Information on Sessions<\/p>\n\n
1. Water, Knowledge, and Agency in Scientific and Technical Illustration from the Age of the Industrial Revolution<\/p>\n\n
Chairs: Christina Ionescu (Mount Allison University, Canada) & Ann Lewis (Birkbeck University of London, United Kingdom)<\/strong><\/p>\n\n ======As humans grappled with mechanisation and modernisation in the Age of the Industrial Revolution (1760s to 1840s), water emerged from the background to become a key element in scientific and technical illustration. Technological innovations relying on the use of water, such as the stationary steam engine and the spinning frame, were prominently displayed and meticulously explained in encyclopedias, periodicals, and specialised treatises. Through empirical observation, both professional and amateur scientists lavished attention on natural phenomena such as geysers, waterfalls, and stalagmites and stalactites, often documenting their findings not only by conventional textual means but also inventive pictorial ones. At a time when the lack of water facilitated the spread of death and disease in overcrowded cities such as Hogarth\u2019s London, bathing in thermal pools or exposure to seawater, which were strongly advocated in medical literature, were perceived by the wealthy as beneficial to health and healing. And, not surprisingly, prints depicting the age-old cult of water, \u201cwatering-places,\u201d and structures designed to contain or manipulate the flow of mineral water proliferated throughout Europe. Lundi \u2013 Room 1 \u2013 14:00-15:30<\/strong><\/p>\n\n 1. Kevin L. Cope (Universit\u00e9 d\u2019\u00c9tat de Louisiane, \u00c9tats-Unis) : <\/strong>When Watercolor Meets Waterfall \u2013 Or Geyser: Illustrating (and Occasionally Explaining) Extreme Aqueous Environments<\/p>\n\n ======Excerpting, abbreviating, indexing, explaining: all are fundamental to illustration. When \u201cPhiz\u201d illustrates Charles Dickens\u2019s lengthy tales, he sketches incidents at close range; when William Hogarth unveils the \u201cprogress\u201d of rakes, he breaks this sad tale into a series of scenes; when an anonymous eighteenth-century illustrator etches the \u201chistory\u201d of \u201cLouisa,\u201d a mysterious amnesiac woman who inexplicably appeared under a haystack in rural England, the artist offers a single panel showing a hay bale, a shabbily dressed woman, and a few members of the gentry with astonished looks on their privileged faces. This segmenting approach to big stories contrasts with the strategies of prestigious genres such as history painting. Daubers such as Benjamin West or David communicate long and complex stories in one grand canvas. 2. Leigh G. Dillard (Universit\u00e9 de G\u00e9orgie du Nord, \u00c9tats-Unis): <\/strong>The Contemplative Man\u2019s Recreation: Illustrating the Human Element in The Compleat Angler<\/em><\/p>\n\n ======Since its first publication in 1653, Izaak Walton\u2019s The Compleat Angler<\/em>, expanded in 1676 with Part II by Charles Cotton, has charmed critics and practitioners alike. The Platonic dialog between Piscator, the angler\/teacher, and his fellow outdoorsman, Venator, the hunter, features conversations wherein both claim the merits of their chosen sport; the argument quickly swings in favour of the \u201chonest, ingenuous, quiet, and harmless art of Angling\u201d (31). While the text has drawn longstanding attention as both an instructive guide to the particular habits of fish and a not-so-coded discourse on Walton\u2019s own political and religious leanings, this essay focuses on the visual elements of this long-popular work \u2013 from the illustrations of the fish present in its first edition to the addition of anglers in the contemplative action added in the eighteenth century. 3<\/strong>. Laurence Roussillon-Constanty (Universit\u00e9 de Pau et des Pays de l\u2019Adour, France):<\/strong> Spas, Watering-Places and Health in the 19th<\/sup> Century Visual Imagination: Voyage aux Eaux des Pyren\u00e9es<\/em><\/p>\n\n ======In his influential 1845 manual entitled On the Curative Influence of the Climate of Pau, and the Mineral Waters of the Pyrenees, on Diseases<\/em>, Doctor Alexander Taylor not only advertises the virtues of Pau\u2019s climate, but also describes the many ways in which water can be beneficial to both mind and body: \u201cto the invalid the waters of the neighbouring mountains, judiciously used, are of surpassing efficacy in the treatment of membranous disease, and a variety of symptoms which follow in its train, the Pyrenees themselves, an almost unexplored country by the English tourist, afford ample field for recreating the mind and invigorating the body.\u201d In his book as in many literary and visual productions of the mid-nineteenth century ranging from book illustrations to advertising posters through to poems and novels, the many aspects of water are used and sometimes fused to create a romantic and distorted view that conflates folklore, medicine, leisure and imagination, building a strangely sublime and mythical vision of the Pyrenees that functions for the British community as an alternative to the Grand Tour and its crossing of the Alps. Lundi \u2013 Room 1 \u2013 16:00-17:30<\/strong><\/p>\n\n 1. Lauren Beck (Universit\u00e9 Mount Allison, Canada):<\/strong> Water in Seals and Coats of Arms of the Industrial Age and the Politics of Identity and Place in the Americas<\/p>\n\n ======Some of the earliest emblems depicting the transatlantic reaches of European imperial authorities feature water in ways that underline the importance of the Atlantic Ocean in the relationship between the colony and the metropole. By the eighteenth century, however, both colonies and Indigenous peoples increasingly expressed their alienation from authorities in England, France, and Spain, and the representation of water grew political, as much as a factor that had seeped into the