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Le corps sensoriel au sein des loisirs et des divertissementsRencontre internationaleChaire de recherche du Canada en histoire des loisirs et des divertissementsSous la direction d&#8217;Isabelle Pichet et Laurent TurcotUniversit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;res, Qu&#233;bec, 22 et 23 f&#233;vrier 2018ArgumentairePerp&#233;tuellement sollicit&#233;s par l&#8217;environnement avec lequel ils entrent en relation, les sens r&#233;agissent et provoquent des sensations, des &#233;motions, des sentiments de plaisirs ou de d&#233;plaisirs (Fechner 1966 (1860)). L&#8217;histoire des sens s&#8217;inscrit au sein de celle des sensibilit&#233;s et permet une meilleure compr&#233;hension, un discernement plus pr&#233;cis &#171;&#160;du dessin de l&#8217;imaginaire social&#160;&#187; (Corbin 1990). Le go&#251;t, l&#8217;odorat, le toucher, l&#8217;ou&#239;e et la vue r&#233;pondent &#224; tout stimulus de mani&#232;re vari&#233;e et complexe. Difficile &#224; saisir et &#224; cerner, il est toutefois possible de brosser un portrait du corps sensoriel qui &#233;merge au sein de la soci&#233;t&#233; de l&#8217;Ancien R&#233;gime. L&#8217;&#233;poque moderne, du 16e au d&#233;but du 19e si&#232;cle, catalyse la gen&#232;se des pratiques culturelles li&#233;es aux loisirs et aux divertissements&#160;: th&#233;&#226;tre, mus&#233;e, exposition temporaire, promenade, jeu de cartes ou de table, caf&#233;, taverne, foire, jardin, voyage. Ces activit&#233;s placent l&#8217;individu dans un cadre sp&#233;cifique, au c&#339;ur d&#8217;une action&#160;; action qui incite et excite chacun des sens, &#224; des degr&#233;s divers. Les cinq sens, toujours en veille, ne demandent qu&#8217;&#224; s&#8217;&#233;mouvoir, s&#8217;&#233;panouir et s&#8217;exprimer. Il ne reste plus qu&#8217;&#224; cueillir les t&#233;moignages et &#224; tenter de relever les caract&#233;ristiques, les limites et la substance de chacun des sens.Ce colloque entend cerner, d&#233;finir et de comprendre la mani&#232;re dont les sens sont interpel&#233;s et r&#233;agissent lors des activit&#233;s de loisirs et de divertissements au cours du long 18e si&#232;cle. Le promoteur, celui qui organise l&#8217;activit&#233;, cherche-t-il &#224; pousser ou repousser le participant ou le spectateur dans ses retranchements pour provoquer un ensemble de sensations, de sentiments ? Le fait-il consciemment ? Quelles sont ses intentions ? De quelle mani&#232;re s&#8217;y prend-il ? Parvient-il &#224; son dessein ? Le participant ou le public, celui qui entre en action lors de ces activit&#233;s, appr&#233;hende-t-il les effets, les &#233;motions qui germeront tout au long de l&#8217;activit&#233; ? S&#8217;y pr&#233;pare-t-il ? De quelle mani&#232;re n&#233;gocie-t-il avec ? Les 5 sens, ceux qui sont (re)li&#233;s aux organes de la perception, se d&#233;finissent et r&#233;agissent au contact de l&#8217;environnement, du lieu ou des autres. De quelles mani&#232;res le font-ils ? Quelles sont leurs r&#233;actions ? Quels sont les sens les plus sollicit&#233;s, et pourquoi ? Ces quelques axes propos&#233;s ne sont en rien exhaustifs, au contraire, ils portent la diversit&#233; et la complexit&#233; du propos.Pluridisciplinaire, cette rencontre se veut un laboratoire de r&#233;flexion sur les projets en cours et&#160;les diverses approches qui s&#8217;int&#233;ressent &#224; l&#8217;histoire des sens dans le cadre des loisirs et des divertissements au cours du long 18e si&#232;cle, et ce, au sein des diverses disciplines des sciences humaines&#160;: histoire de l&#8217;art, litt&#233;rature, philosophie, sociologie, histoire, etc.Le pr&#233;sent appel &#224; communications sollicite donc des propositions qui permettront de mieux comprendre les fondements et les limites de ce corps sensoriel qui &#233;merge &#224; l&#8217;&#233;poque moderne.Modalit&#233;s de soumissionIn&#233;dites, les communications ne devront pas d&#233;passer les trente minutes allou&#233;es &#224; chaque participant.Les propositions de communication (titre et r&#233;sum&#233; de 250 mots, affiliation institutionnelle) devront &#234;tre envoy&#233;es au comit&#233;avant le 15 septembre 2017aux deux adresses suivantes : isabelle.pichet@uqtr.ca et laurent.turcot@uqtr.caComit&#233; scientifiqueIsabelle Pichet, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resLaurent Turcot, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resMarc-Andr&#233; Bernier, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resBibliographie&#160;:Alain Corbin, &#171;&#160;Histoire et anthropologie sensorielle&#160;&#187;, Anthropologie et Soci&#233;t&#233;s, vol. 14, no2, 1990, p. 13-24.Gustav Fechner, Elements of Psychophysics, New York, Holt, Rinehart and Winston, 1966 (1860).