Calenda - Rencontre(s) : quand l鈥檃utre fait irruption

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - Rencontre(s) : quand l鈥檃utre fait irruption</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1249101" /> <meta property="og:title" content="Rencontre(s) : quand l鈥檃utre fait irruption" /> <meta property="og:description" content="La rencontre constitue un motif central dans l’histoire des idées et des arts, traversant les champs littéraire, philosophique, religieux et artistique. Elle est le moment du choc, du dialogue, de ..." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/publicdomain/zero/1.0/" /> <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no"></head> <body> <div id="ob-breadcrumb" class="ob-breadcrumb-calenda"> <div class="container"> <a href="https://calenda.org">Accueil</a><a href=""><span>Rencontre(s) : quand l鈥檃utre fait irruption</span></a> </div> </div> <div id="wrapper"> <div id="content"> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=40">Appel 脿 contribution</a><span><a href="search?primary=fsubject&fsubject=267">Langage</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <div class="unique_date highlight"> <div class="day"><a href="search.html?primary=fdate&fyear=2025&fmonth=04&fday=25">25</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2025&fmonth=04">avr</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2025">2025</a></div> </div> </div> </div> <div id="listcategories"> <h2>Cat茅gories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=214">Anthropologie sociale</a></li> <li><a href="search?primary=fsubject&fsubject=261">Philosophie</a></li> <li><a href="search?primary=fsubject&fsubject=265">Psychanalyse</a></li> <li><a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=300">Sociologie des religions</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="1249101">Rencontre(s) : quand l鈥檃utre fait irruption</a></h1> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le mardi 01 avril 2025 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div id="resume-1249101-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: left;">La rencontre constitue un motif central dans l’histoire des idées et des arts, traversant les champs littéraire, philosophique, religieux et artistique. Elle est le moment du choc, du dialogue, de la transformation, du possible et de l’impossible. Ce numéro thématique entend explorer les multiples facettes de la rencontre, en mettant en lumière sa complexité et sa richesse à travers différents prismes disciplinaires.</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-1249101-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p style="text-align: left;">La rencontre constitue un motif central dans l’histoire des idées et des arts, traversant les champs littéraire, philosophique, religieux et artistique. Elle est le moment du choc, du dialogue, de la transformation, du possible et de l’impossible. Ce numéro thématique entend explorer les multiples facettes de la rencontre, en mettant en lumière sa complexité et sa richesse à travers différents prismes disciplinaires.</p> <p style="text-align: left;">Dans la littérature, la rencontre est souvent le moteur de l’intrigue, marquant le début d’un itinéraire narratif où les personnages se croisent, s’affrontent, s’aiment ou se transforment. De l’amour courtois de Tristan et Iseult à la rencontre du narrateur et d’Albertine dans <em>À la recherche du temps perdu</em> de Proust, le motif est récurrent et polymorphe. Il peut être un moment d’épiphanie, comme dans <em>L’Étranger </em>de Camus, où la rencontre avec l’Autre révèle l’absurde de l’existence, ou bien un vecteur d’aliénation, comme dans <em>Madame Bovary </em>de Flaubert, où Emma cherche dans ses rencontres une échappatoire illusoire à la banalité de son quotidien.</p> <p style="text-align: left;">D’un point de vue philosophique, la rencontre est un lieu de questionnement sur l’altérité et l’identité. Emmanuel Levinas, dans <em>Totalité et Infini</em>, en fait un élément fondateur de l’éthique : c’est dans la rencontre avec le visage de l’Autre que se joue la responsabilité morale. Jean-Paul Sartre, dans <em>L’Être et le Néant</em>, voit dans le regard de l’Autre un moment de tension existentielle, où l’individu prend conscience de son objectivation. Alain Badiou, quant à lui, considère l’amour comme une rencontre contingente qui fait advenir une vérité nouvelle. Ainsi, la rencontre, en philosophie, oscille entre fascination et menace, ouverture et clôture, révélation et illusion.