{"id":5307,"date":"2021-11-25T14:24:43","date_gmt":"2021-11-25T19:24:43","guid":{"rendered":"https:\/\/docinterhar.org\/?page_id=5307"},"modified":"2024-12-23T14:46:41","modified_gmt":"2024-12-23T19:46:41","slug":"2022-2023","status":"publish","type":"page","link":"https:\/\/docinterhar.ca\/en\/seminars\/2022-2023\/","title":{"rendered":"2022-2023 Seminars"},"content":{"rendered":"\n<div class=\"wp-block-kadence-tabs alignnone\">\n<div class=\"kt-tabs-wrap kt-tabs-id_84eca2-1e kt-tabs-has-2-tabs kt-active-tab-1 kt-tabs-layout-tabs kt-tabs-tablet-layout-inherit kt-tabs-mobile-layout-inherit kt-tab-alignment-left \" style=\"max-width: none;\">\n<p>&nbsp;<\/p>\n<div class=\"kt-tabs-content-wrap\">\n<div class=\"wp-block-kadence-tab kt-tab-inner-content kt-inner-tab-1 kt-inner-tab_31a4b3-90\">\n<div class=\"kt-tab-inner-content-inner\">\n<p>Block A<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong><strong><strong><strong><strong>HAR7008 &#8211; Th\u00e9ories et m\u00e9thodes de l\u2019histoire de l\u2019art<\/strong><\/strong>: <strong>l\u2019histoire de l\u2019art \u00e0 l\u2019\u00e9preuve de l\u2019interdisciplinarit\u00e9<\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong><strong>L\u2019histoire de l\u2019art \u00e0 l\u2019\u00e9preuve de l\u2019interdisciplinarit\u00e9<\/strong><\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_bd08b9-8e kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Denis Ribouillault<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_24a300-e7 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Fall<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_e7673f-c8 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Thursday, 1pm-4pm<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_1b9678-30 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Universit\u00e9 de Montr\u00e9al. Location to be confirmed<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_77356a-0a kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in French <\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>Une large majorit\u00e9 des projets doctoraux d\u00e9velopp\u00e9s au sein du programme interuniversitaire de doctorat en histoire de l\u2019art poss\u00e8dent une forte dimension interdisciplinaire, tout comme le sont les recherches des professeur.e.s qui y enseignent r\u00e9guli\u00e8rement. Rarement cependant, interroge-t-on cet \u00e9tat de fait : l\u2019interdisciplinarit\u00e9, une \u00e9vidence impens\u00e9e? Ce s\u00e9minaire invite les doctorantes et les doctorants \u00e0 r\u00e9fl\u00e9chir \u00e0 cette dimension fondamentale de notre discipline et des sciences humaines en g\u00e9n\u00e9ral en interrogeant leur propre rapport \u00e0 l\u2019interdisciplinarit\u00e9. En quoi est-elle f\u00e9conde? Quelles difficult\u00e9s rencontre-t-on lorsqu\u2019on la pratique? Quels \u00e9cueils doit-on \u00e9viter? Qu\u2019est-ce qui fonde, finalement, l\u2019unit\u00e9 de l\u2019histoire de l\u2019art dans la diversit\u00e9 de ses approches pluridisciplinaires et son caract\u00e8re interdisciplinaire toujours plus marqu\u00e9?<br>La r\u00e9flexion sera men\u00e9e sur deux plans. D\u2019une part, par un retour sur la constitution de la discipline et son rapport aux autres domaines de la connaissance. On r\u00e9fl\u00e9chira notamment aux bouleversements qu\u2019a connu le rapport entre art et science depuis la Renaissance jusqu\u2019\u00e0 l\u2019\u00e9poque contemporaine, la construction des disciplines et leur institutionnalisation, la question du langage et des techniques, les concepts d\u2019ing\u00e9niosit\u00e9 et de bricolage (notamment chez Levi-Strauss), les critiques adress\u00e9es \u00e0 l\u2019histoire de l\u2019art interdisciplinaire, ou l\u2019\u00e9mergence de m\u00e9thodologies nouvelles comme les \u00e9tudes visuelles, la \u00ab Kunstwissenschaft \u00bb ou science de l\u2019art (et dans son sillon, la \u00abBildwissenschaft \u00bb) ou, plus r\u00e9cemment, l\u2019interm\u00e9dialit\u00e9. D\u2019autre part, on s\u2019interrogera sur ces questions \u00e0 partir des propres travaux des doctorantes et des doctorants qui seront invit\u00e9.e.s \u00e0 r\u00e9fl\u00e9chir \u00e0 \u2013 puis articuler &#8211; leur rapport pens\u00e9 ou impens\u00e9 au croisement des disciplines. Des professeures et professeurs du programme seront invit\u00e9.e.s \u00e0 venir exposer et discuter de leurs propres pratiques de l\u2019interdisciplinarit\u00e9.<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Bibliography (summary and preliminary)<\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>CARPO, Mario, \u201cArchitecture: Theory, Interdisciplinarity, and Methodological Eclecticism,\u201d <em>Journal of the Society of Architectural Historians<\/em> 64, 4 (Dec. 2005), 425-427.<\/p>\n<p>DESCOLA, Philippe. <em>Par-del\u00e0 nature et culture<\/em>, Paris, 2005.<\/p>\n<p>DUBOURG GLATIGNY, Pascal. <em>R\u00e9duire en art : La technologie de la Renaissance aux Lumi\u00e8res<\/em>, Paris, Maison des Sciences de l\u2019homme, 2008.<\/p>\n<p>KARLQVIST, Anders. \u201cGoing Beyond Disciplines: The Meanings of Interdisciplinarity,\u201d <em>Policy Sciences<\/em> 32, 4 (Dec. 1999), 379-383.<\/p>\n<p>KLEIN, Robert. <em>L\u2019esth\u00e9tique de la techn\u00e8. L\u2019art selon Aristote et les th\u00e9ories des arts visuels au XVIe si\u00e8cle<\/em>, ed. J\u00e9r\u00e9mie Koering, Paris, INHA, 2017.<\/p>\n<p>KRAFT, Selma \u201cInterdisciplinarity and the Canon of Art History,\u201d <em>Issues in Integrative Studies<\/em> 7 (1989), 57-71 (avec bibliographie [mais majoritairement anglophone] utile portant sur les ann\u00e9es 1980 et avant).