<?xml version="1.0" encoding="utf-8"?>
<rdf:RDF 
 xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"
 xmlns="http://purl.org/rss/1.0/"
 xmlns:dc="http://purl.org/dc/elements/1.1/"
 xmlns:dcterms="http://purl.org/dc/terms/"
>
  <channel rdf:about="http://journals.openedition.org/sillagescritiques">  
    <title>Sillages critiques</title>
    <link>http://journals.openedition.org/sillagescritiques</link>
    <description>La revue publie des travaux scientifiques consacrés aux littératures de langue anglaise.</description>                      
    <items>
      <rdf:Seq>      
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/17766" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/17052" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/16201" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/15475" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/14738" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/14122" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/13369" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/12848" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/11625" />
        <rdf:li resource="http://journals.openedition.org/sillagescritiques/11009" />
      </rdf:Seq>      </items>      </channel>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/17766">
    <title>39 | 2025 &#8211; Rocking Romanticism | Off to bed!</title>
    <description><![CDATA[<img alt="Rocking Romanticism | Off to bed!" src="http://journals.openedition.org/sillagescritiques/docannexe/file/17773/sillagescritiques_39-small200.jpg" /><div class="introduction" lang="en">
        <p>The present issue is based, for the most part, on papers given at the International RomRock Conference, &#8220;Rocking Romanticism,&#8221; held at the Universit&#233; d&#8217;Artois in March 2024 under the coordination of Adrian Grafe and Marc Por&#233;e. While the study of rock has now long been established in academia &#8211; notably from the kind of sociological perspective pioneered by Stuart Hall (1964) and developed by Simon Frith (1978) among others &#8211; , and while various attempts have been made to link rock &#8216;poetry&#8217; to the literary tradition, the special relation between rock music and Romanticism has only more recently begun to attract sustained critical attention. Especially important in that respect has been the work of James Rovira and his collaborators, whose three edited books (respectively on the relevance of Romantic poets to classic rock musicians, on postpunk and metal as &#8220;dark romanticisms,&#8221; and on women performers) logically feature among the most frequent references in the articles assembled here. Yet, as these will demonstrate, this field of inquiry is sufficiently ample to warrant a wealth of further investigations.</p>
        <p>&#8220;Romanticism&#8221; is admittedly an elusive notion; so, in fact, is &#8220;rock.&#8221; What they might appear to have in common, beyond a socially significant catalogue of small-r romantic clich&#233;s or any number of actual verbal/textual echoes, is a fruitful tension between the yearning for primordial freedom on the one hand, and the aspiration towards cultural development or even refoundation on the other. Ranging from the familiarity of Beat poets and early rock luminaries with Blake biographies to Iron Maiden&#8217;s epic heavy metal adaptation of Coleridge&#8217;s &#8220;Rime of the Ancient Mariner,&#8221; from the American Romantic drama that subliminally echoed and repeated itself in the Woodstock festival and its aftermath to the post-Romantic, post-rock iterations of lyrical sublimity in the contemporary-classical work of Caroline Shaw, this special issue of <em>Sillages critiques </em>illustrates the extent and variety of the connections between two eras marked by political effervescence and cultural upheaval. More clearly and lastingly than any other literary or cultural phenomenon perhaps, Romanticism anticipated the definition of rock once given by Jean-Luc Nancy: &#8220;a call, truly, to refashion a world&#8221; (&#8220;un appel, v&#233;ritablement, &#224; refaire un monde&#8221;).</p>
      </div>
      <div class="introduction" lang="fr">
        <p>Ce num&#233;ro est, pour l&#8217;essentiel, bas&#233; sur des communications donn&#233;es lors du colloque international <em>Rock and Romanticism&#160;: Romrock</em>, organis&#233; &#224; l&#8217;universit&#233; d&#8217;Artois par Adrian Grafe et Marc Por&#233;e en mars 2024. Si l&#8217;&#233;tude du rock est d&#233;sormais install&#233;e de longue date dans le monde universitaire &#8211; notamment &#224; travers l&#8217;approche sociologique esquiss&#233;e par Stuart Hall et d&#233;velopp&#233;e entre autres par Simon Frith &#8211;, et si diverses tentatives ont vu le jour pour rapporter la &#171;&#160;po&#233;sie&#160;&#187; rock &#224; la tradition litt&#233;raire, la relation sp&#233;cifique entre rock et romantisme n&#8217;a fait que plus r&#233;cemment l&#8217;objet d&#8217;une attention critique soutenue. James Rovira a jou&#233; un r&#244;le pionnier &#224; cet &#233;gard, et les trois ouvrages collectifs parus sous sa direction (respectivement sur la pr&#233;sence de po&#232;tes romantiques dans l&#8217;inspiration de certains musiciens rock &#171;&#160;classiques&#160;&#187;, sur le post-punk et le metal en tant que &#171;&#160;romantismes sombres&#160;&#187;, et sur l&#8217;influence romantique chez les rockeuses) sont, fort logiquement, cit&#233;s &#224; de nombreuses reprises dans les articles rassembl&#233;s pour <em>Sillages critiques</em>. Ce champ d&#8217;&#233;tudes reste n&#233;anmoins, comme on esp&#232;re que ceux-ci le d&#233;montreront, suffisamment vaste pour autoriser une abondance de recherches nouvelles.</p>
        <p>On sait que la notion de &#171;&#160;romantisme&#160;&#187; est &#233;quivoque&#160;; il en est de m&#234;me, au fond, pour le &#171;&#160;rock&#160;&#187;. Ce que les deux ph&#233;nom&#232;nes semblent partager, au-del&#224; d&#8217;un catalogue de st&#233;r&#233;otypes non d&#233;pourvu d&#8217;int&#233;r&#234;t sociologique en lui-m&#234;me, ou de tous les &#233;chos textuels rep&#233;rables par la critique, c&#8217;est une tension f&#233;conde entre soif de libert&#233; fondamentale et aspiration au d&#233;veloppement, voire &#224; la refondation artistique. Depuis les biographies de Blake ch&#232;res aux po&#232;tes Beat et &#224; certains pionniers du rock jusqu&#8217;&#224; l&#8217;adaptation heavy metal &#233;pique du &#171;&#160;Vieux marin&#160;&#187; de Coleridge par Iron Maiden, depuis le grand drame du romantisme am&#233;ricain qui se r&#233;percute et se r&#233;p&#232;te subliminalement dans le festival de Woodstock et son apr&#232;s-coup jusqu&#8217;aux r&#233;surgences post-romantiques et post-rock du sublime dans l&#8217;&#339;uvre classique contemporaine de Caroline Shaw&#160;: le pr&#233;sent num&#233;ro de <em>Sillages critiques </em>illustre l&#8217;ampleur et la diversit&#233; des liens qui rapprochent l&#8217;une de l&#8217;autre deux p&#233;riodes marqu&#233;es par l&#8217;effervescence politique et les bouleversements de l&#8217;ordre culturel. D&#8217;une fa&#231;on peut-&#234;tre plus claire et plus durable que n&#8217;importe quel autre ph&#233;nom&#232;ne litt&#233;raire ou culturel, le romantisme aura anticip&#233; la d&#233;finition du rock avanc&#233;e nagu&#232;re par Jean-Luc Nancy : &#8220;un appel, v&#233;ritablement, &#224; refaire un monde.&#8221;</p>
      </div>
      <ul class="summary">
        <li>
          <div class="publititle"><strong>Rocking Romanticism</strong></div>
          <div class="altertitle foreign">
            <div lang="fr">Le romantisme en rock</div>
          </div>
          <div class="director">Sous la direction de Laurent Folliot et Ben Winsworth</div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17774">Rocking Romanticism – Introduction</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Laurent Folliot et Ben Winsworth</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Introduction : Le romantisme en rock</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17787">“Piper Pipe That Song Again”: The Role of Biographies in the Musical Reception of William Blake</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Camila Oliveira Querino</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« Piper pipe that song again » : le rôle des biographies dans la réception musicale de William Blake</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17851">Poetic Champions Compose: Van Morrison and the Romantic Tradition</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">James Mellis</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Quand les défenseurs de la poésie composent : Van Morrison et la tradition romantique</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17920">Romanticism’s Longue Durée: the Woodstock Festival and History’s Journey Back to the Garden</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Eric Rosenberg</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La longue durée du romantisme : le festival de Woodstock et le retour de l’Histoire au Jardin</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17995"><span xml:lang="en" lang="en">“The Lifeboat Burns”:</span><span xml:lang="en" lang="en"> </span><span xml:lang="en" lang="en">Peter Gabriel’s Protopunk Romanticism in Genesis’s </span><em><span xml:lang="en" lang="en">The Lamb Lies Down on Broadway</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Tim Keane</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« The lifeboat burns » : le romantisme proto-punk de Peter Gabriel dans <em>The Lamb Lies Down on Broadway</em> de Genesis</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18075">“Rime of the Ancient Mariner”: Iron Maiden’s Adaptation of S. T. Coleridge’s Epic Ballad</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Fabien Desset</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« Rime of the Ancient Mariner » : l’adaptation par Iron Maiden de la ballade épique de S. T. Coleridge</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18159">“I Will Follow You Into the Dark”: Romanticism and the Dark Emo Aesthetics</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Laure-Hélène Anthony-Gerroldt</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">« I will follow you into the dark » : romantisme et esthétique <em>dark emo</em></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18225">The Romantic Agony of Nick Cave’s Love Song: Romanticising Rock Music</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Catherine Girodet</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">L’agonie romantique de la chanson d’amour de Nick Cave : romantiser la musique rock</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18295">Shoegaze’s Romanticism: “Only Shallow”?</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Florence Schnebelen</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le romantisme du shoegaze : « <em>only shallow</em> » ?</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18333">“A Rose Is a Rose Is a Rose Is a Rose Is a Rose Is a Rose Is a Thing Sublime”: Caroline Shaw’s Romanticism</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Andrew McInnes</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">“A rose is a rose is a rose is a rose is a rose is a rose is a thing sublime”: le romantisme de Caroline Shaw </span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Off to bed!</strong></div>