</p> <p style="text-align: left;">Dans les traditions religieuses, la rencontre est un moment de révélation et de métamorphose. Elle peut être mystique, comme dans l’expérience de la rencontre avec Dieu de saint Augustin dans ses <em>Confessions</em>, ou historique, comme celle de Moïse face au buisson ardent dans la tradition judéo-chrétienne. L’islam accorde une place centrale à la rencontre de Muhammad avec l’ange Gabriel, tandis que les traditions mystiques explorent les modalités de cette rencontre transformatrice avec le sacré. Le Nouveau Testament place la rencontre au c&oelig;ur de son message : Les récits de conversion, de saint Paul sur le chemin de Damas à François d’Assise rencontrant le Christ dans le lépreux, témoignent de la puissance transformatrice de cette expérience. Les spiritualités orientales, quant à elles, envisagent souvent la rencontre comme une dissolution de l’ego face à l’universel, comme en témoigne la pensée zen ou la tradition hindoue de la non-dualité (Advaita Vedanta).</p> <p style="text-align: left;">Dans les arts visuels et la musique, la rencontre peut être représentée sous diverses formes. En peinture, elle est parfois le symbole d’une communion spirituelle, comme dans <em>La Vocation de Saint Matthieu </em>du Caravage, où le regard du Christ change le destin du collecteur d’impôts. Elle peut aussi être une confrontation dramatique, comme dans <em>Le Radeau de la Méduse</em> de Géricault, où les naufragés aperçoivent enfin un navire au loin. Au cinéma, elle est un motif récurrent, structurant des récits comme <em>Casablanca</em> de Michael Curtiz ou <em>Lost in Translation</em> de Sofia Coppola. En musique, elle se traduit par la fusion de styles ou de traditions, à l’image des rencontres entre le jazz et la musique classique chez Gershwin, ou entre l’Occident et l’Orient dans les compositions de Ravi Shankar et Philip Glass.</p> <p style="text-align: left;">Ce numéro 10 de <em>Méditations Littéraires</em> ambitionne d’explorer la rencontre sous ces différents angles, en mettant en dialogue les approches disciplinaires afin d’en révéler toute la portée. En abordant la rencontre comme un moment charnière du récit, de la pensée, de la foi, de la création artistique… il s’agira de questionner ses enjeux existentiels, ses modalités de représentation et ses effets transformateurs.</p> <p style="text-align: left;">Les enseignants-chercheurs, les chercheurs et les doctorants sont invités à approfondir les nombreux aspects de cette thématique, qui pourront être problématisés selon différents axes de recherche (liste non exhaustive) :</p> <h3>Typologie des rencontres : entre hasard et destin</h3> <ul> <li>La rencontre oscille entre hasard et prédestination, quête attendue et révélation inattendue. Elle peut aussi être empêchée ou différée, créant un enjeu dramatique.</li> </ul> <h3>La rencontre comme moteur narratif et dramatique</h3> <ul> <li>Point de bascule du récit, la rencontre déclenche actions et conflits, transformant les personnages. Son évolution contemporaine inclut les rencontres virtuelles et numériques.</li> </ul> <h3>Rencontre et altérité : entre fascination et rejet</h3> <ul> <li>La rencontre avec l’étranger interroge l’identité et l’altérité, du choc des civilisations à la rencontre amoureuse, révélant tensions et enrichissements culturels.</li> </ul> <h3>Philosophie de la rencontre : éthique et ontologie</h3> <ul> <li>Levinas en fait une expérience éthique, Sartre une source d’angoisse existentielle, Badiou un vecteur de vérité. La rencontre façonne l’être et la pensée.</li> </ul> <h3>Rencontre et mystique : de l’expérience divine à l’illumination</h3> <ul> <li>Expérience de révélation dans les traditions monothéistes, elle mène, dans les spiritualités orientales, à l’illumination et à la dissolution de l’ego.</li> </ul> <h3>Représentation artistique de la rencontre : fusion ou confrontation</h3> <ul> <li>Dans l’art, elle exprime communion ou conflit, du métissage culturel aux tensions créatives en peinture, cinéma et musique.</li> </ul> <h1>Modalités de soumission</h1> <p style="text-align: left;">Pour ce numéro dont la publication est prévue en fin juin 2025, les propositions d’articles – en français ou en anglais – n’excédant pas une demi-page (en Times New Roman ; 12 ; simple), devront être accompagnées d’une brève notice biobibliographique de l’auteur (institution de rattachement, Labo, publications…). Elles devraient parvenir, , en un seul document Word, à l’adresse suivante : <strong>contact@meditationslitteraires.com,</strong></p> <h3>avant le 25 avril 2025</h3> <p style="text-align: left;">La rédaction communiquera les résultats de la sélection au plus tard le 27 avril 2025.</p> <p style="text-align: left;">Après acceptation des propositions, le retour des articles complets est attendu pour le 18 juin 2025. Ceux-ci seront soumis à une double expertise anonyme (double aveugle) après validation du comité de rédaction.</p> <p style="text-align: left;">La date prévue pour la publication électronique de ce numéro est la fin juin 2025. La version papier sera publiée, dans les <em>Éditions Orchidées</em>, à la fin juillet 2025.