<\/p>\n<p>LATOUR, Bruno et Peter WEIBEL. <em>Iconoclash, Beyond the Image-Wars in Science, Religion and Art<\/em>, MIT, 2002.<\/p>\n<p>M\u00c9CHOULAN, \u00c9ric. \u201cInterm\u00e9dialit\u00e9s : le temps des illusions perdues,\u201d <em>Interm\u00e9dialit\u00e9s<\/em> 1 (2003), 9-27; <u><a href=\"https:\/\/www.erudit.org\/fr\/revues\/im\/2003-n1-im1814473\/1005442ar\/\" rel=\"nofollow\">https:\/\/www.erudit.org\/fr\/revues\/im\/2003-n1-im1814473\/1005442ar\/<\/a><\/u><\/p>\n<p>OOSTERHOFF, Richard J., MARCAIDA, Jos\u00e9 Ramon, MARR, Alexander, <em>Ingenuity in the Making. Matter and Technique in Early Modern Europe<\/em>, Pittsburgh, University of Pittsburgh Press, 2021.<\/p>\n<p>M\u00c9LICE, Anne. \u201cUn concept l\u00e9vi-straussien d\u00e9construit : le \u2018bricolage\u2019,\u201d <em>Les temps modernes<\/em> 5 (2009), 83-98; <u><a href=\"https:\/\/www.cairn.info\/revue-les-temps-modernes-2009-5-page-83.htm\" rel=\"nofollow\">https:\/\/www.cairn.info\/revue-les-temps-modernes-2009-5-page-83.htm<\/a><\/u><\/p>\n<p>MITCHELL, W.J.T. <em>Picture Theory. Essays on Verbal and Visual Representation<\/em>, Chicago, 1994. (Voir l\u2019article de Fran\u00e7ois Brunet <u><a href=\"https:\/\/journals.openedition.org\/inmedia\/543\" rel=\"nofollow\">https:\/\/journals.openedition.org\/inmedia\/543<\/a><\/u>)<\/p>\n<p>MOXEY, Keith P.F. et Michael Ann Holly, <em>Art History, Aesthetics, Visual Studies<\/em>, Sterling and Francine Clark Art Institute, 2002.<\/p>\n<p>PASSERON, Jean-Claude, REVEL, Jacques. <em>Penser par cas<\/em>, Paris, \u00c9ditions de l\u2019EHESS, 2020.<\/p>\n<p>RIBOUILLAULT, Denis. \u201cDe la \u2018r\u00e9union des arts\u2019 dans le jardin au jardin partag\u00e9,\u201d <em>Interm\u00e9dialit\u00e9s<\/em> 35 (2020), 2-27; <u><a href=\"https:\/\/www.erudit.org\/fr\/revues\/im\/1900-v1-n1-im05945\/1076367ar\/resume\/\" rel=\"nofollow\">https:\/\/www.erudit.org\/fr\/revues\/im\/1900-v1-n1-im05945\/1076367ar\/resume\/<\/a><\/u><\/p>\n<p>SNOW, C. P. <em>The Two Cultures<\/em>, Cambridge, Cambridge University Press, 1993 [1950].<\/p>\n<p>YONAN, Michael. \u201cToward a Fusion of Art History and Material Culture Studies,\u201d <em>West 86th: A Journal of Decorative Arts, Design History, and Material Culture<\/em> 18, 2 (2011), 232-248.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<p>Block B<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong><strong><strong>HAR 7005&nbsp;&#8211; Probl\u00e9matisation du contexte artistique<\/strong>: Approches th\u00e9oriques et critiques en histoire de l\u2019art<\/strong><\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong>Approches th\u00e9oriques et critiques en histoire de l\u2019art<\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_8697db-35 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Ersy Contogouris<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_eeb70c-dd kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Fall<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_3b4609-7b kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Wednesday, 9am-12pm<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_510aff-f1 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Universit\u00e9 de Montr\u00e9al. Location to be confirmed<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_a7011b-f1 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in French and English<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>Ce s\u00e9minaire a pour objectif de permettre aux \u00e9tudiant\u00b7es de d\u00e9velopper leur projet de recherhe en lien avec la ou les approches th\u00e9oriques et critiques qu\u2019iels utiliseront dans leur th\u00e8se. Il vise ainsi \u00e0 familiariser les \u00e9tudiant\u00b7es avec (et\/ou \u00e0 approfondir leurs connaissances de) diff\u00e9rentes approches th\u00e9oriques et critiques en histoire de l\u2019art, dont les th\u00e9ories f\u00e9ministes, 2SLGBTQIA+, postcoloniales et d\u00e9coloniales, ainsi qu\u2019aux \u00e9tudes sur la race, le capacitisme, les animaux et l\u2019environnement dans leur application \u00e0 l\u2019histoire de l\u2019art et \u00e0 l\u2019analyse d\u2019\u0153uvres d\u2019art&nbsp;; nous \u00e9tudierons \u00e9galement des concepts de base dans les approches li\u00e9es aux \u00e9tudes visuelles et \u00e0 la culture mat\u00e9rielle. Les \u00e9tudes propos\u00e9es inclueront des textes fondamentaux de ces diff\u00e9rentes approches th\u00e9oriques et critiques, des textes en histoire de l\u2019art adoptant ces diff\u00e9rentes approches, ainsi que des \u0153uvres d\u2019art cr\u00e9\u00e9es en lien avec celles-ci, afin de consid\u00e9rer les enjeux \u00e9pist\u00e9mologiques qu\u2019iels soul\u00e8vent. L\u2019objectif du s\u00e9minaire est ainsi d\u2019offrir \u00e0 chaque \u00e9tudiant\u00b7e la possibilit\u00e9 de r\u00e9fl\u00e9chir \u00e0 ces diff\u00e9rentes approches, \u00e0 se positionner par rapport \u00e0 celles-ci, et ainsi \u00e0 avancer dans le d\u00e9veloppement de son propre cadre th\u00e9orique.<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Indicative bibliography<\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>ADAMS, Carol J. <em>La politique sexuelle de la viande&nbsp;: une th\u00e9orie critique f\u00e9ministe v\u00e9g\u00e9tarienne<\/em> [1990]. Paris&nbsp;: L\u2019\u00e2ge d\u2019or, 2016. \/<em> The Sexual Politics of Meat&nbsp;: A Feminist-Vegetarian Critical Theory<\/em>. New York&nbsp;: Bloomsbury, 2015 [1990].