 quant aux implications m\u00e9thodologiques et \u00e9pist\u00e9mologiques sp\u00e9cifiquement li\u00e9es \u00e0 l\u2019analyse de ce genre (voir notamment Marche 2015).<\/p>\n\n\n\n<p>Les propositions de communication (entre 300 et 500 mots), pr\u00e9cisant la m\u00e9thode employ\u00e9e et les mat\u00e9riaux mobilis\u00e9s, et accompagn\u00e9es d\u2019une br\u00e8ve notice biographique, sont \u00e0 envoyer d\u2019ici au 17 janvier 2022 \u00e0 Hugo Bouvard (<a href=\"mailto:hugo.bouvard@u-pec.fr\">hugo.bouvard@u-pec.fr<\/a>) et \u00e0 Guillaume Marche (<a href=\"mailto:gmarche@u-pec.fr\">gmarche@u-pec.fr<\/a>).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">R\u00e9f\u00e9rences<\/h4>\n\n\n\n<p>Collovald, Annie. 1988. \u00ab Identit\u00e9(s) strat\u00e9gique(s) \u00bb. <em>Actes de la Recherche en Sciences<\/em> <em>Sociales,<\/em> 73 (1) : 29\u201140.<\/p>\n\n\n\n<p>Le Bart, Christian. 2012. <em>La politique en librairie. Les strat\u00e9gies de publication des professionnels de la politique<\/em>. Paris: Armand Colin.<\/p>\n\n\n\n<p>Lepore, Jill. 2019. \u00ab Confessions of a Presidential Candidate \u00bb. <em>The New Yorker<\/em>, 13 mai 2019. <a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">&#8211;<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">of<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">&#8211;<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">a<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">&#8211;<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">presidential<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">&#8211;<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\">candidate<\/a><a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/05\/20\/confessions-of-a-presidential-candidate\"> <\/a>(consult\u00e9 le 4 octobre 2021).<\/p>\n\n\n\n<p>Marche, Guillaume. 2015. \u00ab Memoirs of Gay Militancy: A Methodological Challenge \u00bb. <em>Social Movement Studies<\/em> 14 (3): 270\u201190.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #19 Activist and Political Autobiographies: Legitimation Strategies and Postures of Authority<\/h3>\n\n\n\n<p>Autobiographical narratives\u2014whether published as autobiographies per se, memoirs, testimonies, diaries, or texts posted online on blogs, social media, or personal websites\u2014are frequently used by activists and social movement actors, but also elected officials and political leaders as tools for constructing or reconstructing a \u201cstrategic identity\u201d (Collovald 1988). As such, these activist and political autobiographies (a term that covers the range of forms previously mentioned) can be analyzed as literary and scriptural strategies \u201cof self-presentation or self-production\u201d (Le Bart 2012), which allow their authors to establish or consolidate legitimacy, or even restore damaged authority. For example, in the United States, publishing an autobiography has basically become a prerequisite for any presidential candidate seeking the nomination of his or her party (Lepore 2019). This panel examines how such narrative forms reflect or, on the contrary, challenge these legitimation processes, whether in social movements or in the institutionalized political sphere.<\/p>\n\n\n\n<p>As early as the colonial era\u2014when narratives such as John Smith\u2019s <em>History of Virginia<\/em> also recounted an individual lived experience of colonization\u2014, the revolutionary period\u2014 when Benjamin Franklin\u2019s autobiography recounted his individual life story within the frame of independence\u2014and beyond, autobiographical narratives have served as tools of legitimation for political and activist organization leaders. Can these texts be considered to have instituted canons of the genre of activist and political autobiography, by virtue, for example, of the \u201cFounding Father\u201d status conferred on Benjamin Franklin? What precisely have their influence and legacy been on subsequent works? Generally speaking, are there more or less direct forms of intertextuality between activist and political autobiographies from one era to another?<\/p>\n\n\n\n<p>A central question that the genre of activist and political autobiography raises is how the individual relates to the collective: as first-person narratives centered on an individual in his or her relationship to the rest of society, activist and political autobiographies can affirm authority\u2014as when a leader poses as a reference for his or her movement or party\u2014or protest\u2014when one poses as a challenger, a maverick, or a rebel. Are the narrativity and literariness of autobiographical writing, and hence the singularity and exemplarity of an experience that they highlight, particularly effective tools or valuable resources for doing so? Does the auctoriality of autobiographical writing in itself convey or produce authority, legitimacy, or canonicity?<\/p>\n\n\n\n<p>This genre can also be invested by those seeking inclusion within the pale of legitimacy, or by outsiders traditionally excluded from the realm of politics because of their gender, racial or ethnic identity, religious affiliation, sexual orientation, or characteristics constructed as disabilities. How is belonging to a minority then narrativized, emphasized, or euphemized? Is it a matter of challenging the traditional forms of autobiographical political narrative, or even proposing a counter-narrative? Does simultaneously belonging to several minority groups generate discourses that may be described as intersectional, or do narratives tend to highlight one identity at the expense of the others? Do the authors claim to speak for their group(s)? In particular, how do they address their connection with the social movements founded around this minoritized identity\u2014feminism, movements for the rights of people with disabilities or against Islamophobia, etc.? What repertoire is dominant in these works: exemplarity, authenticity, universality, etc.? And, whether it be a matter of legitimizing outsiders, affirming, or challenging authority, to what extent do these autobiographical narratives abide by, or on the contrary resist, standardized, pre-determined formats, such as the scripts of coming out, heroism, resilience, the reversal of stigma, etc.?<\/p>\n\n\n\n<p>In terms of production, writers are often hired to do part or all of the actual writing of political autobiographies (Le Bart 2012): what can these writers\u2019 identity, when known, teach us about the links between political journalists, commentators, and politicians? Another worthwhile issue of inquiry is the publication, or non-publication, of these autobiographical accounts: what editorial and economic processes determine the legitimation or discrediting of these voices? To what extent does publication, but also its medium and the dissemination it either manages or fails to promote, determine legitimacy? Should published and unpublished narratives be approached differently, and if so, how should the latter be considered?<\/p>\n\n\n\n<p>In terms of reception, which audiences do these narratives target and how are they received? How contentious is the assessment of the success or failure (commercial, literary, political) of these works, and hence these strategies of legitimation? To what extent can the writing, publication, circulation, and promotion of an activist or political autobiography help fight prejudice and discrimination (anti-Semitism, Islamophobia, racism, xenophobia, validism, homophobia, sexism, transphobia&#8230;)? From an interdisciplinary perspective, it is also worth examining whether these works\u2019 value, legitimacy, and credibility are gauged according to standards of literariness. In other words, do the canons of literary writing perform as standards of legitimacy for activist or political autobiographical voices\u2014which do not necessarily manifest literary ambition\u2014and do minority literatures\u2014Native American, African American, Italian American, Arab American, women\u2019s literature\u2014offer them frameworks, patterns, or canons with which to comply, compare, or contrast?<\/p>\n\n\n\n<p>A final question is what status scholars should give these activist and political autobiographies, when using them as sources for the history of social movements and politics. How to address the issue of reliability? Is an activist or political autobiography worthwhile in itself, or does it only make sense when compared, serially, with others? Do these narratives owe their heuristic value to the fact that they give voice to voices that are otherwise silenced or insufficiently audible? Do they offer counter-narratives whose study and consideration may allow scholars to enhance, deepen, or even renew their understanding of social and political changes? Participants are encouraged to pay attention not only to textual content, narrative patterns, and topical substance, but also to metadiscursive elements (title, first and fourth cover pages, acknowledgements, preface, foreword, and afterword, accompanying photographs or videos, etc.), while being reflexive about the methodological and epistemological implications of analyzing this genre (Marche 2015).<\/p>\n\n\n\n<p>Please send paper submissions (300 to 500 words), including a presentation of method and sources, and a short biographical note by January 17, 2022 to Hugo Bouvard (<a href=\"mailto:hugo.bouvard@u-pec.fr\">hugo.bouvard@u-pec.fr<\/a>) and Guillaume Marche (<a href=\"mailto:gmarche@u-pec.fr\">gmarche@u-pec.fr<\/a>).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 20 Argentique canonique ? Qui sont les photographes ?<\/h3>\n\n\n\n<p><em>Carolin G\u00f6rgen (Paris IV Sorbonne) et Camille Rouquet (CY Cergy Paris)<\/em><\/p>\n\n\n\n<p>Invention de la bourgeoisie europ\u00e9enne des d\u00e9buts du 19\u00e8me si\u00e8cle, la photographie reste longtemps un club ferm\u00e9 excluant notamment les femmes et les personnes de couleur de ses pratiques. La premi\u00e8re pr\u00e9occupation du m\u00e9dium photographique au 20\u00e8me si\u00e8cle est de se frayer une place dans le monde culturel et de gagner une l\u00e9gitimit\u00e9 artistique en montrant que son aspect technologique ne doit pas la cantonner \u00e0 un r\u00f4le documentaire. Les Pictorialistes sont souvent pr\u00e9sent\u00e9s comme le premier groupe r\u00e9alisant des chefs d\u2019oeuvre visuels avec leurs chambres noires et permettant \u00e0 des photographies d\u2019investir les galeries d\u2019art europ\u00e9ennes et \u00e9tats-uniennes. Le statut de canon artistique n\u2019est d\u00e9sormais plus r\u00e9serv\u00e9 aux oeuvres relevant de la cat\u00e9gorie des arts plastiques et la photographie peut \u00e0 son tour se d\u00e9velopper au fil des modes et des mouvements. L\u2019ouverture du m\u00e9dium \u00e0 une population plus large au 20\u00e8me a aussi permis \u00e0 des figures comme Dorothea Lange ou Gordon Parks d\u2019atteindre le statut de professionnel\u00b7les, voire de c\u00e9l\u00e9brit\u00e9s. Mais ces \u00e9volutions rapides sont-elles repr\u00e9sentatives des id\u00e9es de libert\u00e9 et de d\u00e9mocratisation attach\u00e9e au m\u00e9dium photographique, ou \u00e9clipsent-elles des processus d\u2019exclusion syst\u00e9matiques ?<\/p>\n\n\n\n<p>Bien que les d\u00e9veloppements de la photographie soient extr\u00eamement rapides, passant des chambres noires aux appareils num\u00e9riques en seulement un si\u00e8cle, ils sont constamment accompagn\u00e9s de questionnements similaires \u00e0 ceux qui illustrent l\u2019histoire des arts plastiques. Dans l\u2019histoire du m\u00e9dium, les pr\u00e9occupations \u00ab formalistes \u00bb dominent trop souvent le discours alors que les questions de mat\u00e9rialit\u00e9, d\u2019usage et de production sont \u00e9cart\u00e9es. Cet atelier invite toute reflexion sur les questions de cr\u00e9ation de la figure de l\u2019auteur et du \u201cbon\u201d sujet en photographie, avec une volont\u00e9 de redonner de la visibilit\u00e9 aux auteur\u00b7ices et sujets provenant des marges. On pourra se pencher notamment, mais pas exclusivement sur les th\u00e8mes suivants :<\/p>\n\n\n\n<p>&#8211; La fondation de l\u2019entreprise Kodak \u00e0 la fin du 19\u00e8me si\u00e8cle et l\u2019invention des pellicules de n\u00e9gatifs rendront l\u2019acc\u00e8s \u00e0 la photographie bien plus large. D\u00e8s lors, la d\u00e9finition de la figure du photographe s\u2019\u00e9largit \u00e0 des classes socio-\u00e9conomiques plus vari\u00e9s ; tout le monde est cens\u00e9 pouvoir cr\u00e9er un \u201cmoment Kodak\u201d. Il convient cependant de s\u2019interroger sur l\u2019institutionnalisation de la profession de photographe et sur l\u2019acc\u00e8s m\u00eame au statut de photographe professionnel aux personnes marginalis\u00e9es. \u00c0 qui est octroy\u00e9 la l\u00e9gitim\u00e9 en photographie ? Quels profils de photographes ont \u00e9t\u00e9 laiss\u00e9s dans l\u2019ombre ? Quels les canaux ont donn\u00e9 de la visibilit\u00e9 aux photographes des marges au fil de l\u2019histoire ?<\/p>\n\n\n\n<p>&#8211; Quelle place ont eu les photographes non-artistes dans l\u2019histoire ? L\u2019\u00e2ge d\u2019or du journalisme au milieu du 20\u00e8me si\u00e8cle a mis en lumi\u00e8re le caract\u00e8re essentiel de la photographie dans les processus d\u2019information et d\u2019\u00e9ducation. Le photojournalisme poursuit la photographie exemplaire et la r\u00e9compense de prix prestigieux, cr\u00e9ant ainsi un canon auxquels aspirent encore les photographes contemporains. Ces canons et ces reconnaissances sont-ils accessibles par tou\u00b7tes ? Ont-ils in\u00e9vitablement excluent certains sujets des processus de repr\u00e9sentation ?<\/p>\n\n\n\n<p>&#8211; La notion de l\u2019autorit\u00e9 du photographe peut para\u00eetre simple; le photographe qui prend le clich\u00e9 en est auteur. Et pourtant la fabrique de l\u2019image photographique est une suite de proc\u00e9dures techniques et cr\u00e9atives qui requiert la participation de professionnel\u00b7les vari\u00e9\u00b7es. On pensera par exemple \u00e0 la photographie de presse, typiquement s\u00e9lectionn\u00e9e, imprim\u00e9e et contextualis\u00e9e non pas par les photographes mais par les \u00e9diteurs photos et autres r\u00e9dacteurs-en-chef. Peut-on alors s\u00e9parer la photographie de ses usages et r\u00e9server la signature auctoriale au seul photographe ?<\/p>\n\n\n\n<p>&#8211; La figure du photographe n\u2019est pas la seule \u00e0 avoir assimil\u00e9 des standards de l\u00e9gitim\u00e9 dans l\u2019histoire de la profession : les sujets photographiques ont \u00e9galement d\u00fb r\u00e9pondre \u00e0 des r\u00e8gles strictes pour \u00eatre reconnus dignes d\u2019exposition, d\u2019attention et d\u2019usage. Le \u201cbon\u201d sujet \u00e9volue avec les \u00e9poques mais certains th\u00e8mes\u2014comme la repr\u00e9sentation des communaut\u00e9s per\u00e7ues comme faibles ou marginalis\u00e9es\u2014ont re\u00e7u une reconnaissance disproportionn\u00e9e dans l\u2019histoire de la photographie. Le documentaire anthropologique, qui octroie une grande autorit\u00e9 aux photographes depuis l\u2019\u00e9mergence du m\u00e9dium, a aussi \u00e9t\u00e9 l\u2019une des pratiques les plus excluantes parce qu\u2019elle a longtemps repos\u00e9 sur l\u2019id\u00e9ologie coloniale. Quel est l\u2019impact de cet h\u00e9ritage visuel sur la photographie documentaire contemporaine ?<\/p>\n\n\n\n<p>&#8211; L\u2019authenticit\u00e9 en photographie a \u00e9galement beaucoup \u00e9t\u00e9 au centre des pr\u00e9occupations des professionnel\u00b7les et des historien\u00b7nes, qu\u2019il s\u2019agisse de d\u00e9terminer la v\u00e9rit\u00e9 d\u2019une photographie elle-m\u00eame (cadrage, montage, pose) ou de ses usages (fake news s\u2019appropriant des photos d\u2019autres contextes). On pourra notamment se pencher sur la construction de discours excluants par le biais des manipulations visuelles.<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Carolin G\u00f6rgen (<a href=\"mailto:carolin.gorgen@sorbonneuniversite.fr\">carolin.gorgen@sorbonneuniversite.fr<\/a>) et Camille Rouquet (<a href=\"mailto:camille.rouquet@cyu.fr\">camille.rouquet@cyu.fr<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #20 The photographic canon? Photographers and Practices in Perspective<\/h3>\n\n\n\n<p>As an invention of the European bourgeoisie in the early nineteenth century, photography has remained for a long time a privileged practice, excluding women and people of color from its ranks. In the twentieth century, a major ambition of the photographic medium was to carve out a place for itself in the cultural world and to gain artistic legitimacy, notably by demonstrating that its mechanical nature does not limit it to a strictly documentary role. Pictorialists are oftentimes presented as the first group to create visual masterpieces in darkrooms, thus paving the way for photographs to enter European and American museums and art galleries. The artistic canon was no longer reserved for works from the plastic arts alone and photography, in turn, underwent its own trends and movements. The accessibility of the medium to a broader population over the course of the twentieth century also allowed figures such as Dorothea Lange or Gordon Parks to achieve professional, or perhaps even celebrity status. But are these rapid developments representative of the ideas of \u2018freedom\u2019 and \u2018democratization\u2019 commonly attached to the photographic medium, or do they overshadow other processes of systematic exclusion?<\/p>\n\n\n\n<p>Although the photographic medium evolved at an extremely fast pace, moving from darkrooms to the digital within one century, it has been constantly accompanied by questions and debates pertaining to the fine arts. In the history of the medium, \u201cformalist\u201d concerns too often dominate the discourse while questions of materiality, use, and production are regularly dismissed.<\/p>\n\n\n\n<p>This workshop invites a reflection upon the creation of the \u201cauthor\u201d figure and the \u201cgood\u201d subject in photography, with the aim to provide visibility to marginalized authors and subjects.