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International audience; The VESPACE project aims to revive an evening of theatre at the Foire Saint-Germain in Paris in the 18th century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of virtual reality in three key stages of research in the human sciences and particularly in history or archaeology: preliminary research, scientific dissemination and mediation with the general public. In particular, we detail the methodology used to design a three-dimensional (3D) model that is suitable for both research and virtual reality visualization, meets the standards of scientific work regarding precision and accuracy, and the requirements of a real-time display. This model becomes an environment in which experts can be immersed within their fields of research and expertise, and thus extract knowledge reinforcing the model created – through comments, serendipity and new perspectives – while enabling a multidisciplinary workflow. We also present our tool for annotating and consulting sources, relationships and hypotheses in immersion, called PROUVÉ. This tool is designed to make the virtual reality experience go beyond a simple image and to convey scientific information and theories in the same way an article or a monograph does. Finally, this article offers preliminary feedback on the use of our solutions with three target audiences: the researchers from our team, the broader theatre expert community and the general public.; El proyecto VESPACE tiene como objetivo revivir una velada de teatro en la Foire Saint-Germain de París en el siglo XVIII, recreando espacios, atmósferas y entretenimiento teatral en realidad virtual. Las sedes de esta feria han desaparecido sin dejar ningún rastro arqueológico, por lo que su reconstrucción digital requiere el uso de muy diversas fuentes, entre las que se encuentran expertos historiadores, historiadores del teatro y la literatura. En este artículo presentamos cómo hemos utilizado las herramientas de creación de videojuegos que posibilitan el uso de la realidad virtual en tres etapas clave de la investigación en las ciencias humanas y particularmente en historia o arqueología: investigación preliminar, divulgación científica y mediación con el público en general. En particular, detallamos la metodología utilizada para diseñar un modelo tridimensional (3D) que sea adecuado tanto para la investigación como para la visualización mediante realidad virtual, que cumpla con los estándares del trabajo científico en cuanto a precisión y exactitud, y los requisitos de una visualización en tiempo real. Este modelo se convierte en un entorno en el que los expertos pueden sumergirse dentro de sus campos de investigación y especialización, y así extraer conocimiento reforzando el modelo creado –a través de comentarios, serendipia y nuevas perspectivas– al tiempo que posibilita un flujo de trabajo multidisciplinar. También presentamos nuestra herramienta de anotación y consulta de fuentes, relaciones e hipótesis en inmersión, denominada PROUVÉ. Esta herramienta está diseñada para hacer que la experiencia de la realidad virtual vaya más allá de una simple imagen y que transmita información científica y teorías de la misma manera que lo hace un artículo o una monografía. Finalmente, este artículo ofrece comentarios preliminares sobre el uso de nuestras soluciones con tres públicos objetivo: los investigadores de nuestro equipo, la comunidad de expertos en teatro (más amplia) y el público en general.

[EN] The VESPACE project aims to revive an evening of theatre at the Foire Saint-Germain in Paris in the 18th century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of virtual reality in three key stages of research in the human sciences and particularly in history or archaeology: preliminary research, scientific dissemination and mediation with the general public. In particular, we detail the methodology used to design a three-dimensional (3D) model that is suitable for both research and virtual reality visualization, meets the standards of scientific work regarding precision and accuracy, and the requirements of a real-time display. This model becomes an environment in which experts can be immersed within their fields of research and expertise, and thus extract knowledge reinforcing the model created –through comments, serendipity and new perspectives– while enabling a multidisciplinary workflow. We also present our tool for annotating and consulting sources, relationships and hypotheses in immersion, called PROUVÉ. This tool is designed to make the virtual reality experience go beyond a simple image and to convey scientific information and theories in the same way an article or a monograph does. Finally, this article offers preliminary feedback on the use of our solutions with three target audiences: the researchers from our team, the broader theatre expert community and the general public., [ES] El proyecto VESPACE tiene como objetivo revivir una velada de teatro en la Foire Saint-Germain de París en el siglo XVIII, recreando espacios, atmósferas y entretenimiento teatral en realidad virtual. Las sedes de esta feria han desaparecido sin dejar ningún rastro arqueológico, por lo que su reconstrucción digital requiere el uso de muy diversas fuentes, entre las que se encuentran expertos historiadores, historiadores del teatro y la literatura. En este artículo presentamos cómo hemos utilizado las herramientas de creación de videojuegos que posibilitan el uso de la realidad virtual en tres etapas clave de la investigación en las ciencias humanas y particularmente en historia o arqueología: investigación preliminar, divulgación científica y mediación con el público en general. En particular, detallamos la metodología utilizada para diseñar un modelo tridimensional (3D) que sea adecuado tanto para la investigación como para la visualización mediante realidad virtual, que cumpla con los estándares del trabajo científico en cuanto a precisión y exactitud, y los requisitos de una visualización en tiempo real. Este modelo se convierte en un entorno en el que los expertos pueden sumergirse dentro de sus campos de investigación y especialización, y así extraer conocimiento reforzando el modelo creado –a través de comentarios, serendipia y nuevas perspectivas– al tiempo que posibilita un flujo de trabajo multidisciplinar. También presentamos nuestra herramienta de anotación y consulta de fuentes, relaciones e hipótesis en inmersión, denominada PROUVÉ. Esta herramienta está diseñada para hacer que la experiencia de la realidad virtual vaya más allá de una simple imagen y que transmita información científica y teorías de la misma manera que lo hace un artículo o una monografía. Finalmente, este artículo ofrece comentarios preliminares sobre el uso de nuestras soluciones con tres públicos objetivo: los investigadores de nuestro equipo, la comunidad de expertos en teatro (más amplia) y el público en general., This research was funded in France by the Agence Nationale de la Recherche, with the CIRESFI project, Grant No. ANR 14-CE31-0017, and the ReSeed project, Grant No. ANR 16-CE38-0005, and a grant from RFI Pays de la Loire "Ouest Industries Créatives" and the École Centrale de Nantes for the AAP 2017 VESPACE project. In the United States, the project is supported by the National Endowment for Humanities, Grant No. NEH HAA-266501-19.

