{"id":1894,"date":"2021-03-18T16:19:57","date_gmt":"2021-03-18T15:19:57","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=1894"},"modified":"2024-06-27T15:48:08","modified_gmt":"2024-06-27T13:48:08","slug":"textuel-les-derniers-numeros","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/textuel-les-derniers-numeros\/","title":{"rendered":"\u201cCahier Textuel\u201d : derniers volumes parus"},"content":{"rendered":"

[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row][et_pb_column type=\u00a0\u00bb1_4″][et_pb_image _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2024\/03\/Cahier-Textuel-0224.jpeg\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][et_pb_divider _builder_version=\u00a0\u00bb3.22.1″ z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n

F\u00e9vrier 2024<\/h2>\n

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Relire La Tentation de l’Occident<\/em><\/h3>\n

H\u00e9l\u00e8ne Baty-Delalande, Dominique Vaugeois<\/p>\n

Relire\u00a0La Tentation de l\u2019Occident<\/i>, pr\u00e8s d\u2019un si\u00e8cle apr\u00e8s sa parution en 1926, c\u2019est se confronter \u00e0 l\u2019\u00e9clat d\u2019une \u00e9criture vive, qui impose Malraux comme l\u2019un des acteurs majeurs des d\u00e9bats sur la pr\u00e9sence obs\u00e9dante de \u00ab\u00a0 l\u2019Orient\u00a0 \u00bb qui marquent les ann\u00e9es vingt et trente. On a peut-\u00eatre trop souvent r\u00e9duit cet \u00e9trange essai \u00e0 n\u2019\u00eatre qu\u2019un avant-texte, en mineur, du roman\u00a0Les Conqu\u00e9rants<\/i>, publi\u00e9 en 1930. La premi\u00e8re partie de l\u2019ouvrage propose d\u2019en d\u00e9plier les singularit\u00e9s, en croisant les perspectives\u00a0 : enjeux id\u00e9ologiques d\u2019\u00e9poque, perspective g\u00e9n\u00e9rique, perspective comparatiste, r\u00e9flexion esth\u00e9tique, analyses formelles, dans les \u00e9tudes critiques contemporaines qui la constituent. Dans une seconde partie, le dossier de presse permet de resituer l\u2019essai dans son temps et de mesurer l\u2019importance d\u2019une r\u00e9ception nuanc\u00e9e, qui prend en charge la question br\u00fblante d\u2019un orientalisme ambigu et salue un style en train de s\u2019affirmer.<\/p>\n

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Ao\u00fbt 2023<\/h2>\n

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Balzac, le renouvellement du romanesque<\/h3>\n

Jacques-David Ebguy, Christelle Girard<\/p>\n

Si l\u2019esth\u00e9tique classique a promu le \u00ab je ne sais quoi \u00bb, difficile \u00e0 d\u00e9finir et expliquer pr\u00e9cis\u00e9ment, mais dont la gr\u00e2ce peut conduire au sublime, peut-\u00eatre Balzac a-t-il \u00e9lev\u00e9 au titre de grand art moderne et mis au c\u0153ur de sa cr\u00e9ation un \u00ab je ne sais quoi de romanesque [\u2026] qui sied aux \u00e2mes exalt\u00e9es \u00bb. Le pr\u00e9sent volume, dirig\u00e9 par Jacques-David Ebguy et Christelle Girard, s\u2019attache \u00e0 comprendre, au-del\u00e0 de la tension traditionnelle entre roman r\u00e9aliste et roman romanesque, la notion m\u00eame de \u00ab romanesque \u00bb, aussi fascinante que d\u00e9licate \u00e0 circonscrire. Il en \u00e9tudie les multiples dimensions et s\u2019efforce, en croisant les approches (th\u00e9matique, stylistique, po\u00e9tique, historique, sociale, politique, id\u00e9ologique, entre autres), de pr\u00e9ciser les mani\u00e8res dont l\u2019auteur de\u00a0La Com\u00e9die humaine<\/i>\u00a0renouvelle le romanesque et le rend\u00a0sensible<\/i>\u00a0au lecteur.<\/p>\n

Avec les contributions de\u00a0 :\u00a0<\/i>J\u00e9r\u00e9mie Nicolas Alliet,\u00a0Thomas Welles Briggs,\u00a0\u00a0Jos\u00e9-Luis Diaz, C\u00e9line Duverne, Christelle Girard, Herv\u00e9 Goerger, Kathia Huynh, Yeon Jeong, Michel Murat, Alexandre P\u00e9raud, Gr\u00e9goire Tavernier.<\/p>\n

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Mai 2023<\/h2>\n

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\u00c9cocritiques. Cin\u00e9ma, audiovisuel, arts<\/h3>\n