          <div class="altertitle foreign">
            <div lang="fr">Au lit !</div>
          </div>
          <div class="director">Sous la direction de Martina Balassone, Valentine Lerouge et Elizabeth Moulin</div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18407">Introduction</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Martina Balassone, Valentine Lerouge et Elizabeth Moulin</div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18513">“My Coote thy Chamber, my bosome thy Bed”: (Dis)locating Homoerotic Sexual Fantasies in Richard Barnfield’s Ganymede Poems</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Johann Paccou</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« Mon abri sera ta chambre, et mon torse ton lit » : le décentrement des fantasmes sexuels homoérotiques dans les poèmes à Ganymède de Richard Barnfield</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18607">Poetics, Politics, and Pleasure in the English Dildo Poem, 1590-1740</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Kameron R. L. Johnson</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Poétique, politique et jouissance de la poésie anglaise du godemichet, 1590-1740</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18711">Du lit de mort au lit d’amour : l’imaginaire érotique de <em>Journey to Love</em> (1955) de William Carlos Williams</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Samantha Lemeunier</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">From Deathbed to Love Bed: The Erotic Imagination of William Carlos Williams’ <em>Journey to Love</em> (1955)</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18729">La Belle éveillée et le Bel endormi : résistances et reconfigurations genrées du topos de la belle endormie dans les adaptations contemporaines de <em>La Belle et la Bête</em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Adèle Hoareau</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Belle and the Handsome Sleeper: Gender Dynamics and Reconfigurations of the Sleeping Beauty Topos in Contemporary <em>Beauty and the Beast </em>Adaptations</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/18824">Lits, souches, camps : circulations et proliférations écoféministes dans deux romans de Jean Hegland</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Clara-Louise Mourier</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Bed, Stumps, Encampments: Ecofeminist Circulations and Proliferations in Two Novels by Jean Hegland</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/17766</link>
    <dc:date>2025-12-31</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/17052">
    <title>38 | 2025 &#8211; Reanimating Modernisms (II): Modernist Transmissions</title>
    <description><![CDATA[<img alt="Reanimating Modernisms (II): Modernist Transmissions" src="http://journals.openedition.org/sillagescritiques/docannexe/file/17149/sillagescritiques_34-small200.jpg" /><div class="introduction" lang="en">
        <p>This issue is the second part of a diptych, entitled <em>Reanimating Modernisms</em>, which proceeds from the critical energies that, at least since the New Modernist studies, continue to challenge the notion of a singular Modernism in the ever-proliferating renewal of the discipline. &#8220;Reanimating Modernisms (II): Modernist Transmissions&#8221; invokes these newly-animated energies in order to explore how Modernist artists responded to, adapted, questioned, and queered received modes of cultural transmission as well as how these practices of transmission continue to reverberate through the aesthetic and intellectual legacy of Modernism today.</p>
        <p>The plurality of Modernisms that have developed in the wake of Douglas Mao and Rebecca L. Walkowitz&#8217;s 2008 <em>PMLA</em> article follow rich and varied methodologies: resurrecting works of canonical Modernism from a &#8220;dead&#8221; or moribund state in the coffins of prior disciplinary containments (e.g., New Criticism / high Modernism, Eurocentric avant-garde, transatlantic Modernism, Romantic proto-Modernism, contemporary neo-Modernism); expanding the field of what counts as &#8220;Modernist&#8221;; and crossing disciplinary boundaries and fields of study (literature, cultural studies, visual culture, film studies, sound studies, etc.). Issues 37 and 38 engage with these precedents and mobilise their dynamic approaches in order to reanimate the diverse discourses through which Modernism as an object of study is framed, without ever being fully contained. In these two issues, despite the range of topics and texts addressed, this reanimation is informed by, perhaps paradoxically, one of Modernism&#8217;s most long-standing and generative sources of tension: the ways in which Modernist aesthetic practices attempt to negotiate a relation to the past while at the same time respond to a modernity conditioned by unprecedented developments in transcultural, transnational, and technological transmission. Keeping in mind Walter Benjamin&#8217;s injunction that &#8220;In every era the attempt must be made to wrest tradition away from a conformism that is about to overpower it,&#8221; <em>Reanimating Modernisms</em> harnesses these reanimating energies to foreground questions of renovation and transgression central to the ongoing dialogue about what Modernism(s) means today.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17057">Introduction: Modernist Transmissions</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Yasna Bozhkova et Nell Wasserstrom</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Introduction : Transmissions modernistes</span></div>
        </li>
        <li>
          <div class="publititle"><strong>Transmission and Temporality</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17085">Ghostly Transmissions in the Atmosphere of Henry James’s “The Grand Canal”</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Henry Carmines</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Les transmissions fantomatiques dans l’atmosphère de « The Grand Canal » d’Henry James</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17150">Ekphrasis and Beyond: Transcending Temporal and Artistic Limits in <em>Pictures from Brueghel</em> (1962)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Samantha Lemeunier</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Au-delà de l’ekphrasis : transcender les limites temporelles et artistiques dans <em>Pictures from Brueghel </em>(1962)</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Feminist Transmission</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17205">“Thinking Back Through our Mothers” / Thinking our Mothers Through: Non-Patrilineal and Feminist Modes of Transmission after Virginia Woolf</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Valérie Favre</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">“Penser à travers nos mères” / Repenser nos mères : Les modalités non-patrilinéaires et féministes de la transmission après<em> </em>Virginia Woolf</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17279">Ideas in Circulation: The Aesthetics of Transmission in Mina Loy’s “Feminist Manifesto”</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Elise Ottavino</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Circulation des idées : l’esthétique de la transmission dans le « Manifeste féministe » de Mina Loy</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Intermedial and Intercultural Transmission</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17333">Media Ecologies of the Modernist Scene: W. B. Yeats, Gabriele D’Annunzio, and Edward Gordon Craig</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Adrienne Janus</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Écologies médiatiques de la scène moderniste : W. B. Yeats, Gabriele D’Annunzio et Edward Gordon Craig</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17438">Transmitting <em>The Antiphon </em>into <em>Växelsången</em>: A Song of Exchanges</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Sanna Melin Schyllert</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Transmettre <em>The Antiphon</em> en suédois</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17503">Bloomsbury <em>à la Mode</em>: Modernist Transmissions in Contemporary Fashion Shows</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Antoine Perret</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Bloomsbury à la mode : Transmissions modernistes dans deux défilés de mode contemporains</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Transmission, Trauma, and Legacy</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17570">Whispers of History: The Challenges of Transgenerational Transmission of Trauma in Jean Rhys’s <em>After Leaving Mr Mackenzie</em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Alejandro Nadal-Ruiz</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Murmures de l’histoire : les défis de la transmission transgénérationnelle du trauma dans <em>After Leaving</em> <em>Mr Mackenzie</em> de Jean Rhys</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17699"><span xml:lang="en" lang="en">“Beauty Is Difficult”: On (Still) Reading Pound</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Sean Mark</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« La beauté est difficile » : (re)lire Pound aujourd’hui</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/17732">Afterword</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Anne Besnault</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Postface</span></div>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/17052</link>
    <dc:date>2025-10-01</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/16201">
    <title>37 | 2024 &#8211; Reanimating Modernisms (I): Embracing Neophilia, Neophobia, and the Modernists’ Renaissances</title>
    <description><![CDATA[<img alt="Reanimating Modernisms (I): Embracing Neophilia, Neophobia, and the Modernists’ Renaissances" src="http://journals.openedition.org/sillagescritiques/docannexe/file/16216/sillagescritiques_37-small200.jpg" /><div class="introduction" lang="en">
        <p>This issue is the first part of a diptych, entitled <em>Reanimating Modernisms</em>, which proceeds from the critical energies that, not least since the New Modernist studies, continue to challenge the notion of a singular modernism in the ever-proliferating renewal of the discipline. &#8220;Reanimating Modernisms (I): Embracing Neophilia, Neophobia, and the Modernists&#8217; Renaissances&#8221; takes stock of the reanimating energies of Modernist artists themselves by exploring the ways the claims to &#8220;Make it New&#8221; of Modernism are always bound up in a dialectical embrace of repetition and renewal, embracing also at one and the same time the antinomic moods of &#34;neophilia&#34; and &#34;neophobia.&#34;</p>
