Le terme de \u00ab\u00a0modernisme\u00a0\u00bb, dans sa complexit\u00e9 et sa multiplicit\u00e9, d\u00e9signe un ensemble d’\u00e9ruptions et de disruptions tectoniques, qui ont boulevers\u00e9 le paysage culturel, et s’\u00e9rigent toujours \u00e0 l’arri\u00e8re-plan du monde actuel, comme la cha\u00eene des Puys-Faille de Limagne sur l’horizon de ce colloque 2022 \u00e0 Clermont-Ferrand. Au cours de ce panel, nous nous proposons d’aller explorer ces cha\u00eenes, dans leurs continuit\u00e9s, leurs \u00e9l\u00e9vations, mais aussi dans ce qu’elles ont de bris\u00e9, d’incoh\u00e9rent et de violemment d\u00e9structur\u00e9. Car pour nous qui arpentons ces imposants monuments, les failles apparaissent aussi intrigantes et tentantes, sinon davantage, que les pics.<\/p>\n La notion de faille para\u00eet d\u00e8s l’abord propice \u00e0 la critique moderniste. Le modernisme s’est fond\u00e9 sur la prise de conscience des limites et de la vuln\u00e9rabilit\u00e9 sous-jacente \u00e0 une certaine conception de la modernit\u00e9. Les crises et les guerres qui ont agit\u00e9 la civilisation europ\u00e9enne ont ouvert des lignes de failles toujours plus b\u00e9antes, masqu\u00e9es superficiellement par des compromis id\u00e9ologiques et culturels qui imposaient leurs contraintes au monde de l’art. La r\u00e9action, souvent violente, \u00e0 ces contraintes, est au c\u0153ur de postures modernistes aussi oppos\u00e9es que celles de Marinetti et de Beckett, en passant par H.D. ou Woolf. Comme le dit Sarah Cole dans At the Violet Hour: Modernism and Violence in England and Ireland<\/em>, \u00ab\u00a0modernism [is] essentially and deeply concerned with violence, given its commitment to deconstructing great cultural institutions that are fundamentally sustained by violence, such as gender, social hierarchy, and empire, and to exploring the human psyche\u00a0\u00bb.<\/p>\n Les questions de failles humaines constituent le pendant intime de ces explorations hors des cadres. L’on pense \u00e0 la conceptualisation de l’exp\u00e9rience dans la th\u00e8se de T.S. Eliot, qui fait \u00e9cho \u00e0 la maxime de \u00ab\u00a0Tradition and the Individual Talent\u00a0\u00bb\u00a0: \u00ab\u00a0the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates.\u00a0\u00bb. L’on revient aux d\u00e9ambulations psychiques de Joyce, qui ont servi \u00e0 illustrer dans le s\u00e9minaire de Jacques Lacan la \u00ab\u00a0g\u00e9om\u00e9trie interdite de l’imaginaire\u00a0\u00bb et \u00e0 illustrer une vision du langage comme\u00a0\u00ab\u00a0faisant trou dans ce que l’on peut situer comme r\u00e9el\u00a0\u00bb. Les notions de sujet, de\u00a0persona<\/em>\u00a0et d’impersonnalit\u00e9 chez Eliot ou Pound, les brisures psychiques dont Wyndham Lewis ou Ernest Hemingway font les centres absents de leurs \u00e9crits, sont autant de lieux o\u00f9 les gouffres du monde s’inscrivent \u00e0 m\u00eame la chair et l’esprit des individus.\u00a0Dans le cas de Woolf en particulier\u00a0nous pourrons r\u00e9fl\u00e9chir \u00e0 la\u00a0po\u00e9tique\u00a0de la faille\u00a0comme ce qui ouvre dans\u00a0les mots la br\u00e8che du r\u00e9el\u00a0: \u00ab\u00a0broken words, inarticulate words \u2026\u00a0But for pain words are lacking. There should be cries, cracks, fissures\u00a0\u00bb\u00a0(The Waves<\/em>).\u00a0Cette po\u00e9tique s’engouffre dans la faille entr\u2019aper\u00e7ue des jours\u00a0\u00ab\u00a0a vault seemed to open in the zenith of the far blue sky, a shaft which ran up for ever\u00a0\u00bb (\u00ab\u00a0Impassioned Prose\u00a0\u00bb),\u00a0et prend l\u2019opacit\u00e9 de l\u2019histoire \u00e0 contre-temps. Ainsi pourrait-on voir le clivage dans l\u2019obscurit\u00e9 de\u00a0\u00ab\u00a0Time Passes\u00a0\u00bb :\u00a0\u00ab\u00a0Some cleavage of the dark there must have been, some channel in the depths of obscurity through which light enough issued\u00a0\u00bb (To the Lighthouse<\/em>),\u00a0comme la faille qui, distordant notre sens de l\u2019espace-temps, ouvre le texte au clignotement du lointain dans le pr\u00e9sent.