Archives de l’auteur : mdrugeon

Séminaire Marco Caracciolo, maître de conférences à l’université de Ghent, coordonnateur de l’ERC – “Narrating the Mesh” (NARMESH) – mardi 19 avril 2022 18h St Charles salle 126 – Responsable Sandrine Sorlin

Title: Rhythm and Scalar Levels in Reading Fiction

Abstract:

Rhythm is a concept that is often informally applied to narrative, for instance when we talk about the slowness of a long novel or the fast pace of an action film. Current work in both the mind sciences and narrative theory allows us to think about the rhythmicity of narrative in a more systematic way. In this talk, I focus on the “scalability” of rhythm, how rhythmic patterns exist at multiple levels of the text-reader interaction. Using a short story by Lauren Groff (“Boca Raton”) as a case study, I explore rhythm as deriving from both bottom-up and top-down effects in narrative experience. I ground my discussion in recent developments within the cognitive sciences, particularly so-called “enactivist” approaches to the reader’s mind.

Bio:

Marco Caracciolo is an Associate Professor of English and Literary Theory at Ghent University in Belgium. Marco’s work explores the phenomenology of narrative, or the structure of the experiences afforded by literary fiction and other narrative media. He is the author of several books, including most recently With Bodies: Narrative Theory and Embodied Cognition (co-authored with Karin Kukkonen; Ohio State University Press, 2021) and Slow Narrative and Nonhuman Materialities (University of Nebraska Press, 2022).

You can listen to this seminar on EMMA Canal-U Tv channel:  https://www.canal-u.tv/chaines/emma/marco-caracciolo-rhythm-and-scalar-levels-in-reading-fiction

Colloque Séries & Disciplines – 7-8 avril 2022 “Repenser les disciplines à travers les séries télévisées: une perspective épistémologique” – EMMA Monica Michlin et Sandrine Sorlin et RIRRA 21 Claire Cornillon et Sarah Hatchuel

PROGRAMME:

Jeudi 7 avril / Thursday April 7

9h15 : Welcome coffee
10h : Ouverture du colloque / Opening speeches

10h15-11h15 : Keynote Monika BEDNAREK (University of Sydney) : « Corpus linguistics and television series : A critical reflection » (online).

Discutante / Discussant Sandrine SORLIN (Université Paul-Valéry Montpellier) 11h15-11h30 : pause fraîcheur / short break

Séries et linguistique : Présidente de séance/chair : Virginie ICHÉ (UPV)

11h30-12h15 : Cécile VIOLLAIN (U. Paris-Nanterre) : « What TV series ‘do’ to phonology and vice-versa – or should TV series be used as phonological corpora? »

12h15-13h : Sandrine SORLIN (UPV) : « TV series and research in pragmatics » Pause déjeuner / Lunch break (buffet jardin d’hiver)

Séries et études culturelles 1 : Présidente de séance Claire CORNILLON

14h30-15h15 : Hélène MACHINAL (UBO) : « Penser le posthumain avec les séries de SF ? »

15h15-16h : Charles JOSEPH (U. du Mans) : « American Crime hiStoryographies »

16h-16h45 : Emmanuelle DELANOË-BRUN (U. de Paris) : « L’histoire au prisme de la série adolescente : le réveil de la révolution américaine dans Sleepy Hollow (Fox, 2013-17) »

16h45-17h15 : pause café

17h15-18:15 : Keynote Ariane HUDELET (U. de Paris) : « Convergence médiatique ou champ cinématographique élargi: ce que les séries télévisées font à la discipline des ‘études filmiques’ »

Discutant David ROCHE
Dîner dans l’Écusson à 19h30 / Early dinner in the Old City

Vendredi 8 avril / Friday April 8

9h15 : Welcome coffee

Séries et transmission des savoirs : Président de séance Julien ACHEMCHAME

10h-10h45 : Benjamin CAMPION (docteur UPV) : « Cinéma et séries télévisées : un souci commun d’analyse esthétique »

10h45-11h30 : Marie POTVAIN (doctorante U de Paris et Cité du Genre) : « Les séries, un moyen de repenser l’éducation sexuelle en pluridisciplinarité »

11h30-12h15 : Justine BRETON (U. de Champagne-Ardenne) : « Vulgariser par, pour ou malgré les séries : approche épistémologique du médiévalisme sériel »

