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fakultet Beograd</p></div></div></ul></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="124545691" href="https://www.academia.edu/Documents/in/Philosophy_of_Communication"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://newcastle.academia.edu/ShirleyJordan","location":"/ShirleyJordan","scheme":"https","host":"newcastle.academia.edu","port":null,"pathname":"/ShirleyJordan","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Philosophy of Communication"]}" data-trace="false" data-dom-id="Pill-react-component-909257a1-b664-41e6-a22b-7c3fb7c47929"></div> <div 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data-dom-id="Pill-react-component-1fa9f323-700e-4b96-90c7-20b8884294d9"></div> <div id="Pill-react-component-1fa9f323-700e-4b96-90c7-20b8884294d9"></div> </a></div></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Shirley Jordan</h3></div><div class="js-work-strip profile--work_container" data-work-id="92870686"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870686/The_Time_of_Our_Lives"><img alt="Research paper thumbnail of The Time of Our Lives" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870686/The_Time_of_Our_Lives">The Time of Our Lives</a></div><div class="wp-workCard_item"><span>What Forms Can Do</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter explores some of the formal devices elaborated in recent contemporary women’s life w...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter explores some of the formal devices elaborated in recent contemporary women’s life writing to convey a sense of time and of being in the world. It focuses on the intimate and the everyday and on the units, flows, categories and organization of time in recent experimental works by Annie Ernaux, Camille Laurens and Chantal Akerman. The chapter is grounded in theory about female-authored self-narrative, returns to gendered ideas of a hierarchy of time and builds upon the problematizing of linear time in what Julia Kristeva famously referred to as ‘women’s time’ (1979). It analyses in particular the functions of repetition, variation and fragmentation as forces that drive and shape the works in question, asking how such repetition might be read as specifically gendered, and examining the impact this might have on the experience of reading. The chapter explores the temporal architecture of three selected works which, I argue, are ‘time rich’ and ‘time sensitive’ and which lo...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870686"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870686"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870686; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870682]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870682,"title":"La puissance de Khady Demba","internal_url":"https://www.academia.edu/92870682/La_puissance_de_Khady_Demba","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870681"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/92870681/Ageing_and_Care_in_the_Visual_Field"><img alt="Research paper thumbnail of Ageing and Care in the Visual Field" class="work-thumbnail" src="https://attachments.academia-assets.com/95765555/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92870681/Ageing_and_Care_in_the_Visual_Field">Ageing and Care in the Visual Field</a></div><div class="wp-workCard_item"><span>Contemporary Narratives of Ageing, Illness, Care</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What can photography tell us about ageing and our attitudes to it? What are the conditions necess...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What can photography tell us about ageing and our attitudes to it? What are the conditions necessary for breaking ageist paradigms in the visual field? And how can photography depict-and promote-an ethics of care? This chapter focuses on such questions by bringing to prominence the extraordinary body of work on ageing produced by Belgian-born humanist photographer Martine Franck (1938-2012). One of the few women photographers of her generation to gain an international reputation, Franck produced an extensive body of photographs dedicated to documenting the lives of older, often marginalised people, in both domestic and institutional environments, in France and elsewhere in the world. These images have received no serious critical attention, yet arguably they occupy a significant place in the history of gerontology. They also provide a rich opportunity to reconsider the phenomenology of the photograph and the photograph's potential as a hospitable communicative field and promoter of care within the broader terrain of visual gerontology. This chapter focuses closely on Franck's first photo book on ageing, Le Temps de vieillir: Journal d'un voyage [The Time to Grow Old: A Travel Diary] (1980), which turns ideas of journeying and discovery to original purposes. 1 The chapter analyses Franck's practice in light of arguments made by age studies pioneer Margaret Morganroth Gullette, whose wryly titled Ending Ageism or How Not to Shoot Old People asks how photography might help to promote an "anti-ageist gaze" (27). It suggests an implicit dialogue set up by Franck with French existentialist philosopher Simone de Beauvoir's seminal La Vieillesse [The Coming of Age] (1970), notably regarding a shared critique of the lack of adequate social care in France and condemnatory portrayals of state-run nursing homes in the mid-to late-twentieth century. It also examines Franck's practice through a lens of contemporary care theory. Franck sets out the impetus for her project as a fundamental engagement with one of the most pressing dilemmas of our lived experience: "I wanted to find out why old age is 'disturbing' and how people are differently affected by the fact of ageing" (Le Temps 9). Here I assess her achievements in bringing</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="934084dcac69a3148b97ca7f176aead4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95765555,"asset_id":92870681,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95765555/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870681"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870681"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870681; 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individu étranger sans résidence fixe. En quoi le trope du nomadisme est-il utile pour interpréter la problématique des écrits lancinants, oniriques, de Marie NDiaye ? Quels rapports envisage cette écrivaine entre l’individu et ses racines ? L’individu et l’espace ? L’individu et la communauté ? Quelles trajectoires dessine t- elle ? Comment les interprét..