{"id":8259,"date":"2024-01-14T14:54:45","date_gmt":"2024-01-14T19:54:45","guid":{"rendered":"https:\/\/docinterhar.ca\/?page_id=8259"},"modified":"2025-06-03T13:09:10","modified_gmt":"2025-06-03T17:09:10","slug":"2024-2025-seminars","status":"publish","type":"page","link":"https:\/\/docinterhar.ca\/fr\/seminars\/2024-2025-seminars\/","title":{"rendered":"S\u00e9minaires 2024-2025"},"content":{"rendered":"\n<figure class=\"wp-block-pullquote\"><blockquote><p><strong><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-secondary-color\">Block A -Theory and Methodology<\/mark><\/strong><\/p><\/blockquote><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-secondary-color\">Fall 2024<\/mark><\/strong><\/h2>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>ARTH 809<\/strong> <strong><strong>&#8211; Theories and Methods of Art History:<br>Methods for Global Contemporary Art<\/strong><\/strong><br>Dr. Julia Skelly<br>Wednesday 2:45-5:45pm<br>Concordia University EV 3.760<br>Seminar taught in English<\/summary>\n<p class=\"wp-block-paragraph\">The \u201cglobal turn\u201d in (Western) art history is relatively new. In this seminar, we will read a number of texts about this turn, some of them more cynical than others. The question of what constitutes global art history also necessitates the question: what is global art? One possible answer is that \u201cglobal\u201d has merely replaced \u201cnon-western\u201d and thus does little to deconstruct the western\/non-western binary in the western academy. Rather than accepting the assumption that \u201cglobal art\u201d and globalization are \u201cnew,\u201d we will read texts that illuminate the fact that art has long been global due to histories of transcultural and transnational exchanges, whether part of the porcelain trade in the eighteenth century or in the context of TransAtlantic slavery. At certain points in the term we will pay particular attention to female artists of colour working in \u201cglobal\u201d contexts (that is, outside of Europe and North America). One of the objectives of the course will be to establish how scholarship on global contemporary art, or art in the \u201cglobal world,\u201d is different from scholarship on plain old \u201ccontemporary art\u201d (that is, contemporary art produced in Europe and North America). What are the themes, issues, and problems that keep coming up? And how, as scholars, might we draw on art historical scholarship to think through and write about what is currently happening around the world, politically, environmentally, and affectively? Final essays can focus on historical or contemporary art, but you must provide and articulate your own definition\/understanding of \u201cglobal art\u201d and\/or \u201cglobal art history.\u201d<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliography<\/summary>\n<p class=\"wp-block-paragraph\">Ahmed, Sara, \u201cOrientations toward Objects,\u201d in <em>Queer Phenomenology: Orientations, Objects, Others<\/em> (Durham: Duke University Press, 2006), 25-63.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bennett, Jill, \u201cThe Force of Things,\u201d in <em>Vibrant Matter: A Political Ecology of Things<\/em> (Durham: Duke University Press, 2010), 1-19.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bennett, Jill, \u201cThe Force of Trauma,\u201d in <em>Empathic Vision: Affect, Trauma, and Contemporary Art <\/em>(Stanford: Stanford University Press, 2005), 46-69.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Boetzkes, Amanda, <em>Plastic Capitalism: Contemporary Art and the Drive to Waste<\/em> (Boston: The MIT Press, 2019).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cheng, Anne Anlin, \u201cBlue Willow,\u201d in <em>Ornamentalism<\/em> (Oxford: Oxford University Press, 2019), 86-106.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cooke, Jr., Edward S., \u201cCirculation and Interchange,\u201d in <em>Global Objects: Towards a Connected Art History<\/em> (Princeton: Princeton University Press, 2022), 100-47.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Corbin, Megan and Daniela Johannes, \u201cActivating Affect Aura through Art: Clothing as Witness,\u201d <em>Angelaki: Journal of Theoretical Humanities<\/em>, 27:2 (2022): 44-56.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Davis, Heather, <em>Plastic Matter<\/em> (Durham: Duke University Press, 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a>Dimitrakaki<\/a>, Angela, \u201cGendering the Multitude: Feminist Politics, Globalization and Art History,\u201d in Marsha Meskimmon and Dorothy Rowe (eds), <em>Women, the Arts and Globalization: Eccentric Experience<\/em> (Manchester: Manchester University Press, 2013), 15-43.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dimitrikaki, Angela, \u201cThe Spectacle and its Others: Labor, Conflict, and Art in the Age of Global Capital,\u201d in Jonathan Harris (ed.), <em>Globalization and Contemporary Art<\/em> (Oxford: Wiley-Blackwell, 2011), 191-211.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dimitrikaki, Angela, \u201cTravel as (gendered) work: Global Space, Mobility and the \u2018Woman Artist,\u2019\u201d in <em>Gender, artwork and the Global Imperative: A Materialist Feminist Critique<\/em> (Manchester: Manchester University Press, 2013), 107-50.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D\u2019Souza, Aruna, and Jill H. Casid (eds), <em>Art History in the Wake of the Global Turn<\/em> (Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2014).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jim, Alice Ming Wai, \u201cDealing with Chiastic Perspectives: Global Art Histories in Canada,\u201d in Lynda Jessup, Kristy Robertson and Erin Morton (eds), <em>Negotiations in a Vacant Lot: Studying the Visual in Canada<\/em> (Montreal: McGill-Queen\u2019s University Press, 2014), 66-90.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Juneja, Monica, \u201cIntroduction: Can Art History be Made Global?,\u201d in <em>Can Art History be Made Global? Meditations from the Periphery <\/em>(Berlin: Walter de Gruyter, 2023), 11-39.