THE NEWSLETTER OF IDEA I N T E R D I S · THE NEWSLETTER OF IDEA I N T E R D I S VOL 11 NO 2 ISSN...

T H E N E W S L E T T E R O F I D E A

II NN TT EE RR DD II SSVOL 11 NO 2 ISSN 1960-1816 INTERDISCIPLINARITÉ DANS LES ÉTUDES ANGLOPHONES Winter 2017

IINNSSIIDDEE

Letter from the Director 1

CR: Colloque, « Habillage du livre » 2

I?EA News Briefs 3

CR: IDEA Seminar Series, « La forme ou les formes ? » 3

CR: “Ethnicity” Panel, “IllustratingIdentity / -ies” Conference 3

CR: Colloque,« Voix et silence dans les arts » 4

CR: JE, “Decentering Commemorations6

CR: IDEA Doctoriale 2017 8

CR: 11th International IAWIS / AIERTI Conference, Lausanne 10

CR: IDEA Seminar Series, “Une réflex-ion distanciée sur le Brexit” 10

Members’ 2017 Activities 12–13

CR: Colloque, “Illustrating Identity / -ies” 22

LLeetttteerr ffrroomm tthheeDDiirreeccttoorrBy John S. Bak,Université de Lorraine

II t is with a heavy heart, and admit-tedly some relief, that I write myfinal “Letter” as director of IDEA,

and edit my final issue of Interdis. As of1 January 2018, IDEA will begin its nextquinquennial contract under the direc-tion of Isabelle Gaudy-Campbell. Andgiven all that IDEA has accomplishedthis past semester in terms of its scien-tific activities and contributions toresearch formation, it looks to be asmooth transition.

Back in June, IDEA hosted theinternational conference “Voix et silencedans les arts” (organized by colleaguesin the Voix et silence project), whichintegrated scholarship in the arts withperformances and presentations byseveral professional artists.

In September, several societiéssavantes combined efforts with IDEA tohost an international conference dedi-cated to young researchers, “Habillagedu livre et du texte aux XVIIe et XVIIIesiècles.” Four main axes of research onbooks and book history were covered:translation, editorial practices, imageand illustration, and reception.

In October, the AnglophoneIdentities project organized a one-dayconference on “Decentering Commem-orations.” Its objective was to incitedebate on the nature of monuments,memorials and celebtrations linked tocultural transfers, tourism and culturalheritage, ranging from visual arts to cul-tural studies, cultural policies and liter-ary history.

In November, the Illustra4iogroup continued its important work onillustration by hosting the internationalconference “IIllustrating Identity / -ies.”The conference was interdisciplinaryand cross-cultural in nature, examiningthe means through which illustrationscontribute to the shaping of nationalidentities.

Armelle Parey andIsabelle Roblin, guesteds., A. S. Byatt, Before

and After Possession:Recent Critical

Approaches, BPTI 8, gen-eral eds. N. Collé & M.Latham (Nancy: PUN –Éditions, Universitairesde Lorraine, 2017)

NNeeww BBooookkss bbyy IIDDEEAA MMeemmbbeerrss

Also in Novmber, IDEA held ahalf-day Doctoriale workshop thatbrought together several of its PhD stu-dents with three visiting doctoral stu-dents from Algeria, Portugal and Brazil.The workshop provided a forum for thestudents to exchange researchmethodologies and to discuss the keyingrediants to a successful PhD stu-dent–director relationship.

Also in November, and then inDecember, IDEA hosted this year’s firstSeminar Series talks. The first one,sponsored by the Anglophone Identitiesproject, was on the history and potentialoutcome of Brexit, and was given byChristian Auer, emeritus Professeurfrom the Université de Strasbourg. Thesecond talk on linguistic forme andformes, as part of the Oralité project,was presented by Yvon Keromnes, anewly-hired Professeur in the EnglishDepartment in Metz.

In terms of its committment toformation de recheche, IDEA has wel-comed three new PhD students in2017, one of whom, Florine Berthe,won a doctoral contract last July (theother two students are RadiaBerrouane and Bart Hulley). Two inter-national PhD students have alsoworked with IDEA this year as part ofthe “Sandwich” and the “InternationalLabel” doctoral programs.

Several first-year Master’s stu-dents have also been actively workingalongside IDEA tutors as part of the UE75 Stage course. Their tasks haveranged from contributing to the editingof several books to the organizing ofcurrent and future conferences. A fewof these students, who have helped co-ordinate conferences and seminars thispast semester, even contributed arti-cles for this number of Interdis.

In terms of publications, IDEAmembers have continued to contributeto its international reputation, whetherin publishing articles in respected inter-national journals or in editing articlesfrom international scholars in bookspublished by IDEA members (notably inthe Book Practices & Textual Itineraries

and the ReportAGES book series).Looking back over IDEA’s

past eight years, I believe we havecollectively made a real and positiveimpact in our contributions to thecenter’s committment to researchand research training, and I look for-ward to the new directions the cen-ter will take in the coming years. §


PAGE 2 INTERDIS / WINTER 2017

Par Yohann Deguin,Université de Lorraine

CR: Colloque jeunes chercheurs,« Habillage du livre et du texteaux XVIIe et XVIIIe siècles »,22 et 23 septembre 2017

ment l’ethosde l’auteur etinvitent àréfléchir aule statut dutexte entrefiction etréalité.

La com-municat iond’Erik Stouta aussi misen évidenceles diverses appréciations d’une œuvre en fonction de sonère de traduction : la traduction anglaise du Voyage autourdu monde de Bougainville par J. R. Forster a permis demettre en lumière les enjeux politiques d’une traduction àune époque marquée par des explorations géographiquesimportantes, et pendant laquelle la France et l’Angleterre

s ’ o p p o s e n tsur les merset dans leurscolonies. Laréception dutexte, perçusoit commeune œuvrescientif ique,soit commeune œuvre lit-téraire, estainsi condi-

tionnée par les discours qui l’entourent. Tobias Berneiser,qui s’est intéressé à la réception de la Galatée deCervantès au XVIIIe siècle, par le truchement de Jean-Pierre Claris de Florian, a également insisté sur les enjeuxidéologiques de l’habillage d’un texte que l’on remet augoût de son époque, au gré d’un habillage qui est égale-ment compositionnel – réduction du texte, notamment – etstylistique – la traduction permettant au traducteur dedéfendre une certaine idée de la langue.

La com-munication deMiriam Speyer,intitulée « Lesdieux écrivent-ilsen italiques ? »,proposait unea p p r o c h etypographiquedes recueils depièces en vers eten prose. A ainsipu être abordée la question des choix typographiques,qu’ils soient dictés par des préoccupations matérielles, ouqu’ils relèvent d’une place donnée à un mode d’écriture

Continued on page 7

UU n colloque « Jeunes chercheurs » a été organ-isé à la rentrée 2017 par Nicolas Brucker,Nathalie Collé, Pierre Degott et Anne-Élisabeth

Spica (Université de Lorraine) pour les laboratoiresÉcritures et IDEA, en partenariat avec la Sociétéd’Étude du XVIIe siècle, la Société Française d’Étudedu XVIIIe siècle et la Société d’Études Anglo-Américaines des XVIIe et XVIIIe siècles.

Il a réuni treize « jeunes chercheurs » – doctor-ants, docteurs et jeunes enseignants-chercheurs en lit-

térature, françaiseet anglophone, eten histoire de l’art– qui avaient étéinvités à décliner lamétaphore de l’ha-billage du livrepour s’intéresser àsa matérialité (cou-verture, illustra-tions, ornements)tout autant qu’auxéléments textuelsqui l’enrobent (tra-duction, préfaces,pratiques éditori-ales) et qu’à lap o é t i q u equ’ensemble ils

composent.Quatre grandes orientations ont structuré le col-

loque : une première session fut consacrée à la traduc-tion comme moyen de revêtir un texte ; une seconde àl’exploration de pratiques d’édition et de présentation dulivre en fonction des genres littéraires ; une troisièmeaux images et à l’approche graphique du livre ; une qua-trième enfin, à l’édition et à des questions de réceptiond’éditions anciennes à une époque postérieure.

Amélie Derome a ouvert le colloque en interro-geant l’habillage paratextuel des traductions françaisesde Gulliver’s Travels au XVIIIe siècle. Sa communica-tion a permis de mettre en évidence les problèmesposés par la transposition de topos littéraires d’unespace culturel à un autre, notamment en observant lesformes et places prises par les préfaces qui renforcentou affaiblissent l’illusion de fiction d’un pays à l’autre. Laprésence ou l’absence de cartes des mondes inventéspar l’auteur, par exemple, infléchissent considérable-

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COLLOQUE INTERNATIONAL JEUNES CHERCHEURS

��abillage du livre et du texte

aux XVIIe et XVIIIe siècles

�� Metz Île du Saulcy UFR Arts Lettres et Langues Salle Pierre Grappin A208

OUVERT À TOUS Programme : idea-udl.org Contact : [email protected] MANIFESTATION COORGANISÉE PAR LES LABORATOIRES IDEA ET ÉCRITURES DE L’UNIVERSITÉ DE LORRAINE

COMITÉ D’ORGANISATION : Nicolas Brucker, Écritures, Université de Lorraine - Nathalie Collé, IDEA, Université de Lorraine Pierre Degott, IDEA, Université de Lorraine - Anne Spica, Écritures, Université de Lorraine

Màj 13/07/2017

Céline Sabiron was justawarded with this year's presti-gious Prix Suzanne Zivi fromthe Académie de Stanislas forher excellence in research, thefirst angliciste to ever receivethe award.

The award is describedthus: “Décernés depuis 2009,ce prix récompense ‘la qualité etle rayonnement des recherches’de scientifiques lorrains quelque soit leur discipline :médecine, pharmacie, droit, sci-ences économiques, lettres...Ce prix sera remis au cours denotre séance solennelle deremise des prix qui se tiendra ledimanche 21 janvier 2018, à15h, dans les Grands Salons del’Hôtel de Ville de Nancy.”

Céline’s dossier wassponsored by Mme Françoise

Mathieu (anassociate IDEAmember), whowas recentlye l e c t e dPrésidente ofthe Aca-démiede Stanislas.

Congratu-lations to Céline andFrançoise from all of us at IDEA

On 7 December, sever-al IDEA members participated ina half-day workshop on prepar-ing and writing impact forEuropean research projects andconsortia (ERC, Marie Curie,H2020, etc.). The workshop wasboth educational and enlighten-ing and will help certain mem-bers who are plannning on sub-mitting proposals to H2020 inthe years ahead. §§


INTERDIS / WINTER 2017 PAGE 3

Par Isabelle Gaudy-Campbell,Université de Lorraine

By Amandine Pierron and ThomasLauer, M1 Mondes Anglophonesand UE 75 research assistants

INTERDIS

Winter 2017 Vol 11 No 2Editor: John S. Bak

© 2017 The Newsletter of theResearch Group IDEAAll rights reserved.

I?EA News Briefs CR: LLee pprroojjeett OOrraalliittéé,,YYvvoonn KKeerroommnneess ((AATTIILLFF)),,44 ddéécceemmbbrree 22001177

LL e 4 décembre, le projet Oralité areçu en séminaire Yvon Keromnes(ATILF) qui a présenté un propos

théorique venant aborder la questionsuivante : La forme ou les formes ? Etpour quel sens ?

Ces interrogations sont partiesd’une soutenance de mémoire au coursde laquelle se posait la question d’unmodèle explicatif d’expressions linguis-tiques exclusivement fondé sur la syn-taxe ou sur la prosodie. Si les modèleslinguistiques traditionnels postulent eneffet cette indépendance des mécan-ismes phonologiques et syntaxiques, desréflexions récentes sur ce qui constitue lesavoir linguistique des locutrices et locu-teurs, et sur la façon dont il s’acquiert,tendent à privilégier une approche glob-ale de la forme (morphologique, syntax-ique et phonologique) corrélée à un sensglobal (sémantique, pragmatique et dis-cursif).

