Archives par étiquette : numérique

Recrutement post-doctorant : Projet PARES

L’Université de Zurich ouvre un poste de post-doctorant à 100 % sur 4 ans (du 1e mars 2025 au 28 février 2029), croisant histoire de la philologie romane et humanités numériques. Il s’agira pour la personne recrutée de travailler sur les archives de Gaston Paris, dans le cadre d’un projet lauréat de l’Appel à projets conjoint FNS/ANR « PARES : Gaston Paris, des archives aux réseaux » dirigé par Ursula Bähler (Université de Zurich) et Muriel Jorge (Université Paris Cité).

Retrouvez tous les détails de l’appel à candidatures ici.

Date limite de dépôt des candidatures : 15 janvier 2025.

Le projet
« PARES : Gaston Paris, des archives aux réseaux » est un projet binational entre la Suisse et la France fondé sur la coopération entre universités et institutions patrimoniales publiques. Il est financé par le FNS et l’ANR pour une durée de quatre ans et dirigé par Ursula Bähler (Université de Zurich  et Muriel Jorge (Université Paris Cité).
PARES entend donner une nouvelle impulsion à la recherche sur l’histoire de la philologie romane à partir des archives de G. Paris (1839-1903), figure majeure de l’établissement et de l’évolution de la discipline en France. Aujourd’hui dispersées dans des fonds isolés, peu exploitables et peu exploitées, il s’agit de réunir ces archives et de les rendre accessibles sur un portail numérique, de manière centralisée et en respectant les principes FAIR. Le portail comprend une base de données, élaborée en France, qui permet d’interroger l’ensemble des documents du corpus et de visualiser leurs relations sous différentes formes. Il inclut aussi des transcriptions et des éditions de documents, dont les aspects techniques sont réalisés en Suisse. Cette partie s’appuie sur le projet « Proto4DigEd : Prototyping Workflows for Digital Editions » financé par swissuniversities et dirigé par U. Bähler.
Le traitement numérique des archives de G. Paris permet de faire apparaître et d’interroger les dynamiques à l’œuvre dans la genèse et la circulation des savoirs et pratiques philologiques. Sur cette base, PARES se fixe deux objectifs répondant à des besoins de recherche majeurs. Le premier concerne l’enseignement de la philologie romane et la diffusion tant nationale qu’internationale des savoirs philologiques. Le deuxième consiste à étudier l’ancrage de la philologie romane dans le paysage littéraire de la seconde moitié du XIXe s. en France. L’exploration de la correspondance de G. Paris révèle l’important réseau d’écrivain·e·s, de critiques littéraires et de professeurs de lettres qu’il fréquentait. La confrontation des conceptions esthétiques de la littérature moderne qu’ils et elles partageaient, souvent éloignées de l’image de la littérature du XIXe s. aujourd’hui dominante, permettra de mieux cerner les enjeux spécifiquement littéraires de la philologie romane à l’époque.

Vos fonctions dans le projet
– Coordinateur·rice du projet (20%), activité de chercheur·se (80%).
– Chargé·e du volet « Le réseau littéraire de G. Paris », co-chargé·e, avec Ursula Bähler et
Muriel Jorge, du volet « Auditrices et créatrices : G. Paris et les femmes ».
– Établissement d’un dossier de qualification (habilitation) dans le domaine de la littérature
française du XIXe et/ou de l’histoire de la philologie romane avec un accent supplémentaire en humanités numériques.

 

Pour plus de détails : Prof. Dr. Ursula Bähler, ubaehler [at] rom.uzh.ch

 

Parution : What is Medieval ? Decoding Approaches to the Medieval and Medievalism in the 21st Century

Emma J. Wells et Claire Kennan (dir.), What is Medieval? Decoding Approaches to the Medieval and Medievalism in the 21st Century, Brepols, 2024.

The Middle Ages and Medievalism have been used and abused throughout history–and this continues. This narrative deserves a reassessment. But, what is Medieval? This is the central question that unifies the contributions in this volume. 