<\/p>\n Or penser la faille, c’est aussi comprendre quelle forme d’art permet de s’y confronter. Face aux limites des conventions litt\u00e9raires, les artistes qui cherchaient \u00e0 aller plus loin ont d\u00fb se battre. Virginia Woolf, dans des essais comme\u00a0Mr Bennett and Mrs Brown<\/em>, a longuement th\u00e9oris\u00e9 ces insuffisances et les efforts de ses contemporains pour outrepasser les limitations de leur h\u00e9ritage culturel. \u00c9tudier les ruptures formelles comme autant de moyens de d\u00e9passer un\u00a0statu-quo<\/em>, comme le fait Marjorie Perloff dans\u00a0The Futurist Moment: Avant-Garde, Avant Guerre and the Language of Rupture<\/em>, m\u00e8ne \u00e0 recontextualiser la notion d’exp\u00e9rimentation. Les explorations des marges, des espaces de silence, des ruptures grammaticales et syntaxiques, mais aussi des traductions et du plurilinguisme ou encore de l’interm\u00e9dialit\u00e9 au sein des \u0153uvres modernistes, ouvrent \u00e0 une certaine positivit\u00e9 des gouffres, comme espaces de lib\u00e9ration et de diss\u00e9mination de l’\u00e9criture.<\/p>\n N\u00e9anmoins, s’arr\u00eater \u00e0 l’id\u00e9e que le modernisme s’int\u00e9resse aux failles revient \u00e0 oublier ce que la notion m\u00eame de \u00ab\u00a0modernisme\u00a0\u00bb a d’ouvert et m\u00eame de bris\u00e9. Les failles sont \u00e0 m\u00eame la chair du modernisme, les brisures psychiques \u00e0 m\u00eame l’exp\u00e9rience v\u00e9cue, les violences et les ruptures, jusqu’\u00e0 la mort, pr\u00e9sident au destin des artistes eux-m\u00eames. Les r\u00e9cits autobiographiques mettent souvent en avant ce processus, comme \u00ab\u00a0The Crack Up\u00a0\u00bb de F. Scott Fitzgerald, qui affirme d\u00e8s ses premiers mots\u00a0: \u00ab\u00a0Of course all life is a process of breaking down.\u00a0\u00bb<\/p>\n Il faut, pour faire justice \u00e0 l’id\u00e9e de faille, parler des guerres, des coupures id\u00e9ologiques, des disputes, des maladies, des remords et de leur impact d\u00e9cisif sur les \u0153uvres. Et avec elles, des \u00e9l\u00e9ments qui ont pu soigner, suturer, remettre de l’ordre dans le chaos \u2013 que l’on pense \u00e0 l’intitul\u00e9 du colloque 2024 de la SEM, sur la question de \u00ab\u00a0therapeutics\u00a0\u00bb. Les lectures crois\u00e9es, les critiques, les diff\u00e9rends au sujet de l’art dessinent leurs propres lignes de failles. En outre, il est n\u00e9cessaire de parler de ceux et celles qui ont point\u00e9 du doigt les failles du modernisme. Le mouvement dit des \u00ab\u00a0Pylon Poets\u00a0\u00bb en Angleterre, les \u00ab\u00a0Chicago Poets\u00a0\u00bb,\u00a0la \u00ab\u00a0Harlem Renaissance\u00a0\u00bb,\u00a0la \u00ab\u00a0Beat Generation\u00a0\u00bb\u00a0ou\u00a0les tenants de la po\u00e9sie confessionnelle aux \u00c9tats-Unis, se sont affirm\u00e9s par leur mise en lumi\u00e8re des points aveugles d’une certaine conception de l’art, et leurs prises de position en faveur d’une po\u00e9sie plus d\u00e9mocratique, qui cherchait \u00e0 s’ancrer dans l’exp\u00e9rience du sujet et son rapport \u00e0 la soci\u00e9t\u00e9 et \u00e0 la culture dominante. Les lecteurs et lectrices du modernisme ont d\u00fb se confronter \u00e0 la question des impens\u00e9s de ces mouvements si prompts eux-m\u00eames \u00e0 critiquer les impens\u00e9s d’autrui. Le machisme et la misogynie, l’esprit de classe, le racisme et l’antis\u00e9mitisme, les prises de position colonialistes ou imp\u00e9rialistes de figures modernistes majeures n\u00e9cessitent un retour lucide sur les b\u00e9ances de leurs \u0153uvres.<\/p>\n Cette r\u00e9flexion sur les failles m\u00e8ne donc \u00e0 questionner en parall\u00e8le la pens\u00e9e du\u00a0<\/em>modernisme, les courants culturels et critiques qui ont d\u00e9fini apr\u00e8s-coup les contours et le sens de ces mouvements. Les relectures, les red\u00e9coupages et les d\u00e9bats d’id\u00e9es autour de ces notions ont agit\u00e9 le d\u00e9bat litt\u00e9raire et th\u00e9orique des cent derni\u00e8res ann\u00e9es. Plus profond\u00e9ment, ils renvoient \u00e0 une faille premi\u00e8re, dont les artistes du d\u00e9but du si\u00e8cle \u00e9taient hautement conscients\u00a0: celle qui divise la th\u00e9orie de la pratique. La r\u00e9flexion sur le modernisme fait appara\u00eetre les failles des appareils classificatoires et th\u00e9oriques qui portent sur la litt\u00e9rature\u00a0; comme le remarquent Derek Attridge et Daniel Ferrer dans l’introduction \u00e0\u00a0Post-structuralist Joyce, Essays from the French\u00a0<\/em>: \u00ab\u00a0any reader cannot but feel that the text constantly overreaches the landmarks established by any theory\u00a0\u00bb. Cela vaut en particulier pour certaines oppositions classiques\u00a0: entre \u00e9litisme et culture populaire, entre engagement et repli vers l’apolitique et l’art pour l’art. Face \u00e0 ces simplifications, qui appellent \u00e0 voir le modernisme selon des dichotomies trop simples, c’est l’exploration plus en d\u00e9tail, la focalisation sur les vides et les failles, qui fait ressortir la richesse et la complexit\u00e9 des artistes en question.