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Colloque internationalUniversit&#233; de Toronto10-13 d&#233;cembre 2008 Boh&#232;me sans fronti&#232;re. Production et internationalisation d&#8217;une posture&#160;La boh&#232;me litt&#233;raire et artistique des XIXe et XXe si&#232;cles a fait l&#8217;objet d&#8217;interpr&#233;tations nombreuses et souvent inconciliables. Pour Murger, qui en fonde le mythe dans ses Sc&#232;nes de la vie de Boh&#232;me, elle se borne &#224; la faune des apprentis peintres et litt&#233;rateurs parisiens, qui mangent de la vache enrag&#233;e &#224; chaque repas en attendant la gloire et la reconnaissance. Quelques ann&#233;es plus tard, Karl Marx d&#233;gage la boh&#232;me du monde de l&#8217;art et la fait &#233;merger de tout un sous-prol&#233;tariat urbain (filous, charlatans, joueurs, &#233;crivassiers, chiffonniers, etc.) Walter Benjamin conf&#232;re &#224; la boh&#232;me parisienne un h&#233;ro&#239;sme typique de la modernit&#233; et l&#8217;&#233;rige en forme de r&#233;sistance contre la culture bourgeoise. Un large courant critique a alors associ&#233; la boh&#232;me &#224; de nombreuses mouvances contre-culturelles et anti-bourgeoises, depuis Fran&#231;ois Villon jusqu&#8217;&#224; Andy Warhol et au-del&#224;. Enfin, les sociologues Pierre Bourdieu et Nathalie Heinich ont plus r&#233;cemment attribu&#233; &#224; la boh&#232;me un r&#244;le cl&#233; dans la g&#233;n&#233;alogie des champs litt&#233;raire et artistique fran&#231;ais en lui attribuant un art de vivre et de cr&#233;er en rupture avec les pratiques dominantes.Confront&#233;s &#224; cette abondance d&#8217;interpr&#233;tations, les historiens de l&#8217;art et de la litt&#233;rature ont g&#233;n&#233;ralement renonc&#233; &#224; interroger les tenants et les aboutissants du ph&#233;nom&#232;ne de la boh&#232;me pour mieux &#233;voquer l&#8217;histoire des avatars, fran&#231;ais et internationaux, de la boh&#232;me con&#231;ue par Murger (et relay&#233;e par l&#8217;op&#233;ra de Puccini). Mais de quelle boh&#232;me parlent-ils&#160;? Qu&#8217;y a-t-il finalement de commun entre les boh&#232;mes de l&#8217;impasse du Doyenn&#233;, de Verlaine, du Chat noir ou de Montmartre &#224; la Belle &#201;poque&#160;? Hors de France, quelle boh&#232;me ont partag&#233; Oscar Wilde, Willem Kloos, Rub&#233;n Dario, &#201;mile Nelligan et d&#8217;autres ? Pour ce qui concerne la litt&#233;rature fran&#231;aise, on sait que la centralisation de l&#8217;activit&#233; intellectuelle &#224; Paris, le d&#233;veloppement d&#8217;un march&#233; de l&#8217;&#233;dition et de la presse et l&#8217;explosion d&#233;mographique des &#233;crivains ont conduit au d&#233;veloppement d&#8217;une esp&#232;ce de prol&#233;tariat des lettres qui a servi de terreau social &#224; la boh&#232;me. &#192; cette configuration sociale s&#8217;est greff&#233;e la posture de la &#171;&#160;vie de boh&#232;me&#160;&#187;, avec ses h&#233;ros, ses looks, ses lieux et ses excentricit&#233;s. De nombreuses questions restent cependant sans r&#233;ponse&#160;: quelles figures, quelles positions, quels pouvoirs ont &#233;t&#233; conf&#233;r&#233;s aux boh&#232;mes parisiennes successives&#160;? En va-t-il de la boh&#232;me litt&#233;raire comme de la boh&#232;me artistique, et jusqu&#8217;o&#249; pousser l&#8217;analogie&#160;? Qu&#8217;en est-il, d&#8217;autre part, des m&#233;tropoles comme Londres, Madrid, Bruxelles, Munich ou encore New York, Montr&#233;al et Toronto, qui ont connu leurs boh&#232;mes&#160;: les m&#234;mes causes ont-elles amen&#233; les m&#234;mes effets ? C&#8217;est &#224; ces questions que sera consacr&#233; le colloque international qui se tiendra &#224; Toronto du 10 au 13 d&#233;cembre 2008. Sans relancer la recherche d&#8217;une d&#233;finition (toujours trop extensive ou trop restrictive) ou d&#8217;antagonismes faussement &#233;vidents (boh&#232;me vs bourgeois), et renon&#231;ant d&#8217;embl&#233;e &#224; toute tentative de recensement, ce colloque voudrait interroger&#160;les modes de constitution, de perp&#233;tuation et de repr&#233;sentation, d&#8217;un pays et d&#8217;une litt&#233;rature &#224; l&#8217;autre, du ph&#233;nom&#232;ne de la boh&#232;me. Le colloque mobilisera les points de vue de l&#8217;histoire culturelle, de la sociologie de