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ISSN (Online) 2104-3272
Published by Érudit Homepage  [139 journals]
  • Le ridicule politique : analyse d’une mutation

    • Abstract: Marcia Tiburi
      The term Political Ridiculous refers to a large-scale change in political culture. The hypothesis of this article is that this mutation is at a fundamental aesthetic level for politics. The tragical as the foundation of politics has been replaced by the comical. Another hypothesis is that the transition to contemporary fascism is made through the methodological use of the political ridiculous transformed into capital, especially in electoral processes shaped by populism. The article therefore proposes to introduce the concept of ridicule through an analysis of the laughable as a psycho-political form of control and social catharsis.
  • Neoliberalismo “clássico” e novo neoliberalismo

    • Abstract: Pierre Dardot
      Il n’y a pas de néolibéralisme classique, il n’y a que l’ancien et le nouveau néolibéralisme. Quelles sont les nouvelles formes du néolibéralisme ' En particulier, quelles sont les différences entre nationalistes et globalistes ' Telles sont les principales questions abordées dans cette contribution.
  • Qu’y a-t-il dans un nom ' Les données ouvertes liées comme base
           d’une écologie pour la publication scientifique, dynamique et

    • Abstract: John Simpson and Susan Brown
      Linked open data can produce a more interconnected and navigable scientific environment that enables: better integration of research materials; the ability to address the specifics of nomenclature, discourse, and methodologies; and the ability to respect institutional and individual investments. This paper proposes an ecology of linked data publication based on the establishment of collaborations between the communities of researchers, publishers, and libraries. This view is tempered by the state of practice in publishing linked data and infrastructural gaps in the potential for such collaborations, particularly in the humanities and social sciences. Addendum: This article was originally published in Scholarly and Research Communication in 2015. While some of the information therein may not be as pertinent today, it presents a challenge that has since been undertaken by a number of initiatives, most notably the Linked Infrastructure for Networked Cultural Scholarship (LINCS) project, Revue 2.0, and the Information Economy Meta-Language (IEML).
  • Pour un balisage sémantique des textes de théâtre : le cas
           des didascalies

    • Abstract: Ioana Galleron
      Following the recent interest for the theatrical paratext, this paper elaborates and discusses an annotation schema of both “external” and “internal” stage directions. XML/TEI compatible, the proposed schema criticizes the lack of systematicity in the actual practices of marking up stage directions, and suggests various “close” and “distant readings” that a more complete and scholarly informed annotation could stimulate.
  • Queering : propositions théoriques pour une politique de la lecture

    • Abstract: Kevin Lambert
      The Queering critical perspectives propose to study, in the light of the gender studies, literary works which do not seem to lend themselves to it a priori. In this theoretical article, it will be a question of sketching out a “reading politic” (Hamel) which limits neither the interpretations that can be drawn from a text, nor the texts that can be the object of this interpretation. In short, I propose that queer theory has an affinity with the reader-response theories (Lambert and Lapointe). Inspired by queer studies, deconstruction and the reader-response approach, I will propose to “versatilize the gender” (Michaud) by thinking beyond the masculine / feminine opposition (which literary texts do themselves very often). The corpus of this article is composed of works about "queering", a critical approach less known in the French-speaking world, that aim to "queer" certain texts. I will show that an attention paid to gender and sexual difference as constructed by the texts leads me to consider the relationship between politics and literature in a different way. I propose, as an example, an "actualizing reading" (Citton) of the novel Satan Belhumeur, published in 1981 by Victor-Lévy Beaulieu. Careful reading of the construction of gender in this novel allows for an unprecedented interpretation of the political dimension of the work, making it possible to argue that the final scene of the novel aims to "resign from nation and gender" (Preciado).
  • La poésie haïtienne des origines à nos jours

    • Abstract: Philippe Monneveux
      The article presents a retrospective of Haitian poetry, from its origins (pre-Columbian areytos and popular creole poetry) to the present day. After a brief reminder of the history of the country, which has strongly marked literature and poetry, the main successive movements until the end of the XXth century are described, from the "pioneers" or "pseudo-classics" to the “surplurealism”. Considering the significant impact of exile (linked to the political, economic and social situation) on Haitian arts and poetry in particular, a special place was reserved in the poetry of the late XXth and early XXI^st^ century, to the poetry of the diaspora, as well as that of "wandering" poets, poets who returned after the exile to their native country, and poets "from the inside". The main authors are presented and their main published works indicated and commented, sometimes accompanied by brief extracts.
  • L'Énigme romanesque de Roland Barthes : de la théorie du Texte à la
           théorie de l'Intertexte

    • Abstract: Roberto Gac
      The life and work of R. Barthes are marked by many ambiguities, existential and rhetoric. Poor orphan of a father killed during the 1914 war when his son was just born, he lived attached to his widowed mother. A semiologist more by fate than by choice (tuberculosis since his youth, he could not accomplish a regular academic career like Sartre, his mentor), he was interested in the exploration and definition of a new type of text (Théorie du Text). The novel occupies a good place in his research. He went from an uncompromising criticism of the novel as an outdated narrative genre (Le Degré Zéro de l'écriture,1953) to a "desire for a novel" towards the end of his life ("La Préparation du roman", seminar at the College de France, 1978-1980). This article tries to shed light on this rhetorical drift and provides some elements for establishing a Theory of Intertext, a post-novel literary genre.
  • Les chemins ambigus de la démocratie ouest-africaine entre progrès et
           dérives autoritaires : la Côte d’Ivoire, la Guinée et le Mali à la
           croisée des chemins

    • Abstract: Saikou Oumar Baldé
      The year 2020 has been a year in which democracy seriously got a rough ride in West Africa. The region is now the scene of several violations of democratic principles characterized by the return to elective « democratorship » and autocratic systems. Constitutional changes, arrests of opponents, political and community violence, military coups, social and security crises have stifled the democratic process which had been in process for decades. Can we then speak of a democracy completely emptied of its substance in this region' Is the maintaining power of leaders the cause and the consequence of the authoritarianism' This article traces the ambiguous paths of West African democracy between authoritarian drifts and democratic progress. It’s based on empirical elements, observation, documentary analysis and establishes a space-time comparison between Ivory Coast, Guinea and Mali.
  • Poétique des réseaux

    • Abstract: Michael Nardone
      Since the mid-1990s, the digital repository has become one of the most important medial forms for the publication, distribution, and storage of literary works. Incorporating characteristics of other vital platforms for alternative literary and artistic communities, such as the little magazine, the anthology, and the reading series, the digital repository has impacted the status of what a literary work is, and casts in a new light certain critical terms for poetics. This article focuses on the cultural-technical infrastructures of three prominent repositories related to poetry on the early Web -- the Electronic Poetry Center, UbuWeb, and PennSound. It presents a media-historical overview of each repository’s texts and contexts, with special attention to the materials and protocols involved in their production. By approaching the repositories through the lens of three unique emphases -- access, circulation, and format -- this essay develops a critical methodology for addressing literary production in a networked digital culture.
  • L'énigme romanesque de Roland Barthes : dialogue Intertextuel
           avec Barthes

    • Abstract: Roberto Gac
      The life and work of R. Barthes are marked by many ambiguities, existential and rhetoric. Poor orphan of a father killed during the 1914 war when his son was just born, he lived attached to his widowed mother. A semiologist more by fate than by choice (tuberculosis since his youth, he could not accomplish a regular academic career like Sartre, his mentor), he was interested in the exploration and definition of a new type of text (Théorie du Texte). The novel occupies a good place in his research. He went from an uncompromising criticism of the novel as an outdated narrative genre (Le Degré Zéro de l'écriture, 1953) to a “desire for a novel” towards the end of his life (“La Préparation du roman”, seminar at the College de France, 1978-1980). This article tries to shed light on this rhetorical drift and provides some elements for establishing a Theory of Intertext, a post-novel literary genre.
  • Les nouveaux visages de l’édition savante : éthique économique et
           innovations éditoriales : compte-rendu d'une conférence des Entretiens
           Jacques Cartier

