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International audience; Founded in 1933 at the initiative of Stalin and Maxim Gorky, the Gorky Literature Institute (Litinstitut) was intended to train the future authors of the nascent Soviet Union. Initially seen as a means of channeling and controlling authors’ vocations, the Institute quickly became a complex machine aimed at creating heritage out of soviet literature “from the outset” despite this genre being at its very beginnings in the 1930s. This was accomplished firstly through instruction in literary writing. The Institute was quickly made the home of a legal deposit library and a museum dedicated to Maxim Gorky. Finally, a research lab was created in order to establish a Marxist-Leninist history of literature that would span all countries and periods. Following the Soviet industrial model, the Gorky Literature Institute ended up covering all the steps in the process of literary creation: contemporaries referred to it as a “literary kombinat” (literaturnyj kombinat).From the statutes of the university, the research texts that it published and the four volumes of the Litinstitut’s Souvenirs, it is made apparent that the Litinstitut’s concern for understanding what happens in the mechanisms of creating heritage is its openly forward-looking nature, showing that this process, including its application to literature, is a creative one (of a collective “identity”, of an “imagined community” based on a singular definition of literature) as much as a process of preservation.; El Instituto Literario Gorki (Litinstitut), fundado en 1932 por iniciativa de Stalin y con la aprobación de Maxim Gorki, tiene como objetivo formar a los futuros escritores de la joven Unión Soviética. Considerado inicialmente como un medio para canalizar y controlar las vocaciones de los escritores, el Instituto se convirtió muy pronto en una compleja máquina que pretendía patrimonializar anticipadamente, la literatura soviética, la cual, en los años treinta, a penas se encontraba naciendo. La primera etapa consiste en enseñar la escritura literaria. Rápidamente, el Instituto adquiere también una biblioteca depositaria y un museo sobre Maxim Gorky. Por último, se crea un laboratorio de investigación con el objetivo de establecer una historia marxista-leninista de la literatura de todos los países y épocas. Basado en el modelo industrial soviético, el Instituto Gorki llega a hacerse cargo de todas las etapas de la producción literaria: los contemporáneos de su fundación pudieron hablar de él como de un “combinat” literario (literaturnyj kombinat).A partir de los estatutos fundacionales de la universidad, de los trabajos de investigación producidos y de los cuatros tomos de Souvenirs del Litinstitut publicadas por la prensa del establecimiento, mostramos que el interés del Litinstitut por entender lo que está en juego en los mecanismos de patrimonialización, es su carácter abiertamente prospectivo. Esto demuestra que el patrimonio, incluyendo la literatura, es un proceso de creación (de una “identidad” colectiva, de una “comunidad imaginaria” basada en una definición singular de la literatura) tanto como un proceso de conservación.; Fondé en 1932 à l’initiative de Staline et avec l’aval de Maxim Gorki, l’Institut littéraire Gorki (Litinstitut) a pour but de former les futurs écrivains de la jeune Union soviétique. Initialement vu comme un moyen de canaliser et de contrôler les vocations d’écrivains, l’Institut devient très vite une machine complexe visant à patrimonialiser « par avance » la littérature soviétique, alors que celle-ci est, dans les années 1930, tout juste naissante. Cela passe d’abord par l’enseignement de l’écriture littéraire. Très rapidement, l’Institut se dote en plus d’une bibliothèque de dépôt et d’un musée portant sur Maxim Gorki. On y crée, enfin, un laboratoire de recherche dont le but est d’établir une histoire marxiste-léniniste de la littérature de tous les pays et de toutes les époques. Sur le modèle industriel soviétique, l’Institut Gorki en vient donc à prendre en charge l’ensemble des étapes de la production littéraire : les contemporains de sa fondation ont ainsi pu parler à son propos d’un « combinat » littéraire (literaturnyj kombinat).À partir des statuts de création de l’université, des ouvrages de recherche produits en son sein et des quatre tomes de Souvenirs du Litinstitut publiés par les presses de l’établissement, on montre que l’intérêt du Litinstitut pour comprendre ce qui se joue dans les mécanismes de patrimonialisation est son caractère ouvertement tourné vers l’avenir, qui montre que la patrimonialisation, y compris de la littérature, est un processus de création (d’une « identité » collective, d’une « communauté imaginaire » appuyée sur une définition singulière de la littérature) autant qu’un processus de conservation.