identities of people born in the Americas, and literally materialized as a form of eastern border separating the colonized from their imperial overlords. By the dawn of the Industrial Age, moreover, colonies began to seek their independence from Europe in ways that resulted in new visual identities that also foregrounded water. This paper will study emblems ranging from treaty belts and medals to coats of arms as technologies of nation- and peoplehood while trying to understand how the representation of water significantly changes in a seemingly post-colonial milieu associated with these nascent nation states and with Indigenous peoples. During the late eighteenth and early nineteenth century, these groups collectively had or attempted to negotiate their independence and borders in ways that either severed or maintained a safe maritime distance between the Americas and Europe. By studying this phenomenon across the Americas, where countries and peoples experienced the Industrial Revolution at different phases and in distinct ways, we will also expose how industrialization itself comingles with the representation of water and the forward propulsion of collective identity in these identity-driven emblems. <\/p>\n\n 2. Jeanne Britton (Universit\u00e9 de Caroline du Sud, \u00c9tats-Unis): <\/strong>Visualizing Historical Knowledge: Giovanni Piranesi\u2019s Layered Images of Roman Aqueducts<\/p>\n\n ======The Roman aqueduct remains a spectacle of classical aesthetics and engineering. As a subject of visual representation in eighteenth-century technical illustration, the Roman aqueduct and related hydraulic systems prompt design strategies of particular complexity in the work of Giovanni Piranesi (1720-1778). In the great age of the encyclopedia and the illustrated book, Piranesi produced lavish, labyrinthine, and visually-layered works whose graphical and bibliographical features seem to foreshadow elements of digital design in striking ways. Piranesi\u2019s measured architectural views and his excessive referential networks require complex interactions with the spaces of the printed, illustrated book, and these processes of interaction with print media have much to reveal about historical conceptions of knowledge, objectivity, and the imagination. In ways rarely seen outside of rare book rooms, connections between word and image permeate his individual images and his complete corpus through keys, indices, and notes. 3. Catherine J. Lewis Theobald (Universit\u00e9 Brandeis, \u00c9tats-Unis): <\/strong>Picturing Canals, Arteries of a Changing Body Politic in 18th<\/sup> Century France and England<\/p>\n\n ======The frequent presence of sea monsters and swirling maelstroms on medieval and renaissance maps indicates a healthy fear of the world\u2019s waterways. Storms, navigational hazards, and piracy made the movement of trade goods by sea difficult, and tides and congestion problematized river travel. Certain technological advances facilitated the construction of canals in early modern Europe, which culminated in an eighteenth-century \u201ccanal craze,\u201d particularly in England. Canals were stable, controllable waterways that, despite their immense construction hurdles, \u201cpaved\u201d the way for the manufacturing boom of the Industrial Revolution. 2. Imaginaires maritimes et r\u00e9gionalismes c\u00f4tiers dans le texte et l\u2019image (L\u2019Arc Atlantique Nord)<\/p>\n\n Pr\u00e9sidentes de s\u00e9ance : Camille Manfredi (Universit\u00e9 de Bretagne Occidentale, France) & Kimberley Page-Jones (Universit\u00e9 de Bretagne Occidentale, France)<\/strong><\/p>\n\n ======Cet atelier s\u2019int\u00e9ressera \u00e0 l\u2019\u00e9mergence d\u2019imaginaires maritimes r\u00e9gionaux et au r\u00f4le que jouent ces derniers dans l\u2019invention ou la r\u00e9invention des identit\u00e9s c\u00f4ti\u00e8res r\u00e9gionales dans l\u2019Arc Atlantique Nord, dans un contexte marqu\u00e9 par la mont\u00e9e des r\u00e9gionalismes europ\u00e9ens. Il s\u2019agira d\u2019examiner les strat\u00e9gies verbovisuelles d\u2019artistes, autorit\u00e9s locales et activistes issus de r\u00e9gions maritimes telles que la Bretagne, l\u2019Ecosse, l\u2019Irlande, le pays de Galles, les fjords de l\u2019Ouest de l\u2019Islande etc. pour (se) repr\u00e9senter, revisiter et d\u00e9sid\u00e9aliser paysages c\u00f4tiers et patrimoine culturel maritime au moyen de dispositifs inter- ou pluri-m\u00e9diaux engageant le texte, l\u2019image et, le cas \u00e9ch\u00e9ant, le son. L\u2019accent sera mis sur la fa\u00e7on dont ces repr\u00e9sentations permettent aux populations locales de se valoriser en tant que communaut\u00e9s et de reconfigurer leur image entre tradition et innovation en conciliant les paradigmes identitaires port\u00e9s d\u2019une part par le r\u00e9gionalisme et de l\u2019autre par la mondialisation. \u2013 mer et r\u00e9gionalisme dans les photo-textes, film-po\u00e8mes et dispositifs promotionnels<\/p>\n\n \u2013 mer, courants, vagues et mar\u00e9es dans le texte-image : du sentiment d\u2019appartenance au dialogue entre identit\u00e9s nationales et r\u00e9gionales<\/p>\n\n \u2013 r\u00e9-esth\u00e9tisation des techniques de p\u00eache traditionnelles dans le texte et l\u2019image<\/p>\n\n \u2013 repr\u00e9sentation des eaux r\u00e9gionales dans le texte et l\u2019image : entre anthropocentrisme et \u00e9cocentrisme ; nature et culture ; terre et mer, paysage et architecture ; r\u00e9gionalisme et mondialisation<\/p>\n\n \u2013 (se) repr\u00e9senter les identit\u00e9s c\u00f4ti\u00e8res r\u00e9gionales : un enjeu politique ?<\/p>\n\n \u2013 mer, r\u00e9gionalisme et la r\u00e9invention d\u2019un \u00ab pr\u00e9sent permanent \u00bb (Hartog, 2003).