{"id":5261,"date":"2024-10-25T10:13:21","date_gmt":"2024-10-25T08:13:21","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=5261"},"modified":"2024-10-25T10:13:21","modified_gmt":"2024-10-25T08:13:21","slug":"aac-colloque-soft-matters-poesies-textiles-jadis-et-aujourdhui","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/aac-colloque-soft-matters-poesies-textiles-jadis-et-aujourdhui\/","title":{"rendered":"AAC Colloque \u00ab\u00a0Soft matters. Po\u00e9sies textiles, jadis et aujourd\u2019hui\u00a0\u00bb"},"content":{"rendered":"

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Colloque international organis\u00e9 par Nathalie Koble (\u00c9cole normale sup\u00e9rieure-PSL, Item), Amandine Mussou (Universit\u00e9 Paris Cit\u00e9, Cerilac) et Marion Uhlig (Universit\u00e9 de Fribourg) \u00e0 Paris (PSL, Universit\u00e9 Paris Cit\u00e9), les 25 – 27 septembre 2025.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Louise Bourgeois, Ode \u00e0 l\u2019oubli<\/em> (2004)<\/h5>\n
Arachn\u00e9 m\u00e9tamorphos\u00e9e<\/em> et Le tissage de Philomena<\/em> (Paris, BnF, Arsenal, ms 5069 r\u00e9serve, fol. 89v\u00b0 et 78r\u00b0)<\/h5>\n
Ovide moralis\u00e9<\/em>, Lyon, Biblioth\u00e8que municipale, ms. 742<\/h5>\n
Anni Albers, Haiku<\/em>, 1961<\/h5>\n
Mus\u00e9e national du Moyen \u00c2ge \u2013 thermes et h\u00f4tel de Cluny, tapisserie \u00ab\u00a0La pirouette\u00a0\u00bb, version tiss\u00e9e d\u2019un des Dits moraux pour faire tapisserie<\/em> d\u2019Henri Baude (n\u00b0\u00a0d\u2019inventaire\u00a0: Cl.\u00a023752 \u00a9 RMN – Grand Palais\/ G\u00e9rard Blot)<\/h5>\n
Su Hui, Carte de la sph\u00e8re armillaire (IVe<\/sup> si\u00e8cle)<\/em><\/h5>\n
Talismanic shirt of cotton with silk buttons and borders, Exhibition \u201cBeyond Words: Calligraphy from the World of Islam\u201d C.L. David Foundation and Collection, Copenhague<\/h5>\n

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R\u00e9sum\u00e9<\/h3>\n

Techniques ancestrales qu\u2019on retrouve dans toutes les cultures, la tapisserie et les travaux d\u2019aiguilles entretiennent avec la composition po\u00e9tique (religieuse ou profane, traditionnelle ou exp\u00e9rimentale, collective, anonyme ou sign\u00e9e) des relations \u00e9troites qui d\u00e9passent amplement la m\u00e9taphore \u00e9vidente port\u00e9e dans l\u2019Antiquit\u00e9 latine par le mot textus<\/em> \u2013 saisie de fils entrelac\u00e9s \u2013, ou bien par les images courantes emprunt\u00e9es au lexique du textile (trame, fil, cha\u00eene, n\u0153ud, points, tresses, etc.) dans de nombreuses langues pour parler de po\u00e9sie et de fiction. De P\u00e9n\u00e9lope au craftivism<\/em> contemporain, de Philom\u00e8le aux slogans brod\u00e9s d\u2019Annette Messager, de la po\u00e9sie combinatoire sur brocart de soie de Su Hui aux silk poems<\/em> de Jen Bervin, en passant par les chansons de toiles m\u00e9di\u00e9vales, l\u2019h\u00e9ritage des quipus<\/em> incas ou encore les po\u00e8mes hindis de Kab\u00eer le tisserand, des po\u00e9tesses, po\u00e8tes et po\u00e8mes textiles redessinent, chacun.e dans son contexte propre, les contours de la po\u00e9sie en d\u00e9pla\u00e7ant ses modalit\u00e9s d\u2019expression, ses techniques, ses supports, ses conditions de production et de diffusion, son rapport au langage et au monde.<\/p>\n