        <p>The plurality of Modernisms that have developed in the wake of Douglas Mao and Rebecca L. Walkowitz&#8217;s 2008 <em>PMLA</em> article follow rich and varied methodologies: resurrecting works of canonical Modernism from a &#8220;dead&#8221; or moribund state in the coffins of prior disciplinary containments (new criticism/high modernism, Eurocentric avant-garde, transatlantic Modernism, romantic proto-Modernism, contemporary neo-Modernism, etc.); expanding the field of what counts as &#8220;Modernist&#8221;; and crossing disciplinary boundaries and fields of study (literature, cultural studies, visual culture, film studies, sound studies, etc.). Issues 37 and 38 engage with these precedents and mobilise their dynamic approaches in order to reanimate the diverse discourses through which Modernism as an object of study is framed, without ever being fully contained. In these two issues, despite the range of topics and texts addressed, this reanimation is informed by, perhaps paradoxically, one of Modernism&#8217;s most long standing and generative sources of tension: the ways in which modernist aesthetic practices attempt to negotiate a relation to the past while at the same time respond to a modernity conditioned by unprecedented developments in transcultural, transnational, and technological transmission. Keeping in mind Walter Benjamin&#8217;s injunction that &#8220;In every era the attempt must be made to wrest tradition away from a conformism that is about to overpower it,&#8221; Reanimating Modernisms harnesses these reanimating energies to foreground questions of renovation and transgression central to the ongoing dialogue about what Modernism(s) means today.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16217">Introduction: (Re)Nascent Modernisms</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Adrienne Janus et Juliana Lopoukhine</div>
        </li>
        <li>
          <div class="publititle"><strong>I. Transhuman, Transnational, Transcultural Renascence</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16232">Modernism’s Zoo (Pet and Pen in Virginia Woolf’s <em>Flush</em>)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Frédéric Regard</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Zoo moderniste (pelage et papier dans <em>Flush</em> de Virginia Woolf)</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16317">Mina Loy’s Surrealist Strategies of Renewal</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Diane Drouin</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Mina Loy et ses stratégies surréalistes de renouvellement</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>II. Renascent Temporalities</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16394">Virginia Woolf’s “Modernist Renaissance” in “Anon”: A Singular Counter-History</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne Besnault</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La « renaissance moderniste » de Virginia Woolf dans « Anon » : une contre-histoire singulière</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16447">May Sinclair’s Romantic Corpus</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Leslie de Bont</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le corpus romantique de May Sinclair</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16547">Making the Past Audible: The Childlike Element and Renewal of Existence in Benjamin and Woolf</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne-Marie Smith-Di Biasio</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Rendre le passé audible : « l’élément enfant » et le renouvellement de l’existence chez Benjamin et Woolf</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>III. Personality and the Staging of Renascent Modernism</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16627">Virginia Woolf’s “New School of Biographies” and Eighteenth-century Life-Writing: a Sense of Kinship</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Maryam Thirriard</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le sentiment de parenté entre « la nouvelle école de biographies » de Virginia Woolf et les biographes du dix-huitième siècle</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16682">How to Undo Things and Selves with Words: Understanding Literature as Praxis in Virginia Woolf’s Essays on Actresses</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Caroline Marie</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Défaire les choses et les êtres avec les mots : penser la littérature comme praxis dans les essais de Virginia Woolf sur les actrices</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16759">Thomas Wolfe: <em>Modo </em>and the Potential for Renaissance </a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Amélie Moisy</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Thomas Wolfe : <em>Modo</em> et les possibilités d’une Renaissance</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>IV. The Modernists’ Renaissance(s)</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16839">Ezra Pound and the Italian Renaissance(s)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Emilie Georges</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Ezra Pound et la/les Renaissance(s) italienne(s)</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16887">Reviving/Revising “Lycidas”: Virginia Woolf’s Elegy to Unborn Poets in <em>A Room of One’s Own </em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Marie Laniel</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Raviver/réviser « Lycidas » : renaissances de l’élégie pastorale dans <em>A Room of One’s Own</em></span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16974">Afterword</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Benoît Tadié</div>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/16201</link>
    <dc:date>2024-12-03</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/15475">
    <title>36 | 2024 &#8211; Reception: Contemporary Perspectives</title>
    <description><![CDATA[<img alt="Reception: contemporary perspectives" src="http://journals.openedition.org/sillagescritiques/docannexe/file/15480/sillagescritiques_36-small200.jpg" /><div class="introduction" lang="en">
        <p>This issue explores the notion of reception as it informs the fields of intellectual history, literary theory and the visual and performance arts. Returning to the seminal insights of Hans-Robert Jauss and Wolfgang Iser, the contributors mobilize related notions, such as &#8220;interpretive community&#8221;, and assess their continuing relevance in contemporary critical contexts. They also explore forms of embodied reception, registering a &#8216;material&#8217; turn which calls for a multisensory apprehension of the phenomenal world. Reception is investigated, finally, as a political act, a critical response to oppressive or discriminatory discourses and regimes. This collection examines a broad and varied corpus, ranging from the XVI<sup>th</sup> century political treatise to the contemporary graphic novel, from the XIX<sup>h</sup> century reception of colour to XXI<sup>st</sup> century performance art.</p>
      </div>
      <div class="introduction" lang="fr">
        <p>Ce num&#233;ro explore les voies par lesquelles la notion de r&#233;ception informe les champs de l'histoire intellectuelle, de la th&#233;orie litt&#233;raire, des arts visuels et de la performance. &#192; la faveur d'une relecture des travaux pionniers de Hans-Robert Jauss ou de Wolfgang Iser, les contributrices et contributeurs convoquent les notions qui y sont associ&#233;es (telle que celle de &#171;&#160;communaut&#233; interpr&#233;tative&#160;&#187;) pour en r&#233;-&#233;valuer la pertinence &#224; l'aune du contexte critique contemporain. Les autrices et auteurs abordent &#233;galement des formes de r&#233;ception incarn&#233;e, t&#233;moins d'un &#171;&#160;tournant mat&#233;riel&#160;&#187; qui n&#233;cessite d'appr&#233;hender le monde ph&#233;nom&#233;nal par voie multi-sensorielle. Enfin, la r&#233;ception y est envisag&#233;e en tant qu'acte politique, en tant que r&#233;ponse critique faite &#224; autant de r&#233;gimes ou de discours oppressifs et discriminatoires. Le num&#233;ro dans son ensemble couvre un corpus large et vari&#233;, allant du trait&#233; politique du XVI<sup>e</sup> si&#232;cle au roman graphique contemporain, de la r&#233;ception de la couleur au XIX<sup>e</sup> si&#232;cle jusqu'&#224; l'art de la performance du XXI<sup>e </sup>si&#232;cle.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15483">Introduction</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Jagna Oltarzewska</div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15515">Pour une esthétique de la réception en histoire des idées politiques</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Clément Rodier</div>
          <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Toward A Reception Aesthetics in the History of Political Thought</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15545">Histoire de la réception et histoire du livre</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Roger Chartier</div>
          <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">History of Reception and History of the Book </span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16113">De l’histoire à la fiction : la réception des <em>Memoirs of the Life of Colonel Hutchinson</em></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Claire Gheeraert-Graffeuille</div>
          <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">From History to Fiction: The Reception of Lucy Hutchinson’s <em>Memoirs of the Life of Colonel Hutchinson</em></span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15592">Parody, Controversy, Commercial Opportunity: Samuel Foote’s <em>The Minor</em> (1760) and Its Reception</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Pierre Labrune</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Parodie, querelle et opportunisme commercial : la réception de <em>The Minor</em> (1760) de Samuel Foote</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/16025">Charles Bukowski’s Online Reading Community: Safeguarding the Author’s Work by Building a Consensus</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Amélie Macaud</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La communauté de lecteurs en ligne de Charles Bukowski: sauvegarder l’œuvre de l’auteur par la recherche d’un consensus</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15653">Colour reception(s): The Narrative of the Exhibition “Colour Revolution: Victorian Art, Fashion and Design” (Ashmolean Museum, Oxford, 21 September 2023-18 February 2024)</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Charlotte Ribeyrol</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Couleurs et réception(s) : Le scénario de l’exposition « Colour Revolution: Victorian Art, Fashion and Design » (Ashmolean Museum, Oxford, septembre 2023)</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15782">“Making Sense” of Art through Design: Towards a Multisensory Theory of Reception Aesthetics</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Inbal Strauss</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« Donner du sens » à l’art par le design : vers une théorie multisensorielle de l’esthétique de la réception</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15890">Changing Medium: The Contemporary Reception of Joseph Conrad’s <em>Heart of Darkness</em> in Two Graphic Novels</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Nathalie Martinière</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Réception contemporaine de <em>Heart of Darkness</em> de Joseph Conrad : effets de transposition dans deux romans graphiques</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15938">An Archaeology of Passage: Adrian Piper Passing and Not Passing as the Mythic Being</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Cat Dawson</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Une archéologie du passage chez Adrian Piper : passer ou ne pas passer pour l’Être Mythique</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15985">Talking Back to Virginia Woolf in Her Own Words: Gendered, Racial, and Literary Passing as Forms of Counter-Interpellation in Kabe Wilson’s “Dreadlock Hoax”</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Valérie Favre</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Répondre à Virginia Woolf avec ses mots à elle : le <em>passing</em> genré, racial et littéraire comme contre-interpellation dans “The Dreadlock Hoax” de Kabe Wilson</span></div>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/15475</link>