<\/p>\n\n Lundi \u2013 Room 2 \u2013 14:00-15:30<\/strong><\/p>\n\n 1. Lindsay Blair (University of the Highlands and Islands, Royaume-Uni):<\/strong> The Ring Net: Angus Martin and Will Maclean<\/p>\n\n ======I propose to look at the word-image responses of Angus Martin and Will Maclean to the subject of Ring Net Herring Fishing \u2013 a method of fishing which began in Loch Fyne in the 1840s and from there extended northwards to the Minches and then to the East Coast of Scotland. Martin and Maclean first collaborated on the subject with the far-reaching exhibition of The Ring Net at the Third Eye Centre in Glasgow in 1978. The research for the exhibition was not confined to the fishermen and their methods of fishing but with other associated industries: the design of the fishing boats, boatbuilding, engineering, sail-making, net making, curing, gutting and packing. In many ways the vast scale of the project was driven by a relentless drive for documentary accuracy. Maclean and Martin had worked as fishermen which directly influenced their methods of collecting information and their concerns about the reception of the exhibition by an informed audience of the fishing communities themselves. The fact, though, that this multi-media exhibition was mounted first of all at an influential centre for contemporary art, the Third Eye Centre (Glasgow), was clear indication of its radical signification as subject for aesthetic contemplation. Maclean and Martin have continued to collaborate in a number of literary and visual juxtapositions, especially in book form, innovating and enlarging the signifying potential of the subject far beyond its original commercial\/industrial origins, evoking aspects of Conceptual Art and Surrealism alongside elements of the anthropological, the analogical, the haptic\/material and the intertextual as well as the complex crossover areas of metaphor and symbol in word and image. <\/p>\n\n 2. <\/strong>Philippe Laplace (Universit\u00e9 de Franche-Comt\u00e9, France):<\/strong> Picturing St Kilda: Tourism and the Evolution of Visual Representation of the Archipelago from the 19th<\/sup> to the 21st<\/sup> Century<\/p>\n\n ======The now uninhabited archipelago of St Kilda is the most remote territory in the British Isles. It was awarded the rare dual UNESCO World Heritage status (natural landscape, 1986, and cultural landscape, 2005). This paper will examine how the visual representations of the archipelago and its inhabitants have evolved from the nineteenth to the twenty-first century, first from drawings by travel writers and naturalists, then photographs taken by amateur or professional photographers to a \u201csandbox\u201d Minecraft video game in 2017. Through this multimedia approach we will see the various representations of the rugged environment and austere life on St Kilda and we will examine how these visual representations have participated, and contributed, to the fascination for the archipelago that was first developed by travel writers and became \u201cpostmemory\u201d fragments after the 1930 evacuation. 3. Monika Szuba (Universit\u00e9 de <\/strong>Gda\u0144sk, Pologne): <\/strong>\u201cReimagining Marine Energy: Tidal Rhythms in Alec Finlay\u2019s Collaborations\u201d<\/p>\n\n ======Inscribed in research on marine energy and introduced as \u201cthe world\u2019s first poetic primer on marine renewable energy\u201d, Ebban an\u2019Flowan<\/em> (2015), a book by Alec Finlay and Laura Watts, with photographs by Alistair Peebles, demonstrates an artistic engagement with tidal power. The book\u2019s focus is regional, based in the Orkney Islands around the European Marine Energy Centre Billia Croo, yet the use of maritime dialect, with words from several Norse languages points to the connections between Scotland and the Nordic countries. The paper focuses on the ways in which, by combining poetry, myth and photography with technology, Ebban an\u2019Flowan<\/em> imagines a world beyond petrocultures. <\/p>\n\n 3. Fronti\u00e8res fluides : l\u2019eau comme m\u00e9taphore et mati\u00e8re<\/p>\n\n Pr\u00e9sidente de s\u00e9ance : Ila Nicole Sheren (Universit\u00e9 de Washington St. Louis, \u00c9tats-Unis)<\/strong><\/p>\n\n ======L\u2019eau est une m\u00e9taphore tr\u00e8s r\u00e9pandue des fronti\u00e8res et, paradoxalement, \u00e0 la fois de leur effacement. Pensons aux s\u00e9quelles de l\u2019ouragan Katrina de la Nouvelle-Orl\u00e9ans en 2005, qui a exacerb\u00e9 les in\u00e9galit\u00e9s structurelles et les divisions urbaines plut\u00f4t que de les aplanir. Ou pensons \u00e0 la question des eaux sacr\u00e9es pollu\u00e9es telles que le Gange, la Yamuna, le Jourdain ou le Nil : con\u00e7ues comme intrins\u00e8quement pures, mais n\u00e9anmoins souill\u00e9s par des d\u00e9chets urbains et des effluents industriels. Dans ces cas, l\u2019eau signe en m\u00eame temps une ligne de d\u00e9marcation et un point de contact entre le spirituel et le profane. Dans l\u2019art et la litt\u00e9rature romantique, la mer est interpr\u00e9t\u00e9e comme une limite entre l\u2019humain et le sublime, nature impitoyable. Or l\u2019on voit que les oc\u00e9ans du 21i\u00e8me <\/sup>si\u00e8cle sont colonis\u00e9s par le micro-plastique, le plus banal des d\u00e9chets humains. De tels exemples sont \u00e9loquents du fait que l\u2019eau, sous forme d\u2019oc\u00e9an, de rivi\u00e8res, de bassins hydrologiques ou autres dispositifs, est mat\u00e9riellement et discursivement constitu\u00e9 (dans les termes de Karen Barad : entrelac\u00e9). Lundi \u2013 Room 3 \u2013 14:00-15:30<\/strong><\/p>\n\n 1. Ashley Mason (Universit\u00e9 de Newcastle, Royaume-Uni):<\/strong> Drip\/Drip\/Intercede<\/p>\n\n ======The Svalbard Global Seed Vault (SGSV) is encased deep within a mountain. Inside, the world\u2019s seeds await our demise, hidden away in an icy full-stop that seeks to freeze out the surrounding landscape. Its entryway, situated 130m above sea level and projecting outward from the permafrost, is intended to be protected from the predicted turbulent rise of our oceans. But it may not be safe from the surrounding permafrost. This permafrost, once