Déjeuner/Lunch buffet jardin d’hiver STC2

Séries et études culturelles 2 : Présidente de séance Monica MICHLIN

14h15-15h : Sarah HATCHUEL (UPV) : « Ce que les séries télévisées font aux études shakespeariennes »

15h-15h45 : Audrey HAENSLER (doctorante UPV) : « Sérialité et historiographie LGBTQ : apports de la forme sérielle dans la construction et la transmission d’une histoire LGBTQ »

15h45-16h30 : Alexandre ADOUARD (U. Jean Moulin-Lyon 3) : « Les séries télé américaines : Miroir de la communauté LGBTQ+ et impact sur les Queer Studies »

16h30-16h45 : pause

16h45-17h45 : Keynote Samuel CHAMBERS (Johns Hopkins, Baltimore) : « What TV Series Have Not Done to Political Science: On the Risks of Inter- and Anti-Disciplinarity » (online)

Discutants Emmanuel TAÏEB (Sciences Po Lyon) et Monica MICHLIN 17h45 : Clôture du colloque

Repenser les disciplines à travers les séries télévisées : une perspective épistémologique

Rethinking disciplines with TV series : an epistemological perspective

Université Paul-Valéry Montpellier, Montpellier 7-8 avril 2022

Auditorium (MSH), site Saint-Charles 2, Rue du Professeur Henri Serre, 34090 Montpellier

L’ensemble des communications est disponible en ligne: https://www.youtube.com/playlist?list=PLWiNpCowppony1pGKlHRyReo3yslbC1RB

Journée d’étude Acquisition et didactique des langues étrangères

Nous avons le plaisir de vous inviter à une demi-journée d’étude Acquisition et didactique des langues étrangères le mercredi 13 avril Salle 009-Actes à St Charles 2 14h-16h, organisée par Pascale Leclercq.

– Alexandra Vraciu, Université de Lleida, Espagne

Le discours de l’enseignant de langues: opportunités  et résultats d’apprentissage dans une intervention CLIL/EMILE en Catalogne 

Nous allons explorer la qualité du discours de l’enseignant et les opportunités d’apprentissage du lexique de spécialité au sein d’un programme CLIL/EMILE implémenté dans une école primaire catalane pendant deux ans. L’enseignement CLIL/EMILE s’est avéré bénéfique pour le développement du vocabulaire générale en anglais L2, surtout le vocabulaire réceptif (Jimenez Catalan & Ruiz de Zarobe, 2009; Xanthou, 2007). Néanmoins, on sait peu sur l’apprentissage du lexique de spécialité, associé à une discipline ou une thématique non-linguistique, et la manière dont il est soutenu par l’exposition à la langue en classe (i.e. le discours de l’enseignant et les matériaux didactiques). Avec l’aide d’un instrument d’observation systématique (Teacher Input Observation Scheme, Kersten, Bruhn, Ponto et Böhnke, 2018), nous allons identifier les opportunités d’apprentissage générées en classe CLIL/EMILE et leur évolution au long du programme. En outre, nous allons analyser la conception d’un test de vocabulaire de spécialité ad hoc, sensible à la fréquence lexicale, ainsi que les résultats de ce test quant à la « profondeur » et l’ « étendue » du lexique de spécialité des enfants qui ont participés dans le programme CLIL/EMILE.

– Gemma Sanz Espinar, Universidad Autonoma Madrid, Espagne

L’enseignement-apprentissage-évaluation cohérents du lexique en langue étrangère

L’un des défis des enseignants confrontés à la création de matériels didactiques est de créer des séquences cohérentes avec l’objectif pédagogique. Notre but est de contribuer à la réflexion sur la création de matériels pour l’enseignement-apprentissage-évaluation du lexique en LE dans une approche actionnelle. Nous mettrons, d’abord, l’accent sur la “cohérence” d’une approche à base multidimensionnelle. Ainsi, une conception large et variée des approches didactiques sous le chapeau “approche actionnelle” (domaine de la Didactique) devrait se correspondre avec une conception pragmatique du lexique et de l’unité lexicale (domaine de la Linguistique). Elle devrait aussi tenir compte d’une conception large des processus d’acquisition du lexique (domaine de l’Acquisition des Langues étrangères). Enfin, on proposera des outils pour garantir/évaluer la cohérence des matériels créés.

