{"id":5915,"date":"2020-05-18T21:25:57","date_gmt":"2020-05-18T19:25:57","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=5915"},"modified":"2020-05-18T21:27:56","modified_gmt":"2020-05-18T19:27:56","slug":"5915","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-publication\/5915\/","title":{"rendered":"Culture et mus\u00e9es &#8211; Patrimonialisations de la litt\u00e9rature"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2020-05-18T21:25:57+02:00\">18 mai 2020<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-mediations-memorielles-culturelles-patrimoniales\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/mediations-memorielles-culturelles-patrimoniales\/\" title=\"M\u00e9diations m\u00e9morielles, culturelles et patrimoniales\"><span class=\"termslist-itemname\">M\u00e9diations m\u00e9morielles, culturelles et patrimoniales<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>01\/10\/2020<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type de contribution attendue<\/span><span class=\"doubledot\"><\/span> <strong>Article<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-name\">\n\t\t\t\t\t\t\t<span>Nom de la publication<\/span><span class=\"doubledot\"><\/span> <strong>Culture &#038; Mus\u00e9es<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-editor\">\n\t\t\t\t\t\t\t<span>\u00c9diteur<\/span><span class=\"doubledot\"><\/span> <strong>Avignon Universit\u00e9 et UGA Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-coordinators\">\n<h3 class=\"zn-singledetail-section-title\">Coordinateurs<\/h3>\n<ul class=\"zn-singledetail-coordinators-list\">\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Marcela<\/span> <span>Scibiorska<\/span>, <span>Universit\u00e9 Catholique de Louvain &#8211; UCLouvain<\/span>\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Mathilde<\/span> <span>Labb\u00e9<\/span>, <span>Universit\u00e9 de Nantes<\/span>\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>David<\/span> <span>Martens<\/span>, <span>Universit\u00e9 de Louvain<\/span>\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li>\n\t\t\t\t\t\t\t<span><span>Dominique<\/span> <span>Poulot<\/span><\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"prettylink\" href=\"mailto:culturedominique@gmail.com\">culturedominique@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li>\n\t\t\t\t\t\t\t<span><span>copie<\/span> <span>\u00e0<\/span><\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"prettylink\" href=\"mailto:Culture.Musees@gmail.com\">Culture.Musees@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-annonce wig-content\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-5919 aligncenter\" src=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/2020\/05\/logo-culture-musees.png\" alt=\"\" width=\"197\" height=\"92\" \/><\/p>\n<p>La cristallisation de la litt\u00e9rature dans la m\u00e9moire collective et sa circulation dans l\u2019espace public reposent essentiellement sur de grands noms, de grandes \u0153uvres et forgent une mythologie qui fait l\u2019objet d\u2019une m\u00e9diation sp\u00e9cifique. C\u2019est ce qui fait de la litt\u00e9rature un patrimoine partag\u00e9. Mais comment ce patrimoine se construit-t-il et se diffuse-t-il&#160;?<\/p>\n<p>Pendant longtemps, les \u00e9tudes litt\u00e9raires se sont centr\u00e9es sur l\u2019analyse des \u0153uvres, et des \u0153uvres les plus canoniques en particulier. M\u00eame les \u00e9tudes de r\u00e9ception se consacraient \u00a0le plus souvent \u00e0 la fa\u00e7on dont les \u00e9crivains \u00e9taient re\u00e7us par leurs pairs. Ce n\u2019est que plus r\u00e9cemment que la mani\u00e8re dont les \u0153uvres et leurs auteurs acc\u00e9daient \u00e0 la reconnaissance a \u00e9t\u00e9 interrog\u00e9e, \u00e0 travers les notions de l\u00e9gitimation, de sacralisation ou de canonisation. Depuis une dizaine d\u2019ann\u00e9es, ces ph\u00e9nom\u00e8nes et proc\u00e9d\u00e9s ont \u00e9t\u00e9 envisag\u00e9s comme processus de patrimonialisation, qu\u2019il s\u2019agisse de rendre compte de la pr\u00e9sence de l\u2019\u0153uvre hors du livre (Depoux), son adaptation, sa diffusion via des collections de monographies illustr\u00e9es (Labb\u00e9, Martens, Scibiorska), sa mise en sc\u00e8ne au sein de maisons d\u2019\u00e9crivains (R\u00e9gnier), ou l\u2019entr\u00e9e de l\u2019auteur dans les programmes scolaires et dans la statuaire publique (Labb\u00e9).