<\/p>\n<p>AHMED, Sara. <em>Living a Feminist Life<\/em>. Durham, NC&nbsp;: Duke University Press, 2017.<\/p>\n<p>ALFONSI, Isabelle. <em>Pour une esth\u00e9tique de l\u2019\u00e9mancipation&nbsp;: construire les lign\u00e9es d\u2019un art queer<\/em>. Paris&nbsp;: B42, 2019.<\/p>\n<p>BHAMBRA, Gurminder K. \u00ab&nbsp;Postcolonial and Decolonial Dialogues&nbsp;\u00bb. <em>Postcolonial Studies<\/em>, vol. 17, no. 2, 2014, pp. 115-121.<\/p>\n<p>BOIDY, Maxime. <em>Les \u00e9tudes visuelles<\/em>. Saint Denis&nbsp;: Presses universitaires de Vincennes, 2017.<\/p>\n<p>CHARE, Nicholas et Ersy CONTOGOURIS (dir.). <em>On the Nude&nbsp;: Looking Anew at the Naked Body in Art<\/em>. New York et Londres&nbsp;: Routledge, 2022.<\/p>\n<p>CLAUSTRES, Annie (dir.). <em>Le tournant populaire des Cultural Studies : l\u2019histoire de l\u2019art face \u00e0 une nouvelle cartographie du go\u00fbt (1964-2008)<\/em>. Dijon : Les Presses du r\u00e9el, 2013.<\/p>\n<p>COLLINS, Lisa Gail. <em>The Art of History. African American Women Artists Engage the Past<\/em>. New Brunswick, NJ, et Londres&nbsp;: Rutgers University Press, 2002.<\/p>\n<p>CONNELL, Raewyn. <em>Masculinit\u00e9s. Enjeux Sociaux de l\u2019H\u00e9g\u00e9monie<\/em>. Paris&nbsp;: Amsterdam, 2014 [1995]. \/ Masculinities. &nbsp;Cambridge&nbsp;:Polity Press, 2005 [1995].<\/p>\n<p>CUKIERMAN, Le\u00efla, Gerty DAMBURY et Fran\u00e7oise VERG\u00c8S (dir.). <em>D\u00e9colonisons les arts&nbsp;!<\/em> Paris&nbsp;: L\u2019Arche, 2018.<\/p>\n<p>CVETKOVICH, Ann. <em>An Archive of Feelings&nbsp;: Trauma, Sexuality, and Lesbian Public Cultures<\/em>. Durham, NC&nbsp;: Duke University Press, 2003<\/p>\n<p>DUBUISSON, Daniel et Sophie RAUX (dir.). <em>\u00c0 perte de vue: Les nouveaux paradigmes du visual<\/em>. Dijon&nbsp;: Les Presses du reel, 2015.<\/p>\n<p>DUMONT, Fabienne (dir.). <em>La r\u00e9bellion du deuxi\u00e8me sexe&nbsp;: l\u2019histoire de l\u2019art au crible des th\u00e9ories f\u00e9ministes anglo-am\u00e9ricaines (1970-2000)<\/em>. Dijon&nbsp;: Les Presses du r\u00e9el, 2011.<\/p>\n<p>FERDINAND, Malcolm. <em>Une \u00e9cologie d\u00e9coloniale&nbsp;: Penser l\u2019\u00e9cologie depuis le monde carib\u00e9en<\/em>. Paris&nbsp;: Seuil, 2019. \/ <em>A Decolonial Ecology&nbsp;: Thinking from the Caribbean World<\/em>. Cambridge, R-U&nbsp;: Polity Press, 2022 [2019].<\/p>\n<p>FICHERA, Giorgio et Chlo\u00e9 Clovis MAILLET (dir.). \u00ab&nbsp;Regard\u00b7s homo\u00e9rotique\u00b7s&nbsp;\u00bb, dossier de <em>Images re-vues<\/em>, vol. 17, 2020.<\/p>\n<p>G\u00c9R\u00c9, Vanina. <em>Les mauvais sentiments \u2013 L&#8217;art de Kara Walker<\/em>. Dijon&nbsp;: Les presses du r\u00e9el, 2019.<\/p>\n<p>GOSSETT, Reina, Eric A. STANLEY, et Johana BURTON (dir.). <em>Trap Door&nbsp;: Trans Cultural Production and the Politics of Visibility<\/em>. Cambridge, MA, et Londres, R-U&nbsp;: The MIT Press, 2017.<\/p>\n<p>GRUSIN, Richard (dir.). <em>Anthropocene Feminism<\/em>. Minneapolis, MN&nbsp;: University of Minnesota Press, 2017.<\/p>\n<p>HACHE, \u00c9milie. <em>Reclaim&nbsp;: Recueil de textes \u00e9cof\u00e9ministes.<\/em> Paris&nbsp;: Cambourakis, 2016.<\/p>\n<p>HALBERSTAM, Jack. <em>Trans*&nbsp;: A Quick and Quirky Account of Gender Variability<\/em>. Los Angeles&nbsp;: University California Press, 2018.<\/p>\n<p>IGLOLIORTE, Heather et Carla TAUNTON. \u00ab Introduction : Continuities Between Eras : Indigenous Art Histories \u00bb. <em>RACAR<\/em>, vol. 42, no 2 (2016), pp. 5-8 ; \u00ab Introduction : Continuit\u00e9 entre les \u00e9poques : histoires des arts autochtones \u00bb, <em>RACAR<\/em>, vol. 42, no 2 (2016), pp. 9-12.<\/p>\n<p>JONES, Amelia (dir.). <em>The Feminism and Visual Culture Reader<\/em>. Londres et New York&nbsp;: Routledge, 2010.<\/p>\n<p>JONES, Amelia et Erin SILVER (dir.). <em>Otherwise&nbsp;: Imagining Queer Feminist Art Histories<\/em>. Manchester&nbsp;: Manchester University Press, 2015.<\/p>\n<p>LAFONT, Anne. <em>L\u2019art et la race \u2013 L\u2019Africain (tout) contre l\u2019\u0153il des Lumi\u00e8res<\/em>. Dijon&nbsp;: Les presses du r\u00e9el, 2019.<\/p>\n<p>LAFONT, Anne. <em>Une Africaine au Louvre en 1800. La place du mod\u00e8le<\/em>. Paris&nbsp;: INHA, 2019.<\/p>\n<p>LOVELESS, Natalie. <em>How to Make Art at the End of the World&nbsp;: A Manifesto for Research-Creation<\/em>. Durham, NC&nbsp;: Duke University Press, 2019.<\/p>\n<p>MALAMUD, Randy. <em>An Introduction to Animals in Visual Culture<\/em>. Londres&nbsp;: Palgrave Macmillan, 2012.<\/p>\n<p>McMILLAN, Uri, &nbsp;McMillan (2015). <em>Embodied Avatars : Genealogies of Black Feminist Art and Performance<\/em>. New York: NYU Press, 2015.<\/p>\n<p>McWILLIAM, Neil, Constance MOR\u00c9TEAU et Johanne LAMOUREUX (dir.). <em>Histoires sociales de l\u2019art : une anthologie critique<\/em>. Dijon : Les Presses du r\u00e9el, 2016.<\/p>\n<p>MILLETT-GALLANT, Ann et Elizabeth HOWIE. <em>Disability and Art History<\/em>. Londres et New<\/p>\n<p>York&nbsp;: Routledge, 2017.<\/p>\n<p>MIRZOEFF, Nicholas (dir.). <em>The Visual Culture Reader<\/em>. Londres et New York : Routledge, 2013.<\/p>\n<p>PATEL, Alpesh Kantital. <em>Productive Failure&nbsp;: Writing Queer Transnational South Asian Art Histories<\/em>. Manchester&nbsp;: Manchester University Press, 2017.<\/p>\n<p>PIEPZNA-SAMARASINHA, Leah Lakshmi. <em>Care Work&nbsp;: Dreaming Disability Justice<\/em>. Vancouver&nbsp;: Arsenal Pulp Press, 2021 [2018].<\/p>\n<p>PINDER, Kymberly. <em>Race-ing Art History&nbsp;: Critical Readings in Race and Art History<\/em>. Londres et New York&nbsp;: Routledge, 2002.