11 janvier 2020, Sorbonne-Universit\u00e9
avec le soutien de l’\u00c9cole Doctorale IV, des \u00e9quipes VALE et PRISMES et de la Soci\u00e9t\u00e9 d’\u00c9tudes Modernistes<\/p>\n
\u00c9quipe de recherche : Voix Anglophones : Litt\u00e9rature et Esth\u00e9tique (VALE \u2013 4085). Axe PACT.<\/p>\n
Keynote Speaker : Jean-Michel Rabat\u00e9<\/p>\n
[English version below]<\/p>\n
Le retour de la paix fin 1918 inaugure pour le modernisme une p\u00e9riode troubl\u00e9e. La r\u00e9ouverture des fronti\u00e8res apr\u00e8s les ann\u00e9es de conflit est une bouff\u00e9e d’air frais. D.H. Lawrence entame en 1919 un voyage en France puis en Italie, alors que Joyce sort de son refuge en Suisse. Mais la p\u00e9riode d’euphorie cosmopolite du d\u00e9but des ann\u00e9es 1910 est pass\u00e9e, et les s\u00e9quelles de la trag\u00e9die mondiale, dont Joyce fait l’exp\u00e9rience \u00e0 son retour \u00e0 Trieste, se m\u00ealent aux drames personnels. Mina Loy perd son mari, le po\u00e8te et boxeur Arthur Cravan, et s’engage dans une p\u00e9riode de vagabondage transatlantique, alors que l’atmosph\u00e8re de plus en plus irrespirable du Royaume-Uni d’apr\u00e8s-guerre pousse Pound au d\u00e9part, et accentue le malaise de T.S. Eliot, menant \u00e0 une p\u00e9riode de d\u00e9pression grave, qui le fera voyager de cure en cure, jusqu’\u00e0 Lausanne. N\u00e9anmoins, au gr\u00e9 de ces allers-retours, parfois dans la pauvret\u00e9 ou l’adversit\u00e9, de nouvelles rencontres ont lieu. Des liens se tissent, qui forment la trame d’un renouveau litt\u00e9raire. La rencontre entre Eliot et Virginia Woolf, qui publie son recueil Poems<\/em>, puis The Waste Land<\/em> \u00e0 la Hogarth Press, fait \u00e9cho \u00e0 l’ouverture \u00e0 Paris d’une nouvelle librairie, Shakespeare and Company, qui r\u00e9unit peu \u00e0 peu son propre cercle, et dont la propri\u00e9taire, Sylvia Beach, rencontre en 1920 Ezra Pound puis James Joyce, menant \u00e0 la publication de Ulysses<\/em>.<\/p>\n Il s’agira donc de se pencher sur l’influence qu’a pu avoir cette exp\u00e9rience commune d’un moment d’incertitude, d’errance \u00e0 la fois personnelle et culturelle, sur le modernisme d’apr\u00e8s-guerre.<\/p>\n L’errance est d’abord un rapport \u00e0 l’espace. Face \u00e0 l’itin\u00e9raire menant \u00e0 un but par des \u00e9tapes pr\u00e9d\u00e9termin\u00e9es, errer consiste, par choix ou par contrainte, \u00e0 prendre les chemins de traverse, \u00e0 rejeter la ligne droite et les formes d\u00e9termin\u00e9es en faveur de l’indistinct, de l’oblique et de la rencontre fortuite. Face \u00e0 l’organisation croissante de l’espace, notamment celui du voyage par les structures de consommation du tourisme, les modernistes inventent leurs propres anti-itin\u00e9raires, \u00e0 l’image du \u00ab Baedeker lunaire \u00bb de Mina Loy, ou de celui que lit Burbank dans le po\u00e8me \u00ab Burbank with a Baedeker : Bleistein with a Cigar \u00bb d’Eliot. Cette d\u00e9termination se double d’un rapport \u00e0 la temporalit\u00e9. L’exp\u00e9rience de l’apr\u00e8s-guerre remet \u00e0 plat toutes les assertions sur la lin\u00e9arit\u00e9 du temps, progressistes ou positivisites, appelant \u00e0 un nouveau rapport au pass\u00e9. Loin d’\u00eatre d\u00e9passable, celui-ci vient questionner, poindre le monde contemporain, qui, comme Yeats l’illustre dans son po\u00e8me \u00ab Leda \u00bb, n’est pas d\u00e9barrass\u00e9 de la violence tragique la plus antique.