Entre pratique artisanale traditionnelle et po\u00e9sie d\u2019avant-garde, figuration et abstraction, po\u00e9sie muette ou chant\u00e9e en tissant et geste politique \u00e9mancipateur, activit\u00e9 priv\u00e9e, confin\u00e9e dans l\u2019espace domestique, et production collective li\u00e9e \u00e0 l\u2019exercice d\u2019un m\u00e9tier, pratique contrainte ou m\u00e9ditation cadr\u00e9e, les po\u00e8mes au fil font de la po\u00e9sie un art hybride, qui mobilise le corps et sollicite la m\u00e9moire, \u00e0 l\u2019\u00e9cart du livre. Po\u00e8mes visuels, mais aussi tactiles, tiss\u00e9s, brod\u00e9s ou tricot\u00e9s, ils sont li\u00e9s \u00e0 des objets uniques, ce sont en quelque sorte des manuscrits d\u2019un genre sp\u00e9cifique. Les supports utilis\u00e9s (tissus ou peaux) engagent par ailleurs une composante animale ou v\u00e9g\u00e9tale qu\u2019on retrouve dans les figures mythologiques associ\u00e9es \u00e0 l\u2019invention des arts textiles\u00a0: araign\u00e9es, chauves-souris, rossignols, vers \u00e0 soie\u2026 Le po\u00e8me se fabrique ainsi en mobilisant le vivant dans sa diversit\u00e9. Enfin, inscrit dans des pratiques qui en contextualisent les usages, il est motiv\u00e9 par des enjeux multiples, qui conditionnent son rapport \u00e0 l\u2019espace, par sa circulation, sa taille (du po\u00e8me au microscope \u00e0 l\u2019\u0153uvre monumentale), son lieu d\u2019exposition (chambres, mus\u00e9es, espaces publics, mais aussi corps, v\u00eatements, bo\u00eetes en tous genres)\u00a0: po\u00e9sie de circonstance accompagnant un rituel festif, formules magiques, objets ornementaux ou symboliques, dons ou signes de reconnaissance, \u0153uvres exp\u00e9rimentales, slogans politiques pouvant \u00eatre rapidement d\u00e9ploy\u00e9s, po\u00e8mes militants\u2026 Tous mettent toutefois en lumi\u00e8re le pouvoir suggestif de cette \u00e9criture visuelle sur mat\u00e9riau souple, jouant de plis et de replis, langage cod\u00e9 et concret qui se confronte \u00e0 la douceur et garde en m\u00e9moire aiguilles, \u00e9pingles et fuseaux – invite \u00e0 la r\u00eaverie ou pousse \u00e0 la r\u00e9volte. Soft matters<\/em>\u2026<\/p>\n

Le colloque explorera, dans une perspective mat\u00e9rielle et transm\u00e9diale, cette relation complexe entre po\u00e9sie et pratiques textiles dans des \u0153uvres po\u00e9tiques et visuelles qui la travaillent de mani\u00e8re explicite, des p\u00e9riodes les plus anciennes jusqu\u2019\u00e0 l\u2019extr\u00eame contemporain, et dans diverses aires g\u00e9ographiques et culturelles. Il se situe dans le prolongement de plusieurs livres collectifs sur la po\u00e9sie visuelle au Moyen \u00c2ge et aujourd\u2019hui[1]<\/a> et d\u2019un s\u00e9minaire de litt\u00e9rature consacr\u00e9 pendant trois ans \u00e0 la po\u00e9sie textile dans diff\u00e9rents corpus[2]<\/a>. Co-organis\u00e9 par l\u2019\u00c9cole normale sup\u00e9rieure-PSL et l\u2019\u00e9quipe Manuscritures et Translations (ITEM), l\u2019Universit\u00e9 Paris Cit\u00e9 (Cerilac) et l\u2019Universit\u00e9 de Fribourg, il se d\u00e9roulera \u00e0 Paris sur 3 journ\u00e9es cons\u00e9cutives (25-27 septembre 2025), en partenariat avec l\u2019\u00c9cole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs et le Mus\u00e9e de Cluny-Mus\u00e9e national du Moyen \u00c2ge.<\/a><\/p>\n