viewed as a stable and protective boundary, is thawing in a changing, warming climate\u2014the water is seeping in. 2. <\/strong>Pierre-Emmanuel Perrier de La B\u00e2thie (Institut Catholique de Paris, France):<\/strong> L\u2019eau et le corps chez Bruce Nauman : la fontaine comme forme artistique contemporaine<\/p>\n\n ======La fontaine rev\u00eat depuis longtemps un enjeu social majeur. L\u2019importance vitale de l\u2019eau, \u00e0 laquelle elle donne acc\u00e8s, l\u2019a investie d\u2019une dimension symbolique \u2013 si ce n\u2019est mystique ou religieuse \u2013, tout autant dans l\u2019espace physique urbain que dans la culture populaire. Sculpteurs et architectes de renom ont \u00e9t\u00e9 convoqu\u00e9s pour mettre en sc\u00e8ne ces environnements, adaptant compositions et d\u00e9cors aux sujets aquatiques. Laissant libre cours \u00e0 leur cr\u00e9ativit\u00e9, les artistes contemporains se sont \u00e9galement empar\u00e9s de cet objet sculptural\/architectural, dont la fonction est devenue presque purement esth\u00e9tique. La Fontaine Stravinski r\u00e9alis\u00e9e \u00e0 Paris par Niki de Saint Phalle et Jean Tinguely ou les Nine Floating Fountains <\/em>d\u2019Isamu Noguchi \u00e0 Osaka illustrent, entre autres exemples, ce propos. 4. L\u2019eau vectrice d\u2019image : d\u00e9passer l\u2019insaisissable<\/p>\n\n Pr\u00e9sident de s\u00e9ance : S\u00e9bastian Thiltges (Universit\u00e9 du Luxembourg, Luxembourg) ======Repr\u00e9senter l\u2019eau met \u00e0 l\u2019\u00e9preuve : de la vague au torrent, en passant par son rapport fractal aux c\u00f4tes, plages et m\u00e9andres, l\u2019eau change d\u2019\u00e9tat, de forme et de comportement. Avec elle changent les mots, les techniques et sensibilit\u00e9s qui la figurent. Cela entra\u00eene une profonde modification du cadre \u00e9pist\u00e9mologique et un d\u00e9fi esth\u00e9tique for\u00e7ant la cr\u00e9ativit\u00e9. Ainsi, l\u2019eau et la mer, figur\u00e9es par les textes, images et cartes constituent \u00e9galement un formidable r\u00e9flecteur de l\u2019espace int\u00e9rieur, confinant au territoire tant il est propre \u00e0 chacun. Instable, inconnu ou parcouru par tous, romantique ou rassurant, source de tension comme de stase de l\u2019image, il n\u2019y a pas qu\u2019une m\u00e9taphore de l\u2019eau. Lundi \u2013 Room 4 \u2013 14:00-15:30<\/strong><\/p>\n\n 1. Marc Courtieu (Universit\u00e9 de Haute-Alsace, France):<\/strong> De la vague<\/p>\n\n ======Si l\u2019eau est d\u00e9j\u00e0 objet fuyant, rebelle \u00e0 toute prise, que dire de la vague ? Toute contradiction, elle est \u00e0 la fois insaisissable et d\u2019une pr\u00e9sence \u00e9crasante, doucement ber\u00e7ante ou violemment d\u00e9vastatrice. 2. Sofia Felopoulou (Universit\u00e9 nationale et capodistrienne d\u2019Ath\u00e8nes, Gr\u00e8ce) : <\/strong>Mots et images de l\u2019eau et de la mer dans l\u2019\u0153uvre th\u00e9\u00e2trale de Samuel Beckett<\/p>\n\n ======Bien que les exemples donn\u00e9s se r\u00e9f\u00e8rent au XVIIIe<\/sup> si\u00e8cle et au romantisme, mon sujet se focalise sur un auteur du XXe<\/sup> si\u00e8cle, car l\u2019eau comme \u00e9l\u00e9ment esth\u00e9tique y est pr\u00e9sent et j\u2019y trouve les images de vie et de mort, de terre ferme et de la mer mouvante. 3. <\/strong>Armand Erchadi (University of Luxembourg, Luxembourg) : <\/strong>L\u2019\u00e9pop\u00e9e de l\u2019eau : \u00e0 propos des Lusiades <\/em>de Cam\u00f5es<\/p>\n\n ======Gaston Bachelard montre que l\u2019eau, \u00e9l\u00e9ment essentiellement f\u00e9minin, maternel et nourricier dans l\u2019imaginaire, prend quelquefois des traits masculins, antagonistes et col\u00e9riques : ce changement de sexe intervient notamment dans le genre \u00e9pique \u2013 \u00ab pas d\u2019\u00e9pop\u00e9e sans une sc\u00e8ne de temp\u00eate \u00bb (L\u2019Eau et les R\u00eaves)<\/em>. Mircea Eliade oppose pareillement, dans son Trait\u00e9 d\u2019histoire des religions, <\/em>\u00ab l\u2019ensemble Eau-Lune-Femme \u00bb, qualifi\u00e9 de \u00ab circuit anthropocosmique de la f\u00e9condit\u00e9 \u00bb, au \u00ab profil masculin accentu\u00e9 \u00bb de la mer furieuse, incarn\u00e9 dans la mythologie grecque par le dieu Pos\u00e9idon. 5. Le septi\u00e8me art explore le septi\u00e8me continent : nouveau miroir de notre devenir<\/p>\n\n Pr\u00e9sident de s\u00e9ance : Thierry Azzopardi (PhD Sorbonne, Metteur en sc\u00e8ne, Nice, France)<\/strong><\/p>\n\n ======Le cin\u00e9ma a largement exploit\u00e9 l\u2019imaginaire de l\u2019\u00e9l\u00e9ment aquatique. Le cin\u00e9ma lui-m\u00eame ne tire-t-il pas son secret d\u2019une \u00ab m\u00e9canique des fluides \u00bb, un encha\u00eenement logique ou mystique de photogrammes ? Les abysses de l\u2019eau renvoient souvent aux myst\u00e8res insondables de l\u2019\u00e2me humaine. D\u2019autres pr\u00e9f\u00e8rent croire que l\u2019eau est un lieu encore inconnu peupl\u00e9 de monstres incroyables (Le Loch Ness), de cit\u00e9s parfois (L\u2019Atlantide). Si on regarde de plus pr\u00e8s, l\u2019eau et le cin\u00e9ma entretiennent une relation \u00e9troite, comme un jeu de miroir soci\u00e9tal. L\u2019eau, n\u00e9cessaire \u00e0 Narcisse pour se trouver beau, renvoie souvent avec le septi\u00e8me art \u00e0 notre inconscient collectif. En t\u00e9moigne ce tr\u00e8s bel ouvrage d\u2019\u00c9ric Thouvenel sur Les images de l\u2019eau dans le cin\u00e9ma fran\u00e7ais des ann\u00e9es 20<\/em>. Epoque o\u00f9 l\u2019imaginaire aquatique projette la f\u00eate des sens et la glorification de l\u2019image mouvement qui en rend compte. Lundi- Room 2 \u2013 16:00-17:30<\/strong><\/p>\n\n 1. Charlotte Bank (Historienne de l\u2019art et commissaire d\u2019exposition ind\u00e9pendante \u00e0 Berlin, Allemagne):<\/strong> The Sea as a Metaphor for Critique in Contemporary Middle Eastern Art<\/p>\n\n ======For numerous contemporary Middle Eastern artists, the sea, especially the Mediterranean, represents