    • Abstract: Sandrine Chenevez, Lucie Delaunay and Stéphanie Louison
      This report, written by three students in digital publication master’s in ENSSIB (Lyon), offers a glimpse of the conference Open Access, social and solidarity economy, editorial choices – new faces of scientific publishing which took place on November 4th, 2020, as part of the Jacques Cartier Interviews – an annual meeting of economic, institutional and academic actors from the Auvergne-Rhône-Alpes region (France), from Quebec and from Ottawa, to talk about innovation. This webinar gave the floor to five speakers representing various structures in the field of scientific publishing in humanities and social sciences, showing the bibliodiversity currently existing in this sector. The speakers presented the innovation and experiments that they are currently carrying out, both economically, with ethical ambitions that commit them to becoming active members of the Open Access movement or of social and solidarity economy, as on the editorial plan, by adopting new practices and new tools.
  • Au cœur de la tragédie brésilienne, l’espoir d’une défaite de
           Bolsonaro l'an prochain

    • Abstract: Celso Amorim
      As Covid deaths climb the president seems to be throwing the country into an abyss that will be difficult to escape from. His recent extensive cabinet reshuffle, followed by the resignation of the chiefs of staff of the army, navy and air force, opens a period of dangerous instability at the worst moment of the Covid-19 pandemic. Celso Amorim, former Minister of Foreign Affairs (1993-1994 and 2003-2010) and Defense (2011-2014) of the Lula and Dilma governments, sheds light on this unstable situation. Translated by Gérard Wormser from Amorim's original English text Amid Brazil's tragedy, our hope is the prospect of Bolsonaro's defeat next year , this article inaugurates the chronicle that its author agrees to provide.
  • Arrêtez de nous tuer !

    • Abstract: Roberto Ponciano
      Au lendemain d’un massacre perpétré par la police dans une favela de Rio, Roberto Ponciano montre comment la brutalisation du Brésil contemporain tient à l’intensification de la mainmise territoriale des milices qui ont succédé aux escadrons de la mort de la période de dictature (1964-1985). A l’origine de cette violence, la répression continue des populations noires brésiliennes depuis leur ghettoisation une fois celles-ci expulsées des plantations lors de l’abolition de l’esclavage (1888) – de là la comparaison entre Jacarezinho et une senzala. Mais jamais encore la République du Brésil n’avait été présidée par un proche des milices de Rio, en campagne pour sa réelection.
  • Du pouvoir de la honte

    • Abstract: Alain Bourdon
      The management of the Bolsonaro government has been particularly catastrophic for the world of culture, higher education and research. If the health crisis has not helped, it is clear that these areas, considered as havens of "cultural Marxism", have been from the outset and for purely ideological reasons, the privileged target of the new leaders. A little more than two years after Bolsonaro's accession to the presidency, the world of art, academia, and scientific research is nothing but a field of ruins. Faced with this appalling mess, artists, academics and researchers all share the same feeling of shame and anger. Will they find in this powerful spring the strength to resist and rise again ' In spite of an undeniable discouragement, some signs let us hope so.
  • Le populisme décortiqué : à propos de : Pierre Rosanvallon, Le
           siècle du populisme : Histoire, théorie, critique, Paris, Seuil, 2020

    • Abstract: Damien Larrouqué
      In this new book, Pierre Rosanvallon suggests to take populism seriously and for what it is: "the ascending ideology of the 21st century". The book is divided into three parts. The first presents the five consubstantial characteristics of populism. The second explores its sociogenesis. The last, finally, draws up a constructive criticism of it, by denouncing its theoretical aporias and especially the empirical risks that this phenomenon poses for our democratic systems.
  • L’incessant désir de la poursuite de soi : réflexions sur le Retour
           à Jean-Paul Sartre (Ritorno a Jean-Paul Sartre) de Massimo Recalcati

    • Abstract: Claudio Tognonato
      Réflexions sur le Retour à Jean-Paul Sartre (Ritorno a Jean-Paul Sartre) de Massimo Recalcati. Ce livre propose une lecture du philosophe liée à la psychanalyse et en particulier à celle de Lacan. Symbole de l'« engagement », l'auteur de La Nausée explique que nous n'avons pas à nous engager, puisque le faisons déjà. La passivité devient un choix d'inertie. Nous serions condamnés à être libres « en situation », immergés dans le monde, toujours sujets.
  • « Quand je publie mes livres, j'aime qu'ils soient regardés également
           avec la même attention que celle qu'on accorderait à une peinture ou une
           photo ». Entretien avec la poétesse et photographe Rim Battal : propos
           recueillis par Khadija Benfarah

    • Abstract: Khadija Benfarah
      Born in 1987 in Casablanca, Morocco, Rim Battal is a poet and artist who now lives in Paris. She was trained in journalism and photography at l’Institut Supérieure de l’Information et de la Communication of Rabat and graduated from l’École Supérieure de Journalisme of Paris. Since 2016, she presents performed readings of her texts at Bordel de la Poésie of Paris. She has published, among others, Vingt poèmes et des poussières (2015), Latex (2017) and Transport commun (2019) at LansKine editions, L’eau de bain (2019) at Supernova editions - les presses du réel et more recently Les quatrains de l'all inclusive (2021) at Le Castor Astral. The idea of this interview was born of the desire to question her photographic practice as a women and to emphazise the close relationship that she makes between writing and photography, tow practices that are undeniably associated in most of her work.
  • Brasil, Primeiro de Abril! Manifesto

    • Abstract: Marcia Tiburi
      1er Avril 2021. Ubu-Roi du Brésil commémore la dictature des généraux tortionnaires. C’est une blague. Les bandits réunis seront-ils jamais pris '
  • Brésil, poisson d'avril ! Manifeste

    • Abstract: Marcia Tiburi
      1er Avril 2021. Ubu-Roi du Brésil commémore la dictature des généraux tortionnaires. C’est une blague. Les bandits réunis seront-ils jamais pris '
  • Poisson d'avril - Brésil, parfaite blague : primeiro de Abril -
           Brasil, piada pronta

    • Abstract: Junia Barreto
      Intégrant le projet Les yeux ouverts, la vidéo « Poisson d'avril - Brésil, parfaite blague » est une production des revues Sens Public et Cult à partir des peintures de Marcia Tiburi. Le poisson d’avril a cessé d’être drôle le Premier Avril 1964. Cette année les militaires ont pris le pouvoir au pays, et y sont restés jusqu'en 1985. En revendiquant le 31 mars comme jour officiel du régime, ils ont voulu s’éloigner du risque de sembler à un poisson d'avril - quand les farces sont jouées, mais principalement démasquées.
  • Intervalles sériels : introduction

    • Abstract: Marta Boni, Thomas Carrier-Lafleur and Frédérique Khazoom
  • L’intervalle de la terreur : suspense et angoisse intercalaire dans le
           roman français des années 1730

    • Abstract: Ugo Dionne
      In the 1730s, many French novels – from Marivaux’s La Vie de Marianne to Prévost’s Histoire de Cleveland and Mouhy’s La Paysanne parvenue – were published in serial form. In that mode of publication, the interval between two offerings is always a risk, since the novel can be interrupted, thus ceasing to exist as such. Novelists had therefore to develop different techniques to guard their works against that risk. This paper emphasizes the role that eighteenth-century French novelists played in the development of suspense, particularly in the evolution of that specific form of punctual suspense that we now call the cliffhanger.
  • Périodicité, cadences et fiction en régime sériel

