\ufeff<\/p>\n
Dear Colleagues,<\/p>\n
We recently held our first Creative Writing panel at the congress of the SAES. Building on that, we are sending out a reminder of the call for papers for an EREA publication. Details are below, in English and in French.<\/p>\n
We also hope to set up a Creative Writing network to allow SAES members and others to exchange messages, share documents, and so on. If you would like to be part of that network, please let us know by sending an e mail to this address: helenemundler . If you have any difficulty with that address, please use helen.mundler .<\/strong><\/p>\n
With best wishes,<\/p>\n
Helen E. Mundler and Sara Greaves<\/p>\n
CALL FOR ARTICLES<\/strong><\/p>\n
\u201cThere is a time for building\u2026\u201d: Creative Writing in English Studies in French Universities.<\/em><\/strong><\/p>\n
Sara Greaves<\/strong><\/p>\n
MCF HDR Aix-Marseille Universit\u00e9<\/strong><\/p>\n
Membre du LERMA<\/strong><\/p>\n
sara.greaves<\/strong><\/p>\n
and<\/strong><\/p>\n
Helen E. Mundler<\/strong><\/p>\n
MCF HDR, Universit\u00e9 Paris Est-Cr\u00e9teil<\/strong><\/p>\n
Membre de FAAAM, Paris-Ouest La D\u00e9fense<\/strong><\/p>\n
helenemundler<\/strong><\/p>\n
English version<\/strong><\/p>\n
(scroll down for French version)<\/strong><\/p>\n
Publication: E-rea<\/em> – Revue \u00e9lectronique d\u2019\u00e9tudes sur le monde anglophone,<\/em> LERMA (Laboratoire d\u2019Etudes et de Recherche sur le Monde Anglophone, E.A. 853) Aix-Marseille Universit\u00e9, 20.1, Autumn 2022.<\/p>\n
Planned for 2020, the first SAES panel on creative writing was \u2013 like the 2020 Tours Congress itself \u2013 postponed, and this inaugural panel will now take place in June 2021. We will be hearing from English specialists who conduct research on creative writing (as it intersects with science, literature, translation or language didactics, for instance), and (or) who have set up courses in creative writing in their departments. Creative writing is developing gradually in French and Comparative Literature, in Graduate and Postgraduate studies, and Doctoral studies have opened up to creative practices too 1 ; it is high time creative writing in French English Studies took some of the limelight!<\/p>\n
In parallel to the panel, a publication is planned under the auspices of E-rea, <\/em>Aix-Marseille, which is to say the first French University in which in October 1968 creative writing was introduced, by Honorary Professor and writer Anne Roche, who will be honouring us with a Preface. This inaugural publication \u2013 an E-rea<\/em> Special issue \u2013 <\/em>will mark an important stage in the rather piecemeal development of creative writing in English Studies departments. By gathering existing teaching practices and often interdisciplinary theoretical approaches, while also showcasing the literary talents of our fellow lecturers, this issue will help reflect on the specificity of Second-Language Creative Writing, including perhaps the role of bi- or plurilingualism and the Mother tongue \u2013 by contrast with the discipline as it has developed in English-speaking countries.<\/p>\n
Experimental contributions are welcome. Articles may be written in English and\/or French.<\/p>\n
The publication will comprise three dossiers; firstly, full-length critical and theoretical articles, secondly, shorter articles, and thirdly, creative writing (prose and poetry). A fourth part will be given over to reviews.<\/p>\n
Word limits are as follows:<\/p>\n
Full-length articles: 6000 words<\/p>\n
Short articles: 1500 words<\/p>\n
Creative writing: 5000 words.<\/p>\n