<\/p>\n\n\n\n<p>The following themes may be considered:<\/p>\n\n\n\n<p>&#8211; The foundation of the Kodak company in the late nineteenth century and the invention of negative film provided unprecedented access to the medium. From then on, the definition of the photographer gradually opened up to more diverse socio-economic classes; everyone was supposed to be able to create a \u201cKodak moment.\u201d However, we may ask to what extent the institutionalization of the photographic profession provided access to marginalized people? To whom is legitimacy in photography granted? What practices and photographers have remained under the radar? Which channels have given visibility to photographers from the margins throughout history?<\/p>\n\n\n\n<p>&#8211; What place have non-artist photographers had in history? The golden age of journalism in the mid-twentieth century highlighted the essential role of photography in the news media and education. Photojournalism championed a model of exemplary photography and rewarded it with prestigious awards, creating a canon to which contemporary photographers still aspire. Are these canons and value systems accessible to any photographer? Do they inevitably exclude certain subjects from processes of representation?<\/p>\n\n\n\n<p>&#8211; The notion of the photographer\u2019s authority may seem simple, that is, the photographer who takes the picture is its author. And yet the making of the photographic image consists of a series of technical and creative processes that require the participation of various professionals. One thinks for example of press photography, typically selected, printed and contextualized not by photographers themselves, but instead by photoeditors and other news media editors. Can we then separate photography from its uses and reserve the authorial signature to the photographer alone?<\/p>\n\n\n\n<p>&#8211; The figure of the photographer is not the only one to have assimilated standards of legitimacy in the history of the profession: photographic subjects have also had to meet strict rules to be recognized as worthy of exhibition, attention, and use. Definitions of \u201cright\u201d subject-matter have evolved over time, but certain themes \u2013 such as the representation of communities perceived as weak or marginalized \u2013 are only now starting to gain recognition in the history of photography. From the medium\u2019s early beginnings, anthropological documentary has been one of the most exclusionary practices, as it conferred authority on photographers and has long been embedded in colonial ideologies. What impact does this visual legacy exert on contemporary documentary photography?<\/p>\n\n\n\n<p>&#8211; Authenticity in photography has likewise been a central concern for professionals and historians alike, whether it is a question of determining the truth value of a photograph itself (framing, editing, posing) or its uses (fake news dissociating photographs from other contexts). We may specifically consider the construction of exclusionary discourses through visual manipulation.<\/p>\n\n\n\n<p>Proposals should be sent to Carolin G\u00f6rgen (<a href=\"mailto:carolin.gorgen@sorbonne-universite.fr\">carolin.gorgen@sorbonne-universite.fr<\/a>) and Camille Rouquet (<a href=\"mailto:camille.rouquet@cyu.fr\">camille.rouquet@cyu.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 21 Les destin\u00e9es historiques comme fondement de la l\u00e9gitimit\u00e9 : le genre biographique dans la culture populaire<\/h3>\n\n\n\n<p><em>Dani\u00e8le Andr\u00e9 (Universit\u00e9 de La Rochelle) et Jeanne Ferrier (Universit\u00e9 de Paris)<\/em><\/p>\n\n\n\n<p>Entre 2000 et 2021, onze des laur\u00e9ats de l\u2019Oscar du meilleur acteur ont \u00e9t\u00e9 r\u00e9compens\u00e9s pour leur incarnation d\u2019un personnage historique, dont sept pour des films clairement identifi\u00e9s comme biographiques. Sur la m\u00eame p\u00e9riode, quatre des films r\u00e9compens\u00e9s par un Oscar du meilleur film, et trente-trois des cent cinquante et un candidats \u00e0 la statuette, \u00e9taient des biopics. Depuis 2017, la s\u00e9rie biographique de Netflix <em>The Crown<\/em> a \u00e9t\u00e9 nomm\u00e9e quatre fois pour le Golden Globe et l\u2019Emmy Award de la meilleure s\u00e9rie dramatique, et a rafl\u00e9 quatre de ces prix.<\/p>\n\n\n\n<p>Le genre biographique, en associant la pseudo-l\u00e9gitimit\u00e9 historique du film d\u2019\u00e9poque au go\u00fbt du grand public pour les r\u00e9cits de destin\u00e9es exceptionnelles, occupe une place de choix \u00e0 Hollywood et dans la culture populaire au sens large : films et s\u00e9ries, mais aussi romans traditionnels ou graphiques, musique (on pensera par exemple aux chansons \u00ab Hurricane \u00bb et \u00ab Joey \u00bb, de Bob Dylan, ou \u00e0 \u00ab Candle in the Wind \u00bb d\u2019Elton John), com\u00e9dies musicales (telles qu\u2019<em>Evita<\/em>, <em>Beautiful: The Carole King Musical<\/em>, ou plus r\u00e9cemment <em>Hamilton<\/em>) et m\u00eame jeu vid\u00e9o (des jeux autobiographiques tels que <em>That Dragon<\/em>, <em>Cancer<\/em> de Ryan Green ou les jeux de Nina Freeman Cibele, <em>How Do You Do It<\/em> ou <em>We Met in May<\/em>, se basent sur la vie de leurs programmeur.se.s pour explorer des th\u00e9matiques universelles).<\/p>\n\n\n\n<p>Le genre en lui-m\u00eame est fond\u00e9 sur la r\u00e9\u00e9criture et la romantisation des faits, qui permettent aux fictions biographiques de transformer le r\u00e9cit historique en un r\u00e9cit accessible au grand public, mais aussi <em>bankable<\/em>. Tout comme la fiction historique, il se rapproche parfois d\u2019une forme de vulgarisation, mais en se focalisant sur un individu en particulier, il favorise l\u2019identification et permet ainsi plus ais\u00e9ment au public de s\u2019investir \u00e9motionnellement dans le r\u00e9cit qu\u2019il d\u00e9ploie. Or on peut s\u2019interroger sur les grandes figures qui sont ainsi mises en avant et, dans une certaine mesure, mythifi\u00e9es. Des personnalit\u00e9s de diff\u00e9rents milieux (arts, politique, sciences\u2026) se voient ainsi transform\u00e9es en h\u00e9ros et h\u00e9ro\u00efnes de la fiction. Les r\u00e9cits biographiques explorent et reconstruisent leur pass\u00e9 afin de comprendre comment ils et elles sont devenu.e.s des \u00ab grands noms \u00bb, appartenant m\u00eame \u00e0 la culture g\u00e9n\u00e9rale, mais s\u2019attaquent aussi au c\u00f4t\u00e9 sombre de la soci\u00e9t\u00e9 am\u00e9ricaine en se penchant sur des tueur.se.s en s\u00e9rie (Jeffrey Dahmer, Ted Bundy, Aileen Wuornos&#8230;) ou sur d\u2019autres figures criminelles (on pensera ainsi \u00e0 la popularit\u00e9 du genre du <em>true crime<\/em> dans la litt\u00e9rature, les \u00e9missions de t\u00e9l\u00e9vision ou de radio et les podcasts, ou aux s\u00e9ries Netflix <em>Narcos<\/em> ou <em>Mindhunter<\/em>). D\u00e8s lors, on peut se demander quel est l\u2019objectif du genre biographique dans la culture populaire : s\u2019il semble souvent chercher \u00e0 construire des mod\u00e8les, qui viendront par exemple nourrir la valeur fondatrice du self-made (wo)man, comment penser dans ce cadre les nombreuses fictions biographiques sur les tueur.se.s en s\u00e9rie, et inversement le nombre restreint de fictions portant sur des personnalit\u00e9s appartenant au monde de la science (et dont la plupart propagent le st\u00e9r\u00e9otype du \u00ab g\u00e9nie solitaire \u00bb qui peine \u00e0 s\u2019int\u00e9grer \u00e0 la soci\u00e9t\u00e9) ?<\/p>\n\n\n\n<p>On pourrait \u00e9galement s\u2019interroger sur les individus qui ne sont pas repr\u00e9sent\u00e9s, ou qui l\u2019ont \u00e9t\u00e9 tardivement. La question des femmes dans le genre biographique se pose par exemple : sont-elles autant repr\u00e9sent\u00e9es que les grandes figures masculines, et le sont-elles de la m\u00eame mani\u00e8re (une interrogation abord\u00e9e par Rapha\u00eblle Moine dans <em>Vies h\u00e9ro\u00efques : biopics masculins, biopics f\u00e9minins<\/em>) ? Qu\u2019en est-il des minorit\u00e9s de mani\u00e8re g\u00e9n\u00e9rale ? On pourrait par exemple s\u2019int\u00e9resser \u00e0 des films tels que <em>Les Figures de l\u2019ombre<\/em>, <em>Nina<\/em> ou <em>Harriet<\/em>, qui se focalisent sur des figures de femmes noires tout en d\u00e9non\u00e7ant les discriminations raciales historiques aux \u00c9tats-Unis, et se demander si la repr\u00e9sentation de figures historiques de femmes noires, et de personnes afro-am\u00e9ricaines plus g\u00e9n\u00e9ralement, ne serait pas, pour le cin\u00e9ma hollywoodien, une mani\u00e8re de d\u00e9passer les critiques du mouvement #OscarsSoWhite, tout en n\u2019offrant la repr\u00e9sentation qu\u2019\u00e0 des figures consensuelles (on pensera par exemple au nombre important de biopics hollywoodiens portant sur des figures noires de sportifs ou de musicien .ne.s, d\u00e9j\u00e0 connues du grand public). On pourra \u00e9galement s\u2019interroger sur la repr\u00e9sentation limit\u00e9e qui est offerte \u00e0 certaines minorit\u00e9s, notamment les personnes asio-am\u00e9ricaines, ou les personnes LGBTQI+.<\/p>\n\n\n\n<p>Enfin, la fiction biographique est un genre qui entretient le lien tr\u00e8s fort entre litt\u00e9rature et cin\u00e9ma : le r\u00e9cit biographique passe souvent de la page \u00e0 l\u2019\u00e9cran, ou se focalise sur des grands noms de la litt\u00e9rature, mettant souvent l\u2019accent sur ce qui, dans leur vie, a pu inspirer l\u2019\u00e9criture de leurs textes les plus c\u00e9l\u00e8bres (une th\u00e9matique explor\u00e9e par Hilda Shachar dans <em>Screening the author: The Literary Biopic<\/em>). Au-del\u00e0 des nombreuses biographies litt\u00e9raires adapt\u00e9es en film, on peut \u00e9galement mentionner des romans graphiques et bandes-dessin\u00e9es telles que <em>American Splendor<\/em> ou encore <em>My Friend Dahmer<\/em>. L\u2019ancrage du genre dans la litt\u00e9rature pourrait \u00eatre une mani\u00e8re de revendiquer sa propre l\u00e9gitimit\u00e9, de s\u2019appuyer sur une base solide, plus respect\u00e9e que d\u2019autres m\u00e9dia, et qui donnerait ainsi une dimension \u00ab s\u00e9rieuse \u00bb au r\u00e9cit propos\u00e9. La question qui se pose alors est celle du canon : comment la fiction biographique met-elle de c\u00f4t\u00e9 la r\u00e9alit\u00e9 historique stricte afin de s\u2019adapter aux codes des diff\u00e9rentes formes qu\u2019elle adopte ? Certains aspects de la r\u00e9alit\u00e9 historique sont-ils syst\u00e9matiquement effac\u00e9s dans la construction du r\u00e9cit biographique, et pourquoi ? Dans <em>Time Out<\/em>, le critique de cin\u00e9ma Dave Calhoun a ainsi r\u00e9sum\u00e9 <em>Bohemian Rhapsody<\/em> \u00e0 \u00ab an act of brazen myth-making. Facts and chronology are tossed aside in favor of a messianic storyline&#8230; \u00bb, une critique acerbe qui souligne le rapport complexe qu\u2019entretient la fiction biographique avec ses propres codes.<\/p>\n\n\n\n<p>Les pistes de r\u00e9flexion suivantes, non-exhaustives, pourront \u00eatre explor\u00e9es :<\/p>\n\n\n\n<p>&#8211; Quelles sont les formes que prend la fiction biographique ? Comment s\u2019adapte-t-elle aux diff\u00e9rents m\u00e9dias dans lesquels elle s\u2019incarne ?<\/p>\n\n\n\n<p>&#8211; La fiction biographique se penche-t-elle sur des figures qui font autorit\u00e9 dans leur secteur, ou permet-elle de cr\u00e9er de nouvelles figures d\u2019autorit\u00e9 en permettant au public de s\u2019approprier leurs parcours de vie au travers de la fiction populaire ?<\/p>\n\n\n\n<p>&#8211; Dans quelle mesure la fiction biographique, en mettant en avant des faits historiques et des grandes figures du roman national, permet-elle \u00e0 la culture populaire de revendiquer sa l\u00e9gitimit\u00e9 ?<\/p>\n\n\n\n<p>&#8211; Quel rapport entretient-elle avec la chronologie ? Comment la r\u00e9organisation, voire la r\u00e9\u00e9criture, de faits historiques favorise-t-elle la construction de grandes figures mythifi\u00e9es ?<\/p>\n\n\n\n<p>&#8211; Inversement, la fiction biographique a-t-elle \u00e9volu\u00e9 au fil du temps, \u00e0 la fois dans son \u00e9criture et dans les figures qu\u2019elle met en valeur ? Existe-t-il des biopics oubli\u00e9s, qui promouvaient des figures aujourd\u2019hui reconnues comme \u00e9tant dangereuses pour la soci\u00e9t\u00e9 ?<\/p>\n\n\n\n<p>&#8211; Comment la fiction biographique portant sur des figures d\u2019artistes souligne-t-elle, ou accentue-t- elle les liens entre la biographie de l\u2019artiste et son \u0153uvre ? Quelle place occupent les jukebox musicals tels que <em>Beautiful: A Carol King Musical<\/em> ou <em>Rocketman<\/em> dans cette cat\u00e9gorie ?<\/p>\n\n\n\n<p>&#8211; Le genre biographique est-il compatible avec le m\u00e9dia du jeu vid\u00e9o ? Pourquoi existe-t-il si peu de jeux vid\u00e9o biographiques et pourquoi la plupart d\u2019entre eux rel\u00e8vent-ils davantage de l\u2019autobiographie des programmeur.se.s ? Comment le <em>gameplay<\/em> permet-il aux joueur.se.s de s\u2019impliquer pleinement dans un r\u00e9cit qui appartient d\u2019office \u00e0 quelqu\u2019un d\u2019autre ?<\/p>\n\n\n\n<p>&#8211; De mani\u00e8re plus g\u00e9n\u00e9rale, la fiction biographique parvient-elle \u00e0 se faire une place dans d\u2019autres formes de jeux (jeux de r\u00f4le, GN\u2026) ?<\/p>\n\n\n\n<p>&#8211; Quelle place occupent les minorit\u00e9s dans les fictions historiques ? Sont-elles un moyen d\u2019offrir de la visibilit\u00e9 \u00e0 des groupes sociaux longtemps peu repr\u00e9sent\u00e9es, ou une fa\u00e7on, notamment pour le cin\u00e9ma hollywoodien, de se pr\u00e9tendre inclusif tout en s\u2019assurant de n\u2019offrir de la visibilit\u00e9 qu\u2019\u00e0 des figures faisant consensus ?<\/p>\n\n\n\n<p>&#8211; Qu\u2019en est-il des biopics fictionnels, ces \u0153uvres qui racontent la vie de personnages qui n\u2019ont exist\u00e9 que dans des \u0153uvres de fiction en s\u2019appuyant sur le canon d\u2019un genre install\u00e9 ?<\/p>\n\n\n\n<p>Dans une perspective transdisciplinaire, l\u2019atelier est ouvert \u00e0 toutes les approches qui permettront de comprendre les questions soulev\u00e9es. Les propositions (entre 300 \u00e0 500 mots environ) pourront mettre en avant conjointement diff\u00e9rents champs d\u2019\u00e9tudes, de cadres th\u00e9oriques et d\u2019approches. Elles sont \u00e0 renvoyer conjointement \u00e0 Dani\u00e8le Andr\u00e9 (<a href=\"mailto:daniele.andre.univ.larochelle@gmail.com\">daniele.andre.univ.larochelle@gmail.com<\/a>) et Jeanne Ferrier (<a href=\"mailto:ferrierjeanne@gmail.com\">ferrierjeanne@gmail.com<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #21 Historical destinies as the foundation of legitimacy: the biographical genre in pop cultural studies<\/h3>\n\n\n\n<p>Between 2000 and 2021, out of the twenty-one winners of the Oscar for Best Actor, eleven were rewarded for playing the part of a historical figure. Seven of the movies they appeared in were clearly identified as biographical pictures. Over the same period, thirty-three out of the one hundred and fifty Oscar for Best Picture nominees \u2013 and four of the movies that were awarded the prized statuette \u2013 were biopics. Since 2017, the Netflix biographical series <em>The Crown<\/em> has been nominated four times for both the Golden Globe and the Emmy Award for Outstanding Drama Series, and it has brought home four of these awards.<\/p>\n\n\n\n<p>The biographical genre has place of pride in Hollywood and in popular culture in general, understandably so: it brings together the pseudo-legitimacy of the period film and the widespread appetite for tales of remarkable destinies. Biographies can be found in films and series of course, and in traditional or graphic novels (too many to name), but also in music (Bob Dylan\u2019s songs \u201cHurricane\u201d and \u201cJoey\u201d, or Elton John\u2019s \u201cCandle in the Wind\u201d for example), stage musicals (such as <em>Evita<\/em>, <em>Beautiful: The Carole King Musical<\/em>, or more recently, <em>Hamilton<\/em>), and even video games (Ryan Green\u2019s <em>That Dragon, Cancer<\/em>, and Nina Freeman\u2019s games <em>Cibele<\/em>, <em>How Do You Do It<\/em> and <em>We Met in May<\/em>, explore universal themes even though they are based on the lives of their programmers).<\/p>\n\n\n\n<p>Rewriting and romanticizing are cornerstones of the genre. They are a way for biographical fictions to turn historical facts into narratives that will be both accessible to the general public and bankable. It has the same popularizing tone as historical fiction, but because it focuses on a single character, it fosters the process of identification, and makes it possible for the audience to get emotionally involved in the story that it unfolds. This raises the question: who is pictured and, to some extent, mythologized, in biographical fiction? The major \u2013 or sometimes a bit obscure \u2013 historical figures that the genre sheds light on come from a variety of backgrounds (politicians, artists, scientists\u2026), and are transformed into heroic figures through the narrative. Biographical fiction explores and (re)shapes past events in order to explain how and why these people became so well-known and\/or important. And in doing so, they sometimes explore the dark side of American society, telling tales of serial killers for example (Jeffrey Dahmer, Ted Bundy, Aileen Wuornos\u2026), or of other famous criminals \u2013 through increasingly popular (and numerous) \u201ctrue crime\u201d novels, television shows and podcasts, a genre that finds its more celebrated examples in Netflix series such as <em>Narcos <\/em>or <em>Mindhunter<\/em>. How can we make sense of a genre that thrives in the representation of both somber individuals who threaten the very fabric of society, and role-models who often feed into the myth of the American self-made(wo)man? Conversely, why are there so few biopics that revolve around big scientific figures, and why are so many of these people represented as mad or lonely scientists?