C’est la conception défendue enparticulier dans les grammaires de con-struction. Des arguments présentés dansGoldberg 2002 permettent de défendrel’idée d’une généralisation de surfacedes constructions au détriment des clas-siques manipulations paraphrastiques,dont on a tendance à surévaluer la perti-nence. Ainsi d’un point de vue syntax-ique, selon cette conception, la construc-tion ditransitive Mina sent Mel a book adavantage en commun avec toute autreconstruction ditransitive qu’avec uneparaphrase prépositionnelle Mina sent abook to Mel. Pour conclure, nous pou-vons postuler que toute modification dela forme quelle qu’elle soit sera corréléeà une modification du sens.

Le séminaire s’est inscrit :• dans l’animation du projet Oralité

• dans la formation à la recherche desétudiants de Master Recherche venusnombreux.

• il est venu également répondre àdes problématiques soulevées aussi Continued on page 5

bien par une thèse en co-tutelle encours à IDEA ainsi qu’une thèse encours à l’ATILF sur les collocations.

• dans une collaboration entreIDEA et l’ATILF sur le plan linguis-tique et contrastif. §§

IIlllluussttrraattiinngg IIddeennttiittyy--iieess ““EEtthhnniicciittyy”” ppaanneell,,UUnniivveerrssiittyy ooffDDeellaawwaarree

OO n 10 November 2017, theIDEA conference entitled“Illustrating Identity/-ies” wel-

comed Robyn Phillips-Pendleton andColette Gaiter, both from theUniversity of Delaware (USA).

Their aim was to discuss theevolution of the illustration of theblack community, mainly under theracial climate established by JimCrow’s racial laws (from 1876 to1964) and the rise of the Ku Klux Klanin the Southern states. Phillips-Pendleton gave us an insight into“Black Illustrators, and their influenceon Culture Identity,” while Gaiterfocused on Emory Douglas and howhe illustrated Black Power. Together,these papers allowed us to have awider comprehension of the historicalcontext which led the black communi-ty to reclaim the control of their depic-tion in an era when the image of BlackPower was mainly in the hands ofwhite illustrators.

Phillips-Pendleton highlight-ed the movement of black people tothe Northern states from 1910 to1970, a place where there were fewertensions between black and whitepeople. With the immigration of agreat number of people, a new ener-gy emerged in Harlem, which came tohost the largest black community inthe world. Tired of the stereotypicalimage given by the white community(in comics, advertisement, ormovies), the Harlem Renaissancemovement emerged, based on theaspiration of and for black people to



CR: « Voix et silence dans lesarts », colloque international,14–17 juin 2017

Continued on next page

Par Claudine Armand, Université de Lorraine

LL e colloque international « Voix et silence dans lesarts », qui s’est tenu à Nancy les 14–17 juin 2017,a été organisé par plusieurs centres de recherche

de l’Université de Lorraine, dont IDEA(InterDisciplinarité dans les Études Anglophones),CRULH (Centre de Recherche Universitaire Lorraind’Histoire), CERCLE (Centre de Recherche sur lesCultures et les Littératures Européennes), et LIS(Littératures, Imaginaires, Sociétés).

Ont été également associés le centre ERIBIA(Équipe de Recherche Interdisciplinaire sur la Grande-Bretagne, l’Irlande et l’Amérique du nord) de l’UniversitéCaen Normandie, ainsi que le Centre DramatiqueNational Nancy Lorraine–Théâtre de la Manufacture etle cinéma CAMEO.

Le colloque a rassemblé des chercheurs etpraticiens (enseignants, doctorants, réalisateurs defilms, metteurs en scène, comédiens et performeurs)venus d’horizons et de lieuxgéographiques divers enFrance et à l’étranger(Belgique, Canada, Dane-mark, Italie, Suède, Taïwan,et les États-Unis).

Ce colloque est lapremière manifestation scien-tifique à l’échelle interna-tionale mise en place parl’axe « Voix et silence dansles arts » qui a vu le jour audébut de l’année 2016, etdont l’objectif est de privilégi-er l’articulation et l’entrelace-ment de la voix et du silencedans les arts. Depuis cette

date, troiss é m i n a i r e spar an ontdéjà eu lieu età chaque foisils ont étéa c c o m p a g -nés de misesen pratiquede la voix etdu silence.

Comme lat héma t i quedu colloqueconcerne lesarts, il étaitimportant desortir des murs de l’université et se trouver dans deslieux emblématiques du monde de l’art, dans ce cas, leThéâtre de la Manufacture et le Cinéma Caméo. Outreles communications stimulantes portant sur l’interactionvoix et silence en littérature, au théâtre, au cinéma, dansles arts plastiques et les arts vivants, les participants ontpu entendre deux conférences plénières, une dans ledomaine de l’opéra, par Stephen Langridge (metteur enscène, directeur artistique de l’Opéra de Göteborg,Suède), et l’autre dans les arts plastiques, par EstellePietrzyk (conservatrice en Chef du Patrimoine, directricedu Musée d’Art Moderne et Contemporain deStrasbourg).

Parmi les autres points forts de ce colloque : latable ronde avec Michel Didym (Directeur du Théâtre dela Manufacture et metteur en scène), Bruno Ricci (comé-dien), Carmelo Agnello (metteur en scène d’opéra, dra-maturge à l’Opéra National de Lorraine, Nancy) et OlivierLussac (Département Arts, Université de Lorraine) ; laprojection du film Le Complexe de la Salamandre deStéphane Manchematin et Serge Steyer, suivi d’un débatavec Stéphane Manchematin ; et la performance d’unejeune artiste de Metz, Yolène Richard, accompagnée deLouise Bailly à la guitare.

Le groupe deréflexion sur « Voix etsilence dans les arts »réfléchit à présent à laconception de l’ou-vrage qui sera publié àpartir des articles descommunicants. Il pré-pare également leprochain séminaire quiaura lieu le vendredi 9mars 2018 et s’associeau centre ERIBIA del’Université CaenNormandie pour mettrePao-Hsiang Wang,

National Taïwan University

Stephen Langridge, keynote speaker, metteur en scène

et directeur artistique del’Opéra de Göteborg, Suède



« Voix et silence » (cont.) “Ethnicity” panel (cont.)en place unautre colloqueinternat ionalintitulé « Voixtransfigurées :troubles, rup-tures et traves-tissements ».Ce colloque setiendra à Caen

les 17–18 mai 2018. §§

Dessus: Table ronde au Théâtre de La Manufacture : Michel Didym(Directeur du Théâtre de la Manufacture et metteur en scène, BrunoRicci (comédien), Carmelo Agnello (metteur en scène d’opéra, OpéraNational de Lorraine, Nancy) et Olivier Lussac (Département des Arts,

Université de Lorraine)

Dessous: Estelle Pietrzyk, keynote speaker, conservatoire en chef dupatrimoine et directrice du Musée d’Art Moderne

et Contemporain de Strasbourg

rise intellectually and culturally. Through their desire to findtheir identity as Americans, the black community took thefirst steps to equality in a country where segregation wascentral in politics. The pioneers who made this revolution-ary process possible were Alain Locke, with his famousessay “Enter the New Negro” (1925), and Emory Douglas,with his illustrations.

Both Gaiter and Phillips-Pendleton underlined thewatershed that occurred with Opportunity Magazine andSurvey Graphic Magazine. Douglas allowed wider visibilityfor black artists and therefore challenged the long-lastingmisrepresentation of his community. Also, these maga-zines enabled black artists and intellectuals to spread theirideas and to be heard not only by their kin, but also byAmericans in a wider sense. Douglas’s illustrations pro-moting black freedom, as Gaiter pointed out, were a way toconstruct a pacific response to persecution through illus-tration. For artists of the black community, it was importantto change the image of black people as slaves and inferi-ors in books and illustrations, especially in the 1930s whenplantation stories were still being written and published.

Phillips-Pendleton also showed how “TomFeelings and Kadir Nelson, two award-winning illustrators,inspired to counteract negative stereotypical images ofblacks by consistently creating and distributing powerful,uplifting imagery of blacks through diverse outlets’. Sheargued that ‘not only does this imagery influence the cul-tural identity of black people; it also brings cultural aware-ness to others.”

Gaiter’s main concern was to show how EmoryDouglas helped the Black Panthers Party as an illustrator.Douglas’s work served the interests of the Black Panthersmovement by addressing messages both to the black andwhite communities: on the one hand, warnings to the whitecommunity that persecutions would no longer go unpun-ished, such as “Move on over, or we’ll move on over you,”and, on the other hand, hope messages to the black com-munity such as “We shall survive. Without a doubt” or “Allpower to the people.” Emory Douglas “sought to directblack people collective identity toward complete agencyand self-determination,” Gaiter claimed. She showed thatbeside the text accompanying these images, the represen-tations of African American women and men in Douglas’sillustrations showcase an empowered community, ready todefend itself. §



CR: JE “DecenteringCommemorations,”Literary, Cultural, Historicaland Political Celebrationsacross and beyond the British IslesBy Antonella Braida and Céline Sabiron,Université de Lorraine

OO n Friday, 20 October 2017, the research pro-ject “Anglophone / European Identity(ies):Cross-Cultural and Cross-Border Dynamics”

organized an interdisciplinary research conference on thetheme of commemorations. Bringing together the twostrands (cultural transfers and reception on the one hand,and tourism and cultural heritage on the other hand), theconference participants offered a variety of differing per-spectives, ranging from visual arts to cultural studies, cul-tural policies and literary history.

Both celebrations and commemorations weretaken into consideration and the discussion pointed outthe different semantic implications of the terminologyused: cultural and literary history prefers a positive cele-bratory posture – even when choosing to mark theanniversary of an author’s death or historical tragicevents, namely the First and Second World Wars, anddespite the use of words belonging to the linguistic field ofmourning. Most papers, however, pointed out a markedtendency towards more participative attitudes in the latterpart of the twentieth century. This collaborative trendaimed at providing new signifiers to the traditional prac-tice of official commemorations. Different approacheswere discussed throughout the rich exchanges betweenparticipants: starting from Régis Debray’s reflection on

c o m -m e m o -ra t ionsthroughh i sinvolve-ment int h ed e v e l -

opment of the government’s official ceremonies in the1980s and recognition of the bicentennial of the FrenchRevolution – with the definition of the monument as trace,form, or message – through Foucault’s celebration of themateriality of all monuments, to the central question of themeaning of transforming “Shakespeare” into an emptysignifier by dint of popular reappropriations.

The focus on a cross-cultural perspective waswell respected by speakers who proposed the “other”reading of commemorations, i.e., a reading of events,authors or monuments from the perspective of the other,the non-native, or to put it differently the foreign receiving

culture. The topics ranged from Shakespeare inGermany, the Tudors in the digital age, the literary cele-brations of women across Britain and France, to contem-porary artists’ answer to commemorations across France,the U.S. and Algeria, and alternative “postcolonial” per-spectives on the First World War in contemporary fiction.All these contributions aimed at raising questions con-cerning what happens when commemorations travelacross countries or have a multinational dimension.