Les communications entrecroiseront les disciplines et les approches du texte po\u00e9tique et des \u0153uvres textiles. Elles porteront en priorit\u00e9 sur les textiles qui contiennent ou renvoient \u00e0 un texte po\u00e9tique et se d\u00e9finissent comme des po\u00e8mes (haiku<\/em> d\u2019Anni Albers, glossolalia<\/em> de Sheila Hicks, ode \u00e0 l\u2019oubli<\/em> de Louise Bourgeois\u2026), ou bien \u00e0 l\u2019inverse, sur des \u0153uvres po\u00e9tiques qui r\u00e9fl\u00e9chissent la pratique et la signification des arts du textile et inscrivent la po\u00e9sie dans une histoire du craftivism<\/em>. Pour appr\u00e9hender la signification de ces \u0153uvres hybrides et de ces r\u00e9f\u00e9rences crois\u00e9es, leurs contextes de production et de diffusion, leurs po\u00e9tiques et leurs usages, il sera n\u00e9cessaire de diversifier les savoirs\u00a0et les pratiques\u00a0: des sp\u00e9cialistes en histoire des textiles, philologie et histoire des corpus po\u00e9tiques, esth\u00e9tique, anthropologie et sociologie, arch\u00e9ologie, mais aussi \u00e9tudes de genre et histoire du f\u00e9minisme, \u00e9copo\u00e9tique, subaltern studies<\/em> seront invit\u00e9.es \u00e0 partager leurs perspectives autour de ce sujet transdisciplinaire. Seront aussi associ\u00e9.es des po\u00e8tes, des artisans et des artistes, \u00e0 l\u2019occasion d\u2019expositions, de performances et d\u2019entretiens.<\/p>\n

[1]<\/a> Cf. Nathalie Koble et Amandine Mussou (dir.), \u00ab\u00a0Ut musica poesis\u00a0\u00bb<\/em>. La po\u00e9sie visuelle et sonore au Moyen \u00c2ge et aujourd\u2019hui<\/em>, Paris, Macula, 2024 et, sous la direction de Marion Uhlig, avec H\u00e9l\u00e8ne Bellon-M\u00e9guelle, Fanny Maillet, David Moos et Thibaut Radomme, Lettres \u00e0 l\u2019\u0153uvre\u00a0: pratiques lettristes dans la po\u00e9sie en franc<\/em>\u0327<\/em>ais (de l\u2019Extr\u00eame Contemporain au Moyen \u00c2ge)<\/em>, Paris, Garnier, 2023\u00a0; Marion Uhlig et Thibaut Radomme, avec Brigitte Roux, Le Don des lettres. Alphabet et po\u00e9sie au Moyen \u00c2ge<\/em>, Paris, Les Belles Lettres, 2023\u00a0; Po\u00e8mes ab\u00e9c\u00e9daires fran\u00e7ais du Moyen \u00c2ge (XIIIe<\/sup>-XIVe<\/sup> si\u00e8cles)<\/em>, \u00e9d. et trad. sous la dir. de Marion Uhlig, \u00e9d. Olivier Collet, Yan Greub, Pierre-Marie Joris, Fanny Maillet, David Moos, Thibaut Radomme et Marion Uhlig, Paris, Champion, 2023.<\/h5>\n
[2]<\/a> \u00ab\u00a0De toiles. Po\u00e9sie et tapisserie de P\u00e9n\u00e9lope \u00e0 Anni Albers\u00a0\u00bb, s\u00e9minaire anim\u00e9 par Nathalie Koble, d\u00e9partement Litt\u00e9ratures et langage, ENS de Paris, 2022-4). \u00c0 ce s\u00e9minaire sont adoss\u00e9s un atelier de traduction multilingue de chansons de femmes m\u00e9di\u00e9vales (mouachab arabo-andalous, chansons de toiles romanes, anglo-saxonnes et germaniques), et des projets d\u2019\u00e9ditions collectives de po\u00e8mes pour tapisserie.<\/h5>\n

Les propositions de communications seront \u00e0 envoyer au comit\u00e9 d\u2019organisation avant le 15 janvier 2025.<\/u><\/strong><\/p>\n

Comit\u00e9 d\u2019organisation<\/h3>\n

Nathalie Koble (nathalie.koble@ens.psl.eu<\/a>)<\/p>\n

Amandine Mussou (amandine.mussou@wordpress-test.app.u-pariscite.fr<\/a>)<\/p>\n

Marion Uhlig (marion.uhlig@unifr.ch<\/a>)<\/p>\n

Comit\u00e9 scientifique<\/h3>\n

H\u00e9l\u00e8ne Aji (ENS-PSL)<\/p>\n

Camille Bloomfield (Universit\u00e9 Paris Cit\u00e9)<\/p>\n

Sally Bonn (Universit\u00e9 de Picardie-Jules Verne)<\/p>\n

Claire-Akiko Brisset (Universit\u00e9 de Gen\u00e8ve, Institut de France-Acad\u00e9mie des Inscriptions et Belles-Lettres)<\/p>\n

