Archives par étiquette : modernité

Parution: Traductions et translations entre Moyen Âge et Modernité

Claudio Galderisi, La rumeur des distances traverses. Transferts culturels, traductions et translations entre Moyen Âge et Modernité, Brepols, 2021.

Les vingt-cinq chapitres de cet ouvrage offrent une vue d’ensemble de la pratique de la translation, de la traduction et des transferts culturels, de leur portée quantitative et typologique, de leurs enjeux épistémologiques et historiques, de leurs impasses, de leurs silences, de leurs faux-semblants et de leurs faux-amis, mais également de leur charge vivifiante, du profit que les lettrés et les indocti peuvent en retirer.

Cet ouvrage ne s’interroge pas seulement sur l’utilitas, le plaisir, les buts éthiques, politiques et moraux de la traduction. La traduction n’est que l’un des vecteurs de la translatio studii, qui alimente à travers la circulation culturelle et universitaire, le choc des mythologies, la confrontation de la pensée sauvage et de la pensée cléricale, tous les transferts qui s’opèrent du passé vers le présent, de l’Est vers l’Ouest, et parfois de l’Ouest vers l’Est. Ce livre propose alors des études d’autres modalités de transfert culturel, d’autres types de mutations qui dessinent des fractales culturelles dans l’espace-temps qui sépare et réunit l’Antiquité et le monde médiéval, l’Orient et l’Occident, les mondes médiévaux et les mondes modernes. L’observation de ces transferts culturels nous offre une image vivante et vivifiante de la civilisation médiévale et nous oriente dans les chemins et parfois les impasses qu’elle a empruntés au Moyen Âge, et au-delà jusqu’à nous.

Claudio Galderisi, professeur de langues et littératures de la France médiévale à l’Université de Poitiers (CESCM), a dirigé les trois volumes des Translations médiévales. Cinq siècles de traductions en français au Moyen Âge (XIe -XVe s.) (Brepols, 2011) et a codirigé une dizaine de volumes sur la traduction et les transferts culturels.

Table des matières

Avant-propos : perspectives et prospectives

Partie I : L’invention du Moyen Âge
Le Moyen Âge des pertes, des gains et une capitalisation majeure
Une civilisation juchée sur les épaules des lettres

Partie II. 1 : Des géants sur les épaules des nains…
Le translateur : Pont et planche du nouveau monde
La langue d’oïl (et la langue d’oc) au miroir des traductions
Le silence des siècles et la traduction empêchée
La traduction manipulée

Partie II. 2 : Mythologie antique et horizons chrétiens : trois exemples de concurrence culturelle
Alcide, le héros oublié de la translatio studii
Alexandre : Bâtisseur et ‘fossoyeur’ d’Alexandrie
Paris au Moyen Âge entre mythisation et représentation littéraire in absentia

Partie III : Les lettres françaises à l’école des traducteurs
Des translateurs-nains aux créateurs de la prose savante
Liste des traducteurs des XIVe et XVe
Des nains devenus des maîtres à penser: Les traductions des miroirs des princes
L’âge de la traduction : Moyen Âge vs Renaissance

Partie IV : Les deux sœurs de la Romania : France et Italie
La France et l’Italie : Faux-amis et vrais transferts culturels au Moyen Âge
Un cas emblématique du bilinguisme roman : Brunetto Latini entre création, compilation et… autotraduction
Une auctoritas problématique : Bonaventure de Demena et l’autotraduction

Partie V. 1 : L’héritage de la translatio studii : de la francophonie au médiévalisme
Du même au même ? La vieille langue était une langue jeune
Lingua Gallica ad Europam

Partie V. 2 : Quatre modalités de la mutation littéraire 
La fée envolée vers la Modernité
Entre réécriture et traduction : Stendhal et les Chroniques italiennes
L’anachronisme sublimé ou La Pisanelle de D’Annunzio
Réécritures vivifiantes : Le Jongleur de Notre-Dame
Le médiévalisme en trompe-l’œil

Conclusion : Pour une nouvelle translatio studii

Apostille anachronique

Index des auteurs
Index des titres
Index des manuscrits

 

Tous les détails sont accessibles sur le site de l’éditeur.