</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870680"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870680"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870680; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870680]").text(description); $(".js-view-count[data-work-id=92870680]").attr('title', description).tooltip(); 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There are also some bottom-up rather than top-down ethnographic encounters taking place (in o...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... There are also some bottom-up rather than top-down ethnographic encounters taking place (in other words the ethnographer gaining access to a milieu of privilege and power). ... Any correspondence should be directed to Dr Shirley Ann Jordan, School of ... 14061). Oxford: Berg. ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870671"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870671"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870671; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870671]").text(description); $(".js-view-count[data-work-id=92870671]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870671; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870671']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870671]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870671,"title":"Ethnographic Encounters: The Processes of Cultural Translation","internal_url":"https://www.academia.edu/92870671/Ethnographic_Encounters_The_Processes_of_Cultural_Translation","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870670"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise"><img alt="Research paper thumbnail of Exhibiting Pain: Sophie Calle's Douleur Exquise" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise">Exhibiting Pain: Sophie Calle's Douleur Exquise</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2007</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article focuses on the relationship between the subjective and the collective in the work of...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article focuses on the relationship between the subjective and the collective in the work of project artist Sophie Calle through a &amp;#x27;virtual visit&amp;#x27; to her mixed-media installation Douleur exquise (19842003). Through detailed analysis of the intricate systems of narrative in and ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870670"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870670"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870670; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870670]").text(description); $(".js-view-count[data-work-id=92870670]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870670; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870670']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870670]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870670,"title":"Exhibiting Pain: Sophie Calle's Douleur Exquise","internal_url":"https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870669"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870669/Cutting_the_Body_Representing_Woman_in_Baudelaires_Poetry_Truffauts_Cinema_and_Freuds_Psychoanalysis_By_Eliane_Dalmolin_Ann_Arbor_University_of_Michigan_Press_2000_xi_220_pp_Hb_47_50_30_00"><img alt="Research paper thumbnail of Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. By Eliane Dalmolin. Ann Arbor, University of Michigan Press, 2000. xi+220 pp. Hb $47.50; 30.00" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870669/Cutting_the_Body_Representing_Woman_in_Baudelaires_Poetry_Truffauts_Cinema_and_Freuds_Psychoanalysis_By_Eliane_Dalmolin_Ann_Arbor_University_of_Michigan_Press_2000_xi_220_pp_Hb_47_50_30_00">Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. By Eliane Dalmolin. Ann Arbor, University of Michigan Press, 2000. xi+220 pp. Hb $47.50; 30.00</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2002</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870669"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870669"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870669; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870669]").text(description); $(".js-view-count[data-work-id=92870669]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870669; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870669']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870669]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870669,"title":"Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870667"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870667/Nomadismes_des_romancieres_contemporaines_de_langue_francaise"><img alt="Research paper thumbnail of Nomadismes des romancieres contemporaines de langue francaise" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870667/Nomadismes_des_romancieres_contemporaines_de_langue_francaise">Nomadismes des romancieres contemporaines de langue francaise</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">... In the first section, Dominique Combe&amp;#x27;s essay examines the work of Régine Robin, who...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... In the first section, Dominique Combe&amp;#x27;s essay examines the work of Régine Robin, who introduced literary multiculturalism to Québec in the early 1990s. ... Armelle Le Bras-Chopard argues that Catherine Millet&amp;#x27;s sexualised discourse rehearses well-worn stereotypes of women. ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870667"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870667"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870667; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870667]").text(description); $(".js-view-count[data-work-id=92870667]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870667; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870667']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870667]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870667,"title":"Nomadismes des romancieres contemporaines de langue francaise","internal_url":"https://www.academia.edu/92870667/Nomadismes_des_romancieres_contemporaines_de_langue_francaise","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870666"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870666/Writing_and_the_Image_Today"><img alt="Research paper thumbnail of Writing and the Image Today" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870666/Writing_and_the_Image_Today">Writing and the Image Today</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">... Up and Close(-)Up: Jean Rouaud&amp;amp;amp;#x27;s Books of Revelation liesbeth korthals altes...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Up and Close(-)Up: Jean Rouaud&amp;amp;amp;#x27;s Books of Revelation liesbeth korthals altes 80 Traces: Writing the Visual in Daewoo by François Bon jan baetens 95 Of Graphic Novels and Minor Cultures: The Fréon Collective hugo frey 116 For All To See: Yvan Alagbé&amp;amp;amp;#x27;s Nègres jaunes ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870666"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870666"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870666; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870666]").text(description); $(".js-view-count[data-work-id=92870666]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870666; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870666']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870666]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870666,"title":"Writing and the Image Today","internal_url":"https://www.academia.edu/92870666/Writing_and_the_Image_Today","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870665"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870665/Francis_Ponge_et_Eugene_de_Kermadec_histoire_dun_compagnonnage"><img alt="Research paper thumbnail of Francis Ponge et Eugene de Kermadec: histoire d'un compagnonnage" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870665/Francis_Ponge_et_Eugene_de_Kermadec_histoire_dun_compagnonnage">Francis Ponge et Eugene de Kermadec: histoire d'un compagnonnage</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book explores the creative companionship between the poet and art critic Francis Ponge and t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book explores the creative companionship between the poet and art critic Francis Ponge and the artist Eugène de Kermadec, from their first meeting in May 1946 at the Galerie Louise Leiris in Paris through their entire thirty-year friendship. It stems from Madeline Pampol’s desire to give greater prominence to Kermadec, who is less well known than many of Ponge’s chosen artists, and it draws on her work as archivist of Ponge’s correspondence, an occupation affording her unparalleled knowledge of the author’s private writings. A number of extracts from these are published here for the first time. The book also draws on Pampol’s conversations with the children of both poet and painter. It traces in minute detail the life, career development, and aesthetic evolution of each man prior to their meeting, focusing on factors that made the connection between them likely. Pampol underscores a painterly quality in the diaries of even the very young Ponge and suggests that Kermadec’s rigorous visual experimentations echo the preoccupations of the poet. Of particular interest in their evolving relationship is a three-month stay in Sidi-Madani (1947–48), which saw Ponge and Kermadec engaged in fertile interchange with each other and with the landscape and environment of Algeria. Ponge’s ‘Pochades en prose’ and ‘Le Porte-plume d’Alger’ are thus seen to find echoes in Kermadec’s watercolours of the period. The high point of the men’s collaboration comes with the 1949 édition de luxe entitled Le Verre d’eau, in which Ponge’s notes on the glass of water and Kermadec’s lithographs each determinedly seek a language for their shared object. Pampol analyses this work as a joint meditation on, and illustration of, questions related to creative method and process. She makes astute observations on time, simultaneity, and perception as they relate to the livre d’artiste and explores the ways in which Kermadec’s lithographs ‘travaillent avec le texte et le font travailler’ (p. 202). The numerous colour plates reproduced in the book’s final section are a valuable supplement; they allow the reader to linger over Kermadec’s paintings and lithographs, as well as over Pampol’s claims about them. This visual appendix also contains a reproduction of seven pages from Le Verre d’eau. Pampol’s book, aimed at specialists with an existing interest in Ponge and his artists, is a slightly uneven read. It occasionally loses narrative momentum and analytic focus because of the author’s overly forensic insistence on archive material (footnotes are too numerous and too detailed). Further, the book’s first sections, which deal separately with the (creative) biographies of Ponge and Kermadec prior to 1946, are less analytically rich and intellectually adventurous than the subsequent study of the fascination each showed for the other’s work. The book’s third section, ‘Ponge et Kermadec, face à face’, is thus its most successful. There are nevertheless many insights available throughout this scrupulous labour of love, and Pampol writes with sensitivity about the work and creative method of both painter and poet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870665"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870665"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870665; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870665]").text(description); $(".js-view-count[data-work-id=92870665]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870665; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870665']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870665]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870665,"title":"Francis