<\/p>\n\n\n\n<p>The issue of the lack of representation also comes to mind: are there any categories of people whose biographies are not fictionalized, or have only become an object of fiction recently? Are women, for instance, represented as often and in the same way as men (an issue tackled by Rapha\u00eblle Moine in <em>Vies h\u00e9ro\u00efques : biopics masculins, biopics f\u00e9minins<\/em>)? What about other minorities? In the past few years, there has been a surge of representations of black women in Hollywood biopics with movies such as <em>Hidden Figures<\/em>, <em>Nina<\/em> or <em>Harriet<\/em>, which focus specifically on women who fought, in some way, against racist discriminations. Although they offer better representation to a part of the American society that is rarely pictured in leading roles, it would seem justified to wonder whether these movies are merely a way for Hollywood to push aside the criticisms of the #OscarsSoWhite movement, while limiting this representation to safe, widely recognized figures. This question could be broadened to the representation of African American figures, indeed most of the biographical fictions about them focus on figures of athletes or musicians whom the general public already knows and loves. The limited representation of other minorities, such as Asian-Americans or LGBTQI+ people, could be similarly questioned.<\/p>\n\n\n\n<p>Finally, the strong link between literature and the moving picture is made particularly clear in biographical fiction: biographical narratives are often adapted from the page onto the screen, or focus on major literary figures, usually trying to shed light on the way in which their personal lives inspired their most famous works (an idea that Hilda Shachar worked on in <em>Screening the Author: The Literary Biopic<\/em>). Most such adaptations are biographical novels turned into biopics, but the source can also be a graphic novel or a comic (<em>American Splendor<\/em>,<em> My Friend Dahmer<\/em>)<em>. <\/em>The literary roots of the genre could be a way for it to claim its own legitimacy, to base itself on foundations that seem solid and more worthy of respect than other media, and which could grant an appearance of \u201cseriousness\u201d to the narrative. But in that case, what is the canon that biographical fiction follows? How does the genre set aside historical truth in order to conform to the codes of the different media it appears in? Are some aspects of history systematically erased when the biographical narrative is being constructed, and why? Is the modification of facts as big a deal as <em>Time Out <\/em>film critic Dave Calhoun seemed to believe when he wrote that <em>Bohemian Rhapsody<\/em> was \u201c<em>an act of brazen myth-making. Facts and chronology are tossed aside in favor of a messianic storyline&#8230;<\/em>\u201d, thus highlighting the complex relationship between biographical fiction and its own codes?<\/p>\n\n\n\n<p>&#8211; The forms of biographical fictions, and the ways in which it adapts to the codes of various media.<\/p>\n\n\n\n<p>&#8211; The idea of authoritative figures: are the heroes of biographical fiction already leading figures in their field, or does the genre create new objects of fame by enabling the audience to identify to them through popular fiction?<\/p>\n\n\n\n<p>&#8211; The relationship between biographical fiction and historical facts, as a potential way for popular culture to claim its own legitimacy. The issue of time and the chronological reorganization, or even rewriting, of facts in order to turn biographies into myths.<\/p>\n\n\n\n<p>&#8211; Conversely, the question of the evolution of biographical fiction through time, and the changes in its form, but also in the figures it chooses to focus on. Are there any \u201cforgotten\u201d biopics, which focus on figures now considered to be dangerous for the American society?<\/p>\n\n\n\n<p>&#8211; The connection between the biography of an artist and artistic creation itself, a topic that seems particularly relevant in the case of jukebox musicals such as <em>Beautiful: A Carol King Musical<\/em> or <em>Rocketman<\/em>.<\/p>\n\n\n\n<p>&#8211; The compatibility between biographical fiction and video games: why are there so few biographical video games, and why are so many of them autobiographies? To what extent can the gameplay allow players to be fully involved in a narrative that entirely belongs to someone else?<\/p>\n\n\n\n<p>&#8211; More generally, the integration of biographical fiction into other forms of games (RPGs, LARPDs\u2026).<\/p>\n\n\n\n<p>&#8211; The representation of minorities in biographical fictions: are they a way to make scarcely visible social groups more widely represented, or a means, specifically for Hollywood studios, to pretend to be inclusive while carefully selecting safe, consensual figures?<\/p>\n\n\n\n<p>&#8211; What about fictional biographies, fictions that revolve around a figure who has only existed in fictional worlds?<\/p>\n\n\n\n<p>In a transdisciplinary perspective, the workshop is open to all approaches which may further the exploration of these questions. Paper proposals (300-500 words approximately) may put forward different fields of study and theoretical frameworks and approaches. They are to be sent to Jeanne Ferrier (<a href=\"mailto:ferrierjeanne@gmail.com\">ferrierjeanne@gmail.com<\/a>) and Dani\u00e8le Andr\u00e9 (<a href=\"mailto:daniele.andre.univ.larochelle@gmail.com\">daniele.andre.univ.larochelle@gmail.com<\/a>) by January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 22 <em>\u00ab Beating My Head Against the Wall \u00bb : <\/em>L\u00e9gitimit\u00e9, autorit\u00e9, canons dans la musique et la danse am\u00e9ricaines (19<sup>\u00e8me<\/sup>-21<sup>\u00e8me<\/sup> si\u00e8cles)<\/h3>\n\n\n\n<p><em>Adeline Chevrier-Bosseau (Universit\u00e9 Clermont-Auvergne), Mathieu Duplay (Universit\u00e9 de Paris)<\/em><\/p>\n\n\n\n<p>L\u2019Am\u00e9rique a d\u2019abord, en mati\u00e8re de musique dite \u00ab savante \u00bb, fait l\u2019\u00e9preuve de son ill\u00e9gitimit\u00e9. Au 19<sup>\u00e8me<\/sup> si\u00e8cle, alors que la vie musicale se d\u00e9veloppe aux \u00c9tats-Unis, que les grandes villes se dotent d\u2019orchestres philharmoniques et construisent \u00e0 leur intention des salles de concert parfois grandioses, c\u2019est le r\u00e9pertoire europ\u00e9en qui triomphe, d\u00e9fendu par des artistes en provenance du Vieux Continent. On se souvient notamment de la soprano su\u00e9doise Jenny Lind (1820-1887), amie de F\u00e9lix Mendelssohn, collaboratrice de Giuseppe Verdi et grande figure de la <em>Bach Renaissance<\/em> dont la tourn\u00e9e am\u00e9ricaine sous l\u2019\u00e9gide de P. T. Barnum fit grande impression en 1850-52. A New York, Walt Whitman savoure les d\u00e9lices de l\u2019op\u00e9ra italien ; \u00e0 la fin du si\u00e8cle, c\u2019est la vogue wagn\u00e9rienne qui s\u2019impose \u00e0 son tour, s\u00e9duisant une Willa Cather qu\u2019Alex Ross d\u00e9peint en pionni\u00e8re et en porte-parole du wagn\u00e9risme am\u00e9ricain. Parall\u00e8lement, des traditions musicales autochtones commencent \u00e0 \u00e9merger ; mais c\u2019est l\u2019Europe qui continue d\u2019incarner l\u2019autorit\u00e9 esth\u00e9tique : n\u00e9 \u00e0 la Nouvelle-Orl\u00e9ans, Louis Moreau Gottschalk (1829-1869) doit se rendre \u00e0 Paris pour parfaire sa formation et acqu\u00e9rir une l\u00e9gitimit\u00e9 artistique, pr\u00e9figurant ainsi les nombreux.ses compositeurs.trices am\u00e9ricain.e.s qui, dans les premi\u00e8res d\u00e9cennies du 20<sup>\u00e8me<\/sup> si\u00e8cle, \u00e9tudieront en France aupr\u00e8s de Nadia Boulanger. <em>A fortiori<\/em>, frapp\u00e9s.e. d\u2019un double (voire, pour les femmes, d\u2019un triple) discr\u00e9dit, les musicien.ne.s d\u2019origine afro-am\u00e9ricaine se voient cantonner dans le r\u00f4le d\u2019<em>entertainers<\/em>. Dot\u00e9 d\u2019une formation savante et auteur d\u2019un op\u00e9ra (<em>Treemonisha<\/em>, 1911), Scott Joplin (1868-1917) ne parvient \u00e0 se faire conna\u00eetre que comme auteur de <em>ragtime<\/em>, tant il demeure impensable qu\u2019un musicien am\u00e9ricain et noir puisse rivaliser avec les grands ma\u00eetres europ\u00e9ens. Plus tard, la compositrice afro-am\u00e9ricaine Florence Price (1887-1953) r\u00e9ussira \u00e0 faire ex\u00e9cuter ses \u0153uvres par des orchestres de premier plan, mais elle devra traverser un long purgatoire avant d\u2019\u00e9merger, au d\u00e9but du 21<sup>\u00e8me<\/sup> si\u00e8cle, comme l\u2019une des plus grandes figures de la musique de son pays.<\/p>\n\n\n\n<p>Pourtant, ce qui se d\u00e9veloppe ainsi \u00e0 l\u2019ombre de Beethoven ou du ma\u00eetre de Bayreuth frappe par sa richesse et, bien souvent, par son esprit rebelle et irr\u00e9v\u00e9rencieux. On conna\u00eet la r\u00e9ponse qu\u2019aurait faite John Cage au ma\u00eetre viennois Arnold Schoenberg qui fut son professeur apr\u00e8s son exil en Californie : \u00ab I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, \u2018In that case I will devote my life to beating my head against that wall.\u2019 \u00bb En 1969, Philip Glass compose <em>Music in Fifths<\/em> en guise de r\u00e9ponse ironique \u00e0 Nadia Boulanger qui, un jour, l\u2019avait pris en flagrant d\u00e9lit d\u2019infraction aux r\u00e8gles acad\u00e9miques lorsqu\u2019il avait laiss\u00e9 des quintes parall\u00e8les se glisser dans un exercice d\u2019\u00e9criture. Plus tard, John Adams intitule <em>Harmonielehre<\/em>, clin d\u2019\u0153il au <em>Trait\u00e9 d\u2019harmonie<\/em> (1911) de Schoenberg, une composition symphonique (1985) qui r\u00e9habilite la tonalit\u00e9. Les interpr\u00e8tes ne sont pas en reste ; la soprano Anna Russell (1911-2006), le pianiste Victor Borge (1909-2000) connaissent le succ\u00e8s en parodiant le rituel compass\u00e9 du concert classique. Pendant ce temps, Harry Partch (1901-1974) retourne aux sources de l\u2019intonation juste, se d\u00e9solidarisant ainsi de toute la tradition de la musique savante occidentale depuis l\u2019\u00e9poque de Bach. Tous interrogent la l\u00e9gitimit\u00e9 du canon import\u00e9 d\u2019Europe, voire contestent la pertinence de la notion d\u2019autorit\u00e9 en mati\u00e8re de musique.<\/p>\n\n\n\n<p>Au d\u00e9but du 21<sup>\u00e8me<\/sup> si\u00e8cle, un canon am\u00e9ricain a enfin \u00e9merg\u00e9 de toutes ces tentatives de r\u00e9invention et de remise en cause ; le succ\u00e8s international des compositeurs minimalistes et post-minimalistes y est pour beaucoup, et les institutions les plus conservatrices font d\u00e9sormais une place dans leur programmation aux musiciens autochtones : John Adams, Carlisle Floyd, ou tout r\u00e9cemment Terence Blanchard sont entr\u00e9s au r\u00e9pertoire du Met. Pourtant, la pr\u00e9gnance de la tradition europ\u00e9enne demeure tr\u00e8s forte (les quatre compositeurs les plus jou\u00e9s aux \u00c9tatsUnis en 2010-11 \u00e9taient Beethoven, Mozart, Tcha\u00efkovsky et Brahms), ce qui ne va pas sans interroger \u00e0 l\u2019heure o\u00f9 le d\u00e9sir d\u2019\u00e9largir le r\u00e9pertoire en l\u2019ouvrant aux compositrices et aux musicien.ne.s issu.e.s de minorit\u00e9s ethniques se fait de plus en plus sentir. Quelle est aujourd\u2019hui la place r\u00e9elle d\u2019Amy Beach, de Ruth Crawford Seeger ou de Pauline Oliveros, pour ne citer qu\u2019elles ? Le d\u00e9bat est parfois vif autour de ces questions dans un contexte o\u00f9 la pand\u00e9mie de Covid a contraint les milieux musicaux \u00e0 repenser leurs pratiques et \u00e0 r\u00e9fl\u00e9chir aux moyens de poursuivre et d\u2019approfondir le n\u00e9cessaire dialogue avec le public m\u00e9lomane. Par ailleurs, c\u2019est l\u2019id\u00e9e m\u00eame d\u2019un canon (am\u00e9ricain ou autre) qui est remise en cause alors que les modes de production et de diffusion de la musique tendent \u00e0 minorer la diff\u00e9rence entre musique \u00ab savante \u00bb et musique \u00ab populaire \u00bb, entre les \u00ab monuments \u00bb de la culture musicale et les musiques pr\u00e9sum\u00e9es \u00e9ph\u00e9m\u00e8res qui ont pour finalit\u00e9 le divertissement, ou encore lorsque les pratiques exp\u00e9rimentales d\u2019artistes tel.le.s que John Luther Adams font sortir la musique de la salle de concert, desserrant ainsi l\u2019emprise de l\u2019institution.<\/p>\n\n\n\n<p>Si le ballet romantique conna\u00eet un franc succ\u00e8s lors de la tourn\u00e9e de la ballerine Fanny Elssler dans les ann\u00e9es 1840-42, la danse classique peine \u00e0 se faire une place totalement l\u00e9gitime dans le paysage culturel am\u00e9ricain au dix-neuvi\u00e8me si\u00e8cle : le manque de structures de formation, l\u2019absence d\u2019une r\u00e9elle tradition classique et les questions nationalistes autour de la l\u00e9gitimit\u00e9 de la pr\u00e9sence d\u2019artistes europ\u00e9en.ne.s sur les sc\u00e8nes am\u00e9ricaines vaudront au ballet de se voir d\u00e9voy\u00e9 sous la forme du vaudeville, jusqu\u2019\u00e0 l\u2019arriv\u00e9e des Ballets Russes au d\u00e9but du si\u00e8cle suivant, qui feront rena\u00eetre l\u2019int\u00e9r\u00eat pour cette forme d\u2019art. A leurs d\u00e9buts, Lo\u00efe Fuller et Isadora Duncan se heurtent bien souvent \u00e0 cette question de la l\u00e9gitimit\u00e9, leur l\u00e9gitimit\u00e9 en tant qu\u2019artistes \u00e0 part enti\u00e8re \u00e9tant moins reconnue que leurs qualit\u00e9s \u2018d\u00e9coratives\u2019. Face \u00e0 cette difficult\u00e9 pour une femme sur sc\u00e8ne d\u2019\u00eatre vue comme une artiste et non comme un objet \u00e9rotique ou financier, elles iront ainsi trouver en Europe des conditions plus favorables \u00e0 l\u2019\u00e9panouissement de leur art.<\/p>\n\n\n\n<p>L\u2019origine europ\u00e9enne du ballet classique pose la question du canon, en particulier dans le contexte am\u00e9ricain, pour les grands chor\u00e9graphes de la tradition classique am\u00e9ricaine comme Balanchine : quel serait le canon am\u00e9ricain ? Balanchine a cr\u00e9\u00e9 un style, une technique, un r\u00e9pertoire am\u00e9ricanis\u00e9s, dont se sont inspir\u00e9s Robbins et ses h\u00e9ritiers. On pourra ainsi r\u00e9fl\u00e9chir \u00e0 la question de la tradition am\u00e9ricaine, du canon am\u00e9ricain pour le style classique et n\u00e9oclassique, en interrogeant par exemple l\u2019\u00e9volution et le r\u00e9pertoire des grandes compagnies (ABT, NYCB, Miami City Ballet, San Francisco Ballet, Ballet West, \u2026), le travail des chor\u00e9graphes am\u00e9ricains et leurs relations avec les traditions europ\u00e9ennes et am\u00e9ricaines (Forsythe, Peck, Martins,&#8230;), ou les carri\u00e8res des grand.e.s danseu.r.se.s classiques am\u00e9ricain.e.s. Pour ces derni\u00e8res, on s\u2019int\u00e9ressera particuli\u00e8rement \u00e0 la question raciale, \u00e0 travers l\u2019exemple des compagnies de ballet afro-am\u00e9ricaines comme le Dance Theatre of Harlem (et leurs r\u00e9\u00e9critures d\u2019\u0153uvres canoniques, comme leur <em>Giselle<\/em> cr\u00e9ole), les carri\u00e8res d\u2019Arthur Mitchell ou Jos\u00e9 Lim\u00f3n, ou la visibilit\u00e9 des artistes Native American (les fameuses \u00ab cinq lunes \u00bb, Maria Tallchief, Marjorie Tallchief, Rosella Hightower, Moscelyne Larkin et Yvonne Chouteau, et le \u00ab Five Moon Dance Festival \u00bb dans l\u2019Oklahoma).<\/p>\n\n\n\n<p>Pour ce qui est de la danse dite \u00ab moderne \u00bb, on s\u2019int\u00e9ressera aux nouveaux canons \u00e9tablis par les pionniers et pionni\u00e8res de la danse am\u00e9ricaine, mais \u00e9galement \u00e0 la question de la l\u00e9gitimit\u00e9, par exemple en interrogeant ce qui d\u2019une pratique confidentielle est devenu totalement <em>mainstream<\/em>, comme la danse contact \u2013 la contact improvisation de Steve Paxton, aujourd\u2019hui pratiqu\u00e9e de mani\u00e8re tr\u00e8s courante dans les enseignements de contemporain.<\/p>\n\n\n\n<p>Nous invitons \u00e9galement les contributeurs et contributrices \u00e0 r\u00e9fl\u00e9chir aux questions de canon et l\u00e9gitimit\u00e9 \u00e0 travers le prisme de la recherche-cr\u00e9ation, et des liens entre recherche universitaire et cr\u00e9ation\/recherche chor\u00e9graphique. La recherche-cr\u00e9ation en danse permet d\u2019interroger par exemple la question de la cr\u00e9ation classique au 21<sup>e<\/sup> si\u00e8cle ; les travaux de Laura Cappelle \u00e0 ce sujet nous invitent \u00e0 r\u00e9fl\u00e9chir \u00e0 ce que signifie \u00ab \u00eatre classique \u00bb aujourd\u2019hui, et aux \u00e9volutions possibles d\u2019un style et d\u2019une grammaire qui restent traditionnellement tr\u00e8s ancr\u00e9s dans les codes du 19<sup>e<\/sup> si\u00e8cle. On peut aussi se poser la question des th\u00e9matiques abord\u00e9es par la recherche-cr\u00e9ation, en civilisation au sens large (chor\u00e9graphier apr\u00e8s #metoo, cr\u00e9ation chor\u00e9graphique et questions raciales ou LGBTQ+, le rapport au canon et au mainstream\u2026) et en litt\u00e9rature (traduction chor\u00e9graphique d\u2019auteurs\/autrices, canoniques ou dit.e.s \u00ab mineur.e.s \u00bb, \u2026).