Séminaire EMMA: Lætitia Leonarduzzi (MCF, AMU) : “A few issues on interrogatives in Generative Grammar”

Séminaire organisé par Virginie Iché, Eric Mélac et Elisa Sneed-German, avec le soutien du Département d’Etudes Anglophones de l’UFR2, Université Paul-Valéry

The aim of this presentation is to bring in a few elementary notions of Generative Grammar (mainly in the framework of the Theory of Principles and Parameters) and examine a few issues concerning interrogative sentences, such as I-movement or wh-movement.

 
 
 
 
Lætitia Leonarduzzi est actuellement Maîtresse de Conférences à l’université Aix-Marseille et est spécialiste des notions de “Syntax, Prosody, Syntaxe, Discourse, Prosodie, Discours, Focalisation, Pragmatics, Pragmatique, Right dislocation”.
OLYMPUS DIGITAL CAMERA

Séminaire EMMA: Creative Writing in English, from research to pedagogy in the context of the French University

This seminar will bring together two researchers currently working at the intersection between creative writing, research and pedagogy in English. Sara Greaves and Helen Mundler will share their experiences navigating between two cultures pertaining to the way creative writing interacts with knowledge production, and also how this plays out in the classroom, and in the academic institution generally. Interweaving with their own creative processes and productions, they will explore how intuition, embodiment, language play, within one language and between languages, articulate in both fiction and poetry in English in a foreign language context.

Title: ‘Language Learning and the Mother Tongue: Putting Poetry in the Picture.’
(Sara Greaves)

Abstract: This paper will ponder the interplay between interdisciplinary research in the field of language learning and the Mother tongue and poetry-writing practice and teaching. The collective book currently in press, edited by Monique De Mattia-Viviès and myself, Language Learning and the Mother Tongue : Multidisciplinary Perspectives, published by Cambridge University Press, with chapters by Boris Cyrulnik, Monique De Mattia-Viviès, Nathalie Enkelaar, Alain Fleischer, Georges-Arthur Goldschmidt, Sara Greaves, Jean-Jacques Lecercle, Yoann Loisel, Marie Rose Moro and Rahmeth Radjack, resulted from an action research project in a medical centre and long years of teaching and research in an English studies department (grammar, linguistics, literature, poetry, translation, creative writing). My own and my students’ ‘language biography’ poems will be discussed in the light of some of the theoretical concepts expounded in the book, such as the (M)other tongue, the bilingual overlap, the plurilingual skin-voice or transmission aporia. In turn these concepts give rise to creative writing exercises based on poems by transcultural poets to improve second language acquisition in a creative pedagogy designed to personalise the second language and anchor it in the body.
The spirality inherent in this method draws on poetry-writing, a practice that in my own biography pre-dated both research and teaching. Yet in my published research, that practice is largely out of the picture. This paper will be an attempt to remedy that absence.

Biography : Sara Greaves is Associate Professor in poetry, translation studies and creative writing at Aix-Marseille University. In 2008 she took a D.U. in facilitating creative writing workshops, and began developing the creative pedagogy that comprises a major part of her lecturing practice today: Creative translation, Multilingual creative writing workshops, Self-translation and Transcultural poetry : criticism and creation. She has published Côté guerre côté jardin : excursions dans la poésie de James Fenton, Presses universitaires de Provence, 2016 (poetry translations and a monography). She leads a LERMA research group called Language and speech from disorder to therapy and is head of the ECMA Master’s degree. She won the Prix Orpheuspoetry prize, awarded by Anagrammes Editions in 2011 for an unpublished collection of poetry entitled Lifelines, and has published four poems in a Cypriot journal, Cadences: a multilingual journal on the literature and the arts of Cyprus, published by the European University in 2015.

Title: “Research into writing, writing into research: the space between.” (Helen Mundler)

Abstract: This paper will explore the crossover between two threads that have run through years – literary research, and creative writing – and a more recent addition, the teaching of creative writing. Arguably, this is a line of investigation which is specific to the French university context: in the Anglo-Saxon world, no “back-up” of critical practice is required for the creative writing professor. However, Sara Greaves and I have concluded, in our recent work on defining ways of taking creative writing studies on in the French university context, that this specificity of the French context can be considered felicitous. Far from being limiting, it may even be enriching.
This view chimes with my own experience as a literary researcher and writer of fiction. My contention has always been that it is possible and desirable to work out the same questions in criticism and creative writing, thus creating a space of overlap between these two different, but complementary, forms.
Two questions will be addressed. Firstly, as part of an ongoing reflective process on the development of creative writing in English studies in France, I will show how I have worked out the relationship between literary research and creative writing over the past few years. I will discuss starting out from an intuition in my creative practice, and working from that, by means of literary and psychoanalytical theory, towards a position in which creative and critical practices feed into one another. Secondly, I will show how I have added a teaching project for creative writing into the mix, one which stems both from my research on A.S. Byatt and from offshoots of that research within my own creative practice.

