Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag histoire</title>
	<link>https://atlante.univ-lille.fr/tag/histoire</link>
	<language>fr</language>
	<description></description>
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		<title>16.Histoire, littérature, fiction : à partir du cas Saviano</title> 
		<link>https://atlante.univ-lille.fr/16-histoire-litterature-fiction-a-partir-du-cas-saviano.html</link>
		<guid>https://atlante.univ-lille.fr/16-histoire-litterature-fiction-a-partir-du-cas-saviano.html</guid>
		<description>&lt;p&gt;&amp;Eacute;tienne Boillet&lt;br /&gt;Universit&amp;eacute; de Poitiers&lt;br /&gt;FoReLLIS EA 3816&lt;br /&gt;p.279-299.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Etienne BOILLET, Histoire, litt&amp;eacute;rature, fiction : &amp;agrave; partir du cas Saviano.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;Certaines des id&amp;eacute;es exprim&amp;eacute;es par Manzoni, &amp;agrave; propos des rapports entre l&amp;rsquo;histoire et le roman, peuvent trouver un &amp;eacute;cho chez des th&amp;eacute;oriciens de la fiction tels que Genette. C&amp;rsquo;est &amp;agrave; partir de ce possible dialogue que nous abordons &lt;em&gt;Gomorra&lt;/em&gt; de R. Saviano. L&amp;rsquo;auteur pr&amp;eacute;sente son livre comme une &amp;oelig;uvre de non-fiction, genre dont il fait l&amp;rsquo;&amp;eacute;loge en d&amp;eacute;non&amp;ccedil;ant l&amp;rsquo;ostracisme qu&amp;rsquo;aurait subi un roman comme &lt;em&gt;De sang-froid&lt;/em&gt; de T. Capote (1966) et en se f&amp;eacute;licitant de la reconnaissance r&amp;eacute;cente dont t&amp;eacute;moigne le prix Nobel 2015 attribu&amp;eacute; &amp;agrave; S.&amp;nbsp;Alexievicth. Mais ce discours tend aussi &amp;agrave; effacer la fronti&amp;egrave;re entre les r&amp;eacute;cits strictement non fictionnels et les enqu&amp;ecirc;tes romanc&amp;eacute;es par l&amp;rsquo;ajout d&amp;rsquo;&amp;eacute;l&amp;eacute;ments invent&amp;eacute;s&amp;nbsp;: il semblerait m&amp;ecirc;me que, pour l&amp;rsquo;auteur napolitain, ce soit justement cette part de fiction qui permette &amp;agrave; l&amp;rsquo;enqu&amp;ecirc;te historique ou journalistique d&amp;rsquo;acc&amp;eacute;der &amp;agrave; la litt&amp;eacute;rarit&amp;eacute; et &amp;agrave; une forme sup&amp;eacute;rieure de v&amp;eacute;rit&amp;eacute;. C&amp;rsquo;est l&amp;agrave; un positionnement qu&amp;rsquo;on retrouve dans la critique, aupr&amp;egrave;s de chercheurs qui, subordonnant en outre la question de la distinction entre fiction et non-fiction &amp;agrave; l&amp;rsquo;enjeu de la modernit&amp;eacute;, voient dans &lt;em&gt;Gomorra&lt;/em&gt; l&amp;rsquo;expression embl&amp;eacute;matique d&amp;rsquo;un nouveau r&amp;eacute;alisme, avec lequel se tournerait enfin la page de la postmodernit&amp;eacute;. Nous examinons ici quelques aspects notionnels relatifs &amp;agrave; ces questions, dans le cadre d&amp;rsquo;une interrogation plus large sur la fronti&amp;egrave;re entre fiction et non-fiction.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Fiction, non-fiction, histoire, r&amp;eacute;alisme, Saviano, critique&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Etienne BOILLET, Storia, letteratura, finzione&amp;nbsp;: a partire dal caso Saviano.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Riassunto.&lt;/strong&gt; Alcune idee di Manzoni sui rapporti tra la storia e il romanzo possono trovare un&amp;rsquo;eco nelle riflessioni di teorici della finzione come Genette. Alla luce di tale possibile dialogo, ci interessiamo a &lt;em&gt;Gomorra&lt;/em&gt; di Roberto Saviano. L&amp;rsquo;autore presenta il proprio libro come un&amp;rsquo;opera di non-fiction, un genere di cui intesse le lodi denunciando l&amp;rsquo;ostracismo sub&amp;igrave;to da un romanzo come &lt;em&gt;A sangue freddo&lt;/em&gt; di T. Capote (1966) e rallegrandosi per il recente riconoscimento simboleggiato dal Nobel 2015 attribuito a S.&amp;nbsp;Aleksievich. Ma tale discorso tende anche a cancellare la differenza tra i racconti rigorosamente non finzionali e quelli finzionalizzati dall&amp;rsquo;inserimento di elementi inventati. Anzi, per lo scrittore napoletano, sembra che proprio tale componente finzionale permetta di conferire all&amp;rsquo;inchiesta storica o giornalistica una valenza letteraria, facendola accedere ad una forma superiore di verit&amp;agrave;. Nella critica si ritrova lo stesso posizionamento, attraverso studi in cui la distinzione tra fiction e non-fiction viene subordinata alla questione della modernit&amp;agrave; per individuare in &lt;em&gt;Gomorra&lt;/em&gt; il simbolo di un nuovo realismo con il quale si chiude il periodo postmoderno. Esaminiamo alcuni aspetti nozionali legati a queste problematiche, nell&amp;rsquo;ambito di una interrogazione pi&amp;ugrave; ampia sullo spartiacque tra fiction e non-fiction.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Parole chiave. &lt;/strong&gt;Finzione, non-fiction, storia, realismo, Saviano, critica&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Etienne BOILLET, History, literature, fiction: as from the case Saviano.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;Some ideas expressed by Manzoni upon the relations between novel and history are echoed in modern specialists of fiction theory as Genette. We approach Saviano&amp;rsquo;s &lt;em&gt;Gomorra&lt;/em&gt; (2006) through this possible dialogue. Saviano presents his book as a work of non-fiction, a genre that he praises denunciating the ostracism suffered by a book like T. Capote&amp;rsquo;s &lt;em&gt;On&lt;/em&gt; &lt;em&gt;cold&lt;/em&gt; &lt;em&gt;blood&lt;/em&gt; (1966) and welcoming the recent recognition illustrated by the Nobel given to S. Alexievitch in 2015. However, this discourse tends to blur the line between the non-fiction and the fiction: it seems that for the Neapolitan writer, this is precisely this fictional part within the historical or journalistic investigation which allows it to get to a literary status and to a superior form of truth. We encounter this kind of position among literary critics, particularly in studies which subordinate the differentiation between fiction and non-fiction to the question of modernity and which see in &lt;em&gt;Gomorra&lt;/em&gt; the symbol of a new realism that would finally put an end to the postmodern literature. In this paper we consider some notional aspects related to these issues as part of a wider inquiry about the differentiation between fiction and non-fiction.