<\/p>\n\n\n\n<p>Les propositions (200-300 mots, plus courte notice biographique) sont \u00e0 envoyer \u00e0 Adeline Chevrier-Bosseau (<a href=\"mailto:achevrier.bosseau@gmail.com\">achevrier.bosseau@gmail.com<\/a>) et Mathieu Duplay (<a href=\"mailto:Mathieu.Duplay@univ-paris-diderot.fr\">Mathieu.Duplay@univ-paris-diderot.fr<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #22<strong><em>\u201c<\/em><\/strong><em>Beating My Head Against the Wall \u201c<\/em>:Legitimacy, Authority, and the Canon in American Music and Dance (19<sup>th<\/sup>-21<sup>st<\/sup> Centuries)<\/h3>\n\n\n\n<p>At first, America was convinced of its utter illegitimacy as a purveyor of \u201cart\u201d music. In the 19<sup>th<\/sup> century, as musical life developed in the United States, and while large American cities built concert halls to house their newly-formed symphony orchestras, the repertoire and the most popular artists remained overwhelmingly European: thus, the Swedish soprano Jenny Lind (1820-1887) \u2013 a friend of Felix Mendelssohn, a collaborator of Giuseppe Verdi, and a key figure of the Bach Renaissance \u2013 made a deep impression when she toured the country in 18522. In New York, Walt Whitman enjoyed Italian opera; later in the century, Wagnerian music drama had a major impact in the United States and made numerous high-profile converts, including Willa Cather whom Alex Ross describes as a major American advocate of Wagnerism. At that time, homegrown musical traditions were already emerging, but Europe was still regarded as the fountainhead of all artistic legitimacy; born in New Orleans, Louis Moreau Gottschalk (1829-1869) had to train in Paris in order to be regarded as a composer worthy of the name, prefiguring the many American musicians who later studied with Nadia Boulanger. African American composers were at a double \u2013 or, as far as women were concerned, at a triple \u2013 disadvantage and were all too often regarded as \u201cmere\u201d entertainers. Despite his solid training and interest in canonical forms (as exemplified by his 1911 opera <em>Treemonisha<\/em>), Scott Joplin (1868-1917) achieved fame for his ragtime compositions, suggesting that a Black musician from America could not possibly aspire to the same cultural status as the great European masters. Several decades later, the African American composer Florence Price (1887-1953) succeeded in attracting the attention of major American orchestras, but her works were soon forgotten and she did not begin to achieve the recognition she deserved until the early 21<sup>st<\/sup> century.<\/p>\n\n\n\n<p>Still, what developed in the shadow of Beethoven and Wagner is notable for its originality and, very often, for its spirit of irreverence. This is exemplified by the answer John Cage is said to have given Arnold Schoenberg when he studied in California with the great Viennese master: \u201cI explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, \u2018In that case I will devote my life to beating my head against that wall.\u2019\u201d In 1969, Philip Glass wrote <em>Music in Fifths<\/em> as an ironic reply to Nadia Boulanger who once chastised him for his inadvertent use of parallel fifths. Later still, John Adams pointedly gave the Schoenbergian title <em>Harmonielehre<\/em> to a neo-tonal piece (1985). Performers are similarly irreverent; soprano Anna Russell (1911-2006), pianist Victor Borge (1919-2000) are remembered for their comedy shows, in which they parodied the stuffy ritual of the classical concert. Meanwhile, Harry Partch (1901-1974) rediscovered just intonation, thus turning his back on the entire Western classical tradition since the time of Bach. All share a healthy skepticism regarding the supposed legitimacy\/authority of the European tradition.<\/p>\n\n\n\n<p>At the start of the 21<sup>st<\/sup> century, an American canon has finally emerged; the international success of minimalist and post-minimalist composers is largely responsible for this state of affairs and the most conservative American institutions now promote the works of American composers: John Adams, Carlisle Floyd, and, most recently, Terence Blanchard have been performed at the Met. Still, the European canon remains firmly in place; in 2010-1, the four most frequently performed composers in America were Beethoven, Mozart, Tchaikovsky, and Brahms. This inevitably raises numerous questions at a time when more and more people are calling for a broadening of the repertoire, pointing out that women\/BIPOC composers are not given the attention they deserve. What place do musicians such as Amy Beach, Ruth Crawford<\/p>\n\n\n\n<p>Seeger, and Pauline Oliveros actually occupy today in American musical culture? These and similar issues are hotly debated today, as the Covid pandemic forces musical institutions to question their own practices and to seek new ways of connecting with their audiences. As a result, the very idea of a musical canon \u2013 American or otherwise \u2013 is no longer to be taken for granted since present-day modes of performance and consumption tend to downplay the difference between \u201cart\u201d music and \u201cpopular\u201d music, the \u201cmonuments\u201d of musical culture and supposedly ephemeral forms of musical entertainment. In addition, the experimental practices of musicians such as John Luther Adams have tended to liberate music from the rituals and traditions associated with the concert hall.<\/p>\n\n\n\n<p>If the arrival of Romantic ballet on American stages was met with enthusiasm when Fanny Elssler first introduced it during her American tour (1840-42), classical ballet had a bit of a choppy start in the United States: without the cultural structures and institutional support ballet had in Europe, the art form did not immediately find a place in the American cultural landscape. There was little formal training available to dancers, no real ballet tradition, and the Puritan mindset was a redoubtable obstacle to ballet as a profession; as a result, ballet survived in the second half of the 19<sup>th<\/sup> century mostly in the form of ballet acts in vaudeville shows, until the arrival of the Ballets Russes revived American interest for ballet. Not only does this raise the question of the \u201clegitimate\u201d place of ballet in the American cultural landscape \u2013 as a European importation (and everything it implies in terms of national culture, the relations with the Old Continent during the American Renaissance,\u2026) and as an \u201cillegitimate\u201d profession for women in a Puritan country \u2013 but it also leads us to consider the question of the legitimacy of American artists as such: when they started out in their native country, Lo\u00efe Fuller and Isadora Duncan\u2019s legitimacy as artists was often questioned, and they struggled to be seen as more than sexual objects or commodities on the entertainment market, which led them to go seek artistic recognition in Europe, where their artistry was appreciated.<\/p>\n\n\n\n<p>The European origins of classical ballet also raise the issue of the canon, especially in an American context: how can the American canon be defined? If there is an <em>\u00e9cole fran\u00e7aise<\/em>, a ballet tradition in place since the reign of Louis 14<sup>th<\/sup> and the creation of the <em>Acad\u00e9mie royale de danse<\/em>, what are the contours and specificities of the American school? How does one define American ballet? Balanchine created a style, a technique, an American repertory, and a tradition that Robbins and his other heirs inherited: we therefore invite contributors to investigate that notion of an American canon, especially for classical and neo-classical ballet, through maybe the evolution and the rep of major American companies (ABT, NYCB, Miami City Ballet, San Francisco Ballet, Ballet West, \u2026), the work of American choreographers and how they approach Americanness in relation (or not) to the <em>\u00e9cole fran\u00e7aise<\/em> or any other European ballet tradition, and the careers of the great American ballet dancers. This will also lead, necessarily, to the question of race associated to the ballet tradition \u2013 which could be interrogated through the work of African-American companies like the Dance Theatre of Harlem (and their Creole <em>Giselle<\/em>, for example), the careers of Arthur Mitchell or Jos\u00e9 Lim\u00f3n, or the visibility of Native-American ballet dancers (the famous \u201cfive moons\u201d, Maria Tallchief, Marjorie Tallchief, Rosella Hightower, Moscelyne Larkin and Yvonne Chouteau, and the Five Moon Dance Festival in Oklahoma).<\/p>\n\n\n\n<p>When it comes to Modern dance, we invite contributors to think about the new canons established by the pioneers of American dance, but also about the issue of legitimacy, by interrogating dance practices that moved from the individual work of some modern choreographers to mainstream practices in contemporary dance training \u2013 like Steve Paxton\u2019s contact improvisation technique, for example.<\/p>\n\n\n\n<p>Finally, we invite contributors interested in music and dance to propose a reflection on these questions of legitimacy, authority, and canon(s) through the perspective of choreographic and musical research, by submitting creative projects that combine research in dance and\/or music and academic research.<\/p>\n\n\n\n<p>Please send abstracts (200-300 words, + a short bio note) to Adeline Chevrier-Bosseau and (<a href=\"mailto:achevrier.bosseau@gmail.com\">achevrier.bosseau@gmail.com<\/a>) and Mathieu Duplay (<a href=\"mailto:Mathieu.Duplay@univ-parisdiderot.fr\">Mathieu.Duplay@univ-parisdiderot.fr<\/a>).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 23 Les nouvellistes am\u00e9ricains et la nouvelle comme institution culturelle aux \u00c9tats-Unis<\/h3>\n\n\n\n<p><em>Maurice Cronin (Universit\u00e9 Paris-Dauphine)<\/em><\/p>\n\n\n\n<p>Le statut culturel et institutionnel paradoxal qu\u2019occupe la nouvelle aux \u00c9tats-Unis, o\u00f9, depuis la fin du dix-neuvi\u00e8me si\u00e8cle jusqu\u2019\u00e0 nos jours, elle a \u00e9t\u00e9, tour \u00e0 tour, \u00e9rig\u00e9e en forme litt\u00e9raire nationale et rel\u00e9gu\u00e9e en parent pauvre du roman, en fait un sujet riche pour toute consid\u00e9ration des th\u00e8mes de la l\u00e9gitimit\u00e9, de l\u2019autorit\u00e9 et des canons dans le domaine litt\u00e9raire. Depuis les ann\u00e9es 1890, lorsque l\u2019universitaire Brander Matthews a d\u00e9sign\u00e9 la \u00ab short-story \u00bb comme un genre \u00e0 part enti\u00e8re, tout \u00e0 fait distinct du roman, le genre europ\u00e9en par excellence \u2013 d\u00e9signation qualifi\u00e9e par Andrew Levy de \u00ab d\u00e9claration informelle d\u2019ind\u00e9pendance des \u00c9tats-<\/p>\n\n\n\n<p>Unis de l\u2019asservissement culturel \u00e0 la litt\u00e9rature europ\u00e9enne \u00bb \u2013 la nouvelle ne cesse de jouir d\u2019un statut d\u2019exception aux \u00c9tats-Unis (<em>The Culture and Commerce of the Short Story,<\/em> 34, <em>ma traduction<\/em>). Ce statut est \u00e9troitement li\u00e9 \u00e0 un certain nombre de ph\u00e9nom\u00e8nes institutionnelsque l\u2019on peut observeroutre-Atlantique. Pour se l\u00e9gitimer, les fondateurs des d\u00e9partements universitaires de lettres modernes qui \u00e9mergeaient au d\u00e9but du vingti\u00e8me si\u00e8cle aux \u00c9tats-Unis devaient se doter non seulement d\u2019un canon de textes anglo-am\u00e9ricains modernes \u00e0 l\u2019image du canon classique, mais aussi d\u2019une \u00ab forme litt\u00e9raire nationale \u00bb (L\u00e9vy 84), et la nouvelle a fait figure de candidate \u00e0 ce r\u00f4le. Cette candidature a \u00e9t\u00e9 renforc\u00e9e ult\u00e9rieurement par la parution des anthologies-manuels litt\u00e9raires ch\u00e8res aux \u00ab New Critics \u00bb, tels que <em>Understanding Fiction<\/em> (1943, 1959) de Brooks and Warren, qui donnaient \u00e0 la nouvelle un r\u00f4le tr\u00e8s important dans l\u2019enseignement de la litt\u00e9rature aux lyc\u00e9es et dans les universit\u00e9s, et par le lancement des premiers programmes d\u2019\u00e9tudes postgradu\u00e9s dans la cr\u00e9ation litt\u00e9raire dans les ann\u00e9es trente, o\u00f9 la nouvelle a \u00e9t\u00e9 d\u2019embl\u00e9e adopt\u00e9e comme genre d\u2019apprentissage de choix des formateurs. Aujourd\u2019hui aux \u00c9tats-Unis, le genre est l\u2019apanage plus ou moins exclusif de magazines de prestige comme le <em>New Yorker<\/em>,et il est plus que jamais au c\u0153ur de l\u2019enseignement universitaire, notamment de celui des d\u00e9partements de cr\u00e9ation litt\u00e9raire, qui ont prolif\u00e9r\u00e9 outre-Atlantique depuis la fin de la deuxi\u00e8me guerre mondiale. Cependant, malgr\u00e9 cette forte l\u00e9gitimit\u00e9 institutionnelle \u2014 \u00e0 moins que ce ne soit, en partie, \u00e0 cause d\u2019elle \u2014 la nouvelle donne plus que jamais l\u2019impression d\u2019un genre en qu\u00eate perp\u00e9tuelle de l\u00e9gitimit\u00e9.<\/p>\n\n\n\n<p>Cela peut s\u2019expliquer, d\u2019une part, par la nature des structures institutionnelles qui ont jou\u00e9 un r\u00f4le d\u00e9terminant dans l\u2019\u00e9volution du genre aux \u00c9tats-Unis, et d\u2019autre part, par le caract\u00e8re sp\u00e9cifique de la question de la l\u00e9gitimit\u00e9 dans le domaine litt\u00e9raire plus globalement. De fa\u00e7on g\u00e9n\u00e9rale, la l\u00e9gitimit\u00e9 a une dimension fonci\u00e8rement institutionnelle dans la mesure o\u00f9 elle est une \u00ab <em>position attribu\u00e9e <\/em>par un syst\u00e8me d\u2019organisation sociale reconnu par tous les membres de la soci\u00e9t\u00e9 \u00bb (Patrick Charaudeau, \u00ab Le charisme comme condition du leadership politique \u00bb, 3). Mais si la litt\u00e9rature est elle-m\u00eame une institution au sens usuel de ce terme, \u00e0 savoir une organisation de pratiques et d\u2019appareils, elle est aussi une \u00ab \u00e9trange institution \u00bb dans la mesure o\u00f9, \u00ab <em>en principe <\/em>\u00bb, elle \u00ab permet de <em>tout dire<\/em> de <em>n\u2019importe quelle fa\u00e7on <\/em>\u00bb ; et de cette mani\u00e8re, elle conf\u00e8re aux textes le pouvoir de \u00ab se d\u00e9livrer des r\u00e8gles, de les d\u00e9placer \u00bb (Derrida, <em>Acts of Literature<\/em>, 36, 37, ma traduction). Ainsi, le champ litt\u00e9raire se caract\u00e9rise g\u00e9n\u00e9ralement par un degr\u00e9 d\u2019institutionnalisation relativement faible. Les textes litt\u00e9raires ne sont pas, dans leur production comme leur r\u00e9ception, le produit de r\u00e8gles et de conventions pr\u00e9d\u00e9finies une fois pour toutes. Comme ils s\u2019\u00e9noncent \u00e0 travers une situation qui n\u2019est pas un cadre fixe, ils doivent se faire accepter, et, en quelque sorte, s\u2019instituer ou \u00ab s\u2019autoriser d\u2019eux-m\u00eames \u00bb (Maingueneau, <em>Le Discours Litt\u00e9raire<\/em>, 48). Dans le domaine litt\u00e9raire, il existe donc un potentiel de tension entre la <em>l\u00e9gitimit\u00e9<\/em>, entendue comme position attribu\u00e9e par une instance socialement reconnue, et l\u2019<em>autorit\u00e9<\/em> \u00ab charismatique \u00bb d\u2019une parole qui participerait \u00e0 la fois du monde ordinaire et des forces invisibles qui l\u2019exc\u00e8deraient. Si la situation de la nouvelle aux \u00c9tats-Unis est particuli\u00e8rement r\u00e9v\u00e9latrice de cette tension, c\u2019est pr\u00e9cis\u00e9ment parce que la m\u00e9diation institutionnelle y est si pr\u00e9sente et si <em>visible, <\/em>que ce soit sous la forme de la politique \u00e9ditoriale des magazines, des anthologies, et des maisons d\u2019\u00e9dition, ou bien de la p\u00e9dagogie des d\u00e9partements de lettres modernes et des programmes de cr\u00e9ation litt\u00e9raire dans les universit\u00e9s. Comme ces d\u00e9terminants institutionnels ne sont pas que de simples facteurs externes, encadrant les textes, mais de v\u00e9ritables agents de leurs structures et de leurs \u00ab contenus \u00bb, la question de savoir comment les nouvellistes aux \u00c9tats-Unis les n\u00e9gocient et les ren\u00e9gocient dans leurs textes m\u00eames se pose. Dans cet atelier, nous cherchons \u00e0 fournir des \u00e9l\u00e9ments de r\u00e9ponse \u00e0 cette question. Ainsi, nous accueillons toute proposition de communication qui aide \u00e0 comprendre, ou \u00e0 montrer comment, depuis la fin de la deuxi\u00e8me guerre mondiale jusqu\u2019\u00e0 aujourd\u2019hui, les nouvellistes aux \u00c9tats-Unis ont r\u00e9ussi \u00e0 se forger une identit\u00e9 litt\u00e9raire distinctive et \u00e0 gagner le statut d\u2019auteur canonique dans un genre \u00e0 la fois \u00ab mineur \u00bb et si manifestement \u00ab institutionnalis\u00e9 \u00bb.<\/p>\n\n\n\n<p>La question de la n\u00e9gociation-ren\u00e9gociation du statut culturel du genre n\u2019est pas, bien entendu, qu\u2019une affaire textuelle. Le mode de publication est un facteur institutionnel particuli\u00e8rement d\u00e9terminant pour le nouvelliste. Comme Bruno Montfort l\u2019a soulign\u00e9, la nouvelle, \u00e0 la diff\u00e9rence du roman, \u00ab est tr\u00e8s g\u00e9n\u00e9ralement une unit\u00e9 textuelle plus petite que son unit\u00e9 de publication \u00bb, que ce soit un magazine, une revue ou un recueil de nouvelles (\u00ab La nouvelle et son mode de publication \u00bb 158). Ainsi, roman et nouvelle rel\u00e8vent de \u00ab deux modes de publication hi\u00e9rarchis\u00e9s car susceptibles de jouir d\u2019un prestige in\u00e9gal tant aupr\u00e8s des auteurs que des lecteurs \u00bb (157). Comme la publication de leurs nouvelles dans des magazines et des revues reste aujourd\u2019hui un passage oblig\u00e9 pour avoir acc\u00e8s aux formes de publication plus prestigieuses, toute contribution qui traite des relations auteur-\u00e9diteur de magazine ou de revue, par exemple par l\u2019\u00e9tude de leurs correspondances, serait d\u2019une pertinence \u00e9vidente pour cet atelier, tant il est vrai que de telles relations mettent en jeu l\u2019autorit\u00e9 des nouvellistes sur leurs textes.<\/p>\n\n\n\n<p>On peut penser que la publication de leurs nouvelles sous forme de recueils \u00e0 auteur unique est synonyme de cons\u00e9cration pour les nouvellistes. Cependant, comme Bruno Montfort le fait remarquer, l\u2019autorit\u00e9 du recueil \u00e0 auteur unique, m\u00eame s\u2019il est autographe, demeure \u00ab restreinte \u00bb, par rapport \u00e0 celle du roman, car le recueil est toujours \u00ab plus facilement d\u00e9membr\u00e9 qu\u2019un roman \u00bb (165). Le triste sort \u00e9ditorial r\u00e9serv\u00e9 \u00e0 des recueils d\u2019auteurs aussi prestigieux et canoniques que Hemingway et Faulkner, pour ne citer qu\u2019eux, semble donner raison \u00e0 Montfort. Il n\u2019en est pas moins vrai que le recueil de nouvelles autographe est plus que jamais aujourd\u2019hui un format de publication prestigieux aux \u00c9tats-Unis, et la publication d\u2019un recueil autographe de nouvelles publi\u00e9es au pr\u00e9alable dans des magazines ou des revues offre la possibilit\u00e9 aux nouvellistes, le cas \u00e9ch\u00e9ant, de r\u00e9affirmer leur autorit\u00e9 sur leurs textes. Des analyses comparatives de versions diff\u00e9rentes de nouvelles selon le mode de publication permettraient de confirmer ou d\u2019infirmer cette hypoth\u00e8se.