Information on Sessions

Information on Sessions

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Nature / Environment / Health – Monday, July 6

1. Water, Knowledge, and Agency in Scientific and Technical Illustration from the Age of the Industrial Revolution

Water, Knowledge, and Agency in Scientific and Technical Illustration from the Age of the Industrial Revolution

Chairs: Christina Ionescu (Mount Allison University, Canada) & Ann Lewis (Birkbeck University of London, United Kingdom)


===As humans grappled with mechanisation and modernisation in the Age of the Industrial Revolution (1760s to 1840s), water emerged from the background to become a key element in scientific and technical illustration. Technological innovations relying on the use of water, such as the stationary steam engine and the spinning frame, were prominently displayed and meticulously explained in encyclopedias, periodicals, and specialised treatises. Through empirical observation, both professional and amateur scientists lavished attention on natural phenomena such as geysers, waterfalls, and stalagmites and stalactites, often documenting their findings not only by conventional textual means but also inventive pictorial ones. At a time when the lack of water facilitated the spread of death and disease in overcrowded cities such as Hogarth’s London, bathing in thermal pools or exposure to seawater, which were strongly advocated in medical literature, were perceived by the wealthy as beneficial to health and healing. And, not surprisingly, prints depicting the age-old cult of water, “watering-places,” and structures designed to contain or manipulate the flow of mineral water proliferated throughout Europe.
===This session seeks to offer a fresh, wide-ranging perspective on the agency of water in relation to knowledge, innovation, and collective identity during the Age of the Industrial Revolution by investigating parallel and interconnected representations of this fundamental element in text and illustration. Examples of verbal and visual engagements with water – its materiality, depiction, use, and value – during this transformative historical period may be selected from a diverse range of scientific and technical fields, including angling, architecture, botany, garden design, geology, horticulture, hydraulics, natural history, and medicine. Proposals addressing word and image interaction through the following topics are particularly welcome: architecture and landscape design as a nexus of water, space, place, and identity; connections through water between humans and the environment; and water as a healing agent, source of life, and force of nature.

2. Re-Viewing, Re-Imagining Regional Waters in Word and Image (Northern Atlantic Arc)

Re-Viewing, Re-Imagining Regional Waters in Word and Image (Northern Atlantic Arc)

Chairs: Camille Manfredi (University of Nantes, France) & Kimberley Page-Jones (University of Brest, France)


===In a context marked by the revival of European regionalisms, this panel will examine the emergence of local sea imaginaries and discourses as well as the part these play in constructing or reconstructing regional maritime identities in the Northern regions of the Atlantic Arc.  It will focus on the verbovisual strategies developed by artists, local authorities and activists from the peripheral maritime regions of the Northern Atlantic Arc (Brittany, Scotland, Ireland, Wales, the West Fjords of Iceland…) in order to re-view, re-claim and de-idealize their coastal landscapes and maritime cultural heritage. Of special interest will be the representation of regional waters as a means of re-empowering local communities and re-imagining a sensus communis gathered around the need for a reconfiguration of both traditional and non-traditional, local and global paradigms of identity.
===The panel will welcome contributions that tackle the modus operandi of intermedial apparatuses and cross-media practices such as photo-texts, film-poems, video-literature and promotional posters, focusing on how the constant negotiation between images, texts and contexts can help us rethink our relationship to the sea as local resource and cultural practice. Contributors may for instance address the following issues:

-regional waters in photo-texts, film-poems and promotional apparatuses;
-the sea, its currents, waves and tides in words and images as a means of rethinking our experience and sense of place, reviving regional cultures and reconfiguring the relationship between national and subnational identities;
-the re-aestheticization of traditional fishing techniques in word and image;
-anthropocentric vs. ecocentric representations of regional waters in word and image;
-writing and imaging regional waters, coastal areas and beaches as aesthetic and political process, as a means of challenging binary oppositions such as nature/culture, land/sea, landscape/architecture, localism/globalization…
-the regional waters in word and image as reinvention of “the permanent present” (Hartog, 2003).

3. Fluid Boundaries: Water as Metaphor and Material

Fluid Boundaries: Water as Metaphor and Material

Chair: Ila Nicole Sheren (Washington University St. Louis, United States of America)


===Water has been a pervasive metaphor for boundaries and paradoxically, their erasure altogether. Think of the aftereffects of 2005’s Hurricane Katrina in New Orleans, which exacerbated structural inequalities and urban divisions rather than leveling them. Or consider the question of polluted sacred waters such as the Ganges, Yamuna, Jordan, or Nile: conceived of as inherently pure, while nonetheless choked by urban waste and industrial effluents. In those cases, water marks both a dividing line and point of contact between the spiritual and the profane. In Romantic art and literature, the sea is construed as a boundary between the human and a sublime, unforgiving nature. Yet we find that 21st century oceans are instead colonized by microplastics: that most banal of human detritus. Such examples speak to how water, whether in the form of ocean, sea, rivers, watersheds, or other bodies, is both materially and discursively constituted (or in Karen Barad’s term: entangled).
===This panel seeks submissions from scholars, artists, and writers that interrogate the ontological questions posed by water as- boundary, not limited to the following: How can visual art account for and complicate these discursive frameworks? What would constitute a comprehensive depiction of the complexity of water, in word, image, or both? And how might water allow us to grasp the less tangible effects of coloniality, global inequity, or eco-critiques such as Rob Nixon’s “slow violence?”

4. Water Carrier of Images: How to Surpass the Uncatchable

Water Carrier of Images: How to Surpass the Uncatchable

Chairs: Mathieu Gimenez (Naval Academy Brest-Lanvéoc, France)


===Representing water is indeed a demanding task: from the wave until the torrent, through its fractal relation to shores, beaches and meanders, water changes state, form, and behaviour. With water, the words change, but also the techniques and sensibilities that feature it. This entails a fundamental epistemological shift and an aesthetic challenge forcing creativity. Hence, water and sea, figured by texts, images and maps constitute also a phenomenal reflector of internal space, and bordering on territory, since it is specific to each of us. Instable, unknown and covered by all, romantic and comforting, source of tension or fixity, there is no unique metaphor of water.
===This interdisciplinary questioning aims at presenting epistemological thoughts of young scholars in literature, geography and history.