Gaspard Delon, Charlie Hewison, Aymeric Pantet<\/p>\n

L\u2019analyse du cin\u00e9ma et de l\u2019audiovisuel peut-elle contribuer au d\u00e9veloppement de l\u2019\u00e9cocritique ? Existe-t-il des concepts et des m\u00e9thodes propres \u00e0 l\u2019enracinement de ces approches de l\u2019image anim\u00e9e dans la sph\u00e8re fran\u00e7aise ? Contribuant \u00e0 un champ de r\u00e9flexion nouveau, cet ouvrage balaie un spectre temporel allant du cin\u00e9ma muet jusqu\u2019aux productions contemporaines. Traversant des univers g\u00e9ographiques, m\u00e9diatiques et esth\u00e9tiques contrast\u00e9s, il apporte un \u00e9clairage sur les enjeux th\u00e9oriques, historiques et formels structurant l\u2019expression, depuis les origines, d\u2019une sensibilit\u00e9 \u00e9cocritique port\u00e9e par le cin\u00e9ma ou suscit\u00e9e par sa r\u00e9ception. Face aux sombres horizons du xxie<\/sup>\u00a0si\u00e8cle, il interroge l\u2019engagement de la fiction, des images documentaires, du cin\u00e9ma exp\u00e9rimental ou militant. L\u2019ouvrage invite enfin \u00e0 \u00e9largir la focale en consid\u00e9rant le point de vue d\u2019espaces cr\u00e9atifs\u00a0 et narratifs voisins (arts, clip musical, r\u00e9seaux sociaux).<\/p>\n

Avec les contributions de : Laurence Allard, Diane Arnaud, Teresa Castro, Ga\u00e9tan Delabruy\u00e8re, Elio Della Noce, Charlie Hewison, Patricia Limido, Damien Marguet, Nathalie Mauffrey, Aymeric Pantet, Anastasia Rostan, Barnab\u00e9 Sauvage, Ys\u00e9 Sorel Gu\u00e9rin.<\/p>\n

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Juillet 2022<\/h2>\n

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R\u00e9cits de la charge mentale des femmes<\/h3>\n

Sylvie Patron<\/p>\n

La notion de charge mentale, sans sp\u00e9cification de genre, a son origine dans l\u2019ergonomie, la psychologie et la sociologie du travail. Elle est le pendant de la charge de travail physique. Elle permet de d\u00e9crire et de mesurer les pressions exerc\u00e9es sur le psychisme des travailleurs. En 1984, la sociologue Monique Haicault utilise pour la premi\u00e8re fois la notion pour r\u00e9f\u00e9rer \u00e0 la charge mentale sp\u00e9cifique des femmes, mari\u00e9es, m\u00e8res de famille, en activit\u00e9. Ici aussi, la notion de charge mentale est connexe de celle de surcharge. Mais la particularit\u00e9 de la charge mentale des femmes vient de la n\u00e9cessit\u00e9 d\u2019avoir \u00e0 g\u00e9rer quotidiennement deux espace-temps inextricablement enchev\u00eatr\u00e9s. Dans cet ouvrage, nous nous int\u00e9resserons aux r\u00e9cits de la charge mentale des femmes, de leur ubiquit\u00e9 mentale et de leur anticipation constante des t\u00e2ches inh\u00e9rentes \u00e0 la vie domestique et familiale. Les r\u00e9cits en question seront emprunt\u00e9s \u00e0 des corpus de r\u00e9cits de la vie r\u00e9elle ou \u00e0 des r\u00e9cits litt\u00e9raires et des \u0153uvres narratives dans diff\u00e9rents m\u00e9diums.<\/p>\n

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Mai 2021<\/h2>\n

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\u00c9tudes litt\u00e9raires sur le XVIe si\u00e8cle<\/h3>\n

Simone Perrier<\/p>\n

Ce cahier rassemble les principaux articles que Simone Perrier a publi\u00e9s en revue sur la litt\u00e9rature du xvie<\/sup> si\u00e8cle, ainsi que ses contributions \u00e0 des volumes collectifs d\u2019actes de colloques. On y trouvera des \u00e9tudes consacr\u00e9es \u00e0 Montaigne, Marguerite de Navarre, et surtout aux po\u00e8tes\u2009: Agrippa d\u2019Aubign\u00e9, Ronsard, Du Bellay, Marot, Jodelle, Pontus de Tyard. Celles qu\u2019elle a r\u00e9serv\u00e9es \u00e0 Maurice Sc\u00e8ve comptent parmi ses travaux essentiels. D\u2019autres articles portent sur des th\u00e9matiques particuli\u00e8res \u2013 la repr\u00e9sentation de l\u2019\u00e9crivain \u00e0 la Renaissance, la gloire, la probl\u00e9matique du songe, les embl\u00e8mes, le regard et le visible \u2013 ou sur des formes\u2009: l\u2019all\u00e9gorie, l\u2019adynaton, les vers gnomiques. On sera sensible \u00e0 l\u2019attention port\u00e9e aux textes et \u00e0 la langue, au travail de construction de l\u2019interpr\u00e9tation, ainsi qu\u2019\u00e0 l\u2019\u00e9l\u00e9gance de son style.<\/p>\n

\u00c9dition \u00e9tablie par Michel Sandras<\/p>\n

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Mars 2021<\/h2>\n

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Michelet hors fronti\u00e8res<\/h3>\n
Aur\u00e9lien Aramini, Paule Petitier<\/div>\n