 Biography:  Helen E. Mundler is Associate Professor in English Studies (maître de conférences HDR, 11esection) at l’UPEC (Université Paris-Est Créteil). She obtained a first-class degree from Durham in 1992, an M Phil from Strathclyde in 1994, a PhD in Strasbourg in 1998, and an Habilitation (higher doctorate) in Nanterre in 2014. She works on a range of contemporary fiction, and has published books on A.S. Byatt (Harmattan, 2003) and Liz Jensen (Boydell and Brewer, 2016). Her book on rewritings of the Noah myth will be published by Boydell and Brewer later in 2022. She also gives papers and publishes articles regularly. Recently she has become interested in the development of creative writing in English in French universities. As a writer herself, she has published three novels, Homesickness (Dewi Lewis, 2003), L’Anglaise (Holland House, 2018) and Three Days by the Sea (Holland House, 2022). She has also published and broadcast a few short stories, and was shortlisted for the Fish Publishing Short Story Prize (Ireland) in 2018.

 

Séminaire EMMA: Lynn Blin (MCF honoraire, EMMA):”Matter and Mirth in Lydia Davis’s Short Short Stories” 01 février 2022

“Les Bluets” Joan Mitchell (1973)

THE STORIES

Stories from Can’t and Won’t that have been discussed in passing and “Negative Emotions” which have been discussed in length.

1.“Collaboration with Fly” 

            I put that word on the page, but he added the apostrophe (Davis, Lydia. The Collected Stories  2013, 508).

2. Can’t and Won’t

I was recently denied a writing prize, because, they said, I was too lazy. What they meant by lazy was that I used too many contractions: for instance, I would not write out in full the words cannot and will not, but contracted them to can’t and won’t(Davis, Lydia. Can’t and Won’t 2015, 46). 

3. “Circular Story”

On Wednesday mornings early there is always a racket out there on the road. It wakes me up and I always wonder what it is. It is always the trash collection truck picking up the trash. The truck comes every Wednesday morning early. It always wakes me up. I always wonder what it is (idem. 2015, 3).

4. A Story of Stolen Salamis

My son’s Italian landlord in Brooklyn kept a shed out back in which he cured and smoked salamis. One night, in the midst of a wave of petty vandalism and theft, the shed was broken into and the salamis were taken. My son talked to his landlord about it the next day, commiserating over the vanished sausages. The landlord was resigned and philosophical, but corrected him. “They were not sausages. They were salamis”. Then the incident was written up in one of the city’s more prominent magazines as an amusing and colorful urban incident. In the article, the reporter called the stolen goods “sausages”. My son showed the article to his landlord, who hadn’t known about it. The landlord was interested and pleased that the magazine had seen fit to report the incident, but he added: They weren’t sausages. They were salamis. (idem. 2015, 3) 

5. “Negative Emotions” 

A well-meaning teacher, inspired by a text he had been reading, once sent all the other teachers in his school a message about negative emotions. The message consisted entirely of advice quoted from a Vietnamese Buddhist monk. 

Emotion, said the monk, is like a storm: it stays for a while and then it goes. Upon perceiving the emotion (like a coming storm), one should put oneself in a stable position. One should sit or lie down. One should focus on one’s abdomen. One should focus, specifically on the area just below one’s navel and practice mindful breathing. If one can identify the emotion as an emotion. It may then be easier to handle. 

The other teachers were puzzled. They did not understand why their colleague had sent them a message about negative emotions. They resented the message, and they resented their colleague. They thought he was accusing them of having negative emotions and needing advice in how to handle them. Some of them were, in fact, angry.

The teachers did not choose to regard their anger as a coming storm. They did not focus on their abdomens. They did notfocus on the area just below their navels. Instead, they wrote back immediately, declaring that because they did not understand why he had sent it, his message had filled them with negative emotions. They told him that it would take a lot of practice for them to get over the negative emotions caused by his message. But, they went on, they did not intend to do this practice. Far from being troubled by their negative emotions, they said, they in fact liked having negative emotions, particularly about him and his message (Idem. 2015, 3).