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Fiction, non-fiction, history, realism, Saviano, critics&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/279-299-e-.-boillet.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 239 Kb)&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 17:39:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>14.&lt;em&gt;Historietas por la identidad – HxI&lt;/em&gt; : la bande dessinée documentaire, écriture visuelle des histoires et de l’Histoire</title> 
		<link>https://atlante.univ-lille.fr/114-emhistorietas-por-la-identidad-hxi-em-la-bande-dessinee-documentaire-ecriture-visuelle-des-histoires-et-de-lhistoire.html</link>
		<guid>https://atlante.univ-lille.fr/114-emhistorietas-por-la-identidad-hxi-em-la-bande-dessinee-documentaire-ecriture-visuelle-des-histoires-et-de-lhistoire.html</guid>
		<description>&lt;p&gt;Camille Pouzol&lt;br /&gt;Sorbonne Universit&amp;eacute;&lt;br /&gt;CRIMIC EA 2561&lt;br /&gt;p.239-262.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad&lt;/em&gt; &amp;ndash; &lt;em&gt;HxI&amp;nbsp;&lt;/em&gt;: la bande dessin&amp;eacute;e documentaire, &amp;eacute;criture visuelle des histoires et de l&amp;rsquo;Histoire. &lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;L&amp;rsquo;ouvrage collectif &lt;em&gt;Historietas por la identidad, &lt;/em&gt;publi&amp;eacute; en 2015 par la Biblioteca Nacional de Buenos Aires, est le fruit d&amp;rsquo;un travail men&amp;eacute; par l&amp;rsquo;association Abuela de la Plaza de Mayo qui s&amp;rsquo;est associ&amp;eacute;e &amp;agrave; plusieurs auteurs (sc&amp;eacute;naristes et dessinateurs) de bandes dessin&amp;eacute;es. &amp;Aacute; travers l&amp;rsquo;analyse de deux histoires courtes, nous pourrons voir que cette &lt;em&gt;historieta documental&lt;/em&gt; rejoint la litt&amp;eacute;rature non-fictionnelle et la &lt;em&gt;creative nonfiction&lt;/em&gt; en int&amp;eacute;grant au sein m&amp;ecirc;me du r&amp;eacute;cit des faits av&amp;eacute;r&amp;eacute;s, des &amp;eacute;l&amp;eacute;ments fictifs et r&amp;eacute;els ainsi que le reflet du regard de l&amp;rsquo;auteur sur cette histoire singuli&amp;egrave;re. L&amp;rsquo;hybridit&amp;eacute; narrative propre au Neuvi&amp;egrave;me art, associ&amp;eacute;e &amp;agrave; la potentialit&amp;eacute; graphique du m&amp;eacute;dia, produit un savoir historique dans la mesure o&amp;ugrave; ces bandes dessin&amp;eacute;es deviennent &amp;agrave; la fois repr&amp;eacute;sentation des histoires et de l&amp;rsquo;Histoire. La m&amp;eacute;diation artistique permet de raconter et montrer les horreurs de la dictature argentine (1976-1983), mais aussi de raconter l&amp;rsquo;histoire des pers&amp;eacute;cut&amp;eacute;s. L&amp;rsquo;emploi du &amp;laquo;&amp;nbsp;tu&amp;nbsp;&amp;raquo; et du &amp;laquo;&amp;nbsp;nous&amp;nbsp;&amp;raquo; nous interroge &amp;eacute;galement sur la place du lecteur/r&amp;eacute;cepteur qui devient t&amp;eacute;moin d&amp;rsquo;une Histoire, mais qui peut aussi devenir acteur de sa propre histoire.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Bande dessin&amp;eacute;e documentaire, dictature argentine, Abuelas de Plaza de Mayo, disparus, histoire, m&amp;eacute;moire&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad&lt;/em&gt; &amp;ndash; &lt;em&gt;HxI&amp;nbsp;&lt;/em&gt;: la historieta documental, escritura visual de las historias y de la Historia. &lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen. &lt;/strong&gt;El libro colectivo &lt;em&gt;Historietas por la identidad, &lt;/em&gt;publicado en 2015 por la Biblioteca Nacional de Buenos Aires, es el fruto de un trabajo llevado a cabo por la asociaci&amp;oacute;n Abuela de la Plaza de Mayo que se asoci&amp;oacute; con varios autores (guionistas y dibujantes) de historietas. A trav&amp;eacute;s del analisis de dos historias cortas, podremos ver que esta &lt;em&gt;historieta documental&lt;/em&gt; se une con la literatura no ficcionaly la &lt;em&gt;creative nonfiction&lt;/em&gt; al integrar dentro del propio relato hechos comprobados, elementos ficticios y reales as&amp;iacute; como el reflejo de la mirada del autor sobre esta singular historia. El hibridismo narrativo, propio del Noveno arte, asociado con la potencialidad gr&amp;aacute;fica del medio, produce un saber hist&amp;oacute;rico en la medida en que estas historietas se vuelven, a la vez, representaci&amp;oacute;n de historias y de la Historia. La medicaci&amp;oacute;n art&amp;iacute;stica permite contar y mostrar los horrores de la dictadura argentina (1976-1983), pero tambi&amp;eacute;n contar la historia de los perseguidos. El uso del &amp;laquo;&amp;nbsp;t&amp;uacute;&amp;nbsp;&amp;raquo; y del &amp;laquo;&amp;nbsp;nosotros&amp;nbsp;&amp;raquo; nos interroga tambi&amp;eacute;n sobre el lugar del lector/receptor que se vuelve testigo de una Historia, pero que puede tambi&amp;eacute;n hacerse actor de su propia historia.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave. &lt;/strong&gt;Historieta documental, dictadura argentina, Abuelas de Plaza de Mayo, desaparecidos, historia, memoria&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad - Hxl: documentary comics, visual writing of stories and of History. &lt;/em&gt; &lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;The collective work &lt;em&gt;Historietas por la identidad&lt;/em&gt;, published in 2015 by the Biblioteca Nacional de Buenos Aires, is the work lead by the organization of Abuelas de Plaza de Mayo with various authors (scriptwriters and artists) of comics book.