Calenda - Citations, r茅appropriations, r茅emplois

<!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 - Citations, r茅appropriations, r茅emplois</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/1240590" /> <meta property="og:title" content="Citations, r茅appropriations, r茅emplois" /> <meta property="og:description" content="Le recyclage et le réemploi, pratiques courantes dès la plus haute Antiquité, ont particulièrement prospéré au Moyen Âge dans tous les arts. Nous souhaitons relancer la réflexion sur les mécanismes..." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/licenses/by/4.0/" /> <meta name="DC.creator" content="Basso, H茅l猫ne" /> <meta name="DC.creator" content="Brisville-Fertin, Olivier" /> <meta name="DC.creator" content="Burghart, Marjorie" /> <meta name="DC.creator" content="Louison, Lydie" /> <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>Citations, r茅appropriations, r茅emplois</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=309">Moyen 脗ge</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=20">20</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=310">Haut Moyen 脗ge</a></li> <li><a href="search?primary=fsubject&fsubject=262">Histoire intellectuelle</a></li> <li><a href="search?primary=fsubject&fsubject=311">Bas Moyen 脗ge</a></li> <li><a href="search?primary=fsubject&fsubject=267">Langage</a></li> <li><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></li> <li><a href="search?primary=fsubject&fsubject=235">Histoire sociale</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="1240590">Citations, r茅appropriations, r茅emplois</a></h1> <p class="origd">Sch茅mas de pens茅e, structures discursives, picturales et architecturales au Moyen 脗ge</p> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le jeudi 13 mars 2025 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div id="resume-1240590-fr" class="tabContent" lang="fr" xml:lang="fr"> <p class="MsoNormal" style="text-align: left;">Le recyclage et le réemploi, pratiques courantes dès la plus haute Antiquité, ont particulièrement prospéré au Moyen Âge dans tous les arts. Nous souhaitons relancer la réflexion sur les mécanismes et structures induits par les processus de citation, de réappropriation et de réemploi au Moyen Âge pour explorer plus précisément les manières dont cette pratique intrinsèque à la pensée, à la création et à l’écriture médiévales s’est manifestée, en particulier au niveau des structures des &oelig;uvres, dans des domaines aussi différents que l’architecture et l’ensemble des arts visuels, l’écriture encyclopédique, l’épigraphie, l’historiographie, la littérature, la musique, la philosophie, la prédication et la théologie.</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-1240590-fr" class="tabContent" lang="fr" xml:lang="fr"> <p class="MsoNormal" style="text-align: left;" align="left">Nous avons le plaisir de vous inviter à soumettre vos propositions de communication pour notre colloque interdisciplinaire consacré aux citations, réappropriations et réemplois considérés sous l’angle des structures d’&oelig;uvres et schémas de pensée qu’ils mettent en jeu.</p> <p class="MsoNormal" style="text-align: left;" align="left">Ce colloque se tiendra les 12 et 13 novembre 2025 à Lyon (CIHAM–UMR 5648).</p> <h1>Argumentaire</h1> <p class="MsoNormal" style="text-align: left;">Le recyclage et le réemploi, pratiques courantes dès la plus haute Antiquité, ont particulièrement prospéré au Moyen Âge dans tous les arts. Songeons, par exemple, aux chapiteaux de type corinthien tardo-antiques repris par l’architecture omeyyade puis almohade dont la réappropriation ne s’avère pas pour autant copie conforme<a name="_ftnref1"></a><a href="#_ftn1">[1]</a>. Il est certes bien connu qu’à l’époque médiévale, le recours à des matériaux et matières préexistants, corrélé à la <em>translatio studii</em>, la transmission du savoir et, avec elle, à la tutelle fondatrice d’une « auctoritas », joue un rôle central. Toutefois, à la suite des travaux de nos collègues réunis en 2009 à l’initiative de Pierre Toubert et Pierre Moret au sein d’un ouvrage interdisciplinaire<a name="_ftnref2"></a><a href="#_ftn2">[2]</a>, nous souhaitons relancer la réflexion sur les mécanismes et structures induits par les processus de citation, de réappropriation et de réemploi au Moyen Âge pour explorer plus précisément les manières dont cette pratique intrinsèque à la pensée, à la création et à l’écriture médiévales s’est manifestée, en particulier au niveau des structures des &oelig;uvres, dans des domaines aussi différents que l’architecture et l’ensemble des arts visuels, l’écriture encyclopédique, l’épigraphie, l’historiographie, la littérature, la musique<a name="_ftnref3"></a><a href="#_ftn3">[3]</a>, la philosophie, la prédication et la théologie.</p> <p class="MsoNormal" style="text-align: left;">Les propositions de communication peuvent aborder, sans s’y limiter :</p> <p class="MsoNormal" style="text-align: left;">— Les réemplois et recyclages dans les différents arts, ainsi que les structures de pensée et de composition des &oelig;uvres médiévales qu’ils présupposent, génèrent, véhiculent. On pourra par exemple interroger leurs motivations, les réseaux d’influence qui se sont exercés – apprend-on davantage à l’école à réitérer des hémistiches de Virgile ou d’Horace, ou à imiter le plan, la progression narrative, la chute de leurs &oelig;uvres ? –, mais aussi considérer les modalités de réemplois à la lumière, par exemple, de la typologie définie par Jacqueline Cerquiglini-Toulet<a name="_ftnref4"></a><a href="#_ftn4">[4]</a> qui distingue deux techniques, le collage et le montage, susceptibles de s’appliquer à toute citation ou réappropriation.</p> <p class="MsoNormal" style="text-align: left;">— Les structures des matériaux réintégrés et la manière dont ils favorisent le réemploi, intentionnellement ou pas – comme les <em>spolia</em> architecturaux<a name="_ftnref5"></a><a href="#_ftn5">[5]</a> –, et pour combien de temps ? L’analyse d’&oelig;uvres ou de matériaux dont la structure est conçue pour être particulièrement recyclable, tels les recueils de <em>Distinctions</em>, parfois réduites à leur version schématique, par mot-clé et accolades prêtes au réemploi, ou les formulaires qui impliquent que la structure d’un acte ou d’une lettre soit établie en norme explicitement recyclable, macrostructure standardisée à disposition des chancelleries, mais ont pu servir aussi bien de recueils de formules brèves bien utiles aux médiocres latinistes ?</p> <p class="MsoNormal" style="text-align: left;">— Les dispositifs mis en &oelig;uvre, les différentes relations de coprésence induites et les messages explicites ou implicites produits. L’un des points d’attention pourrait ainsi être le télescopage des époques : que signifie pour un intellectuel ou un artiste du IX<sup>e</sup> au XV<sup>e</sup> siècle de reproduire le schéma structurant d’&oelig;uvres antiques ou contemporaines ? </p> <p class="MsoNormal" style="text-align: left;">— Les modalités de ces réemplois, en considérant par exemple leur réitération, leur fréquence, les rythmes engendrés et leurs effets esthétiques, rhétoriques ou sémantiques.</p> <p class="MsoNormal" style="text-align: left;">— Les concordances, discordances, contrepoints, contrastes, harmonies ou dysharmonies suscités par les citations/réemplois intégrés à de nouvelles compositions artistiques.</p> <p class="MsoNormal" style="text-align: left;">— Les analyses éclairantes d’Antoine Compagnon dans <em>La seconde main ou le travail de la citation</em><a name="_ftnref6"></a><a href="#_ftn6">[6]</a><em> </em>ou la terminologie de Gérard Genette dans <em>Palimpsestes. La littérature au second degré</em><a name="_ftnref7"></a><a href="#_ftn7">[7]</a> pourraient être mobilisées et confrontées aux spécificités des corpus médiévaux. Dans cet ouvrage, Gérard Genette ouvrait en effet déjà la voie à la considération de bien des processus d’écriture au second degré, évoquant la condensation, l’extension, l’expansion stylistique, l’amplification, la substitution, la transmodalisation, la transfocalisation, etc., qui, s’ils sont définis pour des compositions littéraires, présentent des équivalents en architecture, épigraphie, iconographie, musique, dans les écrits scientifiques ou la prédication.