    <dc:date>2024-06-20</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/14738">
    <title>35 | 2023 &#8211; The Poetics of Framing, Performing Frames in the Visual Arts</title>
    <description><![CDATA[<img alt="The Poetics of Framing, Performing frames in the Visual Arts" src="http://journals.openedition.org/sillagescritiques/docannexe/file/14754/sillagescritiques_35-small200.jpg" /><div class="introduction" lang="en">
        <p>This collection of essays investigates the question of the frame from various angles such as art history, literary studies, visual studies and intermediality. Located at the junction between the external and the internal space of the work of art, the frame deploys the extent of its power as it is about to make the work happen. It is understood as a process that takes place in the interaction between the work of art and the space exterior to it. It thus problematizes the connections between the work and its spatial environment and more largely its cultural and political/ideological implications. The collection gathers essays focusing on painting, photography, manuscript studies, and literature, and analyses works produced in Anglophone countries (from the British Isles to the United States, from Canada to Australia) from the Middle Ages to the present.</p>
      </div>
      <div class="introduction" lang="fr">
        <p>Les articles de ce num&#233;ro abordent la question du cadre &#224; partir de perspectives aussi diverses que celles de l&#8217;histoire de l&#8217;art, des &#233;tudes litt&#233;raires, des &#233;tudes visuelles et de l&#8217;interm&#233;dialit&#233;. Situ&#233; au point de jonction entre l&#8217;ext&#233;rieur et&#160;l&#8217;int&#233;rieur, le cadre exprime pleinement son potentiel au moment o&#249; il fait advenir l&#8217;&#339;uvre&#160;en tant qu&#8217;&#339;uvre. Le cadre se&#160;comprend ici comme un processus qui s&#8217;accomplit&#160;lors de l&#8217;interaction entre l&#8217;&#339;uvre et l&#8217;espace qui l&#8217;entoure. Le cadre probl&#233;matise les liens entre une&#160;&#339;uvre et son environnement spatial, et plus largement ses implications culturelles, politiques et id&#233;ologiques. Les articles rassembl&#233;s ici portent sur la peinture, la photographie, les manuscrits et la litt&#233;rature, et analysent des &#339;uvres produites dans les pays anglophones (des &#206;les Britanniques aux &#201;tats-Unis, du Canada &#224; l&#8217;Australie) du Moyen &#194;ge &#224; aujourd&#8217;hui.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14758">Foreword</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Gwendolyne Cressman, Fanny Moghaddassi et Rémi Vuillemin</div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14804">Making Space for Painting</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Paul Duro</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La fabrique de l’espace en peinture</span></div>
        </li>
        <li>
          <div class="publititle"><strong>Medieval and Early Modern Frames</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14849">Tracing the Divine Office: On Frames and Patterns in Medieval Latin Psalter Manuscripts</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Karin Becker</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">À la recherche de l’office divin : Sur les cadres et structures des manuscrits médiévaux du Psautier latin</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14888">Framing the Golgotha in Renaissance Painting</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Péter Bokody</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le Golgotha et les cadres enchâssés dans la peinture de la Renaissance </span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14979"><span xml:lang="en" lang="en">In and Out of the Frame: The Construction of Meaning in Henry Peacham’s </span><em><span xml:lang="en" lang="en">Minerva Britanna </span></em><span xml:lang="en" lang="en">(1612)</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Cezara Bobeica</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Du cadre au hors-cadre : construire le sens dans le <em>Minerva Britanna</em> de Henry Peacham (1612)</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Nineteenth-century Frames</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15019"><span xml:lang="en" lang="en">The Reversed Canvas: A Topos of Conflict Between Commercial and Aesthetic Values in Nineteenth-Century Paris and London</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Richard Read</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">La toile retournée : Un topos du conflit entre valeurs commerciales et esthétiques à Paris et à Londres au XIX<sup>e</sup> siècle</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15038">Framing Colonial Australia: A Socio-historical Articulation of the Display of Art</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anita Gowers</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le cadre dans l’Australie coloniale : une articulation socio-historique de l’exposition d’art</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15078"><span xml:lang="en" lang="en">Who’s In and Who’s Out? </span><em><span xml:lang="en" lang="en">War News from Mexico</span></em><span xml:lang="en" lang="en"> and the Framing of Evil</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Alan Hirsch</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">De l’intérieur ou de l’extérieur du cadre ? La représentation du Mal dans <em>War News from Mexico</em></span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Contemporary Frames</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15109"><em><span xml:lang="en" lang="en">Ceci n’est pas le territoire:</span></em><span xml:lang="en" lang="en"> Transcending the Visual and Literary Frame</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Dane Coult</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr"><em>Ceci n’est pas le territoire :</em> Transcender le cadre visuel et littéraire</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15174"><span xml:lang="en" lang="en">Framing the Land: Canadian Landscapes Revisited in Jin-me Yoon and Lorraine Gilbert’s Photography</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Gwendolyne Cressman</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Dynamiques du cadre dans la photographie de Jin-me Yoon et de Lorraine Gilbert : la fabrique des paysages canadiens revisitée </span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Varia</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15314"><span xml:lang="en" lang="en">The Dividing Sword: Basil Bunting</span><span xml:lang="en" lang="en">’</span><span xml:lang="en" lang="en">s </span><em><span xml:lang="en" lang="en">The Spoils</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Jeffrey Twitchell-Waas</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">L’épée qui divise : <em>The Spoils</em> de Basil Bunting</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15268"><span xml:lang="en" lang="en">A Continuity of Voices in Russell Banks’s </span><em><span xml:lang="en" lang="en">A Permanent Member of the Family</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne-Laure Tissut</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Une continuité de voix dans <em>A Permanent Member of the Family</em> de Russell Banks</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/15219"><span xml:lang="en" lang="en">Shakespeare During Covid-19: Expanding Our Theatrical Horizons</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Méline Dumot</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Shakespeare pendant le Covid-19 : De nouvelles perspectives théâtrales</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/14738</link>
    <dc:date>2023-11-14</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/14122">
    <title>34 | 2023 &#8211; Genre Trouble in Early Modern English Writing / Body Building</title>
    <description><![CDATA[<img alt="Genre Trouble in Early Modern English Writing (1500–1800) / Body-Building" src="http://journals.openedition.org/sillagescritiques/docannexe/file/14127/sillagescritiques_34-small200.jpg" /><div class="introduction" lang="en">
        <p>Early modern writings frequently resist neat or easy generic categorisation. Subject to interpretation, pastiche and modification, generic categories offer flexible guidelines rather than a strict set of rules. This special issue aims to look at generic experimentation and innovation in early modern writing as a way to better understand the period&#8217;s multiple and evolving conceptions of genre.</p>
        <p>This special issue brings together six essays around three topics. First, the question of generic hybridity. This section incorporates one essay which offers an answer to the historical origin of the generic mixity that characterises English Renaissance literature, and another which examines how this plays out in Spenser&#8217;s <em>Shepheardes Calendar</em>, in its combination of classical and popular forms. Second, female life-writing: a flexible genre in which authors subverted readers&#8217; expectations of what an autobiography should look like, and how it should be read. Third, paratexts: a section which asks how two opposite paratexts &#8211; the dedicatory epistle and the epilogue &#8211; balance their own genre norms with those of their appended text.</p>
      </div>
      <div class="introduction" lang="fr">
        <p>Il est souvent difficile de cat&#233;goriser les &#233;crits de la premi&#232;re modernit&#233;. Soumises &#224; l&#8217;interpr&#233;tation, le pastiche et la modification, les cat&#233;gories g&#233;n&#233;riques proposent des sch&#233;mas flexibles plut&#244;t que des r&#232;gles strictes. Ce dossier sp&#233;cial &#233;tudie l&#8217;exp&#233;rimentation g&#233;n&#233;rique et l&#8217;innovation dans l&#8217;&#233;criture de la p&#233;riode moderne (1500-1800) afin de mieux saisir l&#8217;interpr&#233;tation fluide et multiforme du genre &#224; la p&#233;riode.</p>
        <p>Ce dossier rassemble six articles qui traitent de trois sujets. D&#8217;abord, la question de l&#8217;hybridit&#233; g&#233;n&#233;rique est abord&#233;e dans un article proposant une r&#233;ponse &#224; l&#8217;origine historique de la mixit&#233; g&#233;n&#233;rique de la litt&#233;rature de la Renaissance anglaise, et dans une &#233;tude qui montre comment cette mixit&#233; peut se manifester &#224; travers la combinaison de formes classiques et populaires dans le <em>Shepheardes Calendar</em> de Spenser. Les deux articles suivants portent sur le r&#233;cit de vie en tant que genre flexible qui d&#233;fie les attentes du lecteur. Enfin, les deux derniers interrogent la mani&#232;re dont deux formes de paratextes oppos&#233;s &#8211; l&#8217;&#233;pilogue dramatique et l&#8217;adresse au lecteur &#8211; jouent avec les convention g&#233;n&#233;riques des textes auxquels ils sont rattach&#233;s.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="publititle"><strong>Genre Trouble in Early Modern English Writing (1500–1800)</strong></div>