Dans son ouvrage de 1990, Devant l’image, Georges Didi-Huberman réhabilite certaines œuvres marginalisées par l’histoire de l’art, des images qui n’ont rien à dire, qui semblent même interdire la description tant leur contenu est étrange, déconcertant. Quel usage peut faire la littérature de ces images qui n’ont rien à dire ? Voilà la question que j’aborde ici, en limitant mon étude à la présence insistante, dans l’œuvre de Claude Simon, d’un étrange lavis attribué à Poussin. In his work Devant l’image (Minuit, 1990), Georges Didi-Huberman rehabilitates some works marginalized by the history of art, images that have nothing to say : their content is so strange and disconcerting that it even seems to preclude description. What can literature make of thèse images that have nothing to say? That is the question I am addressing here, limitin my study to the insistent presence, in Claude Simon’s work, of a strange wash drawing attributed to Poussin.

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International audience; The subject of this paper is motivated by recent major debates in different epistemological domains – such as Christian philosophy, philosophy of mind, social anthropology, evolutionary biology, linguistics, psychology and neurosciences – which all are convergent on the problem of defining specific nature of human consciousness.Starting from 1970s, the application of new technologies and research paradigms in sciences resulted in unexpected empirical findings and brought revolutionary changes to the existing picture of the world. In particular, the development of cognitive sciences and robotics inspired the scholars, philosophers and thinkers of various specializations to profoundly reconsider centuries-old cultural stereotypes and rationalistic convictions. One of the mostly affected and criticized representations was the uniqueness of human mode of experiencing the existence, compared to those of humans with severe mental disorders, non-human animals and artificially created humanoid robots. Coupled with the great XXth century social, political and economic upheavals (world wars, local conflicts and revolutions, genocides and humanitarian crises of unprecedented scope), the above listed shifts in scientific and philosophical views on what means to be a human being put focus on the categories of “identity” and “alterity”:One will readily grant that there is no place for a straightforward concept of otherness in Aristotle. Will Christian agapē be sufficient to do justice to it? Or will we have to wait until the idea of struggle spills over from the field of politics to the field of interpersonal relations, transforming, as in Hegel’s Phenomenology of Spirit, the contemporary conflict of the splitting of consciousness into two self-consciousnesses? Or is it only in our own day that a thinker like Lévinas dares to reverse the statement “no other-than-self without a self,” substituting for it the inverse statement “no self without another who summons it to responsibility”? (P.Ricoeur, Oneself as Another, 1992, p. 187)In a curious way, the concept of “oneself as another”, coined by Paul Ricoeur, opens an extremely rich perspective in multidisciplinary questioning about specifically human way of being in the world, and in particular, about the distinctive features of specifically human forms of consciousness.In our paper, we argue that the Christianity as an anthropological paradigm had prepared a philosophical ground for elaborating a vision of the human nature which contributes today to defining an ultimate criterion for distinguishing the core element of specifically human mind traditionally assimilated with “spirituality”.Paradoxically, this criterion is neither the human ability of abstraction, categorical thinking, extrapolation, mental modeling and intentional transformation of the reality, nor even self-awareness or interpersonal empathy. According to recent scientific discoveries, none of this can be considered as a reliable differential criterion. In a certain sense, on the contrary, the only feature of specifically human mind seems to be our ability to integrate the subjective realities of others into our own worldview. The paper is devoted to the discussion of the hypothesis why the phenomenon of “internal alter ego” is absent in young children, in animals, in patients with schizophrenia and could be hardly implemented within the artificial intelligence project.

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International audience; The paper analyzes a wide range of architectural innovations brought to reality in the middle of the XXth century as a continuation and development of Frank Lloyd Wright's philosophical ideas about creating „organic constructions“ which would be „in harmony with humanity and its environment“, with particular attention to materials (Wright 2003; Patterson 1994; Satler 1999; Materiality 2015). Comparing several trends in two main types of contemporary „futuristic“ architecture – organic and digital ones (David 1992; Pawlyn 2011; Rosa 2003; Saint-Pierre 2015; Marchand 2013) – we investigate the profound aesthetic foundations which are supposed to have motivated the emergence of so called waveform architecture, or blobitecture. The results of our studies show that, since 1960-1970s, the ecological concern, facilitated by technological progress, gave birth to the new paradigm in design and architecture, which could be summarily designed as BLOBISM (Blobjects & Beyond 2005). In our paper we propose archetypal, cultural and psychological interpretation of orbed forms symbolism as being related to the revival of indigenous building traditions (Adam, Dauch, Soum 2010), to cosmic allusions, to solar mythology latent cultural representations, to the discovery of Oriental philosophy practices (such as Feng Shui), to the technological revolution in materials and digital engineering which made possible privileging dynamic structures and rounded forms. The significance of such generalization consists in suggesting a classificatory global scope of all the above mentioned branches of organicist naturalizing and digital modeling approaches.