5. The Seventh Art Explores the Seventh Continent: New Mirror of Our Future

The Seventh Art Explores the Seventh Continent: New Mirror of Our Future

Chair: Thierry Azzopardi (PhD Sorbonne, Metteur en scène, Nice, France)


===Cinema has largely addressed the imaginary of the aquatic element. Can’t we say that cinema itself draws its secret from the “mechanics of fluids”, a logical or mystic string of photograms? The abysses of the sea refer to the inscrutable mysteries of human soul. Others prefer thinking that water is a still unknown place populated by incredible monsters (the Loch Ness), or even cities (Atlantis). If we take a closer look, water and cinema have an intimate relation, as a societal game of mirrors.  Water, necessary to Narcisse to admire himself, echoes often in the Seventh Art to with our collective unconscious. Example of that is the crucial work by Éric Thouvenel about Water images in French cinema of the 1920s. Era, where the aquatic imaginary celebrates the senses and glorifies the moving image accounting for it.
===
Today, water movies, if they maintain a sacred link with the beholder, are a big catalyser of his psychoses. The fear of water, the fear of lacking water, the fear of polluting. This liquid as important as our blood, triggers us. Guillermo Del Toro, in The Shape of Water (2017) turns it into a symbol of erasing differences. A creature emerging from the waters is condemned because coming from elsewhere. Water sometimes brings people together (dream bathing or sea bathing) but can also drive them away (territorial waters). The poor Bess of Lars von Trier’s Breaking the Waves takes (literally, symbolically) on water in a terrible boat which leads her to the supreme sacrifice.
===
Today, the theme of water is also the topos of all our anxieties. According to Greenpeace, a million of sea birds and 100.000 marine mammals die every year due to plastic or chemical ingestion. Plastic is responsible for 1,5 million deaths every year. The sea is concerned since 75% of maritime waste seems to be related to plastic. Water is also the element where migration takes place with thousands of persons drowned while crossing the Mediterranean.
===
This panel aims at linking the Seventh Art with what has been called in 1997 the Seventh Continent. An immense zone of floating plastic garbage, especially microplastic invisible to the naked eye. A continent six times bigger than France. This continent draws our attention and challenges the pacific relation between water and man. This name will keep on referring to a symbolic continent that epitomizes all our ecological worries in relation to waste.
===
This panel considers thus the movies that discuss the relation between man and water in a sustainable perspective, but also in a fantasized one (science fiction movies, utopias, dystopias).  

6. Picturing the End of the World: It’s Time to Pay Attention

Picturing the End of the World: It’s Time to Pay Attention

Chair: Stephen Burt (University of New England, United States of America)


===Artists have, for centuries, tried to visualize what the forces of nature unleashed upon the world with full existential fury would look like. Leonardo da Vinci famously did so in a series of drawings c. 1517-18 executed in the last years of his life in France. Similarly, Albrecht Dürer explored cataclysmic visions in his Apocalypse series (1498) but also in an enigmatic watercolor image from 1525 picturing a dreamed deluge. This session will highlight some of the history of images of cataclysmic floods and other vast destruction—which picture the end of the world. And it will explore research that has led to a large body of historic and contemporary work: the visualization of the catastrophic alterations to our environment.
===How does one aestheticize disaster to compel and not repel the viewer? How does one manifest change that would normally occur over many years into a single coherent image or series of images? Overall, it seems we are unable as a species to see the long view, to conceptualize the forces of change at work in our daily life. We might notice the hot days, or even remark how little or much it rained over a season, but still fail to notice the more subtle shifts of temperature and seasons that can have devastating effects on ecosystems.
===The visual arts allow artists the liberty to explore communal and personal anxieties about the end of the world. For many contemporary artists that anxiety is about climate change. Can artists make visual that which cannot usually be seen and to do so without having to illustrate the vast complexities of the physical science involved? The question this session will seek to answer is: Can the inventions of art in any media convey the gravity of worlds on the cusp of disaster?

7. Figuration of Water: Women and Aquatic Polymorphisms in the Arts (I)

Figuration of Water: Women and Aquatic Polymorphisms in the Arts (I)

Chair: Hélène Barthelmebs-Raguin (University of Luxembourg, Luxembourg)


===Of all the topoï traditionally attached to women, water is one of the most common. When we turn to symbolic archetypes, water is not only nourishing and watering, but also violent and deadly. This fact emphasizes its deeply complex feminine character, both maternal and fatal. “It is an element which is more feminine and more uniform than fire”says Gaston Bachelard L’Eau et les rêves. Essai sur l’imagination de la matière (1942). Let’s think about Guillermo del Toro’s recent film The Shape of Water (2017), Hayao Miazaki’s cartoon The Journey of Chihiro (2001) or Sandro Botticelli’s painting La Naissance de Vénus (1484-1485): it is important to note the ambivalent nature of water. The mermaids, naiads and other nymphs that inhabit the imaginations of Rimbaud or Man Ray also reverse the criteria of good and bad, strength and weakness, seduction and dangerousness.

Based on multidisciplinary analyzes of feminine aquatic speeches and images, this session aims to question the artistic productions that, seizing these mythological figures, (re)construct feminine gender and gender relations. If the history of art teaches us that these figures appear frequently in a negative light, they have nonetheless been the object of poetic re-appropriations, both visual and scriptural, which aim to construct a feminine gender that liberate from stereotypes and prescribed roles.

History / Philosophy / Religion – Tuesday, July 7

8. At the Whim of Water: Texts and Images

At the Whim of Water: Texts and Images

Chair: Sanda Badescu (University of Prince Edward Island, Canada)


===In creating the image of the noisy and stormy stream compared to the peaceful river, Jean de la Fontaine proves to be a subtle observer of the human character: the appearance opposes or even denies essence as the fabulist seems to suggest. Still water, whether it is the serene sea or the unruffled lake that invites you to a physical, imaginary or spiritual journey, becomes the metaphor not only of a real or virtual danger that would stand in opposition to the journey – all the more treacherous because invisible – but also the depth of the human soul or the unconscious whose signs we can try to read but can never fully grasp. The depth of water inspiring fear is present in a multitude of texts and we have only to skim the surface of Jung’s works to discover that the water of a dark lake gives rise to a menacing atmosphere (unheimlich in Freud’s terms) and is one of the most powerful symbols of our imagination. The imaginary that digs and lives in the hidden face of water finds its echo in the art of an ingenious painter, Elstir, a character of In Search of the Lost Time by Marcel Proust, for whom the space occupied by the earth and by the sea blurs into a metamorphosis, revealing the arduous and nebulous task of the artist. To depart at the discretion of water is to respond to the invitation of the voyage and to sail both on the surface and in the depths of the human soul.
===This session welcomes proposals that highlight the image of water (torrent, river, lake or sea) related to the mystery and the unknown worlds of the human mind in various fields such as literature, philosophy, religion, psychology and visual arts.

