Archives de catégorie : Séminaire régulier

Séminaire “Locating the Self: Welcoming the Other in British and Irish Art, 1990–2020”

Mardi 7 november 2023 à 18h, Université Paul-Valéry Montpellier 3, site Saint-Charles, salle 126.

Séminaire inaugural. Intervention de Valérie Morisson.

Valérie Morisson will present her volume Locating the Self: Welcoming the Other in British and Irish Art, 1990–2020 (Peter Lang, 2022). This volume addresses how spatialized identities, belongingness and hospitality are interrogated in British and Irish contemporary art (painting, installation, video, photography, new public art) at a time when economic and political crises tend to encourage individual or exclusive usages of space. It sketches a cartography of encounters encompassing the home, the neighbourhood, the village or city, and the nation. Artists interrogate how intimacy is both facilitated and threatened by spatial devices, how space fashions our perception of gender, social or ethnic identity and activates power relations. They explore the need for a home or a homeland and the various forms exile or placelessness can take. They may also take part in the restoration of the Commons and the constitution of alternative communities. Whether the analyses focus on the private sphere (in urban, suburban or rural contexts), or on shared communal spaces, they ponder the mechanisms of inclusion and exclusion at work in human encounters and shed light on how artistic apparatuses make the tensions between openness to the other and rejection or withdrawal perceptible. The approach, borrowing from art history as well as anthropology, lays emphasis on context, situationality and field work; it proposes to repoliticize relational art and concludes on the dialogical positionality which lies at the core of art.

Valérie Morisson is a Professor of British and Irish Studies at Université Paul-Valéry Montpellier 3 and a member of EMMA. She has studied Irish contemporary art and its relation with post-nationalist culture extensively and has published many academic texts on British contemporary art. Though firmly anchored in art history, her approach stresses the relevance of context in the understanding of visual culture and the arts and borrows from anthropology to shed light on the position of the artist as well as the role of art in society. Her publications focus on a wide range of subjects (feminist art, memory and the commemoration of history, the Northern-Irish situation, postcolonial art, lens-based art) and consistently emphasize field work and praxis in art as key vehicles for expression, analysis and critique.

Séminaire EMMA / « Poetry Talks » : Craig Dworkin, « The Materiality of Infrastructure: On Virtual Libraries »

Mardi 10 octobre 2023, 18h, Salle 126 Site Saint-Charles 1. Séance animée par Lily Robert-Foley (MCF, EMMA).

This talk contextualizes the hybrid text of Helicography (Punctum Books, 2021) – part art-historical essay, part experimental fiction, part pataphysical investigation – by considering the practical and theoretical limits of digital libraries and their implications for scholarly and creative work in the age of the fibre-optics.

Craig Dworkin is the author of four scholarly monographs – Reading the Illegible (Northwestern), No Medium (MIT), Dictionary Poetics: Toward a Radical Lexicography (Fordham), and Radium of the Word: a Poetics of Materiality (Chicago) – as well as a half-dozen edited collections and a dozen books of experimental writing, including, most recently, The Pine-Woods Notebook (Kenning Editions) and Helicography (Punctum). He teaches literary history and theory at the University of Utah.

Séminaire EMMA : Conférence de Philip Metres (John Caroll University, USA) « Erasing Erasures: On Documents & Lyric in Poetry »

Mardi 3 octobre 2023, 18h, Salle 126 Site Saint-Charles 1. Conférence animée par Karim Daanoune (MCF, EMMA)

The work of documentary/investigative poetry parallels the work of truth commissions—not only by gathering testimonies that haven’t been aired widely, but also by examining, working with, and critiquing the political, legal, economic, and cultural systems that engineer oppression and injustice. A truth commission is a transitional justice mechanism for societies attempting to confront the past, reestablish the rule of law and responsible governance, and move into the future. Lacking an official truth process, artists and activists create a counterarchive, undoing erasure, and making visible and audible histories that the official narratives suppress or exclude. If archives began as a way of maintaining hegemony’s memory through written records, the counterarchive is more flexible, more fluid, more vivacious, less bound to documents—a laughing memory, a funeral dance, a mapped songline, worn prayer beads passed down. This talk will explore the origins and implications of this idea through some of my recent work in investigative poetry—from Sand Opera, Shrapnel Maps, and Fugitive/Refuge.