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lauzon, Claudette, \u201cReluctant Nomads: Biennial Culture and its Discontents,\u201d <em>RACAR<\/em>, 36:2 (2011): 15-30.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lowe, Lisa, \u201cMetaphors of Globalization and Dilemmas of Excess,\u201d in C. Riley Snorton and Hentyle Yapp (eds), <em>Saturation: Race, Art, and the Circulation of Value<\/em> (Cambridge: MIT Press, 2020), 25-54.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meskimmon, Marsha, \u201cCitizens, Migrants and Worldmaking Denizens,\u201d in <em>Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections<\/em> (London: Routledge, 2020), 45-70.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meskimmon, Marsha, <em>Contemporary Art and the Cosmopolitan Imagination<\/em> (London: Routledge, 2011).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meskimmon, Marsha and Dorothy Rowe (eds), <em>Women, the Arts and Globalization: Eccentric Experience<\/em> (Manchester: Manchester University Press, 2013).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Milano, Ronit, \u201cThe Commodification of the Contemporary Artist and High-Profile Solo Exhibition: The Case of Takashi Murakami,\u201d in Ruth E. Iskin (ed), <em>Re-Envisioning the Contemporary Art Canon: Perspectives in a Global World<\/em> (Routledge, 2017), 239-51.Okeke-Agulu, Chika, <em>Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria<\/em> (Durham: Duke University Press, 2015).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sloboda, Stacey, <em>Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain<\/em> (Manchester: Manchester University Press, 2014).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Skelly, Julia, <em>Skin Crafts: Affect, Violence and Materiality in Global Contemporary Art<\/em> (London: Bloomsbury, 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Teo, Wenny, \u201cThe Elephant in the Church: Ai Weiwei, the Media Circus and the Global Canon,\u201d in Ruth E. Iskin (ed), <em>Re-Envisioning the Contemporary Art Canon: Perspectives in a Global World<\/em> (Routledge, 2017), 88-104.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vanhaelen, Angela and Bronwen Wilson (eds), <em>Making Worlds: Global Invention in the Early Modern Period<\/em> (Toronto: University of Toronto Press, 2022).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wood, Marcus. <em>Blind Memory: Visual Representations of Slavery in England and America 1780-1865<\/em> (London: Routledge, 2000).<\/p>\n<\/details>\n<\/details>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-secondary-color\">Winter 2025<\/mark><\/strong><\/h2>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>HAR 7008 &#8211; Approches th\u00e9oriques et critiques en histoire de l\u2019art<br><\/strong>Dr. Ersy Contogouris<br>Mercredi 9h-12h<br>Universit\u00e9 de Montr\u00e9al Local C-2117<br>Langage(s) d\u2019instruction : Fran\u00e7ais et anglais<\/summary>\n<p class=\"wp-block-paragraph\">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 ; 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\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliography<\/summary>\n<p class=\"wp-block-paragraph\">ADAMS, Carol J. La politique sexuelle de la viande : une th\u00e9orie critique f\u00e9ministe v\u00e9g\u00e9tarienne [1990]. Paris : L\u2019\u00e2ge d\u2019or, 2016. \/ The Sexual Politics of Meat : A Feminist-Vegetarian Critical Theory. New York : Bloomsbury, 2015 [1990].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">AHMED, Sara. Living a Feminist Life. Durham, NC : Duke University Press, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">ALFONSI, Isabelle. Pour une esth\u00e9tique de l\u2019\u00e9mancipation : construire les lign\u00e9es d\u2019un art queer. Paris : B42, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">BHAMBRA, Gurminder K. \u00ab Postcolonial and Decolonial Dialogues \u00bb. Postcolonial Studies, vol. 17, no. 2, 2014, pp. 115-121.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">BOIDY, Maxime. Les \u00e9tudes visuelles. Saint Denis : Presses universitaires de Vincennes, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CHARE, Nicholas et Ersy CONTOGOURIS (dir.). On the Nude : Looking Anew at the Naked Body in Art. New York et Londres : Routledge, 2022.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CLAUSTRES, Annie (dir.). Le tournant populaire des Cultural Studies : l\u2019histoire de l\u2019art face \u00e0 une nouvelle cartographie du go\u00fbt (1964-2008). Dijon : Les Presses du r\u00e9el, 2013.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">COLIN, Philippe et Lissell QUIROZ. Pens\u00e9es d\u00e9coloniales. Une introduction aux th\u00e9ories critiques d\u2019Am\u00e9rique latine. Paris : La D\u00e9couverte, 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">COLLINS, Lisa Gail. The Art of History. African American Women Artists Engage the Past. New Brunswick, NJ, et Londres : Rutgers University Press, 2002.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CONNELL, Raewyn. Masculinit\u00e9s. Enjeux Sociaux de l\u2019H\u00e9g\u00e9monie. Paris : Amsterdam, 2014 [1995]. \/ Masculinities. Cambridge :Polity Press, 2005 [1995].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CUKIERMAN, Le\u00efla, Gerty DAMBURY et Fran\u00e7oise VERG\u00c8S (dir.). D\u00e9colonisons les arts ! Paris : L\u2019Arche, 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CVETKOVICH, Ann. An Archive of Feelings : Trauma, Sexuality, and Lesbian Public Cultures. Durham, NC : Duke University Press, 2003<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">DUBUISSON, Daniel et Sophie RAUX (dir.). \u00c0 perte de vue: Les nouveaux paradigmes du visual. Dijon : Les Presses du reel, 2015.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">DUMONT, Fabienne (dir.). La r\u00e9bellion du deuxi\u00e8me sexe : l\u2019histoire de l\u2019art au crible des th\u00e9ories f\u00e9ministes anglo-am\u00e9ricaines (1970-2000). Dijon : Les Presses du r\u00e9el, 2011.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">FERDINAND, Malcolm. Une \u00e9cologie d\u00e9coloniale : Penser l\u2019\u00e9cologie depuis le monde carib\u00e9en. Paris : Seuil, 2019. \/ A Decolonial Ecology : Thinking from the Caribbean World. Cambridge, R-U : Polity Press, 2022 [2019].