9. The Sea in the Hagiography and Iconography of the Christian Saints

The Sea in the Hagiography and Iconography of the Christian Saints

Chair: Massimo Leone (University of Turin, Italy & Shanghai University, China)


===The sea as a way of transportation and as a material resource has been and remains central to many human communities and their economic needs across the centuries and the ages. It is thus not surprising, that so many Christian saints’ prodigies and mysteries are related to the sea, take place at sea, and often transform the sea into the pious ally of the saintly activity. From Pedro Nolasco using his mantle to cross the Mediterranean to Francis Xavier receiving from a holy crab a lost crucifix, hagiographic episodes involving the favorable presence of the sea abound. The iconography of these prodigious and miraculous anecdotes is also copious.
===The session will investigate the relation between words and images in the genesis and development of this specific tradition of Christian imagery.

10. The Biblical or Mythical Imaginary of Water and Sea

The Biblical or Mythical Imaginary of Water and Sea

Chair: Daniel Laliberté (Luxembourg School of Religion & Society, Luxembourg)


===From the Jewish cosmological narratives, where the divine creation comes to light through the separation of the waters, down to the Revelation narratives, where the Tree of life is embraced by the two arms of the great river… From the oldest ablution rituals, down to John’s baptism of conversion in the Jordan river… From the sacred spring of Zamzam in Mecca, down to the venerated Ganges of the Hindus… “Always and everywhere”, water appears to be one of the most widely spread religious symbols. This is not surprising, considering the very essential nature of this element for every form of life and, thus, the potential for symbolization it carries.
===Waters of life, waters of death, waters of passage. A symposium on “Sea and water in word and image” had to propose a section on The biblical or mythical imaginary of water and sea.
The session will explore the following aspects (non-exhaustive proposals):

-developing a historical and philosophical dimension about the universality of this symbolic matter;
-exploring the unfolding of the symbolism of water in some major sacred texts;
-starting from this universal symbolism, questioning on the consequences of modernity and secularization on the use of symbolic language, especially when the codes underlying this language have become evanescent;
-considering the consequences of this “water symbolism” on some major ethical issues related to the management of this element (universal right to water, global warming, etc.).

11. Waves That Makes Us Enjoy and Teach Us How to Desire

Waves that makes us enjoy and teach us how to desire

Chair: Jean-Marie Weber (University of Luxembourg, Luxembourg)


===Since its early days, cinema seems the most appropriate art to scrutinize the unfamiliar, the unsayable, and the unconscious. It is the “couch of the poor”, claims Félix Guattari. Anyway, cinema seems to be as subversive as psychoanalysis. According to Slavoj Žižek,it constitutes a disposal that makes us enjoy and a pedagogical tool to teach us how to desire.
—–Our purpose is to study through film excerpts, such as Bergman’s Persona de Bergman, Lars von Triers Breaking the Waves, Scorsese’s Silence, and Truffaut’s Les Quatre Cents Coups, how the artist confronts us with the real and with the fact that there isn’t any longer a Big Other.
—–Such scenes take place on the seashore, at the rim of strangeness, and finally at the edge of trauma. Touched by the violence of the waves and the drive, we are confronted with our gaze, our pleasure and our desire. It is as « parlêtre » (Lacan), and more specifically as an instinctual being, that we recognize ourselves in such scenes. It is finally our implication in the movie that this panel will question.

12. Liquidity Incorporated: Early Capitalism on the High Seas in Contemporary Text and Image

Liquidity Incorporated: Early Capitalism on the High Seas in Contemporary Text and Image

Chair: Amanda Wasielewski (The Graduate Center CUNY New York, United States of America)


—–Herman Melville’s classic Moby-Dick, a novel that is over a century and a half old, is on many artists’ and writers’ minds these days. Melville’s tale of hubris and greed aboard a whaling ship is both a strong metaphor for the present and a way of understanding how we got here. As data flows at the speed of light around the planet, it seems apt to reflect on a time when capital flowed over water at a much slower but no less ruthless pace. The world order that haunts the present day was produced during this time through the dogged pursuit of wealth on the high seas. It was an era of colonialism, exploitation, slavery, industry, and technological acceleration. As high-frequency and algorithmically-modulated trading increasingly de-centers the human body in regimes of global finance, so too did the colonial period reduce the natural world to insurance figures and subjugated people to commodities. Allan Sekula’s Fish Story (1995) was a foundational work in this area, and a recent example can be found in Hito Steyerl’s Liquidity Inc. (2014), where the fluidity of financial markets is entangled with the messiness of corporal reality. The primordial elements are no more stable than these automated flows. Another example can be found in Return of the Obra Dinn (2018), an indie game designed by Lucas Pope, the creator of Papers, Please (2013). In the game, the protagonist is an insurance investigator, rather than an adventurer or a sea captain, who is tasked with determining how an East India Company vessel ended up with all of its crew either dead or missing. The operations of finance, greed, and instability are placed at the center of the narrative.
—–This panel will explore recent art, literature, and text that deals with the sea-based trade in the past and investigate why and how this theme is so relevant to the present moment.

13. Figuration of Water: Women and Aquatic Polymorphisms in the Arts (II)

Figuration of Water: Women and Aquatic Polymorphisms in the Arts (II)

Chair: Hélène Barthelmebs-Raguin (University of Luxembourg, Luxembourg)


===Of all the topoï traditionally attached to women, water is one of the most common. When we turn to symbolic archetypes, water is not only nourishing and watering, but also violent and deadly. This fact emphasizes its deeply complex feminine character, both maternal and fatal. “It is an element which is more feminine and more uniform than fire”says Gaston Bachelard L’Eau et les rêves. Essai sur l’imagination de la matière (1942). Let’s think about Guillermo del Toro’s recent film The Shape of Water (2017), Hayao Miazaki’s cartoon The Journey of Chihiro (2001) or Sandro Botticelli’s painting La Naissance de Vénus (1484-1485): it is important to note the ambivalent nature of water. The mermaids, naiads and other nymphs that inhabit the imaginations of Rimbaud or Man Ray also reverse the criteria of good and bad, strength and weakness, seduction and dangerousness.