Appel : modernités gothiques

Gothic Modernisms -Call for Papers

29 & 30 June, 2017, Rijksmuseum, Amsterdam, NL

Organized by the Faculty of Arts and Humanities, Coventry University; the Amsterdam School for Heritage, Memory and Material Culture, in collaboration with the Rijksmuseum, Amsterdam; the Ateneum Art Museum / Finnish National Gallery, Helsinki, and Radboud University, Nijmegen

(Confirmed keynote speaker: Prof. Elizabeth Emery (Montclair State University, US)

gothique-meubles

The ‘Gothic’ has permeated visual and cultural ideas and practices of modernity. Yet the presence of a ‘Gothic Modernity’ or Gothic Modernisms challenges fundamental perceptions of how ‘modernism’ from the late nineteenth-century onwards has been historicized, created, produced and seen. The opposition of a ‘Gothic’ pre-modern past to a modern present, of age/decline or infancy to rebirth/progress, has since Jacob Burckhardt’s The Civilisation of the Renaissance in Italy (1860) presented such dualities as pivotal to narratives of Western modern art, construed as opposing and sublimating the ‘pre-modern’. From these perspectives, the very idea of a ‘Gothic’ becomes reified as a temporal abstraction – a trope, relegated to the ‘middle’, the ‘pre-’, ‘the ‘dark’, as the eminent French medievalist Jacques Le Goff has pointed out. This conference seeks to challenge such polarities, developing Le Goff’s idea of ‘un Gothique noir’ (an ‘unseen’ Gothic), of a modern(ist) Gothic spirit and sensibility, that is insufficiently studied, historicized or understood. The conference proposes, instead, a thorough-going engagement with the pre-modern and Gothic as a disruptive teleology and identity within late 19th- and 20th-century visual and cultural modernisms. Critically implicated in their ideologies and remaking of cultures, communities, sites and identities of art, this reshapes familiar constructs of Naturalism, Symbolism and Modernism. Further, seen from the perspectives of a ‘Gothic modernity’, this conference foregrounds underpinning arguments of history, religion, language, belief, inheritance and geo-political tussles, eclipsed or elided in canonical accounts of this period’s art. For Medieval gothic culture and aesthetics emerges as deeply entwined with modern art, art historiography, art literatures, collection-formation and museum design of the later nineteenth century to the mid-twentieth. From the Gothic revivals and appropriations of 19th-century Romantic artists, writers and historians, to the neo-medievalism of pre-Raphaelite art; from the Gothic alterities of the ‘fin de siècle’, to Expressionism and Surrealism, ‘Gothic’ as histories and recreation, as haunting and present reality, is everywhere manifest. The Gothic inspires founding historiographies of 20th-century art, museums, aesthetics, identities of culture and expressions of ‘nation-hood’, from the 1902 Bruges exhibition Les Primitifs Flamands to rival exhibitions Les Primitifs français (Paris 1904) and Meisterwerke Westdeutscher Malerei (Düsseldorf 1904); from John Duncan’s Anima Celtica (1895) to Wilhelm Worringer’s Formprobleme der Gotik (1911), to Johan Huizinga’s Waning of the Middle Ages (1919).

Gothic Modernisms will focus on the (global) legacies, histories and contested identities of Northern European Gothic/early-modern visual cultures in modernity and, in particular, on identities of modernism, including avant-gardes. It builds on two preceding, related conferences on ‘Primitive Renaissances’ (The National Gallery, London, 2014) and ‘Visions of the North’ (Compton Verney Museum, 2016), which have opened new scholarship on 19th- and early 20th-century responses to Northern Renaissance and early Germanic art. Gothic Modernisms will expand this field of enquiry and its temporal scope. It explores the pivotal, yet still understudied, reception, construction and invention of Northern Gothic art and reception in the period spanning the 1880s to the 1950s, extending interest in Latin and Germanic Gothic to the ‘Nordic’ world. We term these artistic and cultural reinventions ‘gothic modernisms’.

