CFP: Frames and Framing (France) (12/15/05; SAIT, 3/17/06-3/18/06)

full name / name of organization: 
Delphine Cingal
contact email: 

SAIT Conference

March 17th & 18th 2006

Institute of English Studies, University of Paris III (Sorbonne Nouvelle)

Rue de l'Ecole de Médecine, Paris 75006, France.

"Frames & framing"

SAIT specialises in intertextual and intersemiotic studies, concentrating on
the interaction and interconnections between different forms of art. The
theme of its winter conference for 2006 is "frames and framing," taken both
in their literal and metaphorical acceptions.
  The word "frame," in the 16th Century, referred to the internal structure
an object, such as the frame of a barn or the ingredients of a potion, or
even to the organisation of language, as in Samuel Daniel's "all verse is
but a frame of words" (cf article by Rayna
Kalas). From internal, mechanical structures to
the modern
meaning of enclosing a given space, frames foreground the question of
outsideness and insideness, of objects and their representations, and invite
us to look into the making and the putting together of works of art.
Today the word "frame" refers to the visible and often ornamental limit
between an inner and an outer space, but it is also what defines and creates
this very limit, what constrains an art which sometimes seek to escape, and
flow beyond the boundaries that seek to contain it. One can think for
instance of narratives that chafe against glib effects of circularity (in
which the ending of the book neatly refers back to the incipit), or musical
effects of circularity and repetition (coda, leitmotive etc.). It may be
worthwhile also to look into the blurring of boundaries, for example between
pictorial space and represented space: in Henry James's The Ambassadors,
Strether's vision transforms a French rural landscape into a Lambinet
painting; framed by the "oblong gilt frame" that had encircled the Lambinet
when he had seen it, years before, in the "maroon-coloured, sky-lighted
inner shrine" at a Boston dealer's.
In texts there are internal spaces cut out by divisions into chapters or
paragraphs, with the narrative sometimes playfully refusing to respect the
separating lines: in Tristram Shandy a sentence can "flow on" into the next
sentence or the next paragraph, regardless of the apparent boundary
constituted by a full stop or the typographical marker of a chapter heading.
In most paintings the scene sits harmoniously within the enclosing frame, in
more contemporary representations the frame can cut across the human shape,
dividing the body between a visible inner space and an absent outer space
(in brothel scenes painted by Toulouse-Lautrec for instance). Or the human
body overlaps the frame, as in a fresco painted by Tiepolo in which one of
the characters's legs seem to hang out over the painted frame on the wall.
More generally, in paintings, films, plays, operas one can analyse the
framing or lack of framing of space and the use of interior, embedded framed
spaces (doors, windows, mirrors...).
We hope these few guidelines will inspire many varied approaches. Please
send your paper outlines before December 15th to Nelly Valtat-Comet
( or to Catherine Pesso-Miquel

Bonitzer, Pascal. « Peinture et cinéma,
décadrages ». Cahiers du Cinéma 284, 1978.

Brunet et al. Effets de cadre, de la limite en
art. Presses Universitaires de Vincennes : 22 mai

Cahn Isabelle. Cadres de Peintres. Réunion des
musées nationaux. Paris : Hermann , 1989.

Deleuze , Gilles (ed). L'Image-mouvement et
l'image-temps. Paris, Minuit : 2 tomes, 1983 et

Derrida, Jacques. Dans La vérité en peinture.
Paris, Flammarion : 1979 (réflexion sur le
parergon autour de la p. 85).

Duro, Paul (ed). The Rhetoric of the Frame:
Essays on the Boundaries of the Aesthetic. New
York: Cambridge UP, 1996. 1-10.

Kalas, Rayna. "The Language of Framing". Shakespeare Studies, 2000.

Larroux Guy. « Mise en cadre et clausularité », Poétique 98, avril 1994.

Le Calvez , Éric. « La description focalisée. Un
problème de poétique génétique (à propos de
L'Éducation sentimentale) », Poétique 108,
novembre 1996.

Leplatre Olivier. « Le repas d'une image », Poetique 98, avril 1994.

Louvel, Liliane. L'¦il du texte. Toulouse,
Presses Universitaires du Mirail : 1998. (voir pp

Louvel, Liliane. Texte Image : images à lire,
textes à voir. Presses Universitaires de Rennes:
2002. Chapitre 2 sur « le miroir en texte ».

Marin, Louis. « Le cadre de la représentation et
quelques-unes de ses figures ». Cahiers du Musée
National d'Art Moderne 24 (été 1988) : 62-81.
Article repris dans Marin, Louis, De la
Représentation. Paris : Gallimard Le Seuil 1994

Miller, Jonathan. On Reflection, London, National Gallery 1998.

Rougé, B. (ed). Cadres & marges. Pau:
Publications de l'université de Pau, 1995.

Stoichita, Victor. L'instauration du tableau, Droz, 1999.

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Received on Fri Nov 11 2005 - 08:46:12 EST