<\/p>\n<p>PRECIADO, Paul B. <em>Je suis un monstre qui vous parle&nbsp;: rapport pour une acad\u00e9mie de psychanalistes<\/em>. Paris&nbsp;: Grasset, 2020.<\/p>\n<p>VERG\u00c8S, Fran\u00e7oise. <em>Un f\u00e9minisme d\u00e9colonial<\/em>. Paris&nbsp;: La Fabrique \u00e9ditions, 2019.<\/p>\n<p>WEXLER, Alice et John DERBY (dir.). <em>Contemporary Art and Disability Studies<\/em>. Londres et New York&nbsp;: Routledge, 2020.<\/p>\n<p>YONAN, Michael. \u00ab&nbsp;Toward a Fusion of Art History and Material Culture Studies&nbsp;\u00bb. <em>West 86th&nbsp;: A Journal of Decorative Arts, Design History, and Material Culture<\/em>, vol. 18, no. 2, 2011, pp. 234-248.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong><strong><strong><strong><strong>ARTH803 &#8211; Questions th\u00e9matiques: <\/strong><\/strong><\/strong><\/strong><\/strong>The Invention of the Indigiqueer: Gender, Sexuality and Performance<\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong><strong>The Invention of the Indigiqueer : Gender, Sexuality and Performance<\/strong><\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_3bb7d5-6a kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Michelle McGeough<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_5b4454-3d kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Fall<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_2fd7e1-7f kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Tuesday, 2:30 pm &#8211; 5:30 pm <\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_119e5d-61 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Concordia University, EV 3.760<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_b09dc7-56 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in English <\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>Indigenous knowledge(s) regarding non-binary gender and sexual identities have been with us since time immemorial. It is well documented among many Indigenous Nations that one\u2019s gender was not solely determined by one\u2019s biological sex. However, colonialism disrupted the transfer of this knowledge. The settler nation-state and its agents attempted to discipline the Indigenous body through legislation and violence, which had a profound impact on the transmission of these understandings. Since the 1990s Indigenous activism has sought to bring this knowledge into a contemporary context. First demarcated with the coining of the term Two-spirit, this movement was seen as being identity-based, but in its present context, the recovery of this knowledge has become associated with social justice and the Indigenous sovereignty movement.<\/p>\n<p>Many Indigenous and non-Indigenous scholars have used disciplines such as anthropology and the literary arts to examine Indigenous non-binary genders, this course will take a fresh approach. We will examine how Indigenous artists have deployed their creative work in both historical and contemporary times to assert Indigenous kowledge(s) regarding gender and sexuality . As Leanne Betasamosake Simpson has noted, many of our contemporary acts of decolonization are concerned with \u201cpicking up the things we were forced to leave behind\u201d (Dancing 50).<\/p>\n<p>While Indigenous sovereignty remains a contentious issue, as it tends to focus on Nation to Nation relationships, the assertion of sovereignty is much more complex. We will contemplate these complexities through close readings of Indigenous scholars who consider how Indigenous nations assert their sovereignty along with Indigenous artists who have continued to manifest Indigenous values and philosophies through their art practices and production.<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Bibliography<\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>Bahr, Donald, Sue-Ellen Jacobs, Wesley Thomas, and Sabine Lang. 1998. \u201cTwo-Spirit People.\u201d <em>Wicazo Sa Review<\/em> 13 (1): 116\u201316. <a href=\"https:\/\/doi.org\/10.2307\/1409033\">https:\/\/doi.org\/10.2307\/1409033.<\/a><\/p>\n<p>Byrd, Jodi A. \u201cLoving Unbecoming: The Queer Politics of the Transitive Native.\u201d In Critically Sovereign: Indigenous Gender, Sexuality, and Feminist Studies, edited Joanne Barker,207-227. Durham, NC: Duke University Press.<\/p>\n<p>Burford A. &#8220;Her mouth is medicine&#8221;: Beth Brant and Paula Gunn Allen&#8217;s decolonizing queer erotics. Journal Lesbian Studies. 2013;17(2):167-79.<\/p>\n<p>Driskill, Qwo-Li. \u201cDoubleweaving Two-Spirit Critiques: Building Alliances between Native and Queer Studies.\u201d GLQ: A Journal of Lesbian and Gay 16, no. 1-2 (2010): 69-92.<\/p>\n<p>Epple, Carol. &#8220;Coming to Terms with Navajo &#8220;n\u00e1dleeh\u00ed&#8221;: A Critique of &#8220;berdache,&#8221; &#8220;Gay,&#8221; &#8220;Alternate Gender,&#8221; and &#8220;Two-Spirit.&#8221; American Ethnologist 25.2 1998: 267-290<\/p>\n<p>Estrada, Gabriel S. (2017) &#8220;Two-Spirit Mexica Youth and Transgender Mixtec\/Muxe Media: La Mission (2009), Two Spirit: Injunuity (2013), and Libertad (2015),&#8221; <em>Journal of Religion &amp; Film<\/em>: Vol. 21 : Iss. 1 , Article 38.<\/p>\n<p>Faiman-Silva, Sandra (2011). Anthropologists and Two Spirit People: Building Bridges and Sharing Knowledge. In Anthropology Faculty Publications. Paper 23. <a href=\"https:\/\/vc.bridgew.edu\/anthro_fac\/23\" rel=\"nofollow\">https:\/\/vc.bridgew.edu\/anthro_fac\/23<\/a><\/p>\n<p>Fulton, Robert, and Steven W. Anderson. \u201cThe Amerindian \u2018Man-Woman\u2019: Gender, Liminality, and Cultural Continuity.