Ponge et Eugene de Kermadec: histoire d'un compagnonnage","internal_url":"https://www.academia.edu/92870665/Francis_Ponge_et_Eugene_de_Kermadec_histoire_dun_compagnonnage","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="12942722" id="papers"><div class="js-work-strip profile--work_container" data-work-id="92870686"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870686/The_Time_of_Our_Lives"><img alt="Research paper thumbnail of The Time of Our Lives" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870686/The_Time_of_Our_Lives">The Time of Our Lives</a></div><div class="wp-workCard_item"><span>What Forms Can Do</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter explores some of the formal devices elaborated in recent contemporary women’s life w...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter explores some of the formal devices elaborated in recent contemporary women’s life writing to convey a sense of time and of being in the world. It focuses on the intimate and the everyday and on the units, flows, categories and organization of time in recent experimental works by Annie Ernaux, Camille Laurens and Chantal Akerman. The chapter is grounded in theory about female-authored self-narrative, returns to gendered ideas of a hierarchy of time and builds upon the problematizing of linear time in what Julia Kristeva famously referred to as ‘women’s time’ (1979). It analyses in particular the functions of repetition, variation and fragmentation as forces that drive and shape the works in question, asking how such repetition might be read as specifically gendered, and examining the impact this might have on the experience of reading. The chapter explores the temporal architecture of three selected works which, I argue, are ‘time rich’ and ‘time sensitive’ and which lo...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870686"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870686"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870686; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870686]").text(description); $(".js-view-count[data-work-id=92870686]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870686; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870686']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870682]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870682,"title":"La puissance de Khady Demba","internal_url":"https://www.academia.edu/92870682/La_puissance_de_Khady_Demba","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870681"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/92870681/Ageing_and_Care_in_the_Visual_Field"><img alt="Research paper thumbnail of Ageing and Care in the Visual Field" class="work-thumbnail" src="https://attachments.academia-assets.com/95765555/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/92870681/Ageing_and_Care_in_the_Visual_Field">Ageing and Care in the Visual Field</a></div><div class="wp-workCard_item"><span>Contemporary Narratives of Ageing, Illness, Care</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What can photography tell us about ageing and our attitudes to it? What are the conditions necess...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What can photography tell us about ageing and our attitudes to it? What are the conditions necessary for breaking ageist paradigms in the visual field? And how can photography depict-and promote-an ethics of care? This chapter focuses on such questions by bringing to prominence the extraordinary body of work on ageing produced by Belgian-born humanist photographer Martine Franck (1938-2012). One of the few women photographers of her generation to gain an international reputation, Franck produced an extensive body of photographs dedicated to documenting the lives of older, often marginalised people, in both domestic and institutional environments, in France and elsewhere in the world. These images have received no serious critical attention, yet arguably they occupy a significant place in the history of gerontology. They also provide a rich opportunity to reconsider the phenomenology of the photograph and the photograph's potential as a hospitable communicative field and promoter of care within the broader terrain of visual gerontology. This chapter focuses closely on Franck's first photo book on ageing, Le Temps de vieillir: Journal d'un voyage [The Time to Grow Old: A Travel Diary] (1980), which turns ideas of journeying and discovery to original purposes. 1 The chapter analyses Franck's practice in light of arguments made by age studies pioneer Margaret Morganroth Gullette, whose wryly titled Ending Ageism or How Not to Shoot Old People asks how photography might help to promote an "anti-ageist gaze" (27). It suggests an implicit dialogue set up by Franck with French existentialist philosopher Simone de Beauvoir's seminal La Vieillesse [The Coming of Age] (1970), notably regarding a shared critique of the lack of adequate social care in France and condemnatory portrayals of state-run nursing homes in the mid-to late-twentieth century. It also examines Franck's practice through a lens of contemporary care theory. Franck sets out the impetus for her project as a fundamental engagement with one of the most pressing dilemmas of our lived experience: "I wanted to find out why old age is 'disturbing' and how people are differently affected by the fact of ageing" (Le Temps 9). Here I assess her achievements in bringing</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="934084dcac69a3148b97ca7f176aead4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":95765555,"asset_id":92870681,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/95765555/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870681"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870681"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870681; 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individu étranger sans résidence fixe. En quoi le trope du nomadisme est-il utile pour interpréter la problématique des écrits lancinants, oniriques, de Marie NDiaye ? Quels rapports envisage cette écrivaine entre l’individu et ses racines ? L’individu et l’espace ? L’individu et la communauté ? Quelles trajectoires dessine t- elle ? Comment les interprét..