Vincent Broqua (Universit\u00e9 Paris 8)<\/p>\n

B\u00e9atrice de Chancel-Bardelot (Mus\u00e9e de Cluny)<\/p>\n

Lucile Encrev\u00e9 (\u00c9cole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs-PSL)<\/p>\n

Yasmina Foehr-Janssens (Universit\u00e9 de Gen\u00e8ve)<\/p>\n

Marik Froidefond (Universit\u00e9 Paris Cit\u00e9)<\/p>\n

Charlotte Guichard (ENS-PSL)<\/p>\n

Ellen Hertz (Universit\u00e9 de Neuch\u00e2tel)<\/p>\n

Isabelle Kalinowski (CNRS)<\/p>\n

Axel Langer (Mus\u00e9e Rietberg)<\/p>\n

Aur\u00e9lie Marthigot (\u00c9cole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs-PSL)<\/p>\n

Brigitte Roux (Universit\u00e9 de Gen\u00e8ve)<\/p>\n

Ida Soulard (ENSA Bourges)<\/p>\n

Emmanuelle Valette (Universit\u00e9 Paris Cit\u00e9)<\/p>\n

Marie-Jeanne Zenetti (Universit\u00e9 Lumi\u00e8re Lyon 2)<\/p>\n

Bibliographie secondaire indicative<\/h3>\n

La bibliographie critique sur les liens entre texte et textile est tr\u00e8s abondante. Les r\u00e9f\u00e9rences que nous indiquons ci-dessous n\u2019ont pas vocation \u00e0 rendre compte de mani\u00e8re exhaustive d\u2019un \u00e9tat de l\u2019art, mais plut\u00f4t \u00e0 donner quelques pistes de lecture.<\/p>\n

Esra Akin-Kivan\u00e7, \u00ab\u00a0In the Mirror of the Other: Imprints of Muslim-Christian Encounters in the Late Antique and Early Medieval Mediterranean\u00a0\u00bb, Dumberton Oaks Papers,<\/em> 75, 2021, p. 237-262.<\/p>\n

Marl\u00e8ne Albert-Llorca, \u00ab\u00a0Les fils de la Vierge. Broderie et dentelle dans l\u2019\u00e9ducation des jeunes filles\u00a0\u00bb,\u00a0L\u2019Homme<\/em>, n\u00b0\u00a0133, janv-mars, 1995, p. 99-12 (en ligne).<\/p>\n

Julia Bailey, \u00ab\u00a0Carpets and Kufesque\u00a0\u00bb, in Jon Thompson, Daniel Shaffer, and Pirjetta Mildh (dir.), Carpets and Textiles in the Iranian World 1400\u20131700<\/em>, Oxford: Ashmolean Museum, 2010, p. 19-29.<\/p>\n

Patricia L. Baker, Islamic Textiles, <\/em>London, British Museum Press, 1995.<\/p>\n

Sylvie Ballestra-Puech, M\u00e9tamorphoses d\u2019Arachn\u00e9. L\u2019artiste en araign\u00e9e dans la litt\u00e9rature occidentale<\/em>, Gen\u00e8ve, Droz, 2006, Les Parques. Essai sur les figures f\u00e9minines du destin dans la litt\u00e9rature occidentale<\/em>, Toulouse, \u00c9ditions Universitaires du Sud, 1999, et \u00ab\u00a0Portraits de l\u2019artiste en chauve-souris\u00a0: les Minyades et leur post\u00e9rit\u00e9 dans la litt\u00e9rature occidentale\u00a0\u00bb\u00a0(en ligne)<\/p>\n

Emmanu\u00e8le Baumgartner, \u00ab Les Brodeuses et la ville \u00bb, in Un\u2019idea di Citt\u00e0. L\u2019Imaginaire de la ville m\u00e9di\u00e9vale<\/em>, a cura di Rosanna Brusegan, Paris, 1992, p. 89-95.<\/p>\n