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">FICHERA, Giorgio et Chlo\u00e9 Clovis MAILLET (dir.). \u00ab Regard\u00b7s homo\u00e9rotique\u00b7s \u00bb, dossier de Images re-vues, vol. 17, 2020.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G\u00c9R\u00c9, Vanina. Les mauvais sentiments \u2013 L&#8217;art de Kara Walker. Dijon : Les presses du r\u00e9el, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">GOSSETT, Reina, Eric A. STANLEY, et Johana BURTON (dir.). Trap Door : Trans Cultural Production and the Politics of Visibility. Cambridge, MA, et Londres, R-U : The MIT Press, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">GRUSIN, Richard (dir.). Anthropocene Feminism. Minneapolis, MN : University of Minnesota Press, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">HACHE, \u00c9milie. Reclaim : Recueil de textes \u00e9cof\u00e9ministes. Paris : Cambourakis, 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">HALBERSTAM, Jack. Trans* : A Quick and Quirky Account of Gender Variability. Los Angeles : University California Press, 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">IGLOLIORTE, Heather et Carla TAUNTON. \u00ab Introduction : Continuities Between Eras : Indigenous Art Histories \u00bb. RACAR, vol. 42, no 2 (2016), pp. 5-8 ; \u00ab Introduction : Continuit\u00e9 entre les \u00e9poques : histoires des arts autochtones \u00bb, RACAR, vol. 42, no 2 (2016), pp. 9-12.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">JONES, Amelia (dir.). The Feminism and Visual Culture Reader. Londres et New York : Routledge, 2010.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">JONES, Amelia et Erin SILVER (dir.). Otherwise : Imagining Queer Feminist Art Histories. Manchester : Manchester University Press, 2015.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">LAFONT, Anne. L\u2019art et la race \u2013 L\u2019Africain (tout) contre l\u2019\u0153il des Lumi\u00e8res. Dijon : Les presses du r\u00e9el, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">LAFONT, Anne. Une Africaine au Louvre en 1800. La place du mod\u00e8le. Paris : INHA, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">LOVELESS, Natalie. How to Make Art at the End of the World : A Manifesto for Research-Creation. Durham, NC : Duke University Press, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">MALAMUD, Randy. An Introduction to Animals in Visual Culture. Londres : Palgrave Macmillan, 2012.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">McMILLAN, Uri. Embodied Avatars : Genealogies of Black Feminist Art and Performance. New York: NYU Press, 2015.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">McWILLIAM, Neil, Constance MOR\u00c9TEAU et Johanne LAMOUREUX (dir.). Histoires sociales de l\u2019art : une anthologie critique. Dijon : Les Presses du r\u00e9el, 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">MILLETT-GALLANT, Ann et Elizabeth HOWIE. Disability and Art History. Londres et New<br>York : Routledge, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">MIRZOEFF, Nicholas (dir.). The Visual Culture Reader. Londres et New York : Routledge, 2013.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PATEL, Alpesh Kantital. Productive Failure : Writing Queer Transnational South Asian Art Histories. Manchester : Manchester University Press, 2017.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PIEPZNA-SAMARASINHA, Leah Lakshmi. Care Work : Dreaming Disability Justice. Vancouver : Arsenal Pulp Press, 2021 [2018].<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PINDER, Kymberly. Race-ing Art History : Critical Readings in Race and Art History. Londres et New York : Routledge, 2002.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PRECIADO, Paul B. Dysphoria mundi. Paris : Grasset, 2023.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">VERG\u00c8S, Fran\u00e7oise. Un f\u00e9minisme d\u00e9colonial. Paris : La Fabrique \u00e9ditions, 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">WEXLER, Alice et John DERBY (dir.). Contemporary Art and Disability Studies. Londres et New York : Routledge, 2020.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">YONAN, Michael. \u00ab Toward a Fusion of Art History and Material Culture Studies \u00bb. West 86th : A Journal of Decorative Arts, Design History, and Material Culture, vol. 18, no. 2, 2011, pp. 234-248.<\/p>\n<\/details>\n<\/details>\n\n\n\n<figure class=\"wp-block-pullquote\"><blockquote><p><strong><mark style=\"background-color:rgba(0, 0, 0, 0);color:#cf2e2e\" class=\"has-inline-color\">BLOCK B Questions and thematics<\/mark><\/strong><\/p><\/blockquote><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><mark style=\"background-color:rgba(0, 0, 0, 0);color:#cf2e2e\" class=\"has-inline-color\">Fall 2024<\/mark><\/strong><\/h2>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>HAR911F<strong>&#8211; <\/strong>Actualit\u00e9 de la recherche en histoire de l\u2019art des XVIIIe et XIXe si\u00e8cle<br>Dr. Peggy Davis<br>Mardi 14h-17h<br>Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, local R-4215<br>Langue (s) d\u2019enseignement : Fran\u00e7ais principalement (et selon la langue des conf\u00e9rencier.e.s invit\u00e9.e.s)<br>Langue(s) de discussion : Fran\u00e7ais et anglais, au libre choix de chacun.e<\/summary>\n<p class=\"wp-block-paragraph\">AMANN, Elizabeth, Dandyism in the Age of Revolution : the art of the cut, Chicago \/ London, The University of Chicago Press, 2015, 288 p.<br>ARASA, Yaelle, Davidiennes: Les femmes peintres de l&#8217;atelier de Jacques-Louis David (1768-1825), Paris, L\u2019Harmattan, 2019, 210 p.<br>BAJOU, Val\u00e9rie, Courbet. La vie \u00e0 tout prix, \u00c9ditions Cohen &amp; Cohen, 2019, 639 p. (UQAM Arts ND553 C9 B35. 2019)<br>BELLION, Wendy, Iconoclasm in New York: Revolution to Reenactment, University Park: The Pennsylvania State University Press, 2019, 272 pp. (UQAM Arts N6535 N5 B45 .2019)<br>BURNS, Emily C., Transnational Frontiers: the American West in France, Norman: University of Oklahoma Press, 2018, 231 p. (UQAM Arts NX653 W47 B87. 