Reminder: Call for papers – 45th annual Nineteenth-Century French Studies colloquium


Oct 31-Nov 2, 2019 in Sarasota, Florida
Hosted by Florida State University and The John and Mable Ringling Museum of Art

*pour le français, veuillez défiler vers le bas

Keynote Speaker: Anne Verjus, National Center for Scientific Research (CNRS), Université de Lyon

The conference theme, Enchantment and Disenchantment, is inspired by the event’s location. Myths of Florida typecast the state as a land of enchantment, entertainment, and Disneyfication. One of Florida’s primary Gulf coast cities, Sarasota offers an eclectic blend of high culture and popular entertainment. Now part of the Florida State University, the Ringling Museum and the Ca’ d’Zan were built by the circus magnate, John Ringling, whose business claimed to deliver the ‘Greatest Show on Earth.’ This location offers an opportunity to look back on the nineteenth-century origins of spectacles of technology and fantasy as well as the (dis)enchantment that they can provide.

The 2019 colloquium will explore how nineteenth-century France was a time of confrontation between the age-old enchantment of faith, magic, and tradition, and the modern lure of rationalization, science, and innovation, leading to what Max Weber called the “disenchantment of the world.” The nineteenth century is also a period of developing technologies and economies of popular entertainment. Along these lines, we can explore enchantment as a reward system that delights and inspires, or an enthrallment that constrains and inhibits. Enchantment can be a visceral experience of spectacle or one that plays with the simulacra of illusion.

We invite contributions on topics including but not limited to the following:

Illusion and disillusion
Fairy tales and féeries
Fascination and attraction
Magic, superstition and occultism
Phantasmagoria and Technologies of enchantment (magic lanterns, diorama, panorama, cinema, sound recording)
Enthrallment and constraint
Suspension of disbelief
Science of enchantment
Delight and rapture
Seduction and temptation
Magnetism and gravitation
Glamor and charisma
Propaganda and truth to power
Circus thrills
Revival-style architecture
Economies of enchantment
Expositions universelles

Submissions for individual papers or sessions may be in French or English and should be in the form of an abstract (250–300 words) uploaded to our submission portal available on the conference website ( The deadline for all submissions is March 15, 2019. For session proposals, abstracts for each paper should be uploaded separately.

For more information, please visit


Aimée Boutin et Lauren Weingarden, Florida State University


Appel à communications – 45e colloque annuel de Nineteenth-Century French Studies


Le 31 octobre-2 novembre, 2019 à Sarasota en Floride
Avec le soutien de Florida State University et The John and Mable Ringling Museum of Art

Conférencière invitée: Anne Verjus, CNRS, Ens de Lyon/Université de Lyon

Le thème du colloque, « Enchantement et désenchantement », s’inspire des thèmes souvent associés à la Floride, qui suggère à la fois le pays de Cocagne et la « disneylandisation ». Située sur le golfe du Mexique, la ville de Sarasota allie histoire, culture et plaisirs. Deux de ses fleurons, le musée Ringling et la résidence Ca’d’zan, désormais parties intégrantes de l’université de Florida State, sont l’œuvre de John Ringling, le magnat du cirque qui rêvait d’offrir « le meilleur spectacle sur la planète ». Tous s’allient pour nous inviter à revisiter les origines du spectacle et de la fantaisie au XIXe siècle ainsi que le (dés)enchantement qu’ils ont produit.

Le colloque de 2019 interrogera la manière dont le XIXe siècle a été une période de confrontation entre l’enchantement de la foi, de la magie et de la tradition, et l’attrait moderne pour la raison, les sciences et l’innovation, entrainant ce que Max Weber appellera le « désenchantement du monde ». Ce siècle de la poésie, du roman et de l’industrialisation est aussi celui qui vit se développer une économie du divertissement populaire. Il nous amènera à explorer l’enchantement comme un système de récompense qui émerveille et inspire, mais aussi comme une illusion ou un simulacre qui trompent ou inhibent les sens.

Nous invitons des contributions sur les thèmes suivants, ces suggestions n’étant cependant pas limitatives :

Illusion et désillusion
Contes de fées et féeries
Fascination et attraction
Magie, superstition, occultisme
Fantasmagorie, technologies de l’enchantement (lanterne magique, diorama, panorama, cinéma, enregistrement sonore)
Simulacres et tromperies
Crédulité et incrédulité
La science de l’enchantement
Plaisir et ravissement
Séduction et tentation
Magnétisme et gravitation
Glamour et charme
Propagande, vérité, pouvoir
Cirque et frisson
Architecture néogothique
Économies de l’enchantement
Expositions universelles

Les propositions de communications ou de séances (résumés de 300 mots en français ou en anglais) sont à télécharger sur notre portail de soumission accessible sur le site de la conférence (, d’ici le 15 mars, 2019. Pour les propositions de séances, veuillez télécharger séparément le résumé de chaque communication.

