CFP: Writings on Art (France) (12/15/06; 3/16/07-3/17/07)

full name / name of organization: 
Shannon Wells-Lassagne

SAIT's (artistic and literary intertextuality) annual conference :
Writings on Art/ Ecrits sur l’art
To be held at the Université de Paris III-Sorbonne Nouvelle, March 16-17 2007
In Louis Marin’s work To Destroy Painting, about the different representational styles of Poussin and Caravaggio’s paintings, the author asks a fundamental question: “[…] why
does one even need to comment on a painting if the end envisaged by the painter’s action can be achieved simply by experiencing pleasure or jouissance?” His answer, too, is
formulated as a question, suggesting that no answer could be definitive: “[…] in commenting on a painting, does one not somehow […] transform the pleasure of painting or
its jouissance into a pleasure or jouissance of language [?]” The possible contradiction between the word and the perception of the visual arts, as well as the association of
literary, linguistic and visual pleasure are all paradoxes at the very heart of writings on art. Indeed, the very term “writings on art” is problematic. The generic term “writing”
gives a certain liberty of interpretation: by “writing”, we refer to the essays, specific passages in fiction (novels, short stories, etc.), poems, non-theoretical essays or letters by
authors and artists on their own work, introductions to catalogues, etc.
We invite papers that discuss subjects such as:
The relationship between writing and art, and the extent to which the written text can represent the visual.
The exploration of the frontier between writings on art and art criticism: to what extent do writings on art exist in the margins of various genres and theories? To what extent
is it indissociable from those same traditions?
The place and function of writings on art in the works of a given author or artist.
What writing on art brings to the appreciation of painting, sculpture, film, music, etc.
The analysis of the literary aesthetics implicit in the genre, or the aesthetics implicit in each art form as expressed by the writer.
The implicit subjectivity of the author in his/her description of a given work of art, which calls into question whether or not the art work truly exists…
Of course, this list is not exhaustive.
300-word abstracts in French or English should be sent to Anne-Florence Gillard-Estrada ( or to Shannon Wells-Lassagne (shannon.wells- before December 15 2006.
Additional information is available on the SAIT website :

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Received on Sun Nov 05 2006 - 20:39:20 EST