          <div class="altertitle foreign">
            <div lang="fr">Trouble dans le genre dans l’écriture de la première modernité en Angleterre (1500-1800)</div>
          </div>
          <div class="director">Sous la direction de Emma Bartel et Katie Ebner-Landy</div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14142">Introduction: Genre Trouble in Early Modern English Writing (1500-1800)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Emma Bartel et Katie Ebner-Landy</div>
            </li>
            <li>
              <div class="publititle"><strong>Generic Hybridity</strong></div>
              <div class="altertitle foreign">
                <div lang="fr">Hybridité générique</div>
              </div>
              <ul class="summary">
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14158">Rhetorical Mixture: Hermogenes and Hybridity in English Renaissance Literary Criticism </a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Javiera Lorenzini Raty</div>
                  <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Mélanges rhétoriques : Hermogène de Tarse et la notion de l’hybridité dans la théorie littéraire de la Renaissance anglaise </span></div>
                </li>
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14227"><span xml:lang="en" lang="en">Spenser’s Popular Pastoral: Hodgepodges and Genre Trouble in </span><em><span xml:lang="en" lang="en">The Shepheardes Calender</span></em></a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Abigail Shinn</div>
                  <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">La pastorale populaire de Spenser : amalgames et problèmes génériques dans <em>The Shepheardes Calender</em></span></div>
                </li>
              </ul>
            </li>
            <li>
              <div class="publititle"><strong>Life-Writing</strong></div>
              <div class="altertitle foreign">
                <div lang="fr">Récit de vie</div>
              </div>
              <ul class="summary">
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14257"><span xml:lang="en" lang="en">Early Modern Exemplars: Reading Strategies and the Assertion of Readerly Identity and Authority in the Life-writing of Mary Ward, Dionys Fitzherbert and Elizabeth Isham</span></a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Martin Thompson</div>
                  <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">L’exemplarité à la première modernité : stratégies de lecture et l’affirmation de l’identité et de l’autorité de la lectrice dans les récits de vie de Mary Ward, Dionys Fitzherbert et Elizabeth Isham</span></div>
                </li>
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14331"><span xml:lang="en" lang="en">Matriarchal Exemplarity in Elizabeth Isham’s </span><em><span xml:lang="en" lang="en">Booke of Rememberance</span></em></a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Emma Rayner</div>
                  <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">L'exemplarité matriarcale dans le <em>Booke of Rememberance</em> d'Elizabeth Isham</span></div>
                </li>
              </ul>
            </li>
            <li>
              <div class="publititle"><strong>Paratexts</strong></div>
              <div class="altertitle foreign">
                <div lang="fr">Paratextes</div>
              </div>
              <ul class="summary">
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14341">“I feare to prefixe to these few poems a long epistle”: Dedications, Addresses to the Reader and Generic Influences</a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Béatrice Chaix Rouchon</div>
                  <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« I feare to prefixe to these few poems a long epistle » : dédicaces, adresses au lecteur et influences génériques </span></div>
                </li>
                <li>
                  <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14398">“His Comedie unto his Theatre”: Genre in the Early Modern Dramatic Epilogue</a> <span class="fullText">[Texte intégral]</span></div>
                  <div class="author">Emily Smith</div>
                  <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« “His Comedie unto his Theatre” : le genre dans l’épilogue dramatique de la première modernité »</span></div>
                </li>
              </ul>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong><em>Body building</em>, (dé)construire le corps en littérature</strong></div>
          <div class="altertitle foreign">
            <div lang="en">‘Body Building,’ (De)constructing the Body in Literature</div>
          </div>
          <div class="director">Sous la direction de Quitterie de Beauregard, Alice Clabaut et Marie Duic</div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14451">Introduction : <em>Body building</em>, (dé)construire le corps en littérature</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Quitterie de Beauregard, Alice Clabaut et Marie Duic</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Introduction: ‘Body Building,’ (De)constructing the Body in Literature</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14492">Corps (é)conduits : La construction d’un regard-machine dans <em>Crash</em> (1996) et <em>Cosmopolis</em> (2012) de David Cronenberg</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Guilhem Billaudel</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Bodies Turned On and Turned Away: The Building of a Machinic Point-of-view in David Cronenberg’s <em>Crash</em> (1996) and <em>Cosmopolis</em> (2012<span xml:lang="en" lang="en">)</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14533">De l’Esthétisation à l’anti-symbolisme : les évolutions du corps chez William Carlos Williams</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Samantha Lemeunier</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">From Aestheticized to Anti-symbolic Bodies in William Carlos Williams’s Works</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14573"><em>Un corps à soi</em> : la réécriture du blason dans <em>Odes</em> de Sharon Olds</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Juliette Bouanani</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><em>A Body of One’s Own </em>: Sharon Olds’ <em>Odes </em>and the rewriting of the blazon</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14653">Diegetic Pregnancy in Jesse Greengrass’s <em>Sight </em>(2018), or the Ethics of Building Bodies in(to) Literature</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Maxence Gouleau</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Grossesse diégétique dans <em>Sight</em> (2018) de Jessie Greengrass, ou de l’éthique de construire les corps dans la littérature</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/14122</link>
    <dc:date>2023-06-30</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/13369">
    <title>33 | 2022 &#8211; Le recueil poétique : un format obsolète à l’ère numérique ?</title>
    <description><![CDATA[<img alt="Le recueil poétique : un format obsolète à l’ère numérique ?" src="http://journals.openedition.org/sillagescritiques/docannexe/file/13381/sillagescritiques_33-small200.jpg" /><div class="introduction" lang="fr">
        <p style="text-align: justify;">Ce volume propose d&#8217;examiner l&#8217;&#234;tre et le devenir du recueil po&#233;tique dans la transition du livre imprim&#233; au support num&#233;rique. Si le champ po&#233;tique et ses attendus g&#233;n&#233;riques depuis la Renaissance ont &#233;t&#233; fa&#231;onn&#233;s par les contraintes mat&#233;rielles et commerciales de l&#8217;objet-livre, comment mesurer aujourd&#8217;hui l&#8217;impact des r&#233;seaux sociaux, blogs et archives num&#233;riques sur la po&#233;sie, sa circulation, sa r&#233;ception mais aussi sa composition&#160;? Y a-t-il eu extension ou resserrement du domaine po&#233;tique depuis l&#8217;av&#232;nement du Web&#160;? Loin d&#8217;&#234;tre strictement contemporaine, la question de la constitution du corpus po&#233;tique (comme la crainte de sa dispersion) pr&#233;c&#232;de tr&#232;s largement la naissance d&#8217;internet et ne peut donc &#234;tre imput&#233;e &#224; ce changement de paradigme.</p>
        <p style="text-align: justify;">&#192; rebours des discours alarmistes annon&#231;ant la mort du livre ou l&#8217;&#233;puisement de la po&#233;sie, les articles r&#233;unis ici sugg&#232;rent que le recueil de po&#232;mes sert plus que jamais de laboratoire esth&#233;tique et politique, au sein duquel po&#232;tes, &#233;diteurs et critiques peuvent investir l&#8217;instabilit&#233; de cet objet textuel pour le red&#233;couvrir en tant que r&#233;seau qui constamment se fait et se d&#233;fait. Examiner les diff&#233;rentes modalit&#233;s de la po&#233;sie hors du livre revient ainsi &#224; se demander dans quelle mesure le po&#232;me multimodal et composite &#8211;&#160;tour &#224; tour installation, performance et playlist&#160;&#8211; se r&#233;invente comme assemblage &#8211;&#160;&#233;ph&#233;m&#232;re, radical, polysensoriel&#160;&#8211; sur la sc&#232;ne contemporaine. M&#234;lant diff&#233;rentes approches et couvrant plusieurs p&#233;riodes et aires g&#233;ographiques, ce dossier d&#233;montre en fin de compte qu&#8217;&#224; l&#8217;&#232;re num&#233;rique, il n&#8217;y a pas <em>disparition </em>mais bien <em>mutation </em>du recueil po&#233;tique, qui se r&#233;invente continuellement sous les pressions de l&#8217;histoire et de l&#8217;&#233;volution technologique, t&#233;moignant de son extraordinaire vitalit&#233;.</p>
      </div>
      <div class="introduction" lang="en">
        <p style="text-align: justify;">This special issue examines the nature and future of the poetry collection in the transition from the printed book to digital media. Since poetry and its generic features from the Renaissance onwards have been shaped by the material and commercial constraints of the book-as-object, how can we gauge today the impact of social networks, blogs and digital archives on the composition, circulation, and reception of poetry? Has poetry as a field expanded or contracted since the advent of the Web? Far from being strictly contemporary issues, questions as to how a poetic corpus is constituted (and fears about its possible dispersion) largely precede the birth of the Internet and cannot therefore be attributed to this paradigm shift.</p>