Franck Venaille n’a pas écrit sur la guerre d’Algérie mais « autour d’elle, dans son ombre, ses marges, dans ce qu’elle cachait à elle-même ». Il écrira d’abord trois ouvrages, Caballero Hôtel, La Guerre d’Algérie et Jack-to-Jack, entre 1974 à 1981, puis Algeria, en 2004, portant sur la mémoire de la guerre d’Algérie. Algeria ne tente pas d’élucider l’expérience de la « génération du Djebel » par un regard mieux informé mais, au contraire, de lui donner, par l’écriture, ambivalence et opacité.

International audience; Our paper is dedicated to the research we are carrying out on an artistic and social project named QS. It represents a network of graffiti, created by a group of anonymous semiprofessional artists (Cyop&Kaf), disseminated within Quartieri Spagnoli, a historical center of Naples. These quarters (San Ferdinando, Avvocata and Montecalvario) were built in the XVIth century to house the Spanish garrisons and, nowadays, are known for their poverty and criminality, as well as for their historical value. The street art project called “Quore Spinato” (phonetic equivalent of Cuore Spinato, literally “Thorny Heart,” image evoking the “Sacred Heart” of Jesus Christ), thus, has a double reference: the name of the city district (Quartieri Spagnoli) and the metaphor of mercifulness in relation to the “persecuted persecutors.” Mural paintings which constitute this project are of great interest from cultural, artistic and social viewpoints. Their symbolic pictorial narratives are full of everyday life references and represent an implicit codified discussion of pressing problems within the local community. At the same time, they are real little masterpieces of the contemporary art, woven from artistic, literary, cultural, historical hypertexts and personal psychological obsessions of their authors. Previously, we have already studied different aspects of this remarkable “social art” phenomenon. In particular, we have analyzed a “nomadic” nature of these paintings. Another research project allowed to reveal an interesting color symbolism (a kind of “motivated suprematism”) in their representational system. The present study concerns the relation between pictorial narrativity and social discoursiveness of these paintings.

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International audience; Introduction1. Conception du colloque et la notion de nomadisme2. Les grandes lignes des recherches sur le nomadisme : vers une tentative de systématisation épistémologique3. Phénomène(s) de nomadisme dans la culture, la littérature et la communication langagière : aspects philosophiques, sémiotiques et anthropologiques 3.1. Anthropologie, Ethnographie 3.2. Histoire, Sciences de la culture 3.3. Sciences politiques, Droit, Économie, Sociologie, Psychologie sociale 3.4. Philosophie 3.5. Linguistique et sciences de la communication, Théorie du discours 3.6. Théorie littéraire, Mythologies, Études folkloriques, Journalisme -- Caractéristiques nomadiques de l’écriture des auteurs particuliers ou des genres et traditions littéraires entiers -- Citation, imitation, remake/remixte, parodies comme procédés de la création littéraire -- Sujets, symboles et motifs « errants » mythiques, légendaires ou littéraires -- Figures des personnages nomadiques -- Nomadisme et sédentarisme comme sujets des narrations ou reflets des cultures ou des événements représentées -- Errance comme sujet ou comme principe de construction d’une œuvre littéraire -- Récits et rapports de voyage comme genre littéraire ou documentaire 3.7. Théorie des arts Conclusion Références Actes du colloque Programme du colloque

International audience; Epistémologiquement, la sémiotique polonaise relève principalement des trois sphères du savoir : logique philosophique, psychologie cognitive et psycholinguistique. Au niveau institutionnel, la vie scientifique des sémioticiens polonais est animée en grande partie par la Société Polonaise de Sémiotique (Polskie Towarzystwo Semiotyczne) fondée en 1968. Historiquement, la sémiotique polonaise se distingue des autres sémiotiques nationales, tout d’abord, par ses liens génétiques avec la philosophie de Franz Brentano (1838-1917), prêtre, philosophe et psychologue allemand-autrichien dont les étudiants les plus célèbres furent Sigmund Freud, auteur de la théorie du subconscient, et Edmund Husserl, fondateur de la phénoménologie.