<\/p>\n Conscients de la richesse offerte par le sujet, et pour ouvrir la conversation \u00e0 toutes ces nuances, au d\u00e9nivel\u00e9 entier de la pens\u00e9e sur les failles et le modernisme, le panel accueillera avec enthousiasme les propositions portant sur\u00a0:<\/p>\n -La critique des failles politiques, culturelles, scientifiques et civilisationnelles contemporaines dans des \u00e9crits modernistes.<\/p>\n -La conceptualisation moderniste de la psych\u00e9 comme fragmentaire, bris\u00e9e ou irr\u00e9ductible \u00e0 la synth\u00e8se.<\/p>\n -Les failles litt\u00e9raires de mouvements pr\u00e9c\u00e9dents ou contemporains au modernisme, et la relecture critique comme processus fondamental de la d\u00e9finition de soi des artistes modernistes.<\/p>\n -Les critiques adress\u00e9es aux artistes modernistes par d’autres courants, les questions d’ \u00ab\u00a0anti-modernisme\u00a0\u00bb et de r\u00e9sistances au sein du monde artistique au cours du XXe si\u00e8cle.<\/p>\n -Les lignes de faille entre la pratique des artistes et la conceptualisation du modernisme en tant que concept critique et acad\u00e9mique.<\/p>\n -Les questionnements philosophiques autour de la faille dans le modernisme, notamment dans une perspective post-structuraliste, post-coloniale, f\u00e9ministe ou LGBTQIA+.<\/p>\n Les propositions (300 mots) devront \u00eatre envoy\u00e9es avant le 1er d\u00e9cembre \u00e0 Olivier HERCEND (ohercend@yahoo.com<\/a><\/u>) et Patricia GODI (patriciagodi@orange.fr<\/a><\/u>).<\/p>\n The notion of \u201cmodernism\u201d, in all its complexity and multiplicity, refers to a series of eruptions and tectonic disruptions, which shook the world of the arts and still looms large in the background of contemporary culture, like the Cha\u00eene des Puys-Faille de Limagne on the horizon of this conference, to be held in 2022 in Clermont-Ferrand. Our panel proposes to set out and explore these mountain ranges: their continuities and elevations, but also what is broken, incoherent and violently destructured about them. Indeed, for us habitual climbers of these imposing monuments, the fault lines appear as intriguing and tempting as the highest peaks.<\/p>\n Thinking about fault lines is a familiar experience in modernist criticism. Modernism is founded on the consciousness of the limits and underlying vulnerability of a certain conception of modernity. The crises and wars that shook European civilisation opened increasingly wide chasms, only superficially masked by ideological and cultural compromises which brought their strictures to bear on the world of arts. The often violent reactions to these constraints are at the heart of many modernist stances, sometimes as widely diverging as that of Marinetti or Beckett, as well as H.D. or Woolf. As Sarah Cole asserts in\u00a0At the Violet Hour: Modernism and Violence in England and Ireland<\/em>, \u201cmodernism [is] essentially and deeply concerned with violence, given its commitment to deconstructing great cultural institutions that are fundamentally sustained by violence, such as gender, social hierarchy, and empire, and to exploring the human psyche\u201d.<\/p>\n The questions of human failings represent the more intimate counterpart to these explorations. This appears in the concept of experience as expressed in T.S. Eliot’s PhD thesis, which echoes the maxim in \u201cTradition and the Individual Talent\u201d: \u201cthe more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates.\u201d It underlies the psychic meandering of Joyce’s prose, which in Jacques Lacan’s seminar\u00a0served to illustrate,\u00a0the \u201cforbidden geometry of the imaginary\u201d. Ideas such as that of the subject, of\u00a0persona<\/em>\u00a0and impersonality in Eliot or Pound, the psychological breakdown which forms the absent centre of Wyndham Lewis’s or Ernest Hemingway’s works, appear as so many rifts, translating the fault lines of the world onto the very body and mind of individuals. In the case of Virginia Woolf in particular, we may explore the poetics of fault lines as that which opens within words the breach of the real: \u201cbroken words, inarticulate words \u2026\u00a0But for pain words are lacking. There should be cries, cracks, fissures\u201d. This poetics penetrates a rift glimpsed within daily experience \u201ca vault seemed to open in the zenith of the far blue sky, a shaft which ran up for ever\u201d (\u201cImpassioned Prose\u201d), so breaking the opaque rhythm of history. This leads to an understanding of such moments as that in \u201cTime Passes\u201d: \u201cSome cleavage of the dark there must have been, some channel in the depths of obscurity through which light enough issued\u201d (To the Lighthouse<\/em>), as fault lines which distort our sense of time and space, opening the text to the flickering light of the distant within the present.<\/p>\n Furthermore, one cannot consider fault lines without asking what forms of art may be used to confront them. Modernist artists struggled against the limits of literary conventions, with the consciousness that they had to reach farther. In essays such as\u00a0Mr Bennett and Mrs Brown\u00a0<\/em>Virginia Woolf\u00a0theorized these deficiencies at length, as well as the efforts of her contemporaries to go beyond the limitations of this cultural legacy. The study of formal disruptions as so many ways of breaking down the status quo,\u00a0recontextualises the idea of experimentation\u00a0in the vein of Marjorie Perloff’s\u00a0The Futurist Moment: Avant-Garde, Avant Guerre and the Language of Rupture<\/em>\u00a0<\/em>for instance. The exploration of margins, of spaces of silence, of grammatical and syntactic breaks\u00a0within modernist works, as well as translations, multilingualism and intermediality offer a glimpse into the positivity of rifts, which can be construed as spaces of liberation and for the dissemination of writing.<\/p>\n It is not however sufficient to say that modernism was interested in the idea of fault lines, when the very notion of \u201cmodernism\u201d is itself an open-ended concept, with its own breakdowns and rifts. Breaches and ruptures touch the very marrow of modernism, psychological breakdowns and experiences of fracture, violence and abrupt separations preside over the destinies of the artists themselves, sometimes to the death. This dynamic appears particularly in autobiographical writings, for instance in F. Scott Fitzgerald’s \u201cThe Crack Up\u201d, which starts with the affirmation: \u201cOf course all life is a process of breaking down\u201d.<\/p>\n It is necessary, when talking about fault lines, to speak of wars, of ideological splits, of arguments and diseases and regrets and the decisive impact that they had on modernist works. It is also necessary not to forget all the patching up, the stitches and the healing processes that helped artists work through the chaos \u2013 a topic which should be at the heart of the 2024 SEM international conference, on modernist \u201ctherapeutics\u201d. Cross-readings and criticism between modernist writers, debates over artworks and movements delineate their own fault lines. Moreover, the discussion would be incomplete if we failed to remember those who pointed out the failings of modernism. The \u201cPylon Poets\u201d movement in England, the \u201cChicago Poets\u201d, the \u201cHarlem Renaissance\u201d, the \u201cBeat Generation\u201d and the writers of confessional poetry in the United States, affirmed their own identities by shedding light on the blind-spots of certain conceptions of art, and by taking stances in favour of more democratic poetry, trying to root their art in the experience of subjects in relation to society and the dominant culture. Readers of the modernist canon had to confront themselves with questions that had remained outside the ken of these movements, which had been so prompt to criticise the prejudices of others. The male chauvinism and misogyny, class prejudice, racism or antisemitism, colonialist and imperialist stances of major modernist figures require serious assessment and criticism which takes into account what is missing in their works.