\u201d <em>Current Anthropology<\/em>, vol. 33, no. 5,(1992): 603\u2013610.<\/p>\n<p>Hemmil\u00e4, Anita Ancestors of two-spirits: Historical depictions of Native North American gender-crossing women through critical discourse analysis, Journal of Lesbian Studies, 20:3-4 (2016): 408-426, DOI: 10.1080\/10894160.2016.1151281<\/p>\n<p>House, Carrie Blessed by the Holy People, Journal of Lesbian Studies, 20:3-4(2016): 324-341, DOI: 10.1080\/10894160.2016.1151242<\/p>\n<p>Justice, Daniel Heath. \u201cNotes Toward a Theory of Anomaly.\u201d GLQ: A Journal of Lesbian and Gay 16,no. 1-2 (2010): 207-242.<\/p>\n<p>Lerma, Michael. <em>Indigenous sovereignty in the 21st century: knowledge for the indigenous spring<\/em>. Gainesville, FL: Florida Academic Press, 2014.<\/p>\n<p>Martin, Russell, and Lydia Nibley, dir. <em>Two Spirits<\/em>. 2010; New York, NY: Cinema Guild Film,2010),DVD.<\/p>\n<p>Miranda, Deborah A. \u201cExtermination of the Joyas: Gendercide in Spanish California.\u201d GLQ: A Journal of Lesbian and Gay 16, no. 1-2 (2010): 253-284.<\/p>\n<p>Morgensen, Scott Lauria. \u201cUnsettling Queer Politics: What Can Non-Natives Learn from Two-SpiritOrganizing.\u201d In Queer Indigenous Studies: Critical Interventions in Theory, Politics, and Literature, Edited by Qwo-Li Driskill, Chris Finley, Brian Joseph Gilley, and Scott Lauria Morgensen. Tucson, AZ: University of Arizona Press, (2011):132-152.<\/p>\n<p>\u2014. \u201cSettler Homonationalism: Theorizing Settler Colonialism within Queer Modernities.\u201d GLQ: A<\/p>\n<p>Journal of Lesbian and Gay 16, no. 1-2 (2010): 105-131.<\/p>\n<p>\u2014. <em>Spaces between us: queer settler colonialism and indigenous decolonization<\/em>. Minneapolis: U of Minnesota Press, 2011,<\/p>\n<p>Rice, Ryan and Carla Taunton. Buffalo Boy: THEN AND NOW. <em>Fuse Magazine.<\/em> Toronto: Mar 2009. Vol. 32, Iss. 2, (2009):18-25<\/p>\n<p>Rifken, Mark. When did Indians become straight?: Kinship, the History of Sexuality, and Native Sovereignty. New York: Oxford U Press, 2011.<\/p>\n<p>\u2014. \u201cThe Erotics of Sovereignty.\u201d In Queer Indigenous Studies: Critical Interventions in<\/p>\n<p>Theory, Politics, and Literature, Edited by Qwo-Li Driskill, Chris Finley, Brian Joseph Gilley, and Scott Lauria Morgensen.. Tucson, AZ: University of Arizona Press, (2011):172-189.<\/p>\n<p>Rodr\u00edguez, Juana Mar\u00eda. Sexual Futures, Queer Gestures, and Other Latina Longings. New York: New York University Press, 2014.<\/p>\n<p>Roscoe, Will. Changing Ones: Third and Fourth Genders in Native North America. St. Martin Griffin, New York. 1998.<\/p>\n<p>Robinson, Margaret Two-Spirit and Bisexual People: Different Umbrella, Same Rain, Journal of Bisexuality, 17:1, (2017) 7-29. DOI: 10.1080\/15299716.2016.1261266<\/p>\n<p>Tatonetti L. Detecting Two-Spirit Erotics: The fiction of Carole LaFavor. Journal of Lesbian Studies. 2016 Jul-Dec;20(3-4):372-87. doi: 10.1080\/10894160.2016.1144426. PMID: 27254762.<\/p>\n<p>Zepeda, S. \u201cQueer Xicana Ind\u00edgena cultural production: Remembering through oral and visual storytelling.\u201d Decolonization: Indigeneity, Education &amp; Society Vol. 3, No. 1, (2014): 119-141.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/div>\n<div class=\"wp-block-kadence-tab kt-tab-inner-content kt-inner-tab-2 kt-inner-tab_1d662f-12\">\n<div class=\"kt-tab-inner-content-inner\">\n<p>Block A<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong><strong><strong><strong><strong>ARTH809 &#8211; Th\u00e9ories et m\u00e9thodes de l\u2019histoire de l\u2019art<\/strong><\/strong>: <strong><strong>Indigenous and Decolonial Theories&nbsp;and&nbsp;Methodologies for Art History in North America<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong><strong>Indigenous and Decolonial Theories&nbsp;and&nbsp;Methodologies for Art History in North America<\/strong><\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_894e1f-4d kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Heather Igloliorte<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_74ffa9-1f kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Winter<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_75e876-80 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Monday, 2:30 pm &#8211; 5:30 pm<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_faddb7-38 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Concordia University, EV 3.760<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_e2a32c-12 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in English<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>Linda Tuhiwai Smith\u2019s\u200b groundbreaking text&nbsp;<em>Decolonizing Methodologies&nbsp;<\/em>is concerned \u201cnot so much with the actual technique of selecting a method but much more with the context in which research problems are conceptualized and designed, and with the implications of research for its participants and their communities.