2018).<br>CALLEN, Anthea, Looking at Men: Art, Anatomy and the Modern Male Body, New Haven \/ London, Yale University Press, 2018, 272 p.<br>CALLEN, Anthea, The Work of Art: Plein-air Painting and Artistic Identity in Nineteenth-century France, London: Reaktion Books, 2015, 256 p.<br>CLAYSON, Hollis, Illuminated Paris: Essays on Art and Lighting in the Belle \u00c9poque, Chicago: University of Chicago Press, 2019, 248 p.<br>CONTOGOURIS, Ersy, Emma Hamilton and Late Eighteenth-Century European Art : Agency, Performance, and Representation, New York, Routledge, 2018, 177 p. (UQAM Arts N 7639 H3 C66 .2018 )<br>COUGHLIN, Maura Coughlin and Emily Gephart, eds.,Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture, New York, Routledge, 2020, 265 p. (UQAM Livre num\u00e9rique)<br>DAVIS, Melody, Women\u2019s Views. The Narrative Stereograph in Nineteenth-Century America, 2015. (UQAM Arts Monographies TR 780 D39 .2015)<br>DELUERMOZ, Quentin, dir. et al, \u00ab \u202aLe XIXe si\u00e8cle au prisme des visual studies\u202a. Entretien de Quentin Deluermoz et Emmanuel Fureix avec Manuel Charpy, Christian Joschke, S\u00e9gol\u00e8ne Le Men, Neil McWilliam, Vanessa Schwartz\u00bb, Revue d\u2019histoire du XIXe si\u00e8cle 2\/2014 (n\u00b0 49), p. 139-175.\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c\u202c<br>DESPLANQUE, Kathryn, Art, Commerce, and Caricature: Satirical Images of Artistic Life in Paris, 1750-1850, Th\u00e8se de doctorat, Duke University, 2017.<br>FEND, Mechthild, Fleshing Out Surfaces: Skin in French Art and Medicine, 1650-1850, Manchester University Press, 2017, 314 p. (UQAM Arts mono N8243 S56 F46. 2017)<br>FORDHAM, Douglas, Aquatint Worlds: Travel, Print, and Empire, 1770\u20131820, New Haven &amp; Londres, Paul Mellon Center for British Art, Yale University Press, 2019, 315 p. (UQAM Arts N8258 F67 .2019)<br>FOUCHER, Charlotte, Cr\u00e9atrices en 1900 : femmes artistes en France dans les milieux symbolistes, Paris, Mare &amp; Martin, 2015, 358 p. (UQAM Arts Monographies N 8354 F68. 2015)<br>FREUND, Amy, Portraiture and Politics in Revolutionary France\u202c, University Park, Pennsylvania, The Pennsylvania State University Press, 2014, 294 p. (UQAM Arts N7604F74.2014)<br>GILROY-WARE, Cora, The Classical Body in Romantic Britain, Paul Mellon Centre for British Art, New Haven \/ Londres, Yale University Press, 2020, 305 p.<br>GUICHARD, Charlotte, Graffitis : inscrire son nom \u00e0 Rome : XVIe-XIXe si\u00e8cle, Paris, Seuil, 2014, 168 p. (UQAM Arts N6920 G85. 2014)<br>GUICHARD, Charlotte, La Griffe du peintre. La valeur de l&#8217;art (1730-1820), Seuil, 2018, 368 p. (UQAM Arts ND546 G85. 2018)<br>HELMREICH, Anne, Nature&#8217;s Truth : Photography, Painting, and Science in Victorian Britain, University Park, The Pennsylvania State University Press, 2016, 255. (UQAM Arts N 72 S3 H45. 2016).<br>HORNSTEIN, Katie, Picturing War in France, 1792\u20131856, New Haven\/ Londres, Yale University Press, 2017, 197 p. (UQAM Arts N8260 H67. 2017)<br>HULTZSCH, Anne, Architecture Travellers and WritersConstructing Histories of Perception 1640-1950, Routledge, 2014, 238 p. (UQAM Livre num\u00e9rique)<br>HUNTER, Mary, The Face of Medicine. Visualising Medical Masculinities in Late Nineteenth-Century Paris, Manchester University Press, 2016, 232 p. (UQAM Arts N8223H86.2016)<br>HUNTER Matthew C, Painting with Fire: Sir Joshua Reynolds, Photography and the Temporally Evolving Chemical Object, Chicago, University of Chicago Press, 2019, 275 p. (UQAM Livre num\u00e9rique)<br>ISKIN, Ruth, The Poster: Art, Advertising, Design, and Collecting, 1860s\u20131900s, Dartmouth College Press, 2014, 408 p. (UQAM Arts NC1806.7 I85.2014)<br>KORCHANE, Mehdi, Pierre Gu\u00e9rin (1774-1833), Paris, Mare &amp; Martin, 2018, 400 p. (UQAM Arts ND55 G883 K67. 2018).<br>LAFONT, Anne, L\u2019art et la race \u2013 L\u2019Africain (tout) contre l\u2019\u0153il des Lumi\u00e8res, Paris, Presses du r\u00e9el, 2019.<br>LASTER, Margaret R. and Chelsea BRUNER (eds), New York: Art and Cultural Capital of the Gilded Age, Londres \/ New York, Routledge, 2019, 225 p<br>LAUG\u00c9E, Thierry, Figures du g\u00e9nie dans l\u2019art fran\u00e7ais (1802-1855), pr\u00e9face de Barth\u00e9l\u00e9my Jobert, Paris, PUPS, 2016, 445 p. (UQAM Arts N6847L28.2016)<br>L\u00c9COSSE, Cyril, Jean-Baptiste Isabey. Petits portraits et grands desseins, Paris, Comit\u00e9 des Travaux Historiques et Scientifiques\/Institut National d\u2019Histoire de l\u2019Art (collection \u00ab L\u2019art et l\u2019essai \u00bb), 2018, 323 p. (UQAM Arts ND 1329 I83 L43. 2018)<br>LERNER, Jillian, Graphic culture : Illustration and Artistic Enterprise in Paris, 1830-1848, Montr\u00e9al : McGill-Queen&#8217;s University Press, 2018, 252 p.<br>MA\u00cbS, Ga\u00ebtane, De l&#8217;expertise \u00e0 la vulgarisation au si\u00e8cle des Lumi\u00e8res &#8211; Jean-Baptiste Descamps (1715-1791) et la peinture flamande, hollandaise et allemande, Brepols, 2017, 608 p. (UQAM Arts ND 673 D47 M34. 2016)<br>MAINARDI, Patricia, Another World. Nineteenth-Century Illustrated Print Culture, New Haven, Londres, Yale University Press, 2017, 296 p. (UQAM Arts Monographies NE 485 M35 2017)<br>MERRETT, Robert James, Imperial Paradoxes. Training the Senses and Tasting the Eighteenth Century, Montreal \/ Kingston, McGill-Queens University Press, 2021, 399 p. (UQAM Arts PR 448 A 37 M47 .2021)<br>MILLER, Henry, Politics Personified: Portraiture, Caricature and Visual Culture in Britain, c. 1830-80, Manchester, UK : Manchester University Press, 2015.<br>MYRONE, Martin, CONCANNON, Amy, William Blake, 2019, Londres, Tate, 224 p.<br>NELSON, Charmaine A., Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica, New York \/ Londres, Routledge, 2017, 416 p. (UQAM Arts N8243 S576 N45. 2016)<br>NOCHLIN, Linda, Mis\u00e8re: The Visual Representation of Misery in the 19th Century , Londres, Thames &amp; Hudson, 2018, 176 p.<br>O\u2019BRIEN, David, Exiled in Modernity : Delacroix, Civilization, and Barbarism, University Park, Pennsylvania State University Press, 2018, 226 p. (UQAM Arts ND 553 D33 O27 .2018)<br>PARK, Sun Young, Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris, University of Pittsburgh Press, 2018, 372 p. (UQAM Arts NA2543 S6 P37. 