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;Through the analysis of two short stories, we can see that this &amp;laquo;&amp;nbsp;comics documentary&amp;nbsp;&amp;raquo; meets the &amp;laquo;&amp;nbsp;nonfiction literature&amp;nbsp;&amp;raquo; and the &amp;laquo;&amp;nbsp;creative nonfiction&amp;nbsp;&amp;raquo; by incorporating inside the story itself hard facts, elements from fictional and real stories as well as the reflection of the author&amp;rsquo;s point of view on this singular story. The narrative hybridity specific to the Ninth art, combined with the graphic potential of the media, produces an historical knowledge insofar as these comics books become at the same time the representation of stories and History. The artistic mediation not only enables to tell and show the horrors of the Argentinian dictatorship (1976-1983), but also to tell the story of the persecuted people. The use of the &amp;laquo;&amp;nbsp;you&amp;nbsp;&amp;raquo; and the &amp;laquo;&amp;nbsp;we&amp;nbsp;&amp;raquo; also questions us about the position of the reader /receptor who becomes a witness of a story, but who can also become actor of his own story.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Comics documentary, Argentinian dictatorship. Abuelas de Plaza de Mayo, missing persons, history, memory&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/239-262-c.-pouzol.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 3Mb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 15:58:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
	</item>
	<item>
		<title>10.Résister à l’Histoire : « contre espace » et fragment dans l’œuvre de Wols (1939-1945)</title> 
		<link>https://atlante.univ-lille.fr/10-resister-a-lhistoire-contre-espace-et-fragment-dans-loeuvre-de-wols-1939-1945.html</link>
		<guid>https://atlante.univ-lille.fr/10-resister-a-lhistoire-contre-espace-et-fragment-dans-loeuvre-de-wols-1939-1945.html</guid>
		<description>&lt;p&gt;Delphine Bi&amp;egrave;re&lt;br /&gt;Universit&amp;eacute; de Lille&lt;br /&gt;IRHIS EA 8529&lt;br /&gt;p.175-192.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Delphine BI&amp;Egrave;RE, R&amp;eacute;sister &amp;agrave; l&amp;rsquo;Histoire&amp;nbsp;: &amp;laquo;&amp;nbsp;contre espace&amp;nbsp;&amp;raquo; et fragment dans l&amp;rsquo;&amp;oelig;uvre de Wols (1939-1945).&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;Pour de nombreux artistes, l&amp;rsquo;exil et l&amp;rsquo;internement vont devenir un mode d&amp;rsquo;expression et de combat, et, afin de faire face aux &amp;eacute;v&amp;eacute;nements, ils vont donner forme &amp;agrave; l&amp;rsquo;Histoire et &amp;agrave; leur histoire. Parmi ces artistes, Wols, enferm&amp;eacute; en tant que citoyen allemand au camp des Milles, ancienne briqueterie pr&amp;egrave;s d&amp;rsquo;Aix-en-Provence (en 1940), d&amp;eacute;veloppe une &amp;oelig;uvre qui est une plong&amp;eacute;e dans la subjectivit&amp;eacute; totale et souligne la position de d&amp;eacute;territorialisation de l&amp;rsquo;artiste. L&amp;rsquo;image ainsi cr&amp;eacute;&amp;eacute;e devient une &lt;em&gt;question de connaissance&lt;/em&gt; et non d&amp;rsquo;illusion avec quelques indices de son environnement. L&amp;rsquo;artiste d&amp;eacute;montre la nature complexe et dialectique de la cr&amp;eacute;ation gr&amp;acirc;ce &amp;agrave; une gestualit&amp;eacute; r&amp;eacute;duite qui lui permet de saisir et de produire avec intensit&amp;eacute; la perception des choses. Ses aquarelles rendent visible ce qui &amp;eacute;chappe &amp;agrave; la norme, par l&amp;rsquo;interm&amp;eacute;diaire de formes imaginaires, indicielles mais aussi monstrueuses. Wols exprime son pouvoir de contester le r&amp;eacute;el sans s&amp;rsquo;y d&amp;eacute;rober, et met en crise les cat&amp;eacute;gories avec lesquelles l&amp;rsquo;individu saisit ce qui l&amp;rsquo;entoure. Son &amp;oelig;uvre pr&amp;eacute;sente l&amp;rsquo;imaginaire qui agit et une &amp;laquo;&amp;nbsp;langue&amp;nbsp;&amp;raquo; invent&amp;eacute;e qui exprime la perception de l&amp;rsquo;artiste. Ce &amp;laquo;&amp;nbsp;contre-espace&amp;nbsp;&amp;raquo; (Raoul Ubac), lieu mental, irr&amp;eacute;el, aiguis&amp;eacute; par la vision directe ou sensitive rappelle la fiction, seule capable de r&amp;eacute;sister, d&amp;rsquo;&amp;eacute;chapper aux diktats de l&amp;rsquo;Histoire. La perturbation du mode d&amp;rsquo;expression traduit et fait sentir ce qui est de l&amp;rsquo;ordre de l&amp;rsquo;impensable, de la mutilation ou de la perte dans ce non-lieu qu&amp;rsquo;est l&amp;rsquo;internement, o&amp;ugrave; l&amp;rsquo;artiste ne se distingue plus de la r&amp;eacute;alit&amp;eacute;. L&amp;rsquo;&amp;oelig;uvre ne peut alors qu&amp;rsquo;endosser sa propre perte, sa propre ruine et abandonner la forme comme totalit&amp;eacute; pour affirmer le fragmentaire et le discontinu.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s.&lt;/strong&gt; Wols, art, histoire, guerre&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Delphine BI&amp;Egrave;RE, Surviving History: &amp;lsquo;Counterspace&amp;rsquo; and Fragment in Wols&amp;rsquo; Work (1939-1945)&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;To many artists, exile and internment imply fighting back and inventing new modes of expression. So as to face events, they resort to shaping their own story and reshaping history. Among them, Wols, jailed as a German citizen at the infamous Camp des Milles &amp;ndash; a former brickyard off Aix-en-Provence (in 1940) &amp;ndash; converted his works into a plunge into utter subjectivity and turned his own deterritorialization into an archetype of that of any artist. His images became issues of knowledge, instead of illusion, only holding a handful of clues as to their genesis. Wols demonstrated the complex dialectic nature of creation thanks to a reduced gestuality that enabled him to grasp and transcribe the whole intensity of his acute perception of things. Thanks to his vivid imagination, his watercolours have made the unphrasable fully visible, via tell-tale or monstrous forms. By so doing, he voiced his ability to confront reality and expose man&amp;rsquo;s resourcefulness and instinct when apprehending his surroundings. Wols&amp;rsquo;s work presents the imaginary in action and a new &amp;lsquo;language&amp;rsquo; that did/does/will not betray his perceptions. This so-called &amp;lsquo;counterspace&amp;rsquo;/&amp;lsquo;&lt;em&gt;contre-espace&lt;/em&gt;&amp;rsquo; (viz. Raoul Ubac&amp;rsquo;s concept) is both a mental and unreal space; sharpened as it is by the senses or direct vision it recalls pure fiction, that path of last and least resistance that enables one to escape history&amp;rsquo;s diktats. The very disturbance of Wols&amp;rsquo;s modes of expression portrays and emblematizes the unthinkable, &lt;em&gt;i.e.