la litt&#233;rature et de la sociocritique, mais fera aussi place &#224; d&#8217;autres approches m&#233;thodologiques (rh&#233;torique, historique ou encore po&#233;tique). On couvrira la p&#233;riode allant de 1789 &#224; 1968, ces deux dates &#233;tant consid&#233;r&#233;es non comme des terminus (la boh&#232;me ne cesse de se r&#233;activer et de se r&#233;actualiser ici et l&#224;) mais comme des bornes entre lesquelles le ph&#233;nom&#232;ne social, litt&#233;raire et artistique de la boh&#232;me a connu son expansion maximale.Les communications pourront se situer dans l&#8217;un des quatre axes suivants&#160;: 1. M&#233;tropoles de la boh&#232;me. Si on peut &#234;tre pleinement bourgeois en province et vivre bourgeoisement &#224; la campagne aussi bien qu&#8217;&#224; la ville, il n&#8217;en va pas de m&#234;me de la vie de boh&#232;me qu&#8217;on imagine difficilement hors du cadre urbain. Quelles relations &#233;tablir alors entre la vie de boh&#232;me et la m&#233;tropole, lieu de centralisation de l&#8217;activit&#233; intellectuelle, lieu de multiplication des journaux et des entreprises &#233;ditoriales, lieu en un mot o&#249; les r&#233;ussites litt&#233;raires se font et se d&#233;font? On explorera ici les lieux (mansardes, gargotes, caf&#233;s, tavernes, bureaux de r&#233;daction) typiques de la vie de boh&#232;me, cette g&#233;ographie urbaine qui a permis aux uns et aux autres &#224; la fois de semer leurs cr&#233;anciers et d&#8217;exhiber leur posture excentrique. On s&#8217;interrogera &#233;galement sur le d&#233;veloppement de quartiers boh&#232;mes, de Montmartre &#224; Schwabing, de Soho &#224; Greenwich Village et au Quartier latin de Montr&#233;al&#8230;2. Processus de l&#233;gitimation. Si la boh&#232;me est le produit de la massification et de la stratification du champ litt&#233;raire, si elle rel&#232;ve originellement d&#8217;un prol&#233;tariat lettr&#233;, est-elle pour autant confin&#233;e dans l&#8217;ill&#233;gitimit&#233;&#160;? La pauvret&#233; dont elle fait parade n&#8217;est pourtant plus, depuis Rousseau, un facteur de disqualification culturelle, et s&#8217;il n&#8217;a pas ses entr&#233;es dans les salons ou &#224; l&#8217;Acad&#233;mie, le boh&#232;me n&#8217;en fascine pas moins tous les acteurs du monde des lettres. L&#8217;importance que prend la boh&#232;me dans l&#8217;imaginaire litt&#233;raire des XIXe et XXe si&#232;cles nous incite ainsi &#224; repenser le r&#244;le des mythes et postures dans les processus de l&#233;gitimation culturelle et &#224; nous demander si la boh&#232;me n&#8217;a pas suscit&#233; de nouveaux modes de qualification. Qui dira ce que l&#8217;iconisation d&#8217;un Rimbaud ou d&#8217;un Nelligan doit &#224; l&#8217;imaginaire collectif de la boh&#232;me&#160;?3. Transferts culturels. &#171;&#160;La boh&#232;me n&#8217;existe et n&#8217;est possible qu&#8217;&#224; Paris&#160;&#187;, lan&#231;ait Murger en ouverture de ses Sc&#232;nes de la vie de Boh&#232;me. Et pourtant, il y a bien eu une boh&#232;me espagnole, belge, canadienne, alors m&#234;me que, dans certains cas, les conditions sociales de son d&#233;veloppement n&#8217;&#233;taient pas r&#233;unies. Par quelles voies, gr&#226;ce &#224; quels passeurs la posture boh&#232;me a-t-elle pu se transmettre? S&#8217;il est certain que Paris a exerc&#233; pendant longtemps une fascination sur le personnel litt&#233;raire europ&#233;en et am&#233;ricain, la capitale fran&#231;aise a-t-elle servi de mod&#232;le unique, ou y a-t-il eu des transferts crois&#233;s, voire des effets boomerangs&#160;? Et selon les sens de ces transferts culturels, sous quelles formes et au prix de quels am&#233;nagements se sont-ils op&#233;r&#233;s&#160;?4) Repr&#233;sentations. Si l&#8217;&#233;crivain et l&#8217;existence boh&#232;mes sont une construction collective, comment cette construction s&#8217;est-elle &#233;rig&#233;e&#160;? Comment la boh&#232;me, ensemble bien compris de topoi, r&#233;alit&#233; fond&#233;e sur du discours et des repr&#233;sentations, s&#8217;est-elle exprim&#233;e dans les litt&#233;ratures allemande, fran&#231;aise ou encore anglaise ? En quoi la litt&#233;rature boh&#232;me ou la litt&#233;rature de la boh&#232;me ont-elles contribu&#233; &#224; la production d&#8217;une posture collective ? Les