    • Abstract: Matthieu Letourneux
      Through the study of the situation of popular publisher series that were born in France at the beginning of the 20th century (and whose mutations we will follow until the 1960s), we wish to highlight the relationship that exists between the interval (as a temporal and spatial characteristic of serialized goods), its media formulation in popular publisher series (through the question of periodicity and series), and a certain number of thematic, narrative and diegetic phenomena which result from it. Narrative and diegetic properties can only be understood in the broader framework of the media and market serialities at their origin since they are their poetic and aesthetic reformulation. Indeed, media practices have undergone significant transformations. These transformations corresponded to the new logic of standardization, serialization and brand enhancement induced by the new distribution scales; they accompanied the mutations of Taylorism and Fordism; finally, they characterized new American-style consumption practices that have reflected these changes. However, as we will show here, each of these transformations affected both the way of conceiving the texts (their poetics) and that of apprehending them (the aesthetic relationship that the works engage).
  • Tension et densité de l’intervalle sériel

    • Abstract: Guillaume Soulez
      One should leave behind a perspective of seriality as purely “industrial” (Adorno/Horkheimer) or in fabula (Eco) to account for the semiotic and hermeneutic potential of the serial interval. A “double repetition” (Soulez), structural (through genre, for example) and connected to the matrix (through the unresolved question at stake throughout the series), determines a double interval and different (but complementary) involvements of the spectator. This approach makes it possible to better identify the meaning of certain bifurcations and peculiarities of the episodes, and one can see the very important role of the intervals that come to occupy intermediate, floating spaces. Intervals may be constituted as such even though they did not seem “secondary” (e.g. regarding to the main storyline) or, on the contrary, crucial, depending on whether one changes one’s point of view or interpretation plan. We will consider that the serial interval is a space of possible porosity between diégesis and spectator from the point of view of temporality, indicating that complex temporal circuits (projections, rereading, cutting and re-cutting, etc.) are at work to guide or stimulate spectator activity. Secondly, we will show that the interval is different depending on whether it is caught in structural dynamics or in dynamics connected to the matrix, including when intertextuality matters. Thirdly, we can note that there is inside spectator activity a more or less virtual capacity for intervallisation, or the creation of intervals.
  • Le rapport paradoxal au temps en fiction sérielle : intervalle et série

    • Abstract: Hélène Machinal
      TV series rest on a structure and narrative process characterized by tensions : fragment vs whole, formula vs continuity, repetition vs variation, interruption vs neverendedness. Such shows are in fact based upon interruption and pause if we take into account the fragmented structure they reveal with credits, previously ons, vanity cards, midseason finales, Christmas specials etc. More generally, time and temporality are essential dimensions to consider in this form, especially when TV series are clearly rooted in a specific genre which implies a specific treatment of temporality. SF and detection propose narrative structures which are founded on a temporal tension and it will thus be interesting to see how fragmentation operates in terms of suspension of disbelief and hermeneutic exploration of the potential futures of humanity. As a sympton of screen culture, TV series are a good example of the contemporary paradoxical way we envisage the present and more generally time.
  • Le statut de l’ellipse dans quelques séries
           semi-feuilletonnantes formulaires

    • Abstract: Claire Cornillon
      In semi-serialized formula shows, the structure of serial narration necessitates an ellipsis between two episodes. Every episode tells a separate story but there are many more stories between the episodes. It is this space, these other stories, which exist but are not shown, that are analyzed in this paper, especially through two examples, The Pretender and Angel. This paper aims at showing how this ellipsis contributes to underline a specific relationship to others through the description of an everyday life associated to the formula.
  • Ruptures : créations et possibilités queer du vide

    • Abstract: Joëlle Rouleau
      If the interval is between two things, is it empty, or is it full of something' Is this void, or a sort of void connects other plots of existence' Can this void, conceptualized as the interval, become a possible' A possibility of change, creation, redirection, articulation, cancellation' This analysis explores what the multiple ruptures constituting Random Acts of Flyness make possible. It questions the juxtaposition. The choices of putting two moments side by side in an edit. Here, this void, and the rupture between the shots, the scenes, the dialogues, the episodes (and soon the seasons), produce a creation of possibilities for interpretation and queer readings. The images and the sounds are saturated with information and it is in the pause, in the breathing, in the redirection, that the meaning emerges. This article presents an analysis that focuses on the first episode of the series produced by Terence Nance and allows to reflect on the concept of the interval between the six episodes of the first season.
  • Re-considering Epic and TV

    • Abstract: Lynn Kozak
      This article builds on Kozak’s 2016 monograph, Experiencing Hektor, which argued for using television narrative strategies to re-conceptualise ancient Greek oral epic. Inverting this dynamic, this article looks at how certain features of ancient oral epic can be useful in considering television’s narrative strategies, especially when it comes to repetitive narrative elements, from diverse forms of type-scenes to repeated phrases, character epithets, and longer formulae. The article also foregrounds the roadblocks for such an approach, from confusion over what constitutes a callback in both media, to considering the episode as a narrative unit, as epic episodes are not clearly delineated, and the season-drop continues to challenge the episode as a primary unit of narrative within contemporary television. Finally, the article points to several avenues of narrative analysis for both forms moving forward, urging scholars of Greek epics to think of narrative strategies beyond the constraints of oral composition, and urging television scholars to consider using the close-reading and televisual/textual analysis and data collection that remains central to classics as a discipline, but which are still primarily reserved for fans and popular media critics of television.
  • La durée et l’attente : les intermittences du Trône de fer, série
           romanesque et série télévisée

    • Abstract: Anne Besson
      Why is it so hard to wait for the next season of a TV show, though the timespan is short, while we all know we can wait for the next novel, even when we don’t like that at all' This paper will suggest answers to this question, based on the comparison of the series A song of Ice and Fire by George Martin and Game of Thrones by Weiss et Benioff (HBO). It should allow to spot differences between serialized receptions of TV shows and novels, that are similar in many ways. In our time of transmedia storytelling and even as Martin’s career places him at the heart of convergence culture, his literary work illustrates nevertheless something still specific to books, the author persona and its « intermittencies ».
  • Jouer avec les intervalles et avec le récit : usages et significations
           de l’intervalle en contexte de visionnement connecté

    • Abstract: Christine Thoër, Vincent Fabre and Sophie Le Berre
      Connected viewing is characterized by a greater autonomy of the viewer, offering more flexibility as to the rhythm and duration of viewing sessions, allowing binge viewing practices, rewatching of loved episodes or seasons, and use of various paratexts that circulate on social media. How in this context do individuals make use of gaps' To what extent do these gaps (and which gaps are we talking about') remain productive for the viewers' Based on semi-structured interviews with young Quebec adults who do not identify as fans, results highlight that management of gaps between seasons and between series is increasingly in the hands of platform user, resulting in more personalized viewing paths, shaped by algorithm recommendations. There is also an increased use of paratextual productions that are part of the personalized flow of content viewed on VoD platforms.
  • Le parc de Westworld a été localisé : fan theories et
           fictions contemporaines

    • Abstract: Simon Laperrière
      The series Westworld corresponds to what Matt Hills qualifies as a puzzle masterpiece. Complex, its science-fiction story leaves many riddles hanging which a community of spectators seek to elucidate. Their hypotheses, which rely on meticulous viewing, are the object of many debates on social media. Bearing the name of “fan theory”, these speculations focus on details spotted in an episode susceptible of giving away a hidden meaning. By taking an interpretation of Wesworld proposed by the vlogger “The Film Theorist” as an example, this article is about different aspects of a phenomenon anchored in web culture. His analysis exposes both the comprehension and the pleasure which fans can get from the contemporary narrative canons.
  • Ce que les spoilers font aux fandoms : l’expérience collective de
           l’intervalle télévisuel