Ce cahier entend reprendre la r\u00e9flexion sur un auteur dont on r\u00e9duit \u00e0 tort l\u2019\u0153uvre au \u00ab\u2009sch\u00e8me national\u2009\u00bb. Michelet, en tant qu\u2019\u00e9crivain, se joue des fronti\u00e8res entre les formes et les types d\u2019\u00e9criture. Mais sa pens\u00e9e historique et politique est, elle aussi, labile, construisant et d\u00e9construisant le mod\u00e8le de la nation, lorsqu\u2019elle s\u2019\u00e9largit \u00e0 l\u2019\u00e9chelle de l\u2019Europe et du monde ou qu\u2019elle prend en compte le local, le p\u00e9riph\u00e9rique et l\u2019excentrique. Ancr\u00e9e dans une\u00a0\u00e9pist\u00e9m\u00e8<\/i>\u00a0romantique qui d\u00e9passe largement les bornes de la France, nourrie de la lecture des savants et des th\u00e9oriciens de toute l\u2019Europe, aspirant \u00e0 la fraternit\u00e9 des peuples, actualisant celle-ci par un tr\u00e8s large r\u00e9seau de relations internationales, l\u2019\u0153uvre de Michelet est constamment anim\u00e9e d\u2019un double mouvement\u00a0 : identification de fronti\u00e8res, de seuils, de d\u00e9limitations \u2013 en fonction de quoi se marquent le devenir et le travail du sens\u00a0 \u2013, mais aussi franchissement de ces fronti\u00e8res, remise en cause des seuils, transgression des limites \u2013\u00a0 en fonction de quoi l\u2019interpr\u00e9tation chemine sans jamais se figer dans l\u2019id\u00e9ologie ou la doctrine. C\u2019est \u00e0 partir de l\u2019examen de ce d\u00e9bordement des fronti\u00e8res, tant \u00e9pist\u00e9mologiques que g\u00e9ographiques ou litt\u00e9raires, que les textes ici r\u00e9unis explorent les \u00e9crits d\u2019un penseur qui joua un r\u00f4le majeur dans la constitution des sciences humaines actuelles.<\/p>\n

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Janvier 2021<\/h2>\n

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Redonner voix \u00e0 L’Heptam\u00e9ron de Marguerite de Navarre<\/h3>\n

R\u00e9\u00e9dition des Cahiers Textuel n\u00b010 & 29<\/h4>\n

Apr\u00e8s 1992 et 2006, L\u2019Heptam\u00e9ron<\/em> est remis au programme des agr\u00e9gations de lettres. Par la force des circonstances, les agr\u00e9gatifs et agr\u00e9gatives d\u2019aujourd\u2019hui ont bien des raisons d\u2019aborder avec un regard neuf l\u2019entreprise des reclus de l\u2019abbaye de Serrance, qui \u00e9changent des r\u00e9cits pour \u00ab adoulcir l\u2019ennuy \u00bb et passer le temps aussi utilement que joyeusement en p\u00e9riode de confinement. Pour les accompagner dans leur lecture, il a sembl\u00e9 utile de redonner voix<\/em> aux deux num\u00e9ros des Cahiers Textuel parus \u00e0 l\u2019occasion des sessions ant\u00e9rieures et qui \u00e9taient devenus inaccessibles. Bien que la connaissance du recueil de Marguerite de Navarre et son approche aient \u00e9volu\u00e9 ces quinze derni\u00e8res ann\u00e9es, les diff\u00e9rents articles r\u00e9unis \u2013 pour certains des \u00ab classiques \u00bb des \u00e9tudes sur L\u2019Heptam\u00e9ron<\/em> \u2013 pourront continuer \u00e0 donner mati\u00e8re \u00e0 de nouveaux devis critiques fructueux.<\/p>\n

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Anciennes parutions<\/a><\/h4>\n

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\u00c0<\/span> lire aussi<\/h2>\n

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<\/div>\n

F\u00e9vrier 2024 Relire La Tentation de l’Occident H\u00e9l\u00e8ne Baty-Delalande, Dominique Vaugeois Relire\u00a0La Tentation de l\u2019Occident, pr\u00e8s d\u2019un si\u00e8cle apr\u00e8s sa parution en 1926, c\u2019est se confronter \u00e0 l\u2019\u00e9clat d\u2019une \u00e9criture vive, qui impose Malraux comme l\u2019un des acteurs majeurs des d\u00e9bats sur la pr\u00e9sence obs\u00e9dante de \u00ab\u00a0 l\u2019Orient\u00a0 \u00bb qui marquent les ann\u00e9es vingt… Lire la suite \u201cCahier Textuel\u201d : derniers volumes parus<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":1905,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[23],"tags":[],"class_list":["post-1894","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-en-librairie"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1894","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=1894"}],"version-history":[{"count":18,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1894\/revisions"}],"predecessor-version":[{"id":4803,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1894\/revisions\/4803"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/1905"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=1894"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=1894"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=1894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}