What came out of the discussion was the evergrowing grassroots interest in commemorations, with abottom-up movement being gradually supported (and thisis a new development) by existent powerful authorities,like the Council of Europe, guaranteeing a more balancedrepresentation of commemorations across Europe, andsupporting minorities. On top of this general trendtowards more justice and more balance in the way com-memorations are staged, there is also a clear perspecti-val change. Former events or sites, once deemed as uglyor infamous, were left to decay when they were not evendestroyed and torn down. Leaving aside any moral oraesthetic judgments, governments now tend to rehabili-tate them as part of the countries’ cultural histories (asseen with industrial sites through the Tate Modern, orevents like the Holocaust). Commemorations are oftengiven an educational goal, which is also why they tend tocross national borders, as authors, events and monu-ments typify an idea or a moment in history. The risk is forthese commemorations to be emptied out of their mean-ings or to become invisible through their omnipresence;hence a form of distrust towards these official forms ofcelebration and the development of anti-commemora-tions. If commemorations are decentered, they may needto be experienced by people and discussed by scholars,i.e., constantly be put into a narrative rather than pas-sively exposed and exhibited to be consumed by ourglobal society.

This event, reviewed by two Master students,Manon Dupé and Marc Kali (see https://idea-udl.org/identitescollectivesidentitesanglophoneseu-ropeennes/ for more information), is to lead to a journalpublication, which is being currently discussed. §§

Keynote, Stefano Dominioni, Executive Secretary, EPA on Cultural Routes, Council of EuropeDirector, European Institute of Cultural Routes



« Habillage » (cont.) particulier. Cette dernière hypothèse a permis de montr-er que le bouleversement, au milieu du XVIIe siècle, desconventions typographiques associées à la distinction duvers et de la prose illustre une inflexion au sein de la pro-duction poétique : la mise en valeur d’une pièce en verstend, à la fin du siècle, à se justifier non plus par son seulcaractère versifié, mais davantage par son inspiration.Le texte ainsi déshabillé questionne l’évolution de l’ha-billage des genres dans l’histoire littéraire. Chloé Perrots’est intéressée à un autre type de déshabillage : celuide l’Almanach iconologique, première iconologied’artistes, paru dans la deuxième moitié du XVIIIe siècle.La mise en évidence des métamorphoses formelles del’Almanach a permis d’envisager la modification du rap-port entre texte et image, et du rapport entre l’ouvrage etson lectorat, ce dernier envisageant cette iconologie demoins en moins comme objet pratique, et de plus en pluscomme pièce de collection.

En questionnant l’autonomisation des prologuesscéniques de Bruscambille, Flavie Kerautret a pu donnerun éclairage sur le devenir de l’habit, une fois l’œuvre –ici, une pièce de théâtre – déshabillée. L’objet para-textuel, sans son texte, peut acquérir son autonomie à lafois grâce au support imprimé, mais également au gréd’une unification du discours par la langue et le choix dela publication en recueil, qui offre aux divers élémentsréunis une cohérence propre. La communication deBénédicte Prot a pu réactiver les problématiques énon-cées par Erik Stout : la situation de L’Ami des femmes dudocteur P. J. Marie de Saint-Ursin, entre fiction et réalité,et entre technique et pédagogie, a permis de mettre envaleur les phénomènes d’habillage d’un discours médi-cal jugé trop nu : gravures, cadre fictionnel épistolaire, etfrontispices sont autant de moyens de rejeter la nuditéhors du discours savant.

La session du colloque consacrée aux images apermis d’envisager la pleine matérialité du livre. En étu-diant les frontispices des traités de fortification militaire,Delphine Schreuder a pu soulever la question du seuildu livre en soutenant l’idée que les frontispices, loin den’être qu’ornementaux, ont aussi une fonction informa-tive, explicative et publicitaire. Cette double modalitéexprimée par les frontispices affirme ainsi tant l’aspectthéorique de la science que son aspect pratique et tech-nique. Les communications de Marine Le Bail et deMaxime Georges Métraux ont quant à elles éclairé lespratiques d’apparence extérieure du livre. Ainsi, MarineLe Bail a enquêté sur les pratiques des éditeurs du XIXesiècle, lorsqu’ils sont confrontés à des textes anciens. Lareliure est notamment apparue comme le support priv-ilégié d’une reconstruction fantasmatique des sièclespassés, qui active un imaginaire temporel particulier. Lavalorisation de reliures d’apparences anciennes et lespratiques éditoriales contribuent pleinement, au XIXe

siècle, à l’érection d’un canon classique. MaximeGeorges Métraux a offert un riche panorama des formeset usages de la gravure sur bois et du papier dominoté,avec un œil d’historien de l’art, ce qui a permis d’aborderun aspect plus technique et à proprement parler esthé-tique de l’habillage du livre.

Des questions liées à l’édition ont clos le colloque.Christophe Schuwey a interprété à nouveaux frais le rôledes structures d’encadrement, dans des textes où s’in-sèrent des éléments autonomes. Le raccommodaged’éléments textuels plus ou moins hétérogènes (déplace-ments, recomposition d’œuvres, récits cadres) est alorsapparu à la fois comme un moyen de renouveler et devarier la lecture des textes, et comme un enjeu commer-cial important. À l’issue du colloque, et au gré d’uneétude des pratiques éditoriales et ecdotiques du XVIIIesiècle sur les textes du XVIIe siècle, Simon Gabay a puréactiver la question de la réception d’un texte en fonc-tion du traitement éditorial qui lui est réservé en dehorsde son cadre de composition premier. En cela, son pro-pos rejoignait de près les problématiques d’ouverture ducolloque. Plus largement, ces questions ont soulevé desdébats nourris par nos propres pratiques éditoriales etnotre propre approche des textes des XVIIe et XVIIIe siè-cles, dont la langue ne nous est ni tout à fait étrangère,ni tout à fait familière, notamment en matière de graphie.

Ces communications, liées par une évidentecohérence, ont toutes suscité de passionnantséchanges, qu’il fallut parfois interrompre, faute de temps.À la croisée de l’histoire du livre et de l’histoire des pra-tiques littéraires, ce colloque a largement tiré parti de lamétaphore de l’habillage, et a permis de soulever desquestions importantes, tant du point de vue de la poé-tique et de l’esthétique que du point de vue de la récep-tion des textes.

En cela, chacun a bien fait de ne pas se fier àun certain proverbe anglais qui dit : « Do not judge a bookby its cover ». §§

INTERDIS / WINTER 2017


IDEA Doctoriale 2017,24 NovemberBy John S. Bak,Université de Lorraine

II n lieu of IDEA’s traditional “Rencontres des doctor-ants” for this semester, a half-day Doctoriale was orga-nized in which several of IDEA’s doctoral students pre-

sented their research in progress, and three visiting doc-toral students discussed their PhD theses within the con-text of three different countries: Portugal, Brazil andAlgeria.

What’s New with the DoctoralProgram in France?

John S. Bak opened theDoctoriale by explaining the recentchanges to the PhD program inFrance (effective 1 Sept. 2016).Some of the changes made were sig-nificant enough to inform studentsand directors alike. Since severalMaster’s students attended (and acouple of Licence students as well),it was good for them to see what awaited them if theychoose to pursue a doctorate.

One of the most significant changes made was theMinister’s demand that PhD theses in France be complet-ed in three years. Gone are the days of seven-year PhDs,which has several implications for students and director’salike. The first implication is that the PhD thesis is nowgenerally shorter, with the average thesis running around300 to 350 pages. The second implication is that hiringcommittees for MCFs need to recognize these changes soas not to sanction potential candidates because their the-ses are not 500 pages.

Another significant change, which IDEA imple-mented last year, was the addition of a comité de suivi foreach PhD student entering their third year of study.Without this committee’s advice, the student cannot enroll.These committees, it has been clearly stated, are not “sci-entific” in nature. They have been put in place to catch anyproblems the doctoral student might be having which couldimpede the comple-tion of the thesis.These committeesmust meet eachsubsequent yearbeyond the thirdenrollment and sub-mit a short report tothe Ecole Doctor-ale.

There are Continued on next page

numerous other changes, some significant enough worthmentioning briefly: a director can sit on a student’s jurybut no longer has a vote in the final assessment); a stu-dent has the right to declare their studies full or part-time(part-time PhDs can last for five years); a student cantake a one-year leave of absence during their studies, butonly one year; the jury needs to have gender parity; anydoctoral student can request to teach classes within hisor her department; etc.

John Bak encouraged students and directorsand future directors alike to read the Minister’s reportbefore taking on a new PhD student.

Roundtable 1: Research Presen-tations by IDEA’s DoctoralStudents

The first roundtable includedfour of IDEA’s current PhD students:Steven Paschall (5th year), GaëlleLafarge (3rd year), Laura Davidel(4th year), and Florine Berthe (1styear). Steven, who is nearing hisdefense, spoke about his latest workon American poet Susan Howe.Gaëlle explained her narratological

reading of two 19th-century travelogues along theMississippi River. Laura discussed her application ofJudith Butler’s performative queer theory to Anne Rice’svampire chronicles. And Florine presented her PhD pro-ject on the thématisation en anglais oral spontané.

Roundtable 2: Research Presentations by IDEA’sInvited Doctoral Students

The second roundtable included research pre-sentations by three visiting PhD students, who are work-ing with IDEA professors. Lilian Juliana Martins, from theJournalism Department of the Universidade EstadualPaulista Júlio de Mesquita Filho (Brazil), presented herthesis on a Brazil literary journalist, Antônio Callado.Manuel João de Carvalho Coutinho, also from theJournalism Department of the Universidade Nova deLisboa (Portugal), discussed the process of completing aPhD in Portugal and explained how his thesis is attempt-ing to problematize the history of literary journalism in hiscountry. And Aziza Tahar-Djebbar, from the CentreUniversitaire de Relizane (Algeria), explained her workon the American welfare system.

Comparative PhD programs (France, Algeria,Portugal, Brazil, U.S., U.K.)

After a brief coffee break, the three visiting PhDsgathered again, but this time to discuss the process of

Gaëlle Lafarge, Steven Paschall,Laura Davidel, Florine Berthe

Visiting PhD students: Manuel Coutinho(Portugal), Aziza Tahar-Djebbar (Algeria),

Lilian Martins (Brazil)



undertaking aPhD in theircountry. Azizaexplained thep r o c e d u r efrom inscrip-tion to defensein Algeria;Lilian did thesame forBrazil, addingthat students

must take several seminars and pass a mid-term defense oftheir thesis in order to proceed to the final stages of the PhD;and Manuel added a few more details about the PhD inPortugal. John Bak discussed the process of a taking a PhDdegree in the United States, which includes two years ofadvanced seminars, qualifying exams, and the dissertation,usually written in the last two years of the four-year program.Antonella Braida completed the discussion by detailing thePhD degree in the United Kingdom. The discussion elictedseveral questions from all the students in attendance.

Group work: What are the Roles of the PhD Director?

The final session was dedicated to the perceived rolesof a PhD director viz. his or her PhD candidate. The goal wasnot to be prescriptive but to open up dialogue between thedegree candidates (at all levels) and the directors about whateach perceives to be the most important “traits” in a director.John Bak served as moderator/animator of what was an excit-ing and enlightening debate.

First, he distributed a sheet of paper containing 25items pertaining to the various tasks asked of a PhD director.Each of these tasks was vital, from being a seasonedresearcher him- or herself, to motivating the student when the-sis was not progressing well; from helping the student to pub-lish or find fellowships, to informing them of possible jobopportunities outside of academia, etc. He then informedeveryone that the goal of the exercise was to discuss anddebate each item and choose only 5 among the 25 items list-ed, and then rank them in order from first to fifth in terms of

importance. Next, he

d i v i d e deveryone intoseveral smallg r o u p s .There was agroup of PhDd i r e c t o r s ,another ofIDEA’s PhDstudent, athird group ofthe visiting

PhD students, and a final group of Master’s and Licencestudents (although they have not yet worked with a PhDdirector, each has worked with a research director andthus had formulated ideals and goals along the way).

The groups debated amongst themselves for thebetter part of half an hour. The task was not easy, sincethe group had to agree on the five, ranked items, whichwas not easy, since 5th- and 1st-year PhD students obvi-ously do not have the same perspective; nor do foreignstudents, whose own programs are vastly different, orundergraduate and Master’s students, for that matter.

