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Amandine Mussou est ma\u00eetresse de conf\u00e9rences en langue et litt\u00e9rature fran\u00e7aises m\u00e9di\u00e9vales \u00e0 l\u2019UFR LAC. Membre du CERILAC, elle effectue ses recherches au sein des axes Th\u00e9l\u00e8me et D\u00e9centrements lyriques.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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\u00a9 DR<\/p>\n<\/div>\n<\/div>\n<\/div>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb2_3″][et_pb_text admin_label=\u00a0\u00bbPr\u00e9sentation\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbcontenu\u00a0\u00bb 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″ custom_margin=\u00a0\u00bb-15px|||\u00a0\u00bb]<\/p>\n
Follement inventif et joyeusement imag\u00e9, ce livre fait voler en \u00e9clats les fronti\u00e8res entre le m\u00e9di\u00e9val et le contemporain, entre les supports oraux et \u00e9crits. Il est particuli\u00e8rement destin\u00e9 \u00e0 tous ceux qui, de pr\u00e8s ou de loin, s\u2019int\u00e9ressent \u00e0 la po\u00e9sie et \u00e0 ses expressions.<\/p>\n
Il existe des filiations peu connues entre les corpus po\u00e9tiques m\u00e9di\u00e9vaux et les avant-gardes po\u00e9tiques de la fin du XXe<\/sup> si\u00e8cle, et c\u2019est cela que mettent en exergue dix-sept m\u00e9di\u00e9vistes et contemporan\u00e9istes qui proposent d\u2019approfondir dans cet ouvrage l\u2019histoire de la po\u00e9sie visuelle et sonore. Ils vous parleront certes de po\u00e9sie, mais aussi de musique et de partitions, de typographie et de tissage, de g\u00e9om\u00e9trique comme d\u2019algorithmique, de cartes et de rouleaux\u2026<\/p>\n Pr\u00e9c\u00e9d\u00e9 d\u2019une g\u00e9n\u00e9reuse introduction, le premier chapitre se concentre sur la po\u00e9sie visuelle, dans la longue dur\u00e9e et sur les diff\u00e9rents supports accueillant de multiples jeux de lettres, de formes, de formats et de signes, qui font de la po\u00e9sie un terrain d\u2019exp\u00e9rimentations graphiques. Les auteurs \u00e9voquent notamment les \u0153uvres typographiques et tiss\u00e9es de Josef et Anni Albers, les dessins, r\u00e9bus et calligrammes des copistes m\u00e9di\u00e9vaux ou le brocard de soie brod\u00e9 par la po\u00e9tesse chinoise du IVe<\/sup>si\u00e8cle Su Hui, qui a inspir\u00e9 de nombreuses \u0153uvres jusqu\u2019\u00e0 aujourd\u2019hui.<\/p>\n Le second chapitre explore conjointement la fa\u00e7on dont la po\u00e9sie, de l\u2019\u00e9poque m\u00e9di\u00e9vale \u00e0 l\u2019extr\u00eame contemporain, vit hors du livre, transite par les voix et les corps, et la mani\u00e8re dont les supports (manuscrits, livres, revues, rouleaux, partitions, disques, cassettes\u2026) gardent la m\u00e9moire et la trace de ces performances.<\/p>\n Enfin, le troisi\u00e8me chapitre confronte deux op\u00e9ras r\u00e9cents qui s\u2019emparent de l\u00e9gendes attach\u00e9es \u00e0 des troubadours et font litt\u00e9ralement revenir deux po\u00e8tes m\u00e9di\u00e9vaux sur le devant de la sc\u00e8ne\u00a0: L\u2019Amour de loin<\/em> de la compositrice finlandaise Kaija Saariaho sur un livret d\u2019Amin Maalouf et Written<\/em> on Skin<\/em> de George Benjamin et Martin Crimp.<\/p>\n Nathalie Koble est m\u00e9di\u00e9viste, traductrice et po\u00e8te. Elle est professeure de langue et de litt\u00e9rature fran\u00e7aises \u00e0 l\u2019\u00c9cole normale sup\u00e9rieure (Paris) et \u00e0 l\u2019\u00c9cole polytechnique (Palaiseau), ratach\u00e9e \u00e0 l\u2019ITEM. Derniers livres parus :\u00a0D\u00e9cam\u00e9rez ! Des nouvelles de Boccace<\/em>, Paris, Macula, 2021 ;\u00a0La Dame \u00e0 la Licorne et le Beau Chevalier<\/em>, Paris, Ph\u00e9bus, 2021 et\u00a0Ext\u00e9rieur chambres<\/em>, Caen, Nous, 2022.<\/p>\n Amandine Mussou est ma\u00eetresse de conf\u00e9rences en langue et litt\u00e9rature fran\u00e7aises m\u00e9di\u00e9vales \u00e0 l\u2019Universit\u00e9 Paris Cit\u00e9 et membre du CERILAC. Sp\u00e9cialiste de litt\u00e9rature courtoise, elle s\u2019int\u00e9resse aux rapports entre savoirs et fiction au Moyen \u00c2ge, \u00e0 l\u2019\u00e9criture all\u00e9gorique et a notamment travaill\u00e9 sur l\u2019\u0153uvre du m\u00e9decin et po\u00e8te \u00c9vrart de Conty (Le Savoir en jeu. <\/em>Les Esch\u00e9s amoureux, une fiction critique<\/em>, Paris, Honor\u00e9 Champion, 2024).<\/p>\n Avec des contributions de : Vincent Barras, Camille Bloomfield, Vincent Broqua, F\u00e9riel Kaddour, Nathalie Koble, Abigail Lang, Benjamin Lazar, Sylvie Lef\u00e8vre, Xiaoxuan Lyu, Mich\u00e8le M\u00e9tail, Amandine Mussou, Emmanuel Rubio, Mireille S\u00e9guy, Mathias Sieffert, Agathe Sultan, Ga\u00eblle Th\u00e9val et Marion Uhlig<\/p>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][et_pb_text admin_label=\u00a0\u00bbD\u00e9tails\u00a0\u00bb _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 [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Amandine Mussou est ma\u00eetresse de conf\u00e9rences en langue et litt\u00e9rature fran\u00e7aises m\u00e9di\u00e9vales \u00e0 l\u2019UFR LAC. Membre du CERILAC, elle effectue ses recherches au sein des axes Th\u00e9l\u00e8me et D\u00e9centrements lyriques. <\/p>\n\n