Pour en savoir plus, visitez

Comité d’organisation
Aimée Boutin et Lauren Weingarden, Florida State University




IAWIS/AIERTI Dundee volume now out

Art and Science in Word and Image: Exploration and Discovery, Brill/Rodopi (Word and Image Interactions, volume 9), edited by Keith Williams, Sophie Aymes, Jan Baetens and Chris Murray is now available at

Art and Science in Word and Image investigates the theme of ‘riddles of form’, exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences.

Using the impact of evolutionary biologist D’Arcy Thompson’s On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography.

Contributors are: Dina Aleshina, Márcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Étienne Février, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.

IAWIS Triennial Conference 2020 – Call for sessions/Appel à sessions

Le français suit

Water and Sea in Word and Image,
University of Luxembourg, July 5th – 10th, 2020

In an era in which water scarcity is threatening us all and the mainland is affected even in the depths of its epicenter by what is happening on its shores, it seems of great importance to propose a subject both acutely topical and strongly tied to the collective imagination. In Alessandro Baricco’s novel Ocean sea (1993), the fictional character Plasson paints the sea with seawater. This emblematic scene sums up our topic to some extent: water is difficult to grasp and yet concerns us more and more. Shapeless, still waiting to be defined, it even resists any effort of conceptualization. Putting water and the sea into words and into images is not obvious, represents a real discursive and plastic challenge and is therefore particularly likely to call into question the relationship between text and image. Due to its rhythm “without measure” (Deleuze & Guattari, 1980), water as an element transcends Lessing’s dichotomy between arts of time and arts of space (see Louvel, 2002). The water’s unspeakable nature does not coincide with its invisible essence. Yet, literary and plastic narratives constitute an actual semiosphere with, at its borders, an area where the semiotic links are violated (Lotman, 1966), the realm of the unstable, the arbitrary, the unaccountable.

Located at the heart of the European continent – however tightly interconnected with its periphery –, cradle of the siren Melusine, territory boasting its natural springs and its balneology, Luxembourg seems to be the appropriate place to host a world congress on this subject.

Abstracts for sessions should be a maximum of 300 words.

N.B.: All conference participants must be members of IAWIS/AIERTI ( and in order with their membership fee before the conference.

The deadline for SESSION PROPOSALS is February 28th, 2019. Submissions are to be dropped on our website:

The selection committee will contact you before March 30th, 2019 about the outcome of your application.


N.B.: The sessions consist of one or maximum two panels of 1h30 each (three papers). The panels will offer a tribune to experienced researchers in Word and Image Studies and/or young scholars (doctoral students/postdocs) whose proposals the chairs of the elected sessions will gather and select. The word and image interaction should be formulated in the title of the session. Please indicate if your session fits with one or several of the potential themes listed below (e.g.: 1, 7, 12).

1.     Water, a natural element (its virtues and dangers) and an esthetic challenge
2.     Water as energy in science and arts
3.     The biblical or mythical imaginary of water and sea
4.     Aquatic and maritime myths, rites and marine, fluvial or lacustrine folklore
5.     Melusine, nymphs, naiads and other sirens
6.     The seaside or still water in painting and literature
7.     Balneology, its history and actuality
8.     Harbours in texts and images
9.     Insular or peninsular cultures
10.   Touristic promotion of natural heritage (seaside, lakes, rivers)
11.   Aqueducts, thermal baths and dams in the Greater Region
12.   The Mediterranean Sea, the Atlantic and the Pacific Ocean (shores, fauna, cultural and market routes, migration)
13.   Graphic novel, comics or cartoons on sea, water or migration
14.   Water and sea in film, video or in digital artefacts
15.   The future of water in arts and media
16.   Water scarcity, drought and sustainable issues in word and image
17.   The sea as epistemological metaphor (shipwreck, raft, wave, hurricane, liquidity, archipelago, foam)
18.   Scientific or imaginary cartography
19.   Other related topics

L’eau et la mer dans les textes et les images,
Université du Luxembourg, 5-10 juillet 2020