Based on multidisciplinary analyzes of feminine aquatic speeches and images, this session aims to question the artistic productions that, seizing these mythological figures, (re)construct feminine gender and gender relations. If the history of art teaches us that these figures appear frequently in a negative light, they have nonetheless been the object of poetic re-appropriations, both visual and scriptural, which aim to construct a feminine gender that liberate from stereotypes and prescribed roles.

Literature / Myths / Arts / Heritage – Wednesday, July 8 & Thursday, July 9

14. Sensible Perception of Water – Poetics of Movement and of the Infinite

Sensible Perception of Water – Poetics of Movement and of the Infinite

Chair: Anikó Ádám (Catholic University Pázmány Péter Budapest, Hungary)


===Water is not only one of the four elements endowed with physical and chemical features, but also an essential source of biological life, a stable and reactive substance, a both familiar and alien environment. Through its changing nature, uncatchable, water encompasses all possible states of the material and of the being in evolution and in transformation. The image of water is commonly associated with the flow of time.
===This panel aims, through analysis of literary examples (e.g. Rousseau, Chateaubriand), at reflecting on the nature of water as an aesthetic element, stricto sensu, which separates or connects, and allows to perceive space in the text. Following ebb and flow, or to see flowing water lead to the sensible perception of movement; contemplating water gives the visual illusion of the external and internal infinite. Visual perception of transparent and running makes perceptible, if not visible a by definition imperceptible transcendence, and engenders a poetic language, at the dawn of romanticism, which will be capable of expressing the passage between material and spirit, life and death, solid land and moving water, etc.
===Crucial to this session will be the demonstration that the analysis of the somehow conventional and stereotypical poetic use of water helps to understand the shift between two spatial-temporal visions, the Enlightened one and the Romantic one.

15. Rivers, Lakes and Ponds in Book Illustration from the 17th Century to the Present Day

Rivers, Lakes and Ponds in Book Illustration from the 17th Century to the Present Day

Chairs: Sophie Aymes (University of Bourgogne, France) & Nathalie Collé (University of Lorraine, France) & Brigitte Friant-Kessler (Polytechnic University Hauts de France, France) & Maxime Leroy (University of Haute-Alsace, France)


===We invite contributions on the relationships between book illustration and rivers, lakes, or ponds in literary, documentary or scientific works from the 17th century to the contemporary period. Participants may examine the thematic, technical, editorial and intermedial aspects of the topic from a synchronic or diachronic perspective and through different genres (fantasy, caricature, comics, the picturesque, the documentary, etc.). All theoretical approaches are welcome.
===Being a river dweller, going on a boating trip or living in an area characterised by lakes generates specificities, whether in William Wordsworth’s lake poems, the recently illustrated editions of the Grasmere Journal, or Jerome K Jerome’s best-seller Three Men in a Boat, to name but those. City rivers such as the Thames in Daniel Defoe’s fiction or the Mississippi in Mark Twain’s narratives have significantly contributed to creating memorable scenes. We would like to address the word and image relationship derived from those particular settings. Rivers, lakes or even small ponds as eco-systems allow for imaginative designs and creativity. Contributions to this session may discuss the treatment of water as a pictorial or eco-critical theme by exploring for instance how representations of urban territories are affected by the presence of rivers. Illustrations to the Arthurian legend featuring the Lady of the Lake, or the fascination for imaginary and mythical creatures like the Loch Ness monster which have spawned their own mythologies in word and image may also be looked at.
===Contributions may discuss the role of illustration in conveying and depicting social change and ideology, together with developments in city map making over time and across media. We also seek to examine illustrations of social phenomena such as spas, hydrotherapy centres and places famous for their rivers, lakes or water springs, leisure activities as well as for specific trades or modes of transportation (barges, canoes, skiffs, etc.).
===As water is used in techniques like watercolour or ink wash, papers may look at how and why illustrators use such liquid and how specific effects (fluidity, blurring, splattering, etc.) are achieved through them when illustrating river, lake and pond-inspired narratives. Finally, we particularly welcome contributions showing how book illustrations related to water are informed by the concepts of hybridity and intermediality, crossing and crossover, influence and change, in resonance with the fluid nature of the element ‘water’, central to this IAWIS Conference.

16. Water as Material and Medium in Contemporary Art

Water as Material and Medium in Contemporary Art

Chair: Carla Taban (Independent researcher based in Toronto, Canada)


===Since the emergence of artistic practices such as happenings, performance, installation, land art, and conceptual art in the late 1950s and 1960s, contemporary artists have used water in its various states—liquid, solid, and gaseous; bodies of water—such as rivers, lakes, seas, or oceans; and the natural water cycle, as materials or mediums in their works. Many of these practices also comprise language, be it spoken or written, which sometimes represents a major dimension of the artwork, sometimes manifests only in the guise of its title, yet plays, even in this latter case, an important role in signaling the work’s intention or directing its reception. The interplay between the verbal, the water-related and, when applicable, the other materials or mediums employed, often raises fundamental questions about the nature and the status of the artwork, its production and reception processes, the various artistic, ecological, sociopolitical, economic, and institutional contexts within which it is inscribed, while at the same time investigating myriad issues: form and formlessness, transformation, movement, chance, systems, structures, and so on.
===From Yves Klein’s performances Transfer of a Zone of Immaterial Pictorial Sensibility (1959–62) to Fluxus works such as George Brecht’s Drip Waterevent (score) (1959–62), from Hans Haacke’s natural-system works (Condensation Cube, 1963–65 or Rhine Water Purification Plant, 1972) to the happenings of Allan Kaprow (Fluids, 1967), from land-art works by Denis Oppenheim (Beebe Lake Ice Cut, 1969) and Robert Smithson (Spiral Jetty, 1970) to Christo and Jeanne-Claude’s water-wrapping projects (Wrapped Coast, Little Bay, Australia, 1969 and Ocean Front, Newport, Rhode Island, 1974) or conceptual pieces such as Michael Craig-Martin’s An Oak Tree (1973)—water has not ceased partaking in the expanded art field.
===This session welcomes papers that deal with water as material or medium in contemporary art, and its interaction with language.