<\/p>\n<p>La notion de patrimoine, d\u2019abord en usage dans les domaines architectural, naturel et technique, est aujourd\u2019hui r\u00e9guli\u00e8rement utilis\u00e9e dans le domaine des arts et en particulier en litt\u00e9rature, ce qui invite \u00e0 interroger les dynamiques de patrimonialisation propres \u00e0 ce champ et \u00e0 poser la question des instances qui d\u00e9terminent ce ph\u00e9nom\u00e8ne. En effet, ces derni\u00e8res semblent \u00e0 la fois plus nombreuses et moins centrales que les institutions susceptibles de patrimonialiser des ressources naturelles ou des b\u00e2timents situ\u00e9s dans l\u2019espace public, par exemple. Comment la \u00ab&#160;raison patrimoniale&#160;\u00bb (Poulot, 2006) se traduit-elle dans le champ litt\u00e9raire&#160;? Entre cons\u00e9cration et popularisation, la patrimonialisation de la litt\u00e9rature s\u2019effectue par le biais d\u2019un vaste ensemble de discours et d\u2019images, mais aussi \u00e0 travers la th\u00e9saurisation et la s\u00e9lection explicites qu\u2019op\u00e8rent ces institutions diverses \u00e0 l\u2019attention des g\u00e9n\u00e9rations futures, m\u00eame lorsqu\u2019elles pr\u00e9sentent leurs choix comme un simple enregistrement de <em>ce qui r\u00e9siste \u00e0 l\u2019\u00e9preuve du temps<\/em>.<\/p>\n<p>Alors que les politiques patrimoniales engag\u00e9es au XIX<sup>e<\/sup> si\u00e8cle et relanc\u00e9es sous l\u2019impulsion d\u2019Andr\u00e9 Malraux dans les ann\u00e9es 1950 ont \u00e9t\u00e9 suivies d\u2019une diffusion massive, voire d\u2019une banalisation de la notion de patrimoine elle-m\u00eame, les \u00e9tudes concernant la patrimonialisation n\u2019ont v\u00e9ritablement pris leur essor que dans les ann\u00e9es 1990, peu apr\u00e8s la th\u00e9orisation de la post-modernit\u00e9, qui avait mis en \u00e9vidence le r\u00f4le des \u0153uvres du pass\u00e9 dans la cr\u00e9ation contemporaine. \u00c0 partir des travaux de Dominique Poulot en histoire de l\u2019art, de ceux de Jean Davallon en sciences de l\u2019information et de la communication, ou de ceux de Nathalie Heinich en sociologie, par exemple, la notion de patrimonialisation a ainsi \u00e9t\u00e9 explor\u00e9e pour des objets sensiblement distincts de la litt\u00e9rature, rep\u00e9r\u00e9s notamment en raison de leur mat\u00e9rialit\u00e9 marqu\u00e9e et des questions du lien entre patrimonialisation et politiques de conservation. L\u2019histoire de l\u2019art se penche, quant \u00e0 elle, sur l\u2019\u00e9volution de la notion d\u2019\u00ab&#160;objets de m\u00e9moire&#160;\u00bb (Debary et Turgeon) en fonction, notamment, de l\u2019id\u00e9e d\u2019une qualit\u00e9 esth\u00e9tique et d\u2019une r\u00e9ception contextuelle, tout en situant dans l\u2019histoire la naissance d\u2019une distinction entre patrimoine mat\u00e9riel et immat\u00e9riel (Poulot).