PRESENTATION

“I had not known before that an abstract painting could contain references to concrete objective, identifiable subject matter. Two things happened at once: the painting went beyond itself, lost its isolation, acquired a relationship to fields, to flowers; and it changed from something I understood, into something I did not understand, a mystery, a problem.” Lydia Davis commenting on her discovery of “Les Bluets”. 

            This paper is a follow-up to the Lydia Davis chapter that I was asked to write for The Handbook of the American Short Story (Erik Redling & Oliver Sheiding eds. Berlin: De Gruyter, 2022). In the editors’ request to include a chapter on Lydia Davis in the handbook emerged an even more pressing request to render her comprehensible to the many who had great difficulty to acknowledge her talent or in understanding her success (i.e. the Man Booker International Prize for the ensemble of her works in 2013, the French-American Translation Prize in 2011 for her translation of Proust’s Swann’s Way and again in 2018 for her translation of Flaubert’s Madame Bovary just to name three). Keeping this question in mind as I wrote the chapter, I realized that some of the enigmas I was dealing with in my analyses were not unlike the enigmas I deal with when explaining humour. As I progressed in my writing, what was becoming clearer was that many of the cognitive faculties necessary for appreciating humour are also necessary to appreciate Lydia Davis. And yes, there is definitely a challenge there. For, as E.B. White pointed out, “Analyzing humour is like dissecting a frog. Few people are interested and the frog dies of it”.

            Though pleasure gained from her stories seldom results in the side-splitting laughter produced by comic writers, just like the pleasure in getting a joke is linked to resolving a problem, the delight we derive from reading Davis’s works results in our capacity to work out a puzzle. And this can be a source of great amusement, even mirth and delight. Delight is another offshoot of humour, more discreet, more subtle, but more lasting and more far–reaching.

            In my attempt to demonstrate this my paper will delve into the matter of Lydia Davis’s short short works, concentrating primarily on the story “Negative Emotions” from her collection Can’t and Won’t (London: Penguin Random House, 2014) but commenting on others in passing. This will necessarily include an exploration of the matter with her stories. That is, an explanation of why there is so much resistance on the part of readers. I will begin with a general introduction to her works and the criticism it has received. I will then give a close reading of “Negative Emotions” to show how Davis’s unique preoccupation with language is the compulsory starting point for an appreciation of her work. And I will conclude a brief explanation on how strategies used in the production and the appreciation of humour can also come into play in explaining why Lydia Davis’s works matter so much.

Bibliography 

Barthes, Roland. S/Z. Paris: Seuil Points – Essais, 1970.
Barthes, Roland. Oeuvres Complètes IV. Ed. Eric Marty. Paris: Seuil, 2002.
Barthes, Roland. Roland Barthes par Roland Barthes dans Oeuvres Complètes IV. Paris: Seuil, 2002.

Blin, Lynn. “Killing Ourselves Laughing: Why We Laugh Anyway, Even When We Know We Shouldn’t”. Dans Etudes de Stylistique Anglaisehttps://journals.openedition.org/esa/4421 2019.

Blin, Lynn. Reading Lessons with Lydia Davis: Language as Theme and Character”, in Maurice Lee and Aaron Penn, The Radiance of the Short Story: Selected Conference Papers, Kindle unlimited. 2020.

Blin, Lynn. Irresolution and Completeness in Lydia Davis’ “How I Know What I Like”, dans “L’Héritage de Jean Dubois Francoise Dubois Charlier “ sous la direction de Laetitia Leonarduzzi, Revue des linguists de l’Université Paris Ouest Nanterre. 

Blin, Lynn. Lydia Davis” in Handbook of the American Short Story, Erik Redling, and Oliver Schelding, Eds.Berlin. (596-611). 2022. 

Benjamin, Walter. The Task of the Translator. Ed. Hannah Arendt. Transl. Harry Zohrn. New York: Schocken Books, 1969.
Benveniste, Émile. Problems in General Linguistics. Transl. M. E. Meek. Miami: U of Miami P, 1971.
Blanchot, Maurice. The Space of Literature. Transl. A. Smock. Lincoln, Nebraska: Nebraska UP, 1992 [1955].
Boddy, Kasia.The American Short Story from 1950. Edinburgh: Edinburgh UP, 2010.
Cocchiaarale, Michael, and Scott D. Emmot. Flash Fiction. Ipswich, Massachusetts: Grey House, 2017.
Davis, Lydia. The End of the Story. London: Picador, 2004 [1995].

