Contemporary Irish poets’ pictorial (self-)portraits

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Le Post-scriptum ou la rhétorique de l’ajout.

International audience; La rhétorique fait bien les choses, si bien qu'elle prévoit même des règles pour ce qui fait suite à l'écriture, pour ce hors-champ de la lettre qu'est le post-scriptum. Épistolaire à l'origine, cette ouverture est offerte à l'épistolier étourdi afin qu'il complète ce qu'il a oublié de mentionner dans le corps de sa lettre ; cet « après » de l'écriture se situe donc en marge du texte, puisqu'il s'inscrit après la signature, tout en étant inclus dans la feuille envoyée au destinataire. Mais la tolérance est toutefois réservée à la correspondance familière, et la longueur de l'ajout doit demeurer inférieure à celle de la lettre qui le précède. En théorie bien sûr, car …

Sean O'Faolain's Creative Marginality

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Lin et lignes retissés : De la réappropriation de l’histoire dans « Cloth » de Rita Duffy et Paul Muldoon

International audience; This paper focuses on Cloth, A Visual and Verbal Collaboration by Paul Muldoon and Rita Duffy. Muldoon’s poetic text and Duffy’s paintings were commissioned by the Millennium Court Arts Centre in Portadown in 2007 to feature in a collaborative exhibition and catalogue under the general banner “Interrogating Contested Spaces in Post-Conflict Society”. Duffy’s images and Muldoon’s prose poem – which subtly echo W.B. Yeats’s poem “Cuchulain Comforted” – are all about delineating and crossing borders between domestic and institutional spaces; personal and political spaces; garments, skin and psyche; violence and peace; etc. Duffy’s images of vestments, shirts or handkerc…

Sean O'Faolain ou "l'identité espacée": Vive Moi! (1965, 1993)

Identité composite et métissage dans « Letter to Friends » de Leontia Flynn

In “Letter to Friends” (Profit and Loss, 2011), a long epistolary poem inspired by Letters from Iceland (1937) by W. H. Auden and Louis MacNeice, Leontia Flynn paints an introspective and retrospective self-portrait in which she examines all the elements that have formed her existence until her recent maternity. The identity that emerges from this intimate inventory is plural, “mixed” or “multi-breed” (Édouard Glissant), the cultural mix resulting not only from history, globalization and travel but also from temporal, linguistic and psychological shifts or ruptures.Flynn’s lyrical and polyphonic (if not cacophonous) piece, bursting with asides, debating a multitude of subjects in an infinit…

Synesthésie / Synaesthesia

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Actaeon Revisited: Seamus Heaney and Sinéad Morrissey Respond to Titian

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Caitrìona O’Reilly : From ecopoetry to ontopoetics

Caitrìona O'Reilly's poetry is remarkable for its attention to the natural world, to fauna, flora, the four elements and landscapes; for its keen sense of nature's superior and mysterious beauty ("Atlantic", "Octopus", "Six Landscapes", "Bee on Agastache") but also fragility ("Polar", "Iceland"). Without question, it can be described as "ecopoetry". I will explore the fundamentals of O’Reilly’s "eco-conscious" and scholarly work, and show how, in her work, "ecopoetry" amounts to "ontopoetics", which is to be understood as "poetics of being". The natural world captured poetically by Caitrìona O'Reilly is a "perceived" world, i.e. a world seen, observed, felt, touched, heard by a subject. The…

Of whales and men: Caitríona O’Reilly’s septentrional voyage in “The Sea Cabinet” (2006)

International audience; The title-poem of Caitríona O’Reilly’s second collection – The Sea Cabinet – is a sequence of five ekphrastic pieces paying tribute to the city of Hull’s past as a major whaling port. As she perambulates through the galleries of the Maritime Museum, the Irish poetess is inspired by all the paraphernalia on display: skeletons of various species of whales, whaler’s tools but also journals, logbooks, paintings, illustrations and hundreds of examples of the folk art and mythemes of the whaler. From one poem to the next, O’Reilly depicts the northernness of the Arctic Ocean as eery but bewitching otherness, focusing on illustrations of Captain Graville’s whaling ship ice-…

Introduction : Puissances de l’informe

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Confession à l'irlandaise

Embodying in Paint: Series by Louis Le Brocquy

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Cris imprimés, cris exprimés : "Signs" et "Self-Made" de Gillian Wearing

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PRESENTATION: THE 2010 WORD & IMAGE CONFERENCE IN DIJON TEXTE ET IMAGE : LA THÉORIE AU 21ème SIECLE WORD AND IMAGE: THEORY IN THE 21 st CENTURY

International audience; Introduction au volume 32 de la revue Interfaces (2011)