</p> <p class="MsoNormal" style="text-align: left;">— Les éventuelles interactions entre les différentes disciplines envisagées à travers le prisme du réemploi de structures.</p> <p class="MsoNormal" style="text-align: left;">Naturellement, chacune de ces opérations invite à considérer également les différentes étapes de l’extraction, de l’adaptation et de l’insertion de matériaux préexistants dans un nouvel ensemble, en tenant compte des intentions de l’auteur, de son identité le cas échéant, de ses objectifs, de la nature du matériau réemployé (source exogène ou pas), des raisons qui ont conduit au choix de ce matériau, de la manière dont il est travaillé en vue de son intégration à une &oelig;uvre nouvelle, de la préparation de l’&oelig;uvre seconde à cette greffe, des effets et conséquences du recyclage, tant au niveau des macrostructures que des microstructures qui les accueillent : effets pragmatiques ou effets de sens, le masquage ou l’exhibition de ce geste, etc.</p> <p class="MsoNormal" style="text-align: left;">Nous encourageons les contributions qui favoriseront un dialogue interdisciplinaire et qui exploreront les typologies de réemplois de structures à travers des études de cas variées.</p> <h1>Modalités de soumission </h1> <p class="MsoNormal" style="text-align: left;">Les propositions, d’une longueur maximale de 300 mots, doivent être envoyées à <strong>CRRe.CIHAM@gmail.com</strong></p> <h3>avant le 20 avril 2025.</h3> <p class="MsoNormal" style="text-align: left;">Veuillez nous indiquer votre nom, votre affiliation et inclure quelques brefs éléments biographiques. La durée envisagée d’intervention est de 30 minutes. Les propositions retenues seront communiquées au début du mois de mai 2025.</p> <h1>Comité de sélection</h1> <ul> <li class="MsoNormal">BASSO Hélène, CIHAM, Avignon Université</li> <li class="MsoNormal">BRISVILLE-FERTIN Olivier, CIHAM, ENS de Lyon</li> <li class="MsoNormal">BURGHART Marjorie, CIHAM, CNRS</li> <li class="MsoNormal">CHEVALIER-ROYER Caroline, CIHAM, U. Lyon 3</li> <li class="MsoNormal">GILOTTE Sophie, CIHAM, CNRS</li> <li class="MsoNormal">ISAIA Marie-Céline, CIHAM, U. Lyon 3</li> <li class="MsoNormal">LOUISON Lydie, CIHAM, U. Lyon 3</li> <li class="MsoNormal">MARTINEZ Damien, CIHAM, U. Lyon 2</li> </ul> <h1 align="left">Notes</h1> <hr align="left" size="1" width="33%"> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn1"></a><a href="#_ftnref1">[1]</a> Patrice Cressier & Magdalena Cantero Sosa, « Diffusion et remploi des chapiteaux omeyyades après la chute du califat de Cordoue. Politique architecturale et architecture politique »,<em> dans L’Afrique du Nord antique et médiévale (VI<sup>e</sup> colloque international). productions et exportations africaines. Actualités archéologiques, dir. Pol Trousset,</em> Paris, CTHS, 1995, p. 159-187 ; Patrice Cressier & Purificación Marinetto Sánchez, « Les chapiteaux islamiques de la péninsule Ibérique et du Maroc, de la renaissance émirale aux Almohades », dans<em> L’acanthe dans la sculpture monumentale de l’Antiquité à la Renaissance,</em> Paris, CTHS Publications de la Sorbonne, 1993, p. 211-246.</p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn2"></a><a href="#_ftnref2">[2]</a> <em>Remploi, citation, plagiat : conduites et pratiques médiévales, X<sup>e</sup>-XII<sup>e</sup> siècle</em>, études réunies par Pierre Toubert et Pierre Moret, Genève : Droz, 2009.