chercheurs sont invit&#233;s &#224; adresser leurs propositions (un titre et un texte programmatique d&#8217;une dizaine de lignes, en fran&#231;ais ou en anglais) avant le 1er septembre 2007 &#224; Anthony Glinoer (anthony.glinoer@utoronto.ca) et &#224; Pascal Brissette (pascal.brissette@mcgill.ca). Les communications seront prononc&#233;es en fran&#231;ais ou en anglais et ne devront pas d&#233;passer 25 minutes. Une demande de subvention sera d&#233;pos&#233;e en vue de ce colloque, mais les participants sont invit&#233;s &#224; obtenir aupr&#232;s de leurs centres de recherche et organismes subventionnaires le remboursement de leurs frais de voyage et de s&#233;jour.Anthony GlinoerProfesseur adjoint &#224; l&#8217;Universit&#233; de TorontoPascal Brissette&#160;&#160; Professeur adjoint &#224; l&#8217;Universit&#233; McGill&#160;&#160; Call for PapersBohemia Without Borders: the Production and Internationalization of a Literary AttitudeThe literary and artistic bohemia of the 19th and 20th centuries has been subjected to many interpretations &#8211; many of which are contradictory. In his Sc&#232;nes de la vie de Boh&#232;me, published in 1851, Henri Murger founds the myth of the bohemia, which brings together young and poor Parisian painters and writers waiting for consecration and glory. A few years later, Karl Marx recasts Murger&#8217;s bohemia in the urban sub-proletariat (within the world of pickpockets, swindlers, gamblers, scavengers, etc.). Because of its resistance to the bourgeois culture, Walter Benjamin confers to the Parisian bohemia a dimension of heroism that he considers typical to modernity. As a result, much scholarly attention has associated the bohemia with a number of counter-cultural and anti-bourgeois tendencies (from Fran&#231;ois Villon to Andy Warhol and beyond). Furthermore, the sociologists Pierre Bourdieu and Nathalie Heinich have recently attributed a key role to the bohemia in the genealogy of French literary and artistic fields: along with ways of life and creation characteristic of the bohemia, they postulated that the bohemia is radically outside of the mainstream.Confronted with this abundance of interpretations, most of art and literature historians have renounced to explore the causes of the bohemian phenomenon to instead seek to trace the history avatars of the Murger&#8217;s bohemia (as transmitted by Puccini&#8217;s opera) both in France and in other countries.&#160; Therefore, we can ask ourselves, which type of bohemia in particular is evoked by these historians? What is there in common between the bohemias of the impasse of Doyenn&#233;, of Verlaine, of the Chat noir or of Montmartre during the Belle Epoque? Outside of France, what kind of bohemia have embodied Oscar Wilde, Willem Kloos, Rub&#233;n Dario and Emile Nelligan? In the history of French literature, the centralization of intellectual activity in Paris, the development of the publishing and press markets, and the demographic explosion of writers were factors that were capital to the development of a literary proletariat. It is from this social milieu that bohemia emerged. A specific attitude was added to this social configuration: this attitude, the &#8220;vie de boh&#232;me&#8221;, has its heroes, its looks, its places and its eccentricities. Many questions, however, are left unanswered: which figures, positions and what authority were conferred to the successive bohemias in Paris? Moreover, to what extent do literary and artistic bohemias share similar traits? Considering cities like London, Madrid, Brussels, Munich or even New York, Montreal or Toronto, who have had their fair share of bohemians, we could also ask whether or not similar conditions have produced the bohemian phenomenon.These are the type of questions which will be addressed in the international conference to be held in Toronto in &#160;&#160;&#160; &#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; 2008. Rather than seeking definitions, which are often either too extensive or too restrictive, or than identifying antagonisms that are already very obvious (such as bohemian vs bourgeois), or to create a census of various bohemias, this conference would like to explore modes of constitutions, perpetuation and representation of the bohemia phenomenon in a country