\u201d (2nd edition, 2012, p. ix). In this course we will explore decolonial and Indigenous approaches to theory and method as related to art history, visual culture, and research, in order for students to develop their understanding of key concepts and research practices. Drawing on \u201cThe Four R\u2019s\u201d as the foundational directions of Indigenous research \u2013 Respect, Relevance, Reciprocity, Responsibility \u2013 in this course we will not only study and articulate methodological strategies to produce meaningful research, we will also consider the ethical implications of research conducted by and with rather than on or for Indigenous nations and communities. We will examine both nation-specific and more broadly Indigenous and decolonial research protocols and practices, and specifically focus on:&nbsp;&nbsp;&nbsp;<\/p>\n<p>\u2022 Indigenous and decolonial museological practices, such as consultation, collaboration, reciprocity, repatriation\/ rematriation, and collecting activities;&nbsp;<\/p>\n<p>\u2022 Indigenous and decolonial curatorial strategies, including haptic and sensorial exhibition practices, performativity, and community and\/or public engagement;&nbsp;<\/p>\n<p>\u2022 The interpretation of historic and contemporary Indigenous art through such frames as continuity and resurgence;&nbsp;<\/p>\n<p>\u2022 Indigenous ways of knowing, ontologies and epistemologies, including such areas as kinship and relational aesthetics;&nbsp;<\/p>\n<p>\u2022 The productive intersections and limitative borders of Indigenous, Western, and global postcolonial theories and methodologies for art history; and,&nbsp;<\/p>\n<p>\u2022 Theories of settler responsibility for curatorial, pedagogical, and scholarly work in Indigenous arts, and best practices for non-Indigenous allies working in institutions that collect and\/or display Indigenous arts.&nbsp; \u200b&nbsp;<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Bibliograph<\/strong>y<\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>The core course for this book will be the publication:<\/p>\n<p>IGLOLIORTE, Heather and Carla Taunton (eds.) <em>The Routledge Companion of Indigenous Art Histories in Canada and the United States.<\/em> New York: Routledge (peer-reviewed, 250,000 words,forthcoming January 2022)<\/p>\n<p>Additional sources will be drawn from:<\/p>\n<p>ANDERSEN, Chris, and Jean M. O&#8217;BRIEN (eds.), <em>Sources and Methods in Indigenous Studies.<\/em> New York: Routledge, 2014.<\/p>\n<p>BENNETT, Tony. <em>Pasts Beyond Memory: Evolution, Museums, Colonialism<\/em>. New York: Routledge, 2004.<\/p>\n<p>BHABHA, Homi. <em>The Location of Culture<\/em>. London: Routledge, 2<sup>nd<\/sup> edition: 2004.<\/p>\n<p>BROWN, Jennifer and Elizabeth VIBERT (eds.), <em>Reading Beyond Words: contexts for native history,<\/em> 2<sup>nd<\/sup> edition, Toronto: Broadview press, 2003.<\/p>\n<p>BROWN, Leslie and Susan STREGA. <em>Research as Resistance: Critical, Indigenous, and Anti-Oppressive Approaches.<\/em> Toronto: Canadian Scholars Press \/ Women\u2019s Press, 2005.<\/p>\n<p>CLIFFORD, James. <em>Routes: Travel and Translation in the Late Twentieth Century<\/em>. Cambridge: Harvard University Press, 1997: 188 \u2013 219.<\/p>\n<p>DENZIN Norman K., Yvonna S. LINCOLN, and Linda TUHIWAI SMITH (eds.), <em>Handbook of Critical and Indigenous Methodologies.<\/em> Thousand Oaks: Sage Publishing, 2008.<\/p>\n<p>ERMINE, Willie. \u201cAboriginal epistemology.\u201d In M. Battiste &amp; J. Barman (Eds.), <em>First Nation education in Canada: The circle unfolds<\/em> (pp. 101\u2013111). Vancouver, BC: UBC Press (2000).<\/p>\n<p>GARCIA-ANTON, Katya (ed.), <em>Sovereign Words: Indigenous Art, Curation and Criticism.<\/em> Oslo: Valiz\/ OCA, 2019.<\/p>\n<p>HARNEY, Elizabeth and PHILLIPS, Ruth. <em>Mapping Modernisms: Art, Indigeneity, Colonialism<\/em>. Durham: Duke University Press, 2018.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<p>Block B<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong><strong><strong><strong><strong>HAR915K &#8211; Probl\u00e9matisation du contexte artistique<\/strong><\/strong>: <strong><strong><strong>Les \u00e9changes culturels en question : transferts, emprunts et appropriations<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong><strong><strong>Les \u00e9changes culturels en question : transferts, emprunts et appropriations<\/strong><\/strong><\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_7206f3-4f kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Jean-Philippe Uzel<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_46ba10-c2 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Winter<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_5a60bd-ed kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Tuesday, 2pm &#8211; 5pm <\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_f6b262-2d kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. Location to be confirmed<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_04b067-ec kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in French<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>Fritz Saxl, en r\u00e9f\u00e9rence au voyage d\u2019Aby Warburg chez les Hopis, affirmait en 1930 que \u00ab le probl\u00e8me de l\u2019\u00e9change entre les cultures \u00bb \u00e9tait la question primordiale que s\u2019\u00e9tait pos\u00e9e toute sa vie le fondateur de la Kulturtwissenschaftlitche Bibliothek Warburg. Mais pour mener \u00e0 bien ce projet gigantesque, Warburg, selon ses propres dires, \u00ab ne s\u2019\u00e9tait pas laiss\u00e9 intimider ni terroriser par des fronti\u00e8res polici\u00e8res \u00bb. Ces fronti\u00e8res, celles de la nation allemande et de la discipline de l\u2019histoire de l\u2019art, sur lesquelles veillaient de nombreux historiens de l\u2019art germaniques, en affirmant, par exemple, qu\u2019Albrecht D\u00fcrer \u00e9tait un pur produit allemand qui ne devait absolument rien aux influences \u00e9trang\u00e8res (malgr\u00e9 ses deux voyages d\u00e9cisifs en Italie). Ce d\u00e9bat sur l\u2019ouverture et la fermeture des cultures n\u2019\u00e9tait pas tout \u00e0 fait nouveau dans la tradition allemande puisqu\u2019on en trouve d\u00e9j\u00e0 les germes au XVIIIe si\u00e8cle dans la querelle qui opposait Winckelmann et Herder au sujet de l\u2019apparition, spontan\u00e9e ou non, de l\u2019art grec ancien.