À une époque où la pénurie d’eau guette et où le continent est affecté même au fin fond de son épicentre par ce qui se passe sur ses rives, il nous a semblé urgent de proposer ce sujet à la fois chargé d’imaginaire et d’une actualité brûlante. Dans le roman Océan mer de Alessandro Baricco (1993), le peintre fictif Plasson peint la mer avec de l’eau de mer. Cette scène emblématique résume en quelque sorte notre thématique : l’eau est un élément difficile à cerner et pourtant nous concerne de plus en plus. Informe, il est toujours en attente d’être défini, voire résiste à tout effort de conceptualisation. La mise en discours et la mise en images de l’eau et de la mer ne vont pas de soi, relèvent d’un réel défi discursif et plastique et s’avèrent dès lors particulièrement susceptibles de remettre en question les rapports entre texte et image. De par son rythme « sans mesure » (Deleuze & Guattari, 1980), l’élément aquatique transcende la dichotomie entre arts du temps et arts de l’espace introduite par Lessing (cf. Louvel, 2002). L’indicible de l’eau n’est pas son invisible. Et pourtant, les investissements littéraires ou plastiques (histoires d’eau…) forment une véritable sémiosphère avec, à sa périphérie, une zone de « violation des liens sémiotiques » (Lotman, 1966), le règne de l’instable, de l’arbitraire, de l’inexplicable.

Le Luxembourg, pays au centre du continent européen – mais l’on sait combien le centre se porte bien si la périphérie est saine –, fief de la sirène Mélusine, territoire qui se glorifie de ses sources naturelles et de son thermalisme, nous semble le lieu approprié pour accueillir un congrès mondial autour de cette thématique.

Les propositions de sessions doivent comporter au maximum 300 mots.

N.B.: Tous les participants à la conférence doivent être membres de l’IAWIS/AIERTI ( et s’acquitter de leur cotisation avant le congrès.

Le délai pour les propositions de session est fixé au 28 février 2019. Ces propositions doivent être déposées sur notre site internet :

Le comité de sélection vous contactera avant le 30 mars 2019 de la suite réservée à votre proposition.


Les sessions comprendront un ou deux ateliers de 1h30 (de trois intervenants). Les ateliers offrent une voix tant à des chercheurs chevronnés dans les études Texte et Image qu’à de jeunes chercheurs (doctorants/postdocs) qui seront invités à vous envoyer leur proposition de communication si votre session a été retenue (par le comité de sélection).  Le rapport entre texte et image doit être explicité dans l’intitulé de la session. Merci d’indiquer, le cas échéant, si votre session s’intègre dans l’un ou plusieurs des thèmes énumérés ci-dessous, en indiquant des numéros (ex. 1, 7, 12).

1.     L’eau comme élément (ses vertus et ses dangers) et défi esthétique
2.     L’eau comme source d’énergie dans les sciences et les arts
3.     L’imaginaire biblique ou mythique de l’eau et de la mer
4.     Les mythes, rites aquatiques ou maritimes et le folklore marin, fluvial ou lacustre
5.     Mélusine, nymphes, naïades et autres sirènes
6.     Le thermalisme, son histoire et son actualité
7.     Le bord de mer ou l’eau stagnante en peinture et en littérature
8.     Les ports dans les textes et les images
9.     La culture insulaire ou péninsulaire
10.   Valorisation touristique du patrimoine naturel (maritime, fluvial ou lacustre)
11.   Aqueducs, thermes et barrages dans la Grande-Région
12.   La Méditerranée, l’océan Atlantique et le Pacifique (rives, faune, routes culturelles et marchandes, migrations)
13.   Romans graphiques, bandes-dessinées, caricatures sur l’eau, la mer, la migration
14.   L’eau et la mer à l’écran ou dans les artefacts numériques
15.   L’avenir de l’eau dans les médias
16.   La pénurie d’eau, l’érosion du littoral et les questions environnementales dans les textes et les images
17.   La mer comme métaphore épistémologique (naufrage, radeau, vague, ouragan, fontaine, liquidité, archipel, écume)
18.   Cartographie scientifique ou imaginaire
19.  Autres

CFP: Romantic Prints on the Move

Conference website:

In partnership with the Philadelphia Museum of Art, the Kislak Center for Special Collections, Rare Books and Manuscripts is pleased to introduce “Romantic Prints on the Move.” This symposium takes its lead from the 2013 PMA exhibition and corresponding collection catalogue, The Enchanted World of German Romantic Prints (Yale University Press, 2017). The series of public lectures in the afternoon is preceded by two object-based study sessions, which will enable students of various fields — from art history to German studies to studio arts — to gain first-hand knowledge of this remarkable era of printmaking (for the CFP, geared toward graduate and advanced undergraduate students, see here).