&lt;/em&gt; the sense of mutilation and loss occurring in the non-place/no-man&amp;rsquo;s-land of internment, in which the artist cannot disconnect from reality. His work therefore embodies its own perdition and ruin, forsaking shape &lt;em&gt;per se&lt;/em&gt; to assert the fragmentary and discontinuity.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords&lt;/strong&gt;. Wols, art, history, war&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Delphine BI&amp;Egrave;RE, Resistere alla Storia: &amp;laquo;controspazio&amp;raquo; e frammento nell&amp;rsquo;opera di Wols (1939-1945)&lt;/strong&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Riassunto. &lt;/strong&gt;Per molti artisti, l&amp;rsquo;esilio e l&amp;rsquo;internamento divengono un mezzo di espressione e di lotta;&amp;nbsp;cos&amp;igrave;, per far fronte agli avvenimenti che sono costretti a vivere, danno forma alla Storia e alla loro storia. Tra di essi, Wols, rinchiuso in quanto cittadino tedesco nel campo di Milles, antica fabbrica di mattoni nei pressi di Aix-en-Provence (1940), d&amp;agrave; vita a un&amp;rsquo;opera che rappresenta un&amp;rsquo;immersione nella soggettivit&amp;agrave; totale e sottolinea la posizione di deterritorializzazione dell&amp;rsquo;artista. L&amp;rsquo;immagine diviene allora un luogo di conoscenza e non d&amp;rsquo;illusione, riflettendo qualche indizio dell&amp;rsquo;ambiente che lo circonda. L&amp;rsquo;artista dimostra la natura complessa e dialettica della creazione grazie a una gestualit&amp;agrave; ridotta che gli consente di catturare (e di produrre) con intensit&amp;agrave; la percezione delle cose. I suoi acquarelli rendono visibile ci&amp;ograve; che sfugge alla norma attraverso forme immaginarie, indiziarie ma anche mostruose. Wols esprime il potere di contestare il reale senza &amp;laquo;&amp;nbsp;sottrarlo&amp;nbsp;&amp;raquo;, mettendo in crisi le categorie con le quali l&amp;rsquo;individuo si appropria di ci&amp;ograve; che lo circonda. La sua opera d&amp;agrave; forma all&amp;rsquo;immaginario agente e nel contempo si nutre di un linguaggio inventato che esprime la percezione dell&amp;rsquo;artista. Il &amp;laquo;&amp;nbsp;controspazio&amp;nbsp;&amp;raquo; (Raoul Ubac), luogo mentale, irreale, acuito dalla visione diretta o sensibile, ricorda la finzione, la sola capace di resistere e di sfuggire ai &lt;em&gt;diktat&lt;/em&gt; della Storia. Lo sconvolgimento del modo di espressione traduce e fa emergere ci&amp;ograve; che &amp;egrave; dell&amp;rsquo;ordine dell&amp;rsquo;impensabile, della mutilazione o della perdita in quel non-luogo (l&amp;rsquo;internamento), in cui l&amp;rsquo;artista non si distingue pi&amp;ugrave; dalla realt&amp;agrave;. L&amp;rsquo;opera non pu&amp;ograve; allora che incarnare la propria perdita, la propria rovina e abbandonare la forma come totalit&amp;agrave; per affermare il frammentario e il discontinuo.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Parole chiave.&lt;/strong&gt; Wols, arte, storia, guerra&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/175-192-d.-bie-re.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 8 Mb)&lt;/a&gt;&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 15:33:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>09.Quand le théâtre caribéen francophone s’empare de « l’Histoire immédiate » : &lt;em&gt;Les Atlantiques amers&lt;/em&gt; de Gerty Dambury</title> 
		<link>https://atlante.univ-lille.fr/quand-le-theatre-caribeen-francophone-sempare-de-lhistoire-immediate-emles-atlantiques-amers-em-de-gerty-dambury.html</link>
		<guid>https://atlante.univ-lille.fr/quand-le-theatre-caribeen-francophone-sempare-de-lhistoire-immediate-emles-atlantiques-amers-em-de-gerty-dambury.html</guid>
		<description>&lt;p&gt;Axel Artheron&lt;br /&gt;Universit&amp;eacute; des Antilles&lt;br /&gt;CRILLASH EA 4095&lt;br /&gt;p.156-173.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Axel ARTHERON, Quand le th&amp;eacute;&amp;acirc;tre carib&amp;eacute;en francophone s&amp;rsquo;empare de &amp;laquo;&amp;nbsp;l&amp;rsquo;Histoire imm&amp;eacute;diate&amp;nbsp;&amp;raquo;&amp;nbsp;: &lt;em&gt;Les Atlantiques amers&lt;/em&gt; de Gerty Dambury.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;La pi&amp;egrave;ce &lt;em&gt;Les Atlantiques amers&lt;/em&gt;, publi&amp;eacute;e en 2014 par la dramaturge guadeloup&amp;eacute;enne Gerty Dambury, interroge le th&amp;egrave;me historique de la gr&amp;egrave;ve sociale de 2009, mouvement d&amp;rsquo;une ampleur et d&amp;rsquo;une forme inou&amp;iuml;es qui p&amp;eacute;trifia les &amp;eacute;conomies insulaires antillaises. Donnant &amp;agrave; voir et &amp;agrave; penser ce ph&amp;eacute;nom&amp;egrave;ne social et politique, ce drame met en place une dramaturgie qui actualise sur sc&amp;egrave;ne la r&amp;eacute;ception de la gr&amp;egrave;ve et son effet sur le corps social. Dans cette perspective, Gerty Dambury organise une repr&amp;eacute;sentation de l&amp;rsquo;&amp;eacute;v&amp;egrave;nement historique qui s&amp;rsquo;articule &amp;agrave; partir de ses grandes dimensions symboliques et embl&amp;eacute;matiques ainsi que la mise en place d&amp;rsquo;une m&amp;eacute;canique tragique.