Marina Bernasconi et Christine Jakobi-Mirwald,\u00a0\u00ab\u00a0Darnings, miniatures, fabrics.\u00a0Nuns jobs in Engelberg, dans\u00a0Michele Tomasi (dir.), Dans le manuscrit et en dehors. \u00c9changes entre l\u2019enluminure et les autres arts (IXe<\/em>\u2013<\/em>XVIe\u00a0si\u00e8cles)<\/em><\/a>,<\/em> Viella, Rome 2023, p. 227-244.<\/p>\n

Pascal-Fran\u00e7ois Bertrand (dir.), Arachn\u00e9. Histoire de l\u2019histoire de la tapisserie et des arts d\u00e9coratifs<\/em>, Le Kremlin-Bic\u00eatre, \u00c9ditions Esth\u00e9tiques du divers, 2016.<\/p>\n

Sheila Blair, \u00ab\u00a0Textiles\u00a0\u00bb (chapter 12), in Sheila Blair, Islamic Inscriptions,<\/em> Edinburgh, Edinburgh University Press, 1998, p. 164-181.<\/p>\n

Odile Blanc (dir.), Textes et textiles du Moyen Age \u00e0 nos jours, <\/em>Lyon, ENS \u00c9ditions, 2008.<\/p>\n

Juliette Brack, Julie Glodt et Nicolas Sarzeaud (dir.),\u00a0Textiles, rituels, images (Europe occidentale, XIIIe<\/sup>-XVIIe<\/sup> si\u00e8cles),\u00a0<\/em>Presses de l\u2019HiCSA, p. 107-146, 2024.<\/p>\n

Julia Bryan, Wilson Fray, Art and Textile Politics<\/em>, Chicago, The University of Chicago Press, 2017.<\/p>\n

Anna B\u00fccheler, Ornament as Argument: Textile Pages and Textile Metaphors in Early Medieval manuscripts<\/em>, Berlin, Boston, De Gruyter, 2019.<\/p>\n

Jane Burns, Courtly Love Undressed\u00a0: Reading Through Clothes in Medieval French Culture<\/em>, University of Pennsylvania Press, 2002 et Sea of Silk : A Textile Geography of Women\u2019s Work in Medieval French Literature<\/em>, University of Pennsylvania Press, 2014.<\/p>\n

B\u00e9atrice de Chancel-Bardelot et \u00c9lisabeth Taburet-Delahaye, La Dame \u00e0 la licorne<\/em>, Paris, R\u00e9union des mus\u00e9es nationaux-Grand Palais, 2018.<\/p>\n

Maria Cherly, Florence Lhote, Jacques Lucciardi et Patricia Victorin (dir.), \u00ab\u00a0Figures de brodeuses du Moyen\u00a0\u00c2ge \u00e0 nos jours : entre soumission et r\u00e9sistance ?<\/a>\u00a0\u00bb, Motif<\/em>, 7, 2023 (en ligne).<\/p>\n

L\u2019Art en broderie au Moyen \u00c2ge<\/em> : autour des collections du mus\u00e9e de Cluny<\/em>, Christine Descatoire (dir.), Paris, \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux-Grand Palais, 2019.<\/p>\n

Lucie Desideri, \u00ab\u00a0Alphabets initiatiques\u00a0\u00bb, Ethnologie fran\u00e7aise<\/em>, n\u00b0\u00a04, vol.\u00a033, 2003, p.\u00a0673-682.<\/p>\n

Julia von Ditfurth, J\u00f6rg B\u00f6lling (dir.), Malerei, Musik und textile K\u00fcnste in Frauenstiften des sp\u00e4ten Mittelalters<\/em>, Wien, K\u00f6ln, B\u00f6hlau, 2023.<\/p>\n

Marine Ducroux-Gazio, \u00ab\u00a0Fileuses, sorci\u00e8res, brodeuses, conteuses. Textiles f\u00e9minins du bas Moyen \u00c2ge\u00a0: \u00e9mancipations, d\u00e9possessions, narrations et cosmologies brod\u00e9es\u00a0\u00bb, m\u00e9moire \u00e0 l\u2019ENSAD, sous la dir. de Lucile Encrev\u00e9, 2022.<\/p>\n

Yasmina Foehr-Janssens, \u00ab Quand la Manchote se fait brodeuse \u00bb, Litt\u00e9rature : le miroir et la lettre<\/em>, 74 (1989), p. 63-75.<\/p>\n

Fran\u00e7oise Frontisi-Ducroux, Ouvrages de dames\u00a0: Ariane, H\u00e9l\u00e8ne, P\u00e9n\u00e9lope<\/em>, Paris, Seuil, 2009.<\/p>\n

