An Editing Modernism in Canada (EMiC) Colloquium
Paris, France, June 28–30, 2012
L’Institut du Monde Anglophone
Université Sorbonne Nouvelle-Paris 3
Organizing Committee
Marta Dvorak (Sorbonne Nouvelle)
Dean Irvine (Dalhousie)
Kit Dobson (Mount Royal)
Matt Huculak (Dalhousie)
Colloquium Administrator
Emily Ballantyne (Dalhousie University)
Keynote Speaker
Alberto Manguel
When she moved to Paris in 1950, Mavis Gallant followed a route familiar to generations of modernist authors and artists from Canada and around the world. Many of these expatriates returned home and brought with them their impressions of the circles and salons, magazines and publishing houses, bookshops and galleries, stages and ateliers of Paris that facilitated the formation of modernism across the arts and around the globe. Conversely, they imported knowledge of cultural and aesthetic practices—whether from North and South America, the Caribbean, Africa, the South Pacific, or the Pacific Rim—that in turn revolutionized modernism across Europe.
Among Canada’s other modernists who gravitated to Paris in the first half of the twentieth century were writers such as Marius Barbeau, Morley Callaghan, Marcel Dugas, John Glassco, Alain Grandbois, Anne Hébert, Dorothy Livesay, Jean-Aubert Loranger, Gaston Miron, Thérèse Renaud, Mordecai Richler, and Sheila Watson and artists such as Paul-Émile Borduas, Emily Carr, A.Y. Jackson, Fernand Leduc, Alfred Pellan, and Jean-Paul Riopelle. These expatriates gathered with others from around the world in what David Burke has designated as the West’s intellectual capital of the early twentieth century, a global community that contributed to modernism’s articulation across an array of cultural and artistic movements: art nouveau, cubism, Dada, existentialism, Fauvism, magic realism, negritude, ’pataphysics, psychoanalysis, surrealism, theatres of the absurd and cruelty, and so on. A century after the earliest of their transatlantic crossings, we return to commemorate the local, national, international, transnational, and global histories of modernism. In recognition of Paris’s modernist legacies and their links to modernists from North America and elsewhere, this colloquium seeks to bring together scholars whose work investigates and participates in intercultural and transcultural exchanges, interlingual and multilingual translations, intermedial and interdisciplinary cross-fertilizations, as well as international and transnational collaborations. We welcome scholarship that addresses any of the multiple and intersecting modes of modernist cultural production in literature, theatre, the visual arts, and the performance arts.
Staged in one of the historic cities of modernism and in what geographer David Harvey calls one of the capitals of modernity, which facilitated the convergence of global communities, this colloquium also invites the participation of scholars whose work builds and circulates through global networks and digital technologies. We encourage presentations that address issues relevant to the global and digital turns of modernist studies in the twenty-first century, including the transformations of modernist media, the remediation of modernism in new media, the representation and interpretation of modernist aesthetics in innovative reading environments, and the implementation of web-based tools to represent the material conditions and geographic locations of modernism’s production.
Colloque de L’Édition du modernisme au Canada (EmaC)
Paris, France, 28-30 juin, 2012
L’Institut du Monde Anglophone
Université Sorbonne Nouvelle-Paris 3
Comité scientifique
Marta Dvorak (Sorbonne Nouvelle)
Dean Irvine (Dalhousie)
Kit Dobson (Mount Royal)
Matt Huculak (Dalhousie)
Colloque administrateur
Emily Ballantyne (Dalhousie University)
Conférenciere invité
Alberto Manguel
Pendant la première moitié du 20e siècle des générations successives d’écrivains et d’artistes modernistes du Canada mais aussi du monde entier ont gravité vers Paris, reconnue comme la capitale intellectuelle de l’occident. Parmi ceux venus du Canada et du Québec se trouvaient des écrivains tels que Marius Barbeau, Morley Callaghan, Marcel Dugas, Mavis Gallant, Josh Glassco, Alain Grandbois, Anne Hébert, Dorothy Livesay, Jean-Aubert Loranger, Gaston Miron, Thérèse Renaud, Mordecai Richler, et Sheila Watson, ainsi que des artistes comme Paul-Émile Borduas, Emily Carr, A.Y. Jackson, Fernand Leduc, Alfred Pellan, et Jean-Paul Riopelle. Ils ont rejoint une communauté artistique qui déclinait le déferlement du modernisme dans un éventail de courants culturels, allant du cubisme et de la psychanalyse au surréalisme et à l’existentialisme. Un siècle après les tout premiers passages transatlantiques, nous célébrons les histoires locales, nationales, internationales, et interculturelles du modernisme. En hommage au patrimoine moderniste de Paris et avec le premier objectif d’éclairer et de commémorer ses liens aux modernismes de l’Amérique du Nord et d’ailleurs, ce colloque international rassemblera des universitaires et des acteurs du monde de l’édition qui s’intéressent aux problématiques des échanges interculturels, de la traduction inter-langues et multi-langues, des influences interdisciplinaires et intermédiales, et des collaborations trans-nationales et interculturelles.
Les disciplines peuvent se conjuguer parmi les diverses modes de production culturelle qui s’entrecroisent, des arts de la page aux arts de la scène. Comme EMiC/EmaC a comme mandat de promouvoir la diffusion d’œuvres modernistes épuisées ou peu connues, nous appelons la participation de spécialistes de la production et de l’économie numérique globalisée et des technologies digitales, et nous accueillons des communications qui traitent les questions du 21e siècle concernant les transformations des médias et les environnements de lecture innovants, ainsi que la mise en place d’outils Internet susceptibles de représenter les conditions matérielles et les lieux géographiques de production moderniste.