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Edition trilingue : russe, français, anglais; International audience; This book is a collection of papers dedicated to the French painter, hero of World War II, Guy de Montlaur (1918-1977), and also to abstract expressionism as one of the key art directions of the XXth century, to its history, features, current destinies, as well as to its manifestations in music, literature and other arts. The works of scholars from different countries, collected under the cover of this book, allow the reader to better understand the actual state of researches in the field of theory and history of abstract expressionism, to see this artistic and cultural phenomenon from various viewpoints and also to get acquainted with Guy de Montlaur's heritage.The book is addressed to art critics, art-researches, philosophers, specialists in cultural studies and readers interested in arts and painting, to students, and to representatives of creative professions.; В сборнике представлены статьи, посвященные французскому художнику, участнику французского Сопротивления времен Второй мировой войны Ги де Монлору (1918-1977), а также теории и истории абстрактного экспрессионизма как одного из ключевых художественных направлений ХХ века, сформировавшегося не только в живописи, но и в музыке, литературе и других искусствах. Содранные под обложкой этой книги тексты исследователей из разных стран позволяют читателю понять актуальное состояние теории и истории абстрактного экспрессионизма, увидеть этот художественный и культурный феномен с различных сторон, а также познакомиться с творчеством Ги де Монлора.Издание адресовано искусствоведам, философам, культурологам и широкому кругу читателей, интересующихся вопросами культуры, искусства и живописи, студентам, а также представителям творческих профессий.

The emergence of abstract expressionism in the middle of the 20th century marked the decline of the aesthetic paradigm of Classicism, definitely abolishing the division it established between “fine” and applied arts. The archaic principle of skill, craftsmanship and the academic criterion of the “sensuous expression of the beautiful”, that came to replace it in the 17th century, ceased to determine the artistic value of non-utilitarian objects. The interest of Western European society in the works of psychiatric patients and non-professional artists, in the art of peoples of the East and traditional cultures, the innovative projects of the emerging avant-garde, from the end of the 19th and the beginning of the 20th centuries, gradually brought to the forefront the factor of expressiveness. The essence of art has ceased to be associated with the concepts of harmony, beauty, imitation, taste, a return to the ancient principle of “aisthesis” occurred, according to which the value of artistic creation is determined by the completeness of the representation of the inner experiences of aesthetic subject and the ways of “sensual cognition”. Abstract expressionism and the so-called “outsider art”, or “rough”, “raw” art, have erected this principle into the Absolute. On the example of Guy de Montlaur’s painting, typological features of the dominant trends in contemporary art will be considered, which allow us to state the assertion of an expressionistic paradigm in the world culture of the second half of the 20th and beginning of the 21st centuries., L’émergence de l’expressionnisme abstrait au milieu du XXe siècle marque le déclin du paradigme esthétique du Classicisme, abolissant définitivement la division qu’il établit entre les « beaux » arts et les arts appliqués. Le principe archaïque d’habileté, d’artisanat et le critère académique de « l’expression sensuelle du beau », qui est venu le remplacer au XVIIe siècle, ont cessé de déterminer la valeur artistique des objets non utilitaires. L’intérêt de la société occidentale pour les œuvres des patients psychiatriques et des artistes non professionnels, pour l’art des peuples d’Orient et des cultures traditionnelles, les projets innovants des avant-gardes émergentes, à la fin du XIXe et au début du XXe siècle, a progressivement mis au premier plan le facteur de l’expressivité. La nature de l’art a cessé d’être associée aux concepts d’harmonie, de beauté, d’imitation, de goût, un retour au principe antique d’ « aisthesis » s’est produit, selon lequel la valeur de la création artistique est déterminée par la complétude de la représentation des expériences intérieures du sujet esthétique et des voies de la « cognition sensuelle ». L’expressionnisme abstrait et l’art dit « outsider », ou « brut », « cru », ont érigé ce principe en Absolu. Sur l’exemple de la peinture de Guy de Montlaur, seront considérées les caractéristiques typologiques des tendances dominantes de l’art contemporain, qui permettent de constater l’affirmation d’un paradigme expressionniste dans la culture mondiale de la seconde moitié du XXe et du début du XXIe siècle.

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International audience; The paper suggests a reflection on how the Abstract Art could be comprehended from the philosophical point of view. It discusses two major phenomenological reductions which take place, respectively, in Expressionism and Abstractionism. The first one (‘psychological-phenomenological’) is related to the shift from the mimetic mode of depiction of reality towards an attempt of representing, concomitantly, the associated inner psychic phenomena of the perceiving individual. The second one (‘transcendental-phenomenological’) operates a non-figurative – ‘subjectless’ – ultimate universalization of the inner psychic phenomena, what leads to a definite rapture with the underlying referential reality.These considerations are developed on the example of Guy de Montlaur’s (1918-1977) artwork. French expressionist and abstractionist painter, participant to the French Resistance, and Normandy Landings of 1944 in particular, he underwent several stylistic chronologically subsequent periods, from realistic manner to expressionism through cubism, geometric and lyrical abstraction, searching for appropriate ways of assimilating his existential war experience by means of artistic creation.The comparative study of his paintings and those of abstractionist and expressionist painters of his generation gives ground to consider his artwork as a kind of a ‘mirror’ for the destinies of world abstractionist and expressionist movements in the XXth century art history.

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A. Gourio et M. Hartmann dir.; International audience

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