<\/p>\n L’errance est ainsi un moyen privil\u00e9gi\u00e9, par les d\u00e9tours de l’espace et du temps, pour subvertir les assises de l’ordre pr\u00e9sent. Elle est l’arme de Stephen Dedalus, que \u00ab le silence, l’exil et la ruse \u00bb m\u00e8nent \u00e0 la fois \u00e0 circuler dans les labyrinthes et \u00e0 les transcender, \u00ab d\u00e9ployant les ailes de son exultante et terrifiante jeunesse \u00bb \u2013 mais aussi celle de Joyce, dont l’\u00e9criture tient elle-m\u00eame du d\u00e9dale. Le style moderniste est tributaire de l’errance, comme exp\u00e9rience et comme concept. C’est l’errance physique et mentale qui ouvre The Waste Land<\/em>, du \u00ab Hofgarten \u00bb aux rues de Londres et de la proph\u00e9tie inachev\u00e9e aux arcanes de la cartomancie. Face aux assignations, de lieu, de classe et de genre, l’errance spatiale et temporelle est aussi le moteur de l’\u00e9chapp\u00e9e fantastique d’Orlando. Mais cette ouverture s’inscrit toujours sous le signe du danger, d’une pr\u00e9carit\u00e9 de la vie \u2013 celle de Tarr chez Lewis ou d’Insel chez Loy \u2013 et souvent hant\u00e9e par le traumatisme. Les d\u00e9ambulations de Septimus apr\u00e8s la guerre, de l’Italie \u00e0 l’Angleterre, sont un mouvement de fuite, face \u00e0 un vide et une absence terrifiante. Loin d’\u00eatre la simple \u00e9chapp\u00e9e de la fl\u00e2nerie, l’errance implique une inqui\u00e9tude fondamentale, une d\u00e9sorientation qui touche le rapport le plus intime \u00e0 soi et \u00e0 autrui.<\/p>\n C’est ainsi que la notion d’errance permet d’interroger l’identit\u00e9 m\u00eame, sous la figure du retour impossible \u00e0 soi. Le d\u00e9racinement, la nostalgie et son rapport au \u00ab nostos \u00bb, au retour \u00e0 son lieu de d\u00e9part, sous-tend les d\u00e9ambulations de Stephen et de Bloom, exil\u00e9s pour un jour de leur domicile et circulant sans cl\u00e9s, comme celles des po\u00e8tes et \u00e9crivains am\u00e9ricains de la lost generation<\/em> \u00e0 Paris. Elle pose aussi la question de l’accueil, de la rencontre avec l’autre dans son alt\u00e9rit\u00e9, malgr\u00e9 les diff\u00e9rences et m\u00eame les diff\u00e9rents \u2013 \u00e0 la fois personnels, et dans la lecture et la d\u00e9fense des \u0153uvres nouvelles. L’hospitalit\u00e9 vis-\u00e0-vis des personnes comme des textes, sous les signes contraires de la comp\u00e9tition, de l’incompr\u00e9hension et d’une forme paradoxale de communaut\u00e9, est en grande partie le produit de ces ann\u00e9es d’errance, o\u00f9 comme l’affirmait Virginia Woolf dans \u00ab How It Strikes a Contemporary \u00bb, s’est esquiss\u00e9 la \u00ab structure [\u2026] b\u00e2tie d’un effort commun \u00bb dont sont sortis les chefs-d\u2019\u0153uvre du modernisme.<\/p>\n Les propositions de communication, en anglais ou en fran\u00e7ais, devront traiter principalement du modernisme anglophone, et pourront porter sur les sujets suivants :<\/p>\n \u00b7 Le rapport entre l’exp\u00e9rience personnelle et biographique d’un ou plusieurs auteurs modernistes et leur rapport non-lin\u00e9aire au temps, \u00e0 l’espace ou \u00e0 l’\u00e9criture.<\/p>\n \u00b7 La d\u00e9monstration textuelle ou narrative du lien qui unit le style et l’exp\u00e9rimentation moderniste \u00e0 la notion d’errance.<\/p>\n \u00b7 La contextualisation culturelle et artistique du modernisme d’apr\u00e8s-guerre, via des concepts comme ceux de marge, de d\u00e9sorientation, de d\u00e9racinement, de d\u00e9territorialisation ou de nomadisme ainsi que d’hospitalit\u00e9 et d’accueil.<\/p>\n \u00b7 La r\u00e9flexion sur les cons\u00e9quences culturelles, politiques et les prises de position modernistes vis-\u00e0-vis de la reconfiguration brutale de l’espace europ\u00e9en et mondial.<\/p>\n Ces propositions (300 mots env.), accompagn\u00e9es d\u2019une br\u00e8ve notice biographique, devront \u00eatre adress\u00e9es avant le 21 septembre 2019 \u00e0 modernisme.errance@gmail.com<\/u><\/a><\/p>\n <\/p>\n The return of peace in 1918 heralded a troubled period for Modernism. After years of tensions, the borders opened again: D.H. Lawrence travelled to France and Italy in 1919, while Joyce left the safe haven of Switzerland. But the euphoria and cosmopolitan openness of the early 1910s had receded in the aftermath of the horrors of war, as Joyce realised upon returning to Trieste, and personal tragedies compounded the general gloom. Mina Loy lost her husband, the poet and boxer Arthur Cravan, and started wandering across the Atlantic, while the increasingly tense atmosphere in the UK led to Pound’s departure, and