&#160;The sensory body in leisure and entertainment.International MeetingCanadian Research Chair in History of Leisure and EntertainmentUnder the direction of Isabelle Pichet, Laurent Turcot and Marc-Andr&#233; Bernier The University of Quebec at Trois-Rivi&#232;res, Quebec, February 22 and 23 2018PresentationPerpetually solicited by the environment with wich they interact, the senses give rise to sensations, emotions, feelings of pleasure and displeasure (Fechner 1966 (1860)). The history of the senses is inscribed in the larger history of sensibility, where it is possible to discern deeper and more precise understandings of the concept of the social imaginary (Corbin, 1990). Taste, smell, touch, hearing and sight respond to stimulus in a varied and complex way. While difficult to grasp, much less pin down, it is nevertheless possible to paint a portrait of the sensory body that emerges during the society of the Ancien R&#233;gime. The modern era, from the 16th to the beginning of the 19th century, catalyzed new cultural practices of leisure and entertainment: theater, museums, temporary exhibitions, promenades, card and table games, cafes, taverns, fairs, gardens, travels. These activities place the individual within a specific framework, at the heart of an action that incites and excites each of the senses to varying degrees. The five senses always at the ready only require stimulation in order to react, to flourish, and to make their overlapping intensities know. What remains to the scholar, the historian of the senses, is to gather testimonials and to attempt to identify the characteristics, limits and substances of each of the senses.This conference aims to identify, define, and understand how the senses were challenged and how they responded to new and emerging leisure and entertainment activities during the 18th century. To what extent did promoters and event organizers deploy an expanding range of sensorial entertainment in order to enhance sensory reactions in their clients and participants? Were the &#8220;diversions&#8221; of the 18th century deliberately designed to provoke greater sensorial engagement? And if so, were these efforts successful, and with what larger historical consequences? And as for the participant or the public, they who partook in these activities, what were the results, in terms of the shaping of individual and collective sensorial experience? The five senses, so inextricably linked to the organs of perception, are defined in relation to the environment to which they react. But how was this so, and what precisely were the reactions? For conveners of public and for-profit events, which were the most sought-after senses, and why? Rather than constrain our discussion, these topics and questions will, we hope, prompt more reflection upon the diversity and the complexity of this subject, and suggest even further topics for our collection consideration.This multidisciplinary conference seeks to be a laboratory for engagement with current projects and various approaches that consider the history of the senses in the context of leisure and entertainment during the 18th century.We look forward to welcoming scholars from across the disciplines that compose the human sciences: the history of art, literature, philosophy, sociology, history, and so forth.This call for papers solicits proposals for as-yet unpublished papers that will increase our understanding of the foundations and limits of the sensory body that emerged during the modern era.Submission GuidelinesPapers shall not exceed the thirty minutes allocated to each participant.Proposals (title and abstract of 250 words, institutional affiliation) should be sent to the committeebefore September 15th, 2017at the following two addresses: isabelle.pichet@uqtr.ca and laurent.turcot@uqtr.caScientific CommitteeIsabelle Pichet, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resLaurent Turcot, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resMarc-Andr&#233; Bernier, Universit&#233; du Qu&#233;bec &#224; Trois-Rivi&#232;resBibliographie :Alain Corbin, &#171; Histoire et anthropologie sensorielle &#187;, Anthropologie et Soci&#233;t&#233;s, vol. 14, no2, 1990, p. 13-24.Gustav Fechner, Elements of Psychophysics, New York, Holt, Rinehart and Winston, 1966 (1860).&#160;