‘Medievalism’, or the study of the Middle Ages in its broadest sense, refers to the perception, conceptualisation and movement towards the era post the fifteenth century. Its study is therefore not about the period otherwise referred to as the ‘Middle Ages’, but rather the myriad ways it has since been conceived. And the field of medievalism is still in its relative infancy which has led to the emergence of various existential questions about its scope, remit, theoretico-methodological and pedagogical underpinnings, interpretation, periodization, and its relationship to established disciplines and more emerging subdisciplines and specialised fields—both within and without the academy. 

In turn, neomedievalism has allowed insight into and a response to the medieval often dominated by the modern. This has provoked debate over the nature of neomedievalism as a discipline, subdiscipline, genre, field or offshoot in direct or contrasting relation to the more traditional medievalism.

Featuring interdisciplinary contributions from academics, educational practitioners as well as museum, digital and heritage professionals, this volume provides a fresh reflection on past methods to emerging pedagogies as well as new avenues of enquiry into the ways we think about the medieval. It is by reconciling these seemingly disparate forms that we can better understand the continual, interconnected, and often politicised, reinvention of the Middle Ages throughout cultures and study.

Table des matières

Introduction: Decoding the Medieval: From Manipulation to ‘Other’, Emma J. Wells and Claire Kennan

PART 1: Teaching the Medieval

Conquest, Coexistence, and Cultural Exchange on the Silk Road: Reimagining the Medieval World at Key Stage 3, Gemma Plumpton and Dhwani Patel
Encouraging: Secondary-Education Pupils to Take Seriously the Ideas and Cultures of Medieval People, Jonathan Sellin and Jacob Olivey
Pulling Ranks: The Inevitability of the Presentism in Teaching Medievalism, Andrew Elliot and Mike Horswell
Feeling Medieval: Immersive Pedagogy, Ariana Ellis

PART 2: Digitising the Medieval

Getting the Picture: Teaching Modern Medieval Image Theory, Euan Robson
Local History in a Post-digital Landscape: Mining new Pathways through a Triangulation of Digital, Pedagogic, and  Research Interests, Jack Newman
Transcending Boundaries for Medieval Studies: Teaching Medieval(isms) via Digital Technologies, Kenna L. Olsen, Cosmo Christoffersen, and Samantha Purchase
Copy, Cut, Paste and Print: Some Design Principles applied to the Book of Kells Memorabilia, Leila Geroto

PART 3: Fetishizing the Medieval

Sexyback Versus Sir Gawain: Getting ‘Medieval’on ‘Sexy’, Kenna L. Olsen
Medieval Kings and Queens: Orientalising Medieval Women on Screen, Meriem Pagès
The King and I: Representations of BDSM in Fanfiction about King Alfred, Martine Mussies

PART 4: Manipulating the Post-Medieval

Arthur’s Court and Gothic Spaces in E.L. Hervey’s the Feast of Camelot, Renée Ward
Jefferson’s Middle Ages: Art, Artifice, Nostalgia, Euan Robson
V IS FOR VIKINGHoward Williams

 

Plus d’informations sur le site de l’éditeur.

 

Colloque : Moyen Âge à l’ère numérique

Colloque – The Medieval Literary Canon in the Digital Age

17-18 September 2018

Campus Book Tower, Ghent University

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Voir le programme : http://www.mcda.ugent.be/wp-content/uploads/2018/02/mcda-programme-2.pdf

An often repeated promise of the digital humanities, in the wake of the “computational turn”, is that the wide availability and accessibility of historical texts enables scholars to breach the restrictions of a literary canon. Such a potential for literary computing, which was in 1992 first set forward as a “new” philology by its godfather Roberto Busa SJ, prominently returns in the works of computing literary theorists such as John Burrows, Jerome McGann and Franco Moretti. Their assertions that quantification entails a “widening of the canon” and eventually the advance of a “new philology”, easily invoke medievalists’ inquisitiveness. How, exactly, can the digital humanities provide such insights for the Middle Ages?