17. Nature, Culture, Sense and Sensibility: Water in 18th Century Literary Illustration

Nature, Culture, Sense and Sensibility: Water in 18th Century Literary Illustration

Chair: Leigh G. Dillard (University of North Georgia, United States of America)


===A number of bestselling novels of the 18th century include key episodes in which water – whether in the form of oceans, seas, ponds, lakes, torrents, springs, rivulets, falls, wells, or fountains – plays a crucial symbolic role, variously expressing the passions embodied by ‘nature’ or more cultivated versions of this dangerous element. Charged with significance and symbolism, these representations of water are sometimes used as a backdrop or setting to the main action, but at other times, they represent an active agent in the human dramas that unfold when characters interact with this element in its materiality and that interaction unexpectedly alters the course of their lives in consequential ways. The results are often deeply poignant – drowning, shipwreck, trauma, flooding, etc. – but they can also be positively transformative – self-discovery, spiritual healing, physical nourishment, even fulfilment, etc. Within fictional realms, water acts, moreover, as a marker of identity and place in literary cartographies, triggers vital memories and meanings, surreptitiously encodes libertine thoughts, and simultaneously separates and unifies peoples, countries, and continents. In 18th-century literary illustration, water is equally omnipresent, and its representation is endowed with a degree of complexity that invites a closer look from a word and image perspective.
===This session invites proposals which engage with the illustration of iconic scenes from 18th-century novels, in order to shed light on water as a narrative, thematic, aesthetic, and symbolic element in both texts and images. In particular, we are interested in the way in which literary illustration visually interprets – and subtly challenges – the sophisticated textual dynamics between nature and culture, or investigates the affective resonance of water’s multiple configurations. Examples can be drawn from different novelistic genres (the fictional travelogue, the sentimental novel, the libertine tale, the bildungsroman, etc.) and various artistic or cultural traditions. Proposals that engage with the topic diachronically and transnationally are particularly welcome.

18. Navigating Seas and Oceans in Book Illustration from the 17th Century to the Present Day

Navigating Seas and Oceans in Book Illustration from the 17th Century to the Present Day

Chairs: Sophie Aymes (University of Bourgogne, France) & Nathalie Collé (University of Lorraine, France) & Brigitte Friant-Kessler (Polytechnic University Hauts de France, France) & Maxime Leroy (University of Haute-Alsace, France)


===We invite contributions that explore book illustration in literary, documentary or scientific works related to life near, at and under sea, from the 17th century to the present day. We welcome papers that discuss the topic across media. The presentations may examine the thematic, technical, editorial and intermedial aspects of the topic from a synchronic or diachronic perspective and through a variety of genres (fantasy, novel, memoirs, poetry, caricature, comics, the picturesque, the documentary, etc.). Alltheoretical approaches are welcome.
===From early travel narratives to contemporary reports of migrants’ itineraries, or children’s literature, life at sea, pirate stories, oceans and islands have been used as background settings. Imaginative designs and creativity related to piracy, life and survival on board ships abound from Daniel Defoe’s General History of Pyrates, to Coleridge’sRime of the Ancient Mariner, Robert Stevenson’s Treasure Island, up to Mervyn Peake’s children’s book featuring Captain Slaughterboard. As ships crossing the seven seas do so in treacherous environments, storms and shipwrecks will be interesting moments to select in order to discuss how authors and illustrators tackle them. Seen as a pictorial theme but also as a basis for narratives conveying curiosity, wonder or fear, seas and oceans go together with imaginary and mythical creatures such as sirens, gigantic squids or white whales. Papers may also explore travel narratives such as Charles Darwin’s or Captain Cook’s voyages for scientific purposes. Zoological plates in natural science books or sketches featuring marine life derived from those expeditions may be considered.
===Broadly speaking, proposals in which illustrations critically reflect on social phenomena such as tourism, leisure or the role played by famous seaside resorts, will be considered. Participants may engage with the specific role of illustration in conveying or representing major social change and ideology, sea-related power conflicts, the rise of empire and map making, or the control of maritime borders and harbours. Finally, this session seeks to examine how book illustrations are informed by the concepts of hybridity and intermediality, crossing and crossover, influence and change, in resonance with the fluid nature of the element.

19. All Is Lost: Shipwrecks in the Contemporary Imagination

All Is Lost: Shipwrecks in the Contemporary Imagination

Chairs: Philippe Kaenel (University of Lausanne, Switzerland) & Laurence Roussillon-Constanty (University of Pau and the Pays de l’Adour, France)


===From the scandal surrounding the Raft of the Medusa (1816) to the tragic drifting of boat people and the sinking of the Titanic, shipwrecks have long made the headlines and been the focus of attention, inspiring a significant collection in the history of cultural, artistic and social representations (Carl Thompson, 2014). In numerous canonical occidental narratives (by Victor Hugo, Edgar Allan Poe, Coleridge or Mallarmé) as much as in recent films (such as All is Lost, The Life of Pi or in the several revisits of Melville’s epic novel Moby Dick), the shipwreck survivor has also often been depicted as the central figure.
===From a formal and phenomenological point of view, the very situation of a shipwreck entails a specific point of view or camera angle that highlights and question the technical set-up of artistic production (Hans Blumenberg, 1997). Narrative or filming devices will either immerse the spectator or constrain her/him in the confined space of a raft or lifeboat; in the same fashion, the description or view of the open sea or else an obstructed horizon line will lead to the loss of one’s spatial and temporal bearings so that the shipwreck itself becomes an alternative place – or, in Michel Foucault’s words, a heterotopia – where humans may experience the limitations of their physical and moral nature (as exemplified in cases of cannibalism) and test the limits of their humanity.
===Our session welcomes papers across all the media and genres from the novel, poetry, illustration, comic books to painting, photography and film.

20. The River: Reality, Myth, and Metaphor

The River: Reality, Myth, and Metaphor

Chair: Véronique Plesch (Colby College, United States of America)


===From the Jordan of Christ’s Baptism, the Seine and the Thames of the Impressionists, the Danube, Nile, Ganges, and Rio de la Plata of Bernini’s Fontana dei Quattro Fiumi, rivers abound in art and literature. Four rivers of Paradise and five rivers of Hades – rivers of life and rivers of death: rivers play a crucial role in mythology and religion. Not only at times positive and at others negative, some rivers can be both myth and reality, as in the case of Hades’s Acheron, also a real river in Greece. The Seine, Sequana for the Romans, was a goddess and her source was a site for offerings. Beyond the simple question of how rivers, whether real, mythological, or metaphorical are represented in art and literature, and what are the many forms and functions they adopt in their artistic embodiments, this panel aims at exploring the multifarious nature and function of rivers.
===We invite case studies in which rivers are central to the artist’s message and/or practice, merging attentive observation and rendering, verbal and visual metaphors (in particular the very powerful image of the source in language), or even in scientific analysis, with deeper meanings; depictions going beyond the visual and/or literary translation of a fluvial motif. The river may be a metaphor and a formal organizing principle, as in Charles Sandison’s The River (2010), a computer-generated installation that makes words from a myriad of world languages flow on the Musée du Quai Branly’s ramp, using the age-old metaphor of the River of Life.