<\/p>\n\n\n\n<p>Le passage au livre peut se faire \u00e9galement par les recueils \u00e0 auteurs multiples, comme les anthologies de nouvelles. L\u2019inclusion d\u2019une de ses nouvelles dans une anthologie prestigieuse peut m\u00eame ouvrir la voie \u00e0 la canonisation pour un.e nouvelliste. Quel que soit le genre litt\u00e9raire, l\u2019anthologie nationale se pr\u00e9sente le plus souvent comme le reflet d\u2019une tradition ou d\u2019un canon national \u00e0 un moment donn\u00e9. En r\u00e9alit\u00e9, de telles anthologies jouent un r\u00f4le d\u00e9terminant dans l\u2019\u00e9tablissement des traditions qu\u2019ils pr\u00e9tendent \u00ab repr\u00e9senter \u00bb. Les s\u00e9lections op\u00e9r\u00e9es par les \u00e9diteurs, et les pr\u00e9faces qu\u2019ils r\u00e9digent, le plus souvent, pour les justifier aupr\u00e8s des lecteurs, confirment ou modifient la perception publique du genre, et peuvent jouer un r\u00f4lecl\u00e9 dans les d\u00e9bats autour des canons. L\u2019anthologie de nouvelles ne fait pas d\u2019exception \u00e0 cette r\u00e8gle, mais en tant que genre \u00e0 part enti\u00e8re,elle n\u2019a pas encore re\u00e7u l\u2019attention critique qu\u2019elle m\u00e9rite (D\u2019Hoker, \u00ab The Short Story Anthology \u00bb, 115). Le plus souvent aujourd\u2019hui, les anthologies de nouvelles am\u00e9ricaines sont \u00e9dit\u00e9es et pr\u00e9sent\u00e9es par un.e nouvelliste. Des communications consacr\u00e9es aux pr\u00e9faces et aux choix \u00e9ditoriaux, et \u00e0 la composition de telles anthologies permettraient de d\u00e9terminer le r\u00f4le jou\u00e9 par les nouvellistes eux-m\u00eames dans la d\u00e9finition du genre et dans l\u2019\u00e9tablissement des canons.<\/p>\n\n\n\n<p>Si le r\u00f4le que jouent les nouvellistes dans l\u2019\u00e9dition des anthologies prouve, s\u2019il \u00e9tait n\u00e9cessaire, que les relations qu\u2019ils\/elles entretiennent avec les institutions du monde litt\u00e9raire sont souvent tr\u00e8s \u00e9troites, leur participation aux \u00ab programmes \u00bb universitaires de cr\u00e9ation litt\u00e9raire, que ce soit en tant que formateurs\/formatrices ou en tant qu\u2019\u00e9tudiant.e.s, montre que de telles relations rel\u00e8vent parfois de la symbiose. Mark McGurl s\u2019est consacr\u00e9 \u00e0 montrer que les effets de l\u2019institution universitaire sont \u00ab omnipr\u00e9sents \u00bb (<em>The Program Era<\/em>, 4, ma traduction) dans les romans et des nouvelles publi\u00e9s aux Etats-Unis depuis la deuxi\u00e8me guerre mondiale. L\u2019ouvrage de McGurl n\u2019est pas en soi consacr\u00e9 \u00e0 la nouvelle, et sa pr\u00e9sentation des effets de l\u2019institution de l\u2019atelier de cr\u00e9ation litt\u00e9raire sur les textes des nouvelles est n\u00e9cessairement lacunaire. Ainsi, pour cet atelier, nous accueillons des propositions de communication qui, soit d\u00e9veloppent la d\u00e9marche de McGurl, tout en portant leur attention plus sp\u00e9cifiquement sur la nouvelle, soit qui s\u2019attachent, beaucoup plus que McGurl ne le fait, \u00e0 explorer l\u2019impact de la participation des nouvellistes et \u00e9crivains en tant que formateurs\/formatrices sur le syst\u00e8me de l\u2019atelier de cr\u00e9ation litt\u00e9raire dans les universit\u00e9s \u00e9tats-uniennes.<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Maurice Cronin (<a href=\"mailto:mcecronin@yahoo.fr\">mcecronin@yahoo.fr<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #23 American short story writers and the American short story as cultural institution<\/h3>\n\n\n\n<p>The short story holds a paradoxical institutional and cultural status in the United States, where it has, by turns, been exalted as the \u2018national art form\u2019 and relegated to the role of poor relation to the novel. Since the 1890s, when Brander Matthews designated the \u201cshort-story\u201d as a genre in its own right, quite distinct from, and implicitly superior to, the novel, seen as <em>the<\/em> canonical form of European fiction\u2014a designation that Andrew Levy has described as \u201can informal declaration of independence from \u2026 cultural subservience to European literature\u201d (<em>The Culture and Commerce of the Short Story<\/em>, 34)\u2014the short story has frequently been accorded an exceptional place in U.S. culture. This is partly attributable to institutional factors specific to the country. The establishment of a modern Anglo-American literary canon to rival the classical canon was a key element in the endeavor to legitimize modern English departments emerging in the early twentieth century in the US. Establishing an American literary tradition was an important part of that endeavor throughout the first half of the century, and the designation of the short story as candidate for the role of \u201cnational art form\u201d a notable feature of it (Levy 84). The genre\u2019s candidacy was subsequently bolstered by the appearance of the New Critical anthology-text books, such as Brooks and Warren\u2019s influential <em>Understanding Fiction<\/em> (1943, 1959), which gave the short story an important role in highschool and college literature pedagogy, and the emergence of the first creative writing graduate programs, in which the short story was almost immediately adopted as <em>the<\/em> apprentice genre for aspiring writers of fiction. In the U.S. today, the short story is associated with prestige publications like the <em>New Yorker<\/em> and is more than ever at the heart of creative writing pedagogy in graduate workshop programmes. And yet, despite this strong institutional presence\u2014or perhaps even because of it\u2014the short story still gives the impression of a genre caught up in a perpetual quest for legitimacy. This is precisely what makes it a rich subject for exploring the related questions of legitimacy, authority, and canons in American studies.<\/p>\n\n\n\n<p>The genre\u2019s paradoxical status is attributable partly to the nature of the institutions that have been instrumental to its development in the U.S., and partly to the specific nature of the question of legitimacy in the literary domain more generally. As Patrick Charaudeau shows, legitimacy can generally be defined as a form of social recognition that is always, in some way or another, institutional in nature and origin (\u201cLa charisme comme condition du leadership politique\u201d, 3). In a sense, literature is itself an institution in the usual sense of the term, but it is also a strange, paradoxically \u201cinstitutionless institution\u201d, as Jacques Derrida puts it, insofar as \u201cin principle\u201d it\u201callows one <em>say everything<\/em>, in <em>every way<\/em>\u201d (<em>Acts of Literature<\/em>, 42, 36). As such, what is thereby \u2018instituted\u2019 is literary authors\u2019 freedom \u201cto break free of rules, displace them\u201d (37). As a field, then, literature is a relatively weakly institutionalized one. Literary texts do not emerge in a situation in which the rules or norms governing their emission and reception are entirely pre-defined once and for all. As such, they must reflexively negotiate their own emergence, and as it were, legitimize themselves. It follows from this that in the literary domain there is always a potential tension between <em>legitimacy<\/em>, understood as a form of institutional recognition or sanction, and <em>authority<\/em>, which in this case must always have a more or less pronounced \u201ccharismatic\u201d dimension, insofar as its source is not socially or institutionally visible. This tension between legitimacy and authority is especially relevant to the position of short story writers in the United States precisely because the short story is a genre in which the mediating role of the institutional structures crucial to its development is particularly <em>visible<\/em>, whether it be in the form of magazine or anthology editors, anthology textbooks or creative writing workshops. As such institutional factors do not merely surround works but affect them in their very structure and \u201ccontent\u201d, this workshop seeks to explore the question of how writers in the U.S. negotiate and renegotiate them within their works. All approaches that help us understand how, since the post-war era, short story writers have managed to construct distinctive literary identities and gain canonical status in a so-called minor genre that has been so heavily institutionalized are welcome.<\/p>\n\n\n\n<p>This question of authors\u2019 negotiation and renegotiation of the cultural and institutional status of the genre is, of course, not just a textual matter. Mode of publication is a particularly crucial institutional factor that all short story writers have to contend with. As Bruno Montfort has argued, what truly distinguishes the short story from the novel is that the former is almost always published alongside other texts. Unlike the novel, its \u201cverbal unit\u201d (the text) very rarely overlaps with its \u201cmaterial unit of publication\u201d, i.e. the book (Montfort 158, my translation). In a culture in which the single-author book still very much remains the prestige publication format for fiction, short stories and short story writers always potentially suffer from a deficit of legitimacy and cultural authority. Given that prior publication in magazines and journals is more than ever a pre-requisite for short-story writers to gain subsequent access to publication in more prestigious formats, contributions that deal with short story writers\u2019 relations with magazine editors\u2014through, for example, examination of author-editor correspondence\u2014are of obvious relevance to this workshop.<\/p>\n\n\n\n<p>The publication of single-author collections would appear to represent a form of consecration for short story writers. Yet whether re-publication of magazine-published stories in single-author collections offers a solution to the deficit of legitimacy and authority that shortstory writers have to contend with is moot. Bruno Montfort points out, for instance, that the authority of such collections is more often than not quite restricted, an argument supported by the fact that, to a far greater extent than novels, they are subject to being \u201cdismembered\u201d (165, my translation) and subsequently re-published in different formats. The chequered publication history of short story collections in the United States, even those of canonical writers like Hemingway and Faulkner, lends credence to this view. Yet the short story collection as a genre continues to enjoy a degree of presence and cultural prestige in the US today that is unrivalled in most other national literatures. Furthermore, one might wonder whether re-publication of magazine-published stories in single-author collections constitutes a re-assertion of writers\u2019 authority over their texts. Proposals that involve comparative analyses of magazine and bookcollection versions of authors\u2019 stories would offer an interesting way of exploring this question. Re-publication of their stories in short story anthologies may also represent a form of consecration for short story writers. National anthologies are frequently designed to \u2018reflect\u2019 a national tradition, or the cultural and social concerns proper to a nation, but in reality, they are also instrumental in shaping the traditions they purport to reflect. Editorial selections, and the introductions or prefaces that usually present and justify them to readers, help shape or change readers\u2019 conception of the genre and play an important role in the on-going process of canon formation. The short story anthology genre is no exception, but it has not as yet received the critical attention it undoubtedly deserves (D\u2019Hoker, \u201cThe Short Story Anthology\u201d, 115). As the tradition of inviting short story writers to edit short story anthologies is very much alive today in the US, contributions that study the prefaces and editorial choices of such anthologies would add to our understanding of the role writers themselves have played in (re)shaping the canon and the short story as a genre.<\/p>\n\n\n\n<p>The roles writers have played as anthology editors show, if it were necessary, that the relationship between writers and the institutions of the literary field is often a symbiotic one. U.S. writers\u2019 widespread involvement as instructors or former students in university creative writing workshops provides further evidence of this. Mark McGurl claims to show that the presence of the workshop system is \u201ceverywhere visible \u2026 like a watermark\u201d in post-war US prose fiction, manifesting itself most characteristically in the new forms of institutional selfreflexivity that he detects in the texts of novelists and short-story writers of the so-called \u201cprogram era\u201d (<em>The Program Era<\/em>, 4). However, McGurl\u2019s work is not focused specifically on the short story, and his account of the institutional effects of the workshop system on the genre and on the practice of short story writers is necessarily patchy. Contributions that either build on McGurl\u2019s approach or pay greater attention than he does to the shaping effects that writers themselves have had on the workshop system through their involvement in it would thus also be very welcome.<\/p>\n\n\n\n<p>500-word proposals and a short biographical statement should be sent to Maurice Cronin (<a href=\"mailto:mcecronin@yahoo.fr\">mcecronin@yahoo.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Works cited<\/h4>\n\n\n\n<p>Brooks, Cleanth, and Robert Penn Warren. <em>Understanding Fiction<\/em>, 2<sup>nd<\/sup> edition, Prentice-Hall, 1959.<\/p>\n\n\n\n<p>Delaney, Paul and Adrian Hunter (eds and introd). <em>The Edinburgh Companion to the Short Story in English, <\/em>Edinburgh UP<em>, <\/em>2018.<\/p>\n\n\n\n<p>D\u2019Hoker, Elsa. \u201cThe Short Story Anthology.\u201d Ed. Paul Delaney and Adrian Hunter, <em>The Edinburgh Companion to the Short Story in English<\/em>. Edinburgh UP, 2019. 108-124. Eggers, Dave and Zadie Smith (eds and introd.) <em>The Burned Children of America<\/em>. Hamish Hamilton, 2003.<\/p>\n\n\n\n<p>Ford, Richard (ed. and introd.). <em>The New Granta Book of the American Short Story<\/em>. Granta Books, 2007.<\/p>\n\n\n\n<p>Levy, Andrew. <em>The Culture and Commerce of the American Short Story<\/em>. Cambridge UP, 1993.<\/p>\n\n\n\n<p>Marcus, Ben (ed. and introd.) <em>New American Stories<\/em>. Vintage, 2015.<\/p>\n\n\n\n<p>Matthews, Brander. \u201cThe Philosophy of the Short-Story.\u201d <em>Short Story Theories<\/em>. Ed. Charles E.<\/p>\n\n\n\n<p>May. Ohio UP, 1976. 52-59<\/p>\n\n\n\n<p>McGurl, Mark. <em>The Program Era and the Rise of Creative Writing<\/em>. Harvard UP, 2009. Montfort, Bruno. \u201cLa nouvelle et son mode de publication, le cas am\u00e9ricain.\u201d <em>Po\u00e9tique<\/em> 90, 1992. 153-171.<\/p>\n\n\n\n<p>Oates, Joyce Carol (ed. and introd.). <em>The Oxford Book of American Short Stories<\/em>. Oxford UP, 1992.<\/p>\n\n\n\n<p>O\u2019Brien, Edgar J. <em>The Advance of the American Short Story<\/em>. Scholarly Press, 1972 (Rev. ed. New York, Dodd, Mead and Company 1931).<\/p>\n\n\n\n<p>Poe, Edgar Allan. \u201cNathaniel Hawthorne.\u201d <em>Edgar Allan Poe. Poems and Essays<\/em>. Dent: Everyman\u2019s Library, 1927. 177-194<\/p>\n\n\n\n<p>Pratt, Mary Louise. \u201cThe Short Story: The Long and the Short of it.\u201d <em>The New Short Story Theories<\/em>. Ed. Charles E. May. Ohio UP, 1994. 91-113.<\/p>\n\n\n\n<p>Updike, John. \u201cIntroduction\u201d. <em>Best American Stories 1984. <\/em>Ed. John Updike and Shannon Ravenel, Houghton Mifflin, 1984.<\/p>\n\n\n\n<p>Updike, John, and Katrina Kenison (eds. and introd.). <em>The Best American Short Stories of the Century<\/em>. Houghton Mifflin, 1999.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 24 F\u00e9miniser le Western au 21<sup>st<\/sup> si\u00e8cle : L\u00e9gitimer le discours f\u00e9minin et d\u00e9fier l\u2019autorit\u00e9 masculine<\/h3>\n\n\n\n<p><em>Anne-Marie Paquet-Deyris (Universit\u00e9 Paris Ouest-Nanterre) et Gilles Menegaldo (Universit\u00e9 de Poitiers)<\/em><\/p>\n\n\n\n<p>Au cours de sa longue histoire qui remonte au moins \u00e0 1903 avec <em>The Great Train Robbery <\/em>d\u2019Edwin Porter, le western a valoris\u00e9 une perspective prioritairement masculine. En dehors de quelques films comme <em>Westward the Women<\/em> (William A. Wellman, 1951), <em>The Woman they Almost Lynched<\/em> (Allan Dwan, 1953), <em>Johnny Guitar<\/em> (Nicholas Ray, 1954) ou plus r\u00e9cemment, <em>The Ballad of Little Jo <\/em>(Maggie Greenwald, 1993) et <em>The Quick and the Dead<\/em> (Sam Raimi, 1995), les femmes ont \u00e9t\u00e9 rel\u00e9gu\u00e9es en p\u00e9riph\u00e9rie du r\u00e9cit et se sont vues attribuer principalement des r\u00f4les traditionnels (m\u00e9nag\u00e8re, \u00e9pouse), objets du d\u00e9sir masculin, r\u00e9duites \u00e0 des st\u00e9r\u00e9otypes comme la <em>mater dolorosa<\/em>, l\u2019institutrice, ou la serveuse de bar. Ainsi qu\u2019avec d\u2019autres formes culturelles, cela a eu pour cons\u00e9quence, une h\u00e9ro\u00efsation quasi-exclusive du masculin dans des r\u00e9cits qui \u00e9voquent la construction d\u2019une nation, les espaces mythiques et suscitent un imaginaire fantasmatique (Richard Slotkin).<\/p>\n\n\n\n<p>Les avatars westerniens du XXIe si\u00e8cle qui participent d\u2019une formule g\u00e9n\u00e9rique particuli\u00e8rement r\u00e9siliente, avec ses hauts et ses bas, ont t\u00e9moign\u00e9 d\u2019une volont\u00e9 affirm\u00e9e de proposer des mythologies alternatives, en particulier, en attribuant des r\u00f4les plus centraux aux personnages f\u00e9minins, et en f\u00e9minisant graduellement l\u2019espace westernien, ou en remettant en cause un discours classique sur les genres dans des films tels <em>Meek&rsquo;s Cutoff<\/em> (Kelly Reichardt, 2010), <em>The Keeping Room<\/em> (Daniel Barber, 2014), ou <em>The Homesman<\/em> (Tommy Lee Jones, 2014) ou dans des s\u00e9ries TV comme <em>Godless<\/em> (Scott Frank, 2017).