        <p style="text-align: justify;">Writing against alarmist discourses about the death of the book or the exhaustion of poetry, the articles gathered here suggest that the poetry book more than ever functions as an aesthetic and political laboratory within which poets, publishers, and critics can invest the instability of the collection as a network that is constantly shaped and reshaped. To examine the different modalities of poetry outside the book is thus to ask to what extent the multimodal and composite poem &#8211;&#160;in turn an installation, a performance and a playlist&#160;&#8211; reinvents itself as an ephemeral, radical, polysensory assemblage on the contemporary scene. Covering a wide range of methods, periods, and places, these essays eventually demonstrate that poetry books in the digital age are not so much <em>disappearing</em> as they are <em>mutating</em>; in fact, they continue to reinvent themselves under the pressures of history and technological evolution, a testament to their exceptional vitality.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13383"><span xml:lang="en" lang="en">Introduction</span></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Juliette Utard</div>
        </li>
        <li>
          <div class="publititle"><strong>Predigital Assemblages: The Making and Breaking of Poetry Books</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13394">Internet et le Grand Siècle : les recueils collectifs de poésie au regard du Web</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Christophe Schuwey</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">French Classicism and the Internet: Rethinking Multi-Authored Poetry Collections in the Digital Age</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13464">Gathering and Scattering Emily Dickinson’s Poetry</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Antoine Cazé</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Recueillir et disperser la poésie d’Emily Dickinson</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Radical Assemblages: The Poetics and Politics of Going Online</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13544"><span xml:lang="en" lang="en">Claudia Rankine’s </span><em><span xml:lang="en" lang="en">Citizen</span></em><span xml:lang="en" lang="en">: A Network-Text</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Michael Hinds</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr"><em>Citizen</em> de Claudia Rankine : un texte-réseau</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13611">Vanessa Place: The Death of the Poetry Book</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Hélène Aji</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Vanessa Place : la mort du recueil poétique</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13664"><span xml:lang="en" lang="en">Alt Lit, </span><em><span xml:lang="en" lang="en">Illuminati Girl Gang</span></em><span xml:lang="en" lang="en"> and </span><em><span xml:lang="en" lang="en">Porn Carnival</span></em><span xml:lang="en" lang="en">: A Decade of Online Poetry Communities (2010-2020)</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Laura Marie Marciano</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Alt Lit, <em>Illuminati Girl Gang</em> et <em>Porn Carnival </em>: une décennie de communautés poétiques en ligne (2010-2020)</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13763">How the Internet is Transforming the Bombay Poetry Scene</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Manon Boukhroufa-Trijaud</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Comment internet transforme la scène poétique de Bombay</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>3D Poetry Collections in the Embrace of the Digital Age (Sound, Image, Network)</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13818">Le <em>Remix</em> comme forme littéraire : essai sur les publications récentes de Caroline Bergvall</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Vincent Broqua</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Remix as Literary Form: Essay on Caroline Bergvall’s Recent Publications</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13864"><span xml:lang="en" lang="en">From Multivalent Writing to a Poetics of the Book: A Media-Specific Analysis of Mary Ruefle’s </span><em><span xml:lang="en" lang="en">A Little White Shadow</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Catherine Ann Winters</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">De l’écriture multivalente à la poétique du livre : Analyse média-spécifique de <em>A Little White Shadow</em> de Mary Ruefle</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13944">From Book to Playlist: How Open-Access Audio Archives are Renewing the Poetry Collection</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Abigail Lang</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Du livre à la playlist : comment les archives sonores de poésie en libre accès renouvellent le recueil poétique</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/14021">Performance, Hybridity and Convergence in the Poetry of Alice Oswald and Kae Tempest</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Bastien Goursaud</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Performance, hybridité et convergence dans la poésie d’Alice Oswald et de Kae Tempest</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/13369</link>
    <dc:date>2022-12-31</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/12848">
    <title>32 | 2022 &#8211; After “1984”: Some Contemporary British Versions of Dystopia</title>
    <description><![CDATA[<img alt="After 1984: Some Contemporary British Versions of Dystopia" src="http://journals.openedition.org/sillagescritiques/docannexe/file/12869/sillagescritiques_32-small200.jpg" /><div class="introduction" lang="en">
        <p>1984 is the date in the future when the action in Orwell&#8217;s premonitory novel was supposed to take place. When people in the real world of 1984 came to realise that history had caught up with that originally fictional date, worried interrogations started to emerge as to whether Orwell&#8217;s fiction had actually come true. Whether we now lived in the dystopian world that the novel had foreseen, <em>i.e.</em> in the world of Big Brother &#8211; a world of omnipresent surveillance screens, greedily confiscated power structures, constant linguistic revisionary tactics, and ruthlessly utilitarian biopolitics. Orwell&#8217;s striking modernity was apparent to everyone, ordinary citizens and journalists, sophisticated literary critics and astute political thinkers, and of course shrewd artists of all sorts, including film directors and novelists.</p>
        <p>What are the contemporary forms of dystopia in Britain? Have topics changed? Perspectives been modified? Is there such a thing as a British posterity of Orwell?</p>
      </div>
      <div class="introduction" lang="fr">
        <p>1984 est cette date du futur &#224; laquelle le roman pr&#233;monitoire d&#8217;Orwell &#233;tait cens&#233; se passer. Lorsque les habitants du monde r&#233;el de 1984 prirent conscience que l&#8217;Histoire avait sans doute rattrap&#233; la fiction, des inqui&#233;tudes se firent jour, quant &#224; savoir si la fiction d&#8217;Orwell n&#8217;&#233;tait pas devenue r&#233;alit&#233;. Si nous ne vivions pas dans le monde dystopique pr&#233;dit par le roman, dans le monde de &#171;&#160;Big Brother&#160;&#187;, c&#8217;est-&#224;-dire dans un monde de cam&#233;ras de surveillance omnipr&#233;sentes, de structures de pouvoir noyaut&#233;es par les puissances de l&#8217;argent, de techniques de manipulations linguistiques incessantes, de bio-politiques d&#233;tach&#233;es de tout imp&#233;ratif moral. L&#8217;&#233;tonnante modernit&#233; d&#8217;Orwell apparut &#224; chacun, citoyens ordinaires, critiques litt&#233;raires avertis, penseurs politiques avis&#233;s, et bien s&#251;r artistes engag&#233;s de tous horizons, metteurs en sc&#232;ne et romanciers compris.</p>
        <p>Quelles sont les formes contemporaines de la dystopie en Grande-Bretagne&#160;? Les th&#232;mes ont-ils &#233;volu&#233;&#160;? Les perspectives sont-elles diff&#233;rentes&#160;? Existe-t-il quelque chose que l&#8217;on pourrait nommer la post&#233;rit&#233; d&#8217;Orwell&#160;?</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12872"><span xml:lang="en" lang="en">The Legacy of </span><em><span xml:lang="en" lang="en">Nineteen Eighty-Four</span></em><span xml:lang="en" lang="en">: British Dystopias, from 1984 to the present day</span></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Claire Wrobel</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">L’héritage de <em>Mille neuf cent quatre-vingt-quatre</em> : la dystopie en Grande-Bretagne, de 1984 à nos jours</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12939">Privatized Futures, Climate Control, and Resistance in Recent Scottish Dystopian Fiction</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Peter Clandfield</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Avenirs privatisés, contrôle du climat et résistance dans quelques dystopies écossaises récentes</span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13028"><span xml:lang="en" lang="en">“Where Does My Hope Come From?”: P. D. James’s </span><em><span xml:lang="en" lang="en">The Children of Men </span></em><span xml:lang="en" lang="en">(1992) </span><span xml:lang="en" lang="en">as a Christian Dystopia in the Context of the Late 20</span><sup><span xml:lang="en" lang="en">th</span></sup><span xml:lang="en" lang="en"> Century Demographic Crisis</span></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Suzanne Bray</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">« Where Does My Hope Come From? » : <em>The Children of Men</em> (1992) de P. D. James comme dystopie chrétienne dans le contexte de la crise démographique de la fin du XX<sup>ème</sup> siècle » </span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13104"><span xml:lang="en" lang="en">“Just Fabric”: The Becoming Black of the (Post)Human in Kazuo Ishiguro’s </span><em><span xml:lang="en" lang="en">Klara and the Sun</span></em><span xml:lang="en" lang="en"> (2021)</span></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Agnibha Banerjee</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr"><span xml:lang="en" lang="en">« Just Fabric »: Le devenir noir du posthumain dans </span><em><span xml:lang="en" lang="en">Klara and the Sun</span></em><span xml:lang="en" lang="en"> de Kazuo Ishiguro</span></span></div>
        </li>
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13152"><span xml:lang="en" lang="en">Dystopia, surveillance and the spaces of social control in Jenni Fagan’s </span><em><span xml:lang="en" lang="en">The Panopticon</span></em><span xml:lang="en" lang="en"> (2012)</span></a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Claire Wrobel</div>
          <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Dystopie, surveillance et espaces du contrôle social dans The Panopticon (2012) de Jenni Fagan</span></div>
        </li>
        <li>