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Th&amp;eacute;&amp;acirc;tre, Cara&amp;iuml;bes, francophonie, histoire, gr&amp;egrave;ve, tragique, Gerty Dambury&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Axel ARTHERON, &lt;/strong&gt;&lt;strong&gt;Cuando el teatro caribe&amp;ntilde;o franc&amp;oacute;fono reacciona ante la &amp;laquo;Historia inmediata&amp;raquo;: &lt;em&gt;Les Atlantiques amers&lt;/em&gt; de Gerty Dambury.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen. &lt;/strong&gt;La pieza&lt;em&gt; Les Atlantiques amers&lt;/em&gt;, publicada en 2014 por la dramaturga guadalupe&amp;ntilde;a Gerty Dambury, cuestiona el tema hist&amp;oacute;rico de la huelga social de 2009&amp;nbsp;; movimiento de gran alcance tanto en su forma como en su amplitud que petrific&amp;oacute; las econom&amp;iacute;as de las islas de las Antillas.Ofreciendo ese fen&amp;oacute;meno social y pol&amp;iacute;tico motivo a representarse y a pensar, este drama pone en marcha un teatro que actualiza en la escena la recepci&amp;oacute;n de la manifestaci&amp;oacute;n y su efecto en el cuerpo social.En esta perspectiva, Gerty Dambury organiza una representaci&amp;oacute;n del suceso hist&amp;oacute;rico que se acopla a sus grandes dimensiones simb&amp;oacute;licas, emblem&amp;aacute;ticas y la instalacion de un mecanismo de lo tr&amp;aacute;gico.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave.&lt;/strong&gt; Teatro, Caribe, francofon&amp;iacute;a, historia, manifestaci&amp;oacute;n, lo tr&amp;aacute;gico, Gerty Dambury&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Axel ARTHERON, &lt;/strong&gt;When French-speaking Caribbean theater takes over the &amp;lsquo;Immediate History&amp;rsquo;:Gerty Dambury&amp;rsquo;s &lt;em&gt;Bitter Atlantics&lt;/em&gt;.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;&lt;em&gt;Bitter Atlantics&lt;/em&gt;, published in 2014 and written by guadeloupean playwright Gerty Dambury, questions the historical social strikes of 2009 considered as a large and unprecedented event which petrified the economies of the french caribbean islands. Offering a new way to see and think this social and political phenomenon, this play sets up a dramaturgy which updates, on stage, the reception of the strike and its consequences on the social body. Within this perspective, Gerty Dambury organises a representation of the historical event which articulates around great symbolic dimensions and the set up of a tragic mechanism.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Drama, Caribbean, francophone, history, strike, tragic, Gerty Dambury&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/156-173-a.-artheron.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 216 Kb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 15:25:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>05.Música, mito e historia de El Dorado : ¿Carlos Saura &lt;em&gt;versus&lt;/em&gt; Werner Herzog?</title> 
		<link>https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html</link>
		<guid>https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html</guid>
		<description>&lt;p&gt;Marianne Bloch-Robin&lt;br /&gt;Universit&amp;eacute; de Lille&lt;br /&gt;CECILLE EA 4074&lt;br /&gt;p.78-93.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Marianne BLOCH-ROBIN, M&amp;uacute;sica, mito e historia de El Dorado : &amp;iquest;Carlos Saura&lt;em&gt; versus &lt;/em&gt;Werner Herzog?&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&lt;/strong&gt; En este art&amp;iacute;culo analizamos el papel de la m&amp;uacute;sica en la pel&amp;iacute;cula de Carlos Saura &lt;em&gt;El Dorado &lt;/em&gt;(1987) a partir del estudio de la partitura arreglada por el compositor Alejandro Mass&amp;oacute;. Si bien en la concepci&amp;oacute;n de su pel&amp;iacute;cula basada en numerosas fuentes hist&amp;oacute;rica, el director aragon&amp;eacute;s apuesta por oponerse a la obra de Werner Herzog &lt;em&gt;Aguirre,&lt;/em&gt; &lt;em&gt;Der Zorn Gottes&lt;/em&gt; (1972), tambi&amp;eacute;n centrada en la aventura del hidalgo vasco Lope de Aguirre en busca de la ciudad m&amp;iacute;tica de El Dorado, la banda musical, de las que analizamos dos obras m&amp;aacute;s particularmente &amp;ndash; &lt;em&gt;La Recercada&lt;/em&gt; (1553) de Diego Ortiz y un fragmento del preludio del tercer acto de &lt;em&gt;Tristan und Isolde &lt;/em&gt;(1865) de Richard Wagner &amp;ndash; contribuye a conferir a la pel&amp;iacute;cula una dimensi&amp;oacute;n m&amp;iacute;tica y universal que la desliga en cierta medida de la referencia hist&amp;oacute;rica dieg&amp;eacute;tica y la aproxima a la obra de Herzog.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave:&lt;/strong&gt; M&amp;uacute;sica cinematogr&amp;aacute;fica, Mito, Historia, Carlos Saura, El Dorado&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Marianne BLOCH-ROBIN, Musique, mythe et histoire d&amp;rsquo;El Dorado&amp;nbsp;: Carlos Saura &lt;em&gt;versus&lt;/em&gt; Werner Herzog&amp;nbsp;?&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; Nous analysons dans cet article le r&amp;ocirc;le de la musique dans le film de Carlos Saura &lt;em&gt;El Dorado&lt;/em&gt; (1987) &amp;agrave; partir de l&amp;rsquo;&amp;eacute;tude de la partition arrang&amp;eacute;e par le compositeur Alejandro Mass&amp;oacute;. Dans la conception de son film fond&amp;eacute;e sur de nombreuses sources historiques, le r&amp;eacute;alisateur aragonais prend le parti d&amp;rsquo;une opposition &amp;agrave; l&amp;rsquo;&amp;oelig;uvre de Werner Herzog &lt;em&gt;Aguirre,&lt;/em&gt; &lt;em&gt;Der &lt;/em&gt;&lt;em&gt;Zorn Gottes&lt;/em&gt; (1972), qui s&amp;rsquo;attache &amp;eacute;galement &amp;agrave; l&amp;rsquo;aventure de l&amp;rsquo;hidalgo basque Lope de Aguirre &amp;agrave; la recherche de la ville mythique d&amp;rsquo;&lt;em&gt;El Dorado&lt;/em&gt;. N&amp;eacute;anmoins, la bande musicale, dont nous analysons plus particuli&amp;egrave;rement deux &amp;oelig;uvres &amp;ndash; &lt;em&gt;La Recercada&lt;/em&gt; (1553) de Diego Ortiz et un fragment du pr&amp;eacute;lude du troisi&amp;egrave;me acte de &lt;em&gt;Tristan und Isolde&lt;/em&gt; (1865) de Richard Wagner &amp;ndash; contribue &amp;agrave; conf&amp;eacute;rer au film une dimension mythique qui l&amp;rsquo;&amp;eacute;loigne, dans une certaine mesure, de la r&amp;eacute;f&amp;eacute;rence historique di&amp;eacute;g&amp;eacute;tique et la rapproche de l&amp;rsquo;&amp;oelig;uvre de Herzog.