</p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn3"></a><a href="#_ftnref3"><span lang="EN-US">[3]</span></a> <em><span lang="EN-US">Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned</span></em><span lang="EN-US">, éd. Suzannah Clark et Elizabeth Eva Leach, Woodbridge [UK]/Rochester, NY: Boydell Press, 2005.</span></p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn4"></a><a href="#_ftnref4">[4]</a> Cf.<em>“Un engin si soutil”. Guillaume de Machaut et l’écriture au xive siècle</em>, Paris : Champion, 2001, p. 24.</p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn5"></a><a href="#_ftnref5">[5]</a> Par exemple à partir de l’introduction de Philippe Bernardi et Hélène Dessales, « Les réemplois en architecture, entre Antiquité et Moyen Âge : introduction à l’école d’été (Rome, 19-23 septembre 2016) », <em>Mélanges de l’École française de Rome - Moyen Âge</em> [En ligne], 129-1, 2017, mis en ligne le 28 septembre 2017, consulté le 09 janvier 2025 DOI : <a href="https://doi-org/10.4000/mefrm.3550">10.4000/mefrm.3550</a> ou de l’analyse proposée par Hervé Chopin, Charlotte Gaillard et Victoria Kigallon, « Les pratiques de récupération dans la construction : le remploi du “choin” de Fay à Lyon et à Vienne (Moyen Âge - Temps Modernes) », <em>Revue archéologique de l’Est</em>, 69, 2020, p. 263-291.</p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn6"></a><a href="#_ftnref6">[6]</a> Antoine Compagnon, <em>La seconde main ou le travail de la citation</em>, Paris : Éditions du Seuil, 1979.</p> <p class="MsoFootnoteText" style="text-align: left;"><a name="_ftn7"></a><a href="#_ftnref7">[7]</a> Gérard Genette, <em>Palimpsestes. La littérature au Second Degré</em>, Paris : Éditions du Seuil, 1982.</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=309">Moyen 脗ge</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=309">Moyen 脗ge</a> > <a href="search?primary=fsubject&fsubject=310">Haut Moyen 脗ge</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=262">Histoire intellectuelle</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=309">Moyen 脗ge</a> > <a href="search?primary=fsubject&fsubject=311">Bas Moyen 脗ge</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=228">Histoire</a> > <a href="search?primary=fsubject&fsubject=235">Histoire sociale</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> 脡cole normale sup茅rieure de Lyon, D8 001 - 15, parvis Ren茅-Descartes <br/> Lyon, France (69007) </li> </ul> </div> <div id="eventformats"> <h2 class="intitule">Format de l'茅v茅nement</h2> <p>脡v茅nement uniquement sur site</p><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>dimanche 20 avril 2025</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attach茅s</p> <ul> <li><a href="1240630?file=1" target="_blank">2025_appel_CRRe_CIHAM.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>citations, r茅emplois, structures, Moyen 脗ge, litt茅ratures, histoire, histoire de l'art, arch茅ologie</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li> Comit茅 de coordination CRR茅<br/><em>courriel :</em> CRRe [dot] CIHAM [at] gmail [dot] com<br/></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Olivier Brisville-Fertin<br/><em>courriel :</em> olivier [dot] brisville [at] ens-lyon [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/licenses/by/4.0/"><img alt="CC-BY-4.0" class="cc" src="images/ccby-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/licenses/by/4.0/">Creative Commons - Attribution 4.0 International - CC BY 4.0</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>H茅l猫ne Basso, Olivier Brisville-Fertin, Marjorie Burghart, Lydie Louison, 芦 Citations, r茅appropriations, r茅emplois 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le jeudi 13 mars 2025, <a class="url" href="https://doi.org/10.58079/13gma">https://doi.org/10.58079/13gma</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('1240590?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="1240590?formatage=print">Imprimer</a> <a id="signaler" 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