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Cette journ&#233;e d&#8217;&#233;tude du Centre Interlangues TIL (Texte, Image, Langage) &#160;se tiendra &#224; l'universit&#233; de Bourgogne, le 7 avril 2017Argumentaire&#8220;Ninety per cent of artists are forgotten ten minutes after they&#8217;re dead&#8221; : ce constat que dressait Edward Hopper en 1965 se r&#233;v&#232;le fort heureusement inexact dans son propre cas. Alors que l&#8217;ann&#233;e 2017 marque les cinquante ans de sa disparition, son h&#233;ritage ne cesse de cro&#238;tre tant les hommages &#224; sa peinture sous diff&#233;rentes formes se multiplient. Avec pr&#232;s de 800 000 visiteurs venus d&#8217;octobre 2012 &#224; janvier 2013, la fr&#233;quentation record de l&#8217;exposition&#160;Edward Hopper&#160;au Grand Palais &#224; Paris t&#233;moigne de l&#8217;int&#233;r&#234;t du grand public pour une peinture r&#233;aliste qui parait tout aussi famili&#232;re aux Europ&#233;ens qu&#8217;aux Am&#233;ricains. Lecteur avide en anglais comme en fran&#231;ais, amateur de po&#233;sie et cin&#233;phile averti, Hopper s&#8217;est nourri de ces influences multiples et son art en a port&#233; la trace avant m&#234;me de poser, &#224; son tour, une empreinte sur les autres modes artistiques. N&#233;cessairement li&#233;e &#224; l&#8217;impression qu&#8217;a laiss&#233;e la peinture de Hopper dans le cin&#233;ma, les arts visuels et la litt&#233;rature, cette circularit&#233; d&#8217;influence est remarqu&#233;e mais reste relativement peu &#233;tudi&#233;e. Il s&#8217;agira de distinguer avec pr&#233;cision ce qui rel&#232;ve directement de la trace de Hopper de ce qui, &#224; l&#8217;inverse, agit comme un &#233;cho plus lointain provenant d&#8217;une premi&#232;re assimilation, mieux d&#233;crit par l&#8217;adjectif &#171; hopperesque&#160;&#187;. Semblant d&#233;j&#224; vues, les images de Hopper qui se &#171;&#160;transmettent par incorporation&#160;&#187; ne sont-elles pas, avant tout, des images survivantes telles que d&#233;finies par Georges Didi-Huberman?On pourra &#233;galement s&#8217;int&#233;resser &#224; la banalisation de ses images, utilis&#233;es pour illustrer tout ce qui, de pr&#232;s ou de loin, rel&#232;ve de l&#8217;am&#233;ricanit&#233;. Comme le remarque Pierre Fresnault-Deruelle, les tableaux de Hopper abondent en premi&#232;res de couvertures, envahissent les manuels scolaires d&#8217;anglais et d&#233;corent de nombreux objets du quotidien. La multiplicit&#233; des &#233;chos ne finit-elle pas par vider de leur sens les peintures originelles, laissant apparaitre les &#339;uvres de Hopper comme des clich&#233;s d&#8217;une Am&#233;rique imaginaire ? Qu&#8217;en est-il de la multitude de romans, de po&#232;mes, de films et de pi&#232;ces de th&#233;&#226;tre qui tentent de r&#233;&#233;crire les tableaux de Hopper alors m&#234;me que l&#8217;artiste pr&#233;sageait le caract&#232;re quelque peu futile de telles entreprises : &#8220;If you could say it in words there would be no reason to paint&#8221; ? L&#8217;esth&#233;tique de Hopper est-elle &#224; ce point image du manque qu&#8217;elle m&#232;ne forc&#233;ment &#224; une pulsion d&#8217;&#233;criture ? Ces interrogations m&#232;neront &#233;galement &#224; observer le rapport au r&#233;el pr&#244;n&#233; par l&#8217;Am&#233;ricain &#224; une &#233;poque o&#249; le r&#233;alisme c&#233;dait sa place dominante &#224; l&#8217;abstraction. Il s&#8217;agira de remettre en perspective la question du r&#233;alisme en peinture de ce d&#233;but de XXIe si&#232;cle marqu&#233; par un retour au figuratif afin d&#8217;y d&#233;celer l&#8217;impact de la derni&#232;re g&#233;n&#233;ration des r&#233;alistes am&#233;ricains.Cet appel &#224; communications n&#8217;est pas restreint aux domaines des &#233;tudes anglophones et souhaite, &#224; l&#8217;inverse, ouvrir des perspectives dans les champs &#233;videmment artistiques mais aussi sociaux, philosophiques, historiques et inters&#233;miotiques. &#192; l&#8217;occasion des 50 ans de la disparition de l&#8217;artiste, cette journ&#233;e d&#8217;&#233;tude prendra appui sur les notions d&#8217;influence et d&#8217;h&#233;ritage appliqu&#233;es &#224; l&#8217;&#339;uvre d&#8217;Edward Hopper pour explorer des champs tels que :&#160;Influencecircularit&#233; d&#8217;une &#339;uvre riche d&#8217;impressions diverses (cin&#233;ma, photographie, th&#233;&#226;tre, po&#233;sie et litt&#233;rature) et ayant fortement marqu&#233; ces m&#234;mes arts en retour&#160;origine litt&#233;raire et/ou cin&#233;matographique du potentiel narratif de la peinture de Hopperparadoxe d&#8217;un peintre r&#233;aliste pass&#233; en marge d&#232;s la fin des ann&#233;es 1940 mais ayant su imposer son influence depuisH&#233;ritagegen&#232;se et apport des textes et des images renvoyant &#224; la peinture de Hopper&#160;impact de l&#8217;interm&#233;dialit&#233; sur l&#8217;&#339;uvre elle-m&#234;meesth&#233;tique du manque appelant &#224; compl&#233;tude dans d&#8217;autres formesConf&#233;rencier invit&#233; : Jean Kempf, professeur de civilisation am&#233;ricaine, Universit&#233; Lumi&#232;re Lyon II&#160;Conditions de soumissionLes r&#233;sum&#233;s de&#160;250 &#224; 300 mots environ&#160;(en anglais ou en fran&#231;ais) assortis d&#8217;une courte biographie ou d&#8217;un CV sont &#224; envoyer pour le&#160;18 d&#233;cembre 2016aux adresses suivantes :&#160;helene.gaillard@u-bourgogne.fr,&#160;isabelle.schmitt@u-bourgogne.frLes conf&#233;renciers retenus seront avertis mi-janvier 2017. Le programme sera fix&#233; en f&#233;vrier 2017.