Par sa capacité à mettre l’espace en récit, la littérature constitue un outil privilégié de médiation aux lieux, ce que les auteurs de guides touristiques ont très tôt repéré comme une niche éditoriale intéressante. Du xixe siècle à nos jours, éditeurs et professionnels du tourisme se sont employés à reconstituer une France littéraire, dans laquelle chaque localité se voit attribuer une plume célèbre, permettant de démontrer la richesse culturelle du pays et de ses territoires. Cette « France littéraire » ou « France des écrivains », avatar intellectuel et esthétique d’une déclinaison permettant ailleurs de recenser châteaux, cathédrales et vins, se fonde sur la croyance en une innutrition des œuvres par le cadre de vie de l’écrivain, en un ancrage territorial de la littérature. Certes, ce jeu d’association a tôt fait de rencontrer ses limites : celle de l’instrumentalisation, celle de la lecture référentielle ou celle de la lecture biographique — il n’en est pas moins persistant et souvent performatif. Ce dossier explore l’histoire et les fonctions des associations œuvres-lieux tant dans la promotion de la littérature que dans celle des territoires. Par ancrage territorial, on entend le lien des œuvres et des auteurs aux lieux, que celui-ci soit rendu sensible par le texte ou qu’il résulte de l’appropriation de figures auctoriales par des communautés de lecteurs situées. Cette actualisation conduit la littérature à sortir du livre pour devenir une ressource territoriale, de même que le territoire s’invite parfois dans la création littéraire en tant que ressource éditoriale. Il s’agit de mettre en lumière ce que l’ancrage fait à l’image des écrivains et au canon littéraire, d’identifier les acteurs de cette appropriation des textes et des figures d’auteurs, et d’analyser la relation qui s’instaure alors entre le lecteur, l’auteur et le texte. Thanks to its ability to create narratives about space, literature constitutes a privileged way of mediation to places. Touristic guide books authors have thus early identified it as an interesting editorial niche. From 19th century onwards, publishers and tourism professionals have tried to reconstitute a Literary France, in which every locality is assigned a famous writer, thus demonstrating the cultural richness of the country and its territories. This "literary France" or "France of writers", an intellectual and aesthetic avatar of a declination otherwise identifying castles, cathedrals and wines, is based on the belief in an innutrition of literary works by the writer’s environment, in a territorial anchoring of literature. Admittedly, this association game soon meets its limits: instrumentalization, referential reading or biographical reading—it is nonetheless persistent and often performative. This volume explores the history and functions of works-places associations, both in the promotion of literature and in that of the territories. By territorial anchoring, we mean the link between works or authors and places, whether it is made sensible by the text or is the result of the appropriation of authoritative figures by located communities of readers. This actualization leads literature to become a territorial resource outside of the book, just as the territory sometimes invites itself in literary creation as an editorial resource. We here aim at highlighting what the anchoring of literature does to the writers’ image and to the literary canon, at identifying the actors of this appropriation of texts and author figures, and at analyzing the relation which then establishes itself between the reader, the author and the text.