Once thegroups completedtheir lists, John Bakthen began askingeach group to listtheir first choice. Notsurprisingly, none ofthe groups had thesame item listed astheir first choice(only a few items in total were on each of the groups’lists).

The directors, for instance, had listed “be a goodresearch” as their first choice for a director, whereas thevisiting PhD students had chosen “consider the student’spoint of view” as their first item. The under/graduate stu-dents, who did an excellent job, argued that the directorshould first and foremost inform the student when theirwork is good and when it is bad. The senior PhDs obvi-ously had different concerns: they wanted their directorsto push them to publish, advice them of available finan-cial resources, and present them with job opportunities

after the PhDdefense.

If “tags”could be givento each groupaccording totheir list ofchoices, thedirectors were“editors” (givecare to the the-sis as much as

to the student); the senior PhD students needed “encour-agements”; the visiting PhDs wanted directors who were“caring”; and the under/grad students said “push us”.

A lot of laughs were shared during the final ses-sion, which was really both fun and enlightening for allwho participated. The visiting students all agreed thatthey wish they had had events such as this at their homeuniversities.

The evening ended, as the “Rencontres” alwaysdo, with an amiable reception, where students and direc-tors alike shared conversation over a glass of wine. §

L3 and M1 students: Sami Bahloul, Anna-Salomé Panayides; Paul Raueiser, Merriem Ait Abbas

Isabelle Gaudy-Campbell, Antonella Braida, Florine Berthe

Post-doctoriale reception



LL e 30 novembre dernier, l’IDEA a eu le plaisir d’ac-cueillir M Christian Auer, professeur émérite enlangues et littératures anglaises et anglo-saxonnes à

l’université de Strasbourg. Spécialiste de civilisation bri-tannique et en particulier de culture politique écossaise,membre de l’Observatoire du Brexit, M Auer nous a offertune « réflexion distanciée » sur ce dernier.

Tous les observateurs s’accordent pour dire que leBrexit est une question totalement nouvelle, inédite don-nant lieu à de multiples interprétations différentes voiremême divergentes :« Brexit meansBrexit », « soft »,« hard », « brutal »,« car crash », « nodeal », et même« sane ». Le Brexitveut donc tout et riendire. C’est un « sacde nœuds » affirmeM Auer. Il s’agit d’unequestion d’une com-plexité inouïe qui comporte un nombre de ramificationsinnombrables dans des champs aussi divers que l’é-conomie, le politique, l’institutionnel, le constitutionnel, lesocial, le culturel. Une question très vaste et hyper-con-temporaine à laquelle M Auer a su nous apporter quelquespistes de réflexion.

En évoquant le Brexit, la première questionest évidemment : pourquoi ? Pourquoi le Royaume-Uniquitte-il l’Union Européenne ? La réponse la plus simpleétant à cause du référendum qui s’est tenu le 23 juin 2016,le vote du « Leave » l’ayant remporté à 51,9% des suf-frages. Ce référendum a mis en avant en avant – con-trairement à ce que Thérèsa May laisse entendre dans salettre à Donald Tusk le 29 mars 2017 – le fait que leRoyaume-Uni est un pays profondément divisé au sujet decette question. Nous pourrions dire qu’il s’agit même d’unroyaume désuni.

M Auer a souligné qu’il est essentiel et nécessairede revenir en arrière afin de mieux comprendre le proces-sus d’élaboration du Brexit. Il s’est ainsi proposé de revenirsur quelques dates clés (cf. cadre), pour finalement seconcentrer sur le référendum, sur la campagne nous

CR: IDEA Seminar Series,«« UUnnee rrééfflleexxiioonn ddiissttaanncciiééee ssuurr lleeBBrreexxiitt »»,, Christian Auer30 November 2017

Par Manon Küffer,Université de Lorraine

By Nathalie Collé,Université de Lorraine

11th IAWIS / AIERTI: “Imagesand Texts Reproduced,”Lausanne, 10–14 July 2017

Christian Auer et Manon Küffer

Continued on next page Continued on page 18

« On va quitter la maison commune mais on va resterdans le jardin car cette maison est magnifique »

Illustr4tio tripartite panel: “Reproducing and RecyclingLiterary Illustration from the 17th Century to the 21stCentury”

II llustr4tio, a France-basedinternational and interdis-ciplinary research net-

work founded in 2013 by 4French scholars – SophieAymes, from the Université deBourgogne, Dijon, NathalieCollé, from the Université deLorraine, Nancy, BrigitteFriant Kessler, from theUniversité de Valenciennes etdu Hainaut-Cambrésis andMaxime Leroy, from the Université de Haute Alsace,Mulhouse – is devoted to Illustration Studies. Its aim is tobring together scholars, illustrators, printmakers, publish-ers, curators and collectors who have a common interestin illustration and its assorted practices. It is an interme-dial collaborative network of researchers and practition-ers who convene regularly to discuss illustration in itsmany forms and functions.

Illustr4tio organized three panels on the topic“Reproducing and Recycling Literary Illustration from the17th Century to the 21st Century” for the 11th interna-tional IAWIS / AIERTI (International Association of Wordand Image Studies / Association Internationale d’Étudedes Relations Texte-Image) conference, “Images andTexts Reproduced,” which was organized by Philippe

Kaenel and histeam and tookplace at theUniversity ofLausanne, inSwi tzer land,on 10–14 July2017.

We hadinvited contributors to explore the constraints, possibili-ties and evolving practices in the reproduction of imagesin illustrated books of fiction, poetry and drama, from the17th century to the contemporary period, and across avariety of media. We had encouraged participants toexamine the technical, editorial and intermedial aspectsof the reproduction of illustrative images in literary works,from a synchronic or diachronic perspective, as well as

Illustr4tio colleagues at work



présentantles dif-f é r e n t e sforces enp résence ,principale-ment lescamps du« Leave » etd u« Remain »,

le désormais très connu article 50 du traité de Lisbonnesur les actuelles négociations, et les conséquences duBrexit sur l’économie britannique. Les actuelles négociations portent sur quatre points fon-damentaux et ont pour leitmotiv : « No deal is better thana bad deal ».

1. Quelle place pour le Royaume-Uni à la cour de jus-tice de l’Union Européenne ?

2. Quels seront les droits des citoyens britanniques enEurope et ceux des citoyens européens sur le sol britan-nique après le Brexit ?

3. Quel prix pour la facture du « divorce » ? Factureestimée entre 50 et 60 milliards d’euros.

4. Se mettre d’accord sur le dossier de la frontière avecl’Irlande et l’Irlande du Nord. Le gouvernement britan-nique a clairement évoqué le fait qu’il ne souhaite pasrevenir à une frontière physique et réelle entre les deuxparties de l’Irlande et à proposer des mesures spécialesnotamment pour les petites entreprises qui pourraientcontinuer à commercer ou à faire des échanges commeavant. Sans accords, les relations économiques entre lesdeux Irlandes seraient considérablement compromises. Sieffectivement il n’y a pas d’accords, les produits en prove-nance d’Irlande du Nord, du jour au lendemain seraienttaxés entre 10 et 30% supplémentaires par rapport à cequ’ils sont à l’heure actuelle. Il y a toute une série de pro-duits européens, des produits alimentaires qui bénéficientde conditions particulières au sein de l’UnionEuropéenne : le jambon de Parme, la feta, le vin deBourgogne par exemple. S’il n’y a pas d’accords tous cesproduits seront bien évidemment taxés à leur entrée auRoyaume-Uni. M Auer avance donc l’hypothèse que l’é-conomie britannique aurait beaucoup plus à perdre quel’Union Européenne d’un non-accord.

En résumé, dernière la question en apparence

Les dates clés du Brexit :

Le 23 janvier 2013 : à quelques mois des élections européennes, DavidCameron, qui est alors Premier Ministre, promet que si son parti est à nouveaumajoritaire aux Communes suite aux élections générales de 2015 qu’il proposeraun référendum sur le maintien du Royaume-Uni au sein de l’Union Européenne.Le propos vise à cette époque-là à maintenir la cohésion du Parti Conservateuret de contrecarrer en grande partie la montée de l’UKIP (United KingdomIndependence Party) qui menace à ce moment-là les conservateurs sur leur flancdroit.

Le 22 mai 2014, jour des élections européennes, on assiste à une surprise detaille dans le paysage électoral britannique. Pour la première fois depuis 1906,un autre parti que le parti travailliste ou conservateur arrive en tête. UKIP rem-porte les élections avec 26,6 % des suffrages exprimés. Il devance le parti tra-vailliste et les conservateurs. Ces résultats augmentent encore la pression surDavid Cameron et le parti conservateur.

Le 7 mai 2015, les conservateurs obtiennent à la surprise générale une courtemajorité à la chambre des Communes lors des élections générales. Les conser-vateurs obtiennent 330 sièges contre 222 pour les travaillistes. La majoritéabsolue étant de 325 sièges, le gouvernement conservateur n’a donc plus besoind’un allier ou d’une coalition. Il peut gouverner seul. David Cameron et le PartiConservateur ont obligation de respecter leur promesse et lancent donc leprocessus qui aboutira à la consultation nationale sur le maintien ou non duRoyaume-Uni à l’Union Européenne.

28 mai 2015 : Le projet de loi visant à organiser le référendum est déposé.Pendant l’année qui suit David Cameron va engager une série de négociationsavec l’Union Européenne, pour tenter d’obtenir un statut spécial pour leRoyaume-Uni. Il veut proposer aux électeurs britanniques une Europe réformée :« Notre principal souhait se résume à un mot : flexibilité ».

19 février 2016 : Après de multiples consultations et négociations un accord esttrouvé entre les 28 membres de l’Union Européenne et le Royaume-Uni.

Le 20 février David Cameron annonce que le référendum sur l’appartenance duRoyaume-Uni à l’UE aura lieu le 23 juin 2016.

d’une simplicité extrême qui a été posée aux britanniques :« Le Royaume doit-il rester ou quitter l’Union Européenne »se cache une multiple de questions connexes, annexes dontnous avions absolument aucune idée. “Whenever we lift astone masses of things crawl out” a affirmé très justement ily a quelques semaines un haut fonctionnaire britannique. LeBrexit est donc devenu l’une des questions les plus fonda-mentales et intéressantes de la vie politique britannique deces trente dernières années. Il a mis au jour les profondesdivisions qui parcourent la société britannique, divisions géo-graphiques, nationales, générationnelles, sociales.

Pour terminer, M Auer s’est intéressé à l’outilréférendaire. Le référendum initié par David Cameron quivoulait donner satisfaction à la franche la plus eurosceptiquede son parti ne fut d’après lui qu’un simulacre de démocratiedans la mesure où l’ancien Premier Ministre a cherché àfaire croire aux citoyens britanniques qu’ils avaient lescapacités et les compétences de répondre à une question àpremière vue simple mais en réalité d’une complexité quel’on peine encore à imagine. §



MMEEMMBBEERRSS’’ WWIINNTTEERR 22001177 AACCTTIIVVIITTIIEESSClaudine Armand travaille actuellement sur deux

projets. Le premier concerne la publication qui fera suiteau colloque international « Voix et silence dans les arts »de juin 2017 ; le second porte sur l’organisation du col-loque qui aura lieu à Caen les 17–18 mai 2018 sur « Voixtransfigurées : troubles, ruptures et travestissements ».

In July and August, John S. Bak was visitingChair of Journalism Studies at the State University of SãoPaulo and was invited back to Brazil in September todeliver two talks: the first as keynote at EPECOM 11,Universidade de Sorocaba, “Early Forms of LiteraryJournalism: From WWI Trench Journals to the Jornal dasTrincheiras of the Revolução Paulista”; and the secondas an invited speaker to the Pós-Graduação emJornalismo, Universidade de São Paulo, “Narrativesabout War and Conflict: The Ethics of Literary JournalismPerspectives from Writers, Readers and Policy Makers.”He is currently co-editing (with Monica Martinez) a spe-cial issue of the Brazilian Research Journal, entitled“Literary Journalism as a New Discipline.” He is also gen-eral editor of the forthcoming volume, Literary Journalismand Africa’s Wars (PUN, 2018), and of two other volumes(on Latin America and Civil War) currently in production.He has continued his research on Tennessee Williams’spaintings for another forthcoming volume. Finally, inDecember, John was awarded a second Chaire Franco-Brésilienne for 2018.

Vanessa Boullet a publié cet automne avecLouise Darlingwater, Valérie Peyronel et Jean-BaptisteVelut l’ouvrage Understanding Mega-Free TradeAgreements: The Political and Economic Governance ofNew Cross-Regionalism chez Routledge (Londres). Ellea continué également sa réflexion sur l’interdisciplinaritéen civilisation économique. Suite à sa communication aucolloque Studies à Paris 13 en janvier portant sur lesaires d’étude, elle a présenté devant les collèguesd’IDEA en mai puis devant les membres de l’atelier duCRECIB de la SAES à Reims en juin 2017 une commu-nication intitulée : « La civilisation économique : interdis-ciplinarité exemplaire ou limite de l’interdisciplin-arité ».Enfin, poursuivant son analyse sur les IDE et les multi-nationales en Irlande, elle a participé à une table rondesur les relations transatlantiques entre les États-Unis etles Iles britanniques le 8 décembre 2017 à Paris 3 lors dela présentation de l’ouvrage Revisiting the UK andIreland’s Transatlantic Economic Relationship with theUnited States in the 21st Century: Beyond SentimentalRhetoric par Anne Groutel, M. C. Pauwels, et V. Peyronelpublié en 2016 chez Palgrave.

Nathalie Collé prepared, coordinated andchaired, with colleagues Sophie Aymes, Brigitte FriantKessler and Maxime Leroy, from the Illustr4tio researchnetwork, in partnership with the organising committee atthe University of Lausanne, Switzerland, a tripartite panelfor the 11th international IAWIS (The InternationalAssociation of Word and Image Studies) conference,

“Images and Texts Reproduced,” which took place inLausanne on 10–14 July 2017. The panel, entitled“Reproducing and Recycling Literary Illustration fromthe 17th Century to the 21st Century,” comprised a firstsession on “Image Mobility: Migration, Repetition,Reinvention,” a second one on “Performance andMultiple Forms of Illustration,” and a third one on“Theoretical Approaches to Illustration.” She also co-organized, with Université de Lorraine colleaguesNicolas Brucker, Pierre Degott and Anne-ElisabethSpica, the “Colloque Jeunes Chercheurs” of theSociété d’Étude du XVIIe siècle, the Société Françaised’Étude du XVIIIe siècle, and the Société d’ÉtudesAnglo-Américaines des XVIIe et XVIIIe siècles, whichtook place on 22–23 September 2017 at the Universitéde Lorraine, on the Metz campus, and was devoted toquestions relating to “Book- and Text-Wrapping in the17th and 18th centuries” in France and in the English-speaking world. She also organized and hosted, withIDEA and the Illustr4tio research team and its mem-bers’ respective universities, an international confer-ence on “Illustration et Identité(s) / Illustrating Identity-ies,” in collaboration with the Illustration Researchinternational network and the Manchester School of Art(UK). The three-day conference took place on theCLSH in Nancy, on 8–10 November 2017, and gath-ered researchers and practitioners from Canada,France, Germany, the Netherlands, New Zealand,Poland, Qatar, Spain, Turkey, the United Kingdom andthe United States. Finally, she has been working withfour first-year Master’s students within the frameworkof their “UE 75R stage” as research assistants – threeof them on the organization of the “Illustrating Identity-ies” conference and art exhibition, and one on theproofreading of volume 7 of Book Practices & TextualItineraries, entitled Illustrating History.

Laura Davidel was recently elected to be oneof the three Postgraduate Representatives for theInternational Gothic Association. Her review of TheGothic Condition: Terror, History and the Psyche, writ-ten by David Punter, was published in The Irish Journalof Gothic and Horror Studies 16 (Autumn 2017). Herfestival report for “The International Vampire Film &Arts Festival” is scheduled for publication in January2018, in the Fantastika Journal (issue 2).

Catherine Delesse a été invitée à participer àun débat « Traduire la bande dessinée » dans le cadrede l’Université d’été de Traductologie organisé par laSoFT à Palerme. Le débat, animé par le ProfesseurAntonino Velez de l’Université de Palerme, a eu lieu lejeudi 3 août 2017 ; participaient également au débat lestraducteurs Marco Rizzo et Giovanni Zucca (ce derniera traduit Tintin et Adèle Blanc-Sec en italien). Elle a co-organisé avec Laurence Denooz les 19–20 octobre2017 à l’Université de Lorraine un colloque sur l’auteurmarocain de langue française Fouad Laroui, en sa




MMEEMMBBEERRSS’’ WWIINNTTEERR 22001177 AACCTTIIVVIITTIIEESS ((ccoonntt..))présence, intitulé « Fouad Laroui, l’humour de l’entre-deux ». L’après-midi du 19 était consacré à la traductionet s’est clos avec une table-ronde à laquelle partici-paient les traductrices allemande, italienne et néer-landaise de l’auteur. L’auteur a fait une conférence declôture. Elle a co-édité avec Élise Louviot (Université deChampagne-Ardenne) l’ouvrage suivant : Studies inLanguage Variation and Change 2: Shifts and Turns inthe History of English (Cambridge Scholars Publishing,2017).

Jeremy Filet participated in the 4th internation-al conference on “The Jacobite Presence” (MaynoothUniversity) on 30 June–1 July 2017, co-presenting thepaper (with Stephen Griffin, University of Limerick),“Reality and Representation: the Jacobite diaspora andeighteenth century British Travel narratives in Lorraine:an ongoing project.” Over the summer, he co-organizedthe workshop “How to present your research at interna-tional level: Some tips for developing your oral skills”with Lisa Jeanson and Laura Déléant (PerSeUs, UL).He was also an active member of the organizing com-mittee of the Postgraduate Summer School of theEducation University of Hong Kong, and published anarticle in The Conversation, entitled “WhenResearchers ‘get involved elsewhere.’” He is currentlyundertaking the second year of his PhD at ManchesterMetropolitan University (UK).

André Kaenel a fait partie du jury de soute-nance de thèse d’Émilie Cheyroux à l’UniversitéSorbonne Nouvelle-Paris 3, « Le festival comme événe-ment reconfigurateur de stéréotypes : Cine LasAmericas et les Latinos (Austin, Texas, 1998–2017) »,sous la direction de Divina Frau-Meigs. Il a égalementsigné la recension de Peter J. Bailey, The ReluctantFilm Art of Woody Allen (University Press of Kentucky,2016, 437 pp.), paru dans la revue en ligne Cercles :http://www.cercles.com/review/r80/Bailey.html.

Gaëlle Lafarge presented the talk “Shaping ofthe American Identity and the Reconstruction theMississippian Territory” at the SELVA workshop duringthe SAES in June 2017 (Reims).

Monica Latham a écrit deux recensions, l’unepour The Seventh Function of Language de LaurentBinet (American Book Review, 2017) et la deuxièmepour Gertrude Stein: Autobiographies intempestives deChristine Savinel (Miranda 15, Revue pluridisciplinairedu monde anglophone, 2017). En collaboration avecl’Institut des Textes et des Manuscrits Modernes / ENSParis et grâce à une subvention obtenue du Pôle TELLde l’UL, Monica transcrit actuellement les Carnets man-uscrits de lecture de Virginia Woolf avec une équipe degénéticiens et spécialistes de Virginia Woolf. Ils réalis-eront par la suite une édition des Carnets 14 et 46 (con-tenant, entre autres, les notes préparatoires de l’essai“Phases of Fiction”). Ils travaillent ensemble à un projetde publication chez Brepols Publishers. Avec cetteéquipe de chercheurs, Monica a organisé un panel à la

Annual International Virginia Woolf Conference(“Virginia Woolf and the World of Books”) qui s’esttenue à Reading, UK, 29 juin–2 juillet 2017, au sujet deleurs travaux. Son intervention a été intitulée “ReadingPen in Hand.” Monica coordonne également l’éditiondes numéros 6 et 8 de la série Book Practices andTextual Itineraries confiés à des Guest Editors. Avecl’aide de son assistant de recherche, Paul Raueiser,elle vient de finaliser BPTI 8 qui sortira avant la fin del’année 2017. Enfin, Monica a été élue pour faire partiedu Conseil IDEA à partir de janvier 2018.

Céline Sabiron has published two book chap-ters since last June: “Handing Over Walter Scott? TheWriter’s Hand on the English and French Marketplace”in the MHRA Yearbook of English Studies 47 (WalterScott: New Interpretations, ed. Susan Oliver); and“Cross-Channel Literary Crossings and the Borders ofTranslatability” in Minding Borders: Resilient Divisionsin Literature, the Body and the Academy, eds. NicolaGardini, Adriana Jacobs, Ben Morgan, Mohamed-SalahOmri, and Matthew Reynolds (‘Transcript 5. Legenda).She is giving a paper “Performing Translatorship:Embedded Metatextual Discourses in Amédée Pichot’swork” at the “Confluences” seminar dedicated to trans-lation studies at Paris-Ouest-Nanterre University on 13Dec.

Yann Tholoniat a continué à écrire des articlessur Robert Burns et a été invité par l’Université deSarrebruck pour donner une conférence intitulée :« Robert Burns and William Wordsworth: the birth ofBritish Romanticism » (Universität des Saarlandes, 6–7 novembre 2017). Il a prononcé une conférence surl’écrivain chilien Vicente Huidobro intitulée : « VicenteHuidobro y ‘ese fiat lux clavado en la lengua’ : Altazory Temblor de cielo » lors d’une tertulia littéraire à laMaison de l’Amérique latine, Strasbourg, 5 décembre2017.

In June, Jeremy Tranmer jointly organized oneof the CRECIB’s workshops at the congress of theSAES in Reims. The workshop featured papers about“UK Cities of Culture.” The following month, he gave apaper about popular music and the British left at the“Music and Socialism since 1917” conference held inNottingham. In October, Jeremy jointly organized aone-day conference (« Commémorer Autrement etAilleurs : nouvelles approches transversales ettransnationales des commémorations : Célébrations lit-téraires, culturelles, historiques et politiques à traverset au-delà des Iles Britanniques ») with AntonellaBraida, Céline Sabiron and Roseline Théron. Herecently took part in a roundtable discussion at theannual film festival in Pessac about working-class cul-ture in England. He also published an article entitled“Political Commitment of a New Type? Red Wedge andthe Labour Party in the 1980s” in an issue of the RevueFrançaise de Civilisation Britiannique about activism(https://rfcb. revues.org/1466). §§



“Identity / -ies” (cont.)


form – book illustrations, extraillustrations, press cartoons, dig-ital art, etc. – or type – decora-tive, narrative, scientific, techni-cal, historical, educational, satir-ical, etc. – of illustration, fromthe Early Modern period orRenaissance to the present day.

Among the subjects offeredfor discussion were the followingones: the political agenda ofillustration/illustrators, or illustra-tion as critique and social or

political protest; the illustrator as agitator, mediator, witnessand/or opinion former; the performance and performativeaspects of illustration; illustrating and changing technolo-gies; the participation of illustration in the construction anddefinition of individual, collective, cultural, social, political orethnic identity-ies;and the illustration ofhistorical and ‘grandnarratives’ relating tonational identity-ies.