<\/p>\n This reflection on the fault lines within modernism cannot but open up a parallel line of questioning, into the way modernism was conceptualised, that is to say the cultural and critical movements that defined and delineated the meaning of these artistic movements after the event(s). Over the past hundred years new readings, new mappings and debates over the notion of modernism have stirred complex literary and theoretical discussions. It may be argued that they all refer back to a primary rift, of which artists from the start of the twentieth century were acutely conscious: the rift between theory and practice. Reflecting on modernism draws out the deficiencies of the classifications and theoretical apparatus of literary studies; as Derek Attridge and Daniel Ferrer noted in their introduction to\u00a0Post-structuralist Joyce, Essays from the French<\/em>: \u201cany reader cannot but feel that the text constantly overreaches the landmarks established by any theory\u201d. This is particularly true of certain classical oppositions: between elitism and popular culture, between involvement and a retreat toward a-political\u00a0art pour l’art<\/em>. These simplistic dichotomies must be opposed by a more thorough exploration, focussing on empty spaces and \u00a0breaks, in order to cast new light on the rich and complex experience of modernist artists.<\/p>\n Being keenly aware of the vastness of the topic, and in order to open up the conversation to all its nuances and give a panoramic view of what can be said about fault lines and modernism, the panel will show particular interest in proposals that focus on:<\/p>\n -Modernist writings dealing with contemporary political, cultural, scientific or civilisational breakdowns.<\/p>\n -Modernist conceptualisations of the psyche as fragmentary, broken or irreducible to synthesis.<\/p>\n -The literary failings of earlier movements or of modernist endeavours, and the decisive importance of the process of critical reappraisal as tools of self-definition for modernist movements and artists.<\/p>\n -The criticism of modernist artists by other sources and movements, questions of \u201canti-modernism\u201d and resistance within the artistic world in the 20th<\/sup>\u00a0century.<\/p>\n -The fault lines between the practice of artists and the theoretical framework around \u201cmodernism\u201d as an academic field and critical concept.<\/p>\n -Philosophical questions around the notion of fault lines in modernism, especially from a post-structuralist, post-colonial or LGBTQIA+ perspective.<\/p>\n Proposals (300 words) should be sent before December 1st<\/sup>, to Olivier HERCEND (ohercend@yahoo.com<\/a><\/u>) and Patricia GODI (patriciagodi@orange.fr<\/a><\/u>).<\/p>\n","protected":false},"excerpt":{"rendered":" La faille Veuillez trouver ci-dessous l’appel \u00e0 communication pour l’atelier commun de la Soci\u00e9t\u00e9 d’\u00c9tudes Modernistes (SEM) et de la Soci\u00e9t\u00e9 d’\u00c9tudes Woolfiennes (SEW) qui se tiendra \u00e0 l’occasion du congr\u00e8s de la SAES \u00e0 Clermont-Ferrand les 2, 3 et 4 juin 2022. Les communications sont \u00e0 faire parvenir avant le 1er d\u00e9cembre 2021 \u00e0 […]<\/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-3500","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\/3500","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=3500"}],"version-history":[{"count":3,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3500\/revisions"}],"predecessor-version":[{"id":4113,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3500\/revisions\/4113"}],"wp:attachment":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3500"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3500"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3500"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/etudes-woolfiennes.org\/wp-content\/uploads\/2017\/12\/p-Insert-1.png\")
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