a powerful metaphor for the global divisions between North and South, rich and poor, privileged and marginalized, but also for dreams and aspirations. For example, in her work Middle Sea<\/em> (2008), Algerian artist Zineb Sedira explores the sea as a territory of connection and location of travel memories, reflecting her own and her family\u2019s journeys back and forth, between places of birth, work and reunions. Her Lighthouse in the Sea of Time<\/em> (2011) reflects on the history of lighthouses built by the French colonizers in Algeria, symbols of modernity, progress and security, but also surveillance and loneliness of human existence. Referencing the classical myth of Icarus, who fell into the sea when his waxen wings melted, the installation Crossing Mediterranea<\/em> (2009) by the Lebanese artist Salah Saouli reflects on the lost dreams of those who try to cross the sea in search of a better life and safety from war and conflict, a subject that still remains hauntingly topical. In Iranian artist Shirin Neshat\u2019s film Rapture<\/em> (1999), while basically a reflection on the separated social spaces of men and women and the rituals defining them, the sea can be read as a metaphorical space of escape or possibly spiritual exploration as a group of women move towards it. 2. Francesca Gallo (Universit\u00e9 de Rome \u00ab La Sapienza \u00bb, Italie):<\/strong> Entre symbole et territoire : l\u2019eau, les rivi\u00e8res et les mers dans l\u2019art vid\u00e9o italien<\/p>\n\n ======L\u2019eau a longtemps \u00e9t\u00e9 un th\u00e8me de pr\u00e9dilection dans l\u2019art vid\u00e9o : en Italie, par exemple, Fabrizio Plessi l\u2019a choisie comme m\u00e9taphore du support \u00e9lectronique depuis les ann\u00e9es 1970 pour sa plasticit\u00e9 et son mouvement continu. Au cours des d\u00e9cennies suivantes, l\u2019eau dans ce domaine artistique prit diff\u00e9rentes significations: Ottonella Mocellin et Grazia Toderi en explor\u00e8rent les aspects autobiographiques, avec des r\u00e9f\u00e9rences \u00e9galement au genre. Dans les m\u00eames ann\u00e9es 1990, Federica Marangoni et surtout Silvia Stucky l\u2019ont abord\u00e9e avec une nouvelle sensibilit\u00e9 \u00e9cologique. Et au cours de la derni\u00e8re d\u00e9cennie, Martina Melilli, par exemple, s\u2019est concentr\u00e9e sur la mer M\u00e9diterran\u00e9e au quotidien mise au d\u00e9fi des migrants, cimeti\u00e8re invisible d\u2019une guerre silencieuse et cruelle. 3. Astrid Zenkert (Universit\u00e9 de Stuttgart, Allemagne)<\/strong>: Ocean without a Shore: <\/em>Water as Fluid Border and Zone of Transformation in Bill Viola\u2019s Video Installations<\/p>\n\n ======Water often plays a central role in the art of Bill Viola. In some of his video installations, water serves to represent the sphere in which transcendental meditation and medial self-reflection intersect. In Ocean without a Shore,<\/em> created for the 2007 Biennale, this artistic function of the liquid element is condensed in an emblematic way. 6. Repr\u00e9senter la fin du monde : il est temps d\u2019ouvrir les yeux<\/p>\n\n Pr\u00e9sident de s\u00e9ance : Julien Jeusette (Universit\u00e9 de Milan, Italie)<\/strong><\/p>\n\n ======Au fil des si\u00e8cles, les artistes ont essay\u00e9 de repr\u00e9senter un monde sur lequel les forces de la nature se seraient d\u00e9cha\u00een\u00e9es dans toute leur fureur. L\u00e9onard de Vinci s\u2019y est employ\u00e9 dans une s\u00e9rie d\u2019\u0153uvres ex\u00e9cut\u00e9es dans les derni\u00e8res ann\u00e9es de sa vie en France (vers 1517-18). De m\u00eame, Albrecht D\u00fcrer a explor\u00e9 des visions cataclysmiques dans sa s\u00e9rie Apocalypse <\/em>(1498) mais \u00e9galement dans une aquarelle \u00e9nigmatique de 1525 repr\u00e9sentant un d\u00e9luge r\u00eav\u00e9. Cette session se propose, d\u2019une part, de retracer l\u2019histoire des images qui mettent en sc\u00e8ne la fin du monde : d\u00e9luges, raz de mar\u00e9e et autres cataclysmes ; de l\u2019autre, elle compte faire le point sur la recherche consacr\u00e9e \u00e0 la figuration r\u00e9cente ou moins r\u00e9cente de catastrophes naturelles qui provoquent des alt\u00e9rations de notre environnement. Lundi- Room 3 \u2013 16:00-17:30<\/strong><\/p>\n\n 1. <\/strong>Pamela Krause (Universit\u00e9 Paris Sorbonne \/ Paris IV, France):<\/strong> Ode \u00e0 l\u2019amertume du monde chez Saint-John Perse<\/p>\n\n ======L\u2019\u00e9loge se d\u00e9finit comme une c\u00e9l\u00e9bration n\u00e9e d\u2019une vigoureuse admiration. Savourer et c\u00e9l\u00e9brer pleinement une circonstance impliquent une pleine compr\u00e9hension de sa port\u00e9e, d\u2019en cerner la situation : un \u00e9v\u00e8nement baigne dans une atmosph\u00e8re et occupe une place dans le tissu du monde\u2014 lequel s\u2019organise de sorte \u00e0 permettre le surgissement d\u2019un contexte c\u00e9l\u00e9bratif. Ainsi, outre la circonstance (politique, amoureuse ou athl\u00e9tique), l\u2019\u00e9lan encomiastique pr\u00e9suppose \u00e0 notre sens une raison essentielle, port\u00e9 par une Weltanschauung<\/em> qui en constitue la condition de possibilit\u00e9 : le sentiment d\u2019adh\u00e9sion \u00e0 un \u00ab cosmos \u00bb en vertu d\u2019un accord harmonieux qui sous-tend la totalit\u00e9 de l\u2019\u00eatre et qui en relie les niveaux. Le monde est donc dot\u00e9 d\u2019une bont\u00e9 ontologique, rendu coh\u00e9rent par une instance divine et spirituelle, rejaillissant en beaut\u00e9 sur chaque \u00e9l\u00e9ment chant\u00e9. Saint-John Perse reprend l\u2019h\u00e9ritage grec (notamment pindarique) et jud\u00e9o-chr\u00e9tien de l\u2019\u00e9loge, rapport\u00e9 \u00e0 la mer dans son recueil Amers<\/em>. La mer est en effet l\u2019objet d\u2019un \u00e9loge, renvoyant \u00e0 la beaut\u00e9 d\u2019un cosmos ordonn\u00e9 et rassurant. Amer signifie en effet d\u2019abord un objet fixe et visible servant de point de rep\u00e8re pour la navigation ; le