One often thinks of translation as a bridge between literatures and cultures. However, what if the activity of translators is carried out in a politically confined background oriented by ideological intention? How, for whom and which purpose does one translate then? The period of German Occupation in France (1940-44) highlights these questions in the most exemplary fashion. Following the defeat of France and the 1940 armistice, one of Nazi Germany’s main goals was to re-educate the country by the means of a very thoroughly thought cultural policy, mainly through literature, arts, and a comprehensive program of translations from German into French. But translation was also used at the same time for its own purposes by the opponents to the regime. During those four years of fear and repression throughout the country, to which extent can one look upon literary translation as a sui generis mean of resistance, relying on specific strategies?, chronotopos - A Journal of Translation History, Vol 2 No 1&2 (2020)

International audience; The construction of Michel Butor’s self-image often takes indirect — albeit transparent — paths and byroads. The author expriments a diversity of means to avoid self portraiture. In fact, he favors what could be termed a portrait of himself from another point of view, for instance using the character of Béatrice Didier in order to ask himself his own questions (Le retour du Boomerang). Such a practice could originate in Michel Butor’s long habit of interviews, which would explain (or be explained by) his extraordinary investment of the dialog as a literary form. No wonder that monographs about Michel Butor, in turn, often result in a mixture of critical discourse and auctorial interventions. Although collaborations of living writers in the production of their portraits in collections of illustrated monographs are not scarce, Michel Butor’s interventions are the most spectacular and massive examples of the way a writer can appropriate the critical discourse on his own work. This papers aims at defining an object, common to Michel Butor’s works and works about Michel Butor : the portrait/biography of oneself. I will analyze how Michel Butor’s interventions in monographs about himself (see « Primary sources ») tend to question the functions of critical genres as the biography, the portrait and the interview of the writer, and explore how Michel Butor’s discourse on himself challenges the relevance of traditional approaches to the writer’s image, which often seek in the « shoring space » an explanation of the works – e.g. the « canonical space »: Michel Butor indeed turns this hierarchy upside down.

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Reading Joycean Temporalities examines Joyce’s experimental treatment of modalities of time, (in)finitude, narrative presentation of temporal simultaneity, and psychological, historical, and Homeric time.

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"During the German Occupation of France (1940-44), literature in French was produced alongside translations of foreign authors....If pseudotranslation may have been used in times of war to compensate for the lack of available literary texts, the poems that were pseudotranslated provide a fascinating testimony of the concerted construction of an image of the “Foreign,” the fictional product necessarily having to reproduce some of its typical traits in order to convince the reader of its authenticity. They also allow the questioning of poetic pseudotranslation as a powerful vector of stereotypes, whilst approaching as much as possible the ideological stakes of writing under constraints."

This paper proposes, first, a theoretical reflection on how to compare literatures which developed in early-modern times and in remote places, namely in Europe and in China. Seeking to avoid the inevitable pitfalls of relativism, universalism and teleology, the author follows a methodological path starting with the exploration of mere affinities and, based on a close examination of both texts and their contexts, aiming at the articulation of a necessarily qualified convergence or consistency between these disparate literary traditions. Second, this paper offers a case study, taking into account the sentimental novel—mostly exemplified by Rousseau’s New Heloise and Cao’s Dream in the Red Chamber, but also referring to many other novelistic works—in order to examine the following question: is there a common turning point in the European and Chinese sentimental novel related to the cultural promotion of a conception of sentiment as an autonomous inner feeling or thought that can legitimately serve as a conduct guide for the novels’ characters? If such a turn is verified, it would mark the possibility of a globalized early-modern stage in the history of literature.

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Publiée en 1605 par l’auteur franco-écossais Jean Barclay, la première partie de l’Euphormionis Lusinini Satyricon, roman satirique néo-latin, abonde en scènes nocturnes, durant lesquelles le personnage éponyme est confronté à une série de phénomènes au statut ambigu (feux follets, apparitions, songes). Événements surnaturels, ou naturels ? Le texte laisse place à l’interprétation, comme le montre la réception d’époque, notamment les traductions françaises, qui tendent à réduire son ambiguïté et son obscurité volontaires en privilégiant l’une ou l’autre explication. Barclay élabore en réalité une fine parodie satirique des anecdotes démonologiques ou des récits de songes prémonitoires, comme le montre son travail d’imitation des modèles classiques (Lucien, Apulée, Pétrone), l’usage des sources contemporaines (notamment Pierre Le Loyer), ou la composition soigneuse des scènes. L’auteur joue le jeu du faire-croire, mais pour mieux faire douter, car la pédagogie de l’incrédulité passe par l’expérience de l’illusion narrative proposée par la fiction. Published in 1605 by the Franco-Scottish author John Barclay, the first part of Euphormionis Lusinini Satyricon abounds in night scenes, where the eponymous character is confronted with a series of ambiguous phenomena (will-o’-the-wisps, ghosts, dreams) – supernatural, or natural events? The narrative remains open to interpretation, as its reception shows, especially the French translations, which tend to reduce the deliberate ambiguity and obscurity of the text by choosing one type of explanation. In fact, Barclay offers a subtle satirical travesty of demonological anecdotes and premonitory dream narratives, through the imitation of classics (Lucian, Apuleius, Petronius), the use of contemporary sources (notably Pierre Le Loyer), or the careful staging of events. The author plays a game of make-believe in order to make his readers doubt, as the lesson in incredulity relies on the very experience of narrative illusion.