Philip Metres is the author of many books among which the poetry collections To See the Earth (Cleveland State, 2008), Sand Opera (Alice James, 2015), Pictures at an Exhibition (University of Akron, 2016) and Shrapnel Maps (Copper Canyon, 2020). He also published a collection of essays on poetry entitled The Sound of Listening: Poetry as Refuge and Resistance (University of Michigan, 2018) and a scholarly monograph Behind the Lines: War Resistance Poetry on the American Homefront, Since 1941 ( University of Iowa Press, 2007). Philip also translated from the Russian Sergey Gandlevsky’s poetry in a bilingual edition A Kindred Orphanhood: Selected Poems of Sergey Gandlevsky (Zephyr Press, 2003). He also co-translated with Tatiana Tulchinsky two volumes, one on the poetry of Arseny Tarkovsky (1907-1989), I Burned at Feast: Selected Poems of Arseny Tarkovsky (Cleveland State University, 2015) and another on poetic texts by Lev Rubinstein, Compleat Catalogue of Comedic Novelties: Poetic Texts of Lev Rubinstein (Ugly Duckling Presse, 2014). His latest translation Ochre & Rust: New Selected Poems of Sergey Gandlevsky has just been released by Green Linden Press. His forthcoming poetry collection Fugitive Refuge will be published in April 2024 by Copper Canyon. His work was awarded many prizes among which the Adrienne Rich Award and three disctinctions by the Arab American Book Awards.

Philip Metres teaches literature and creative writing at John Carroll University in University Heights, Ohio. He is the founder and director of the “Peace, Justice, and Human Rights (PJHR)” at John Carroll University. He lives in Cleveland.

Plus de renseignements sur : https://poetry-talks.weebly.com/

Séminaire “Telling America’s Story to the World”

Mardi 12 septembre 2023, 18h, Université Paul-Valéry Montpellier 3, salle 126 (Saint-Charles 1) et visioconférence

Séminaire organisé par Raphaël Ricaud dans le cadre de l’axe « Faire commun » d’EMMA. Intervention de Harilaos Stecopoulos (University of Iowa).

In Telling America’s Story to the World (Oxford University Press, 2023), Harilaos Stecopoulos argues that state and state-affiliated cultural diplomacy contributed to the making of postwar US literature. Highlighting the role of liberal internationalism in US cultural outreach, Harilaos Stecopoulos contends that the state mainly sent authors like Ralph Ellison, Robert Frost, William Faulkner, Langston Hughes, and Maxine Hong Kingston overseas not just to demonstrate the achievements of US civilization but also to broadcast an American commitment to international cross-cultural connection. Those writers-cum-ambassadors may not have helped the state achieve its propaganda goals-indeed, this rarely proved the case-but they did find their assignments an opportunity to ponder the international meanings and possibilities of US literature. For many of those figures, courting foreign publics inspired a reevaluation of the scope and form of their own literary projects. Testifying to the inadvertent yet integral role of cultural diplomacy in the worlding of US letters, works like The Mansion (1959), Life Studies (1959), “Cultural Exchange” (1961, 1967), Tripmaster Monkey: His Fake Book (1989), and Three Days Before the Shooting… (2010) reimagine US literature in a mobile, global, and distinctly political register.

Présentation de l’intervenant: Harilaos Stecopoulos is an Associate Professor of English at the University of Iowa. He earned his doctorate at the University of Virginia and is a renowned scholar in the field of US literature and culture. Stecopoulos’s previous books include: A History of the Literature of the US South (2021), Reconstructing the World: Southern Fictions and US Imperialisms (2008), & Race and the Subject of Masculinities (1997).

Participer à la réunion Zoom : https://univ-montp3-fr.zoom.us/j/93144920976?pwd=QmJ5cHpzb25FM0hpSUg0U2RTdGR3QT09

Séminaire “Landscape Malaise : The Unseen, the Invisibilized and the Unsightly in Canadian Visual and Literary Art”

Mardi 13 juin 2023 à 18h, Université Paul-Valéry Montpellier 3, site Saint-Charles, salle 126.

Séminaire organisé dans le cadre des axes « Matérialités » et « Faire commun » d’EMMA. Intervention de Claire Omhovère.