The conference thus aims to develop both a broad perspective in relation to gothic modernisms and a deepening of the issues—methodological, theoretical, aesthetic, archival—pertinent to this subject. In particular, we seek papers which pose fresh questions about the modern reception and practices of medieval art in institutions and museums, as well as in art, art historiographies, art writings and broader visual-cultural contexts.

Further: the conference aims to revisit and examine Gothic/early-modern reinventions and appropriations in later 19th- and early 20th-century modernisms from original, to date unexplored, perspectives. We seek to explore competing ‘Gothic’ identities (Francophone, Flemish, Anglo-Germanic, Nordic, Celtic, Latinate, Slavic, via histories, images and artefacts), crossing national and geo-cultural borders, as well as to shape new nationalisms. The objective is to interrogate multiple routes through which medievalisms were construed disruptively, nationally and transnationally, to reimagine new artistic and cultural identities. These include ideas of community, canonicity, avant-gardes, sites, cults, nature, the spectral, the popular/‘people’, alterity, and aesthetic and political hybridity. We therefore also invite papers that engage with identities of gothic modernity and modernisms which challenge fundamental constructs of periodicity and modernist ‘canons’, crossing cultural and aesthetic boundaries, including to non-Western frameworks.

 

Papers/panels are invited in (but not limited to) the following suggested areas:

  • Gothic Identities/Empires: Latin, Germanic, Teutonic, Nordic Gothics at the ‘tournant de siècle’
  • ‘Gothic’ cartographies and national revivals in 19th-/early 20th– century exhibitions, art, art writing
  • Challenging periodicity; histories, Gothic rewritings, cultural memories/monuments – towards a ‘Gothic present’; the Northern Gothic Modern ‘Genius’
  • Museal Gothics: Collecting/ Exhibiting/ Photographing/ Displaying Gothic modernities/ Renaissances
  • Gothic sites and modernity – pilgrimages, rituals of art
  • (Imagined) Gothic sites in expressionist, surrealist, or other avant-gardist film and photography
  • Rooted/Transnational-cosmopolitan Gothic modernisms/communities of art (late 19th and 20th centuries)
  • Nordic Gothic modernities
  • Cathedrals of art/culture: architectures, design, cities – Gothic Modern citadels/ spaces and avant-gardes
  • ‘Neo-Gothic’ Modernities in architecture/interiors
  • New ‘Dark Ages’ and Gothic alterities
  • The uncanny presence of the ‘gothic’ in avant-gardes
  • Gothic modernist spiritualisms: modernist artist/writer monastics: Zealots, Hedonists, Saints, Martyrs
  • Gothic Modern bodies in modernist art and visual cultures
  • Migrating-transitional objects/Gothic relics/taboo
  • Gothic ‘Others’ and the silences of history

 

Proposals of max. 300 words should be sent to both:

juliet.simpson@coventry.ac.uk and t.m.bauduin@uva.nl by 20 December 2016.

Please include the following details with your abstract:  name and surname; affiliation; contact e-mail address; and short biography, incl. a brief overview of most relevant publications. The organizers warmly welcome proposals from early-career researchers.

 

Proposals will be selected by peer-review. A publication based on the conference papers is envisaged.

Conference Organizing Committee:

Prof. Dr. Juliet Simpson, Coventry University, UK

Dr. Tessel M. Bauduin, University of Amsterdam, NL

Dr. Jenny Reynaerts, The Rijksmuseum, Amsterdam, NL

Dr. Jan Dirk Baetens, Radboud University, Nijmegen, NL

Prof. Dr. Anna-Maria von Bonsdorff, Ateneum Art Museum/Finnish National Gallery, Helsinki, FI

 

‘Gothic Modernisms’ forms the culminating event in a trilogy of conferences investigating the modern and modernist reception of Northern medieval and Renaissance masters in Europe, beginning with ‘Primitive Renaissances’ (National Gallery, London: 2014) and continuing with ‘Visions of the North’ (Compton Verney Museum, UK: 2016).