21. Northern Seas in Word and Image (I)

Northern Seas in Word and Image

Chairs: Claire McKeown (University of Lorraine, France) & Thomas Mohnike (University of Strasbourg, France)


===This workshop aims to study text and image representations of Northern seas and to explore how these contribute to Northern European aesthetics and identity narratives.
===The challenge of representing water reflects the difficulty of characterising Northern spaces, as the confusion between terms like “Scandinavian”, “Nordic”, and “Northern” suggests. Northern European countries are defined by a repertory of mythemes related to the sea – cliffs and beaches, the Vikings, maritime trade – demonstrating its importance for both aesthetics and identity politics.
===Many canonical representations of Northern Europe focus on marine elements. Norse mythology provides images of the sea as a destructive or seductive force, reflected by painters like Henry Fuesli, Elisabeth Jerichau-Baumann and Nils Blommér. The Skagen group represent Denmark through fishing scenes, while Northern German seascapes are key to Caspar David Friedrich’s iconic contribution to Romantic painting. The Norwegian fjord setting is essential to Karen Blixen’s Babette’s Feast, but replaced by Jutland in the cinematic adaptation. The French expedition “La recherche” produced images and texts rendering Northern seas in paradigmatic ways.
===We will particularly welcome proposals exploring the connections between art and writing, for example through the Skagen painters’ links with literature, impressionist authors like Herman Bang and J.P. Jacobsen, August Strindberg’s experimentation with photography and painting, HC Andersen and William Morris’s travel writing or Marcel Broodthaers’s intermedial work A Voyage on the North Sea. We hope to show how fluctuating definitions of Northernness are reflected in the interplay between text and image.
===Papers may address the following issues: Which recurring images and mythemes are associated with Northern waters? How do writers’ and artists’ treatments of Northern seas reflect the complex identity of these spaces? How do these participate in the construction of imaginative geographies? How do intermedial connections establish links and distinctions between different Northern and Nordic spaces?

22.

Chairs: Sophie Aymes (University of Bourgogne, France) & Nathalie Collé (University of Lorraine, France) & Brigitte Friant-Kessler (Polytechnic University Hauts de France, France) & Maxime Leroy (University of Haute-Alsace, France)

23. Water in All Its Forms: Seas, Tsunamis, Thunderstorm in Contemporary Japanese Popular Culture

Water in All Its Forms: Seas, Tsunamis, Thunderstorm in Contemporary Japanese Popular Culture

Chairs: Guido Furci (Durham University, United Kingdom & University of Sorbonne Nouvelle – Paris III, France) & Filippo Cervelli (Durham University, United Kingdom & Kobe University, Japan)


===As recalled by his Japanese translator Yotetsu Tonaki (2016), Jean-Luc Nancy argues that the Fukushima catastrophe “may not be reduced to a technological dysfunctioning nor to a factor ascribable to men but reveals in fact the system of general equivalence that sustains a whole civilisation not explainable in the mere lightof techno-scientific interdependency on which most of our contemporary societies are nonetheless based”. Far from seeming exotic, such an observation echoes with the way Japanese popular culture in different forms tends itself to thematise the interactions between humans and machines, and the intrinsic aporias of every notion of progress – and this particularly since the end of World War II. If Japanese insularity has always contributed to parameter, hence, in a way, to feature ever more its representational universe  – until transforming it in a laboratory space likely to describe, through metonymy, complex transnational phenomena –, this applies even more to the manga’s, the  anime, graphic novels and videogames which insist on the ambivalence of natural elements, as an evidence and an interrogation of our passage on earth.
===This panel will especially emphasize on the place given to water. Threatened or threatening, water is omnipresent, included as a metaphor (just think of “the Sea of Decay” in Nausicaä of the Valley of the Wind, which is in fact a toxic plain), often becoming a full character, in the work by canonical authors as Miyazaki, or in an always increasing number of “minor” creations.

24. Representing Numen Aquae in Literature, Folklore and Modern Popular Culture

Representing Numen Aquae in Literature, Folklore and Modern Popular Culture 

Chair: Eloy Martos Núñez (University of Extremadura, Spain)


===This proposal is based, on the one hand, on the taxonomy of motifs and types from a variety of cultures and its translation into the changing prosopography of mythical narratives about water, and, on the other hand, on their reception and subsequent translation to literary narratives (since the Middle Ages to Modernity) and to the modern media narratives (specially the study of images of water creatures in modern popular culture and its relation to superheroes and sagas).
===The surprising plurality of water deities in folklore around the world and from different periods (with their icons and symbols concerning life or death) is what we try to convert into meaningful patterns. From this interdisciplinary approach, other research axes are proposed, mainly in Ecology, Water Culture and Education and its interrelations.
===We look for cultural changes and continuities and their potential links, from the mythical narratives to the Literary Iconology and Cyberculture, in order to investigate a variety of media such as written and oral sources, transcribed and electronic, and recontextualise this imagery in water folklore (e.g. water-creatures,   genius loci, freshwater spirits and fairies, creatures of the sea and other personifications).

25.

Chairs: Thomas Vercruysse (University of Luxembourg, Luxembourg)

26. “Pageants of the Sea” (Merchant of Venice, I.1.10): Envisioning the Sea in Early Modern English Stage/Page and Visual Arts

 

“Pageants of the Sea” (Merchant of Venice, I.1.10): Envisioning the Sea in Early Modern English Stage/Page and Visual Arts

Chair : Armelle Sabatier (University of Panthéon-Assas – Paris II, France)


===In his 1964 monograph, Shakespeare and the Sea, Alec Falconer explored the rich maritime vocabulary and knowledge of the sea at work in Shakespeare’s drama. Not only are his works replete with diverse references to maritime elements such as whales, tempests or even pirates, but the terms “sea” and “ocean” also occur more than a hundred times in his poetry and drama. Although the sea could be hardly visualised on the Elizabethan stage, the variety of meanings and the central role played by this natural element in early modern drama and the stage shape and re-shape plots, characters and the theatrical space. Likewise, although the pictorial genre of marine art soared in 17th century Dutch art, many Elizabethan paintings featured sea either in the background to celebrate sea battles such as in The Armada Portrait (1588) or as the main element of the picture as in The Allegorical Portrait of Sir John Luttrell by Hans Eworth (1591).
===This seminar aims at exploring the theatricality and spectacle of the sea in Elizabethan and Jacobean literature (drama, poetry or/and prose) and/or visual arts (painting and sculpture, emblems and engravings, tapestries, maps….). This seminar will raise issues related to the complex relation between word and image to depict a natural element that cannot be shown directly on stage or on page. Although the literary trope of ekphrasis has already been studied, especially in King Lear’s imaginary description of the Dover cliffs or the description of the tempest in The Tempest, other theatrical and pictorial devices are nearly left unchartered (such as objects, scenery, theatrical space…). Hence, this seminar seeks papers highlighting literary and/or pictorial strategies to verbalize and visualise this shapeless, ever-changing and indefinable natural element in the English Renaissance, an era of sea conquest and battles.