          <div class="publititle"><strong>Coda</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13330"><span xml:lang="en" lang="en">Pandemic Fictions: Covid-19 and the Cultures of Dystopia</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Sean Mark</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Raconter la pandémie : Covid-19 et imaginaires dystopiques</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>VARIA</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13242">Intercultural and Intertextual Crossings in Sarah Howe’s <em>Loop of Jade</em> (2015)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Yasna Bozhkova</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Traversées interculturelles et croisements intertextuels dans <em>Loop of Jade</em> de Sarah Howe</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/13269"><span xml:lang="en" lang="en">The Precarious Balance of Refugees: Rupture and Connectivity in Mohsin Hamid’s </span><em><span xml:lang="en" lang="en">Exit West</span></em><span xml:lang="en" lang="en"> (2017) and Helon Habila’s </span><em><span xml:lang="en" lang="en">Travelers</span></em><span xml:lang="en" lang="en"> (2019)</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Vanessa Guignery</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">L’équilibre précaire des réfugiés : rupture et connectivité dans <em>Exit West</em> (2017) de Mohsin Hamid et <em>Travelers</em> de Helon Habila (2019)</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/12848</link>
    <dc:date>2022-11-30</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/11625">
    <title>31 | 2021 &#8211; Le spectacle de l’histoire récente et immédiate sur la scène britannique de l’époque moderne et contemporaine</title>
    <description><![CDATA[<img alt="Henry VI, Mise en sc. Thomas Jolly" src="http://journals.openedition.org/sillagescritiques/docannexe/file/12722/664951_henry_vi_de_shakespeare_mise_en_scene_thomas_jolly-small200.jpg" /><div class="introduction" lang="fr">
        <p>Ce num&#233;ro th&#233;matique de la revue <em>Sillages critiques</em> r&#233;unit une s&#233;lection de textes issus des travaux du projet &#201;mergence ClioS (de Sorbonne Universit&#233;), co-pilot&#233; par Line Cottegnies et Elisabeth Angel-Perez, et qui a port&#233;, entre 2019 et 2021, sur le th&#233;&#226;tre d&#8217;histoire imm&#233;diate sur la sc&#232;ne britannique de la premi&#232;re modernit&#233; et de la p&#233;riode contemporaine. Il s&#8217;agissait de r&#233;fl&#233;chir &#224; la nature sp&#233;cifique de ce th&#233;&#226;tre de temps de crise qui s&#8217;approprie l&#8217;histoire &#171;&#160;contemporaine&#160;&#187;, qu&#8217;elle soit r&#233;cente ou imm&#233;diate, en faisant appel &#224; des sp&#233;cialistes de th&#233;&#226;tre des deux p&#233;riodes consid&#233;r&#233;es.</p>
        <p>Les articles r&#233;unis ici visent &#224; d&#233;finir le genre du th&#233;&#226;tre d&#8217;histoire imm&#233;diate et r&#233;cente &#224; deux p&#233;riodes et dans deux contextes bien diff&#233;rents. La premi&#232;re section, qui s&#8217;int&#233;resse au th&#233;&#226;tre de la premi&#232;re modernit&#233;, propose de r&#233;fl&#233;chir &#224; la mani&#232;re dont ce th&#233;&#226;tre donne forme au mat&#233;riau historique, en montrant comment les questions d&#8217;esth&#233;tique sont d&#233;j&#224; id&#233;ologiques. Un second ensemble de textes &#233;tudie comment trois pi&#232;ces historiques de la premi&#232;re modernit&#233; &#233;clairent de mani&#232;re critique leur propre pr&#233;sent.La troisi&#232;me section met en &#233;vidence la mani&#232;re dont le th&#233;&#226;tre historique de la premi&#232;re modernit&#233; peut &#171;&#160;servir&#160;&#187; une cause contemporaine par diverses modalit&#233;s de r&#233;&#233;criture, ou encore en &#233;tant mis en sc&#232;ne dans un contexte singulier qui en d&#233;place les enjeux. La quatri&#232;me section s&#8217;int&#233;resse &#224; la mani&#232;re dont le th&#233;&#226;tre contemporain se saisit &#224; son tour d&#8217;&#233;v&#233;nements contemporains pour &#233;crire un &#171;&#160;th&#233;&#226;tre d&#8217;histoire imm&#233;diate&#160;&#187;. La derni&#232;re section aborde la question de la r&#233;ception du th&#233;&#226;tre historique de la premi&#232;re modernit&#233; &#224; travers la traduction contemporaine et des malentendus auxquels la traduction peut donner lieu. Shakespeare est-il vraiment notre &#171;&#160;contemporain&#160;&#187;&#160;? Est-il plus contemporain en fran&#231;ais qu&#8217;en anglais &#233;lisab&#233;thain&#160;? Et s&#8217;il est permis de le penser, quel r&#244;le jouent les traductions dans ce qui n&#8217;est peut-&#234;tre au fond qu&#8217;un malentendu&#160;?</p>
      </div>
      <div class="introduction" lang="en">
        <p>This issue of the electronic journal <em>Sillages critiques</em> offers a selection of texts which proceed from the <em>&#201;mergence</em> project, the title of which is <em>ClioS&#160;: Immediate history on the British Stage</em> which was directed between 2019 and 2021 by Line Cottegnies et Elisabeth Angel-Perez at Sorbonne Universit&#233;. The project studied British drama about immediate history in early modernity and in the contemporary period. It aimed at defining the specific nature of this theatre for a time of crisis which appropriates &#171;&#160;contemporary&#160;&#187; history, whether recent or strictly-speaking &#171;&#160;immediate&#160;&#187; as defined by historicans. In order to do so, it brought together specialists of the early modern as well as contemporary stage.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12725">Avant-propos : Représenter l’histoire immédiate sur les scènes britanniques modernes et post-modernes</a> <span class="fullText">[Texte intégral]</span></div>
          <div class="author">Élisabeth Angel-Perez, Line Cottegnies et Virginie Yvernault</div>
          <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Foreword: Staging Immediate History on the Early Modern British and Postmodern Stages</span></span></div>
        </li>
        <li>
          <div class="publititle"><strong>I. Écrire le théâtre de l’histoire – donner forme au matériau historique (questions d’esthétique)</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11632">Politique tragique <em>vs</em>. politique comique ? <em>Richard III</em> de Shakespeare et <em>A Game at Chess</em> de Middleton</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Clotilde Thouret</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Shakespeare’s </span><em><span xml:lang="en" lang="en">Richard III</span></em><span xml:lang="en" lang="en"> and Middleton’s </span><em><span xml:lang="en" lang="en">A Game at Chess</span></em><span xml:lang="en" lang="en"> : A Politics of Tragedy </span><em><span xml:lang="en" lang="en">vs</span></em><span xml:lang="en" lang="en">. Politics of Comedy</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11700">L’Angleterre et l’Écosse au miroir de la fureur : <em>L’Écossaise</em> d’Antoine de Montchrestien et <em>Marie Stuard</em> de Charles Regnault</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Frédéric Sprogis</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">England and Scotland through the Prism of Fury: Antoine de Montchrestien's </span><em><span xml:lang="en" lang="en">L’Ecossaise</span></em><span xml:lang="en" lang="en"> and Charles Regnault's </span><em><span xml:lang="en" lang="en">Marie Stuard</span></em></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11764">Tout est faux. <em>Henry VIII</em> de Shakespeare et Fletcher ou comment on falsifie l’histoire</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne Teulade</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">All is false. </span><em><span xml:lang="en" lang="en">Henry VIII </span></em><span xml:lang="en" lang="en">by Shakespeare and Fletcher: Or How to Falsify History</span></span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>II. L’histoire récente, miroir politique et critique du présent</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11820">Lisibilité de l’histoire et (in)visibilité des corps violentés dans <em>Sir Thomas More</em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Nicolas Thibault</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">The Intelligibility of History and the (In)visibility of the Bruised Bodies in </span><em><span xml:lang="en" lang="en">Sir Thomas More</span></em></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11900">Philip Massinger et le théâtre historique : trouver la bonne distance</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Gilles Bertheau</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Philip Massinger and Historical Drama: Adopting the Right Distance</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11989"><span xml:lang="en" lang="en">Furtive majesty in John Ford’s </span><em><span xml:lang="en" lang="en">Perkin Warbeck</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">John Gillies</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La Majesté furtive dans <em>Perkin Warbeck </em>de John Ford</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>III. L’histoire contemporaine au prisme d’un théâtre historique</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12099"><em>L’Irrésistible Ascension d’Arturo Ui</em>, une pièce « d’histoire immédiate » ?</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Emmanuelle Hénin</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><em><span xml:lang="en" lang="en">The</span></em><span xml:lang="en" lang="en"> </span><em><span xml:lang="en" lang="en">Resistible Rise of Arturo Ui</span></em><span xml:lang="en" lang="en">, a Play about “immediate History”?</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12187">Réflexions sur l’appropriation du théâtre historique élisabéthain par la scène britannique contemporaine : usages de <em>Macbeth</em> dans <em>Thirteenth Night</em> de Howard Brenton (1981) et <em>Dunsinane</em> de David Greig (2010)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Line Cottegnies</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Reflections on the Appropriation of Elizabethan Historical Theatre on the Contemporary British Stage: The Uses of </span><em><span xml:lang="en" lang="en">Macbeth</span></em><span xml:lang="en" lang="en"> in Howard Brenton’s </span><em><span xml:lang="en" lang="en">Thirteenth Night</span></em><span xml:lang="en" lang="en"> de Howard Brenton (1981) and David Greig’s </span><em><span xml:lang="en" lang="en">Dunsinane</span></em><span xml:lang="en" lang="en"> (2010)</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12790">« Tout est dedans ». Remarques sur la matrice shakespearienne à propos d’<em>I, Shakespeare </em>de Tim Crouch</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Virginie Yvernault</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">“It’s all in there”. Variations on the Shakespearian matrix in Tim Crouch’s </span><em><span xml:lang="en" lang="en">I, Shakespeare</span></em></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12262">Shakespeare en prison : le cas d’Avignon</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Florence March</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Shakespeare in Prison : the Avignon Festival as Case Study</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>IV. Penser et Représenter l’événement contemporain&#160;: un théâtre d’histoire immédiate</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12304"><span xml:lang="en" lang="en">Writing, rewriting and revisiting the Cold War in Tom Stoppard’s </span><em><span xml:lang="en" lang="en">Squaring the Circle. Poland 1980-81</span></em><span xml:lang="en" lang="en"> (1984)</span><strong></strong></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Jean Du Verger</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Écrire, réécrire et revisiter la Guerre froide dans <em>Squaring the Circle. Poland 1980-81</em> (1984) de Tom Stoppard</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12379"><em>Osama the Hero</em> (2004) de Dennis Kelly ou pourquoi le théâtre politique n’est pas une « foutue