<\/p>\n<p>La multiplication et l\u2019internationalisation des \u00e9changes culturels dans la seconde moiti\u00e9 du XXe si\u00e8cle ont relanc\u00e9, sous un jour totalement nouveau, le d\u00e9bat sur les bienfaits de la communication entre les cultures. C\u2019est ainsi qu\u2019en 1971 l\u2019anthropologue fran\u00e7ais Claude-L\u00e9vi Strauss d\u00e9fendait, \u00e0 la tribune de l\u2019UNESCO, un certain degr\u00e9 de surdit\u00e9 des cultures les unes par rapport aux autres dans le but de pr\u00e9server leur diversit\u00e9. Par un \u00e9tonnant retour de balancier, c\u2019est aujourd\u2019hui la position de Warburg sur les Hopis qui est consid\u00e9r\u00e9e comme \u00ab un cas d\u2019\u00e9cole \u00bb du primitivisme europ\u00e9en. Les r\u00e9cents d\u00e9bats autour de l\u2019appropriation culturelle ou de la restitution des \u0153uvres conserv\u00e9es par les anciennes puissances coloniales, nous rappellent que les \u00e9changes culturels dans le domaine de l\u2019art ne se font pas toujours sous le signe de l\u2019humanisme et de la fraternit\u00e9, mais sont souvent le reflet de rapports de domination et d\u2019exploitation (d\u00e9possession, pillage, invisibilisation).<\/p>\n<p>Ce s\u00e9minaire a pour ambition d\u2019examiner les soubassements politiques des \u00e9changes culturels dans le champ de l\u2019histoire de l\u2019art en se concentrant sur une s\u00e9rie d\u2019\u00e9tudes de cas allant du XVIIIe si\u00e8cle jusqu\u2019\u00e0 nos jours.<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Bibliograp<\/strong>hy<\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>Dagen, P. (2019). <em>Primitivismes : une invention moderne<\/em>. Paris, Gallimard.<\/p>\n<p>Espagne, M. and M. Werner (1988). <em>Transferts : les relations interculturelles dans l&#8217;espace franco-allemand (XVIIIe et XIXe si\u00e8cle)<\/em>. Paris, \u00c9ditions Recherche sur les Civilisations.<\/p>\n<p>Groffier, E. (2020). <em>Dire l&#8217;autre : appropriation culturelle, voix autochtones et libert\u00e9 d&#8217;expression<\/em>. Montr\u00e9al, Lem\u00e9ac.<\/p>\n<p>Herder, J. G. et J. W. v. Goethe (1993). <em>Le Tombeau de Winckelmann<\/em>. N\u00eemes, J. Chambon.<\/p>\n<p>L\u00e9vi-Strauss, C. (2001). <em>Race et histoire ; Race et culture<\/em>. Paris, Albin Michel\/Unesco.<\/p>\n<p>Michaud, E. (2015). <em>Les invasions barbares : une g\u00e9n\u00e9alogie de l&#8217;histoire de l&#8217;art<\/em>. Paris, Gallimard.<\/p>\n<p>Pratt, M. L. (1991). &#8220;Arts of the Contact Zone.&#8221; <em>Profession<\/em>: 33-40.<\/p>\n<p>Sarr, F., et B. Savoy (2018). <em>Rapport sur la restitution du patrimoine culturel africain : vers une nouvelle \u00e9thique relationnelle<\/em>. <a href=\"http:\/\/restitutionreport2018.com\/sarr_savoy_fr.pdf\" rel=\"nofollow\">http:\/\/restitutionreport2018.com\/sarr_savoy_fr.pdf<\/a> (consult\u00e9 le 27 d\u00e9cembre2018)<\/p>\n<p>Schoell-Glass, C. (2008). <em>Aby Warburg and anti-semitism : political perspectives on images and culture<\/em>. Detroit, Wayne State University Press.<\/p>\n<p>Warburg, A., et al. (2003). <em>Le rituel du serpent : r\u00e9cit d&#8217;un voyage en pays pueblo<\/em>. Paris, Macula.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\">Cancelled: <strong><strong><strong><strong><strong><strong><strong><strong>HAR915L &#8211; Probl\u00e9matisation du contexte artistique: <strong>Exposer, collectionner, archiver&nbsp;la photographie \u00e0 l\u2019heure des&nbsp;<em>studies<\/em><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<h2><strong><strong>Exposer, collectionner, archiver&nbsp;la photographie \u00e0 l\u2019heure des&nbsp;<em>studies<\/em><\/strong><\/strong><\/h2>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_74697d-93 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book-reader\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Dr. Vincent Lavoie<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_8566f2-5a kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_calendar-alt\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Winter<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_0e495d-76 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_clock\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Thursday, 2pm &#8211; 5pm<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_f18ea3-35 kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_building\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. Location to be confirmed<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<div class=\"wp-block-kadence-iconlist kt-svg-icon-list-items kt-svg-icon-list-items_e8f276-6b kt-svg-icon-list-columns-1 alignnone\">\n<ul class=\"kt-svg-icon-list\">\n<li class=\"kt-svg-icon-list-style-default kt-svg-icon-list-item-wrap kt-svg-icon-list-item-0\">\n<div class=\"kt-svg-icon-list-single kt-svg-icon-list-single-fas_book\" style=\"display: inline-flex; justify-content: center; align-items: center;\">&nbsp;<\/div>\n<p><span class=\"kt-svg-icon-list-text\">Seminar taught in French<\/span><\/p>\n<\/li>\n<\/ul>\n<\/div>\n<p>L\u2019histoire de la photographie a \u00e9t\u00e9 tr\u00e8s largement domin\u00e9e par des questions de l\u00e9gitimitation