2018)<br>PELTZ, Lucy, Facing the Text: Extra-Illustration, Print Culture, and Society in Britain 1769-1840, Santa Monica: Angel City Press, 2017, 407 p. (UQAM Arts Z 1023 P45 .2017)<br>POIRIER, Marjolaine, Imaginer Qu\u00e9bec au XVIIIe si\u00e8cle. L\u2019illusion du lieu et les vues d\u2019optique des graveurs allemands, Codicille, 2018, 169 p.<br>RAUSER, Amelia, The Age of Undress, New Haven: Yale University Press, 2020, 180 p.<br>RETFORD, Kate, The Conversation Piece: Making Modern Art in Eighteenth-Century Britain, New Haven: Yale University Press, 2017, 425 p. (UQAM Arts ND 1314.4 R48 .2017)<br>ROBERTS, Jennifer L., Transporting Visions.The Movement of Images in Early America, University of California Press, 2014, 226 p. (UQAM Arts N 72 S6 R63.2014)<br>SCHNEIDER, Erika, The Representation of the Struggling Artist in America, 1800-1865, Newark, University of Delaware Press, 2015, 183 p. (UQAM Arts mono N8217 A67 S36 .2015)<br>SHABANOV, Andrei, Art and Commerce in Late Imperial Russia, New York \/ Londres, Oxford, Bloomsbury Visual Arts, 2019, 265 p.<br>SMENTEK, Kristel, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe, Farnham, Ashgate, 2017, 303 p. (UQAM N7483 M3 S64. 2017)<br>SOFIO, S\u00e9verine, Artistes femmes. La parenth\u00e8se enchant\u00e9e XVIIIe-XIXe si\u00e8cles, Paris, CNRS \u00c9ditions, 2016, 380 p. (UQAM Arts Monographies N 8354 S64 .2016)<br>TILLIER, Bertrand, L\u2019Artiste dans la cit\u00e9. 1871-1918, Champ Vallon, 2019, 271 p. (UQAM N72P6T55.2019)<br>VENTURA, Gal, Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art, Leiden and Boston: Brill, 2018, 469 pp. (UQAM Arts Monographies N8217 B75 V4613. 2018)<br>WAT, Pierre, P\u00e9r\u00e9grinations : paysages entre nature et histoire, Vanves, Hazan, 2017, 279 p.<br>ZMELTY, Nicholas-Henri, Toulouse-Lautrec La strat\u00e9gie de l&#8217;\u00e9ph\u00e9m\u00e8re, Paris, Hazan, 2019, 280 p.<br>ZMELTY, Nicolas-Henri, L&#8217;affiche illustr\u00e9e au temps de l&#8217;affichomanie : 1889-1905, Paris, Mare &amp; Martin, 2014, 279 p. (UQAM Arts NC 1806.7 Z55.2014)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliographie<\/summary>\n<p class=\"wp-block-paragraph\">AUG\u00c9, Marc (1998). Les formes de l\u2019oubli, Paris, Payot. GN 469.5 A94 2001<br>BAKHTIN, Mikhail (1981), The Dialogic Imagination : four essays, Austin : University of Texas Press.<br>BAUSSANT, Mich\u00e8le (dir.) (2006). Du vrai au juste : la m\u00e9moire, l&#8217;histoire et l&#8217;oubli, Qu\u00e9bec, CELAT, PUL. BF 378 S65 D828 2006 &#8211; Aussi disponible en ligne.<br>BENJAMIN, Walter (2010), Sur Proust, Caen, Nous. PQ 2631 R 63 Z 576 2010<br>BERGER, Stephan, Bill NIVEN (2014). Writing the History of Memory, Londres, Bloomsbury.<br>BIGLARI, Amir (dir.) (2010). Regards crois\u00e9s sur la m\u00e9moire. Limoges, Presses universitaires de Limoges.<br>BF 378 S65 R44 2010.<br>CANDAU, Jo\u00ebl (2005). Anthropologie de la m\u00e9moire, Paris, Armand Colin. BF 371 C36 2005.<br>COTTRET, Bertrand, Lauric HENNETON (2010), Du bon usage des comm\u00e9morations : histoire, m\u00e9moire et identit\u00e9 XVI \u2013 XXIe si\u00e8cles, Rennes, Presses universitaires de Rennes. C13 D823 2010<br>DEBARY, Octave, Laurier TURGEON (dir.) (2007). Objets &amp; m\u00e9moires, Paris, Maison des sciences de l\u2019homme ; Qu\u00e9bec, PUL, CELAT. GN 406 O25 2007<br>DIDI-HUBERMAN, Georges (2000). Devant le temps. Histoire de l\u2019art et anachronisme des images, Paris, Minuit. N 7430.5 D53 2000 (2003). Images malgr\u00e9 tout, Paris, \u00c9ditions de Minuit. D 805.5 D53 2003 (2008). La ressemblance par contact. Arch\u00e9ologie, anachronisme et modernit\u00e9 de l\u2019empreinte Paris, \u00c9ditions de Minuit.<br>DIMITRIJEVIC, Dejan (dir.) (2004). Fabrication des traditions. Invention de modernit\u00e9, \u00c9ditions de la Maison des sciences de l\u2019homme. GT95 F33 2004<br>GELL, Alfred (1992). The Anthropology of Time. Cultural Constructions of Temporal Maps and Images, Oxford (Angl.). GN 468.2 G45<br>GINZBURG, Carlo (2010). Mythes, embl\u00e8mes, traces : morphologie et histoire, Verdier-\/Poche. BF 458 G5612 2010<br>GIRONDE, Michel (dir.), (2009), Les m\u00e9moires de la violence : litt\u00e9rature, peinture, photographie, cin\u00e9ma, Paris, L&#8217;Harmattan, p. 155-183. NX 650 V5 M46 2009<br>HARTOG, Fran\u00e7ois (2003), R\u00e9gimes d&#8217;historicit\u00e9 : pr\u00e9sentisme et exp\u00e9riences du temps, Paris, Seuil.<br>D 16.9 H375 2003<br>HIRSCH, Marianne, Family Frame. Photography Narrative and Postmemory, Cambridge, Harvard University Press, 1997.<br>HOBSBAWM, Eric, Terrence RANGER (2012). L\u2019invention de la tradition, Paris, Amsterdam. (The Invention of tradition, Cambridge, Cambridge University Press, [1983] 2003).<br>Comptoir de pr\u00eat : GT 95 I5812 2012<br>HUGLO, Marie-Pascale, \u00c9ric M\u00c9CHOULAN et Walter MOSER (2000). Passions du pass\u00e9. Recyclages de la m\u00e9moire et usages de l\u2019oubli, Paris, L\u2019Harmattan.<br>LABELLE, Micheline (dir.), Le devoir de m\u00e9moire et les politiques du pardon, Qu\u00e9bec, Les Presses de l&#8217;Universit\u00e9 du Qu\u00e9bec, 2005.<br>LAMBLIN, Bernard (1987). Peinture et temps, Paris, Klincksieck. NX 650 T5 L25 1987<br>LEVI, Primo (1995). Le Devoir de M\u00e9moire, Paris, Mille et une nuits.<br>MATHIEU, Jacques (1995). La m\u00e9moire dans la culture, Qu\u00e9bec, PUL. FC 2919 M46 1995<br>M\u00c9CHOULAN, \u00c9ric (2005). De l&#8217;inutilit\u00e9 contemporaine de la g\u00e9n\u00e9ration, Contre-jour: Cahier litt\u00e9raire, no 6, p. 87-94. En ligne (2008). La culture de la m\u00e9moire, ou comment se d\u00e9barrasser du pass\u00e9 ? Montr\u00e9al, PUM.<br>BF 378 S65 M42 2008<br>MEUNIER, E.- Martin et Joseph-Yvon TH\u00c9RIAULT (2007). Les impasses de la m\u00e9moire. Histoire, filiation, nation et religion, Paris, Fides. BF 378 S65 I47 2007<br>NEEFS, Pierre (dir.), Pierre Bayard (et al.) (2001). Le temps des \u0153uvres. M\u00e9moire et pr\u00e9figuration, Saint-Denis, Presses universitaires de Vincennes. PN 56 T5 T445 2001<br>NORA, Pierre (1984). Les lieux de m\u00e9moire. Paris : Gallimard. DC 251 L54 1984<br>P\u00c2QUET, Martin (dir.) (2006), Faute et r\u00e9paration au Canada et au Qu\u00e9bec contemporains, Qu\u00e9bec, Nota Bene.