    • Abstract: Megan Bédard
      The newest televisual distribution and consumption devices are linked with a growing popularity of works generally associated with geek culture (such as Game of Thrones or The Walking Dead). This step into the mainstream space generates a rise in spoiler alerts, a practice related to the delays which emerge from the variable reception practices of TV series. These temporal gaps allow for moments of discussion intrinsic to the fandom’s and fan identities’ construction. This practice is intensified and systematized through its use in academic spaces as well as popular culture studies, thus intersecting with the problems linked to the aca-fan’s identity (Matt Hills, 2002). The contrast between the fan posture, interpretative and affect-base, and the academic posture, influences our approaches with regards to the objects of popular culture. This paper addresses the ways in which the valuation and devaluation of some reading levels can be indicative of bias in academia when it comes to the study of popular objects and their community.
  • Les fans qui modifient leurs jeux vidéo : études des communautés de
           moddings dans les intervalles des séries vidéoludiques de Bethesda

    • Abstract: Christopher Ravenelle
      This article present directly the gaming modification on a historiographical and cultural level to demonstrate that the practice can be retraced at the beginning of the video game history. With the works of Olli Sotamaa and Alison Gazzard ont modding communities, this text present these gamers regroupment as important industrial influencers in the inter-episodic space existing between two releases of a series. To demonstrate the mutual influences that can occur between the amateur and professional scene, The Elder Scrolls franchise is presented as a typical example of a game series, but also as one of the largest current modding community.
  • De Star Trek à Star Wars : réflexions sémantiques de la sérialité
           autour de Star Trek de J.J. Abrams

    • Abstract: Baptiste Creps
      Remake, reboot, sequel, prequel target the vocabulary recurrently employed to identify the phenomena of serialization associated with Hollywood successful franchises. The aim of this article is to focus on J.J. Abrams Star Trek (2009) and its sequel Star Trek : Into Darkness (2013). We will stress how the J.J. Abrams film is a case in kind when released in 2009 as it can be globally interpreted as a reboot, a sequel, a follow up also involving elements of remake. From a narrative and esthetic point of view, Star Trek and its sequel turn out to be all the more accurate to examine from the angle that the awareness of peculiarity regarding these films appears transluant to the producer. The resulting mise-en-scène relies on intertextuality notably through stylistic tropes which emphasizing the unusual characteristics of the production if one feels concerned by the approach regarding the examination of the series.
  • Un chapiteau représentant les Béatitudes du cloître de Moissac
           (v. 1100) : images et textes en série et représentation rituelle

    • Abstract: Kristine Tanton
      This article considers how text and image on a capital depicting the Beatitudes and its location in the west walk of the cloister at Saint-Pierre at Moissac related explicitly to the monastic task of almsgiving and the important liturgical rite of the Washing of the Feet. We will consider how movement around the capital rewarded the viewer with new compositions, thus demonstrating that meaning may be constructed not only through a series of images, but also through the ritual movements taking place over time. The case of the Beatitudes capital demonstrates that sculpture solicited and represented the presence of the divine through their participation in the liturgy, and, as such, are performative objects.
  • Les intervalles sériels à l’aune des
           « séries culturelles »

    • Abstract: André Gaudreault and Philippe Marion
      The concept of the interval, to the extent that it exists only negatively, through an absence, makes it possible to explore genealogy of media and intermediality from a new perspective, and more particularly, in the present case, to examine our understanding of cinema with respect to the many and shifting ways it takes its place in the media environment. To that end, the present article proposes to examine the concept of the interval from the perspective of the concept of the cultural series. The institution, as an agent for defining the identity of each medium, and thus as the guarantor of a medium’s “ID card,” often acts as the manager of the identity intervals which separate and distinguish media. In this way the movie theatre, the view of some, provides a decisive identity interval for distinguishing cinema from other ways of apprehending images in motion. For our part, we will argue in favour of a serial reading which calls for the fixed aspect of these institutionalised intervals separating media to be transcended and for the cartography of media intervals to be revised and re-organised – not hesitating, in the process, to re-interpret or modify them or to create new ones for the legitimate needs of research.
  • La pudeur et l’impudeur dans les écritures de la
           Modernité : introduction

    • Abstract: Anaïs Frantz and Sandrina Joseph
      Could it not be argued that the history of literature by women is indistinguishable from a woman’s sense of shame/modesty (pudeur) and all the prohibitions, transgressions and transformations that go along with it' Although women authors were long limited by a wall of shame/modesty, their acquisition of the rights of citizenship progressively incited certain writers to venture into the “public” sphere, to confront language and experience and to “publish” works. Literature thus became the place where the veil of patriarchal morals could fall so as to lay oneself bare. But would qualifying as “immodest” these new poetics not be like reading them from the perspective of the old female modesty imperative'
  • L'autre logique de l'hymen : une lecture de Mémoire de fille
           d'Annie Ernaux

    • Abstract: Anaïs Frantz
      What is there left in contemporary literature of the ancient tension between female modesty and creation' Has it disappeared' Does it continue to haunt published texts' Has it been displaced' Or has it temporarily been put aside' The article examines the case of Annie Ernaux in Mémoire de fille.
  • Pudique Colette

    • Abstract: Marion Grange
      Shifting away from the image, persistent to this day, of an indecent Colette, this paper will highlight the different aspects of a colettian modesty (pudor). A modesty that does not express itself in life or through the body, but as soon as we pass the threshold of literature: it is the modesty of the writer regarding the act of writing, the modesty of the woman who hides and reinvent herself within the textual veil, the modesty in the painting of things and people, the modesty of words and figures. Ultimately, what we would like to bring to light in the works of Colette is modesty both as poetics and ethics, as well as the way modesty is linked to a certain idea of truth, unveiling and veiling at the same time, attentive to the irreducible uncertainty and mystery of life.
  • Écrire pour séduire : les débuts de Violette Leduc

    • Abstract: Antolin Alexandre
      What are the reasons and the motivations that push Violette Leduc to write' In 1965, she answers: “We write for somebody that we love”. More than the pleasure of the text intended for somebody, she wishes to seduce through her writing. This mecanism of seduction is the driving force of the leducian creation. It is a precise model in which the addressee should appreciate her style and at the same time remain sexually and sentimentally unattainable. As soon as Leduc knows that she is heading for a fall, she sets up a mentorship, in which she is the apprentice, and provokes the drama of unrequitted love. She turns her affective and/or sexual deception into her literary material to supply her work, especially L’Affamée and Ravages. In my paper, I focus on the débuts of Violette Leduc, by studying her relationships with Maurice Sachs, Simone de Beauvoir, Nathalie Sarraute and Jacques Lemarchand.
  • Avoir et être : folle de Nelly Arcan

    • Abstract: Sandrina Joseph
      Folle, the second narrative from Quebec writer Nelly Arcan, is a long love and suicide letter the narrator (also named Nelly) dedicates to the French lover who abandoned her. Folle is both a shameless autofiction that depicts in detail Nelly’s crazy love and a veil that allows her to tell her desperate story in a modest fashion through her pseudonym.
  • Sexe et transgression : l’écriture obscène de
           Calixthe Beyala

    • Abstract: Ching Selao
      Francophone writer Calixthe Beyala is well-known for her “literary indecency”. Her tendency to write about African women’s desire and sexuality has led critics to highlight the originality of her work, and to qualify her writing as a “poetic of the obscene”. Her novels have also led some critics and writers to call her a “pornographic author”, and a “scandalous writer” who is exploiting provocation as a strategy that pays off. Although Beyala is quick to brandish her “feminitude”, and to accuse her detractors of racism and sexism, posing herself as a victim, it is nonetheless useful to question the insistence in many comments on her gender identity and her origin. Indeed, whether perceived negatively or positively, her “indecent writing” is often judged based on the facts that she is a woman, and a woman of African origin. This article would like to explore these issues by revisiting the “Beyala affair”, and by analyzing what constitutes her “pornographic” writing.
  • Les filles meurtries ont-elles droit au silence '