<\/p>\n\n\n\n<p>Cet atelier sollicite des analyses de films individuels ou de s\u00e9ries et des questionnements sur les modes de transformation des codes culturels et g\u00e9n\u00e9riques et des relations genr\u00e9es. Les communications pourront porter aussi sur les liens entre cette visibilit\u00e9 nouvelle des femmes et le r\u00f4le des Am\u00e9rindiens, la repr\u00e9sentation du corps, le regard f\u00e9minin, la violence sexuelle, le recyclage et la red\u00e9finition des conventions g\u00e9n\u00e9riques. Elles pourront \u00e9galement explorer les esth\u00e9tiques alternatives et les nouveaux discours et id\u00e9ologies qui permettent de cartographier un paysage westernien renouvel\u00e9 et de mettre en exergue des variations originales.<\/p>\n\n\n\n<p>Les propositions de communication (500 mots maximum), accompagn\u00e9es d\u2019une notice biographique, doivent \u00eatre envoy\u00e9es \u00e0 Gilles Menegaldo (<a href=\"mailto:g.menegaldo@gmail.com\">g.menegaldo@gmail.com<\/a>) et AnneMarie Paquet-Deyris (<a href=\"mailto:apaquet-deyris@parisnanterre.fr\">apaquet-deyris@parisnanterre.fr<\/a>) pour le 17 janvier 2022 au plus tard.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">R\u00e9f\u00e9rences<\/h4>\n\n\n\n<p>Bandy, Mary Lea and Kevin Stoehr, <em>Boldly Ride: The Evolution of the American Western<\/em>, Berkeley\/ Los Angeles\/ London: University of California Press, 2012.<\/p>\n\n\n\n<p>Buscombe, Edward<em>. \u2018Injuns!\u2019: Native Americans in the Movies<\/em>. London: Reaktion, 2006. Kitses, Jim. <em>Horizons West<\/em>. London: BFI, [1969] 2004.<\/p>\n\n\n\n<p>Rollins, Peter C. and John E. O\u2019Connor (eds.). <em>Hollywood\u2019s West: the American Frontier in Film, Television, and History<\/em>. Lexington: University Press of Kentucky, 2005.<\/p>\n\n\n\n<p>Wildermuth, Mark. <em>Feminism and the Western in Film and Television<\/em>, London: Palgrave, 2018.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #24 Feminizing the Western in the 21<sup>st<\/sup> Century : Legitimizing Female Discourse and Challenging Male Authority<\/h3>\n\n\n\n<p>Throughout its long history, which goes back at least to Edwin Porter\u2019s 1903 short <em>The Great Train Robbery<\/em>, the Western has betrayed an overwhelming masculine perspective. With a few exceptions, ranging from <em>Westward the Women<\/em> (William A. Wellman, 1951), <em>The Woman they Almost Lynched<\/em> (Allan Dwan, 1953), <em>Johnny Guitar<\/em> (Nicholas Ray, 1954) to, more recently, <em>The Ballad of Little Jo <\/em>(Maggie Greenwald, 1993) and <em>The Quick and the Dead<\/em> (Sam Raimi, 1995), women have mostly been displaced to the periphery of the narratives and have been given traditional roles as homemakers, housewives and objects of male desire and reduced to stereotypes like the suffering mother, the schoolmarm or the \u201cBar room gal\u201d. As with other cultural forms, one consequence is the openly masculine bias of its nationconstruction stories, mythical spaces and projective fantasies (Richard Slotkin).<\/p>\n\n\n\n<p>Part of a very resilient cinematic formula despite ups and downs, 21<sup>st<\/sup>-century variations have revealed a greater interest in crafting alternative American mythologies, particularly, though not exclusively, by repositioning women in more central roles and gradually feminizing the space of the Western or, at least, questioning its classical gender politics as in films such as <em>Meek\u2019s Cutoff<\/em> (Kelly Reichardt, 2010), <em>The Keeping Room<\/em> (Daniel Barber, 2014), or <em>The Homesman<\/em> (Tommy Lee Jones, 2014) or TV series like <em>Godless<\/em> (Scott Frank, 2017).<\/p>\n\n\n\n<p>This panel invites close readings of individual films or series and also inquires into various areas of cultural, genre and gender transformation. Papers may address topics such as the links between new visibilities of women and native Americans, the treatment of the female body and the female gaze, sexual violence, the recycling and redefining of generic conventions. They may also explore alternative aesthetic forms and new ideological discourses, mapping out a renewed western landscape and new strains of the genre.<\/p>\n\n\n\n<p>Proposals should be sent to Gilles Menegaldo (<a href=\"mailto:g.menegaldo@gmail.com\">g.menegaldo@gmail.com<\/a>) and Anne-Marie Paquet-Deyris (<a href=\"mailto:apaquet-deyris@parisnanterre.fr\">apaquet-deyris@parisnanterre.fr<\/a>) no later than January 17<sup>th<\/sup>, 2022. <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 25 Alliances et alli\u00e9\u00b7es du socialisme : dynamiques de l\u00e9gitimation des socialismes \u00e9tats-uniens<\/h3>\n\n\n\n<p><em>Kalilou Barry (Universit\u00e9 Paris-Est Cr\u00e9teil), Gr\u00e9gory Bekhtari (Universit\u00e9 Paris Nanterre, Universit\u00e9 Paris 1) et Jeanne Boiteux (Universit\u00e9 Paris 3, Universit\u00e9 Paris 1)<\/em><\/p>\n\n\n\n<p>La campagne pr\u00e9sidentielle \u00e9tats-unienne de 2020 fut l\u2019occasion pour universitaires et hommes et femmes politiques de tous bords de s\u2019inqui\u00e9ter des liens r\u00e9affirm\u00e9s du Parti d\u00e9mocrate avec le socialisme. L\u2019historien conservateur Niall Ferguson n\u2019a ainsi pas h\u00e9sit\u00e9 \u00e0 d\u00e9clarer que se revendiquer du socialisme reviendrait pour les D\u00e9mocrates \u00e9tats-unien\u00b7nes \u00e0 commettre un \u00ab suicide politique \u00bb, tandis que le pr\u00e9sident sortant jouait sur les affinit\u00e9s socialistes pr\u00e9sum\u00e9es de ses adversaires, Joe Biden le premier, pour mobiliser son \u00e9lectorat. Ces discours ne sont pourtant pas nouveaux puisqu\u2019ils s\u2019inscrivent dans une longue histoire, au point que l\u2019historiographie du socialisme aux \u00c9tats-Unis est souvent aussi celle de sa d\u00e9l\u00e9gitimation, comme l\u2019atteste par exemple l\u2019ouvrage fondateur de James R. Green <em>GrassRoots Socialism. Radical Movements in the Southwest, 1895-1943<\/em> (Baton Rouge : Louisiana UP, 1978). Cependant, dans le contexte actuel de r\u00e9-\u00e9mergence du socialisme aux \u00c9tats-Unis, ces tentatives de d\u00e9l\u00e9gitimation nous am\u00e8nent \u00e0 nous interroger sur les strat\u00e9gies mobilis\u00e9es par le mouvement socialiste en vue d\u2019assurer sa l\u00e9gitimit\u00e9. Quel est l\u2019int\u00e9r\u00eat des socialistes \u00e9tats-unien\u00b7nes \u00e0 se rapprocher des D\u00e9mocrates ? Ou, dans un autre registre, nous pourrions nous demander non pas ce que le socialisme peut faire pour d\u2019autres courants politiques et id\u00e9ologiques, mais ce que l\u2019alliance avec ces derni\u00e8r\u00b7es a pu faire et fait aux id\u00e9es socialistes.<\/p>\n\n\n\n<p>Nous proposons donc d\u2019interroger la fa\u00e7on dont les socialistes \u00e9tats-unien\u00b7nes ont effectivement recherch\u00e9 \u00e0 l\u00e9gitimer leur mouvement aux yeux de la soci\u00e9t\u00e9 civile et du personnel politique, et ce par le moyen d\u2019alliances politiques et id\u00e9ologiques. Pour mieux comprendre les strat\u00e9gies d\u2019aujourd\u2019hui, il est n\u00e9cessaire d\u2019\u00e9tudier les modalit\u00e9s et les \u00e9volutions de ces alliances. La r\u00e9surgence du socialisme aux \u00c9tats-Unis vient remettre au centre des discussions le clich\u00e9 maintenant bien ancien de son caract\u00e8re fondamentalement \u00ab nonam\u00e9ricain \u00bb, qui fut diffus\u00e9 par Werner Sombart et d\u2019autres d\u00e8s le d\u00e9but du XXe si\u00e8cle. D\u00e8s lors que le socialisme a \u00e9t\u00e9 cat\u00e9goris\u00e9 comme un mouvement \u00e9tranger, la recherche par ses partisan\u00b7es d\u2019une l\u00e9gitimit\u00e9 a d\u00fb s\u2019ancrer dans un cadre de valeurs pr\u00e9existant.<\/p>\n\n\n\n<p>C\u2019est ainsi que des rapprochements avec divers mouvements sociaux et formations politiques eurent lieu. On notera par exemple les rapports \u00e9troits avec le syndicalisme \u00e0 la fin du XIXe si\u00e8cle, puis, plus tard, dans les d\u00e9cennies 1930 et 1940. De m\u00eame, le Parti communiste am\u00e9ricain, alors sous la direction d\u2019Earl Browder, en alliance avec l\u2019administration Roosevelt pendant la Seconde Guerre mondiale, entama l\u2019\u00e9laboration d\u2019une rh\u00e9torique liant les valeurs socialistes aux id\u00e9aux de la R\u00e9volution am\u00e9ricaine, voire aux normes patriotiques en vigueur. Les liens entre D\u00e9mocrates et socialistes sont en effet plus anciens que ce que nous sugg\u00e8rent les discours actuels, qui isolent souvent la figure de Michael Harrington et son projet \u00ab \u00e0 la gauche du possible \u00bb \u00e0 l\u2019int\u00e9rieur du Parti d\u00e9mocrate lanc\u00e9 en 1982 avec la cr\u00e9ation des Socialistes d\u00e9mocrates d\u2019Am\u00e9rique (DSA).<\/p>\n\n\n\n<p>Cette recherche de l\u00e9gitimit\u00e9 n\u2019est pas exempte de tensions politiques importantes. Il existe en effet un paradoxe entre la recherche d\u2019une autonomie propre et l\u00e9gitime, en tant que socialisme, et celle d\u2019une l\u00e9gitimit\u00e9 qui passerait n\u00e9cessairement par l\u2019affiliation \u00e0 des id\u00e9es et mouvements jug\u00e9s comme moins radicaux, moins exog\u00e8nes, voire moins dangereux. La r\u00e9f\u00e9rence \u00e0 un cadre de valeurs et de principes am\u00e9ricains accr\u00e9dite l\u2019id\u00e9e que ces derniers sont fondamentalement justes et les soustrait \u00e0 la critique. L\u2019adaptation du socialisme \u00e0 un environnement politique hostile rentre donc en conflit avec la pr\u00e9servation d\u2019une autonomie, d\u2019une coh\u00e9rence interne, et d\u2019un terreau favorable \u00e0 une vraie diversit\u00e9 id\u00e9ologique au sein du mouvement.<\/p>\n\n\n\n<p>Au sein du socialisme, diff\u00e9rentes mouvances et groupes, occupant une position plus ou moins centrale, se sont disput\u00e9 depuis le XIXe si\u00e8cle la primaut\u00e9 de leur cause. Qui a le droit de se revendiquer socialiste aux yeux de la soci\u00e9t\u00e9 am\u00e9ricaine ? Quelles sont les revendications l\u00e9gitimes \u00e0 mettre en avant ? Au XIXe si\u00e8cle, les partisan\u00b7es d\u2019un socialisme utopique comme les fouri\u00e9ristes, par leur recherche de modes de vie alternatifs, ont suscit\u00e9 la m\u00e9fiance et le rejet. Dans le sillage des mouvements de r\u00e9pression anti-socialiste et anti-communiste, de vifs d\u00e9bats ont \u00e9galement oppos\u00e9 les socialistes r\u00e9volutionnaires \u00e0 leurs camarades plus mod\u00e9r\u00e9\u00b7es, adeptes de la social-d\u00e9mocratie. Plus r\u00e9cemment, en mai 2020, l\u2019annulation de l\u2019invitation du politiste africain-am\u00e9ricain Adolph Reed \u00e0 prendre la parole devant la section new-yorkaise de DSA, parce que le Caucus des afrosocialistes et des socialistes de \u00ab couleur \u00bb de l\u2019organisation lui reprochait de d\u00e9fendre le \u00ab r\u00e9ductionnisme de classe \u00bb, illustre bien cette tension entre diff\u00e9rents groupes au sein du mouvement. \u00c0 plusieurs moments critiques, les socialistes \u00e9tatsunien\u00b7nes ont d\u00fb consid\u00e9rer l\u2019image que le parti renvoyait, et donc, n\u00e9cessairement, comment cette image \u00e9tait construite par l\u2019association avec d\u2019autres id\u00e9es, personnalit\u00e9s, et groupes.<\/p>\n\n\n\n<p>Alors que les sp\u00e9cialistes d\u2019histoire des femmes et du genre se penchent sur ce que constitue un\u00b7e alli\u00e9\u00b7e, et sur la fa\u00e7on dont les alliances id\u00e9ologiques se nouent, nous proposons de resituer les socialistes \u00e9tats-unien\u00b7nes au sein de r\u00e9seaux nationaux. En ce qui concerne le socialisme, ce travail n\u2019a pas encore \u00e9t\u00e9 fait de mani\u00e8re synth\u00e9tique.<\/p>\n\n\n\n<p>Les sp\u00e9cialistes d\u2019un mouvement social radical ou d\u2019un autre ont cherch\u00e9 \u00e0 \u00e9tablir des liens entre la gauche et leur objet d\u2019\u00e9tude, comme ont d\u2019abord cherch\u00e9 \u00e0 le faire les f\u00e9ministes marxistes. Dans les d\u00e9cennies 1970 et 1980, pour expliquer l\u2019essoufflement des syndicats qu\u2019ils constatent, les sp\u00e9cialistes d\u2019histoire du travail s\u2019int\u00e9ressent \u00e0 ce qu\u2019ils et elles caract\u00e9risent comme l\u2019\u00e9chec d\u2019une alliance entre syndicalisme et socialisme. En 1983, Mark Erlich se penche ainsi par exemple sur la figure de Peter J. McGuire, \u00e0 la fois fondateur de la Brotherhood of Carpenters and Joiners of America, co-fondateur de l\u2019American Federation of Labor (AFL), et orateur socialiste renomm\u00e9 &#8211; comme pour d\u00e9plorer que le tournant du XXe si\u00e8cle marque le d\u00e9clin de sa vision composite.<\/p>\n\n\n\n<p>Des publications beaucoup plus r\u00e9centes explorent la fa\u00e7on dont d\u2019autres intellectuel\u00b7les et militant\u00b7es ont cherch\u00e9 \u00e0 concilier les id\u00e9es socialistes \u00e0 des valeurs consid\u00e9r\u00e9es comme \u00ab \u00e9tats-uniennes \u00bb (Nichols, 2015). Dans une autre veine, depuis une trentaine d\u2019ann\u00e9es, l\u2019imbrication entre le mouvement pour les droits civiques et la gauche int\u00e9resse les historiens et les historiennes. Dans les ann\u00e9es 1990, avec la parution de <em>Hammer and Hoe: Alabama Communists during the Great Depression<\/em> par Robin D. G. Kelley (University of North Carolina Press, 1990), \u00e9merge un champ de recherche mettant en \u00e9vidence ce l\u2019on a qualifi\u00e9 de <em>long civil rights movement<\/em>, o\u00f9 des figures africaines am\u00e9ricaines de diverses sensibilit\u00e9s socialistes comme A. Philip Randolph, W.E.B. Du Bois ou Claudia Jones ont initi\u00e9 alliances et coalitions. Le domaine conna\u00eet ces derni\u00e8res ann\u00e9es un essor marqu\u00e9. Aujourd\u2019hui, ce sont les connexions id\u00e9ologiques et personnelles avec l\u2019abolitionnisme qui soul\u00e8vent de nouveaux questionnements (Roy, 2021).<\/p>\n\n\n\n<p>Au vu des \u00e9volutions du domaine, nous souhaitons ouvrir un espace de discussion attentif \u00e0 la consid\u00e9ration de ce genre d\u2019alliances du point de vue de la gauche radicale. Nous invitons donc des propositions qui interrogent la complexit\u00e9 des alliances politiques et strat\u00e9giques du socialisme \u00e9tats-unien avec divers autres groupes (abolitionnistes, syndicalistes, environnementalistes, f\u00e9ministes, entre autres) et comment celles-ci contribuent \u00e0 (re)d\u00e9finir le projet socialiste et sa l\u00e9gitimit\u00e9.<\/p>\n\n\n\n<p>Les propositions de communication (r\u00e9sum\u00e9 d&rsquo;environ 500 mots) comprenant un titre, des mots cl\u00e9s et une courte notice biographique sont \u00e0 r\u00e9diger en fran\u00e7ais ou en anglais, et \u00e0 envoyer avant le 17 janvier 2022 conjointement \u00e0 Kalilou Barry (<a href=\"mailto:kalilou.barry@u-pec.fr\">kalilou.barry@u-pec.fr<\/a>), Gr\u00e9gory Bekhtari (<a href=\"mailto:gregory.bekhtari@univ-paris1.fr\">gregory.bekhtari@univ-paris1.fr<\/a>) et Jeanne Boiteux (<a href=\"mailto:jeanne.boiteux@sorbonnenouvelle.fr\">jeanne.boiteux@sorbonnenouvelle.fr<\/a>).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #25 \u201cAlliances and allies of socialism: legitimization dynamics of American socialisms\u201d<\/h3>\n\n\n\n<p>The 2020 American presidential race provided an opportunity for scholars and politicians of all stripes to express concern over the Democratic Party\u2019s renewed ties with socialism. Conservative historian Niall Ferguson claimed in this respect that to openly associate with socialism would amount to committing \u201cpolitical suicide\u201d for the Democrats. Meanwhile, the incumbent played on his opponents\u2019, and especially Joe Biden\u2019s, alleged socialism in order to energize his base. This discourse is not new; it is part of a long tradition, to the point that the historiography of socialism in the United States has often been that of its delegitimization, as James R. Green\u2019s seminal work\u2014Grass-Roots Socialism. Radical Movements in the Southwest, 1895-1943 (Baton Rouge: Louisiana UP, 1978)\u2014illustrates. However, in the current context, as socialism seems to be re-emerging in the United States, these attempts at delegitimizing it once more lead us to consider the strategies deployed by the socialist movement in its search for legitimacy. What is the interest, for American socialists, in getting closer to the Democrats? Or, to put it differently, we should ask ourselves not what socialism can do to or for other political and ideological movements, but what strategic alliances with them did and are still doing to socialist ideas.<\/p>\n\n\n\n<p>We propose to interrogate the ways that American socialists have effectively sought to legitimize their movement in the eyes of both civil society and the political establishment, through the recourse to political and ideological alliances. To better understand today\u2019s strategizing, it is necessary to study the modes and evolutions of these alliances. The reemergence of socialism in the United States has brought the well-established clich\u00e9 of its fundamentally \u201cun-American\u201d nature back into the limelight. In the early twentieth century, Werner Sombart and others successfully propagated the idea that socialism was a foreign import. Since then, its supporters have had to ground their quest for legitimacy in a pre-existing value system.<\/p>\n\n\n\n<p>This is the reason why socialists tried to cooperate with other political groups and social movements. We can point to the left\u2019s close ties with the labor movement, first in the late nineteenth century, and then in the 1930s and 1940s. In a similar fashion, during the Second World War, the American Communist Party, then under Earl Browder\u2019s leadership, started elaborating a rhetoric that blended socialist values with ideals inherited from the American Revolution\u2014and, arguably, with prevailing patriotic norms. This the Party did in conjunction with the Roosevelt administration. The ties that bind Democrats and socialists are indeed older than what contemporary discourse suggests. Indeed, Michael Harrington, the founder of the Democratic Socialists of America (DSA), who articulated his \u201cLeft Wing of the Possible\u201d program in 1982 from within the confines of the Democratic Party, has often been represented as a unique and exceptional figure.<\/p>\n\n\n\n<p>This quest for legitimacy does not preclude significant political tensions. There is indeed a paradox in seeking both a legitimate autonomy as socialism and a legitimacy based on proximity with ideas and movements that are seen as less radical, less foreign, or even less dangerous. Subscribing to a system of American values and principles lends credence to the idea that these are fundamentally right and shields them from criticism. The adaptation of socialism to a politically hostile environment thus comes into conflict with the preservation of its autonomy, of its internal coherence, and of its cultivation of ideological diversity.<\/p>\n\n\n\n<p>Within socialism, diverse movements and groups have been vying for authority and leadership since the nineteenth century. Who has the right to call herself a socialist, in the eyes of American society? What should socialists\u2019 policy priorities be? In the nineteenth century, utopian socialists\u2014like the Fouri\u00e9ristes\u2014met with fear and rejection because of their quest for alternative lifestyles. Later, in the wake of the Red Scare, there were heated debates between revolutionary socialists and proponents of social democracy. More recently, in May 2020, the African American political scientist Adolph Reed had his invitation to give a talk to the DSA\u2019s New York City chapter cancelled because the organization\u2019s Afro-Socialist and Socialists of Color Caucus criticized him for advocating \u201cclass reductionism\u201d. This is but another illustration of the tensions that can exist within different ideological strands within the socialist movement as a whole. At several critical junctures, American socialists have had to consider their party\u2019s image\u2014and, thus, how that image was constructed by the association with other ideas, personalities, and groups.<\/p>\n\n\n\n<p>Researchers in Women\u2019s History and gender studies are currently focusing their attention on defining what an ally is, and on determining how ideological alliances are formed. In this context, we offer to locate American socialists within national networks. A synthetic investigation of this topic still has to be carried out.<\/p>\n\n\n\n<p>Scholars have often sought to establish links between the left and their preferred radical social movement, as Marxist feminists first did. In the 1970s and 1980s, similarly, labor historians became interested in the potential for an alliance between socialists and labor unionists, just as unions were losing strength. Turning the clock back, historians charted the rise and eventual fall of a socialist unionist vision. In 1983, Mark Erlich studied Peter J. MacGuire, who was both the founder of the Brotherhood of Carpenters and Joiners of America, one of the co-founders of the American Federation of Labor (AFL), and a renowned socialist speaker. The decline of MacGuire\u2019s composite vision after the turn of the century seems to elicit nostalgia on Erlich\u2019s part.<\/p>\n\n\n\n<p>More recent publications have explored the way other intellectuals and activists have sought to reconcile socialist ideas with values deemed \u201cAmerican\u201d (Nichols, 2015). Still in another direction, the publication of Hammer and Hoe: Alabama Communists during the Great Depression (Robin D. G. Kelley, University of North Carolina Press, 1990), opened up a new area for research. For thirty years now, historians have been mapping what has been called the long civil rights movement. Attention has been paid to African American figures like A. Philip Randolph, W.E.B. Du Bois or Claudia Jones, who belonged to different trends of socialism and initiated the establishment of coalitions between civil rights groups and the left. In recent years, the field has been booming. Today, socialists\u2019 personal and ideological connections with abolitionism are under investigation, and their study is raising still more questions (Roy, 2021).<\/p>\n\n\n\n<p>In the light of the field\u2019s latest evolutions, we would like to open a space for the discussion of such alliances from the perspective of the radical left. We welcome proposals that interrogate the complexity of political and strategic alliances sought by American socialism with various other groups\u2014abolitionists, labor unionists, environmentalists, feminists, among many others\u2014and how these alliances contribute to the (re)definition of the socialist project and its legitimacy.<\/p>\n\n\n\n<p>Paper proposals, written in either English or French, should comprise an abstract (about 500 words), a title, keywords and a short biography, and are to be sent before January 17, 2022 jointly to Kalilou Barry (<a href=\"mailto:kalilou.barry@u-pec.fr\">kalilou.barry@u-pec.fr<\/a>), Gr\u00e9gory Bekhtari (<a href=\"mailto:gregory.bekhtari@univparis1.fr\">gregory.bekhtari@univparis1.fr<\/a>) et Jeanne Boiteux (<a href=\"mailto:jeanne.boiteux@sorbonne-nouvelle.fr\">jeanne.boiteux@sorbonne-nouvelle.fr<\/a>). <\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 26 L\u2019histoire orale et les enjeux de la l\u00e9gitimit\u00e9 historique<\/h3>\n\n\n\n<p><em>Anne Stefani (Universit\u00e9 de Toulouse Jean Jaur\u00e8s) et Simona Tobia (Universit\u00e9 de Pau et des Pays de l\u2019Adour)<\/em><\/p>\n\n\n\n<p>La pratique de l\u2019histoire orale aux \u00c9tats-Unis trouve sa premi\u00e8re reconnaissance institutionnelle en 1948, quand le \u00ab Oral History Research Office \u00bb est \u00e9tabli \u00e0 l\u2019universit\u00e9 Columbia de New York. Si cette pratique s\u2019est d\u00e9velopp\u00e9e depuis, elle a surtout connu une expansion exceptionnelle \u00e0 partir des ann\u00e9es 1990, permettant de renouveler la recherche dans plusieurs champs, tels que l\u2019histoire des femmes et celle des minorit\u00e9s.<\/p>\n\n\n\n<p>L\u2019atelier que nous proposons vise \u00e0 explorer l\u2019apport de l\u2019histoire orale \u00e0 l\u2019\u00e9tude de la construction de la l\u00e9gitimit\u00e9 et de l\u2019autorit\u00e9 aux \u00c9tats-Unis.<\/p>\n\n\n\n<p>L\u2019articulation des exp\u00e9riences individuelles et collectives dans l\u2019analyse des processus de m\u00e9morialisation permet d\u2019\u00e9tudier les r\u00e9cits de vie de celles et ceux qui ont \u00e9t\u00e9 \u2018effac\u00e9.es de l\u2019histoire\u2019 en les investissant d\u2019un pouvoir nouveau. Cette m\u00e9thode permet ainsi d\u2019int\u00e9grer leur participation au r\u00e9cit historique tout en leur conf\u00e9rant une autorit\u00e9 partag\u00e9e. La relation d\u2019intersubjectivit\u00e9 entre l\u2019historien.ne et les acteurs et actrices de l\u2019histoire permet de r\u00e9fl\u00e9chir \u00e0 la question de l\u2019autorit\u00e9 de l\u2019historien.ne et \u00e0 celle du travail de l\u00e9gitimation historique de certains groupes minoris\u00e9s, tels que, par exemple, les autochtones, les femmes, les groupes ethno-raciaux, les minorit\u00e9s sexuelles, et de les repositionner dans les r\u00e9cits nationaux.<\/p>\n\n\n\n<p>Du point de vue m\u00e9thodologique, cet atelier explorera l\u2019articulation des exp\u00e9riences individuelles et collectives dans l\u2019analyse des processus de m\u00e9morialisation, les enjeux \u00e9pist\u00e9mologiques et les d\u00e9fis de l\u2019histoire orale pour les historien.nes, ainsi que la construction d\u2019archives en lien avec les collections d\u2019entretiens d\u2019histoire orale, dans le but de favoriser une discussion sur les diff\u00e9rentes mani\u00e8res d\u2019\u00e9tablir la ou les l\u00e9gitimit\u00e9.s des acteurs et actrices historiques.<\/p>\n\n\n\n<p>Les propositions de communications (400 mots maximum), assorties d\u2019une br\u00e8ve notice biographique, sont \u00e0 envoyer avant le 17 janvier 2022 conjointement \u00e0 Simona Tobia (<a href=\"mailto:s.tobia@univ-pau.fr\">s.tobia@univ-pau.fr<\/a>) and Anne Stefani (<a href=\"mailto:anne.stefani@univ-tlse2.fr\">anne.stefani@univ-tlse2.fr<\/a>).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Bibliographie<\/h4>\n\n\n\n<p>Boyd, D.A., Larson, M. A. (eds.), <em>Oral History and the Digital Humanities: Voice, Access, Engagement<\/em>, New York: Palgrave Macmillan, 2014.<\/p>\n\n\n\n<p>Duchamp, F., <em>Archiver la m\u00e9moire. De l\u2019histoire orale au patrimoine immat\u00e9riel<\/em>, Paris : Editions de l\u2019EHESS, 2019<\/p>\n\n\n\n<p>Genay, L., <em>Land of Nuclear Enchantment: A New Mexican History of the Nuclear Weapons Industry<\/em>, Albuquerque: University of New Mexico Press, 2019.<\/p>\n\n\n\n<p>Portelli, A. <em>They Say in Harlan County: An Oral History<\/em>, Oxford: Oxford University Press, 2010.<\/p>\n\n\n\n<p>Portelli, A., \u201cWhat Makes Oral History Different\u201d in <em>History Workshop Journal<\/em>, n. 12, 1981, pp.96-107.<\/p>\n\n\n\n<p>Portelli, A., <em>The Order Has been Carried Out: History, Memory, and Meaning of a Nazi Massacre in Rome<\/em>, New York: Palgrave Macmillan, 2003.<\/p>\n\n\n\n<p>Thompson, P., Bornat, J., <em>The Voice of the Past. Oral History<\/em>, Oxford: Oxford University Press, 2017.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #26 Oral history and historical legitimacy<\/h3>\n\n\n\n<p>La pratique de l\u2019histoire orale aux \u00c9tats-Unis trouve sa premi\u00e8re reconnaissance institutionnelle en 1948, quand le \u00ab Oral History Research Office \u00bb est \u00e9tabli \u00e0 l\u2019universit\u00e9 Columbia de New York. Si cette pratique s\u2019est d\u00e9velopp\u00e9e depuis, elle a surtout connu une expansion exceptionnelle \u00e0 partir des ann\u00e9es 1990, permettant de renouveler la recherche dans plusieurs champs, tels que l\u2019histoire des femmes et celle des minorit\u00e9s.<\/p>\n\n\n\n<p>L\u2019atelier que nous proposons vise \u00e0 explorer l\u2019apport de l\u2019histoire orale \u00e0 l\u2019\u00e9tude de la construction de la l\u00e9gitimit\u00e9 et de l\u2019autorit\u00e9 aux \u00c9tats-Unis.<\/p>\n\n\n\n<p>L\u2019articulation des exp\u00e9riences individuelles et collectives dans l\u2019analyse des processus de m\u00e9morialisation permet d\u2019\u00e9tudier les r\u00e9cits de vie de celles et ceux qui ont \u00e9t\u00e9 \u2018effac\u00e9.es de l\u2019histoire\u2019 en les investissant d\u2019un pouvoir nouveau. Cette m\u00e9thode permet ainsi d\u2019int\u00e9grer leur participation au r\u00e9cit historique tout en leur conf\u00e9rant une autorit\u00e9 partag\u00e9e. La relation d\u2019intersubjectivit\u00e9 entre l\u2019historien.ne et les acteurs et actrices de l\u2019histoire permet de r\u00e9fl\u00e9chir \u00e0 la question de l\u2019autorit\u00e9 de l\u2019historien.ne et \u00e0 celle du travail de l\u00e9gitimation historique de certains groupes minoris\u00e9s, tels que, par exemple, les autochtones, les femmes, les groupes ethno-raciaux, les minorit\u00e9s sexuelles, et de les repositionner dans les r\u00e9cits nationaux.<\/p>\n\n\n\n<p>Du point de vue m\u00e9thodologique, cet atelier explorera l\u2019articulation des exp\u00e9riences individuelles et collectives dans l\u2019analyse des processus de m\u00e9morialisation, les enjeux \u00e9pist\u00e9mologiques et les d\u00e9fis de l\u2019histoire orale pour les historien.nes, ainsi que la construction d\u2019archives en lien avec les collections d\u2019entretiens d\u2019histoire orale, dans le but de favoriser une discussion sur les diff\u00e9rentes mani\u00e8res d\u2019\u00e9tablir la ou les l\u00e9gitimit\u00e9.s des acteurs et actrices historiques.<\/p>\n\n\n\n<p>Paper proposals (400 words maximum) should be sent by January 17, 2022, together with a short biographical note, both to Simona Tobia (<a href=\"mailto:s.tobia@univ-pau.fr\">s.tobia@univ-pau.fr<\/a>) and Anne Stefani (<a href=\"mailto:anne.stefani@univ-tlse2.fr\">anne.stefani@univ-tlse2.fr<\/a>).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 27 Des canons n\u00e9gatifs : \u201cmauvaises\u201d anthologies de po\u00e9sie et anthologies de \u201cmauvaise\u201d po\u00e9sie<\/h3>\n\n\n\n<p><em>Juliette Utard (Universit\u00e9 Paris Sorbonne) et Chlo\u00e9 Thomas (Universit\u00e9 d\u2019Angers)<\/em><\/p>\n\n\n\n<p>La plupart des anthologies de po\u00e9sie se donnent pour mission de conserver, de promouvoir, de diffuser des textes autrement susceptibles de devenir difficilement accessibles (parce qu\u2019ils \u00e9taient publi\u00e9s dans des magazines \u00e0 faible tirage, des journaux, parce qu\u2019ils se sont peu vendus en \u00e9dition originale) et, ainsi, de constituer un canon positif de productions jug\u00e9es assez int\u00e9ressantes pour \u00eatre transmises d\u2019une \u00e9poque \u00e0 l\u2019autre. En revanche, cet atelier souhaite r\u00e9unir des travaux sur les anthologies proposant ce que l\u2019on pourrait appeler un \u00ab canon n\u00e9gatif \u00bb, et qui peut prendre au moins deux formes :<\/p>\n\n\n\n<p>&#8211; Les anthologies se pr\u00e9sentant comme des recueils de \u00ab meilleure mauvaise \u00bb litt\u00e9rature, dont la vis\u00e9e est avant tout comique, mais qui peuvent aussi servir aux avant-gardes \u00e0 travailler leur propre d\u00e9finition n\u00e9gative en pr\u00e9cisant ce avec quoi elles se veulent en rupture. On peut penser \u00e0 l\u2019anthologie moderniste de mauvaise po\u00e9sie <em>The Stuffed Owl: An Anthology of Bad Verse<\/em>, \u00e9dit\u00e9e par Wyndham Lewis en 1930, ou \u00e0 celle des \u00e9ditions Burning Deck, <em>Pegasus Descending: A Treasury of the Best Bad Poems in English from Matthew Arnold to Walt Whitman<\/em> (1972), \u00e9dit\u00e9e par James Camp, X. J. Kennedy et Keith Waldrop, toutes deux r\u00e9\u00e9dit\u00e9es en 2003, mais aussi au plus g\u00e9n\u00e9raliste <em>In Search<\/em> <em>of the World\u2019s Worst Writers: A Celebration of Triumphantly Bad Literature<\/em> de Nick Page (2001). Ces livres, qui laissent \u00e9merger un canon du (meilleur) mauvais, avec des auteurs r\u00e9currents et des textes repris d\u2019une anthologie \u00e0 une autre, peuvent \u00eatre analys\u00e9s au prisme du kitsch et du camp, mais \u00e9galement de ce qu\u2019ils laissent transpara\u00eetre d\u2019une sociologie du champ litt\u00e9raire fonctionnant \u00e0 partir d\u2019exclusions aussi bien que d\u2019inclusions.<\/p>\n\n\n\n<p>&#8211; Les anthologies r\u00e9unissant des textes <em>a priori <\/em>valid\u00e9s comme faisant partie d\u2019un canon institutionnalis\u00e9, mais \u00e0 partir de th\u00e9matiques infra-critiques, souvent sentimentales<\/p>\n\n\n\n<p>(po\u00e8mes d\u2019amour, po\u00e8mes sur les chiens\u2026). Ce que l\u2019on pourrait appeler des anthologies \u201cpulp\u201d pose plus g\u00e9n\u00e9ralement la question de la place des affects dans notre mani\u00e8re (universitaire mais surtout extra-universitaire) de lire, enseigner et publier le genre po\u00e9tique ; elles rel\u00e8vent d\u2019un autre type de jouissance, non plus du \u00ab laid \u00bb mais plut\u00f4t du \u00ab joli \u00bb ou du \u00ab mignon \u00bb.<\/p>\n\n\n\n<p>Les propositions pour des communications de vingt minutes peuvent \u00eatre envoy\u00e9es \u00e0 Juliette Utard (<a href=\"mailto:juliette.utard@gmail.com\">juliette.utard@gmail.com<\/a>) et Chlo\u00e9 Thomas (<a href=\"mailto:chloe.thomas@posteo.net\">chloe.thomas@posteo.net<\/a>) au plus tard le 17 janvier 2022.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #27 <strong>Negative canons: \u201cbad\u201d anthologies of poetry, anthologies of \u201cbad\u201d poetry.<\/strong><\/h3>\n\n\n\n<p>Most poetry anthologies preserve and promote texts otherwise likely to be forgotten in the world of small presses, poorly circulated magazines, and disposable newspapers; in so doing, they select those worthy of preservation, thus contributing to the definition of a positive canon of productions deemed good enough to be passed on to later ages. This panel, however, would like to consider anthologies that seek to define what may be regarded as a \u201cnegative canon.\u201d These may be of at least two kinds:<\/p>\n\n\n\n<p>&#8211; Anthologies of carefully selected \u201cbest bad\u201d literature (or failed poetry) whose primary intention is comical, but which may also help avant-garde movements define themselves negatively by pointing to the features they want to avoid. Famous examples include Wyndham Lewis\u2019s <em>The Stuffed Owl: An Anthology of Bad Verse<\/em> (1930), <em>Pegasus Descending: A Treasury of the Best Bad Poems in English from Matthew Arnold to Walt Whitman <\/em>(1972) edited by James Camp, X. J. Kennedy and Keith Waldrop for Burning Deck \u2013 both of which were reprinted in 2003 \u2013 and Nick Page\u2019s more encompassing <em>In Search of the World\u2019s Worst Writers: A Celebration of Triumphantly Bad Literature<\/em> (2001). These books, with recurring texts and authors, provide a canon of (the best) bad poetry. It may be approached through such critical categories as kitsch and camp. But these anthologies also invite a sociological reading of the field of literary production, which works through dynamics of exclusion as much as of inclusion.<\/p>\n\n\n\n<p>&#8211; Anthologies of texts belonging to a widely accepted, institutionally validated canon, but which are collected and categorized following extra-critical, often sentimental themes (such as, for instance, poems about love, about dogs\u2026). These \u201cpulp\u201d anthologies call for a broader reflection on the status of affects in academic and extraacademic ways of reading, teaching and publishing poetry. They are about another kind of enjoyment: no longer that of what\u2019s \u201cugly\u201d but, rather, of what\u2019s \u201cpretty\u201d or \u201ccute.