</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870680"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870680"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870680; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870680]").text(description); $(".js-view-count[data-work-id=92870680]").attr('title', description).tooltip(); 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There are also some bottom-up rather than top-down ethnographic encounters taking place (in o...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... There are also some bottom-up rather than top-down ethnographic encounters taking place (in other words the ethnographer gaining access to a milieu of privilege and power). ... Any correspondence should be directed to Dr Shirley Ann Jordan, School of ... 14061). Oxford: Berg. ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870671"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870671"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870671; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870671]").text(description); $(".js-view-count[data-work-id=92870671]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870671; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870671']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870671]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870671,"title":"Ethnographic Encounters: The Processes of Cultural Translation","internal_url":"https://www.academia.edu/92870671/Ethnographic_Encounters_The_Processes_of_Cultural_Translation","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870670"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise"><img alt="Research paper thumbnail of Exhibiting Pain: Sophie Calle's Douleur Exquise" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise">Exhibiting Pain: Sophie Calle's Douleur Exquise</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2007</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article focuses on the relationship between the subjective and the collective in the work of...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article focuses on the relationship between the subjective and the collective in the work of project artist Sophie Calle through a &amp;#x27;virtual visit&amp;#x27; to her mixed-media installation Douleur exquise (19842003). Through detailed analysis of the intricate systems of narrative in and ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870670"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870670"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870670; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870670]").text(description); $(".js-view-count[data-work-id=92870670]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870670; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870670']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870670]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870670,"title":"Exhibiting Pain: Sophie Calle's Douleur Exquise","internal_url":"https://www.academia.edu/92870670/Exhibiting_Pain_Sophie_Calles_Douleur_Exquise","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870669"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870669/Cutting_the_Body_Representing_Woman_in_Baudelaires_Poetry_Truffauts_Cinema_and_Freuds_Psychoanalysis_By_Eliane_Dalmolin_Ann_Arbor_University_of_Michigan_Press_2000_xi_220_pp_Hb_47_50_30_00"><img alt="Research paper thumbnail of Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. By Eliane Dalmolin. Ann Arbor, University of Michigan Press, 2000. xi+220 pp. Hb $47.50; 30.00" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870669/Cutting_the_Body_Representing_Woman_in_Baudelaires_Poetry_Truffauts_Cinema_and_Freuds_Psychoanalysis_By_Eliane_Dalmolin_Ann_Arbor_University_of_Michigan_Press_2000_xi_220_pp_Hb_47_50_30_00">Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. By Eliane Dalmolin. Ann Arbor, University of Michigan Press, 2000. xi+220 pp. Hb $47.50; 30.00</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2002</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870669"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870669"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870669; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870669]").text(description); $(".js-view-count[data-work-id=92870669]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870669; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870669']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870669]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870669,"title":"Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis. 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In the first section, Dominique Combe&amp;#x27;s essay examines the work of Régine Robin, who...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... In the first section, Dominique Combe&amp;#x27;s essay examines the work of Régine Robin, who introduced literary multiculturalism to Québec in the early 1990s. ... Armelle Le Bras-Chopard argues that Catherine Millet&amp;#x27;s sexualised discourse rehearses well-worn stereotypes of women. ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870667"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870667"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870667; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870667]").text(description); $(".js-view-count[data-work-id=92870667]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870667; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870667']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870667]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870667,"title":"Nomadismes des romancieres contemporaines de langue francaise","internal_url":"https://www.academia.edu/92870667/Nomadismes_des_romancieres_contemporaines_de_langue_francaise","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870666"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870666/Writing_and_the_Image_Today"><img alt="Research paper thumbnail of Writing and the Image Today" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870666/Writing_and_the_Image_Today">Writing and the Image Today</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2010</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">... Up and Close(-)Up: Jean Rouaud&amp;amp;amp;#x27;s Books of Revelation liesbeth korthals altes...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">... Up and Close(-)Up: Jean Rouaud&amp;amp;amp;#x27;s Books of Revelation liesbeth korthals altes 80 Traces: Writing the Visual in Daewoo by François Bon jan baetens 95 Of Graphic Novels and Minor Cultures: The Fréon Collective hugo frey 116 For All To See: Yvan Alagbé&amp;amp;amp;#x27;s Nègres jaunes ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870666"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870666"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870666; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=92870666]").text(description); $(".js-view-count[data-work-id=92870666]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 92870666; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='92870666']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=92870666]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":92870666,"title":"Writing and the Image Today","internal_url":"https://www.academia.edu/92870666/Writing_and_the_Image_Today","owner_id":124545691,"coauthors_can_edit":true,"owner":{"id":124545691,"first_name":"Shirley","middle_initials":null,"last_name":"Jordan","page_name":"ShirleyJordan","domain_name":"newcastle","created_at":"2019-09-01T05:01:14.426-07:00","display_name":"Shirley Jordan","url":"https://newcastle.academia.edu/ShirleyJordan"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="92870665"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/92870665/Francis_Ponge_et_Eugene_de_Kermadec_histoire_dun_compagnonnage"><img alt="Research paper thumbnail of Francis Ponge et Eugene de Kermadec: histoire d'un compagnonnage" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/92870665/Francis_Ponge_et_Eugene_de_Kermadec_histoire_dun_compagnonnage">Francis Ponge et Eugene de Kermadec: histoire d'un compagnonnage</a></div><div class="wp-workCard_item"><span>French Studies</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This book explores the creative companionship between the poet and art critic Francis Ponge and t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This book explores the creative companionship between the poet and art critic Francis Ponge and the artist Eugène de Kermadec, from their first meeting in May 1946 at the Galerie Louise Leiris in Paris through their entire thirty-year friendship. It stems from Madeline Pampol’s desire to give greater prominence to Kermadec, who is less well known than many of Ponge’s chosen artists, and it draws on her work as archivist of Ponge’s correspondence, an occupation affording her unparalleled knowledge of the author’s private writings. A number of extracts from these are published here for the first time. The book also draws on Pampol’s conversations with the children of both poet and painter. It traces in minute detail the life, career development, and aesthetic evolution of each man prior to their meeting, focusing on factors that made the connection between them likely. Pampol underscores a painterly quality in the diaries of even the very young Ponge and suggests that Kermadec’s rigorous visual experimentations echo the preoccupations of the poet. Of particular interest in their evolving relationship is a three-month stay in Sidi-Madani (1947–48), which saw Ponge and Kermadec engaged in fertile interchange with each other and with the landscape and environment of Algeria. Ponge’s ‘Pochades en prose’ and ‘Le Porte-plume d’Alger’ are thus seen to find echoes in Kermadec’s watercolours of the period. The high point of the men’s collaboration comes with the 1949 édition de luxe entitled Le Verre d’eau, in which Ponge’s notes on the glass of water and Kermadec’s lithographs each determinedly seek a language for their shared object. Pampol analyses this work as a joint meditation on, and illustration of, questions related to creative method and process. She makes astute observations on time, simultaneity, and perception as they relate to the livre d’artiste and explores the ways in which Kermadec’s lithographs ‘travaillent avec le texte et le font travailler’ (p. 202). The numerous colour plates reproduced in the book’s final section are a valuable supplement; they allow the reader to linger over Kermadec’s paintings and lithographs, as well as over Pampol’s claims about them. This visual appendix also contains a reproduction of seven pages from Le Verre d’eau. Pampol’s book, aimed at specialists with an existing interest in Ponge and his artists, is a slightly uneven read. It occasionally loses narrative momentum and analytic focus because of the author’s overly forensic insistence on archive material (footnotes are too numerous and too detailed). Further, the book’s first sections, which deal separately with the (creative) biographies of Ponge and Kermadec prior to 1946, are less analytically rich and intellectually adventurous than the subsequent study of the fascination each showed for the other’s work. The book’s third section, ‘Ponge et Kermadec, face à face’, is thus its most successful. There are nevertheless many insights available throughout this scrupulous labour of love, and Pampol writes with sensitivity about the work and creative method of both painter and poet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="92870665"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="92870665"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 92870665; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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