    • Abstract: Léonore Brassard and Catherine Mavrikakis
      How is it possible to think the contemporary duty to break the silence as the #metoo political movement implies' each trauma needs a part of silence, particularly when it is framed in a story by a subjectivity reluctant to "tell the truth" How can we articulate the political issues based on a solidarity of telling and denouncing and the personal needs of staying silent' Through the works of Nelly Arcan, Christine Angot and Virginie Despentes, we will analyze these questions
  • Mon désir fou de cinéma : jean Marais et Isabelle Adjani sous la plume
           de Violette Leduc et Hervé Guibert

    • Abstract: Kaliane Ung
      This article compares two portraits of actors in modern French literature. Violette Leduc and Hervé Guibert transform the body of the actor into a surface reflecting their literary method. By depicting Jean Marais as a creature similar to the Beast in Jean Cocteau’s film, Leduc emphasizes the ethical value of physical beauty. Musing on the numerous fights in his relationship with Isabelle Adjani, Hervé Guibert advocates being genuine in literature, elaborating on Michel Foucault’s concept of parrhesia as defined by the philosopher in his last writings. Both writers focus on famous actors to insist on the ethical stakes of a writing technique that engages the body, just like actors become a character in front of the camera.
  • Someone : the Pragmatics of Misfit Sexualities from Colette to
           Hervé Guibert

    • Abstract: Michael Lucey
      Michael Lucey depicts the creation of "intimate publics" in Hervé Guibert's novels on AIDS. Focusing on "misfits," he offers an intersectional definition of queer sexuality that would not isolate it. He brings together Violette Leduc and Hervé Guibert in their creation of intimate and marginal counter-publics.
  • Elle et les voiles

    • Abstract: Gilbert Lascault
      From the starting point of Antoine Poupel’s photographs, the writer, essayist, art philosopher and art critic Gilbert Lascault embarks on a poetic reverie of the feminine and its veils.
  • As Eve Said to the Serpent : comme Ève le dit au Serpent

    • Abstract: Maël Baussand
      Art photographer and academic researcher, Maël Baussand’s work focuses primarily on the various bodily fluids of sexual difference in art and literature. This poem explores the mythic encounter of Eve with the Snake.
  • Chambre de S.

    • Abstract: Louise-Amada D.
      Chambre de S. is a contemporary rewriting of the theme of erotic-romantic friendship explored by Violette Leduc. All her life, Leduc was passionately in love with her mentor and friend the philosopher Simone de Beauvoir but was forced to live her passion in the shadows (in her fantasies and in her texts) because her feelings were not reciprocated. In Chambre de S., the narrator, who has a BDSM relationship with her friend, oscillates between friendship, love, desire and pleasure. Chambre de S. also creates a polyphonic and erotic intertextual dialogue with the writings of Violette Leduc.
  • Impudeur et impudence de la pudeur : entretien avec Mireille

    • Abstract: Anaïs Frantz and Mireille Calle-Gruber
      Mireille Calle-Gruber is a writer and professor emeritus of French literature and aesthetics at the université Sorbonne Nouvelle-Paris 3, where in 2007 she created the Center for Research in Female and Gender Studies and Francophone Literature. In this dialogue with Anaïs Frantz she explores the immodesty of literary writing.
  • Trouver le moyen de vivre avec soi-même : entretien avec
           Marie-Sissi Labrèche

    • Abstract: Sandrina Joseph
      Quebec autofiction writer Marie-Sissi Labrèche explores the limits between fiction and reality, modesty and shamelessness, literature and vulgarity. In this interview, she also reflects on her ties to fictional narratives and the main theme in her works: maternity.
  • Je n'ai jamais embrassé Laure de Kiev Renaud : transgression des normes
           et flou identitaire

    • Abstract: Mireille Brioude
      I have never kissed Laure is Kiev Renaud’s first novel. It has a strikingly rigorous and complex structure: the division into three parts highlights a sophisticated variation on three women’s points of view. Laure is first seen through the eyes of her erstwhile playmate, Florence, who looks back on childhood sexual awakening with its — apparently innocent — challenges, like the game that starts with: ‘I’ve never…’. Florence’s daughter, Cassandre, takes over from her mother, who is slowly going mad, and describes their home and her parents’ homosexuality. Finally, in poignant scenes, Laure relates the slow deterioration of Florence, her life-partner. The reader is fascinated by this sensitive and perceptive narration, whose apparent simplicity brings to mind both Leduc and Duras; though in fact, in this unsettling novella, the young author has found her own ‘voice’.
  • Mines de rien, Chroniques insolentes d'Isabelle Boisclair, Lucie Joubert
           et Lori Saint-Martin

    • Abstract: Annik Rouette
      A critical review of Mines de rien, Chroniques insolentes, an essay by Isabelle Boisclair, Lucie Joubert and Lori Saint-Martin, published by Éditions du remue-ménage.
  • Nelly (film) : procès d'une parole d'auteure sans pudeur

    • Abstract: Pascale Joubi
      Since Nelly Arcan’s first autofictional novel Putain (Whore) was published in 2001, a biographical reading of her work predominated other forms of literary criticism, which often describes how women’s writing is talked about by critics and the media. Hence, women writers’ oeuvre, like Nelly Arcan’s, is frequently distorted because of the overwhelming curiosity generated by the author’s life. Anne Émond’s picture Nelly (2016) forms no exception.
  • La pudeur dans trois romans français du XXe siècle : un amour de Swann
           de Proust, Le Diable au corps de Radiguet, Alexis ou le traité du vain
           combat de Yourcenar

    • Abstract: Adelaide Pagano
      This article proposes an account of the Master degree of Adelaide Pagano. Her master dissertation analyses the modesty from a linguistic, philosophical, artistical and historical point of view, and it shows examples of modesty as main theme of three literary texts of the beginning of the 20^th^ century : Un amour de Swann by Marcel Proust, Le diable au corps by Raymond Radiguet, and Alexis ou le traité du vain combat by Marguerite Yourcenar. Those novels offer a sight on the modesty which can be a device of seduction, used by Odette de Crécy in the Proustian novel, or it can be seen as a strategy of omission made by the narrator of Le Diable au Corps and Alexis.
  • Textures : l'objet livre du papier au numérique

    • Abstract: Anne Chassagnol and Gwen Le Cor
  • Des journaux pour toutes. Femmes et féministes dans la presse en France,
           Italie et Espagne au XXe siècle

    • Abstract: Magali Guaresi and Maria Grazia Scrimieri
  • Séverine et Marguerite Durand, La Naissance d’un journal
           expérimental : la Fronde

    • Abstract: Cécile Torrubia Besnard
      La Fronde was born in 1897, while Dreyfus scandal animates passions in France. This atypical newspaper in many ways, is the pinnacle of a meeting between tow exceptionals women : Maria Pognon and Marguerite Durand, during one of the many feminist congresses of the end of that century. This determining meeting convinced Marguerite Durand to turn to the third member of that novel idea : Séverine. Strong to her experience with Jules Vallès, already known in an environment widely led by men, she got involved in this women project, created, written, and published, only by those who will be named, among others, les frondeuses. This place hold no comparaison, in terms of expression, demands, feminist trends, and gave every woman a voice to be heard. In a world where women speech is undermined as a gender condamned to an eternal teenager status, we can barely imagine how this project came to life. We will take interest in the context of the newspaper birth, his creators and collaborators, and also to his reception by his men counterparts.
  • La prensa para mujeres y la segunda ola del feminismo en Francia: Luchas y
           debates en torno a des femmes en mouvements (1977-1979)

    • Abstract: María Isabel Menéndez Menéndez
      Ce texte rassemble la pensée politique et le contexte historique de la revue féministe des femmes en mouvements, liée au Mouvement de Libération des Femmes (MLF) dans les années 1970. Les pages de la revue étaient un lieu de rencontre pour les militantes et les activistes, et elles ont rendu compte des conditions politiques et sociales des femmes partout dans le monde. La publication, dans laquelle des noms tels que Hélène Cixous, Kate Millett ou Lidia Falcón ont été réunis, a nourri le débat sur les droits et les luttes des femmes et a créé un espace où exposer les préoccupations artistiques et politiques des femmes de l'époque.
  • Sorcières : analyse textométrique et littéraire d’un projet
           éditorial de femmes