accentuated Eliot’s inner struggles, ushering in a new period of major depression during which he travelled for his health, going as far as Lausanne. These comings and goings, however dire the circumstances, fostered new relations, and the encounters that took place in this period initiated a new phase of literary creation. Eliot became friends with Virginia Woolf, who published his collection Poems<\/em> and The Waste Land<\/em> at Hogarth Press, while in Paris, Sylvia Beach opened a new bookshop, Shakespeare and Company, surrounding herself with artists such as Pound and Joyce, and presiding over the publication of Ulysses<\/em>.<\/p>\n Our aim will be to analyse the influence of this common experience of personal and cultural wandering in a shared moment of uncertainty, on post-war modernism.<\/p>\n Wandering first has to do with space. Unlike an itinerary with a set goal that can be reached through progressive stages, wandering implies that, wilfully or not, one is led astray, rejects the straight line and faces vagueness, obliqueness and chance encounters. In a space that was becoming increasingly organised, especially in the case of travels, by the growth of tourism and its structures of consumption, modernist artists invented their own anti-itineraries, exemplified by Mina Loy’s \u201cLunar Baedeker\u201d or the one that Burbank reads in Eliot’s \u201cBurbank with a Baedeker, Blenstein with a Cigar\u201d. This relation to space is compounded by a question of temporality. The post-war experience questions all notions of temporal linearity, progressive and positivist outlooks, and calls for a new relation to the past. It is impossible to simply leave it behind: it always haunts the contemporary world, which, as Yeats expresses in his poem \u201cLeda\u201d, is far from having outgrown the threat of the most archaic violence and tragedy.<\/p>\n Hence, wandering, through time and space, becomes a means to subvert the foundations of the present. It is the weapon of Stephen Dedalus, who uses \u201csilence, exile and cunning\u201d to circulate among the labyrinths of the present, and also to transcend them \u201cshaking the wings of his exultant and terrible youth\u201d \u2013 just as Joyce’s Daedalian style plays with the linguistic structures of time and space. Modernism is founded on these stray, errant descriptions of experiences and concepts. The opening of The Waste Land<\/em> bears the mark of both physical and mental wandering, from the \u201cHofgarten\u201d to the streets of London, from the incomplete prophecy to the mysteries of cartomancy. Against the predetermined roles, classes and spaces which society assigns to individuals, wandering also fosters escapism, opening up the strange, fantastic realms that such works as Woolf’s Orlando explore. Nevertheless, openness comes with its own dangers, with a precariousness that echoes the lives of Lewis’s Tarr or Mina Loy’s Insel, and the haunting aftermath of trauma. The post-war wanderings of Septimus from Italy to England symbolise a movement of flight, when faced with the void and with a terrifying absence. Far from being a simple case of escapism and fl\u00e2nerie, wandering is indissociable from a form of anxiety, a loss of bearings in one’s own relation to oneself and to the others.<\/p>\n This is why the notion of wandering also touches upon questions of identity, of one’s ability to find or return to oneself. Characters are often uprooted, feeling nostalgia \u2013 that is to say questioning their relation to the \u201cnostos\u201d, where one comes from. Stephen and Bloom’s wanderings in the streets of Dublin are a form of exile: they meander, having left their keys, far from their home. This state echoes that of the Americans of the \u201clost generation\u201d, their wanderings and loss of moral and well as spatial compass. And through these depictions of \u201cstrangers in a strange land\u201d, modernism also questions notions such as hospitality, the encounter of the Other, surmounting differences and tensions \u2013 both personal and artistic, defending the foreignness of people, but also that of the new modernist works. Welcoming texts, and welcoming others, can take multiple form: competition and strife, misreading and mutual interpretation, but also a form of paradoxical community. For these years of errancy are the basis for what Woolf, in \u201cHow It Strikes a Contemporary\u201d, called the \u201cstructure [\u2026] built by common effort\u201d, from which the major works of modernism have arisen.