Davis, Lydia. The Collected Stories of Lydia Davis. London: Penguin, 2013 [2009].
Davis, Lydia. Can’t and Won’t. London: Penguin Random House, 2015 [2014].
Davis, Lydia. Essays One. New York: Picador eBook, 2020 [2019].
De Man, Paul. The Resistance to Theory. Minneapolis: U of Minnesota P, 1986.

Dynel, Marta. “The Irony of Irony: Irony Based on Truthfulness” in Corpus Pragmatics1 2017. (3-36). 
Evans, Jonathan. The Many Voices of Lydia Davis. Edinburgh: Edinburgh UP, 2016.
Gunn, D. “The Lydia Davis Interview.” http://quarterlyconversation.com-/the-lydia-davis-interview. The Quarterly Conversation. March 10, 2014. (4 July 2018).
Halliday, M. A. K.,and Ruqaiya Hasan. Cohesion in English. London & New York: Routledge, 1976.
Haughton-Shaw, Eliza. “Essay – The Eccentricity of Lydia Davis’s Essays.” https://www.thelondonmagazine.org/essay-the-eccentricity-of-lydia-davis-s-essays-by-eliza-haughton-shaw/. The London Magazine. August 18, 2020. (20 May 2021).  
Huddleston, Rodney, and Geoffrey Pullum. The Cambridge Grammar of the English Language. Cambridge: Cambridge UP, 2002.

Hurley, Matthew, Daniel C. Dennett, Reginald B. Adams.  Inside Jokes: Using Humor to Reverse Engineer the Mind. Cambridge: MIT Press, 2011. 
Jackson, Shelley. But Is It a Story? https://www.latimes.com/archives/la-xpm-2007-may-27-bk-jackson27-story.html. Los Angeles Times. May 27, 2007. (27 April 2021).
Jacobs, Carols. “The Monstrosity of Translation.” MLN 90.6 (1975): 755–766.

Joly, André. “Lucy was Beautiful”. In Monique De Mattia, and André Joly, De la Syntaxe à la Narratologie.Paris: Ophry’s, 2001.
Lecercle, Jean-Jacques. The Violence of Language. London: Routledge, 1990.
Lecercle, Jean-Jacques, and Denise Riley. The Force of Language. Basingstroke: Palgrave, 2005.
Manguso, Sarah. “An Interview with Lydia Davia.” https://believermag.com/an-interview-with-lydia-davisThe Believer’s. January 1, 2008. (2 May 2021).
Rimmon-Kenan, Shlomith. Narrative Fiction: Contemporary Poetics. London: Routledge, 1989.
Seghal, Paruhl. “Lydia Davis Loved Learning the Word ‘Look.’ These Essays Show Why.” https://www.nytimes.com/2019/11/05/books/review-essays-one-lydia-davis.html. New York Times. November 5, 2019. (4 April 2021).

Tanner, Julie. “Art is not in some far-off place”. In Michael Cocchiaarale, and Scott D. Emmot. Flash Fiction.Ipswich, Massachusetts: Grey House, 2017.
Tufte, Virginia. Artful Sentences: Syntax and Style. Cheshire, Conneticut: Graphics P, 2006.
Venuti, Lawrence. The Translator’s Invisibility. London: Routledge, 2008 [1995].
Wachtel, Eleanor. “An Interview with Lydia Davis.” https://brickmag.com/an-interview-with-lydia-davis. Brick Magazine. June 1, 2008. (24 April 2021). 
Winters, John. “Lydia Davis’s New Collection Can’t and Won’t … Doesn’t.” https://www.wbur.-org/artery/2014/05/13/lydia-davis-story-collection. The ARTery. May 13, 2014. (2 May 2021).
Yule, George. The Study of Language. Cambridge: Cambridge UP, 2014 [2006].

Séminaire EMMA 7 décembre 18h – Justyna Deszcz-Tryhubczak: From Participation to Entanglements: Relational Approaches in Childen’s Literature Studies

Salle 126, STC1 et en ligne via zoom (écrire à virginie.iche@univ-montp3.fr

Justyna Deszcz-Tryhubczak est Associate Professor et directrice du Centre pour la littérature et la culture jeunesse à l’Institut d’études anglaises de l’Université de Wrocław (Pologne). Spécialiste de littérature jeunesse, elle s’intéresse au posthumanisme, au nouveau matérialisme et aux méthodes de recherche participatives. 