artistique, culturelle et institutionnelle. Pr\u00e9tendante au Salon des beaux-arts au XIXe si\u00e8cle, fer de lance de la modernit\u00e9 artistique dans l\u2019entre-deux-guerres, alli\u00e9e de l\u2019art conceptuel, voire \u00e9g\u00e9rie de la postmodernit\u00e9 artistique, l\u2019\u00ab entr\u00e9e en art \u00bb de la photographie aura \u00e9t\u00e9, du moins jusqu\u2019aux ann\u00e9es 1990, une v\u00e9ritable obsession historiographique. Depuis lors, les \u00e9tudes photographiques se sont int\u00e9ress\u00e9es aux pratiques minor\u00e9es par ce r\u00e9cit canonique \u2013 photographie vernaculaire et amateure, image de presse, archives photographiques, photographie de mode, animali\u00e8re ou pornographique. Or quelles sont les retomb\u00e9es critiques de cette r\u00e9vision historiographique sur les pratiques mus\u00e9ales, patrimoniales, curatoriales, d\u2019archivage ou populaires ?<\/p>\n<p>Ce s\u00e9minaire propose d\u2019\u00e9tudier les r\u00e9formes \u00e9pist\u00e9mologiques et m\u00e9thodologiques que la photographie invite aujourd\u2019hui \u00e0 mettre en \u0153uvre. Comment d\u00e9coloniser les archives photographiques institutionnelles ? Pourquoi patrimonialise-t-on les \u00ab images citoyennes \u00bb dans les mus\u00e9es comm\u00e9moratifs (9\/11 Memorial &amp; Museum, New York) ? Que faire de ces fonds photographiques c\u00e9d\u00e9s aux institutions culturelles, alors que leurs l\u00e9gataires en conservent les droits d\u2019exploitation exclusifs (collection Black Star, Ryerson Image Centre, Toronto) ? \u00c0 quelles conditions montrer des photographies frapp\u00e9es d\u2019opprobre par certains groupes ou communaut\u00e9s ? \u00c0 l\u2019heure de la massification des contenus visuels, quelles formes de visibilit\u00e9 les mus\u00e9es peuvent-ils encore donner aux images (\u00ab Le supermarch\u00e9 des images \u00bb, Jeu de Paume, Paris, 2020) ? Quels sont les attributs conversationnels des images diffus\u00e9es sur les r\u00e9seaux sociaux ? La photographie nous permet-elle d\u2019historicicer des ph\u00e9nom\u00e8nes culturels actuels tels que les NFT (Non-Fungible Tokens) ? Ce s\u00e9minaire entend ainsi mettre en exergue les fonctions critiques et les potentialit\u00e9s interpr\u00e9tatives de la photographie dans la culture visuelle contemporaine.<\/p>\n<div class=\"wp-block-atomic-blocks-ab-accordion ab-block-accordion\"><details>\n<summary class=\"ab-accordion-title\"><strong><strong>Bibliograph<\/strong>y<\/strong><\/summary>\n<div class=\"ab-accordion-text\">\n<p>BAIR, Nadya, <em>The Decisive Network. Magnum Photos and the Postwar Image Market<\/em>, Oakland, University of California Press, 2020.<\/p>\n<p>BESHTY, Walead (dir.), <em>Picture Industry. A Provisional History of the Technical Image, 1844-2018<\/em>, cat. exp., Zurich, JRP Ringier, 2018.<\/p>\n<p>BLASCHKE, Estelle, <em>Banking on Images: The Bettmann Archive and Corbis,<\/em> Leipzig, Germany: Spector Books, 2016.<\/p>\n<p>BRUNET, Fran\u00e7ois, <em>La Photographie. Histoire et contre-histoire<\/em>, Paris, PUF, 2017.<\/p>\n<p>COULOMBE, Maxime, <em>Le plaisir des images<\/em>, Paris, PUF, 2019.<\/p>\n<p>ECKEL, Julia, Jens Ruchatz et Sabine Wirth (dir.), <em>Exploring the Selfie. Historical, Theoretical, and Analytical Approaches to Digital Self-Photography<\/em>, Basingstoke, Palgrave, 2018.<\/p>\n<p>GUNTHERT, Andr\u00e9, <em>L\u2019image partag\u00e9e<\/em>, Paris, \u00c9ditions Textuel, 2015<\/p>\n<p>HENNING, Michelle, <em>Photography. The Unfettered Image<\/em>, Londres\/New York, Routledge, 2018<\/p>\n<p>JURGENSON, Nathan, <em>The Social Photo. On Photography and Social Media<\/em>, Londres, Verso Books, 2019.<\/p>\n<p>PARCOLLET, Remi, <em>Photog\u00e9nie de l\u2019exposition<\/em>, Paris, Manuella \u00c9ditions, 2018.<\/p>\n<p>RUBINSTEIN, Daniel (ed). <em>Fragmentation of the Photographic Image in the Digital Age<\/em> Routledge, New York and London, 2020.<\/p>\n<p>STERLING, Colin, <em>Heritage, Photography, and the Affective Past<\/em>, Routledge, New York and London, 2019.<\/p>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/details><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Block A HAR7008 &#8211; Th\u00e9ories et m\u00e9thodes de l\u2019histoire de l\u2019art: l\u2019histoire de l\u2019art \u00e0 l\u2019\u00e9preuve de l\u2019interdisciplinarit\u00e9 L\u2019histoire de l\u2019art \u00e0 l\u2019\u00e9preuve de l\u2019interdisciplinarit\u00e9 &nbsp; Dr. Denis Ribouillault [&hellip;]<\/p>\n","protected":false},"author":242268434,"featured_media":0,"parent":65,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-5307","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PfghYs-1nB","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/pages\/5307","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/users\/242268434"}],"replies":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/comments?post=5307"}],"version-history":[{"count":2,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/pages\/5307\/revisions"}],"predecessor-version":[{"id":8806,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/pages\/5307\/revisions\/8806"}],"up":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/pages\/65"}],"wp:attachment":[{"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/media?parent=5307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/categories?post=5307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/docinterhar.ca\/en\/wp-json\/wp\/v2\/tags?post=5307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}