>From: Shannon Wells-Lassagne <[log in to unmask]>
>Subject: CFP: Writings on Art (France) (12/15/06; 3/16/07-3/17/07)
>SAIT's (artistic and literary intertextuality) annual conference :
>Writings on Art/ Ecrits sur l’Äôart
>To be held at the Universitˆ© de Paris III-Sorbonne Nouvelle, March 16-17 2007
>In Louis Marin’Äôs work To Destroy Painting,
>about the different representational styles of
>Poussin and Caravaggio’Äôs paintings, the author
>asks a fundamental question: ’Äú[’Ä¶] why
>does one even need to comment on a painting if
>the end envisaged by the painter’Äôs action can
>be achieved simply by experiencing pleasure or
>jouissance?’Äù His answer, too, is
>formulated as a question, suggesting that no
>answer could be definitive: ’Äú[’Ä¶] in
>commenting on a painting, does one not somehow
>[’Ä¶] transform the pleasure of painting or
>its jouissance into a pleasure or jouissance of
>language [?]’Äù The possible contradiction
>between the word and the perception of the
>visual arts, as well as the association of
>literary, linguistic and visual pleasure are all
>paradoxes at the very heart of writings on art.
>Indeed, the very term ’Äúwritings on art’Äù is
>problematic. The generic term ’Äúwriting’Äù
>gives a certain liberty of interpretation: by
>’Äúwriting’Äù, we refer to the essays, specific
>passages in fiction (novels, short stories,
>etc.), poems, non-theoretical essays or letters
>authors and artists on their own work, introductions to catalogues, etc.
>We invite papers that discuss subjects such as:
>The relationship between writing and art, and
>the extent to which the written text can
>represent the visual.
>The exploration of the frontier between writings
>on art and art criticism: to what extent do
>writings on art exist in the margins of various
>genres and theories? To what extent
>is it indissociable from those same traditions?
>The place and function of writings on art in the
>works of a given author or artist.
>What writing on art brings to the appreciation
>of painting, sculpture, film, music, etc.
>The analysis of the literary aesthetics implicit
>in the genre, or the aesthetics implicit in each
>art form as expressed by the writer.
>The implicit subjectivity of the author in
>his/her description of a given work of art,
>which calls into question whether or not the art
>work truly exists’Ä¶
>Of course, this list is not exhaustive.
>300-word abstracts in French or English should
>be sent to Anne-Florence Gillard-Estrada
>([log in to unmask]) or to Shannon
>[log in to unmask]) before December 15 2006.
>Additional information is available on the SAIT
The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor: Megan McKinstry
Sponsored by the University of Missouri
Info available at: http://www.missouri.edu/~graswww/resources/gerlistserv.html