Young Scholars – Thursday, July 9

27. - 30. Young Scholars

These Young Scholar Panels aim to be a platform for young or less experienced researchers

Please:

-note that the word & image interaction should be explicit in your proposal
-indicate one of the above-mentioned disciplinary fields (A,B,C,…) where your proposal would fit in

Migration / Geography / Tourism – Friday, July 10

31. Verbal and Visual Representations of the Pacific Ocean and Its Islands

Verbal and Visual Representations of the Pacific Ocean and Its Islands

Chair: Tatiana Smoliarova (University of Toronto, Canada)


===Of all the four (or five) parts of the World Ocean only the Pacific owes its name not to its location, but to its character and behavior – i.e., to its own image (as we all know, Magellan called it Mar Pacifico in 1521, feeling lucky to find the waters peaceful). The largest and the deepest ocean of all, the Pacific, with its innumerable islands, is also the greatest source of myths, legends, and beliefs. As the title indicates, the proposed panel will examine verbal and visual representations of the Pacific and the islands in the Early Modern Period, with a special focus on the 18th century.
===Scientific accounts and personal memoirs of the navigation of the Pacific provide us with a vast array of possible forms of coexistence of Word and Image: maps and charts with their allegorical cartouches, narrative vignettes, and explanatory legends; Natural History illustrations and painted landscapes; emblems and symbols, ekphraseis and verbal programs, etc. European Exploration of the South Pacific and its representations – first and foremost, the three trips of James Cook and the paintings of John Webber – have been explored in great detail (from Bernard Smith’s groundbreaking study European vision and the South Pacific, 1768-1850 (1960) – all the way through the recent Cook and the Pacific (2018), an annotated catalogue of the homonymous exhibition at the National Library of Australia). We know less about the Northern Sea Route, its history and mythology, and the role it played in the emergence of Russian national identity in the 18th century.
===At the same time, the accounts of the two Kamchatka expeditions of Vitus Bering, and especially the journal of his Secretary George Wilhelm Steller, who participated in the second one, contain crucial materials on the respective roles of verbal and visual information in the formation of the image of the Pacific. Mikhail Lomonosov, Russian polymath and court poet, described one of the remotest regions of the Russian empire in his ode of 1747 thus: “There, sown with multitudes of islands, / The Ocean is like a River; / Decked in heavenly blue, /The raven puts the peacock to shame…” (the raven “decked in heavenly blue” seems to be echoing the incredible blueness of the Corvus Stelleri, otherwise known as “the Blue Jay”. Poor Steller died before Russian Academy of Sciences agreed to send him several grams of ultramarine he requested in order to depict his discovery.

===How do people figure the unknown and the unthinkable? Which verbal sources do they use to create “missing” pictures? How does the “Art of Memory” work in the ever-changing space of the sea? These, and many other questions may be addressed by the panel’s potential participants. The panel will consist of two sessions. One will be dedicated to Oceania; the other one will focus on the European discovery of the Northwest coast of America. The panel stands at the crossroads of at least two “big” themes of the conference: “Scientific or imaginary cartography” and “Graphic Novel and Comics” on the other (a curious instance of the afterlife of Steller’s Journal is a graphic novel The Island of Memory (2013) by the North American cartoonist Edward Bak).

32. The Sea: Trips, Literary Representations and Artistic Expressions

The Sea: Trips, Literary Representations and Artistic Expressions

Chair: Meryème Rami (Mohammed V University of Rabat, Morocco)


===Earth is commonly called the blue planet because of the dominance of water on the surface of the globe. In Mediterranean Tumults of the swell (2000), Baltasar Porcel depicts the legendary history of this sea as a melting-pot of civilizations through its emblematic figures and landscapes, in a style that is both erudite and lyrical.
===As an object of fascination linked to travel, freedom and dream, the sea has always inspired writers and artists in different registers: literary theme (Moby Dick by Herman Melville, Twenty Thousand Leagues Under the Sea by Jules Verne, novel adapted to cinema), pictorial motif (Turner’s Marines), musical composition (The Sea by Debussy) …
===In The Cemetery of the Untitled Boats, Arturo Peres-Reverte tells the trip of a sailor who undertakes to find a wreck, a real treasure hunt is launched. In this adventures novel, the descriptions of the character and the sea are mingled: “when the water looked like a mirror, when the peace of the world and the peace of the heart came together, (…) we were only a tiny drop in three thousand years of eternal sea.”
===Far from the scenery of tourist cruises aboard pleasure boats, the sea is also the space of all dangers (storms, shipwrecks…). The phenomenon of illegal immigration aboard pateras has become a key issue. This tragic contemporary odyssey transforms the Mediterranean Sea into a real marine cemetery. In 2015, the much-publicized picture of a child’s body on a Turkish beach sparked a strong global reaction. The caricature of this sad event reveals that satirical drawing can be more striking than words to denounce an aspect of human misery.

33. Diasporic Narratives on Sea Borders and Migration

Diasporic Narratives on Sea Borders and Migration

Chair: Nurgul Rodriguez (Independent artist based in Calgary, Canada)


===A current and responsible approach to social and political art will almost certainly generate fundamental questions such as: How can contemporary artists’ work practices aesthetically expose and engage in the conflict underlying maritime human migration? How does an artist’s work reflect permanent sea borders between nations? Moreover, how do artists incorporate such controversial messages through image and word in their creative practices?
===For this session, the intent is to invite visual and performing artists who are themselves migrants or a member of a diaspora and reflect their experience not only in the making of art but also in its political contextualization. Aiming at revealing the process of making and connecting it with migration, with all its challenges, artists engage with and explore risk-taking; fear of involvement; the anguish of choosing and rejecting; the accumulation of artistic knowledge and how it is applied in specific projects; and, finally, how every act of creativity – large or small – must evolve from draft to finished within the constraints of political boundaries. Presenters are invited to reflect on their personal experiences on narrative, research and artwork execution to establish emerging boundaries through their contemporary creative practices.