The confer-ence opened onWednesday 8thNovember with twoplenary panels: a firstone on “Identity, Authorship, Empathy,” with papers byTeresa BRUŚ, from Uniwersytet Wrocławski (Poland), on“Performing Individual Identity Through PhotographicPortraiture,” Thomas CUSCHIERI, from the University ofHertfordshire (UK), on “The Gorey Groan: Study inAuthorship and Artistic Identity,” and Susan HAGAN, fromCarnegie Mellon University (Qatar), on “Illustrations: TowardMore Empathetic Arguments for Identity”; and a second oneon “Picture Books, Children and Young Artists,” with papersby Linda SCOTT, from Falmouth University (UK), on

“Empowering theChild: CriticalEnquiry, ChallengingNarratives andCensorship,” EmilieSITZIA, from theUniversity ofAmsterdam &Maastricht University

(Netherlands), on “Picture Book Illustrations and ChildrenIdentity Formation: the Case of Fiep Westendorp’s Jip enJanneke,” and Jonathan GIBBS, from Edinburgh College ofArt (UK), on “Drawing Book and Picture Hooks: Pictorial andTextual Identities in Stories for Children.”

The two panels were followed by the opening of anart exhibition which was organised specifically for the con-ference around its theme. With the help of University LibraryDirector Frédérique Peguiron and her staff, Valenciennescolleague Brigitte Friant Kessler and Nancy first-year

Master’s research student and assistant Louise Germainprepared and set up “ID-entités / ID-entities,” which was(and still is) hostedon the first floor ofthe BibliothèqueUniversitaire deLettres, SciencesHumaines etSociales in Nancy.The exhibitionopened on 8thNovember, andwill be visible until mid-December (after the original clos-ing date has been extended from 30th November till 15thDecember). Four artists contributed to it: young Frenchartist Claire Caillebotte (http://clairecaillebotte.blogspot.fr/), French scholar and artist Brigitte Friant Kessler(http://www.insolites-art-saverne.fr/evenements/les-mains/les-exposants/bfk-brigitte-friant-kessler.html),British artist, illustrator and senior lecturer DesdemonaMcCannon (http://www.art.mmu.ac.uk/profile/dmccan-non), and Costa Rican free-lance illustrator and junior artdirector Ximena Miranda (https://xmirandablog.word-press.com/). You may visit the library website for moredetails on ‘ID-entités / ID-entities’ at: https://lorexplor.istex.fr/Wicri/Europe/France/ Lorraine/fr/index.php/Exposition_des_BU_de_Lorraine_2018_-_Illustration_et_Identit%C3%A9(s)_/_Illustrating _Identity/ies.

The opening of the exhibition, which was accom-panied by a cocktail party, concluded the scientific andcultural programme of the first day of the conference,

which ended with an infor-mal and convivial socialgathering at Café Foy, onPlace Stanislas in Nancy.

The second and thirddays accommodated awhole series of parallelsessions, as well as twokeynote addresses. On

Thursday 9th November, a panel entitled “ShiftingIdentities,” with papers by Jonny HANNAH, from Solent,Southampton (UK), “Friends of Rocket Man,” DonnaLEISHMAN, from Glasgow School of Art (UK), “NarcissistReconfigured,” and Gabrielle Brace STEVENSON, artwriter and illustrator (UK),“Conjuring Alternative Selves”took place simultaneously withone entitled “Sexual Identities”and comprising papers by CarolynSHAPIRO, from FalmouthUniversity (UK), “Illustration,Performativity and the ExplicitBody of Marie-Antoinette inEighteenth-Century FrenchPornographic Pamphlets,” Catherine STONES, from theUniversity of Leeds (UK), “Illustrating the ‘Coming Out’Story: Self-disclosure, Shoes and Saints,” and Samuel

Conference opening

“Identity, Authorship, Empathy”panel

“Picture Books, Children and YoungArtists” panel

ID-entities Exhibition opening

“Shifting Identities” panel

ID-entitiesExhibition, BUL Nancy



Continued on page 16

WINGATE, from the Royal College of Art, London (UK),“Casual Connections: Documenting Apparent InheritedBehaviours in Contemporary Gay Culture Through Drawing.”

These panels were followed by the first keynoteaddress of the conference, which was given by EmeritusProfessor and former Head of Illustration Alan MALE, fromFalmouth University (UK). An academic, author, editor and

illustrator, Alan is an authority onvisual communication, profes-sional practice, science andknowledge bearing imagery. Hehas worked across the advertis-ing, creative and communicationindustries and illustrated morethan 170 books. He has wonnumerous awards, among them

Gold from the Society of Illustrators Los Angeles and a Texas“Bluebonnet” for children’s books. He has exhibited interna-tionally, including in New York State Museum’s permanentcollection where he has won the critically acclaimed Focuson Nature Jury Award three times. He is the author of cele-brated books about illustration, notably Illustration: ATheoretical and Contextual Perspective (2007; 2nd ed.2017) and Illustration: Meeting the Brief (2017). His nextbook, The Power and Influence of Illustration, is to be pub-lished early 2019, as will his next book as editor, The WileyBlackwell Companion to Illustration. His conference talk wasentitled “Dangerous Precedents: Freedom of Expression orCensorship and Discrimination,” and it put forward the fol-lowing questions: will an increase in multiculturalism, global-ization, political and environmental change control the wayillustrators think and approach their work? And might thisadversely affect the way illustration exerts it potential forpower and influence? He explained that illustrators will havea personal threshold regarding ethical practice, moral stan-dards and conviction. And, like the vast sweep of humanity,these thresholds will differ and sway dramatically from oneindividual to another. He claimed that to a large extent, weare all directed by the customs and conventions laid down bythe societies we inhabit, the formal governance of thosesocieties and by cultural diktats – which are broadly of ourown choosing – religious, artistic, ethnic or otherwise.

Through a rich and profuse series of images andpersonal stories, he showed that illustration has been aprovocateur throughout history by visually dispensing newand controversial knowledge, by commentating and bearingwitness, by being a raconteur and cultural standard bearerand most felicitously, by broadcasting propaganda anduncompromising opinion. These are precepts that direct thesoul of illustration practice, he claimed; and then asked: arethey being eroded and in the long term, will it matter? Theresponsibility of the illustrator, as well as the ethics of illus-tration and its potential for offense, were a connecting threadthroughout his presentation. A long, rich and stimulating dis-cussion followed Alan’s keynote address which focussed onsuch notions and issues as social and cultural values, cus-toms, conventions, infrastructures, censorship, discrimina-tion, and freedom of expression.

On Thursday afternoon, two more parallel sessions

took place: the first one, entitled “Perspectives onWomen,” with papers by Violeta NOY, illustrator fromBarcelona, Spain, “Viral Illustration,” and Chloe WARD,from Queen Mary,University ofLondon (UK),“‘Agitation byS y m b o l ’ :Illustrations ofForce Feeding inthe British SuffrageMovement”; thesecond one, entitled “Illustration and Other Visual Arts,”with papers by Eleanor R. POWELL, from SavannahCollege of Art and Design (Georgia, USA), “Representingour Emerging Global Identity Through FashionIllustration,” Andrew SELBY, from the School of the Arts,English & Drama, Loughborough University (UK), “FromProvocation to Persuasion: The Changing Faces ofIllustration in a Service Design Experience,” andChristelle SCHREIBER DI CESARE, from the Universitéde Lorraine (France), “Nuria Pompeia et son œuvregraphique: l’illustration au service du féminisme dans lecontexte de la dictature franquiste.”

These two panels were followed by a round tablechaired by Jaleen GROVE, from Washington University(USA), and entitled “A Theoretical Turn? InternationalPerspectives on How Theory Impacts Illustrators’Education, Output, and Identity.” Its participants wereIlgım Veryeri ALACA, from Koç University (Turkey),Robert BRINKERHOFF, from Rhode Island School ofDesign (USA), Adrian HOLME, from Camberwell Collegeof Arts, UAL (UK), Nanette HOOGSLAG, from AngliaRuskin University (UK), Martha NEWBIGGING, fromSeneca College, Toronto (Canada), and Jeff PIKE, fromSam Fox School of Design, Washington University(USA). They exposed and debated how theory and criti-cism are taught and used in illustration education andpractice, comparing course programs and discussing theimpact that history, theory and criticism are having or willhave on degree-granting status, individual practice andillustration’s role in the creative industries. They showedthat there is considerable difference around the world inhow the field of illustration is taught, and how schools areanswering the pressure to become less craft/trade-orient-ed and more academic. For instance, where UK studentsand some Europeans study theory in stand-alone cours-es every semester, American illustration educators arejust beginning toconsider suchapproaches intheir own curricu-la. Some teach-ers reject itentirely, while theJanuary 2018release of the

“Perspectives on Women” panel

Keynote Address by Alan Male

“Theoretical Turn” panel



History of Illustration textbook will introduce theory to theAmerican illustration curriculum for the first time. Theexplained that other concerns are that the kinds of theorytaught have become canonical and are largely Eurocentric;whether creativity is actually held back by theory; self-image and status of the profession; and the identities ofinstitutions, programs, and students. The round tableprompted lively debates and exchanges among the sixty orso participants.

The second day ended with the conference dinner,which tookplace at thefamous ands u m p t u o u sB r a s s e r i el’Excelsior inNancy. Aroundforty people

joined up and were able to admire the Art Nouveau settingand enjoy the food.

The third and last day, Friday, 10th November,accommodated two parallel sessions in the morning:“Revolution and Democracy,” with papers by Max BON-HOMME, from the UniversitéParis-Nanterre (France),“Political Photomontage inFrance between the Wars: theVisual Construction of aCommunist Identity,” MargotRENARD, from the Universitéde Grenoble-Alpes (France),“Une image de la division: les illustrations de l’histoire de laRévolution française par Auguste Raffet et Ary Scheffer en1834,” and Robin SUKATORN, from the Manchester Schoolof Art, Manchester Metropolitan University (UK),“Documenting Democracy through Reportage Illustration,”a practice-based paper; and “Ethnicity” (for details of thispanel, see article on page 3), with papers by RobynPHILLIPS-PENDLETON, from the University of Delaware(USA), “Black Illustrators, and their Influence on CulturalIdentity,” Colette GAITER, also from the University ofDelaware, “Emory Douglas: Illustrating Black Power,” andOana DUMITRASCU, from the Université Paris 9 (France),“Illustrating the Nation: Australian Aborigines’ Illustrations

and their Place in the AustralianNational Identity.”

These morning sessionswere followed by the secondkeynote address, which was deliv-ered by artist, illustrator and poetSophie HERXHEIMER (UK), whohas illustrated five collections offairy tales and mythology, and hasmade several artists’ books, andwhose drawings, paintings and

poems have been shown in many ways and places. TheThames Festival commissioned her to make a 300-metretablecloth to span Southwark Bridge for a public feast, andfor this she collected individual food stories fromLondoners and screen printed one at each place setting.She has an ongoing story collecting project in which shelistens to people and draws their stories live in ink. Sophieresidencies include London International Festival ofTheatre, London Printworks Trust, The Arvon Foundation,The Museum of Liverpool, and Transport for London.