Elle est l’autrice de nombreux ouvrages, dont Yes to Solidarity, No to Oppression (2016) ; elle a récemment co-dirigé Rulers of Literary Playgrounds Politics of Intergenerational Play in Children’s Literature (avec Irena Barbara Kalla, Routlege, 2021), Intergenerational Solidarity in Children’s Literature and Film (avec Zoe Jaques, UP Mississippi, 2021), Children’s Literature and Intergenerational Relationships : Encounters of the Playful Kind (avec Irena Barbara Kalla, Palgrave Macmillan, 2021).

Le mardi 7 décembre à partir de 18hDr. Justyna Deszcz-Tryhubczak nous invitera à (re)penser enfants et adultes comme devenirs ontologiques, constitués par leurs enchevêtrements mutuels dans des assemblages humains et non-humains plus larges. Elle montrera en quoi penser ces ontologies relationnelles permettent de se rendre compte que la subjectivité du chercheur est relationnelle, connectée et immergée dans les reconfigurations désordonnées du monde, ce qui peut stimuler des pratiques de recherche innovantes, créatives et collectives dans les études sur la littérature jeunesse.

Sa présentation s’intitule : « From Participation to Entanglements: Relational Approaches in Children’s Literature Studies ».

Séminaire EMMA “Adapting Margaret Atwood: The Handmaid’s Tale and Beyond”

Dans le cadre des activités en lien avec le Thème 2 “L'(inter)agir” du laboratoire de recherche EMMA, nous serons heureux.euses d’accueillir Shannon Wells-Lassagne (Pr Université de Bourgogne), spécialiste de l’adaptation filmique et des séries télévisées. Professeure Wells-Lassagne est invitée à présenter l’ouvrage qu’elle co-dirige avec Fiona McMahon (Université Paul Valéry Montpellier 3): Adapting Margaret Atwood: The Handmaid’s Tale and Beyond. L’ouvrage paraît chez l’éditeur Palgrave, dans la collection dirigée par Julie Grossman et R. Barton Palmer : “Palgrave Studies in Adaptation and Visual Culture series”.

Cette séance du séminaire EMMA, en lien avec le Thème 2 “L'(inter)agir”, aura lieu le 23 novembre à 18h00 en salle 126, campus Saint Charles.

Colloque Evidentiality and Modality: at the Crossroads of Grammar and Lexicon – 10-11th June 2021

EVIDENTIALITY AND MODALITY: AT THE CROSSROADS OF GRAMMAR AND LEXICON 
10-11TH JUNE 2021
UNIVERSITÉ PAUL VALERY MONTPELLIER 3
 
The number of publications on evidentiality has seen an exponential rise since Aikhenvald’s monograph in 2004, and the term of evidentiality has been slowly making its way into grammar textbooks. Its relationship with the notion of epistemic modality is complex and still under discussion (Cornillie 2007, Boye 2010, Tournadre 2016, Guentchéva, ed., 2018). Some consider that the two notions are clearly separated: Aikhenvald (2004), de Haan (1999) and Nuyts (2001). Others posit that epistemic modality is a sub-category of evidentiality: Papafragou (2000), Ifantidou (2001), even though earlier work described epistemic modality as a supercategory encompassing evidentiality: Anderson (1986), Palmer (1986) and Willett (1988) inter alia. Several authors have also revealed how evidentiality interacts with other central grammatical domains, such as tense, aspect, person and polarity, but a thorough description of these ramifications needs more cross-linguistic investigation.
According to Aikhenvald, evidentiality is first and foremost a grammatical category that can be found in some of the world’s languages, whereas other researchers consider evidentiality a universal semantic or pragmatic concept (Boye & Harder 2009, Cornillie, Arrese & Wiemer 2015 inter alia). There is no denying that some languages have a distinctly more grammaticalized evidential system than others, but the research on grammaticalization has also established that drawing a line between what is grammatical and what is lexical in a language depends on several criteria that are open to discussion. Grammaticalisation theory has shed light on the non-discreteness and non-binarity of the grammar/lexicon distinction, and on the fact that languages around the world tend to develop grammatical forms from lexical sources which gradually travel comparable paths (Heine & Kuteva 2002 inter alia). More crosslinguistic research is necessary in order to place the evidential and modal markers of the world’s languages on the lexicon-grammar continuum, and therefore reveal the recurrent patterns that can be observed in languages with emerging evidential systems.
Keynote speakers
Alexandra Aikhenvald (Central Queensland University)
Bernd Heine (Köln University)
Jan Nuyts (University of Antwerp)
Nicolas Tournadre (Université Aix-Marseille, Lacito, IUF)
 