Reviews: 1000 words.<\/p>\n
Abstracts, of no longer than 350 words for all categories, and biographies of no more than 100 words, should be submitted in either English or French to Sara Greaves and Helen Mundler (see above for email addresses) before 5th July 2021<\/strong>.<\/p>\n
Notice of acceptance of abstracts will be given by 5th September 2021, <\/strong>and a style sheet will be sent out.<\/p>\n
The deadline for articles in all categories is 5th January 2022.<\/strong><\/p>\n
Bibliography:<\/strong><\/p>\n
BISENIUS-PENIN, Carole. \u00ab Creative writing en France : une discipline en voie de l\u00e9gimation \u00bb, The Conversation, <\/em>09\/02\/2017, https:\/\/theconversation.com\/creative-writing-en-france-une-formation-universitaire-en-voie-de-legitimation-72475<\/a>.<\/p>\n
BELLATORRE, Andr\u00e9, Philippe chemin\u00e9e, Annick Maffre, Simone Molina, Corine Robet & Nicole Voltz. Devenir animateur d\u2019atelier d\u2019\u00e9criture, (Se) former \u00e0 l\u2019animation<\/em>. Lyon : Chronique Sociale, 2014.<\/p>\n
BON, Fran\u00e7ois. Tous les mots sont adultes. <\/em>Saint-Amand-Montrond : Fayard, [2000] 2005.<\/p>\n
\u2014 . Daewoo<\/em>. Paris: Fayard, 2004.<\/p>\n
CHIDIAC, Nayla. Ateliers d\u2019\u00e9criture th\u00e9rapeutiques<\/em>. Paris: Elsevier Masson, [2010] 2013.<\/p>\n
CYRULNIK, Boris. La nuit, j\u2019\u00e9crirai des soleils<\/em>. Paris: Odile Jacob, 2019.<\/p>\n
GREAVES, Sara. \u2018Un atelier d\u2019\u00e9criture pour les exil\u00e9s : une question de statut\u2019. E-rea<\/em>, 14.2\/2017, http:\/\/journals.openedition.org\/erea\/5666<\/a>; DOI: https:\/\/doi.org\/10.4000\/erea.5666<\/a><\/p>\n
\u2014 & Marie-Laure Schultze. \u2018Roll up, roll up for the Language Circus!\u2019. Foued Laroussi et Fabien Li\u00e9nard (eds.). Language Policy, Education and Multilingualism in Mayotte<\/em>. Limoges: Lambert-Lucas, 2013.<\/p>\n
\u2014 & Florent Da Sylva. \u2018Encadrer des projets d\u2019\u00e9criture cr\u00e9ative en anglais: D\u2019une \u00e9valuation pour la forme \u00e0 une \u00e9valuation formative\u2019. L\u2019\u00e9valuation \u00e0 l\u2019\u00e9preuve du contexte. Pratiques et r\u00e9flexions<\/em>. Anne Demeester, Bernard De Giorgi, Yannick Gouchan (eds.). Aix-en-Provence: Presses Universitaires de Provence, 2020, pp. 53-66.<\/p>\n
HILLIARD, Christopher. To Exercise Our Talents: The Democratization of Writing in Britain<\/em>. Cambridge (Massachusetts) et Londres: Harvard University Press, 2006.<\/p>\n
HOUDART-M\u00c9ROT, Violaine. La cr\u00e9ation litt\u00e9raire \u00e0 l\u2019Universit\u00e9<\/em>. Paris: Presses universitaires de Vincennes, 2018.<\/p>\n
HUSTON, Nancy. Longings and belongings, Essays<\/em>. Toronto: McArthur & Company, 2005.<\/p>\n
MAC\u00c9, Marielle. Fa\u00e7ons de lire, mani\u00e8res d\u2019\u00eatre<\/em>. Paris: Gallimard, 2011.<\/p>\n
\u2014 . Styles : Critique de nos formes de vie. <\/em>Paris: Gallimard, 2016.<\/em><\/p>\n
ORIOL-BOYER, Claudette & Nicole Bajulaz-Fessler (eds.). Ecrire \u00e0 l\u2019Universit\u00e9 I<\/em>. Actes du Colloque de Grenoble, 19-21 janvier 1995. Atelier du texte\/Ceditel, 1996.<\/p>\n
PASSERON, Ren\u00e9 (dir.) et al. La po\u00ef\u00e9tique comme science et comme philosophie de la cr\u00e9ation<\/em>. Communications pr\u00e9sent\u00e9es au Premier colloque international de po\u00ef\u00e9tique, Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne, Vinneuf, 28 avril-2 mai. Paris: \u00c9ditions Po\u00ef\u00e9sis, 1991.<\/p>\n
ROCHE, Anne, Andr\u00e9e Guiguet & Nicole Voltz. L\u2019atelier d\u2019\u00e9criture: \u00c9l\u00e9ments pour la r\u00e9daction du texte litt\u00e9raire. <\/em>Paris: Armand Colin, [1989, 2000] 2015.<\/p>\n