perte de temps »</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Aloysia Rousseau</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Dennis Kelly’s </span><em><span xml:lang="en" lang="en">Osama the Hero</span></em><span xml:lang="en" lang="en"> (2004) or Why Political Theatre Isn’t a “Fucking Waste of Time”</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12440"><span xml:lang="en" lang="en">Frames of violence and recent history in Simon Stephens' </span><em><span xml:lang="en" lang="en">Motortown</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Marion Coste</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Représentation de la violence et histoire récente dans <em>Motortown </em>de Simon Stephens</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12495"><span xml:lang="en" lang="en">Refugee Theater and Its Transgressions: Acts of Suspension in Joe Murphy and Joe Robertson’s </span><em><span xml:lang="en" lang="en">The Jungle</span></em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anna Street</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le théâtre de réfugiés et ses transgressions : La scène en suspens dans <em>The Jungle</em> de Joe Murphy et Joe Robertson</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>V. Le théâtre historique au prisme de la traduction</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12552">« Parlez-vous franglais ? » La galimafrée des langues dans <em>Henry V </em></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Jean-Michel Déprats</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">“Parlez-vous franglais ?” The Gallimaufry of Languages in </span><em><span xml:lang="en" lang="en">Henry V</span></em></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12600">L’Histoire culbutée : Shakespeare et ses jeux de mots</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Jean-Pierre Richard</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Shakespeare’s Punning: A Case of Word vs. History?</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12659">La retraduction shakespearienne : espace d’accomplissement ou captation contemporaine ?</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Julie Vatain-Corfdir</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Retranslating Shakespeare – Accomplishment or Appropriation ?</span></span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Coda</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/12817">« Clio en scène », ou le théâtre d’histoire immédiate au prisme des Humanités numériques</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Virginie Yvernault, Élisabeth Angel-Perez et Line Cottegnies</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">“Clio on stage” – Immediate history on the British stage through the prism of digital humanities</span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/11625</link>
    <dc:date>2021-12-29</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/sillagescritiques/11009">
    <title>30 | 2021 &#8211; Corps, techniques, technologies / Varia</title>
    <description><![CDATA[<img alt="Image issue de la création Communion (Le partage des peaux II) (1995-2000)" src="http://journals.openedition.org/sillagescritiques/docannexe/file/11605/isabelle_profil_com099-small200.jpg" /><div class="introduction" lang="fr">
        <p>Corps et technologie sont au c&#339;ur de la d&#233;finition de l&#8217;humain, qui est <em>homo faber</em>&#160;avant d&#8217;&#234;tre <em>homo sapiens</em>. En effet, l&#8217;apparition de l&#8217;humain co&#239;ncide avec l&#8217;invention de l&#8217;outil, c&#8217;est-&#224;-dire de la technique. Mais la question se pose des moyens et des fins s&#8217;articulant aux savoirs techniques. N&#8217;y a-t-il pas un risque que le d&#233;veloppement technique devienne un potentiel outil de domination et d&#8217;asservissement&#160;? La technique, prolongement du corps, serait alors non seulement au c&#339;ur de la d&#233;finition de l&#8217;humain mais aussi potentiellement source de sa destruction. &#192; l&#8217;heure des nouvelles technologies o&#249; les limites de l&#8217;humain peuvent &#234;tre repouss&#233;es, y compris lorsqu&#8217;elles ont trait &#224; sa corpor&#233;it&#233;, que ce soit dans le domaine de la bio&#233;thique, de la robotique ou des intelligences artificielles, n&#8217;est-ce pas au risque de l&#8217;humain m&#234;me que l&#8217;hybridation homme-machine vient red&#233;finir l&#8217;humain&#160;? C&#8217;est la question que pose ce dossier de la revue <em>Sillages Critiques</em> qui vise &#224; interroger les imaginaires des relations de l&#8217;homme &#224; la technique &#224; travers cinq &#339;uvres litt&#233;raires, cin&#233;matographiques et de performance s&#8217;inscrivant dans la diachronie. Les articles rassembl&#233;s montrent que le corps humain est un enjeu privil&#233;gi&#233; de savoir et de pouvoir technique. De l&#8217;<em>hybris</em> scientifique qui permet la fabrication d&#8217;une cr&#233;ature nouvelle dans le <em>Frankenstein</em> de Mary Shelley au fantasme de remplacement du corps de l&#8217;humain, objet de d&#233;sir, par une intelligence artificielle dans le film <em>Her</em> de Spike Jonze, le dossier retrace la fascination historique de l&#8217;humain pour les cons&#233;quences du progr&#232;s technique sur sa d&#233;finition et sa propre survie.</p>
      </div>
      <div class="introduction" lang="en">
        <p>The body and technology lie at the core of the definition of human beings, who are <em>homo faber</em> rather than <em>homo sapiens</em>. The appearance of humans coincides with the invention of the tool, ie of technique. However, the question of the uses of technical knowledge reveals a number of risks inherent in technical development which, when combined with a will to power, may lead to domination and enslavement. Thus technique would not only be essential to humans, it could also bring about their destruction. In our technologically savvy times where the limits of the human are being pushed back &#8212; whether in the field of bioethics, robotics or artificial intelligence &#8212; the hybridisation of humans and machines seems to threaten the existence of human beings themselves. This is the question addressed by this special issue of <em>Sillages Critiques</em>, which probes into the imaginary surrounding the relation between humans and technique through five diachronic works taken from the worlds of literature, cinema and performance. These articles show that the human body is a nexus of knowledge and technical power. From the scientific <em>hybris</em> which renders possible the creation of a new monstrous creature in Mary Shelley&#8217;s <em>Frankenstein</em> to the fantasy of the replacement of the human body by artificial intelligence in Spike Jonze&#8217;s film <em>Her,</em> this special issue retraces the historical fascination which human beings have felt for the consequences of technical progress onto their own definition and survival.</p>
      </div>
      <ul class="summary">
        <li>
          <div class="publititle"><strong>Corps, techniques, technologies</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11014">Introduction : Corps et technologie, au-delà de l’humain</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne-Laure Fortin-Tournès</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Introduction : Body and technology, beyond the human</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11043">And science created… the virtual Woman</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Élisabeth Marion et Yohan Trichet</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Et la science créa… la femme virtuelle</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11114">Le corps du monstre sans-papiers</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Jean-Jacques Lecercle</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">Portrait of the Monster as Illegal Immigrant</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11220">Shelley Jacksons’s Gender Politics in <em>Patchwork Girl </em>(1995): a Cyborg Approach</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anne-Laure Fortin-Tournès</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">La politique du genre de Shelley Jackson dans <em>Patchwork Girl</em> (1995) : une approche cyborg</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11263">L’humain et l’écran, à l’écran : <em>The Cat, the Reverend and the Slave </em>d’Alain Della Negra et Kaori Kinoshita (2010)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anaïs Guilet</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">Humans and the screen, on the screen: <em>The Cat, the Reverend and the Slave by </em>Alain Della Negra and Kaori Kinoshita (2010)</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11305">CODA : Processus de recherche-création — retour sur l’expérimentation de la médiation phénoménale d’un corps collectif performatif</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Isabelle Choinière</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en">CODA : Research-creation process — return on the experimentation of the phenomenal mediation of a performative collective body</span></div>
            </li>
          </ul>
        </li>
        <li>
          <div class="publititle"><strong>Varia</strong></div>
          <ul class="summary">
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11369"><span xml:lang="en" lang="en">« The Fault is that she is my wife » : L’ambivalence des représentations d’Henriette-Marie (1625-1649)</span></a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Alice Leroy</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">“The fault is that she is my wife”: The ambivalence of Henrietta Maria’s portraits (1625-1649)</span></span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11455">Comedy’s Double Negation of Meaning in Post-war European Theater</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anna Street</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Le théâtre européen de l’après-guerre à l’épreuve du non-sens : Un essai sur la double négation du comique</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11483">Dramaturgies of Contagion in Contemporary British Speculative Theatre</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">June Xuandung Pham</div>
              <div class="altertitle foreign" xml:lang="fr" lang="fr"><span xml:lang="fr" lang="fr">Dramaturgies de la contagion dans le théâtre d’anticipation britannique contemporain</span></div>
            </li>
            <li>
              <div class="title"><a href="http://journals.openedition.org/sillagescritiques/11548">Du traumatisme à l’effacement : la spirale vertigineuse dans <em>Theories of Forgetting</em> de Lance Olsen (2014)</a> <span class="fullText">[Texte intégral]</span></div>
              <div class="author">Anthony Remy</div>
              <div class="altertitle foreign" xml:lang="en" lang="en"><span xml:lang="en" lang="en"><span xml:lang="en" lang="en">From Trauma to Effacement: Spiralling Vertigo in Lance Olsen’s </span><em><span xml:lang="en" lang="en">Theories of Forgetting</span></em><span xml:lang="en" lang="en"> (2014)</span></span></div>
            </li>
          </ul>
        </li>
      </ul>]]></description>
    <link>http://journals.openedition.org/sillagescritiques/11009</link>
    <dc:date>2021-10-05</dc:date>
  </item>
</rdf:RDF>