<br>PINCHBECK, Michael (2018), Staging Loss : Performance as Commemoration, Springer Book (En ligne : BLSH)<br>POMIAN, Krzysztof (1984). L\u2019ordre du temps, Paris, Gallimard. D 16.8 P655 1984<br>REY, Jean-Michel (2010). L&#8217;oubli dans les temps troubl\u00e9s, Paris, Olivier. DC 58 R49 2010<br>RICOEUR, Paul (2010). La m\u00e9moire, l\u2019Histoire, l\u2019oubli, Paris, Seuil. BD 181.7 R53 2000<br>ROUSSO, Henry (1998). La hantise du pass\u00e9, Paris, Textuel.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>(2016). Face au pass\u00e9 : essai sur la m\u00e9moire contemporaine, Paris, Belin. D 13 R68 2016 SEVERI, Carlo (2007). Le principe de la chim\u00e8re. Une anthropologie de la m\u00e9moire, Paris, Aesthetica. GN 357 S4812 2007 SEMPRUN, Jorge et Elie Wiesel (1995), Se taire est impossible, Paris, Mille et une nuits. TRAVERSO, Enzo (2005). Le pass\u00e9, mode d&#8217;emploi : Histoire, m\u00e9moire, politique, Paris, Fabrique.\n<ul class=\"wp-block-list\">\n<li>L\u2019histoire comme champ de bataille : interpr\u00e9ter les violences du XXe si\u00e8cle, Paris, D\u00e9couvertes. D 13 T737 2011<br>VILLENEUVE, Johanne, Brian NEVILLE, Claude DIONNE (dir.) (2009). La m\u00e9moire des d\u00e9chets : essais sur la culture et la valeur du pass\u00e9, Qu\u00e9bec, Nota Bene.<br>WARBURG, Aby (2012). L\u2019Atlas Mnemosyne, Paris, L\u2019\u00c9carquill\u00e9. N 7445.4 W3712 2012<br>VAN YPERSELE, Laurence (2006). Questions d&#8217;histoire contemporaine : conflits, m\u00e9moires et identit\u00e9s, Paris, PUF. D 414 Q47 2006<br>YATES, Frances Amelia (1975). L\u2019art de la m\u00e9moire, traduit par Daniel Arasse, Paris, Gallimard.<br>(BLSH, Livres rares et coll. sp\u00e9ciales : RIOUX \u2013 4430)<br>YOUNG, James (2016), The Stages of Memory : reflexions on memorial art, loss, and the spaces between, Amherst, University of Massachusetts Press. GT 3390 Y 68 2016<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/details>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>HAR 7002A<\/strong> &#8211; Le pass\u00e9, la m\u00e9moire, les h\u00e9ritages<strong><br><\/strong>Dr. Louise Vigneault<br>Mercredi 9h-12h<br>Universit\u00e9 de Montr\u00e9al Local C-2117<br>Langue (s) d\u2019enseignement : Fran\u00e7ais<br>Langue(s) de discussion : Fran\u00e7ais et anglais<\/summary>\n<p class=\"wp-block-paragraph\">Ce s\u00e9minaire propose d&#8217;examiner la mani\u00e8re dont les donn\u00e9es historiques, les constructions culturelles, les h\u00e9ritages collectifs et les lieux de m\u00e9moire se trouvent investis \u00e0 travers les productions artistiques. La relation que les communaut\u00e9s minoritaires ou marginalis\u00e9es, autochtones, afrodescendantes ou migrantes, entretiennent avec leur m\u00e9moire historique et culturelle, et la mani\u00e8re dont les artistes s&#8217;appliquent \u00e0 les transmettre, \u00e0 les r\u00e9interpr\u00e9ter, voire m\u00eame \u00e0 les r\u00e9inventer, offrent un champ de r\u00e9flexions sur les modes de transferts entre le pass\u00e9, le pr\u00e9sent et l\u2019avenir. Nous verrons notamment :<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 comment les objets et notre environnement participent-ils \u00e0 l&#8217;exercice de m\u00e9morisation?<br>\u2022 comment s&#8217;articule la m\u00e9moire des lieux, des bagages et des ancrages culturels?<br>\u2022 comment les diff\u00e9rentes dimensions de la m\u00e9moire se trouvent concr\u00e9tis\u00e9es \u00e0 travers l\u2019espace, le temps, les langages visuels ou performatifs?<br>\u2022 comment les constructions mythologiques arrivent-elles \u00e0 r\u00e9soudre les tensions sociopolitiques et les contradictions au sein des projets collectifs?<br>\u2022 quelles relations les artistes entretiennent-ils avec les m\u00e9moires douloureuses, occult\u00e9es ou impos\u00e9es?<br>\u2022 comment ils\/elles r\u00e9ussissent \u00e0 contourner ou d\u00e9manteler les monuments et les r\u00e9gimes de visibilit\u00e9?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ces r\u00e9flexions posent \u00e9galement la question de l&#8217;oubli, du refoulement, des non-dits, de la manipulation de la m\u00e9moire, de l&#8217;invention ou de la r\u00e9invention de mod\u00e8les de repr\u00e9sentation \u00e0 des fins de coh\u00e9sion sociale et de p\u00e9rennisation.<br>Le s\u00e9minaire sera l&#8217;occasion de soulever ces questions en consid\u00e9rant les langages sensoriels, les moyens plastiques et performatifs mis en forme pour repenser ponctuellement l&#8217;exercice de la m\u00e9moire, ainsi que des diverses strat\u00e9gies de repr\u00e9sentation.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliographie<\/summary>\n<p class=\"wp-block-paragraph\">AUG\u00c9, Marc (1998). Les formes de l\u2019oubli, Paris, Payot. GN 469.5 A94 2001<br>BAKHTIN, Mikhail (1981), The Dialogic Imagination : four essays, Austin : University of Texas Press.<br>BAUSSANT, Mich\u00e8le (dir.) (2006). Du vrai au juste : la m\u00e9moire, l&#8217;histoire et l&#8217;oubli, Qu\u00e9bec, CELAT, PUL. BF 378 S65 D828 2006 &#8211; Aussi disponible en ligne.<br>BENJAMIN, Walter (2010), Sur Proust, Caen, Nous. PQ 2631 R 63 Z 576 2010<br>BERGER, Stephan, Bill NIVEN (2014). Writing the History of Memory, Londres, Bloomsbury.<br>BIGLARI, Amir (dir.) (2010). Regards crois\u00e9s sur la m\u00e9moire. Limoges, Presses universitaires de Limoges.<br>BF 378 S65 R44 2010.<br>CANDAU, Jo\u00ebl (2005). Anthropologie de la m\u00e9moire, Paris, Armand Colin. BF 371 C36 2005.<br>COTTRET, Bertrand, Lauric HENNETON (2010), Du bon usage des comm\u00e9morations : histoire, m\u00e9moire et identit\u00e9 XVI \u2013 XXIe si\u00e8cles, Rennes, Presses universitaires de Rennes. C13 D823 2010<br>DEBARY, Octave, Laurier TURGEON (dir.) (2007). Objets &amp; m\u00e9moires, Paris, Maison des sciences de l\u2019homme ; Qu\u00e9bec, PUL, CELAT. GN 406 O25 2007<br>DIDI-HUBERMAN, Georges (2000). Devant le temps. Histoire de l\u2019art et anachronisme des images, Paris, Minuit. N 7430.5 D53 2000 (2003). Images malgr\u00e9 tout, Paris, \u00c9ditions de Minuit. D 805.5 D53 2003 (2008). La ressemblance par contact. Arch\u00e9ologie, anachronisme et modernit\u00e9 de l\u2019empreinte Paris, \u00c9ditions de Minuit.