Version fran\u00e7aise :<\/strong><\/p>\n
\u201cIl est un temps pour b\u00e2tir\u2026\u201d : l\u2019\u00e9criture cr\u00e9ative en anglistique \u00e0 l\u2019Universit\u00e9 fran\u00e7aise.<\/em><\/strong><\/p>\n
Publication : E-rea<\/em> – Revue \u00e9lectronique d\u2019\u00e9tudes sur le monde anglophone,<\/em> LERMA (Laboratoire d\u2019\u00c9tudes et de Recherche sur le Monde Anglophone, E.A. 853) Aix-Marseille Universit\u00e9, no. 20.1, automne 2022.<\/p>\n
Initialement pr\u00e9vu en 2020, le premier atelier de la SAES consacr\u00e9 \u00e0 l’\u00e9criture cr\u00e9ative, comme le Congr\u00e8s dans son ensemble, a \u00e9t\u00e9 report\u00e9 et aura lieu en juin 2021. Nous entendrons des anglicistes qui m\u00e8nent des recherches sur l\u2019\u00e9criture cr\u00e9ative (au croisement de la science, de la litt\u00e9rature, de la traduction ou de la didactique des langues\u2026), et\/ou qui ont mis en place des enseignements dans cette discipline. Celle-ci se d\u00e9veloppe peu \u00e0 peu en Lettres Modernes ou en Litt\u00e9rature Compar\u00e9e, en Licence et en Master, le Doctorat s\u2019y est ouvert aussi. 2 Il est grand temps que l\u2019\u00e9criture cr\u00e9ative ait toute sa place en anglistique !<\/p>\n
Parall\u00e8lement \u00e0 l\u2019atelier, une publication est ainsi pr\u00e9vue sous les auspices d’E-rea<\/em>, revue implant\u00e9e \u00e0 Aix-Marseille, c\u2019est-\u00e0-dire l\u2019Universit\u00e9 o\u00f9, en octobre 1968, l\u2019\u00e9criture cr\u00e9ative a \u00e9t\u00e9 introduite en France par la Professeure honoraire Anne Roche, \u00e9crivaine, qui nous fera l\u2019honneur d\u2019en \u00e9crire la Pr\u00e9face. Ce num\u00e9ro sp\u00e9cial d\u2019E-rea<\/em>, publication inaugurale, marquera une \u00e9tape importante dans le d\u00e9veloppement plut\u00f4t fragmentaire de l’\u00e9criture cr\u00e9ative dans les d\u00e9partements d\u2019\u00e9tudes anglophones. En r\u00e9unissant ainsi les diverses pratiques p\u00e9dagogiques existantes et leurs approches th\u00e9oriques g\u00e9n\u00e9ralement interdisciplinaires, en pr\u00e9sentant \u00e9galement les talents litt\u00e9raires de nos coll\u00e8gues enseignants-chercheurs, ce num\u00e9ro contribuera \u00e0 une r\u00e9flexion sur la sp\u00e9cificit\u00e9 de l\u2019\u00e9criture cr\u00e9ative en langue seconde, avec l\u2019apport, peut-\u00eatre, du plurilinguisme et en prenant en compte la langue maternelle \u2013 par contraste avec l\u2019\u00e9criture cr\u00e9ative telle qu\u2019elle s\u2019est d\u00e9velopp\u00e9e dans les pays anglophones.<\/p>\n
Les contributions exp\u00e9rimentales sont les bienvenues. Les articles peuvent \u00eatre r\u00e9dig\u00e9s en anglais ou en fran\u00e7ais.<\/p>\n
La publication comprendra trois dossiers, d’abord des articles critiques et th\u00e9oriques longs, ensuite des articles plus courts, et enfin des cr\u00e9ations litt\u00e9raires (prose et po\u00e9sie). Une quatri\u00e8me partie sera consacr\u00e9e \u00e0 des recensions.<\/p>\n
Les limites de mots sont les suivantes :<\/p>\n
Articles complets : 6000 mots<\/p>\n
Articles courts : 1500 mots<\/p>\n
\u00c9criture cr\u00e9ative : 5000 mots.<\/p>\n
Recensions : 1000 mots.<\/p>\n
Les abstracts, de 350 mots maximum pour toutes les cat\u00e9gories, et les biographies de 100 mots maximum, sont \u00e0 envoyer en anglais ou en fran\u00e7ais \u00e0 Sara Greaves et Helen Mundler (adresses email ci-dessus) avant le 5 juillet 2021<\/strong>.<\/p>\n
L’acceptation des r\u00e9sum\u00e9s sera notifi\u00e9e avant le 5 septembre 2021<\/strong>, et une feuille de style sera envoy\u00e9e.<\/p>\n