    • Abstract: Magali Guaresi and Maria Grazia Scrimieri
      The article explores the French review Sorcières (1975-1982) from a double perspective, both textometric and literary. In the first part, "The thematic architecture of the review Sorcières", we propose to describe the editorial, literary and political project of Sorcières through a computer-assisted analysis of the review's themes: in this method, the proximities between words are observed in order to elaborate vocabulary classes, composed of words with co-occurring profiles, which suggest the main themes of the review. In a second part "Number 1: from alienating food to liberating food" we want to look more closely at number 1 of the collection, which is considered a manifesto for female expression and creation and it is dedicated to food. Through literary and critical analysis of the texts of the contributors, the image of food in this first dossier never appears as an element of constraint for women, but as a means of knowledge and as a link with their bodies.
  • Journalistes et revues féministes anarchistes en Italie au début
           du XXe siècle

    • Abstract: Laura Fournier-Finocchiaro
      After a brief overview of the participation of female writers in the anarchist press in Italy at the beginning of the twentieth century, the article examines the main ideas developed in the first anarchist women’s periodicals published in Italy, La Donna libertaria (1912-1913) and L’Alba libertaria (1915). In addition to encouraging women to take part in the anti-capitalist and anti-militarist struggle, anarchist women’s periodicals showed some openness to women’s issues, in particular by formulating original positions on motherhood and birth control through contraception. At the same time, the periodicals accuse the anarchist companions of having neglected the female element within the movement and intend to fight against antifeminism of all kinds.
  • Pratiques d’évitement des contraintes de genre : parcours de femmes au
           sein de la revue il manifesto (1969-1971)

    • Abstract: Carmela Lettieri
      The text explores the place of women within the journal il manifesto (1969-1971). A twofold perspective, both biographical and thematic, first of all allows us to retrace the comparative paths of the intellectuals who contributed to the feminization of this journal. Then, by listing the texts signed by the women editors, the dynamics of specialization and the specific treatment of each theme, including the question of women, always situated within a much broader political reflection, are brought to light. These journalists/intellectuals are indeed participating in a real reconfiguration of the rules of gender assignment in the media and bequeathing to the following generations, through the daily newspaper created in 1971, not only a writing device but also a device for action.
  • Las dos caras de la subversión: El caso de la prensa femenina en la
           Segunda República española

    • Abstract: María de los Ángeles Gutiérrez Romero
      Within the study of the Spanish women's press, the magazines published during the Second Republic, until recently, have gone relatively unnoticed since they are rarely included in press history manuals. However, these magazines provide extraordinary information not only as documentary sources of daily life but as vehicles for subversive messages. In this sense, they even cover important news such as the rise of Nazism or they circumvent censorship to give voice to personalities with a belligerent anti-republicanism. One of the main themes will be the arrival of the “modern woman” prototype, which concentrates numerous debates around the aesthetic and behavioral transgression of women, which, in turn, becomes a representation of other topics such as family, nation or religion and whose perception in the articles is never absolute, but hinted at in the intense dialectic between tradition and modernity.
  • Mujer, educación y política: Las revistas españolas en la
           época de entreguerras

    • Abstract: Sofía Rodríguez Serrador
      À partir des années vingt, les femmes espagnoles ont participé de façon de plus en plus active dans la sphère publique du fait d’un processus d’acquisition d’un niveau culturel plus élevé et de changements dans la mentalité de la société, passant à revendiquer une série de droits politiques et sociaux : accès à l’éducation, au vote, au divorce… Lors de ces premières décennies, les espaces culturels clairement féminins qui ont été créés ont favorisé ces débats et ont consolidé des liens de sororité, comme la Residencia de Señoritas ou le Lyceum Club. À leur tour, ces femmes ont aidé à consolider des nouveaux modèles de genre alternatifs voire même opposés au rôle féminin traditionnel. Cependant, les « femmes modernes » ont rencontré des forts noyaux de résistance, non seulement parmi les éléments les plus conservateurs de la société, mais aussi parmi les intellectuels. Dans cet article nous étudierons la façon dont les revues féministes/féminines ont abordé ces changements et la reconnaissance des droits de la femme.
  • Ecrire pour reconquérir son corps : le discours de l’intime dans la
           revue espagnole Vindicación Feminista

    • Abstract: Victoria Garrido y Saez
      Fondée par Lidia Falcón et Carmen Alcalde en 1976, Vindicación Feminista est la revue phare du féminisme espagnol de deuxième vague. Dans un pays qui sort tout juste de trente-six ans de dictature national-catholique, le magazine détonne. Moderne et irrévérencieux, il aborde sans scrupule ni tabou des thèmes comme l’homosexualité, la diversité du plaisir féminin ou la prostitution. Il s’engage également dans les grandes batailles féministes de l’époque : dépénalisation de l’adultère et de la contraception, accès au divorce, avortement libre, etc., car l’un des objectifs de Vindicación est la reconquête du corps féminin, indument accaparé par la dictature franquiste. Pour le magazine, il est impératif que les femmes redeviennent maîtresses de leur corps mais aussi des mots pour le dire. En effet, dans les années 1970, le monde politique et médiatique est essentiellement dominé par les hommes. Ainsi, c’est à travers la voix de l’autre que les femmes appréhendent leurs chairs. Les journalistes de Vindicación s’arment donc de leur plume afin de se réapproprier cette intimité confisquée. L’article se propose d’étudier le discours du corps et de l’intime dans Vindicación entre 1976 et 1982, période de parution du mensuel. L’objectif est de comprendre comment l’écriture a pu servir d’arme pour récupérer le contrôle, non seulement sur le corps des femmes, mais aussi sur les mots pour le définir. Il s’agira pour cela d’examiner les thèmes choisis, l’angle abordé, le style d’écriture, le degré de proximité avec la lectrice et le profil des autrices. En quoi cette revue collective, dont la diffusion a été si confidentielle durant sa courte existence, est-elle devenu la référence du féminisme espagnol de deuxième vague le plus avant-gardiste ' L’article tâchera de montrer que Vindicación révolutionne le discours sur les femmes en déconstruisant les codes de représentation, en libérant les corps et en créant un espace d’expression solidaire.
  • Nouvelles perspectives sur les humanités numériques

    • Abstract: Enrico Agostini-Marchese, Emmanuel Château-Dutier and Michael Sinatra
  • L’épopée numérique de l’Anthologie grecque : entre questions
           épistémologiques, modèles techniques et dynamiques collaboratives

    • Abstract: Marcello Vitali-Rosati, Margot Mellet, Servanne Monjour, Antoine Fauchié, Timothée Guicherd, David Larlet and Enrico Agostini-Marchese
      In this article, we present the collaborative digital edition of the Greek Anthology undertaken by the Canada Research Chair in Digital Textualities. In particular, we look back at the research issues that led to the project, the theoretical and technical stages and reflections that have marked the evolution of the research, and its recent developments. From the analysis of this experience, we try to understand how the theoretical, epistemological and methodological conditions that structure a research project emerge. The thesis we wish to defend here is that far from being the fruit of a single researcher, thought is the fruit of a complex set of mediating conjunctures that include a set of heterogeneous forces from which people, techniques, texts, platforms, methods, and collectives then emerge.
  • Devenir-destination et photographies (en ligne) de quelques œuvres
           d'art : publics actuels du land art

    • Abstract: Christelle Proulx and Suzanne Paquet
      As part of the research project « Art urbain, art public et cultures numériques : des publics, des sites, des trajets », we study the public’s concrete actions on art, observing the circulation of artwork photographs online and the resulting gestures of enthusiasts. Our observations begin with the publication of artwork photographs on Flickr, which allows us to analyze the visibility of the images and encourage their reuse, to then trace how these photographs are reproduced elsewhere with a tool that automates the search by Google Image. The images are found on various websites that we then geolocate in order to map them. In this article, we investigate the online lives of photographs of Nancy Holt, Walter de Maria and Robert Smithson’s land art pieces. Between the fixity of works anchored in the landscape, the mobility of online photographs and the movements of traveling publics who in turn publish on Instagram, we are witnessing a becoming-destination of these works. The use of digital tools and theorizations allows us to renew our thinking on art’s circular logics of production, propagation and validation.
  • Le discours scientifique en SHS au prisme de sa matérialité
           langagière : enrichissement hypertextuel et intertexte des carnets de
           recherche en ligne

    • Abstract: Ingrid Mayeur
      This article addresses the issue of concrete production and circulation of knowledge in the Humanities through the discursive materiality of digital scientific communication. The Digital Humanities movement has always paid particular attention to the opportunities of digital tools and devices for research. However, the discursive implications (strategies of adaptation to the expected reader, intertext, engagement, etc.) remain, to a large extent, to be clarified. Based on the analysis of academic blog posts from Hypotheses.org, we first look at the insertion of hypertext links and identify several associated functions (editorial, critical, informative and playful). We then question the way in which the intertext of scientific discourse is modified by the inscription of the text in a network, in a temporality that is no longer solely that of research, but is entangled with other strata (media, popular culture, etc.). Finally, we propose an opening that connects this reticularity with the dialogical imaginary surrounding the communication of research on blogs.
  • Vers un système modulaire de publication

    • Abstract: Antoine Fauchié
      The book industry, and more particularly publishing, is undergoing profound changes as a result of digital technology. Faced with economic upheavals and new ways of accessing texts, deeper changes are taking place. Since the advent of the computerization of the book trade, or the omnipresence of word processing and desktop publishing software, the ways of conceiving and producing publications have undergone a recent paradigm shift. Publishing structures are imagining new and original publishing chains. These are no longer based on a technological solutionism, but reposition the human being at the heart of the machines or programs, and envisage publication as a set of interlocking actions. The methods and technologies resulting from web development influence the way books are made, and allow us to consider a modular system and no longer a linear chain. Through the analysis of several examples of unconventional publishing chains in the fields of publishing, we wish to put forward the three principles of a new publishing model: interoperability, modularity and multiformity. This text is also the occasion to present the performative dimension of this research work, and thus to detail the way in which the research paper at the origin of this article was realized.
  • Design d'information et physicalisation des données : une expérience
           pédagogique en Humanités numériques

    • Abstract: Marie-Julie Catoir-Brisson
      How does the manipulation of tangible data make it possible to renew information design research and practice in the field of digital humanities' This article studies a pedagogical experiment in digital humanities made with students in design, on information design and visualization. The interest of this pedagogical experiment was to challenge the digital visual culture of students, linked both to their daily practice of consuming data visualizations, and their graphic and material culture acquired during their training in design. The main objective was to acculturate students to information design by the design of a knowledge mediation tool based on data physicalization, that is to say, a staging of data materialized by tangible objects. The article aims to show that the tangibility and performativity, as specificities of data physicalization, transform the knowledge mediation. Thus, data-physicalization can be used as a learning method to study and practice digital humanities, and relying on experimentations with tangible data can be useful to create the conditions for the students' reappropriation of knowledge through practice.
  • Pour une pensée préhumaine : humanités numériques, éditorialisation
           et métaontologie

    • Abstract: Marcello Vitali-Rosati
      Is it possible to overcome the opposition between a radical constructivism and a naive dogmatism -- as it has recently been reformulated, notably by Quentin Meilassoux, in terms of the opposition between correlationism and realism' This article proposes the idea of an original mediation which is not that of human thought. According to Meilassoux the mediation of being can only be embodied in individuals. By questioning this idea, this text tries to think a material and embodied mediation which manifests itself in a particular way in the technique. The reflection on the digital, the editorialization and the digital Humanities becomes the pivot to think a "prehuman" mediation, which allows moreover to solve the problem of the ancestral ones that was at the foundation of Meillassoux's analyses.
  • Des trous ou le reste du livre '

    • Abstract: Benoît Tane
      Along with texture, the hole may be digital-proof. I seek to examine here some perforated books, without writing a history or defining a typology, but so as to show how this specificity molds and reveals the medium. The hole can be an accident but it can also transgress: picture books play with this ambivalence. The hole is undoubtedly linked to the "biblioclasts" analyzed by Jean-François Lyotard in the 1960s and 1970s, but rather than aiming for a conceptual grasp, these artists articulate desire with the very body of the book. Aren't all printed books situated at the very limit where the hole dwells' The fact that the page has not been punctured is due to the printer\'s control. As such, the hole in the paper book is perhaps consubstantial with modern fiction, indexed to the invention of printing, and based on its ability to preserve these Leerstellen in the text.
  • Griffonner, gribouiller, déchirer l’album
           numérique '

    • Abstract: Euriell Gobbé-Mévellec
      This article focuses on the issue of materiality in picture books – both in printed texts and in digital forms – and the relationship between those two. The research conducted, informed by Segolen Le Men’s work, wishes to reassess the definition of the picture book to take into account a mode of reading largely based on de-sacralisation. Picture books are shaken, torn apart, defaced, read upside down, or inside out by readers who are not familiar at this stage with the practice of reading. Picture books experiments with the book and thereby teach the reader to appropriate the book, not just as an object, but as a text. The article also questions the ability of digital picture books to integrate fully this act of defacing that plays such an important part in the reader’s development.
  • Le bruissement de la page : le langage de la matière dans les
           albums d’Anne Herbauts

    • Abstract: Manuelle Duszynski
      In her picture books, the author and illustrator Anne Herbauts questions the material dimension of the page by exploring its blank spaces, and the folds and cuts that appear on it. The dialogue between text and image, which in her work is often flawed or tends to overflow outside the book, invites the reader to reflect upon missing details. The materiality of the book as an object emerges in this hybrid space, in between the pages. This article will examine three picture books, Lundi, Les moindres petites choses, De quelle couleur est le vent ' in which texture is used as a vocabulary.
  • De la lecture à la relecture des pop-up, un « système » temporel à
           construire '

    • Abstract: Éléonore Hamaide-Jager
      Surprise is such a key component of three-dimensional books that they have been mostly analysed from a spatial point of view to the detriment of temporal perspectives. For a long time, pop-up books have relied on a narrative structure that guided the reader from beginning to end. Pop-up books that do not rely heavily on narrative induce a slow temporality, based on the discovery of a form, the enchantment of the unravelling of a page and, more generally, on a sense of wonder. Rereading a pop-up book forces the readers to review the multiple moments they discovered the text. Texture also invites them to reflect upon the interaction between their body, their identity and the book.
  • Le livre décomposé : la Maison des feuilles ou la multiplication
           intrigante des récits

    • Abstract: Gaëlle Debeaux
      This article discusses materiality as a structural component of the narrative in House of Leaves by Mark Z. Danielewski. The reader is constantly reminded of the physicality of the book by being confronted with a systematic blurring of words. Letters are being enlarged or obliterated. The text is staged on the page so that its construction relies on a system of deconstruction, based on an aesthetic principle of frustration. This article explores the paradox whereby the more the narrative disintegrates, the more the plot ties itself and captivates the reader. What are the strategies available to the reader to progress within this intricate text'
  • North, East, South, West: Georgia Russell's Scottish Cut-out Landscapes