<br>DIMITRIJEVIC, Dejan (dir.) (2004). Fabrication des traditions. Invention de modernit\u00e9, \u00c9ditions de la Maison des sciences de l\u2019homme. GT95 F33 2004<br>GELL, Alfred (1992). The Anthropology of Time. Cultural Constructions of Temporal Maps and Images, Oxford (Angl.). GN 468.2 G45<br>GINZBURG, Carlo (2010). Mythes, embl\u00e8mes, traces : morphologie et histoire, Verdier-\/Poche. BF 458 G5612 2010<br>GIRONDE, Michel (dir.), (2009), Les m\u00e9moires de la violence : litt\u00e9rature, peinture, photographie, cin\u00e9ma, Paris, L&#8217;Harmattan, p. 155-183. NX 650 V5 M46 2009<br>HARTOG, Fran\u00e7ois (2003), R\u00e9gimes d&#8217;historicit\u00e9 : pr\u00e9sentisme et exp\u00e9riences du temps, Paris, Seuil.<br>D 16.9 H375 2003<br>HIRSCH, Marianne, Family Frame. Photography Narrative and Postmemory, Cambridge, Harvard University Press, 1997.<br>HOBSBAWM, Eric, Terrence RANGER (2012). L\u2019invention de la tradition, Paris, Amsterdam. (The Invention of tradition, Cambridge, Cambridge University Press, [1983] 2003).<br>Comptoir de pr\u00eat : GT 95 I5812 2012<br>HUGLO, Marie-Pascale, \u00c9ric M\u00c9CHOULAN et Walter MOSER (2000). Passions du pass\u00e9. Recyclages de la m\u00e9moire et usages de l\u2019oubli, Paris, L\u2019Harmattan.<br>LABELLE, Micheline (dir.), Le devoir de m\u00e9moire et les politiques du pardon, Qu\u00e9bec, Les Presses de l&#8217;Universit\u00e9 du Qu\u00e9bec, 2005.<br>LAMBLIN, Bernard (1987). Peinture et temps, Paris, Klincksieck. NX 650 T5 L25 1987<br>LEVI, Primo (1995). Le Devoir de M\u00e9moire, Paris, Mille et une nuits.<br>MATHIEU, Jacques (1995). La m\u00e9moire dans la culture, Qu\u00e9bec, PUL. FC 2919 M46 1995<br>M\u00c9CHOULAN, \u00c9ric (2005). De l&#8217;inutilit\u00e9 contemporaine de la g\u00e9n\u00e9ration, Contre-jour: Cahier litt\u00e9raire, no 6, p. 87-94. En ligne (2008). La culture de la m\u00e9moire, ou comment se d\u00e9barrasser du pass\u00e9 ? Montr\u00e9al, PUM.<br>BF 378 S65 M42 2008<br>MEUNIER, E.- Martin et Joseph-Yvon TH\u00c9RIAULT (2007). Les impasses de la m\u00e9moire. Histoire, filiation, nation et religion, Paris, Fides. BF 378 S65 I47 2007<br>NEEFS, Pierre (dir.), Pierre Bayard (et al.) (2001). Le temps des \u0153uvres. M\u00e9moire et pr\u00e9figuration, Saint-Denis, Presses universitaires de Vincennes. PN 56 T5 T445 2001<br>NORA, Pierre (1984). Les lieux de m\u00e9moire. Paris : Gallimard. DC 251 L54 1984<br>P\u00c2QUET, Martin (dir.) (2006), Faute et r\u00e9paration au Canada et au Qu\u00e9bec contemporains, Qu\u00e9bec, Nota Bene.<br>PINCHBECK, Michael (2018), Staging Loss : Performance as Commemoration, Springer Book (En ligne : BLSH)<br>POMIAN, Krzysztof (1984). L\u2019ordre du temps, Paris, Gallimard. D 16.8 P655 1984<br>REY, Jean-Michel (2010). L&#8217;oubli dans les temps troubl\u00e9s, Paris, Olivier. DC 58 R49 2010<br>RICOEUR, Paul (2010). La m\u00e9moire, l\u2019Histoire, l\u2019oubli, Paris, Seuil. BD 181.7 R53 2000<br>ROUSSO, Henry (1998). La hantise du pass\u00e9, Paris, Textuel.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>(2016). Face au pass\u00e9 : essai sur la m\u00e9moire contemporaine, Paris, Belin. D 13 R68 2016 SEVERI, Carlo (2007). Le principe de la chim\u00e8re. Une anthropologie de la m\u00e9moire, Paris, Aesthetica. GN 357 S4812 2007 SEMPRUN, Jorge et Elie Wiesel (1995), Se taire est impossible, Paris, Mille et une nuits. TRAVERSO, Enzo (2005). Le pass\u00e9, mode d&#8217;emploi : Histoire, m\u00e9moire, politique, Paris, Fabrique.\n<ul class=\"wp-block-list\">\n<li>L\u2019histoire comme champ de bataille : interpr\u00e9ter les violences du XXe si\u00e8cle, Paris, D\u00e9couvertes. D 13 T737 2011<br>VILLENEUVE, Johanne, Brian NEVILLE, Claude DIONNE (dir.) (2009). La m\u00e9moire des d\u00e9chets : essais sur la culture et la valeur du pass\u00e9, Qu\u00e9bec, Nota Bene.<br>WARBURG, Aby (2012). L\u2019Atlas Mnemosyne, Paris, L\u2019\u00c9carquill\u00e9. N 7445.4 W3712 2012<br>VAN YPERSELE, Laurence (2006). Questions d&#8217;histoire contemporaine : conflits, m\u00e9moires et identit\u00e9s, Paris, PUF. D 414 Q47 2006<br>YATES, Frances Amelia (1975). L\u2019art de la m\u00e9moire, traduit par Daniel Arasse, Paris, Gallimard.<br>(BLSH, Livres rares et coll. sp\u00e9ciales : RIOUX \u2013 4430)<br>YOUNG, James (2016), The Stages of Memory : reflexions on memorial art, loss, and the spaces between, Amherst, University of Massachusetts Press. GT 3390 Y 68 2016<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/details>\n<\/details>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><mark style=\"background-color:rgba(0, 0, 0, 0);color:#cf2e2e\" class=\"has-inline-color\">Winter 2025<\/mark><\/strong><\/h2>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>ARTH801 &#8211;<strong> Archival Inquiries in Black Diasporic Art<br><\/strong>Dr. Joana Joachim<br>Wednesday 2:45-5:45pm<br>Concordia University EV 3.760<br>Language(s) of instruction : English<br>Language(s) of discussion : English<\/summary>\n<p class=\"wp-block-paragraph\">Archives serve a crucial purpose through their personal, social, academic, and historical contributions to our societies. Similarly, speculation, critical fabulation and archival inquiry in art open the possibility for artists and researchers to practice and investigate new perspectives on pressing issues, past and present. From a Black studies standpoint, archival inquiries peel back the layers of oft untold and misconstrued histories of African descended peoples. In this course, we will delve into the works of Black artists and scholars in and around Canada whose practices, theories and methods continue to map the shapes of Blackness in archival spaces. We will ask how the stakes and uses of archives in Black art practices developed and evolved across time. We will examine the contexts which yielded critical engagements with historical and contemporary archives in visual art and consider how it mirrors and is mirrors by Black studies in other areas.