<\/p>\n Proposals, in French or English, will have to focus primarily on anglophone modernism, and investigate such topics as:<\/p>\n \u00b7 The relation between the lives and personal experience of one or several modernist authors and their non-linear vision of time, space or style.<\/p>\n \u00b7 The demonstration, through textual analysis, of the link between modernist style and experimentation and the notion of wandering or errancy.<\/p>\n \u00b7 The artistic and cultural context of post-war modernism, through concepts such as those of margins, disorientation, uprooting, deterritorialization and nomadism as well as hospitality and care.<\/p>\n \u00b7 Reflections on the cultural and political consequences of the post-war reconfiguration of space in Europe and throughout the world, and the commitments of modernist artists with regards to these changes.<\/p>\n These proposals (about 300 words), along with a short biographical note, should be sent by September 21st 2019 to modernisme.errance@gmail.com<\/u><\/a><\/p>\n <\/p>\n R\u00e9f\u00e9rences bibliographiques\/ Selective bibliography<\/p>\n Benjamin, Walter, Walter, Paris, capitale du XIXe si\u00e8cle : le livre des passages<\/em>, Paris : \u00c9ditions du cerf, 1997<\/p>\n Berman, Jessica, Modernist Fiction, Cosmopolitanism and the Politics of Community<\/em>, Cambridge : CUP, 2001<\/p>\n Berry, Ellen E., Curved Thought and Textual Wandering : Gertrude Stein\u2019s Postmodernism<\/em>, Ann Arbor : University of Michigan Press, 1992<\/p>\n Cixous, H\u00e9l\u00e8ne, L\u2019Exil de James Joyce ou l\u2019art du remplacement<\/em>, Paris : Grasset, 1968<\/p>\n De Certeau, Michel, L\u2019Invention du quotidien, Arts de faire<\/em>, (vol.1), Paris : Gallimard, 1990<\/p>\n Deleuze, Gilles, et F\u00e9lix Guattari, Mille Plateaux<\/em>, Paris, \u00c9ditions de Minuit, 1990<\/p>\n Derrida, Jacques, Politiques de l’Amiti\u00e9<\/em>, Paris : Galil\u00e9e, 1994<\/p>\n Ganteau, Jean-Michel et Reynier, Christine (Eds.), Ethics of alterity, confrontation and responsibility in 19th- to 21st-century British arts<\/em>, Montpellier : PULM, 2015<\/p>\n North, Michael, Reading 1922 : A Return to the Scene of the Modern<\/em>, Oxford : OUP, 1999<\/p>\n Rabat\u00e9, Jean-Michel, James Joyce and the Politics of Egoism<\/em>, Cambridge : CUP, 2001<\/p>\n Radia, Pavlina, Nomadic Modernisms and Diasporic Journeys of Djuna Barnes and Jane Bowles<\/em>, Leiden : Brill, 2016<\/p>\n\n\n PDF de la version fran\u00e7aise<\/u><\/a> Appel \u00e0 contributions pour la journ\u00e9e d’\u00e9tudes \u00ab\u00a0Le modernisme en errance\u00a0\u00bb, \u00e0 envoyer avant le 21 septembre 2019.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[38],"tags":[],"class_list":["post-3063","post","type-post","status-publish","format-standard","hentry","category-cfp"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3063","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3063"}],"version-history":[{"count":3,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3063\/revisions"}],"predecessor-version":[{"id":3103,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3063\/revisions\/3103"}],"wp:attachment":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3063"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3063"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3063"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
PDF for the English version<\/u><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"