Her exhibitions include The Whitworth, NationalPortrait Gallery and The Poetry Library. Sophie devisedthe color palette for the hit CBeebies programme In TheNight Garden. She also devised and made all the artworkfor this year’s and lastyear’s National PoetryDay. This year shehas two books out:Your Candle Accom-panies the Sun (Hen-ningham FamilyPress), which is a col-lage-poem homage topoet Emily Dickinson,and Velkom to Inklandt (Short Books), a collection ofpoems written in her late grandmother’s accent, accom-panied by papercuts of domestic objects. In her confer-ence talk entitled “Hearing Pictures, Seeing Voices: If youare you, then who am I?,” she looked at the ways differentkinds of listening can inform and expand the way we draw,think and interpret the world. Doing so, she raised a wholeseries of questions: How do we tune in to a subject, bearwitness to a poem or a story, allow ourselves to beimmersed? Is it possible to drift inside a piece of artworkand let it mark you? Can a flat page printed with markssustain a reader emotionally even in these times of highspeed media? Why do some images look right and otherslook wrong? And how do we convey an empathy withcharacters we meet in real life or in a story? Using exam-ples from projects she has created or been involved with,as well as some from the long history of depiction, Sophielooked at how we can deliver the seeds of understanding,elucidation or even action, via our toolbox of line, tone,metaphor, colour, skill, instinct and feeling. She arousedand sustained the audience’s attention and interestthroughout an over one-hour-long presentation which wasboth funny and theatrical, and serious and moving, andwhich invited us to look inward and outward, and inwardagain, to assess the amount of self we put into our cre-ations, and to suspend our sense of criticality when wedraw and teach.

Friday afternoon offered yet again another set oftwo parallel sessions: one entitled “Disrupted Identities”with papers by Alan YOUNG, from Auckland University ofTechnology (New Zealand), on “Vesalius’s IllustratedFabrica and the Medicalization of Identity,” Sabrina



Conference dinner

Keynote Address by Artist Sophie Herxheimer

“Revolution andDemocracy” panel

Sophie Herxheimer




SCOTT, from OCAD University, Ontario (Canada), on “TheWound We Have: IllustratingSexual Trauma,” and Fang QI,from Newcastle University (UK),on “The Outsider,” another prac-tice-led paper; the other session,entitled “Migration andInterculturality,” hosted joint pre-sentations by Gabrielle CARI-OLLE & Paul ROBERTS, fromthe Arts University Bournemouth(UK), on “The Jungle Camp:Reportage and IdentityFormation in the British and French Press,” and MireilleFAUCHON, from the Royal College of Arts, London (UK) &Lainy MALKANI, author and illustrator (UK), on “SugarSugar: Bitter-sweet Tales of Indian Migrant Workers,” aswell as a paper by Ayumi HATTORI-UEDA, from theUniversité Paris 4 Sorbonne (France), on “Utilité de l’im-agerie d’Épinal pour la création de l’identité des espéran-tistes de 1900 à 1910.”

The last day ended with a panel devoted to illustra-tion and / in the “Archives,” which was chaired by JamesWALKER, from University of Creative Arts, Farnham (UK),and hosted papers by Louise BELL, from FalmouthUniversity (UK), “Archives, Walking and the Act of Repair:Exploring Plymouth Through Past and Present,” AmyGOODWIN, from Norwich University of The Arts (UK), “TheArchive as a Space for Disputed, Dubious and SubvertedNarrative: Employing the Illustrative Turn in order to Re-Establish Identities for Fairground Women,” JaleenGROVE, from Washington University (USA), “Tarnishing theGolden Age: Collections and Identity in AmericanIllustration,” Christina MEYER, from Leibniz UniversitätHannover (Germany), “Archives: Sites of Knowledge, Affect,Identity,” and James WALKER, “Lost in Archives:Disentangling Invisible Traces and Constructed Identities.”The panel was based on the idea that the study andresearch of illustration is dependent on how we collect,archive and preserve its ephemeral history. It posited thatthe disposal nature of illustration has perhaps lead to signif-

icant loss of our visualcultural history. In turnthe selectiveness andoften randomness ofconserving illustrationis dependent on thedesires and objectivesof the specialist collec-tor, institutions,archives and muse-

ums. Its aim was to consider how the use and creation ofillustration archives inform our understanding of the disci-pline. The participants investigated how archival researchleads to new histories and understanding of how illustra-

tion is used to construct national, social and collectiveidentities. In turn the papers presented personal,reflective and critical discourses around how we nav-

igate and mediate the archive and illus-tration.

The conference ended with clos-ing remarks and announcements byorganisers Nathalie Collé, SophieAymes, Brigitte Friant Kessler andMaxime Leroy, and a well-earned andappreciated cocktail party for and by allits participants.

Colleagues from the Université deLorraine were veryhelpful in helping

to organize and host the con-ference, as well as in chairingsessions and contributing to thediscussions – many sincerethanks again to them all. Manythanks again as well to our sec-retary, Sylvie Laguerre, for herever precious work and assis-tance, and to my three researchassistants, first-year Master’sstudents Louise Germain,Thomas Lauer and Amandine Pierron, for their very

precious and unrelentinghelp in preparing the confer-ence rooms and materials,the art exhibition and thecoffee breaks, and in wel-coming, guiding and hostingthe participants during thesethree days. Thanks also toour Licence and Master’sstudents for their interest inthe conference and partici-pation in the sessions.

A selection of the best articles issued from theconference will be published in several BookPractices & Textual Itineraries volumes edited byNathalie Collé and Monica Latham and guest-edited

by Sophie Aymes, BrigitteFriant Kessler and MaximeLeroy after the usual processof peer-review by the scientificcommittee of the series.

An Instagram page wasset up for the conference byEleanor Mulhearn, from theManchester School of Art (UK),and is available at:h t t p s : / / w w w. i n s t a g r a m .com/illustratingidentities/. Youmay also visit the conferencewebsite at: https://illustridentity.event.univ-lorraine.fr/. §

Sylvie Laguerre,Amadine Pierron

Illustr4tio

“Archives” panel

“Migration and Interculturality” panel



from different the-o r e t i c a lapproaches.

One of thetenets was that,whether repro-duction sets uplimits and con-straints, or other-wise enableswider circulationand liberates cre-

ativity, it contributes to define and shape the creationand reception of illustrated books. The following issueswere raised: how reproduction contributes to (re)defin-ing the illustrated book as a medium; how illustrativeimages are re-used and migrate from one medium toanother, as well as from one type of vehicle to another;and to what extent can Walter Benjamin’s concept of“aura” be applied – or not – to illustration. Participantswere invited to discuss how the meaning and receptionof illustrative images or artworks are (re)negotiatedaccording to how they are reproduced, and how suchterms as “originality” and “authenticity” have been(re)defined over the period under consideration.

We had also invited papers which would con-sider works and practices that challenge definitions ofand received assumptions about the illustrated bookand illustration. Contributions to this panel could dis-cuss such topics as the limits of reproducibility and theboundaries between illustration and adaptation. Theycould explore such questions as: are all illustratedbooks reproducible? What is the status of an image,and what are its conditions of reproducibility in limitededitions and/or artist’s books? To what extent is illustra-tion conditioned by repetition and recycling? Or, howhas the digital book altered the notion of reproduction?

The Illustr4tio panel comprised three sessions.The first one, entitled “Image Mobility: Migration,Repetition, Reinvention,” took place on Monday 10thJuly in the morning. It considered the issue of reproduc-ing and recycling literary illustration from three differentperspectives: first, that of political cartooning and cari-cature, based on a few case studies of different artistsfrom different times and with idiosyncratic styles(Rowlandson, Cruikshank, Tenniel, Steadman andRowson) which evidence a variety of migration patternsbetween literary illustration, or adaptation (in the form ofcomic book adaptations and graphic novels) and graph-ic satire; secondly, that of extra-illustration, through thecase of different visual transpositions of Jean-Jacques

Rousseau’s best-selling novel Julie, oula Nouvelle Héloïse(1761) and the prac-tice of collecting anddisplaying multipleillustrations within thesame volume; andthirdly, that of scientificillustration in 17th- and18th-century naturalisttreatises and trav-ellers’ accounts, andtheir use and re-contextualization of de-contextualizedimages. Collectively, the three papers addressed questionsrelating to image migration and adaptation, repetition andreinvention, transposition and transformation, as well as thebroader question of text-context-image relationships.

The first paper, by Ann Lewis, from Birkbeck,University of London, was entitled “Extra-IllustratingRousseau’s Julie, ou la Nouvelle Héloïse.” It presentedRousseau’s bestselling novel as a fascinating case study forthe question of text-image relations. Ann explained thatRousseau himself commissioned and directed the initialseries of illustrations by Gravelot – a degree of authorialinvolvement that critics have seen as a turning point in thepractice of French novel illustration. Gravelot’s series hasrightly been considered by critics as integral to the authorial“work,” and as such has been the focus of numerous impor-tant critical interventions within the growing field of study on18th-century illustration in France. Rousseau’s novel alsogave rise to a significant number of further series of illustra-tions, designed by different artists throughout the 18th and19th centuries. These series, outside Rousseau’s control,provide us with highly complex readings of the text, Annclaimed, in their selective actualisation of different narrativestrands through the graphic transposition of differingsequences of images, often evoked as spectacles within thetext, and then viewed alongside it. In this talk, Ann consid-ered the illustrations for Julie from the perspective of extra-illustration. She focused on two copies of the Defer deMaisonneuve edition of the Œuvres de Jean-JacquesRousseau (1793–1800), one held in the British Library, andone in Munich, each of which includes a large number ofengravings in different formats, taken from different series ofillustrations of the novel through time, bound opposite therelevant textual passages. She showed that several of themost ‘famous’ scenes of the novel appear alongside five orsix different visual transpositions of the same textualmoment, and posited that this practice of collecting and dis-playing multiple illustrations within the same volume opensout a number of questions with which to explore the notion of


“IAWIS” (cont.)

11th IAWIS / AIERTI: “Images and Texts Reproduced”

“Image Mobility: Migration, Repetition, Reinvention” panel



reproducing texts and images.In “Graphic afterlives and oblique efficacy: rethink-

ing reproduction in the context of migration between liter-ary illustration and political satire,” Brigitte Friant Kessler,from the University of Valenciennes, addressed some ofthe issues raised by the reproduction of literary illustrationin political cartoons, as well as the migration of a carica-

ture-inspired style in comic bookadaptations and graphic novels.She claimed that recycling ele-ments from literary illustration inpolitical satire is part of a long-standing visual practice in Britain– more so than on the continent –rooted in the free circulation ofadmittedly separate pictorial gen-res. Positing that, at one end, lit-erary illustration is based on theprinciple of supplementing,accompanying or adorning a text,

at the other end of the spectrum, political caricature is pri-marily a genre and medium concerned with efficacy. Itsaesthetics is underpinned, and even conditioned, by itsmain function, which is to provide a rapid graphicresponse. Political cartooning induces a performativemode (Bredekamp 2015) in a way that literary illustrationdoes not. But when literary illustration and political car-toons interact, these images become the locus of overlap-ping visual discourses in which the notion of reproductionis central.

Finally, Sara Petrella, from the University ofGeneva, gave a paper entitled “Motifs mobiles: degravures en regravures,” which presented treatises by17th- and 18th-century naturalists and travellers in whichillustrations play a central role, both as testimonies of nat-ural phenomena and sites and as a form of discourse. Sheshowed and studied a series of iconographic motifs whichwere produced, de-contextualized and then reproduced –and thereby given new meaning – in new books and edi-tions. She focused in particular on the cases of the “monkfish” and “bishop fish,” which were originally conceived assatirical anticlerical images and were later re-used andreproduced in a whole series of illustrated books, notablythose of Guillaume Rondelet and Théodore de Bry, and of17th-century naturalists like Fortunio Liceti, as animalspecimens and therefore became sample images of natu-ralist representation and discourse. These examplesenabled Sara to illustrate the practice of reproductioninherent in illustrated books and the process of imagemigration, and to question the notion of authenticity. Theyenabled her more particularly to assess the status of illus-

tration with-in sciencebooks, andits role inthe con-struction ofs c i e n t i f i cdiscourse inthe periodof theA n c i e n

Régime.The second session, which took place on Monday

afternoon, was entitled “Performance and Multiple Formsof Illustration.” The first speaker, Timothy Erwin, from theUniversity of Nevada, Las Vegas, questioned the fact thata linear seated Venus associated with the Carracci acad-emy should be reproduced in several forms at the Stuartcourt during the Restoration. The paintings depict Venusat her toilette and reflect the rivalry of Venus and Diana forthe heart ofAdonis. As Ovidtells it, Dianahas alreadyseen to thedeath of Adoniseven as Venusprepares to visithim. AnneKilligrew, maidof honor toMary of Modena, painted a “Venus Attired by the Graces”after Annibale Carracci and his student Francesco Albani.John Blow presented an opera called “Venus and Adonis”at the court of James II where the graces dance a gavottearound the goddess. And Aphra Behn penned a corona-tion ode for James and Mary in which “Nymphs ply all theirFemale arts / To dress [Venus] for Her victory of hearts.”Clearly, the iconography of Venus at her toilette is a visu-al-verbal narrative that the court enjoyed in multiple forms– as choral song, narrative painting, and commemorativeverse. Timothy traced the iconography back to the chasteUranian goddess of Pausanius and forward to AlexanderPope’s Rape of the Lock. He analysed the connection fig-ures in Pope’s engraved frontispiece, in the toilette sceneending canto one, and the final metamorphosis of the lockinto a star sacred to Venus.