34. Northern Seas in Word and Image (II)

Northern Seas in Word and Image

Chairs: Claire McKeown (University of Lorraine, France) & Thomas Mohnike (University of Strasbourg, France)


===This workshop aims to study text and image representations of Northern seas and to explore how these contribute to Northern European aesthetics and identity narratives.
===The challenge of representing water reflects the difficulty of characterising Northern spaces, as the confusion between terms like “Scandinavian”, “Nordic”, and “Northern” suggests. Northern European countries are defined by a repertory of mythemes related to the sea – cliffs and beaches, the Vikings, maritime trade – demonstrating its importance for both aesthetics and identity politics.
===Many canonical representations of Northern Europe focus on marine elements. Norse mythology provides images of the sea as a destructive or seductive force, reflected by painters like Henry Fuesli, Elisabeth Jerichau-Baumann and Nils Blommér. The Skagen group represent Denmark through fishing scenes, while Northern German seascapes are key to Caspar David Friedrich’s iconic contribution to Romantic painting. The Norwegian fjord setting is essential to Karen Blixen’s Babette’s Feast, but replaced by Jutland in the cinematic adaptation. The French expedition “La recherche” produced images and texts rendering Northern seas in paradigmatic ways.
===We will particularly welcome proposals exploring the connections between art and writing, for example through the Skagen painters’ links with literature, impressionist authors like Herman Bang and J.P. Jacobsen, August Strindberg’s experimentation with photography and painting, HC Andersen and William Morris’s travel writing or Marcel Broodthaers’s intermedial work A Voyage on the North Sea. We hope to show how fluctuating definitions of Northernness are reflected in the interplay between text and image.
===Papers may address the following issues: Which recurring images and mythemes are associated with Northern waters? How do writers’ and artists’ treatments of Northern seas reflect the complex identity of these spaces? How do these participate in the construction of imaginative geographies? How do intermedial connections establish links and distinctions between different Northern and Nordic spaces?

35. Symbolic, Sociocultural and Spatial Impact of the Ocean Crossing and of the Net Navigation

Symbolic, Sociocultural and Spatial Impact of the Ocean Crossing and of the Net Navigation

Chair: Isabel Marcos (NOVA University Lisbon, Portugal)


===Four types of globalisation can be distinguished – terrestrial (land), maritime (water), aerial (air) and virtual –, which confront us to new ways of producing space and time. Each type of globalization is, at the one hand, a consequence of the acceleration of history (time) and, on the other hand, intrinsically linked to the dissemination of techno-scientific innovations, allowing to surpass the elements. This session aims at scrutinizing two historical moments, which clearly mark the phases of a structural development of globalisation.
===The first moment of techno-scientific dissemination shows the transition between terrestrial (land) and maritime (water) related globalization: the 15th century is rich in innovations such as cartography, astrolabe, mathematical and astronomic knowledge, etc.  This system of organisation and exploration of “territory (on land and over sea)” until then unknown allows forging the notion of continuous mobilisation in a new element underpinning the creation of imaginaries and myths linked to the sea and/or the land.

===The second moment of techno-scientific dissemination shows the transition of the aerial globalisation (air) to the virtual globalisation (liquidity) and is organised in two phases: the first spreads from the 19th century until the beginning of the 20th century, a period full of innovations such as the transatlantic cable, the airplane, electricity, telephone, etc. The second phase appeared during the last decades with the emergence of new technologies such as Internet, mobile phone, the Web, the blogs, etc. The system of organisation and exploration of space has become interactive, creating recently a transfer of the notion of space: the subject is represented not only in the concrete space of a territory, but also in the interactive space of communication in the virtual reality of the Web. This unknown element is the base for the creation of imaginaries and myths related to the imaginary of the sea: pirates, to navigate, to surf on the web, etc.
===This session aims at putting in parallel two historical moments, which are structurally analogous, (a) from the 15th until the 16th century and (b) from the 20th until the 21st century, assuming that these two periods have following organisational structure:

1. dissemination of multiple technical and scientific innovations
2. creation of new infrastructures
3. spatialization devices
4. constitution of another relation to space and time
5. creation of imaginaries and myths related to water

This session aims at examining the symbolic, sociocultural and spatial consequences of these new spatial paradigms stemming from the time of the transatlantic journeys and from an instantaneous time.

36. Mare Nostrum: Word and Image and the "Mediterranean Proof"

Mare Nostrum: Word and Image and the “Mediterranean Proof”

Chair: Guido Furci (Durham University, United Kingdom &  University of Sorbonne Nouvelle – Paris III, France) & Anysia Troin-Guis (University of Sorbonne Nouvelle – Paris III, France)


===As reminded by Merleau-Ponty (1945), “as to see the world and catch it as a paradox, we have to break our familiarity with it”, i.e. we must be able to describe its complexity through non-dominant aesthetic and interpretative categories. To some extent, the contemporary migration crisis further problematises this obvious statement which, through the last decades, has regularly be object of analyses, not only philosophical, but also geopolitical – in the broad sense of the word. In Europe, this is particularly true in the Mediterranean space: here, the sea – traditionally associated with the intermingling of cultures, commercial exchanges, experience of exploration and of discovering (the other and the self; the self in front of the other) – progressively transformed in a symbolic negotiation table, where what is at stake is unfortunately far from virtual. Obviously, such a semantic shift is not radical (as an exchange platform, the Mediterranean has always represented a zone of encounters which could easily become conflicts). However, the most fragile balances of advanced capitalistic societies have had evident consequences on the evolution of this phenomenon, that art and literature have often thematises at the turn of the 21th century.
===It is on its representations in word and image that our panel will focus : we invite, on the one hand, to discuss case-studies (Jason de Caires Taylor, Gianfranco Rosi, Marina Abramović), on the other hand, to envisage agency likely to make us reflect upon our position in the world, and upon our capacity (or even will) to put ourselves “in the shoes of” another.

37. The Sea: Infinity and Limitation

The Sea: Infinity and Limitation

Chair: Sanda Badescu (University of Prince Edward Island, Canada)