Inspired by recent debates about the circulation and pricing of contemporary art, “Romantic Prints On The Move” sets out to bridge the nineteenth and the twenty-first centuries. To that end, the conference creates a stimulating conversation among academics, curators, and contemporary collectors. In particular, this conversation will focus on connecting nineteenth-century technologies with the current media revolution, thus bringing material history into the digital present. The goal is to shed more (and new) light on the economic, aesthetic, and geographical aspects of the production, dissemination, and collection of these prints in an era of burgeoning new printmaking technologies, while discussing their continuing appeal and marketability.

The public program will begin at 1:30 pm on February 1, 2019 in the Kislak Center for Special Collections, Rare Books and Manuscripts and will feature a keynote lecture by John Ittmann (Philadelphia Museum of Art). The program will continue at 1:00 pm on February 2, 2019 at the Philadelphia Museum of Art and feature a keynote lecture by Jay A. Clarke (Art Institute, Chicago).

Speakers include:

Kit Belgum (University of Texas at Austin)
Charles Booth-Clibborn (Paragon Press, London)
Fiona Chalom (Los Angeles)
Jay A. Clarke (Art Institute of Chicago)
Peter Fuhring (Fondation Custodia, Paris)
Johannes Grave (Universität Bielefeld)
John Ittmann (Philadelphia Museum of Art)
Michael Leja (University of Pennsylvania)
Carlo Schmid (C.G. Boerner, Düsseldorf)
Registration information forthcoming.

For more information about The Enchanted World of Romantic Prints, click here.

Organized by Cordula Grewe (Art History, Indiana University Bloomington) & Catriona MacLeod (German, University of Pennsylvania)

The symposium organizers wish to acknowledge the generous support of the Philadelphia Museum of Art, the Kislak Center, the University Research Foundation, Penn’s School of Arts & Sciences, the Department of Germanic Languages & Literatures, the Wolf Humanities Center, the Sachs Program for Arts Innovation, the Department of History, the Program in Comparative Literature & Literary Theory, and the History of Art Department.

New deadline – Metalepsis: A Transmedial Process, Porto

Faculdade de Letras da Universidade do Porto
April 4-5, 2019

Organizing Committee
Joana Matos Frias
Rosa Maria Martelo

Metalepsis has been increasingly present in several artistic fields, by enhancing a self-reflexive porosity between narrative levels and by provoking a very special kind of ontological sliding. When Gérard Genette (1972) transferred this figure from the field of rhetoric to that of narratology, in order to describe the subversion of boundaries between narrative levels, or the non-distinction between the diegetic and extradiegetic worlds, he associated the disquieting nature of the metalepsis with the following “unacceptable and insistent” hypothesis: we, as recipients of a work structured by this narratological figure, may find ourselves in the (Borgesian) odd circumstance of noticing that the extradiagetic could already be the diegetic. Metalepsis has become a very relevant transmedial category in 20th- and 21st-century art, certainly also due to the fact that it signals the ontological instability proper to modern and contemporary thought.

The Intermedialities Group of the Margarida Losa Institute for Comparative Literature, from the Faculty of Arts and Humanities of the University of Porto, will organize a IAWIS focus conference on metalepsis as a transmedial notion. We intend to discuss how and why this figure is so present in literature and in the arts in general, as well as to analyze its many ways of functioning. The conference will take place at the University of Porto, on April 4-5, 2019 and it will welcome proposals on the following topics:

–       The concept of metalepsis:  history and theories;
–       Metalepsis from a transmedial perspective;
–       Metalepsis and literary genres; metalepsis and mise-en-abyme; reconfigurations of the author and the reader;
–       Experiencing contemporary literature and other arts: ontological metalepsis in literature, in visual and audiovisual arts, and in performing arts;
–       Metalepsis and the crisis of the apparatus;
–       Metalepsis and poetry.

Proposals should be sent via email to until the January 14, 2019, with the following details:

– Name
– Bio note (±200 words)
– Institutional affiliation
– Title
– Research topic
– Abstract  (±200 words)

Notification of acceptance: until January 31, 2019

Registration fee
Early bird fee: Until February 15, 2019
Professors and Researchers with Ph.D: 100,00 €
Students: 50,00 €
ILC and LyraCompoetics Network Members: 0,00

Late comers: From February 16 to February 28, 2019
Professors and researchers with Ph.D: 120,00 €
Students: 60,00 €
ILC and LyraCompoetics Network Members: 0,00


For further queries, please contact: