IAWIS/AIERTI is pleased to let you know that we are redesigning our website. Nous sommes heureux de vous annoncer qu’une refonte de ce site est en cours.
Until the new site is launched at our 2020 conference, we will conduct basic updates only. Jusqu’au lancement du nouveau site au colloque de 2020, nous ferons de simples mises à jour seulement.
Thank you for your patience. Merci de votre patience.
The call for papers for our conference at the University of Luxembourg is now live. L’appel à communications pour notre colloque à l’Université du Luxembourg est dorénavant ouvert.
Please see the conference site for details on the panels and for instructions on how to submit your proposal: https://waterandsea2020.uni.lu/program/
The IAWIS/AIERTI Executive Board is soliciting proposals from potential hosts for the 2023 and the 2026 versions of our international triennial conference. Le Comité exécutif de IAWIS/AIERTI lance un appel à propositions concernant les futurs congrès en 2023 ou en 2026.
Les deux derniers congrès s’étant déroulés en Europe, à Lausanne 2017, et le prochain à Luxembourg 2020, il serait bienvenu de tenir l’un des prochains congrès dans un pays d’accueil Outre-Atlantique.
As the last two conferences were held in Europe, Lausanne 2017 and Luxemburg 2020, it would be ideal to hold one of these upcoming conferences in a country situated across the Atlantic.
Proposals should include a description of the conference theme, along with a few paragraphs providing information on the venue and its facilities for hosting ~250 participants, your organizing team, your strategy for maintaining English-French bilingualism, possible excursions, and possible sources of funding.
Veuillez nous envoyer une description du thème du colloque, ainsi que quelques paragraphes précisant le lieu et son infrastructure pour accueillir environ 250 participants, votre équipe, votre stratégie pour maintenir le bilinguisme français-anglais, des excursions possibles, et des sources possibles de financement.
Adresses: Liliane Louvel liliane.louvel[@]wanadoo.fr et Laurence Roussillon-Constanty laurence.constanty[@]gmail.com
ENCHANTMENT/DISENCHANTMENT
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 (http://ncfs2019.fsu.edu). 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 http://ncfs2019.fsu.edu
Organizers
Aimée Boutin et Lauren Weingarden, Florida State University
ncfs2019@fsu.edu
Appel à communications – 45e colloque annuel de Nineteenth-Century French Studies
ENCHANTEMENT/DÉSENCHANTEMENT
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 (ncfs2019.fsu.edu), d’ici le 15 mars, 2019. Pour les propositions de séances, veuillez télécharger séparément le résumé de chaque communication.
Pour en savoir plus, visitez http://ncfs2019.fsu.edu
Comité d’organisation
Aimée Boutin et Lauren Weingarden, Florida State University
ncfs2019@fsu.edu
Le français suit
THE CALL FOR SESSIONS IS NOW CLOSED
Please see the conference website for news and updates: https://waterandsea2020.uni.lu/
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.
L’APPEL À SESSIONS EST MAINTENANT FERMÉ
Nous vous invitons à consulter le site du congrès pour des mises à jour: https://waterandsea2020.uni.lu/
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.
Conference website: http://www.library.upenn.edu/about/events/romantic-prints-on-the-move
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.
METALEPSIS: A TRANSMEDIAL PROCESS
Faculdade de Letras da Universidade do Porto
April 4-5, 2019
IAWIS FOCUS CONFERENCE
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 ilc@letras.up.pt 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: ilc@letras.up.pt
INSTITUTO DE LITERATURA COMPARADA MARGARIDA LOSA