and a literature to another. Along with cultural history, sociology of literature and sociocriticism, the conference will also be open to other methodological approaches, such as rhetorical, historic and poetic. Although bohemia continues to reactivate itself and to reappear every now and then, the conference will focus on the period dating from 1789 to 1968, the period during which the social, literary and artistic phenomena of the bohemia experienced its most wide-spread expansion.The seeked paper proposals should fall in any of the following categories:1. The metropolis of the bohemia. Although the bourgeois lifestyle can be led in the country as well as in the city, it is virtually impossible to imagine the bohemia outside his metropolitan context. What relationship can we establish between bohemia&#8217;s way of life and the metropolis, where intellectual activity centralizes, where newspapers and editorial companies prolifer; and where, simply put, literary and artistic successes appears and disappears? Of particular interest will be the typical places of bohemia&#8217;s life &#8211; such as attics cafes, taverns and press-rooms &#8211; since they represent a distinct urban geography that enabled bohemians to exhibit their eccentric attitudes and that allowed them to hide from their creditors. In addition, the development of bohemian quarters, from Montmartre to Schwabing, from Soho to Greenwich Village and to the Latin Quarter of Montreal could also be explored.2. Process of legitimization. If bohemia is the product of the expansion and stratification of the literary and artistic fields, and if it originates from the artistic and literary proletariat, is it consequently confined to illegitimacy? Since the time of Rousseau, the poverty embodied by the bohemian is no longer a factor of cultural disqualification. Moreover, despite not entering salons or the French Academy, the bohemian is a fascinating figure for all actors of the literary world. The importance occupied by the bohemia in the literary imagination of the 19th and 20th centuries forces us to rethink how myths and attitudes may partake in the process of cultural legitimization. Thus, did the bohemia introduce new processes of legitimization? In what ways were the iconization of Rimbaud or of Nelligan&#8217;s figures products of the collective imagination associated to the bohemia?3. Cultural transfers. &#8220;La boh&#232;me n&#8217;existe et n&#8217;est possible qu&#8217;&#224; Paris&#8221;, wrote Henry Murger in the beginning of his Sc&#232;nes de la vie de Boh&#232;me. Nevertheless, there have been Spanish, Belgian, and Canadian bohemias, even though, in certain cases, not all the social conditions associated with bohemia were present. By which vectors and mediators did the bohemian attitude transfer itself to different cultural contexts? In what ways did the fascinating French capital serve as a model to the members of European and American literary fields? What was the nature of these cultural transfers, which forms and what transformations have they undergone? Were there any cases of cultural exchanges or &#8220;backlashes&#8221; between Paris and the other metropolis of the bohemia?4. Representations. If the bohemia and the bohemian way of life are a collective construction, what were the bases for it? How did the bohemia, an ensemble consisting of topoi, or realities founded on discourse and representations, express itself in British, German and French literature? How both bohemian literature and literature of the bohemia did contribute to the production of a collective attitude?Researchers are invited to send their paper proposals, with a title and an abstract of around ten lines in length (in French or in English) before September 1st 2007 to Anthony Glinoer (anthony.glinoer@utoronto.ca) and to Pascal Brissette (pascal.brissette@mcgill.ca). The presentations could be in either French or English and should not exceed 25 minutes. A financial assistance might be available for the conference, but participants should ask to obtain reimbursement for their traveling fees and other costs from their own research centers and subsidiary organizations.Anthony Glinoer Assistant professor at the University of TorontoPascal BrissetteAssistant professor at McGill University 