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Musique de film, Mythe, Histoire, Carlos Saura, El Dorado&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Marianne BLOCH-ROBIN, &lt;/strong&gt;&lt;strong&gt;Music, myth and history of El Dorado: Carlos Saura &lt;em&gt;versus&lt;/em&gt; Werner Herzog?&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&lt;/strong&gt;This article analyzes the music&amp;rsquo;s role in Carlos Saura&amp;rsquo;s Film &lt;em&gt;El Dorado&lt;/em&gt; (1987) according to the study of the score arranged by the composer Alejandro Mass&amp;oacute;. The conception of the film, based on several historical sources, is build as an opposition to Werner Herzog&amp;rsquo;s film &lt;em&gt;Aguirre,&lt;/em&gt; &lt;em&gt;Der Zorn Gottes&lt;/em&gt; (1972), also focused on the adventure of the basque hidalgo Lope de Aguirre pursuing the mythical city of El Dorado. The soundtrack, from which we analyze two pieces in particular &amp;ndash; &lt;em&gt;La Recercada&lt;/em&gt; (1553) by Diego Ortiz and a fragment of the prelude to the third act of Wagner&amp;rsquo;s &lt;em&gt;Tristan und Isolde&lt;/em&gt; (1865) &amp;ndash; contribute to confer to the film a mythical dimension which diverts, to a certain extent, from the historical diegetic reference, and brings it closer to Herzog&amp;rsquo;s work.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Film music, Myth, History, Carlos Saura, El Dorado&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/78-93-m.-bloch-robin.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 1 Mb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 14:51:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>04.Représenter une « histoire sans passé » : enjeux narratifs et épistémologiques de l’usage paradoxal de l’anachronisme par le mouvement futuriste italien</title> 
		<link>https://atlante.univ-lille.fr/04-representer-une-histoire-sans-passe-enjeux-narratifs-et-epistemologiques-de-lusage-paradoxal-de-lanachronisme-par-le-mouvement-futuriste-italien.html</link>
		<guid>https://atlante.univ-lille.fr/04-representer-une-histoire-sans-passe-enjeux-narratifs-et-epistemologiques-de-lusage-paradoxal-de-lanachronisme-par-le-mouvement-futuriste-italien.html</guid>
		<description>&lt;p&gt;Fleur Thaury&lt;br /&gt;Universit&amp;eacute; de Lille et Sorbonne Universit&amp;eacute;&lt;br /&gt;CECILLE EA 4074&lt;br /&gt;Centre Victor Baasch&lt;br /&gt;p. 60-77.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Fleur THAURY, Repr&amp;eacute;senter une &amp;laquo;&amp;nbsp;histoire sans pass&amp;eacute;&amp;nbsp;&amp;raquo;&amp;nbsp;: enjeux narratifs et &amp;eacute;pist&amp;eacute;mologiques de l&amp;rsquo;usage paradoxal de l&amp;rsquo;anachronisme par le mouvement futuriste italien&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;R&amp;eacute;sum&amp;eacute;. Le mouvement futuriste italien (1909-1944) est lanc&amp;eacute; par la publication du manifeste &lt;em&gt;Fondation et Manifeste du Futurisme&lt;/em&gt; [&lt;em&gt;Fondazione e Manifesto del Futurismo&lt;/em&gt;] publi&amp;eacute; par F.&amp;nbsp;T.&amp;nbsp;Marinetti dans le &lt;em&gt;Figaro&lt;/em&gt; le 20 f&amp;eacute;vrier 1909. La production foisonnante de manifestes, l&amp;rsquo;organisation des fameuses &lt;em&gt;serate&lt;/em&gt; (soir&amp;eacute;es) futuristes et de nombreuses expositions, sont autant de manifestations qui ponctuent et alimentent la vie du mouvement. Ces &amp;eacute;v&amp;eacute;nements sont souvent pr&amp;eacute;sent&amp;eacute;s avec une pr&amp;eacute;cision scrupuleuse (dates, lieux, signataires&amp;hellip;), ob&amp;eacute;issant &amp;agrave; une logique de datation et de contextualisation quasi obsessionnelle. Cependant, de mani&amp;egrave;re paradoxale, cette logique se double d&amp;rsquo;un usage fr&amp;eacute;quent de pratiques anachroniques&amp;nbsp;: ant&amp;eacute; ou post-datation des manifestes, transformations des lieux, des dates et des signataires, r&amp;eacute;appropriation des formules, confusion des &amp;eacute;v&amp;eacute;nements.&lt;br /&gt;&amp;Agrave; partir du tract, &lt;em&gt;Il Futurismo e la Guerra - cronaca sintetica [Le Futurisme et la Guerre &amp;ndash; chronique synth&amp;eacute;tique&lt;/em&gt;](B.&amp;nbsp;PRATELLA, 1915), nous proposerons d&amp;rsquo;interpr&amp;eacute;ter ces deux pratiques en apparence contradictoires comme les deux facettes d&amp;rsquo;une m&amp;ecirc;me strat&amp;eacute;gie identitaire dans le positionnement de l&amp;rsquo;avant-garde. D&amp;rsquo;une part, l&amp;rsquo;obsession contextuelle et l&amp;rsquo;anachronisme sont l&amp;rsquo;occasion d&amp;rsquo;une r&amp;eacute;&amp;eacute;criture &amp;eacute;v&amp;eacute;nementialis&amp;eacute;e de l&amp;rsquo;histoire qui, r&amp;eacute;actualisant les potentialit&amp;eacute;s du pass&amp;eacute;, permet d&amp;rsquo;&amp;eacute;viter au futurisme de devenir pass&amp;eacute;isme. D&amp;rsquo;autre part, la surabondance de r&amp;eacute;f&amp;eacute;rences contextuelles spatio-temporelles et leurs modifications constantes et souvent contradictoires peuvent se lire comme une strat&amp;eacute;gie du mouvement pour se soustraire au risque de la r&amp;eacute;cup&amp;eacute;ration par l&amp;rsquo;histoire et donc de la r&amp;eacute;ification, qui guette tout produit culturel et historique. L&amp;rsquo;enjeu, dans la pratique de l&amp;rsquo;anachronisme, est de proposer une nouvelle modalit&amp;eacute; permettant de court-circuiter les modalit&amp;eacute;s narratives d&amp;rsquo;une histoire-r&amp;eacute;cit lin&amp;eacute;aire au profit d&amp;rsquo;une &amp;laquo;&amp;nbsp;histoire sans pass&amp;eacute;&amp;nbsp;&amp;raquo; (S.