\u201d <\/p>\n\n\n\n<p>Proposals for 20-mintute papers should be sent to Juliette Utard (<a href=\"mailto:juliette.utard@gmail.com\">juliette.utard@gmail.com<\/a>) and Chlo\u00e9 Thomas (<a href=\"mailto:chloe.thomas@posteo.net\">chloe.thomas@posteo.net<\/a>) by January 17, 2022.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Atelier 28 Le nouveau canon de la politique \u00e9trang\u00e8re am\u00e9ricaine : quelle l\u00e9gitimit\u00e9 ?<\/h3>\n\n\n\n<p><em>Rapha\u00ebl Ricaud (Universit\u00e9 Paul Val\u00e9ry-Montpellier 3) et Pierre Guerlain (Universit\u00e9 Paris Ouest-Nanterre)<\/em><\/p>\n\n\n\n<p>Au cours de sa courte histoire, la politique \u00e9trang\u00e8re des \u00c9tats-Unis a repos\u00e9 sur deux principes interd\u00e9pendants. Le premier est que les d\u00e9cisions de politique \u00e9trang\u00e8re sont motiv\u00e9es par l&rsquo;int\u00e9r\u00eat national : les besoins intra-\u00e9tats-uniens en dictent l\u2019extraterritorialit\u00e9. Le deuxi\u00e8me principe est indissociable du premier : les d\u00e9cisions concernant les relations avec d&rsquo;autres entit\u00e9s sont prises pour assurer la s\u00e9curit\u00e9 nationale des \u00c9tats-Unis. Entre ce que requiert l&rsquo;int\u00e9r\u00eat national et ce que la s\u00e9curit\u00e9 nationale exige, d\u00e9cider d&rsquo;une strat\u00e9gie coh\u00e9rente peut s&rsquo;av\u00e9rer \u00eatre un v\u00e9ritable d\u00e9fi.<\/p>\n\n\n\n<p>En effet, en g\u00e9opolitique, une relation bas\u00e9e sur le dialogue entre acteurs \u00e9tatiques (et m\u00eame non \u00e9tatiques) repose sur la continuit\u00e9 : la politique \u00e9trang\u00e8re des \u00c9tats-Unis est plus susceptible d&rsquo;\u00eatre comprise lorsqu&rsquo;elle suit \u00e0 une ligne de conduite stable. Et pourtant, certaines situations internationales am\u00e8nent les \u00c9tats-Unis \u00e0 prendre des mesures que l\u2019on pourrait qualifier d\u2019improvis\u00e9es et erratiques. En raison de cette approche r\u00e9active (plut\u00f4t que proactive), la grande strat\u00e9gie am\u00e9ricaine et ses tactiques entrent parfois en conflit. Mais au fil des ans, tant \u00e0 gauche qu&rsquo;\u00e0 droite, des r\u00e9cits concurrents ont \u00e9t\u00e9 mis au point pour rendre compte de ces incoh\u00e9rences.<\/p>\n\n\n\n<p>Pris ensemble, ces quatre \u00e9l\u00e9ments (int\u00e9r\u00eat national, s\u00e9curit\u00e9 nationale, strat\u00e9gie, tactique) ont syst\u00e9matiquement constitu\u00e9 le canon analytique de la politique \u00e9trang\u00e8re des \u00c9tats-Unis jusqu&rsquo;en 2017, lorsque cela a cess\u00e9 avec l\u2019arriv\u00e9e de Trump au pouvoir. Depuis lors, un nouveau canon a \u00e9merg\u00e9 dans les publications politiques, universitaires et m\u00e9diatiques organis\u00e9es autour du concept d&rsquo;un ordre international fond\u00e9 sur des r\u00e8gles et domin\u00e9 par les \u00c9tats-Unis.<\/p>\n\n\n\n<p>L\u2019\u00e9lection pr\u00e9sidentielle de 2016 aux \u00c9tats-Unis ne fut pas sans cr\u00e9er la surprise. Depuis, les sp\u00e9cialistes de politique \u00e9trang\u00e8re et autres d\u00e9cideurs font remarquer combien Donald Trump n\u2019eut de cesse de transgresser les r\u00e8gles sur lesquelles l\u2019ordre mondial est fond\u00e9. L\u2019administration Biden, par opposition, a affirm\u00e9 qu\u2019il mettrait un point d\u2019honneur \u00e0 revenir \u00e0 de telles r\u00e8gles. En mati\u00e8re de politique \u00e9trang\u00e8re, on peut donc supposer que l\u2019on assiste \u00e0 un retour \u00e0 la normale, \u00e0 savoir un \u00ab ordre mondial fond\u00e9 sur des r\u00e8gles \u00bb.<\/p>\n\n\n\n<p>Il est coutume de dire que cet ordre mondial vit le jour au sortir de la guerre, avec la cr\u00e9ation de l\u2019ONU, de la Banque mondiale et du FMI. Sa l\u00e9gitimit\u00e9 pose toutefois question. Quid du non-respect des r\u00e8gles internationales (par lesquelles il faut entendre le droit international, ainsi que les d\u00e9cisions prises par l\u2019ONU) depuis 1945 ? Pourquoi la nouvelle appellation en mati\u00e8re de politique \u00e9trang\u00e8re am\u00e9ricaine fait-elle r\u00e9f\u00e9rence \u00e0 des \u00ab r\u00e8gles \u00bb et non \u00e0 des lois ou aux r\u00e9solutions des Nations unies ? Qui d\u00e9cidait des \u00ab r\u00e8gles \u00bb alors, et qu\u2019en est-il d\u00e9sormais ?<\/p>\n\n\n\n<p>Il y eut certes un ordre mondial fond\u00e9 sur certaines \u00ab r\u00e8gles \u00bb : entre 1947 et 1991, les r\u00e8gles \u00e9taient celles d\u2019un monde bipolaire domin\u00e9 par les \u00c9tats-Unis et, dans une certaine mesure, par l\u2019URSS. Puis, suite \u00e0 l\u2019effondrement du syst\u00e8me sovi\u00e9tique, l\u2019Am\u00e9rique exer\u00e7a un pouvoir sans partage sur le syst\u00e8me mondial. Seuls les Etats-Unis d\u2019Am\u00e9rique pouvaient imposer leurs r\u00e8gles. Pour reprendre les termes employ\u00e9s par George Herbert Walker Bush, \u201cwhat we [that is the US] say goes\u201d (\u00ab c&rsquo;est ce que nous [les \u00c9tats-Unis] voulons qui s&rsquo;impose \u00bb). Mais le monde n\u2019est plus unipolaire.<\/p>\n\n\n\n<p>De nos jours, la Chine est \u00e0 nouveau une puissance d\u2019envergure, et l\u2019\u00e9vocation d\u2019un \u00ab ordre mondial fond\u00e9 sur des r\u00e8gles \u00bb n\u2019a rien d\u2019onusien. La notion ne semble pas \u00eatre un appel au multilat\u00e9ralisme, mais plut\u00f4t un effort de la part des \u00c9tats-Unis pour contrer la Chine.<\/p>\n\n\n\n<p>Cet atelier propose donc d\u2019\u00e9voquer le nouveau canon de la politique \u00e9trang\u00e8re des \u00c9tatsUnis, de sa l\u00e9gitimit\u00e9 disput\u00e9e, et d\u2019en faire la gen\u00e8se. On s\u2019interrogera \u00e9galement sur ceux qu\u2019il convient d\u2019identifier comme les principaux contrevenants aux r\u00e8gles et lois internationales. En d\u00e9finitive, cet atelier permettra de d\u00e9battre des nouveaux tournants<\/p>\n\n\n\n<p>(rh\u00e9toriques ou r\u00e9els) que prend la politique \u00e9trang\u00e8re am\u00e9ricaine depuis l\u2019\u00e9lection de 2020. Si vous souhaitez soumettre une proposition de communication, merci de nous faire parvenir un abstract de 300 mots, ainsi qu\u2019une courte biobibliographie pour le 17 janvier 2021 au plus tard \u00e0 Rapha\u00ebl Ricaud (<a href=\"mailto:raphael.ricaud@univ-montp3.fr\">raphael.ricaud@univ-montp3.fr<\/a>) et Pierre Guerlain (<a href=\"mailto:pierre.guerlain@gmail.com\">pierre.guerlain@gmail.com<\/a>).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Panel #28 <strong>What is the legitimacy of the new canon of US foreign policy?<\/strong><\/h3>\n\n\n\n<p>Over the course of its short history, the foreign policy of the United States has been guided by two interdependent principles. The first is that foreign policy decisions are driven by the national interest: the origin of extra-territorial moves can always be traced back to America\u2019s domestic needs. The second principle cannot be separated from the first: decisions regarding relations with other entities are made to ensure the national security of the US. Given this combination of push and pull between what national interest demands and what national security requires, deciding upon a coherent strategy can prove to be something of a challenge.<\/p>\n\n\n\n<p>Indeed, in international relations, a dialogue-based relationship between state (and even non-state) actors calls for continuity: the foreign policy of the United States is more likely to be understood when based upon previous policies. And yet some international situations result in the US making appealingly erratic, improvised moves. Because of this reactive (rather than proactive) approach, America\u2019s grand strategy and its tactics sometimes clash. But over the years, both on the left and on the right, competing narratives have been developed to account for these inconsistencies.<\/p>\n\n\n\n<p>Taken together, these four elements (national interest, national security, strategy, tactics) have consistently made up the analytic canon of the foreign policy of the United States, until 2017 and the election of Trump, when they no longer did. Since then, a new canon has emerged in political, scholarly and media publications organized around the concept of a rules-based international order dominated by the United States.<\/p>\n\n\n\n<p>Ever since Trump was unexpectedly elected, foreign policy analysts and policy makers in the US have been at a loss to make sense of his decisions. A tentative explanation was that Trump kept ignoring a \u201crules-based world order\u201d. By contrast, the Biden Administration claimed it would make a point of honor to revert to such a framework. Thus, one might consider that current foreign policy thinking in the US has returned to a \u201crules-based world order\u201d.<\/p>\n\n\n\n<p>This world order was allegedly set up right after World War II, with the creation of the UN, the World Bank and the IMF. One could however question its legitimacy. Have international rules\u2014that is to say laws and UN regulations\u2014ever been respected since 1945? Why does the new foreign policy canon refer to \u201crules\u201d and not international laws or UN decisions? Who determined the \u201crules\u201d then, and who does now?<\/p>\n\n\n\n<p>There once was a world order based on \u201crules\u201d: between 1947 and 1991 the rules were that of a bipolar world dominated by the US and, to a certain extent, by the USSR. By 1991, the world system was characterized by US domination and the rules were solely imposed by America. In the words of George Herbert Walker Bush, the rule was \u201cwhat we [that is the US] say goes\u201d. But this unipolar moment has passed.<\/p>\n\n\n\n<p>With the re-emergence of China as a major world power, the discourse of a \u201crules-based world order\u201d clearly does not refer to the UN. It seems to be more an effort on the part of the US to counter China than a call for multilateral decision making.<\/p>\n\n\n\n<p>In this workshop one will thus ponder historical questions concerning the origin and legitimacy of this new canon. The workshop will equally address the question of who the chief violators of rules or laws in the international system are. In a word, this workshop offers to debate the new rhetorical and effective turns of US foreign policy since the 2020 election.<\/p>\n\n\n\n<p>If you wish to submit a proposal, please send a 300-word abstract as well as a short bio before January 17<sup>th<\/sup>, 2021 to Rapha\u00ebl Ricaud (<a href=\"mailto:raphael.ricaud@univ-montp3.fr\">raphael.ricaud@univ-montp3.fr<\/a>) and Pierre Guerlain (<a href=\"mailto:pierre.guerlain@gmail.com\">pierre.guerlain@gmail.com<\/a> ).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Calendrier g\u00e9n\u00e9ral<\/h2>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td><strong>17 janvier 2022<\/strong><\/td><td>Date limite d\u2019envoi des propositions de communication aux responsables d\u2019ateliers<\/td><\/tr><tr><td><strong>14 f\u00e9vrier 2022<\/strong><\/td><td>Date limite d\u2019envoi de la composition des ateliers aux organisateurs scientifiques<\/td><\/tr><tr><td><strong>1<sup>er<\/sup> mars 2022<\/strong><\/td><td>Publication du programme<\/td><\/tr><tr><td><strong>31 mai \u2013 3 juin 2022<\/strong><\/td><td>Congr\u00e8s<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref1\">[1]<\/a> Yohann Lucas, \u00ab Produire, reproduire et pr\u00e9server : les magazines et les anthologies de la Renaissance de Harlem et du Black Arts Movement dans la construction d\u2019un canon litt\u00e9raire africain-am\u00e9ricain \u00bb, th\u00e8se de doctorat, Universit\u00e9 Gustave Eiffel, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref2\">[2]<\/a> Elizabeth McHenry, <em>To Make Negro Literature: Writing, Literary Practice, and African American Authorship<\/em>, Durham, Duke University Press, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref3\">[3]<\/a> Marl\u00e8ne L. Daut, Gr\u00e9gory Pierrot et Marion C. Rohrleitner eds, <em>Haitian Revolutionary Fictions<\/em>, University of Virginia Press, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref4\">[4]<\/a> Voir par exemple : Cherrie Moraga et Gloria E. Anzaldua, <em>This Bridge Called My Back : Writings by Radical<\/em><\/p>\n\n\n\n<p><em>Women of Color<\/em>, Persephone Press, 1981. La quatri\u00e8me \u00e9dition est publi\u00e9e en 2015 par SUNY Press. Toni Cade Bambara, <em>The Black Woman : An Anthology<\/em>, Washington Square Press, 2005. Joan Nestle, et Naomi Holoch, <em>Women on Women : An Anthology of American Lesbian Short Fiction,<\/em> Mass Market Paperback, 1990.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref5\">[5]<\/a> Yohann Lucas, \u00ab Produire, reproduire et pr\u00e9server : les magazines et les anthologies de la Renaissance de Harlem et du Black Arts Movement dans la construction d\u2019un canon litt\u00e9raire africain-am\u00e9ricain \u00bb, th\u00e8se de doctorat, Universit\u00e9 Gustave Eiffel, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref6\">[6]<\/a> Elizabeth McHenry, <em>To Make Negro Literature: Writing, Literary Practice, and African American Authorship<\/em>, Durham, Duke University Press, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref7\">[7]<\/a> Marl\u00e8ne L. Daut, Gr\u00e9gory Pierrot et Marion C. Rohrleitner eds, <em>Haitian Revolutionary Fictions<\/em>, University of Virginia Press, 2021.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref8\">[8]<\/a> Voir par exemple : Cherrie Moraga et Gloria E. Anzaldua, <em>This Bridge Called My Back : Writings by Radical<\/em><\/p>\n\n\n\n<p><em>Women of Color<\/em>, Persephone Press, 1981. La quatri\u00e8me \u00e9dition est publi\u00e9e en 2015 par SUNY Press. Toni Cade Bambara, <em>The Black Woman : An Anthology<\/em>, Washington Square Press, 2005. Joan Nestle, et Naomi Holoch, <em>Women on Women : An Anthology of American Lesbian Short Fiction,<\/em> Mass Market Paperback, 1990.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref9\">[9]<\/a> Notre choix d\u2019utiliser le terme \u00ab mobilit\u00e9 \u00bb, plut\u00f4t que \u00ab migration \u00bb, s\u2019appuie sur les travaux de Mimi Sheller et John Urry, selon qui le second terme est \u00e0 la fois connot\u00e9 n\u00e9gativement et r\u00e9ducteur. Voir \u201cMobilizing the New mobilities paradigm\u201d, <em>Applied Mobilities<\/em> 1 (2016): 10-25.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref10\">[10]<\/a> Arjun Appadurai, <em>Modernity at Large, Cultural Dimensions of Globalization<\/em>, Minneapolis: University of Minnesota Press, 1996, p. 172.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref11\">[11]<\/a> Nous traduisons ici la notion de \u00ab translanguaging\u201d, utilis\u00e9e par exemple par Zhu Hua et Li Wei dans \u201cTranslanguaging Practices and diasporic imagination\u201d (in Robin Cohen and Carolin Fischer, <em>Routledge Handbook of Diaspora Studies, <\/em>London &amp; New York: Routledge, 2019, pp. 106-112).<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref12\">[12]<\/a> In using the term \u201cmobility\u201d over that of \u201cmigration\u201d we are adopting Mimi Sheller and John Urry\u2019s analysis, as they contend that the second term is both negatively connoted, and restrictive in its denotations. See \u201cMobilizing the New mobilities paradigm\u201d, Applied Mobilities 1 (2016): 10-25.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref13\">[13]<\/a> Arjun Appadurai, <em>Modernity at Large, Cultural Dimensions of Globalization<\/em>, Minneapolis: University of Minnesota Press, 1996, p. 172.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.textfixer.com\/html\/convert-word-to-html.php#_ftnref14\">[14]<\/a> Zhu Hua and Li Wei, \u201cTranslanguaging Practices and diasporic imagination\u201d, in Robin Cohen and Carolin Fischer, <em>Routledge Handbook of Diaspora Studies, <\/em>London &amp; New York: Routledge, 2019, pp. 106-112.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le PDF ci-dessus reprend la liste des ateliers, pr\u00e9sent\u00e9e en int\u00e9gralit\u00e9 sur cette page. L\u00e9gitimit\u00e9, Autorit\u00e9, Canons \/ Legitimacy, Authority, Canons APPELS A COMMUNICATIONS\/ CALLS FOR PAPERS Atelier 1 Dans l\u2019ombre de Maurice Edgar et Gaston \u2014 Passeurs m\u00e9connus et canon(s) litt\u00e9raire(s) au XXe si\u00e8cle C\u00e9cile Cottenet (Aix-Marseille Universit\u00e9) et Peggy Pacini (CY Cergy Paris&hellip; <a class=\"more-link\" href=\"https:\/\/afea.fr\/bordeaux2022\/2021\/11\/29\/ateliers-et-appels-a-communications\/\">Poursuivre la lecture <span class=\"screen-reader-text\">Ateliers et appels \u00e0 communications<\/span><\/a><\/p>\n","protected":false},"author":64,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-53","post","type-post","status-publish","format-standard","hentry","category-appels","entry"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false,"post-thumbnail":false},"uagb_author_info":{"display_name":"Nicolas Labarre","author_link":"https:\/\/afea.fr\/bordeaux2022\/author\/nlabarre\/"},"uagb_comment_info":0,"uagb_excerpt":"Le PDF ci-dessus reprend la liste des ateliers, pr\u00e9sent\u00e9e en int\u00e9gralit\u00e9 sur cette page. L\u00e9gitimit\u00e9, Autorit\u00e9, Canons \/ Legitimacy, Authority, Canons APPELS A COMMUNICATIONS\/ CALLS FOR PAPERS Atelier 1 Dans l\u2019ombre de Maurice Edgar et Gaston \u2014 Passeurs m\u00e9connus et canon(s) litt\u00e9raire(s) au XXe si\u00e8cle C\u00e9cile Cottenet (Aix-Marseille Universit\u00e9) et Peggy Pacini (CY Cergy Paris&hellip;\u2026","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/posts\/53"}],"collection":[{"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/comments?post=53"}],"version-history":[{"count":7,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/posts\/53\/revisions"}],"predecessor-version":[{"id":205,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/posts\/53\/revisions\/205"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/media?parent=53"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/categories?post=53"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/bordeaux2022\/wp-json\/wp\/v2\/tags?post=53"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}