po\u00e8me se fait donc v\u00e9ritable voyage maritime, plong\u00e9e heureuse et sensible dans le corps liquide du monde. La navigation du po\u00e8te dans le monde est donc conduite par un sens\u2014par une direction et une signification. Toutefois, Amers<\/em> ne laisse-t-il pas entendre une amertume, une angoisse secr\u00e8te suscit\u00e9e par l\u2019immensit\u00e9 sublime de la mer ? <\/p>\n\n 2. Laurence Petit (Universit\u00e9 Paul-Val\u00e9ry \/ Montpellier III, France): <\/strong>From the \u201cShipwreck of Knowledge\u201d to the Necessity of \u201cBeing-in-the-World\u201d: John Banville\u2019s Ghosts<\/em><\/p>\n\n ======Irish writer John Banville\u2019s 1993 novel Ghosts <\/em>\u2013 the second in a trilogy composed of The Book of Evidence, Ghosts<\/em>, and Athena <\/em>\u2013 opens in rather opaque fashion with a group of grumbling pleasure-boaters whose watercraft has run aground on a sandbank off the shore of an island, and who are making their way up the dunes in search of help. The final pages of the novel stage the same castaways walking back down to their boat after being stranded on the island for just one day. An anonymous, omniscient narrator, introducing himself as \u201cLittle god\u201d, describes their arrival and abruptly shifts the perspective to present the story as a tale of creation, befittingly set on a spring morning in late May. The creation of the textual island in the incipit is thus duplicated by the creation of a diegetic \u201clittle world\u201d which itself resonates with the arrival of other characters, pictorial ones this time, to the island of \u201cCythera\u201d in the two eponymous paintings by 18th<\/sup>-century French painter Antoine Watteau, Pilgrimage to Cythera <\/em>and Embarkation to Cythera<\/em>. Many critics have deftly commented upon the highly parodic aspect of Banville\u2019s iconotextual prose, which places these paintings as arch referents in a text laden with pictorial and literary echoes, and constantly blurring the limits between truth and lies, reality and fiction. Drawing from Tony E. Jackson\u2019s \u201cScience, Art, and the Shipwreck of Knowledge: The Novels of John Banville\u201d, as well as philosophers Nietzsche and Heidegger, I wish to show how Banville, through a deliberate aesthetics of opacity and indeterminacy, re-appropriates the literary motif of the shipwreck and the topos of the island, as well as the pictorial genre of the seascape \u2013 or \u201cislandscape\u201d \u2013 to produce a complex, both ludic and profound tale which goes beyond a mere postmodern recycling experiment to promote what we might be tempted to see as a new, vital form of \u201cBeing-in-the World\u201d. <\/p>\n\n 3. Silvia Riccardi (Universit\u00e9 de Fribourg-en-Brisgau, Allemagne):<\/strong>\u2018To the curst strand:\u2019 Water and Punishment in Blake\u2019s Illustrations of Dante\u2019s Inferno<\/em><\/p>\n\n ======At the crossroads of myth and reality, Dante\u2019s journey in the otherworld is articulated in the crossing of five rivers. Water flows in streams, stagnates in swamps, evaporates in fumes, and freezes in lakes. In its various states, water becomes a means of punishment against the damned, an element which substantiates the consequences of the divine judgement. Four centuries after Dante, the topographic reality of the Commedia<\/em> was iconically illustrated in pencil and watercolor by the London poet, painter, and engraver William Blake. While overall following the text closely, the artist still challenges it. Water appears as a hostile element turned into ice, mud, and blood, but how does it pictorially foreshadow the apocalyptic scenarios presented in the Commedia<\/em>? This study will explore Blake\u2019s rendering of waters in Inferno<\/em> with a comparative approach to Dante\u2019s poem. In light of the mythical and religious quality of water in Dante, the present discussion will focus on Blake\u2019s methods of representations as a means of manifesting his own views on the function of water and apocalypse in the Dantesque underworld. <\/p>\n\n 7. Figurations de l\u2019eau. Femmes et polymorphismes aquatiques dans les arts <\/p>\n\n Pr\u00e9sidente de s\u00e9ance : H\u00e9l\u00e8ne Barthelmebs-Raguin (Universit\u00e9 du Luxembourg, Luxembourg)<\/strong><\/p>\n\n ======Parmi tous les topo\u00ef <\/em>rattach\u00e9s traditionnellement aux femmes, l\u2019eau fait partie des plus communs. D\u00e8s que l\u2019on se tourne vers les arch\u00e9types symboliques, l\u2019eau se fait non seulement nourrissante et abreuvante, mais aussi violente et mortif\u00e8re, ce qui souligne son caract\u00e8re f\u00e9minin profond\u00e9ment complexe, \u00e0 la fois maternel et fatal. \u00ab Elle est un \u00e9l\u00e9ment plus f\u00e9minin et plus uniforme que le feu \u00bb, nous rappelle Gaston Bachelard dans L\u2019Eau et les r\u00eaves. Essai sur l\u2019imagination de la mati\u00e8re <\/em>(1942). Que l\u2019on pense au r\u00e9cent film de Guillermo del Toro The Shape of water <\/em>(2017), au dessin anim\u00e9 de Hayao Miazaki Le Voyage de Chihiro <\/em>(2001) ou encore au tableau de Sandro Botticelli La Naissance de V\u00e9nus <\/em>(1484-1485), force est de constater la nature ambivalente de l\u2019eau. Les sir\u00e8nes, ondines, na\u00efades et diverses nymphes qui peuplent les imaginaires de Rimbaud ou de Man Ray renversent \u00e9galement les crit\u00e8res du bien et du mal, de la force et de la faiblesse, de la s\u00e9duction et de la dangerosit\u00e9. Lundi \u2013 Room 4 \u2013 16:00-17:30<\/strong><\/p>\n\n 1. Timothy Erwin (Universit\u00e9 du Nevada \u00e0 Las Vegas, \u00c9tats-Unis): <\/strong>Jane Austen\u2019s Oceans<\/p>\n\n ======The sea makes several appearances in the fiction of Jane Austen, from Thomas Parker\u2019s plan to develop a bathing resort in the unfinished novel Sanditon<\/em> to the return of naval officer Frederick Wentworth to Bath in Persuasion<\/em>. In both