Mich\u00e8le Gally, \u00ab\u00a0Ouvrages de dames. L\u2019invention romanesque au XIIIe<\/sup> si\u00e8cle \u00bb, Revue des Langues romanes<\/em>, \u00ab\u00a0Le Roman m\u00e9di\u00e9val : la fiction re\u0301aliste au XIIIe<\/sup> si\u00e8cle \u00bb, 104 (2000), p. 91-110.<\/p>\n

David Ganz, Barbara Schellewald (dir.),\u00a0Clothing Sacred Scriptures, Book Arts and Book Religion in Christian, Islamic, and Jewish Cultures,\u00a0<\/em>Berlin, De Gruyter, 2019.<\/p>\n

David Ganz, Buch-Gew\u00e4nder. Prachteinb\u00e4nde im Mittelalter,\u00a0<\/em>Berlin, Reimer, 2015.<\/p>\n

V\u00e9ronique G\u00e9ly, Jean-Louis Haquette et Anne Tomiche (dir.), Philom\u00e8le. Figures du rossignol dans la tradition litt\u00e9raire et artistique<\/em>, Clermont-Ferrand, Presses universitaires Blaise-Pascal, 2006.<\/p>\n

Christine Jakobi-Mirwald, \u00ab\u00a0Ornamental Needlework in Medieval Manuscripts\u00a0\u00bb, Scriptorium<\/em>\u00a076 (2022), p. 3-18.<\/p>\n

Fabienne Joubert, La Tapisserie, <\/em>Turnhout, Brepols, 1993.<\/p>\n

Fabienne Joubert, Amaury Lef\u00e9bure, Pascal-Fran\u00e7ois Bertrand, Histoire de la tapisserie en Europe, du Moyen \u00c2ge \u00e0 nos jour<\/em>s, Paris, Flammarion, 1995.<\/p>\n

Regina Knaller (dir.), Textilien des Mittelmeerraumes aus sp\u00e4tantiker bis fr\u00fchislamischer Zeit<\/em>, Abegg-Stiftung, Riggisberg, 2004.<\/p>\n

D\u00e9sir\u00e9e G. Koslin et Janet E. Snyder, Encountering medieval textiles and dress. <\/em>Objects, texts, images<\/em>, New York, Houndmills, Palgrave Macmillan, 2005.<\/p>\n

Kathryn S. Kruger, Weaving the Word<\/em>. The Metaphorics of\u00a0<\/em>Weaving<\/em>\u00a0and Female Textual Production<\/em>, Susquehanna University Press, 2002.<\/p>\n

L\u00e9onie Lauvaux, \u00ab\u00a0L\u2019expression de la violence dans la broderie contemporaine\u00a0\u00bb,\u00a0Les Cahiers de l\u2019\u00c9cole du Louvre<\/em>, 15\u00a0|\u00a02020 (en ligne).<\/p>\n

Ursula K. Le Guin, The Carrier Bag Theory of Fiction<\/em>, 1986 (La th\u00e9orie de la fiction-panier\u00a0<\/em>: traduction du texte en ligne, J\u00e9r\u00e9mie Bonheure\u00a0 https:\/\/www.partage-le.com\/2018\/01\/29\/8645\/<\/a>)<\/p>\n

Anna McKay, Female Devotion and Textile Imagery in Medieval English Literature<\/em>, Woodbridge, D.S Brewer, 2024.<\/p>\n

Anne-Marie Minella et Jean-Yves Bosseur, Les Artistes et le textile<\/em>, Dijon, Les Presses du r\u00e9el, 2024.<\/p>\n

Victoria Mitchell, \u00ab\u00a0Textiles, Text and Techn\u00e8\u00a0\u00bb, in Jessica Hemmings (ed.), The <\/em>Textile Reader<\/em>, London, Bloomsbury Publishing, 2012.<\/p>\n

Nazanin Hedayat Munroe, Sufi Lovers, Safavid Silks and Early Modern Identity<\/em>, Amsterdam, Amsterdam University Press, 2023.<\/p>\n

Loretta Napoleoni, Le Pouvoir du tricot : retisser nos liens dans un monde d\u00e9suni<\/em>, Paris, Albin Michel, 2022.<\/p>\n

Ioanna Papadopoulou-Belmehdi,\u00a0Le Chant de P\u00e9n\u00e9lope. Po\u00e9tique du tissage f\u00e9minin dans l\u2019Odyss\u00e9e<\/em>, Paris, Belin, 1994.<\/p>\n