<\/p>\n<p>Ce dossier s\u2019emploiera \u00e0 r\u00e9pondre \u00e0 ces questions en s\u2019int\u00e9ressant aux m\u00e9canismes qui font de la litt\u00e9rature et des \u00e9crivains des \u00eatres patrimoniaux, ainsi qu\u2019aux modes de diffusion des \u0153uvres et des figures litt\u00e9raires \u00e0 travers diff\u00e9rentes sph\u00e8res m\u00e9diatiques. Trois axes de recherche, non exclusifs les uns des autres, sont envisageables&#160;:<\/p>\n<h2><strong>Axe 1 \u2013 Discours et images <\/strong><\/h2>\n<p>Au-del\u00e0 de la litt\u00e9rature elle-m\u00eame, quels types de discours sont mobilis\u00e9s dans le but de patrimonialiser l\u2019\u0153uvre litt\u00e9raire&#160;? Comment la figure de l\u2019\u00e9crivain et de son \u0153uvre s\u2019y trouvent-elles mises en sc\u00e8ne&#160;? Quelle place et quelles fonctions y sont-elles donn\u00e9es aux images et quels sont les types d\u2019images privil\u00e9gi\u00e9s&#160;? Au-del\u00e0 des seules images, quels sont les modes de patrimonialisation de la litt\u00e9rature qui \u0153uvrent \u00e0 travers une spatialisation, dans l\u2019espace public (\u00e0 travers les monuments, par exemple) comme au sein de lieux de m\u00e9moire tels que les maisons d\u2019\u00e9crivains ou encore \u00e0 l\u2019occasion d\u2019expositions&#160;? Quels sont les principaux mod\u00e8les de ces discours et quelle est leur g\u00e9n\u00e9alogie&#160;? Comment les valeurs symboliques associ\u00e9es \u00e0 la litt\u00e9rature circulent-elles \u00e0 travers ces dispositifs&#160;?<\/p>\n<h2><strong>Axe 2 \u2013 M\u00e9dias<\/strong><\/h2>\n<p>Si la patrimonialisation de la litt\u00e9rature appara\u00eet traditionnellement li\u00e9e au domaine du livre, et plus particuli\u00e8rement \u00e0 la pratique anthologique, que celle-ci s\u2019exerce dans le domaine scolaire ou en dehors, elle est corollairement le fruit d\u2019autres types de discours et se d\u00e9ploie au sein d\u2019autres m\u00e9diums, bien au-del\u00e0 de l\u2019espace proprement \u00ab&#160;litt\u00e9raire&#160;\u00bb. Qu\u2019il s\u2019agisse de publications dans des collections \u00e0 vis\u00e9e canonique, d\u2019expositions consacr\u00e9es \u00e0 la litt\u00e9rature, de lieux de m\u00e9moire litt\u00e9raire (monuments comm\u00e9moratifs concernant les \u00e9crivains\u2026), d\u2019\u00e9missions de radio ou de t\u00e9l\u00e9vision ou encore de biopics ou de fictions cin\u00e9matographiques relatifs \u00e0 des \u00e9crivains, le fa\u00e7onnement et la m\u00e9diation du patrimoine litt\u00e9raire s\u2019op\u00e8re \u00e0 travers diff\u00e9rents types de dispositifs et s\u2019incarne \u00e0 la faveur de sc\u00e9nographies h\u00e9t\u00e9rog\u00e8nes. Comment ces diff\u00e9rents m\u00e9diums mobilisent-ils les outils qui leurs sont propres dans l\u2019objectif de patrimonialisation de la litt\u00e9rature&#160;?<\/p>\n<h2><strong>Axe 3 \u2013 Institutions et r\u00e9seaux <\/strong><\/h2>\n<p>Les processus de patrimonialisation dont la litt\u00e9rature et les \u00e9crivains sont les objets \u00e9manent n\u00e9cessairement d\u2019institutions et d\u2019acteurs li\u00e9s par des interactions r\u00e9gul\u00e9es et relativement norm\u00e9es. Quels sont d\u00e8s lors les espaces, institutions et r\u00e9seaux servant cette patrimonialisation de la litt\u00e9rature et qui en tirent parti en retour&#160;? Quels sont les acteurs et les lieux d\u00e9terminants de ces entreprises et quelles relations entretiennent-ils avec ceux du champ litt\u00e9raire&#160;? Quelles sont leurs interactions<span style=\"text-decoration: line-through;\">\u00a0<\/span>&#160;? Dans quelle mesure les syst\u00e8mes de valeurs de ces champs extra-litt\u00e9raires affectent-ils l\u2019image de la litt\u00e9rature et des \u00e9crivains qu\u2019ils g\u00e9n\u00e8rent et diffusent&#160;? Dans quelle mesure et selon quelles modalit\u00e9s les \u00e9crivains et la litt\u00e9rature sont-ils transform\u00e9s, voire instrumentalis\u00e9s lorsqu\u2019ils sont investis au sein de champs extra-litt\u00e9raires (mus\u00e9e, politique, publicit\u00e9\u2026)&#160;?