</p> <h1>Dates importantes</h1> <ul> <li>Date limite de l’envoi des propositions : 25 avril 2025</li> <li>Résultats des propositions retenues : 27 avril 2025</li> <li>Date limite de l’envoi des articles complets : 18 juin 2025</li> <li>Publication électronique du numéro : fin juin 2025</li> <li>Publication papier du numéro : fin juillet 2025</li> </ul> <h1>Rédacteur en chef</h1> <ul> <li>Khalil Baba (Professeur de l’Enseignement Supérieur HDR, Maroc)</li> </ul> <h1>Comité de rédaction</h1> <ul> <li>Marc Gontard (Professeur Émérite, France)</li> <li>Amel Fakhfakh (Professeur de l’Enseignement Supérieur, Tunisie)</li> <li>François Le Guennec (Chercheur, France)</li> <li>Zsuzsa Simonffy (Maître de conférences HDR, Hongrie)</li> <li>Catherine Webster (Professeur de l’Enseignement supérieur, États-Unis d’Amérique)</li> </ul> <h1>Bibliographie indicative</h1> <p style="text-align: left;">AUGUSTIN D’HIPPONE, <em>Les Confessions</em>, Paris, Gallimard, 1998 (trad. moderne).</p> <p style="text-align: left;">BADIYOU Alain, <em>L’éloge de l’amour</em>, Paris, Flammarion, 2009.</p> <p style="text-align: left;">BENJAMIN Walter, <em>L’&OElig;uvre d’art à l’époque de sa reproductibilité technique</em>, Paris, Gallimard, 1936.</p> <p style="text-align: left;">BÉGUIN Albert, <em>L</em><em>’Âme romantique et le rêve</em>, Paris, José Corti, 1937.</p> <p style="text-align: left;">BOULEZ Pierre, <em>Penser la musique aujourd’hui</em>, Paris, Gallimard, 1963.</p> <p style="text-align: left;">CAMUS Albert, <em>L’Étranger</em>, Paris, Gallimard, 1942.</p> <p style="text-align: left;">CHION Michel, <em>L’Audio-vision</em><em> : Son et image au cinéma</em>, Paris, Armand Colin, 1990.</p> <p style="text-align: left;">DIDI-HUBERMAN Georges, <em>Devant l’image</em>, Paris, Minuit, 1990.</p> <p style="text-align: left;">ELIADE Mircea, <em>Le sacré et le profane</em>, Paris, Gallimard, 1965.</p> <p style="text-align: left;">FLAUBERT Gustave, <em>Madame Bovary</em>, Paris, Michel Lévy frères, 1857.</p> <p style="text-align: left;">GOMBRICH Ernst H., <em>Histoire de l’art</em>, Paris, Phaidon, 1950.</p> <p style="text-align: left;">HADOT Pierre, <em>Plotin ou la simplicité du regard</em>, Paris, Gallimard, 1997.</p> <p style="text-align: left;">LÉVINAS Emmanuel, <em>De Dieu qui vient à l’idée</em>, Paris, Vrin, 1982.</p> <p style="text-align: left;">LÉVINAS Emmanuel, <em>Totalité et Infini</em>, La Haye, Martinus Nijhoff, 1961.</p> <p style="text-align: left;">N膧G膧RJUNA, <em>Le Traité du milieu (M奴lamadhyamakak膩rik膩)</em>, Paris, Fayard, 2002.</p> <p style="text-align: left;">PROUST Marcel, <em>À la recherche du temps perdu</em>, Paris, Gallimard, 1913-1927.</p> <p style="text-align: left;">RIC&OElig;UR Paul, <em>Soi-même comme un autre</em>, Paris, Seuil, 1990.</p> <p style="text-align: left;">RÛMÎ Jalâl ad-Dîn, <em>Le Livre du Dedans (Fîhi-mâ-fîhi)</em>, Paris, Gallimard, 2012.</p> <p style="text-align: left;">SARTRE Jean-Paul, <em>L’Être et le Néant</em>, Paris, Gallimard, 1943.      </p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=267">Langage</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a> > <a href="search?primary=fsubject&fsubject=214">Anthropologie sociale</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=260">Pens茅e</a> > <a href="search?primary=fsubject&fsubject=261">Philosophie</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=264">Psychisme</a> > <a href="search?primary=fsubject&fsubject=265">Psychanalyse</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a> > <a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=299">Religions</a> > <a href="search?primary=fsubject&fsubject=300">Sociologie des religions</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> Oujda, Maroc </li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>vendredi 25 avril 2025</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>rencontre, l'autre, litt茅rature, philosophie, religion, art, dialogue</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Khalil Baba<br/><em>courriel :</em> prof [dot] khalilbaba [at] gmail [dot] com<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://www.meditationslitteraires.com">Revue M茅ditations Litt茅raires</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Khalil Baba<br/><em>courriel :</em> prof [dot] khalilbaba [at] gmail [dot] com</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Rencontre(s) : quand l鈥檃utre fait irruption 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mardi 01 avril 2025, <a class="url" href="https://doi.org/10.58079/13mhw">https://doi.org/10.58079/13mhw</a></p> </div> </div> </div> </div> <div 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Calenda - Rencontre(s) : quand l鈥檃utre fait irruption