Firstly, one can question if the Middle Ages have not irrevocably lost a privileged position in the modern-day literary canon altogether. The Middle Ages seemingly take up a background position in Moretti’s methodology as an anomalous precedent to the type of literary (re)production that is typical to a literary market in the age of the printing press. This type of text is printed on a scale determined by supply and demand, a condition which appropriates it for digitization today. Even within medieval scholarship, much of the digital scholarship still seems to hinge on well-conserved and therefore well-known theological and literary authorities, whose texts have been reproduced continuously in subsequent editions and translations.

Secondly, over the last decades, medieval studies have become very sensitive to the materiality of textual transmission in the Middle Ages. This is reflected in the New Philology, coined as such by Stephen G. Nichols, which gained momentum in the 1990s. This New Philology, noticeably influenced by post-structuralist theory from the 1960s, drew explicit attention to the conviction that one cannot separate medieval texts from their manuscript context and to reader response. It postulated that analyzing and understanding the various physical appearances of medieval written texts is an essential hermeneutic criterion, and argued that gaining an overview of all stages allowed them to be chained together into a reception history. At first glance, such a “praise of the variant” appears antithetical with the virtual, normative and reductive character of a digital environment, where only little attention has gone out to readers. Yet, both Franco Moretti as Stephen G. Nichols explicitly present their “new” philology – the digital and material respectively – as a cure to a similar ailment: both their “manifestos” symbolically overthrow Ernst Robert Curtius’ iconic Europäische Literatur und Lateinisches Mittelalter. The means by which they aspire to change Curtius’ “old” philology, however, are very different.

As voices increasingly proclaim the emancipation of the digital humanities from their merely supportive role, and as the tools for digital medieval studies proliferate (e.g. digital scholarly editing, computational stylistics, digital palaeography, digital stemmatology, …), this conference seeks out a confrontation between the two “new” philologies and their respective approaches towards a canon that has been formed under an “old” philology. It welcomes research that both problematizes the specialized character of medieval literary production, and yet demonstrates the potential for computational criticism to “breach” or “widen” the medieval canon through digital tools. At the same time, the conference aims to tackle the following questions:

– How has the digital era changed our reading of medieval literature?
– How, exactly, can we understand computational approaches to the Middle Ages as radically transforming our disciplines?
– Are digital approaches bound to remain auxiliary in nature?
– Does it make sense to speak in terms of “new” and “old”, “digital” and “traditional”, “distant” and “close” readings? If so, where should one locate the differences? If not, where should one locate the overlaps?
– To what extent is the New Philology’s advocacy for an object-oriented approach respected or disregarded in computational criticism?
– How can theoretical concepts such as Franco Moretti’s “distant reading” question the medieval canon and the underlying principles or instances that have calibrated it towards an evaluative instrument (Gr. κανών, a “measuring rod”)?
– Which are the governing powers that underpin medieval canon formation, and are these in any way institutionalized (schools, markets, authorities, …)? How are they best described and/or best captured?

Informations pratiques :

The conference will be held in the Jozef Plateau Conference Room of the Plateau-Rozier building (Campus Book Tower, Ghent University). The venue is located in the city centre, within walking distance of public transportation (Jozef Plateaustraat 22, 9000 Ghent).

Enter the building through the main entrance, go left in front of the central staircase on the ground floor, the room is at the end of the hallway. The building is accessible for people with disabilities (treshold ramps).

You can register by sending an email to jedgusse.degussem@ugent.be. Registration closes on Monday, September 3rd.

There is a € 40,00 registration fee for both days, including coffee breaks and lunches. Conference speakers and members of the Henri Pirenne Institute for Medieval Studies are exempt from this fee.

This conference is organized by the Henri Pirenne Institute for Medieval Studies (HPIMS) of Ghent University in collaboration with the research group RELICS (Ghent University) and the University of Antwerp (Department of Literature). It is supported by the Scientific Research Network Digital Humanities Flanders (DHu.f), funded by Research Foundation – Flanders (FWO).

Source : The Henri Pirenne Medieval Institute