Canada’s promotion of its image as a natural haven has intensified in recent years, especially in circumstances when the public sphere has grown wary of the environmental impact of extractivism without being ready to renounce its immediate economic benefits. In this context the preservation of the wild has become a promotional mantra, and greenwashing a widespread strategy to guarantee jobs without alienating communities of voters. Lumber companies operate behind thin curtains of trees that disrobe unsightly clearcuts from the view of motorists in British Columbia. A similar strategy has been adopted with strip mining in the Athabasca region should the sites of extraction be close to the highway. Most of the time, however, the exploitation of natural resources occurs in places that are so remote from Canada’s urban centers that the sites of extraction can only be reached by plane, which means that industrial operations can take place on a large scale with few visible effects, except for the Indigenous populations living in the same area. This talk aims to query the distrust of landscape that has been asserting itself along with present concerns for the degradation of the environment, in order to better understand to what extent the Western taste for landscape, and the visual aesthetics that sustain it, may represent a stumbling block to environmental justice. Attitudes towards landscape assume paradoxical forms of reverence mixed with rejection in settler colonies where the historical dependency on a staple economy has accelerated the destruction of ecosystems over the very same period when landscape was extolled as the vibrant expression of the national identity. In Canada, this phenomenon is embodied by the vogue of the Group of 7 and the regain of attention their painting style drew during the Centennial decade when the second act of the independence played itself out. This talk will focus on the landscape malaise that has gained consistency after the last decade of the twentieth century at a time when postcolonial scholars were reaching out to establish connections with the developing field of ecocriticism (Hutcheon 1993). During this talk I will reflect on three visual regimes that trouble the aesthetic appreciation of the natural environment as landsc(r)ape (Boetskes 2017). Taking into account the unseen, the invisibilized and the unsightly will help reframe the mutual dependency between aesthetic, colonial and environmental exploitation, thereby putting a strain on the moralizing discourse of a sentimental ecology cut off from a concrete, material engagement with place, no matter how disturbing this may be.

(Illustration : Marlene Creates, Points of Interest, Saskatchewan, 1999, detail, 12 vintage colour Endurochrome photographic prints, 61 x 91.4 cm each. Collection of Remai Modern. Purchased with the support of the Frank and Ellen Remai Foundation, 2019.)

Présentation de l’intervenante: Claire Omhovère est professeure de littérature du Commonwealth à l’Université Paul-Valéry Montpellier 3, laboratoire EMMA, spécialiste de l’écriture du paysage dans les nouvelles littératures en anglais, principalement au Canada.

Séminaire “Claude McKay (1889–1948) Reappraised”

Mardi 30 mai 2023 à 18h, Université Paul-Valéry Montpellier 3, site Saint-Charles, salle 126.

Séminaire organisé dans le cadre de l’axe « Faire commun » d’EMMA. Intervention de Claudine Raynaud.

Claude McKay is best-known for his often-anthologized Shakespearean sonnet “If We Must Die,” published after the “red summer” of 1919, that Churchill is said to have quoted during WWII. The Jamaican born poet has been heralded as a major figure of the Harlem Renaissance whose novel Home to Harlem (1928) caused WEB Du Bois such nausea that the revered intellectual felt “distinctly like taking a bath.” In the wake of Gilroy’s Black Atlantic (1993) the critical appraisal of McKay’s work, and his place at the heart of the Harlem Renaissance, has shifted towards assessing his transnationalism since the self-professed “troubadour wanderer” travelled to the US (1912-1919), then to England, France, Germany, Russia, Spain, and Morocco from 1919 to 1934 when he returned to New York.

His politics (Trotskyist Communism), his sexuality (scholars concur on stressing his bisexuality), and his religion (a late conversion to a brand of left-leaning Catholicism) have even more recently led to recasting him as a Black Queer Marxist (Gary Holcomb’s Code Name Sasha) and revisiting his communist years (Winston James’s The Making of a Black Bolshevik). In France, the Marseilles publisher Héliotropismes has seized upon the recent publication of Romance in Marseille (2021) to probe McKay’s sojourn in the Phocaean city, the location of his 1929 novel Banjo, and to reissue his 1937 autobiography A Long Way from Home. A documentary focusing on the link between jazz music, McKay’s major fictional text, and the city in the 20s brings to life the docks, the “Panier,” and “La Fosse” before its destruction by the Germans in 1943, Claude McKay: de Harlem à Marseille by Matthieu Verdeil.

In view of the current editorial frenzy around McKay’s oeuvre, I wish in this talk to test a few directions for research, notably by focusing on two of the black women who were at one point close to him: Selma Burke and Anita Thompson. On top of Romance, another unpublished novel, Amiable with Big Teeth (2017) (translated as Les Brebis noires de Dieu) has been released, as well as a new translation of Home to Harlem, Retour à Harlem (translated in 1932 by Louis Guilloux as Quartier noir). The edition of an unpublished short text, translated by Jean-Max Guieu, “Dinner in Douarnenez,” is in preparation from Héliotropismes with a preface by Jarrett Brown. In short, Claude McKay is in vogue.

