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<!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 - B芒tir l鈥檌dentit茅 </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><!-- Social network --> <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/1202783" /> <meta property="og:title" content="B芒tir l鈥檌dentit茅 " /> <meta property="og:description" content="Ce colloque vise à mettre en lumière les processus de construction et de développement des identités collectives dans l’architecture en Europe, entre le XIe et le XVIIIe siècle. 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Afin de prendre en compte un large panorama de groupes, toutes les formes architecturales pourront être étudiées sur tous les supports. Bien que des groupes sociaux se soient formés autour de traits communs dès le Moyen-âge, cette question reste inexplorée pour l’histoire de l’architecture de cette période, jusqu’à la Révolution française. Cette journée d’étude approfondira trois axes spécifiques : la sémiotique visuelle et spatiale, l’usage des matériaux, des techniques et des savoir-faire, ainsi que la mise en œuvre du chantier. </p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-1202783-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p style="text-align: left;">À partir des années 1970, la notion d’identité collective, définie notamment par le philosophe et sociologue Julien Freund, émerge en tant qu’objet d’étude. Pour lui, l’identité collective correspond ainsi à l’identification de plusieurs personnes qui ont des choses en commun. « Ce qui cimente une identité collective c’est à la fois la représentation commune que les membres se font des objectifs ou des raisons constitutives d’un groupement et la reconnaissance mutuelle de tous dans cette représentation<sup>1</sup> ». Il n’y a donc d’identité collective « que sur la base de la conscience de particularismes<sup>2</sup>».</p> <p style="text-align: left;">Des sociologues ont également établi des liaisons entre identité collective et architecture<sup>3</sup>. L’engouement des sciences sociales pour cette notion a notamment su trouver un écho en histoire de l’art avec l’organisation récente de colloques dont les diverses contributions ont été un début de réflexion essentiel, plus particulièrement pour l’histoire de l’architecture. Toutefois, le sujet reste largement circonscrit aux périodes contemporaines<sup>4</sup>.</p> <p style="text-align: left;">Pourtant, la relation entre architecture et identités collectives dans des temps antérieurs à la création des nations modernes doit elle aussi être interrogée. À partir du XIe siècle, l’Occident connaît de grands bouleversements dans l’organisation spatiale et sociale des sociétés<sup>5</sup>. Un système communautaire se forme alors. Parallèlement, dans un contexte de développement des taxinomies sociales, apparaissent différents signes et marqueurs destinés à garantir l’identité de l’individu, comme les armoiries ou les sceaux<sup>6</sup>. Des groupes sociaux se forment également autour de caractères communs territoriaux, économiques, politiques ou encore linguistiques. En s’exprimant progressivement à travers une sémiotique visuelle, notamment dans l’architecture, les identités collectives deviennent reconnaissables. Ces dernières peuvent par ailleurs se superposer et se multiplier sur un même édifice. C’est pourquoi, depuis les Temps modernes, même si les historiens de l’art classent traditionnellement les œuvres par pays et par régions, les frontières se révèlent plus complexes et fluides<sup>7</sup>. L’architecture peut ainsi se placer comme un marqueur social et spatial. De surcroît, l’expression de ces identités dans la production bâtie n’est jamais le fruit d’une formation spontanée, mais bien les résultats d’actions, concertées ou non. Ainsi, la question n’est pas de savoir si l’architecture peut incarner les identités collectives, mais comment et dans l’intérêt de qui<sup>8</sup>.</p> <p style="text-align: left;">L’objectif de cette journée d’étude est donc de mettre en évidence les processus de construction et de développement des identités collectives dans l’architecture sur un temps long, du XIe siècle au XVIIIe siècle, et sur un territoire large, l’Europe. Les identités peuvent être traduites dans la forme des édifices, dans les décors intérieurs ou extérieurs, ou encore dans les techniques, matériaux ou savoir-faire mis en œuvre. Afin de prendre en compte un large panorama de groupes, toutes les formes architecturales peuvent être étudiées : habitats, ensembles monumentaux, architectures rurales, urbanisme, etc., ainsi que les représentations de l’architecture sous d’autres médiums (sceaux, peintures, enluminures, etc.). Trois thématiques, susceptibles de se croiser, sont à privilégier.