novels the sea features at first as a profitable venture led by men. With the help of Lady Denham, Parker hopes to make his fortune from the new tourist industry of sea bathing. Frederick Wentworth has made a fortune at sea by capturing French vessels and taking a scaled portion of the prize money. His success is contrasted to the declining fortunes of the Elliot family, a part of the landed gentry. We meet the Elliots with the opening of the narrative contemplating the necessity of retrenchment. By the close we understand that Anne Elliot has made a wager with the sea, throwing caution to the winds by casting her lot with Frederick to live aboard the vessel he commands. Land and sea are thus placed in sharp binary opposition, one linked to tradition and custom, the other to enterprise and innovation, one expressed in the fickleness of vision and the other in the steadfastness of language. 2. B\u00e9atrice Laurent (Universit\u00e9 Bordeaux Montaigne \/ Bordeaux III, France): <\/strong>The Woman-in-a-shell Motif in 19th<\/sup> Century Western Art<\/p>\n\n ======Since Antiquity, Woman has been associated with water in art and mythology. The legendary Venus, born out of the sea-foam, embodies the elemental link between femininity and fluidity. One of the most potent representations of the goddess is undoubtedly Sandro Botticelli\u2019s Birth of Venus<\/em> (1484-1485). Yet, the universal fame that the painting enjoys now is relatively new. Indeed, Botticelli\u2019s Venus was kept away from public attention for over three centuries, and only resurfaced as a significant masterpiece in the mid-nineteenth century, after Alexis-Fran\u00e7ois Rio\u2019s La Po\u00e9sie chr\u00e9tienne<\/em> (1836), was translated into many European languages. This rediscovery was timely as it corresponded to contemporary interests in the sea, in mythology, and in the redefinition of femininity. 3. <\/strong>Catriona MacLeod (Universit\u00e9 de Chicago, \u00c9tats-Unis):<\/strong> Women Underwater in Nazi Cinema<\/p>\n\n ======Nazi cinema makes something of a fetish of drowning or aquatic women. From Nazi star Kristina S\u00f6derbaum, who drowned in so many films that she was known as the \u201cReichswasserleiche\u201d (drowned corpse of the Reich), to director Leni Riefenstahl\u2019s postwar career as a diver and documentarian of the underwater realm. In these two cases, going underwater serves in the first instance as a punishment for female desire, but, in the second, as a vector for female evasion. According to definitions of fascist aesthetics such as those of Friedl\u00e4nder, water and sacrificial death are common denominators. Yet the formlessness of water also seems to resist the drive to form that we expect of Nazi visual representation. My presentation examines several of the star vehicles of S\u00f6derbaum, from Jud S\u00fcss<\/em> (1940) to Opfergang<\/em> (The Great Sacrifice<\/em>, 1944) and seeks to complicate her repeatedly enacted drowning by discussing how her final Nazi-era film, Kolberg<\/em> (1945, the final film of the Nazi era), again directed by her director husband Veit Harlan, strategically removes her character, Maria, from watery peril. Indeed, Maria\u2019s sexuality is neutralized at the edge of water as she is substituted in drowning by her homosexual brother, Klaus. <\/p>\n\n 8. La mer dans l\u2019hagiographie et l\u2019iconographie des saints chr\u00e9tiens<\/p>\n\n Pr\u00e9sident de s\u00e9ance : Massimo Leone (Universit\u00e9 de Turin, Italie & Universit\u00e9 de Shanghai, Chine)<\/strong><\/p>\n\n ======La mer comme voie de transport ou comme ressource mat\u00e9rielle a \u00e9t\u00e9 et est encore centrale dans plusieurs communaut\u00e9s humaines et quant \u00e0 leurs besoins \u00e9conomiques \u00e0 travers les si\u00e8cles et les \u00e2ges. Il n\u2019est pas surprenant, d\u00e8s lors, que tant de miracles et myst\u00e8res de saints chr\u00e9tiens soient li\u00e9s \u00e0 la mer, aient lieu en mer, et souvent transforment la mer en un pieux alli\u00e9 de l\u2019activit\u00e9 sainte. Depuis Pierre Nolasque qui utilisa son manteau pour croiser la M\u00e9diterran\u00e9e jusqu\u2019\u00e0 Francois Xavier qui re\u00e7ut un crucifix perdu d\u2019un crabe sacr\u00e9, les \u00e9pisodes hagiographiques impliquant la pr\u00e9sence favorable de la mer abondent. L\u2019iconographie de ces anecdotes prodigieuses et miraculeuses est \u00e9galement tr\u00e8s riche. Mardi \u2013 Room 1 \u2013 14:00-15:30<\/strong><\/p>\n\n 1. Vincent Gr\u00e9goire (Berry College G\u00e9orgie, \u00c9tats-Unis): <\/strong>Marie de l\u2019Incarnation ou l\u2019iceberg miraculeusement \u00e9vit\u00e9<\/p>\n\n ======Marie Guyart dite de l\u2019Incarnation (1599-1672), m\u00e8re, veuve, puis religieuse et missionnaire en Nouvelle-France o\u00f9 elle fonde le couvent des ursulines de Qu\u00e9bec en 1639, raconte dans sa correspondance le naufrage \u00e9vit\u00e9 in extremis<\/em> avec un iceberg lors de sa travers\u00e9e de l\u2019Atlantique. Cette \u00ab glace \u00bb, explique-t-elle, ressemble \u00e0 une ville fortifi\u00e9e de type m\u00e9di\u00e9val : \u00ab elle \u00e9toit grande comme une Ville escarp\u00e9e, & munie de ses deffences. Il y avoit des avances qui paroissoient comme des Tours [\u2026] qu\u2019on e\u00fbt pris de loin pour des Donjons \u00bb (Correspondance<\/em>, G. Oury, Solesmes, 1971, 396). Le p\u00e8re j\u00e9suite Biard comparait, lui, en 1611, un iceberg \u00e0 \u00ab Notre Dame de Paris avec une partie de son Isle, maisons, palais [\u2026] flottant dessus l\u2019eau \u00bb (Jesuit Relations<\/em> [\u00c9d. de Thwaites], vol. 3, 180) tandis qu\u2019un autre p\u00e8re j\u00e9suite, Paul Le Jeune, d\u00e9crivait en 1632 des \u00ab Eglises ou plutost des montagnes de crystal \u00bb (ibid., vol. 5, 16). Ces descriptions inspir\u00e9es dissimulent cependant le danger que repr\u00e9sentent ces glaces qui provoquent des naufrages. Selon que l\u2019on