Présentation de l’intervenante: Claudine Raynaud est Professeure émérite en études africaines-américaines à l’Université Paul-Valéry Montpellier 3, EMMA.

Séminaire “Hippie Modernism”

Mardi 16 mai 2023 à 18h.

Séminaire organisé dans le cadre de l’axe « Faire commun » d’EMMA. Intervention de Théo Maligeay.

“Counter culture, options, alternatives, change – call it what you will – an increasing number of architects, planners, designers, teachers, artists, are searching for dimensions of their professions outside of what they feel are the narrow limits imposed by an increasingly restrictive society” (Forrest Wilson, Progressive Architecture, July 1970)

Based on an exhibition that was held in Minneapolis between 2015 and 2017, Hippie Modernism: The Struggle for Utopia sheds light on lesser known aspects of the American counterculture of the late Sixties and early Seventies. Through extensive documentation and beautiful reproductions it opens the door onto the weird, clever and idealistic world of funkitecture : hippie architecture, design and urbanism (Chaitkin). From R. Buckminster Fuller’s geodesic domes to the psychedelic posters of Victor Moscoso, Andrew Blauvelt and his contributors reflect on the interplay between modernity and its “countercultural other” (11). Not only does the book contain a series of essays unpacking and exploring its central concept, it also provides a stimulating rendition of the original exhibition and ends on a collection of in-depth interviews with key actors of the movement. One question is left open however: why do architecture, design and urbanism so readily offer insights into the meanings of modernity and progress ?

Le séminaire se déroulera en salle 126 sur le campus Saint-Charles de l’Université Paul-Valéry. Il sera aussi accessible à distance en visioconférence : pour obtenir le lien, écrire à Theo.Maligeay [a] univ-montp3.fr

Présentation de l’intervenant: Théo Maligeay est doctorant en civilisation américaine à l’Université Paul-Valéry Montpellier 3, EMMA.

Séminaire “The Undercommons”

Mardi 2 mai 2023 à 18h.

Séminaire organisé dans le cadre de l’axe « Faire commun » d’EMMA. Intervention de Claudine Raynaud.

« … [S]tudy is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice… The point of calling it ‘study’ is to mark that the incessant and irreversible intellectuality of these activities is already present. » (The Undercommons, p. 110)

Pour prolonger notre réflexion sur le « commun » (thème 3 d’EMMA), l’ouvrage à quatre mains de Fred Moten et Stefano Harney, The Undercommons, Fugitive Planning and Black Studies, 2013 propose une réflexion sur l’université et une redéfinition de concepts tels que crédit, dette, gouvernance, ou encore étude, dans une écriture simultanément philosophique, politique, poétique, qui se nourrit de la tradition radicale noire américaine et les études noires. Le concept élaboré, celui des « sous-communs », définit l’espace de la relation entre ceux qu’unit, non pas la propriété ou l’utilisation d’espaces (en) commun, de biens partagés, mais l’appartenance à la communauté des exclus.

« Démanteler notre critique, nos propres positions, nos fortifications, c’est de l’auto-défense alliée à l’auto-préservation. Ce démantèlement vient en mouvement, comme un châle, l’armure de la fuite. Nous courons à la recherche d’une arme, et nous continuons à courir pour chercher à la lâcher. Et nous pouvons la lâcher, parce que, aussi armé soit-il, aussi dur soit-il, l’ennemi auquel nous faisons face est également illusoire. »

Liens vers les textes qui seront étudiés lors du séminaire :
The Undercommons – extrait : https://emma.www.univ-montp3.fr/fr/file/78431/download?token=X-o6PzqJ
The Undercommons – texte intégral : https://emma.www.univ-montp3.fr/fr/file/78432/download?token=by67y_fB

Le séminaire se déroulera en salle 126 sur le campus Saint-Charles de l’Université Paul-Valéry. Il sera aussi accessible à distance en visioconférence : pour obtenir le lien, écrire à Marc.Lenormand [a] univ-montp3.fr

Présentation de l’intervenante: Claudine Raynaud est Professeure émérite en études africaines-américaines à l’Université Paul-Valéry Montpellier 3, EMMA.