International audience; In the past few years, discussion of fiction in all sorts of media has intensified. The prominence of literary critics has increased, the awarding of lucrative book prizes has become more publicized, and reports of the formation of reading groups have proliferated. Seventeenth-Century Fiction: Text & Transmission responds to the present interest in the novel by offering a fresh approach to the history of early modern fiction that shifts away from the outmoded 'rise-of-the-novel' perspective and reaches beyond the boundaries of a single national literature. Starting from the literary text and looking outwards, this volume focuses on the changes in prose forms and their usage at a critical point in the evolution of modern fiction, and comes to grips with the instabilities of the novel and novella during this period. It explores the nature of seventeenth-century fiction and examines how authors fused fictional and non-fictional materials to create new, hybrid genres. Furthermore, it takes into consideration the cultural interchange between different geographical regions and languages (English, French, Spanish, Italian, Neo-Latin), and uncovers the deeper roots of seventeenth-century literary innovation, by casting light on the Continental influences on the formation of the English novel and on the role played by women's writings at the time. This landmark volume not only contributes to a more comprehensive history of the novel but promotes an authentic appreciation of early modern fiction.

Cet article est consacré à l’Examen de ingenios para las ciencias de Juan Huarte de San Juan (1575), texte encyclopédique dont la visée est la classification des esprits humains, afin de déterminer les types d’activités que chacun peut accomplir. Sa pensée est inspirée par la philosophie aristotélicienne et la médecine galénique, reconsidérées dans un système tripartite de tempéraments. Parmi les esprits imaginatifs, les mélancoliques sont reconnus par le philosophe espagnol comme particulièrement aptes à créer, gouverner et soigner. La prédication est également favorisée par l’imagination et la mélancolie : Huarte de San Juan prend l’exemple de saint Paul, et montre que son éloquence est due à sa mélancolie, tout comme la violence qu’il exprime à l’égard des chrétiens avant sa conversion. Dans cette conception de l’éloquence sacrée, l’inspiration divine est interprétée comme une faculté physiologique, engendrée par la nature. Cette vision matérialiste a été considérée comme transgressive par l’Église catholique qui a censuré et mis à l’Index l’ouvrage, et approuvée par un libertin français tel que Sorel, qui le cite dans sa Science Universelle. This essay is devoted to El examen de ingenios para las ciencias de Juan Huarte de San Juan (1575), an encyclopedic text which intends to classify the human spirits and to determine the kinds of activities each one may accomplish. His thought is inspired by Aristotelian philosophy and galenic medicine, reconsidered in a tripartite system of temperaments. Among the imaginative spirits, the melancholical ones are recognized by the Spanish philosopher as particularly able to create, to govern and to cure. Predication is also promoted by imagination and melancholy : Huarte de San Juan takes the example of saint Paul, and shows that his eloquence is due to his melancholy, as well as the violence he expresses towards Christians before his conversion. In this conception of sacred eloquence, divine inspiration is interpreted as a physiological ability, a fruit of nature. This materialist vision has been considered as transgressive by the Catholic Church, which censured and prohibited the book, and approved of by a French libertine such as Sorel, who quotes it in his Science universelle.

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Compte-rendu de lecture et critique de l'ouvrage "Salome : The Image of a Woman who never was ; Salome : Nymph, Seducer, Destroyer" de Rosina Neginsky, Cambridge Scholars Publishing, 2013.; International audience

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Publisher: University of Miami

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International audience; Cet article vise à mettre en évidence l’intérêt d’une perspective croisée entre études littéraires et sociologie sur les phénomènes de réception des œuvres. Le cas de Baudelaire, classique moderne à la fois au sens esthétique et au sens courant de ces termes, illustre la démarche : si le poète est présent dans la culture contemporaine, ce n’est pas seulement pour Les Fleurs du mal mais aussi pour les œuvres qu’elles ont inspirées. Étudier les dynamiques de la survie culturelle de l’œuvre implique donc de considérer des corpus empruntés à d'autres arts, à d'autres formes d'écriture, approche qui permet d’envisager le lectorat en sortant de la bipartition entre critiques et grand public.