&amp;nbsp;MILAN, 2008).&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&lt;/strong&gt; Futurisme, manifeste, avant-garde, anachronisme, histoire&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Fleur THAURY, Representing a &amp;lsquo;history without a past&amp;rsquo;: narrative and epistemological issues of the paradoxical use of anachronism by the Italian Futurist movement&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&lt;/strong&gt; The Italian Futurist Movement (1909-1944) was launched by the publication of the &lt;em&gt;Fondation et Manifeste du Futurisme&lt;/em&gt; [&lt;em&gt;Foundation and Manifesto of Futurism&lt;/em&gt;], written by F.&amp;nbsp;T.&amp;nbsp;Marinetti in &lt;em&gt;Le Figaro&lt;/em&gt;, on February 20, 1909. The abundant production of manifestos, the organization of the famous futurist &lt;em&gt;serate&lt;/em&gt; (evenings) and the numerous exhibitions are all manifestations that punctuate and sustain the movement&amp;rsquo;s life. These events are often presented with a scrupulous precision (dates, places, signatories...), following a logic of dating and of contextualization that is almost obsessive. However, paradoxically, this logic is coupled with a frequent use of anachronistic practices: ante or post-dating of the manifestos, transformations of the places, dates and signatories, appropriation of the formulas, confusion in the events.&lt;br /&gt;Based on the manifesto &lt;em&gt;Il Futurismo e la Guerra - cronaca sintetica &lt;/em&gt;[&lt;em&gt;Futurism and War - a synthetic chronicle&lt;/em&gt;] (B.&amp;nbsp;PRATELLA, 1915), this paper understands these two apparently contradictory practices as the two aspects of the same identity strategy in the positioning of the avant-garde. On the one hand, the contextual obsession and the anachronism serve to rewrite a history which, by bringing the potentialities of the pas up to date, avoids futurism becoming passeism. On the other hand, the overabundance of spatial-temporal references and their constant and often contradictory modifications can be read as a strategy of the movement to avoid the risk of distortion by History and therefore reification, which is a threat to any cultural and historical product. The challenge, in the practice of anachronism, is to offer a new modality that bypasses the narrative modalities of a linear story-telling in favour of a &amp;ldquo;story without a past&amp;rdquo; (S.&amp;nbsp;MILAN, 2008).&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&lt;/strong&gt; Futurism, manifesto, avant-garde, anachronism, history&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Fleur THAURY, Rappresentare una &amp;laquo;storia senza passato&amp;raquo;: questioni narrative ed epistemologiche dell&amp;rsquo;uso paradossale dell&amp;rsquo;anacronismo nel movimento futurista italiano&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Riassunto.&lt;/strong&gt; Il movimento futurista italiano (1909-1944) nasce dalla pubblicazione del manifesto della &lt;em&gt;Fondation et Manifeste du Futurisme&lt;/em&gt;, scritto da F.&amp;nbsp;T.&amp;nbsp;Marinetti nel &lt;em&gt;Figaro&lt;/em&gt;, il 20 febbraio 1909. L&amp;rsquo;abbondante produzione di manifesti, l&amp;rsquo;organizzazione delle famose &amp;ldquo;serate&amp;rdquo; futuriste e le numerose mostre sono altrettante manifestazioni che scandiscono e animano la vita del movimento. Questi eventi sono spesso presentati con scrupolosa precisione (date, luoghi, firmatari...), seguendo una logica di datazione e di contestualizzazione quasi ossessiva. Tuttavia, paradossalmente, questa logica &amp;egrave; accompagnata da un uso frequente di pratiche anacronistiche: ante o post-datazione dei manifesti, trasformazioni dei luoghi, delle date e dei firmatari, riappropriazione delle formule, confusione degli eventi.&lt;br /&gt;Dal volantino &lt;em&gt;Il Futurismo e la Guerra - cronaca sintetica&lt;/em&gt; (B.&amp;nbsp;PRATELLA, 1915), ci proponiamo di interpretare queste due pratiche apparentemente contraddittorie come i due aspetti della stessa strategia identitaria nel posizionamento dell&amp;rsquo;avanguardia. Da un lato, l&amp;rsquo;ossessione contestuale e l&amp;rsquo;anacronismo sono l&amp;rsquo;occasione per una riscrittura della storia ricondotta agli avvenimenti che, riattualizzando le potenzialit&amp;agrave; del passato, permette di evitare che il futurismo diventi passatismo. Dall&amp;rsquo;altro, la sovrabbondanza di riferimenti spazio-temporali e le loro costanti e spesso contraddittorie modifiche possono essere lette come una strategia del movimento per evitare il rischio di recupero da parte della storia e quindi di reificazione, che &amp;egrave; una minaccia per qualsiasi prodotto culturale e storico. La sfida, nella pratica dell&amp;rsquo;anacronismo, &amp;egrave; quella di proporre una nuova modalit&amp;agrave; che permetta di aggirare le modalit&amp;agrave; narrative di una narrazione lineare a favore di una &amp;laquo;storia senza passato&amp;raquo; (S.&amp;nbsp;MILAN, 2008).&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Parole chiave.&lt;/strong&gt; Futurismo, manifesto, avanguardia, anacronismo, anacronismo, storia&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/60-77-f.-thaury.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 251 Kb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 14:39:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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		<title>01.«Una impressione simile al concetto»: alle origini della riflessione manzoniana su poesia e storia</title> 
		<link>https://atlante.univ-lille.fr/01-una-impressione-simile-al-concetto-alle-origini-della-riflessione-manzoniana-su-poesia-e-storia.html</link>
		<guid>https://atlante.univ-lille.fr/01-una-impressione-simile-al-concetto-alle-origini-della-riflessione-manzoniana-su-poesia-e-storia.html</guid>