Organization Committee
Eric Mélac (Université Paul Valéry – Montpellier 3, EMMA)
Pascale Leclercq (Université Paul Valéry – Montpellier 3, EMMA)
Jacques Brès (Université Paul Valéry – Montpellier 3, Praxiling)
Eric Corre (Université Sorbonne Nouvelle – Paris 3, Prismes)
Nicolas Tournadre (Université d’Aix-Marseille, Lacito et IUF)

Liens utiles:

https://evidentialite.sciencesconf.org/?forward-action=index&forward-controller=index&lang=fr
https://moodle.univ-montp3.fr/course/view.php?id=6320
https://www.canal-u.tv/producteurs/emma/colloques/evidentiality_and_modality_at_the_crossroads_of_grammar_and_lexicon


page1image44929920

Séminaire mardi 28 septembre 2021, 17h30, salle 126 site Saint-Charles 1

Première partie : Présentation du projet PROLINGSA (Linguistic progress during stay abroad)
Pascale Leclercq, Amanda Edmonds & Elisa Sneed German
Université Paul-Valéry Montpellier 3, Université Côte d’Azur

Cette courte présentation vise à faire connaître un corpus constitué à Montpellier en 2018 et 2019 pour l’étude de l’acquisition de l’anglais langue seconde au cours d’un séjour en immersion (Erasmus+). Nous présenterons quelques résultats préliminaires pour illustrer l’utilisation possible du corpus.

Seconde partie : “La variabilité en l’acquisition de langue seconde : facteurs, analyses et signification théorique” David Birdsong, Professeur des Universités, University of Texas at Austin

L’ensemble des connaissances linguistiques acquises sont typiquement plus hétérogènes parmi les apprenants de langue seconde (L2) que chez les locuteurs natifs. Cette présentation parcourt les sources, les types et les sites de variabilités en L2 et en la langue maternelle (L1), avec une attention particulière à certains facteurs en dehors de l’apprenant qui pourraient engendrer ou conditionner de telles variabilités. À ce propos nous considérons : la variabilité interindividuelle masquée ; les sources possibles de la variabilité croissante en fonction de l’âge d’acquisition ; l’interaction de l’âge d’acquisition et du statut grammatical des items dans les jugements d’acceptabilité ; comment la dominance linguistique dans le bilinguisme conditionne la variabilité dans l’apprentissage des langues artificielles ; la possibilité que des groupes de non-natifs et de natifs puissent être similaires en termes de variabilité. Nous soulignons l’application d’analyses statistiques appropriées et la signification théorique de la recherche sur la variabilité en L1 et en L2.
David Birdsong est professeur de linguistique française à l’Université du Texas – Austin. Il a obtenu son doctorat en langues romanes de l’Université Harvard et a occupé les postes de professeur invité de linguistique à l’Université de Georgetown, chercheur invité à l’Institut Max Planck de Psycholinguistique, et chaire internationale du LABEX – fondements empiriques de la linguistique à Paris. Il a donné des séminaires en France, en Espagne, en Égypte, au Mexique et au Japon.

Ses recherches portent sur l’acquisition d’une langue seconde, le bilinguisme, la psycholinguistique et la linguistique française. Ses intérêts comprennent les facteurs neurocognitifs et expérientiels qui influent sur l’acquisition finale d’une langue seconde, ainsi que l’évaluation de la dominance linguistique dans le bilinguisme.
Il a publié dans des revues telles que Language, Journal of Memory & Language, Frontiers in Psychology, Applied Linguistics, Journal of Phonetics, Language Learning, Acquisition et Interaction en Langue Étrangère, et Language Sciences, et dans des manuels tels que The New Handbook of Second Language Acquisition, Handbook of Bilingualism: Psycholinguistic Approaches et The Cambridge Handbook of Bilingualism.
Le séminaire est ouvert à tous