</p> <h3>Sémiotique visuelle et sémiotique de l’espace</h3> <p style="text-align: left;">Afin de répondre à cette volonté d’affirmation dans l’espace, un ensemble d’éléments visuels peut être développé pour incarner le groupe. Comment une identité collective est-elle traduite dans des plans, des décors architecturaux ou dans un ensemble urbain ?</p> <p style="text-align: left;">La notion de « modèle » doit aussi être interrogée. En effet, les groupes sociaux peuvent s’identifier à une typologie de constructions ou encore de décors avec une volonté de les reproduire ensuite. Ainsi, il convient de s’interroger sur le choix des modèles. Par ailleurs, pour réaliser un nouvel objet, l'archétype est le point de départ<sup>9</sup>. Ce dernier est ainsi décliné, mais dans quelle mesure la réalisation s’émancipe-t-elle du modèle ?</p> <h3>Matériaux, techniques et savoir-faire</h3> <p style="text-align: left;">Quand ils sont visibles, les techniques et les matériaux mis en œuvre sont intrinsèquement associés au discours sémiotique. Ainsi, les réserves géologiques d’un territoire ont pu localement donner aux constructions une certaine unité. Cependant, les ressources s’importent et les hommes se déplacent, entraînant de fait des transferts de compétences. Le savoir-faire, s’il n’est pas donné à voir, peut-il aussi traduire une identité collective ? L’importation de matériaux se fait-elle uniquement sur des critères visuels ou le lieu de provenance est-il déterminant ?</p> <h3>Le chantier : entre individualité et élaboration collective</h3> <p style="text-align: left;">La mise en place d’un programme architectural répond bien souvent à une nécessité, identifiée en amont par le commanditaire. Le rôle de ce dernier dans les choix architecturaux doit être questionné. De même, il faut s’interroger sur la fonction donnée à l'architecture : faut-il se reconnaître dans celle-ci ou être reconnaissable grâce à elle ? De plus, la mise en œuvre du discours identitaire au sein du groupe peut-elle être planifiée ou régulée ?</p> <p style="text-align: left;">Il est également nécessaire de prendre en compte les différents corps de métiers qui exercent et s’associent dans le cadre de chantiers (architectes, artisans et ateliers, ingénieurs, dessinateurs, etc.). Ces personnes peuvent travailler seules, faisant ainsi ressortir leur individualité, ou bien être issues d’un groupement éventuellement corporatif ou familial. De fait, il convient d’étudier les protagonistes pour déterminer leur rôle dans l’élaboration du discours identitaire : le choix de ces différents personnages est-il déterminant dans la conception du discours identitaire ? Leurs expériences ou leur origine peuvent-elles être décisives ? Quel est leur rôle respectif dans ce processus ?</p> <h1>Modalités de soumission </h1> <p style="text-align: left;">Les propositions de communication, en anglais ou en français, ne devront pas excéder 2000 caractères espaces compris et devront être accompagnées d’un titre provisoire, d’une bibliographie indicative et d’une courte biographie de l’auteur. En outre, elles devront être envoyées par mail, en PDF, à l’adresse électronique suivante<span class="mce-nbsp-wrap" contenteditable="false"> </span>: <span class="mce-nbsp-wrap" contenteditable="false"> </span><strong>architectures.id.collectives@gmail.com</strong></p> <h3>au plus tard le 13 décembre 2024.</h3> <p style="text-align: left;">Les communications, d’une durée de vingt à vingt-cinq minutes, pourront être présentées en français ou en anglais. Une attention particulière sera portée aux soumissions émanant de jeunes chercheurs.</p> <p style="text-align: left;">Cette journée d’étude se déroulera le 12 et le 13 juin 2025 à Nantes. Une publication d’actes est envisagée.</p> <h1>Comité scientifique </h1> <ul> <li aria-level="1">Thomas Flum, Professeur d’histoire de l’art médiéval, Centre Lucien Febvre, Université de Franche-Comté.</li> <li aria-level="1">Frédéric Fournis, Chef du pôle Inventaire général du Patrimoine, Région des Pays de la Loire. </li> <li aria-level="1">Jean-Marie Guillouët, Professeur d’histoire de l’art médiéval, UMR 6298 ARTEHIS, Université de Bourgogne.</li> <li aria-level="1">Dominique Massounie, Maîtresse de conférences d’histoire de l’art moderne, Unité de recherche Histoire des arts et des représentations, Université Paris Ouest-Nanterre-La Défense. </li> <li aria-level="1">Hélène Rousteau-Chambon, Professeure d’histoire de l’art moderne, UMR 6566 CReAAH, laboratoire LARA, Nantes Université.</li> <li aria-level="1">Ambre Vilain, Maîtresse de conférences d’histoire de l’art médiéval, UMR 6566 CReAAH, laboratoire LARA, Nantes Université.