y survit ou non, elles sont per\u00e7ues par les religieux comme une manifestation de la grandeur de Dieu ou un pi\u00e8ge du Diable. Marie va en r\u00e9chapper de justesse mais s\u2019\u00e9tait d\u00e9j\u00e0 pr\u00e9par\u00e9e au sacrifice. La mystique qu\u2019elle est, toujours d\u00e9sireuse de \u00ab s\u2019ab\u00eemer en Dieu \u00bb (cf. Relation<\/em> de 1633 ; \u00c9crits spirituels et historiques<\/em>, A. Jamet, \u00e9diteur ; vol. 2, 154), \u00e9tait pr\u00eate \u00e0 s\u2019ab\u00eemer avec le navire le Saint-Joseph au fond de l\u2019oc\u00e9an si telle \u00e9tait la volont\u00e9 de son divin \u00c9poux. 2. C\u00e9cile Michaud (Universit\u00e9 pontificale catholique du P\u00e9rou, P\u00e9rou): <\/strong>Entre le ciel et les eaux. La Vierge, la mer et la figure de la sir\u00e8ne dans la pr\u00e9dication, la po\u00e9sie et l\u2019iconographie au Vice-royaume du P\u00e9rou <\/p>\n\n ======Cette contribution explore la relation entre la Vierge, la mer et la figure de la sir\u00e8ne dans la pr\u00e9dication, la po\u00e9sie et l\u2019iconographie dans le sud andin au Vice-royaume du P\u00e9rou, aux XVIIe<\/sup> et XVIIIe<\/sup> si\u00e8cles. Elle se concentrera sur les sermons du grand pr\u00e9dicateur cuzqu\u00e9nien Juan Espinosa de Medrano, dit El Lunarejo, le po\u00e8me \u00e9rudit d\u00e9di\u00e9 \u00e0 Notre Dame de Copacabana de l\u2019Augustin Fernando de Valverde, ainsi que sur l\u2019iconographie de fa\u00e7ades d\u2019\u00e9glises. \u00c0 travers ces sources textuelles et visuelles, nous chercherons \u00e0 montrer que la figure de la sir\u00e8ne, traditionnellement rattach\u00e9e au p\u00e9ch\u00e9 et \u00e0 la tentation, peut appara\u00eetre dans ce contexte comme une figure divine intimement unie \u00e0 la Vierge et aux saints, tout en constituant par ailleurs un produit embl\u00e9matique de la culture andine coloniale \u2013 une culture complexe o\u00f9 s\u2019entrem\u00ealent la tradition classique, la d\u00e9fense du christianisme et, comme c\u2019est sans doute le cas ici, des mythes d\u2019origine pr\u00e9hispanique. <\/p>\n\n 3. <\/strong>Celia Rubina (Universit\u00e9 pontificale catholique du P\u00e9rou, P\u00e9rou): <\/strong>L\u2019univers aquatique en image et paroles: de la gravure europ\u00e9enne \u00e0 la peinture coloniale des Am\u00e9riques<\/p>\n\n ======Les sc\u00e8nes miraculeuses de saints qui ont lieu en milieu aquatique (sur la mer ou sur les fleuves) font partie de l\u2019art colonial des Am\u00e9riques. Les belles illustrations picturales du XVIIe<\/sup> si\u00e8cle se trouvent sur les murs des \u00e9glises \u00e0 Cuzco, Arequipa, Lima, Quito et Puebla et furent le produit du travail des artistes locaux qui ont utilis\u00e9 comme source visuelle des estampes grav\u00e9es d\u2019origine europ\u00e9enne. La plupart de ces \u0153uvres picturales contiennent une description textuelle de la sc\u00e8ne illustr\u00e9e. Mardi \u2013 Room 1 \u2013 16:00-17:30<\/strong><\/p>\n\n 1. Massimo Leone (Universit\u00e9 de Turin, Italie & Universit\u00e9 de Shanghai, Chine): <\/strong>The Semiotics of Waves in Religious Cultures<\/p>\n\n ======Waves are a fascinating topic in many disciplines, from physics to topology, from aesthetics to music, from art theory to semiotics. A general semiotic study of waves is still to be developed and promises to bring about a new framework for understanding not only this water configuration, but a whole range of meaning dynamics. The paper will introduce this perspective but concentrate, in particular, on how waves have been turned into meaningful objects within religious cultures, and specifically in the symbolical and visual culture of Catholicism. Waves often appear in the Christian iconography of Saints, sometimes with the value of anti-subject, but also, in other circumstances, with the role of helper or even of sender. The paper will present a small number of case studies from the early modern iconography of Catholic saints, seeking to decode and interpret the meaning of waves depicted therein. <\/p>\n\n 2. Silvia Marin Barutcieff (Universit\u00e9 de Bucarest, Roumanie): <\/strong>From the River to the Sea. Swimming against the Stream in the Alpine Iconography of Saint Christopher (1350-1530) <\/p>\n\n ======The present paper aims to analyze the aquatic representations of the medieval alpine iconography of Saint Christopher. Starting from the 13th<\/sup> century Golden Legend <\/em>of Jacob de Voragine, this investigation will interrogate the symbolic power of water and the visual metamorphosis occurred from text to image in the notorious medieval hagiography. The examination will be focused on 125 representations from the religious mural painting, created in the period between 1350 and 1530, and collected in the course of the field research performed by the author in Eastern Alps.
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\nImaginaires maritimes et r\u00e9gionalismes c\u00f4tiers dans le texte et l\u2019image (L\u2019Arc Atlantique Nord)<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\nFronti\u00e8res fluides : l\u2019eau comme m\u00e9taphore et mati\u00e8re<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\n L\u2019eau vectrice d\u2019image : d\u00e9passer l\u2019insaisissable<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\nLe septi\u00e8me art explore le septi\u00e8me continent : nouveau miroir de notre devenir<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\nRepr\u00e9senter la fin du monde : il est temps d\u2019ouvrir les yeux<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
\n\nFigurations de l\u2019eau. Femmes et polymorphismes aquatiques dans les arts <\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n
Histoire \/ Philosophie \/ Religion \u2013 Mardi, 13 juillet <\/em> <\/h4>\n\n
La mer dans l\u2019hagiographie et l\u2019iconographie des saints chr\u00e9tiens<\/strong><\/h3>\n\n
\n\n
\n\nIntervenants<\/strong><\/h3>\n\n