    • Abstract: Anne Béchard-Léauté
      The work of Scottish sculptor Georgia Russell presents the viewer with unidentified objects, unknown hybrids created out of a process of laceration with a scalpel. The books or photographs that she dissects unfurl outwards into sculptural objects that operate in space in an organic manner, be they totemic figures or paper landscapes. The common denominator of this body of works is the automatic technique of cutting out, making incisions with the scalpel being the equivalent of making marks with a pencil for the artist. This act, which marries gesture and rhythm, space and time, has become the foundation of Georgia Russell's oeuvre and oscillates between the flat surface of the printed page and the volume of the sculptural object. This paper addresses the seemingly straightforward significance of Russell's cut-out landscapes. Once they have been sliced and transformed into lacework, her cut-out landscapes are not just a support for retrieval but have a deeper, nostalgic meaning. The different media Russell chooses to work with are addressed as well as their original content. The link between Russell's work and literature is introduced in order to study the visual allusions she makes to the Scottish landscape while working from her French studio.
  • Poetry Objects from the Poetry Beyond Text Project: Text, Form and Texture

    • Abstract: Andrew Michael Roberts
      The Poetry Beyond Text project combined literary criticism, experimental psychology and practice-based research to study hybrid poetic-visual forms and practices, including artist books, engravings, poetic sculptures and digital works. Three works will be analysed here: Vivam, a wooden poetry-sculpture created by poet Deryn Rees-Jones and sculptor Marion Smith; The Wren's Egg, a poem-photograph created by Rees-Jones in collaboration with artist Alice Maher; and Poempondscroll, a poetic-photographic scroll on Chinese paper created by artist Helen Douglas and poet Valerie Gillies. Using the theories developed by Martin Seel and W.J.T. Mitchell, we will see how these collaborative works express, mediate or reconfigure the aesthetic potentials, tensions and problems surrounding the presence of poetic text in visual artworks, in order to explore the potential of the book as an object.
  • Livre animé, sculpture de papier : perspectives historiques

    • Abstract: Gaëlle Pelachaud
      Animated books, in their architectural three-dimensional structure, question the depth of the page and its movement. Just as the codex marked a particular moment in the development of books, changes in the non-linear perception of time have given the book more freedom to experiment with format. Based on a historical perspective, from the first astronomical books with volvelles to cut-out scenes in Dean & Son’s pop-up books, including e-books, this paper studies the value of interactivity as a new form of visual experience that directly impacts perception and cognition.
  • Lorsque l’objet devient virtuel : adaptations de livres objets
           en livres numériques

    • Abstract: Côme Martin
      As the form of the object book constantly evolved since the 1960s, the development of digital literature questions what confronting the materiality of a narrative and its multimedia possibilities might entail. The themes of works such as Tom Phillips' A Humument (a work in progress since 1970) or Marc Saporta's Composition No. 1 (reissued by London-based publisher Visual Editions in 2011) must be reconsidered as they become available for touch pads. For his part, Mark Z. Danielewski—who wrote several novels in which the space of the page is central (House of Leaves in 2000 and Only Revolutions in 2006)—had to delay the digitalization of his works because he could not find a satisfactory digital equivalent to the visual processes of the print format (only The Fifty Year Sword, originally published in 2005, was digitally adapted in 2012).This article studies the dynamics between print and digital formats by analyzing the works quoted above in that they have successfully made the transition from one medium to another.
  • Les figures du livre dans les applications de fiction pour tablettes

    • Abstract: Anaïs Guilet
      In the age of the digital, and with the end of books being repeatedly announced, one might think that the symbolic power of books would have been diminished. This is far from being the case. The aim of this article is to analyze the scope and challenges of the book’s different forms based on a comparative study of Mathias Malzieu's L'Homme Volcan, of the adaptation by Byook of Sherlock Holmes : The Speckled Band/La bande mouchetée and of that of The Fantastic Flying Books of Morris Lessmore by Moonbot studios. The figures of the book illustrate the transition period of media paradigms that we are experiencing and which, in the works, contribute to this quest for identity: between a model to be followed and one from which we must detach ourselves. Through the presence of these figures, the works become meta-mediatic, in the sense that they question their own media status while also questioning the “media ecology” to which they belong, to use Katherine Hayles' terminology (Hayles 2002, 5). At the heart of this reflection is the very nature of this new type of mediation of the literary text. Whether we call them ebooks, “enriched books” or “augmented books”, all these terms express how difficult it is to think about the circulation of texts outside the unavoidable cultural paradigm of the book.
  • Facce et Facciamo! (Topipittori). Imagiers et appli-livres pour les
           tout-petits : description du projet d’édition et réflexions sur les
           modalités de lecture des enfants

    • Abstract: Leyla Vahedi
      The book apps launched by Minibombo, as well as the apps adapted from the series Facciamo !, are among the first ever digital projects available for toddlers in Italy. They were launched in 2014 and inspired by the picture book Facce (“Faces”) by Antonella Abbatiello published by Topipittori in 2013. In the app, Facciamo, the reader can animate the pages of the book via a series of actions and interactive games. This article discusses the different reading modes offered to the reader and assesses its impact in terms of digital literacy, curiosity and reading pleasure.
  • The Digital Reception of A Hundred Thousand Billion Poems

    • Abstract: Jonathan Baillehache
      Raymond Queneau’s Cent mille milliards de poèmes (CMMP) was first intended as a poetry writing “machine” (“machine à fabriquer des poèmes”). Queneau used the word “machine” in his preface to designate a tool designed to help the reader compose his/her own sonnets. Immediately after its publication in 1961, poetry smitten computer scientists and poets interested in computer science digitalized Queneau's book. All computer portings could generate poems automatically, thus transforming CMMP into a proto-text generator. The digital reception of CMMP made a composition tool into a machine. This article investigates the possible meanings of the word "machine" in the context of the adaptation of Queneau’s CMMP by D. Starynkevitch (1961) and Paul Braffort (1975).
  • How To Do Things With Books: Steve Tomasula’s VAS, an Opera in

    • Abstract: Anne-Laure Tissut
      The multimedia pages of VAS are a continuing exploration of forms of representation, which concomitantly show how meaning is constructed. In so doing, both the modalities of reading and our relationship to the book itself are radically challenged. This article shows how VAS revisits the standards of the book, in both its conception and reception, by revealing the political, economic and social, but also philosophical and even ethical issues related to these norms.
  • Escape from the Temple of Laughter: From Book-object to Digital Event

    • Abstract: Jerome Fletcher
      Reflecting on what can be found “beyond the book”, this article focuses on the multimodal children's novel Escape from the Temple of Laughter which was published in the mid-1990s. Viewed as both a container and a place of writing, this novel is a book with very porous borders whose content has literally escaped from it, thus avoiding the totalizing control of the codex. At the time of publication, even before the Web 2.0 existed, Escape from the Temple of Laughter was already a hypertext. The book is now being digitalized and the second part of this article questions the meaning of this re-contextualization. Is it really an attempt to go “beyond the book”, or is it simply an alternative means of dissemination' Does digitalization add something new to the text, or does it highlight some of the features that were already present in its print form'
  • LA, c’est pour Livres Animés : une collection dans la collection au
           Centre de l’illustration de la Médiathèque André Malraux de

    • Abstract: Élise Canaple
      At the Centre de L’illustration at The Médiathèque André Malraux in Strasbourg, France, more than 2000 titles have been classified under the section “Livres Animés” or “Animated Books”. This article examines the specificity of a unique collection, which encompasses a vast selection of pop-up, concertina, carrousel and tunnel books. In addition, it discusses the conservation and preservation policies used to protect these volumes.
  • Bâtir des livres : les rapports entre l'architecture et

    • Abstract: André Tavares
      This article examines how architectural books have been used in an attempt to materialize specific forms of knowledge. We will focus on two different years, 1851 and 1925, both acting as cross sections that allow us to interpret buildings and books through the same narrative. To do so, we will examine the texture of both the page and the text, particularly the use of typographic design to structure an argument; the use of pages to associate text and images; the sequence of pages as a rhythmic and spatial approach to the architectural content of books; and how size can highlight architectural arguments. We will then be able to demonstrate how architectural knowledge has been shaped so that its materiality extends outside buildings.
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