</li> </ul> <h1>Comité d’organisation </h1> <ul> <li aria-level="1">Cindy Debierre, doctorante en histoire de l’art moderne, UMR 6566 CReAAH, laboratoire LARA, Nantes Université. </li> <li aria-level="1">Lilith Lebot, doctorante en histoire de l’art moderne, UMR 6566 CReAAH, laboratoire LARA, Nantes Université. </li> <li aria-level="1">Mathilde Pubert, doctorante en histoire de l’art médiéval, UMR 6566 CReAAH, laboratoire LARA, Nantes Université. Chercheuse à l’Inventaire général du Patrimoine, Région des Pays de la Loire.</li> </ul> <h1>Notes</h1> <pre> </pre> <p style="text-align: left;">1- Freund, Julien, « Petit essai de phénoménologie sociologique sur l’identité collective », dans Beauchard, Jacques (dir.), <em>Identité collectives et travail social</em>, Toulouse, Privat, 1979, p.74.</p> <p style="text-align: left;">2- <em>Ibid.</em></p> <p style="text-align: left;">3- Notamment : King, Anthony D., <em>Buildings and society: Essays on the Social Development of the Built Environment</em>, Routledge & Kegan Paul, Londres, 1980 ; Dovey, Kim, <em>Becoming Places: Urbanism/Architecture/Identity/Power</em>, Routledge, Londres, 2009 ; Jones, Paul, <em>The Sociology of Architecture: Constructing Identities</em>, Liverpool University Press, Liverpool, 2011.</p> <p style="text-align: left;">4- Notamment : <em>Fabriquer les identités collectives : un chantier de l’art à l’époque contemporaine</em> (27-28 mai 2021, en ligne) ; <em>Les Formes visuelles du collectif, XIXe-XXIe siècles</em> (07-08 novembre 2019, Tours) ; <em>Workshop Identitäten / Identités (II)</em> (31 mars-1e avril 2020, Paris).</p> <p style="text-align: left;">5- Morsel, Joseph, « Les logiques communautaires entre logiques spatiales et logiques catégorielles (XIIe-XVe siècles) », dans Magnani, Eliana, Franco, Hilario Junior, De Campos, Flàvio (dir.), <em>Le Moyen Âge vu d’ailleurs, II : Historiografia e Pesquisas Recentes</em>, São Paulo, Universidade de São Paulo, 2004, p. 253-278.</p> <p style="text-align: left;">6- Bedos-Rezak, Brigitte, « Medieval Identity: a Sign and Concept », dans<em> American historical review, </em>n°105, p. 1489-1533.</p> <p style="text-align: left;">7- Dacosta Kaufmann, Thomas, <em>Toward a Geography of art</em>, Chicago, University of Chicago Press, 2004.</p> <p style="text-align: left;">8- Dovey, Kim, <em>op. cit</em>. p. 45.</p> <p style="text-align: left;">9- Choay, Françoise, <em>La Règle et le modèle. Sur la théorie de l’architecture et de l’urbanisme</em>, Paris, Seuil, 1996 (2e édition).</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=354">Europe</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></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=312">脡poque moderne</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> > <a href="search?primary=fsubject&fsubject=279">Patrimoine</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> > <a href="search?primary=fsubject&fsubject=281">Identit茅s culturelles</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> > <a href="search?primary=fsubject&fsubject=282">Architecture</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> Nantes, France (44) </li> </ul> </div> <div id="eventformats"> <h2 class="intitule">Format de l'茅v茅nement</h2> <p>脡v茅nement hybride sur site et en ligne</p><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>vendredi 13 d茅cembre 2024</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attach茅s</p> <ul> <li><a href="1202823?file=1" target="_blank">FRANCAIS_B芒tir l'identit茅_Appel.pdf</a></li> <li><a href="1202828?file=1" target="_blank">ANGLAIS_B芒tir l'identit茅_Appel.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>architecture, identit茅, territoire, repr茅sentation, histoire, construction, d茅cor, technique, mat茅riaux, urbanisme, mod猫le, savoir-faire, architecte, artisan</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Cindy Debierre<br/><em>courriel :</em> cindy [dot] debierre [at] etu [dot] univ-nantes [dot] fr<br/></li> <li>Lilith Lebot<br/><em>courriel :</em> lilith [dot] lebot [at] etu [dot] univ-nantes [dot] fr<br/></li> <li>Mathilde Pubert<br/><em>courriel :</em> mathilde [dot] pubert [at] etu [dot] univ-nantes [dot] fr<br/></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Cindy Debierre<br/><em>courriel :</em> cindy [dot] debierre [at] etu [dot] univ-nantes [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>Cindy Debierre, Lilith Lebot, Mathilde Pubert, 芦 B芒tir l鈥檌dentit茅 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mercredi 06 novembre 2024, <a class="url" href="https://doi.org/10.58079/12mth">https://doi.org/10.58079/12mth</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('1202783?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="1202783?formatage=print">Imprimer</a> <a id="signaler" 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