		<description>&lt;p&gt;Monica BISI&lt;br /&gt;Universit&amp;eacute; catholique Milan&lt;br /&gt;p.16-27.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Monica BISI, &amp;laquo;Una impressione simile al concetto&amp;raquo;: alle origini della riflessione manzoniana su poesia e storia.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Riassunto. &lt;/strong&gt;Il contributo analizza alcuni frammenti dei fascicoli III e IV dei &lt;em&gt;Materiali estetici&lt;/em&gt; di Manzoni con lo scopo di riportarne alla luce l&amp;rsquo;importanza e il peso anche nella produzione teorica degli anni successivi. In essi, infatti, &amp;egrave; possibile individuare una prima decisiva formulazione della specifica attivit&amp;agrave; del poeta nella sua differenza rispetto allo storico: fedele al dettato aristotelico, l&amp;rsquo;autore attribuisce all&amp;rsquo;arte imitativa il compito di rappresentare non tanto i fatti, quanto i concetti, superando gi&amp;agrave; dagli anni Dieci le posizioni degli &lt;em&gt;id&amp;eacute;ologues&lt;/em&gt; francesi e avvicinandosi alla prospettiva del &lt;em&gt;Cours de litt&amp;eacute;rature dramatique&lt;/em&gt; di Schlegel. La riflessione sulla poesia chiamata a rappresentare, con mezzi suoi propri, l&amp;rsquo;idea della storia, quello che la storia spinge a desiderare, trover&amp;agrave; sviluppo e compimento non solo nella &lt;em&gt;Lettre &amp;agrave; M&lt;sup&gt;r&lt;/sup&gt; Chauvet&lt;/em&gt;, ma soprattutto nelle opere degli anni Cinquanta &lt;em&gt;Del romanzo storico&lt;/em&gt; e &lt;em&gt;Dell&amp;rsquo;invenzione&lt;/em&gt;, a testimonianza della fedelt&amp;agrave; dell&amp;rsquo;autore ad un tema e ad un metodo inaggirabili per chi si misura con la rappresentazione del vero.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Parole chiave. &lt;/strong&gt;Alessandro Manzoni, interesse, verisimiglianza, rappresentazione del concetto, poesia, storia&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Monica BISI, &amp;laquo;&amp;nbsp;Une impression semblable au concept&amp;nbsp;&amp;raquo;&amp;nbsp;: aux origines de la r&amp;eacute;flexion manzonienne concernant la po&amp;eacute;sie et l&amp;rsquo;histoire.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;Le document analyse quelques fragments des fascicules III et IV des &lt;em&gt;Mat&amp;eacute;riaux esth&amp;eacute;tiques&lt;/em&gt; de Manzoni dans le but de mettre en lumi&amp;egrave;re leur importance et leur poids dans la production th&amp;eacute;orique des ann&amp;eacute;es suivantes. En effet, dans ces fragments, il est possible d&amp;rsquo;identifier une premi&amp;egrave;re formulation d&amp;eacute;cisive de l&amp;rsquo;activit&amp;eacute; sp&amp;eacute;cifique du po&amp;egrave;te dans sa diff&amp;eacute;rence avec l&amp;rsquo;historien&amp;nbsp;: fid&amp;egrave;le au canon aristot&amp;eacute;licien, l&amp;rsquo;auteur attribue &amp;agrave; l&amp;rsquo;art imitatif la t&amp;acirc;che de repr&amp;eacute;senter pas tant les faits que les concepts, d&amp;eacute;passant ainsi les positions des id&amp;eacute;ologues fran&amp;ccedil;ais d&amp;egrave;s 1816 et abordant la perspective du &lt;em&gt;Cours de litt&amp;eacute;rature dramatique&lt;/em&gt; de Schlegel. La r&amp;eacute;flexion sur la po&amp;eacute;sie appel&amp;eacute;e &amp;agrave; repr&amp;eacute;senter, avec ses propres moyens, l&amp;rsquo;id&amp;eacute;e de l&amp;rsquo;histoire, c&amp;rsquo;est &amp;agrave; dire ce que l&amp;rsquo;histoire pousse &amp;agrave; d&amp;eacute;sirer, va se d&amp;eacute;velopper et se r&amp;eacute;aliser non seulement dans la &lt;em&gt;Lettre &amp;agrave; M. Chauvet&lt;/em&gt;, mais surtout dans &lt;em&gt;Du roman historique&lt;/em&gt; et dans &lt;em&gt;De l&amp;rsquo;invention &lt;/em&gt;(1850), t&amp;eacute;moignant de la fid&amp;eacute;lit&amp;eacute; de l&amp;rsquo;auteur &amp;agrave; un th&amp;egrave;me et &amp;agrave; une m&amp;eacute;thode indispensables pour ceux qui ont &amp;agrave; faire avec la repr&amp;eacute;sentation de la v&amp;eacute;rit&amp;eacute;.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Alessandro Manzoni, int&amp;eacute;r&amp;ecirc;t, vraisemblance, repr&amp;eacute;sentation du concept, po&amp;eacute;sie, histoire&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Monica BISI, &amp;lsquo;An impression similar to concept&amp;rsquo;: at the origins of Manzoni&amp;rsquo;s reflection on poetry and history.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;The paper analyzes some fragments of fascicles III and IV of Manzoni&amp;rsquo;s &lt;em&gt;Aesthetic materials&lt;/em&gt; with the aim of bring to light their importance and influence also in the theoretical production of the following years. It is indeed possible to identify a first decisive formulation of the specific activity of the poet in its difference from the historian: faithful to the Aristotelian dictate, the author attributes to imitative art the task of representing not the facts, but rather the concepts, surpassing since 1816 the positions of French &lt;em&gt;Id&amp;eacute;ologues&lt;/em&gt; and approaching the perspective of the &lt;em&gt;Cours de litt&amp;eacute;rature dramatique&lt;/em&gt; by Schlegel. The reflection on the poetry called to represent, with its own means, the idea of ​​history, that is what history pushes to desire, will find development and fulfilment not only in the &lt;em&gt;Lettre &amp;agrave; Mr Chauvet&lt;/em&gt;, but especially in &lt;em&gt;The historical novel&lt;/em&gt; and &lt;em&gt;About invention &lt;/em&gt;(1850), testifying the author&amp;rsquo;s fidelity to an indispensable theme and to a needful method for those who measure themselves with the representation of the truth.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Alessandro Manzoni, interest, verisimilitude, representation of the concept, poetry, history&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/16-27-m.-bisi.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 209Kb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 14:10:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
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