Benoit-Henri Papounaud, La Tapisserie fran\u00e7aise du Moyen \u00c2ge \u00e0 nos jours<\/em>, Paris, Patrimoine, 2017.<\/p>\n

Rozsika Parker, The Subversive stitch. Embroidery and the making of the feminine<\/em> [1984], Londres, Bloomsbury Visual Arts, 2019.<\/p>\n

John Scheid, Jesper Svenbro, Le M\u00e9tier de Zeus. Mythe du tissage et du tissu dans le monde gr\u00e9co-romain<\/em>, Paris, La D\u00e9couverte, 1994.<\/p>\n

Robert Skelton, \u00ab\u00a0Ghiyath al-Din \u02bfAli-yi Naqshband and an Episode in the Life of Sadiqi Beg\u00a0\u00bb, in Robert Hillenbrand (dir.), Persian Painting from the Mongols to the Qajars: Studies in Honor of Basil W. Robinson, <\/em>New York, 2000.<\/p>\n

Jochen Sokoly, \u00ab\u00a0Textiles and Identity\u00a0\u00bb, in Finbarr Barry Flood and G\u00fclru Neicpo\u011flu (dir.), A Companion to Islamic Art and Architecture, <\/em>Hoboken (NJ), Wiley, 2017, vol. 1, p. 275-299.<\/p>\n

Ida Soulard, Les Abstractions concr\u00e8tes d\u2019Anni Albers (1899-1994)<\/em>, Dijon, Les Presses du r\u00e9el, \u00e0 para\u00eetre en 2024.<\/p>\n

Ida Soulard, \u00ab\u00a0Fibres fatales\u00a0\u00bb, podcast en trois \u00e9pisodes, sur Duuu (https:\/\/duuuradio.fr\/archive\/fibres-fatales-i-ida-soulard).<\/p>\n

Yvonne Verdier, Fa\u00e7ons de dire, Fa\u00e7ons de faire\u00a0: la laveuse, la couturi\u00e8re, la cuisini\u00e8re<\/em>, Paris, Gallimard, 1979.<\/p>\n

Romaine Wolf-Bonvin, Textus. De la tradition latine \u00e0 l\u2019esth\u00e9tique du roman m\u00e9di\u00e9val<\/em>, Paris, Honor\u00e9 Champion, 2002, et \u00ab\u00a0Les Min\u00e9ides au fil de leurs contes. Une iconographie entre lumi\u00e8re et ombres (Ovide moralis\u00e9<\/em>, livre IV, manuscrit Rouen, Bm\u00a0O. 4)\u00a0\u00bb, Cahiers de recherches m\u00e9di\u00e9vales et humanistes<\/em>, 30\u00a0|\u00a02015<\/a> (en ligne).<\/p>\n

    \n
  1. L. Wright, Weaving Narrative. Clothing in Twelfth-Century French Romances<\/em>, Pennsylvania, Pennsylvania University Press, 2009.<\/li>\n<\/ol>\n

    [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ _builder_version=\u00a0\u00bb3.19.11″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n

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

    [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

    <\/div>\n

    Colloque international organis\u00e9 par Nathalie Koble (\u00c9cole normale sup\u00e9rieure-PSL, Item), Amandine Mussou (Universit\u00e9 Paris Cit\u00e9, Cerilac) et Marion Uhlig (Universit\u00e9 de Fribourg) \u00e0 Paris (PSL, Universit\u00e9 Paris Cit\u00e9), les 25 – 27 septembre 2025. Louise Bourgeois, Ode \u00e0 l\u2019oubli (2004)Arachn\u00e9 m\u00e9tamorphos\u00e9e et Le tissage de Philomena (Paris, BnF, Arsenal, ms 5069 r\u00e9serve, fol. 89v\u00b0… Lire la suite AAC Colloque \u00ab\u00a0Soft matters. Po\u00e9sies textiles, jadis et aujourd\u2019hui\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":5263,"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":[25,1],"tags":[28],"class_list":["post-5261","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-appels-a-communications","category-cerilac","tag-actualites-daccueil"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5261","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=5261"}],"version-history":[{"count":3,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5261\/revisions"}],"predecessor-version":[{"id":5267,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5261\/revisions\/5267"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/5263"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=5261"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=5261"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=5261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}