La date limite de soumission des articles, toutes cat\u00e9gories confondues, est fix\u00e9e au 5 janvier 2022.<\/p>\n
Bibliographie :<\/strong><\/p>\n
BISENIUS-PENIN, Carole. \u00ab Creative writing en France : une discipline en voie de l\u00e9gimation \u00bb, The Conversation, <\/em>09\/02\/2017, https:\/\/theconversation.com\/creative-writing-en-france-une-formation-universitaire-en-voie-de-legitimation-72475<\/a>.<\/p>\n
BELLATORRE, Andr\u00e9, Philippe chemin\u00e9e, Annick Maffre, Simone Molina, Corine Robet & Nicole Voltz. Devenir animateur d\u2019atelier d\u2019\u00e9criture, (Se) former \u00e0 l\u2019animation<\/em>. Lyon : Chronique Sociale, 2014.<\/p>\n
BON, Fran\u00e7ois. Tous les mots sont adultes. <\/em>Saint-Amand-Montrond : Fayard, [2000] 2005.<\/p>\n
\u2014 . Daewoo<\/em>. Paris: Fayard, 2004.<\/p>\n
CHIDIAC, Nayla. Ateliers d\u2019\u00e9criture th\u00e9rapeutiques<\/em>. Paris: Elsevier Masson, [2010] 2013.<\/p>\n
CYRULNIK, Boris. La nuit, j\u2019\u00e9crirai des soleils<\/em>. Paris: Odile Jacob, 2019.<\/p>\n
GREAVES, Sara. \u2018Un atelier d\u2019\u00e9criture pour les exil\u00e9s : une question de statut\u2019. E-rea<\/em>, 14.2\/2017, http:\/\/journals.openedition.org\/erea\/5666<\/a>; DOI: https:\/\/doi.org\/10.4000\/erea.5666<\/a><\/p>\n
\u2014 & Marie-Laure Schultze. \u2018Roll up, roll up for the Language Circus!\u2019. Foued Laroussi et Fabien Li\u00e9nard (eds.). Language Policy, Education and Multilingualism in Mayotte<\/em>. Limoges: Lambert-Lucas, 2013.<\/p>\n
\u2014 & Florent Da Sylva. \u2018Encadrer des projets d\u2019\u00e9criture cr\u00e9ative en anglais: D\u2019une \u00e9valuation pour la forme \u00e0 une \u00e9valuation formative\u2019. L\u2019\u00e9valuation \u00e0 l\u2019\u00e9preuve du contexte. Pratiques et r\u00e9flexions<\/em>. Anne Demeester, Bernard De Giorgi, Yannick Gouchan (eds.). Aix-en-Provence: Presses Universitaires de Provence, 2020, pp. 53-66.<\/p>\n
HILLIARD, Christopher. To Exercise Our Talents: The Democratization of Writing in Britain<\/em>. Cambridge (Massachusetts) et Londres: Harvard University Press, 2006.<\/p>\n
HOUDART-M\u00c9ROT, Violaine. La cr\u00e9ation litt\u00e9raire \u00e0 l\u2019Universit\u00e9<\/em>. Paris: Presses universitaires de Vincennes, 2018.<\/p>\n
HUSTON, Nancy. Longings and belongings, Essays<\/em>. Toronto: McArthur & Company, 2005.<\/p>\n
MAC\u00c9, Marielle. Fa\u00e7ons de lire, mani\u00e8res d\u2019\u00eatre<\/em>. Paris: Gallimard, 2011.<\/p>\n
\u2014 . Styles : Critique de nos formes de vie. <\/em>Paris: Gallimard, 2016, <\/em><\/p>\n
ORIOL-BOYER, Claudette & Nicole Bajulaz-Fessler (eds.). Ecrire \u00e0 l\u2019Universit\u00e9 I<\/em>. Actes du Colloque de Grenoble, 19-21 janvier 1995. Atelier du texte\/Ceditel, 1996.<\/p>\n
PASSERON, Ren\u00e9 (dir.) et al. La po\u00ef\u00e9tique comme science et comme philosophie de la cr\u00e9ation<\/em>. Communications pr\u00e9sent\u00e9es au Premier colloque international de po\u00ef\u00e9tique, Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne, Vinneuf, 28 avril-2 mai. Paris: \u00c9ditions Po\u00ef\u00e9sis, 1991.<\/p>\n
ROCHE, Anne, Andr\u00e9e Guiguet & Nicole Voltz. L\u2019atelier d\u2019\u00e9criture: \u00c9l\u00e9ments pour la r\u00e9daction du texte litt\u00e9raire. <\/em>Paris: Armand Colin, [1989, 2000] 2015.<\/p>\n
1 Cf. \u2018Pratiques et th\u00e9ories de la cr\u00e9ation artistique\u2019, ED 354, Aix-Marseille Universit\u00e9. https:\/\/ecole-doctorale-354.univ-amu.fr\/fr\/pratique-theorie-creation-artistique-litteraire<\/a><\/p>\n