The second speaker, Sophie Aymes, from theUniversity of Bourgogne-Franche Comté, presented apaper entitled “Capturing gesture: illustrations to dancenarratives for the Beaumont Press,” whose aim was to


“IAWIS” (cont.)

Brigitte Friant Kessler“Performance and Multiple Forms

of Illustration” panel

Timothy Erwin



“IAWIS” (cont.)


explore Modernist illustrations to narratives on dance,and to examine the interplay of word and image in the

reproduction ofg e s t u r e .Sophie showedhow these pic-tures encapsu-late modernattitudes togesture – be itthe dancer’smovements orthe draughts-

man’s graphic handwork – and how this has contributedto challenge and redefine the art of illustration. Sheexplained that the reproduction of gesture became a cru-cial aesthetic concern in the realm of illustration at a timewhen the reproduction of the artist’s creative handworkwas fundamentally altered by the introduction of photo-mechanical processes. This brought to the fore the sta-tus of the creative gesture as marker of originality andsingularity. Significantly, she established, illustrations ofmodern dance narratives have a meta-kinesthesicdimension. Not only do they represent gesture, but theyalso encode the intentionality and energy of the creativegesture that brought them to life. She examinedImpressions of the Russian Ballet published by theBeaumont Press (1918-1922) – a private press set up byCyril Beaumont who became a leading dance critic andhistorian – and focused on Ethelbert White’s contribu-tions in L’Oiseau de Feu, The Three-Cornered Hat andThamar (1919) in order to explore the paradoxicalattempt to reproduce the energy, as well as the transientand performative aspect of gesture. Sophie’s researchdrew on Tim Ingold’s anthropological approach, RobinVeder’s exploration of “kin-aesthetic modernism” andSusan Jones’s work on Modernist literature and dance.

In “Disseminating the narrative of crime and ret-ribution: on the relation of Chinese folk prints and theirsources in theatre, literature and criminal cases,” AlinaMartimyanova, from the University of Zurich, presenteda group of Chinese sheet prints produced in thousandsof inexpensive editions between the 19th and early 20thcenturies. She argued that they present themselves to aEuropean eye as a prototype of modern comic strips,both in their visual form of image boxes or tableaus,each containing a separate part of a narrative and sup-plemented by supporting text, and in their wide dissemi-nation among the population. In late Imperial China, andeven during the early years of the Chinese Republic, sheposited, real or fictional criminal narratives were eagerly

appropriated intothe cultural matrix,as literary story-lines, theatricalplots, popularimagery and intooral storytelling,supported by pic-torials. Based on acase study of arare unpublishedprint from the collection of the Rietberg museum entitled“Retribution for Killing One’s Son” (Sha zi bao 殺子報), Alinadiscussed the phenomena of the “crime and retribution”imagery in Chinese popular culture. The source of this par-ticular narrative was a novel, which itself was based on areal incident that occurred between 1875 and 1909 inTongzhou. She claimed that it is, however, difficult, toassess whether the popular imagery of the “son-murder”cases was inspired directly by the novel or rather by numer-ous theatrical pieces based on the same narrative. A dis-cussion of the inherent iconographic conventions of suchprints and the fluid essence of their source narratives (re)-considered their nature as reproduced narrative illustrationsor as visual renditions of related theatrical performances.

The third session, which was devoted to“Theoretical Approaches to Illustration” and took place onThursday 13th July, offered three presentations. The firstone, by Christina Ionescu, from Mount Allison University,Canada, was entitled “Not Reproductions Sensu Stricto:Creative Debt and Marketing Strategies in the Illustration ofManon Lescaut.” It explained that while preparing the 1958fine press edition of Manon Lescaut printed by FrankAltschul’s Overbrook Press in Stanford (CT), American illus-trator Thomas Maitland Cleland remarked: “At the outset itshould be understood that the pictures in this book are notreproductions in the generally understood meaning of thatterm. There were no colored originals which could be repro-duced; and each of the two hundred copies of the thirty-oddpictures and decorations is an original in the sense that anautographic print by an artist in any medium is such.”

C h r i s t i n aargued thatC l e l a n d ’ ss t a t e m e n tprovides anartist’s unusu-al response tomechan i ca lreproductionin the art and

Sophie Aymes

Alina Martimyanova

“Theoretical Approaches to Illustration” panel



“IAWIS” (cont.)craft of the illustrated book. Sheselected examples from an exten-sive visual corpus consisting ofover 91 illustrated editions, ofwhich at least 63 contain originalimages, to examine how artistsreacted through time to previousillustrated editions of AbbéPrévost’s canonical novel. In addi-tion to frontispieces, illustrative series and ornamental features,the iconographic corpus of Manon Lescaut also contains animpressive number of standalone pieces or, to use a termcoined by Leigh G. Dillard, “parallel illustrations”: prints, paint-ings, and sculptures inspired by, but designed to be displayedindependently of, the text, which mark its foray into visual cul-ture. Christina focused on the recycling of iconographic topoiand the search for originality, the marketing strategies designedto highlight the uniqueness of a copy (such as numbering), andthe influence of the cultural context upon an artist’s creativerealm.

In “Recycled Images as Layers of Meaning inPicturebooks,” Isabelle Gras, a doctoral student at theUniversité Bordeaux Montaigne, posited that the growing use ofimages and the development of visual media in the 20th centu-ry prompted scholars to question the status of images as mereillustrations of texts. She claimed that Kress and van Leeuwenhave showed that the visual could be considered as a semioticmode, and elaborated a systemic-functional model of visualmeaning based on Halliday’s theory of language. Like anysemiotic mode, the visual mode makes it possible to cite or torefer to multifarious types of works, whether visual or not. Sherecalled that Benjamin had pointed out that reproduction couldnever account for the unique presence of a work of art. Drawingon his notion of “aura” of a work of art, she contended that pic-ture books provide a new narrative context in which illustrationsborrowed from literary works or other media function as layersof meaning, integrated in the composition of a new image. Shefirst presented Benjamin’s notion of ‘aura’ and its re-interpreta-

tions in theage of digitalimage pro-cessing, anddiscussed thed i f f e r e n c ebetween thereproduct ionand the recy-cling of an

image. She then showed that the type of visual meaning devel-oped by the recycled images contributes to creating a mind-

scape shared by the author, the illustra-tor and the implied reader in The Day ISwapped My Dad for Two Goldfish andThe Wolves in the Walls by Neil Gaimanand Dave McKean, and The Lost Thingby Shaun Tan.

The final speaker, Hélène Martinelli,from the ENS in Lyon, gave a talk on“L’illustration à l’époque de sa repro-ductibilité technique: allographie et

autographie chez Alfred Jarry et Josef Váchal.”Hélène explained that although Alfred Jarry andJosef Váchal have been mostly compared on theground of their shared grotesque vein, they shouldalso be matched up as authors-illustrators, sincethey both devoted particular attention to xylography,as engravers, printers and book amateurs. Theirillustrated books all play on the cohabitationbetween authorial illustrations and reproducedones, which generates interesting (poly)graphicclashes. Les Minutes de sable mémorial and César-Antéchrist de Jarry recycle popular engravingswhich also illustrate his magazines L’Ymagier andPerhindérion. Váchal recycles anonymous imagesamong the illustrations of his Roman sanglant, aswell as others from his Jardinet du diable ou histoirenaturelle des fantômes. Such pratices invite us tothink about the intermediary status of engraving,which is both autographic and allographic – a dis-tinction made by Goodman and which can nuancedbasedo nE c o ’sreflec-tion ont h enotiono freplica– andwhichis, contrary to texts, heterogenous in nature. Hélèneclaimed that the controversial notion of “originalengraving” led to a view that recycling meant copy-ing rather than original execution. Xylo-graphy, sheargued, does not relate to the “autographic para-digm” defined by Philippe Kaenel; it is rather a formof authorial appropriation of an anonymous graphicculture. §

“Theoretical Approaches to Illustration” panel

The University of Lausanne, view from the university restaurant

Illustr4tio colleagues and friends enjoyingpost-conference drinks on the lake front

INTERDIS / WINTER 2017

IINNTTEERRDDIISS

THE NEWSLETTER OF THERESEARCH GROUP IDEA

Université de Lorraine (EA 2338 IDEA)3, place Godefroy de BouillonBP 331754015 Nancy cedexFrance

IDEA International Conference: “Illustration et Identité(s) / IllustratingIdentity / -ies,” 8–10 November 2017By Nathalie Collé,Université de Lorraine


LL ast November, IDEA organisedand hosted, with the help andsupport of the Illustr4tio

research team and its members’respective universities and researchunits – Université de Bourgogne-Franche-Comté, EA 4182 TIL (TexteImage Langage), Université deHaute-Alsace, EA 4363 ILLE (Institutde recherche en Langues etLittératures Européennes) andUniversité de Valenciennes et duHainaut-Cambrésis, EA 4343 CAL-HISTE (Cultures, Arts, Littératures,Histoire, Imaginaires, Sociétés,Territoires, Environnement) –, aninternational conference on “Illustra-tion et Identité(s) / Illustrating Iden-tity-ies,” in collaboration with theIllustration Research internationalnetwork and the Manchester Schoolof Art (UK). The three-day confer-ence took place at the Université de

Lorraine, on the Campus Lettres etSciences Humaines of Nancy, on 8th,9th and 10th November 2017. It gath-ered researchers and practitionersfrom Canada, France, Germany, theNetherlands, NewZealand, Poland, Qatar,Spain, Turkey, the UnitedKingdom and the UnitedStates.

The call for papershad invited participants toexplore the interdiscipli-nary and cross-culturalmeans through which illus-tration, in all of its forms,contributes, and has contributed his-torically, to the shaping of “identity-ies.” The study of illustration indeedprovides powerful insights into notonly the representation, but also theconstruction of identity-ies – includinggender identities, national and politi-cal identities, subcultures, hybrididentities and performative identities.

It was based on the assumption thatillustrators as cultural agents have thepower to both reinforce and problema-tize “the visual vocabulary of politics”(Steven Heller, Iron Fists: Branding the20th Century Totalitarian State, 2008;rep. 2010) through their use and manip-ulation of cultural narratives and stereo-types. Illustrators often navigate severalpersonas when creating artwork – for

example, the desires of theclient, the reception of theaudience and the voices with-in the text. They may also pro-duce highly personal and sub-jective work documentingemergent or performed identi-ties in relation to historical,geographical, social, culturaland phenomenological matri-ces.

The organizers had encour-aged critical and theoretical frameworkswhich foster understanding of the cul-tural relevance of illustration, andexamine the links between book history,print culture, digital culture and identity.They had solicited both practice-led andtheoretical papers which may cover any


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