<\/p>\n<p>&nbsp;<\/p>\n<p>L\u2019\u00e9tude des modes de patrimonialisation de la litt\u00e9rature m\u00e8ne, comme on le voit, \u00e0 une extension du domaine traditionnellement d\u00e9volu aux \u00e9tudes litt\u00e9raires en mettant en lumi\u00e8re la constitution d\u2019un savoir sur l\u2019histoire litt\u00e9raire et culturelle coupl\u00e9 \u00e0 l\u2019\u00e9tablissement d\u2019une affectivit\u00e9 induite par le rapport ainsi institu\u00e9 avec un pass\u00e9 rendu pr\u00e9sent, disponible, et valoris\u00e9. Du c\u00f4t\u00e9 des disciplines qui ont d\u00e9velopp\u00e9 des travaux d\u2019envergure sur le patrimoine et sa constitution, la confrontation avec les objets propos\u00e9s par la patrimonialisation de la litt\u00e9rature et des \u00e9crivains conduit, en raison des n\u00e9cessaires ajustements conceptuels que suppose le recours \u00e0 une notion \u00e9labor\u00e9e pour \u00e9clairer d\u2019autres ph\u00e9nom\u00e8nes, \u00e0 une remise en perspective de la notion elle-m\u00eame et des approches auxquelles elle a jusqu\u2019\u00e0 pr\u00e9sent donn\u00e9 lieu.<\/p>\n<p>Ce dossier de <em>Culture &amp; Mus\u00e9es<\/em> aura pour finalit\u00e9 de pr\u00e9senter ces nouvelles tendances, convergentes dans des champs disciplinaires distincts, en cartographiant leurs lignes de force et en examinant les enjeux \u00e9pist\u00e9mologiques qu\u2019elles soul\u00e8vent, en ce qu\u2019elles engagent l\u2019adoption d\u2019approches interdisciplinaires et de points de vue r\u00e9solument crois\u00e9s. Pour favoriser un tel questionnement, le dossier r\u00e9unira des chercheurs venus d\u2019horizons disciplinaires distincts en les invitant \u00e0 confronter leurs perspectives et leurs objets aux approches d\u00e9velopp\u00e9es non seulement au sein des sciences de l\u2019information et de la communication et des \u00e9tudes litt\u00e9raires, mais aussi dans le cadre des \u00e9tudes culturelles, de l\u2019analyse du discours, de la sociologie, ainsi que de la mus\u00e9ologie.<\/p>\n<p>Appel complet et informations pratiques disponibles au t\u00e9l\u00e9chargement.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-attachedfiles\">\n<h3 class=\"zn-singledetail-section-title\">Fichier(s) attach\u00e9(s)<\/h3>\n<ul class=\"zn-singledetail-attachedfiles-list\">\n<li class=\"zn-singledetail-attachedfiles-item\">\n\t\t\t\t\t\t\t<a class=\"zn-singledetail-attachedfiles-link button outline for-download\" href=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/2020\/05\/aap-culture-musee-38.pdf\" title=\"T\u00e9l\u00e9charger : \u00ab aap-culture-musee-38.pdf \u00bb\" target=\"_blank\" rel=\"noopener noreferrer\"><br \/>\n\t\t\t\t\t\t\t\t<span class=\"button-txt\">aap-culture-muse[&#8230;].pdf<\/span><br \/>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-litterature\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/litterature\/\" title=\"Litt\u00e9rature\"><span class=\"termslist-itemname\">Litt\u00e9rature<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-patrimoine\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/patrimoine\/\" title=\"Patrimoine\"><span class=\"termslist-itemname\">Patrimoine<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 18 mai 2020 Th\u00e9matiques M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 01\/10\/2020 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom de la [&hellip;]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[192,193],"thematique":[38],"sfsic":[],"class_list":["post-5915","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-litterature","tag-patrimoine","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Culture et mus\u00e9es - Patrimonialisations de la litt\u00e9rature<\/title>\n<meta name=\"description\" content=\"Culture et Mus\u00e9e diffuser un appel \u00e0 contribution pour son num\u00e9ro 38, consacr\u00e9 \u00e0 la th\u00e9matique des patrimonialisations de la litt\u00e9rature, Sous la direction de Marcela Scibiorska (Universit\u00e9 de Louvain-la-Neuve), Mathilde Labb\u00e9 (Universit\u00e9 de Nantes) &amp; 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