&#160;Comit&#233; scientifique et d&#8217;organisationH&#233;l&#232;ne Gaillard, Universit&#233; de Bourgogne, MCFIsabelle Schmitt, Universit&#233; de Bourgogne, MCFThis Conference will be organized by Centre Interlangues TIL (Texte, Image, Langage) &#160;at&#160;Universit&#233; de Bourgogne, April 7, 2017Argument&#8220;Ninety per cent of artists are forgotten ten minutes after they&#8217;re dead&#8221;: this statement Edward Hopper made in 1965 fortunately proved wrong as far as he is concerned. As the year 2017 marks the 50th anniversary of his death, his legacy is still growing through the increasing number of references to his painting in different art forms. With more than 800,000 visitors from its opening in&#160; October 2012 to January 2013, the exceptional attendance of the Edward Hopper exhibition at the Grand Palais in Paris showed to what extent the French general public feels attracted to Hopper&#8217;s realism. As an avid reader in both English and French, a poetry lover and a fervent moviegoer, Hopper developed an art which bears the mark of these artistic mediums and was, in turn, to leave a print on them. Intricately related to the impact Hopper&#8217;s art had on filmmakers, writers, poets and playwrights, this circularity of influence has often been noticed but remains little studied. We will try to distinguish between Hopper&#8217;s direct legacy and what has been previously assimilated and reappears as a Hopperesque echo. Triggering a feeling of deja-vu, Hopper&#8217;s images have been &#8220;transmitted by incorporation&#8221; and, as such, they are&#8220; surviving images&#8221; according to Georges Didi-Huberman&#8217;s definition.&#160;Contributions may also focus on the trivialization of Hopper&#8217;s paintings which are used to illustrate anything that is more or less closely tied to America. As Pierre Fresnault-Deruelle pointed out, Hopper&#8217;s art is massively reproduced for book covers, English school books and decorative items. Can the multiplicity of echoes end up emptying the original paintings of their significance, giving the impression that they are mere clich&#233;s of an imaginary America? What does the retelling of Hopper&#8217;s supposed narratives in recent novels, poems, films and performances aim at, considering that the artist himself expressed his doubt as regards the power of words: &#8220;If you could say it in words there would be no reason to paint&#8221;? Is Hopper&#8217;s aesthetics so incomplete that it necessarily leads to an urge to write? These issues will also pose the problem of the relation to reality Hopper defended at a time when realism was ousted by abstraction. Now that figuration is being reinvigorated, we can examine the inspiration taken from XXth century American realists among whom Hopper had a central position.This call for paper is intended for all researchers and is not restricted to scholars working on the United States. We will explore the question of Hopper&#8217;s worldwide legacy in fields including art history, philosophy as well as social and intermedial studies. On the occasion of the 50th anniversary of the artist&#8217;s death, this conference will welcome papers that address the notions of influence and inheritance applied to Edward Hopper&#8217;s art in the following themes:Influencecircularity of an art influenced by different mediums (cinema, photography, drama, poetry and literature) which inspired them in turn &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160;&#160;origins of the narrative potential of Hopper&#8217;s painting in literature and cinemaparadoxical aspect of a realist considered as marginal from the end of 1940s but who gradually imposed his influence&#160;Inheritancegenesis and contribution of the texts and images derived from Hopper&#8217;s painting &#160; &#160; &#160; &#160;&#160;impact of the intermedial exchanges on the work itselfaesthetics of incompleteness needing completion in other art formsGuest speaker: Jean Kempf, Professor of American Studies, University Lumi&#232;re Lyon II&#160;Submission guidelines&#160;Please send a&#160;250/300-word abstract&#160;(in French or in English) and a short bio/r&#233;sum&#233;&#160;before December 18th 2016&#160;to the following addresses:&#160;&#160;helene.gaillard@u-bourgogne.fr,&#160;isabelle.schmitt@u-bourgogne.fr&#160;Speakers will be notified by mid-January 2017. The program will be finalized in February 2017.&#160;Organizing and scientific&#160;committeeH&#233;l&#232;ne Gaillard, Universit&#233; de Bourgogne, MCFIsabelle Schmitt, Universit&#233; de Bourgogne, MCF