Espaces en contrepoint : une esthétique de l’enfermement chez Deirdre Madden

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L’informe. Origines et horizons de création

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Les écrits autobiographiques de Sean O' Faolain: la voix concertante du soliste

Derek Mahon's Literal Littorals

International audience; A transversal reading of Derek Mahon's poems reveals his predilection for coastal landscapes: vistas of sea and seashore, harbour towns or seaside resorts. Suffused as they are with elemental symbolism (waves, wind, rain and storm, rocks, cliffs and misty piers), those liminal spaces take on a metaphysical dimension. The landscapes that the poet invests are the objective correlatives of his sense of alienation and vulnerability; they are mindscapes (paesagio mentale or reflections of the inner self) as much as territories to be paced and explored. This paper thus examines how the natural and the urban, the visual and the acoustic, the a-temporal and the modern or pos…

Irish Self-Portraits: The Artist in Curved Mirrors

International audience; Though Ireland can pride itself on its national self-portrait collection, housed at the University of Limerick, very little research has been done on self-portrayal in Irish literature and visual arts. This absence of scientific investigation is all the more surprising as, as Marie Bourke observes, “self-portrayal is a complex act. The private nature of the task, and the intensity of self-scrutiny that it entails, has challenged artists through the ages. It’s not just a question of self-examination, but a process recording a likeness, the depiction of a psychological state, or social status, or the representation of abstract ideas” (Marie Bourke, Exploring Art at the…

Blessures et sentiments : les poèmes de Sinéad Morrissey

This paper explores the poetry of Sinéad Morrissey (born in Portadown, Northern Ireland, in 1972), one of the most highly regarded of the younger generation of contemporary Irish poets. Taking into account her six collections to date – including There Was Fire in Vancouver (1996), The State of the Prisons (2005), Parallax (2013) and On Balance published in 2017, it examines the great variety of poetical strategies – analogy, metaphor, polysemy, play on form and perspective, pictorialism and iconicity, ekphrasis, etc. – that Morrissey uses to tell of most personal experiences (physical pain, exile, loss, pregnancy and motherhood, confrontation with forms of otherness, states of imprisonment,…

‘Bring out artists ; take music, or the calm light of Dutch interior art...': Derek Mahon's Pictorial Poems

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Utopian Formats: Simon Morley’s “Lost Horizon”

International audience; In “Lost Horizon”, a 2014 ekphrasis, Simon Morley summons up not just one artpiece but several that have all in common to deal with utopia: a fifteenth century traditional Korean handscroll painting by artist Ahn Gyeon entitled A Dream Journey to the Peach Blossom Paradise (1447); René Daumal’s uncompleted surrealist novel Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing (1952); James Hilton’s best-selling novel Lost Horizon (1932) and its Hollywood black and white adaptation by Frank Capra (1938), not to mention philosophical texts by Proudhon or Thomas More.Splicing together Western and Eastern traditions, high and pop…

Cycle de conférences "Emancipation par le savoir", Conférence 1 Erri De Luca

L’université est une fabrique de savoirs et nous, enseignants-chercheurs, sommes les passeurs de ces savoirs. Nous nous inscrivons dans la lignée des philosophes des Lumières qui chérissaient le savoir comme un moyen d’émancipation, l’instruction permettant aux individus d’acquérir les compétences intellectuelles pour se libérer des dominations. Tout comme les Lumières, confrontés aux enjeux de civilisation de notre temps – enjeux climatiques, enjeux géopolitiques, enjeux économiques et énergétiques – nous faisons aussi l’expérience qu’il faut oser le savoir : « Sapere aude ! » nous dit Kant. Le savoir est un défi permanent, une conquête, un manifeste, un commencement jamais une fin ; savoi…

Corpus Dolorosus: Bodies in Sinéad Morrissey's Poetry

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" Les métamorphoses d'Actéon "

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Cycle de conférences "Emancipation par le savoir", Conférence 2 Jörg Lauster

L’université est une fabrique de savoirs et nous, enseignants-chercheurs, sommes les passeurs de ces savoirs. Nous nous inscrivons dans la lignée des philosophes des Lumières qui chérissaient le savoir comme un moyen d’émancipation, l’instruction permettant aux individus d’acquérir les compétences intellectuelles pour se libérer des dominations. Tout comme les Lumières, confrontés aux enjeux de civilisation de notre temps – enjeux climatiques, enjeux géopolitiques, enjeux économiques et énergétiques – nous faisons aussi l’expérience qu’il faut oser le savoir : « Sapere aude ! » nous dit Kant. Le savoir est un défi permanent, une conquête, un manifeste, un commencement jamais une fin ; savoi…