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Drawing from the works of Hortense Spillers, Saidiya Hartman, Tina Campt and Denise Ferreira da Silva, among others, this seminar will examine the slippery nature of Blackness in the Archive and we will contend with the stakes of archival inquiries in visual art as they relate to the collective project of Black liberation. As such, this seminar aims to align our reflections with cross-temporal gestures toward liberation. This seminar will take a Black feminist approach and conduct a deep study of creative texts which engage with Black liberation, critical fabulation, memory work, critical archival inquiry, poetics, and Black feminist hauntology. This course will explore the significance of critical archival inquiry in art history considering such creative texts as case studies. Questions about the stakes of archival inquiries towards liberation through Black visual art are particularly crucial given the continued impacts of historical and systemic anti-Black racism enmeshed in institutions such as art museums and galleries.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliography<\/summary>\n<p class=\"wp-block-paragraph\">CAMPT, Tina M. A Black Gaze: Artists Changing How We See. Cambridge: MIT Press, 2021.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">COBB, Jasmine Nichole. Picture Freedom: Remaking Black Visuality in The Early Nineteenth Century. New York: New York University Press, 2015.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">COHEN-APONTE, Ananda. \u201cReimagining Lost Visual Archives of Black and Indigenous Resistance.\u201d Selva: A Journal of the History of Art, no. 3 (Fall 2021): 157\u201374.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">CROOKS, Julie. \u201cExerting and Cultivating Selves: Nineteenth-Century Photography and the Black Subject in Southern Ontario\u201d Towards an African Canadian Art History: Art, Memory, and Resistance. Edited by Charmaine Nelson. Concord, ON: Captus Press, 2018, 63-81.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">ENWEZOR, Okwui. Archive Fever: Uses of the Document in Contemporary Art\u202f. G\u00f6ttingen: Steidl, 2008.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">GORDON, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 2008.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">HARTMAN, Saidiya V. \u201cVenus in Two Acts.\u201d Small Axe: A Caribbean Journal of Criticism 12, no. 2 (2008): 1\u201314.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">MCKITTRICK, Katherine. \u201cMathematics Black Life.\u201d The Black Scholar 44, no. 2 (2014): 1-14.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SALEH-HANNA, Viviane. \u201cBlack Feminist Hauntology.\u201d Champ p\u00e9nal XII, no. Vol. XII (2015) 2-28.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SHARPE, Christina. In the Wake: On Blackness and Being. Durham: Duke University Press Books, 2016.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SILVA, Denise Ferreira da. Unpayable Debt. Sternberg Press \/ The Antipolitical. Cambridge, MA, USA: Sternberg Press, 2022.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SPILLERS, Hortense J. \u201cMama\u2019s Baby, Papa\u2019s Maybe: An American Grammar Book.\u201d Diacritics 17, no. 2 (1987): 65\u201381.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">THOMPSON, Cheryl. \u201cBlack Canada and Why The Archival Logic Of Memory Needs Reform.\u201d Les Ateliers de l\u2019\u00e9thique\/The Ethics Forum 14, no. 2 (2019): 76\u2013106.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">VANDIVER, REBECCA K. \u201cOff the Wall, into the Archive Black Feminist Curatorial Practices of the 1970s.\u201d Archives of American Art Journal 55, no. 2 (2016): 26\u201345.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">VERNON, Karina. The Black Prairie Archives An Anthology. Baltimore, Maryland: Project Muse, 2020, 1-35.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bergdoll, B., Comas, C. E., Liernur, J. F., Del Real, P., (2015). Latin America in construction\u202f: Architecture, 1955-1980. The Museum of Modern Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bressani, Martin; Timothy Brittain-Catlin et Jan De Maeyer, (2016) Gothic revival worldwide\u202f: A.W.N. Pugin\u2019s global influence, Leuven University Press<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chattopadhyay, Swati (2014), \u201cArchitectural History and Spatial Imagination,\u201d Perspectives on History 52, 1 (Jan 2014), 32\u20133<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chattopadhyay, S. (2005). Representing Calcutta\u202f: Modernity, nationalism, and the colonial uncanny (1 1 online resource (xvi, 314 pages) : illustrations, plans). Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ching, F. D. K., Jarzombek, M., &amp; Prakash, V. (2011). A global history of architecture (2nd ed). Wiley.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cohen, M., &amp; Madeline, F. (2014). Space in the Medieval West\u202f: Places, territories and imagined geographies (1 1 online resource). Ashgate.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contandriopoulos, Christina (2024) &#8220;Woman Writings on Art and Architecture in Eighteenth-Century Paris,&#8221; in Roff, Shelley (ed) Women as Builders, Designers, and Critics of the Built Environment, 1200 \u2013 1800. Routlege<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gordo Pel\u00e1ez, Luis J.and Paul B. Niell (2024), Architecture and Extraction in the Atlantic World, 1500-1850. (s. d.). Routledge &amp; CRC Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hills, H. (2016). Architecture and the politics of gender in early Modern Europe (1 1 ressource en ligne (231 pages)). Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hutton, J. E. (2020). Reciprocal landscapes\u202f: Stories of material movements. Routledge, an imprint of the Taylor &amp; Francis Group.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hvattum, Mari. ., Hultzsch, A., Hvattum, M., &amp; Hultzsch, A. (2018). The printed and the built\u202f: Architecture, print culture, and public debate in the nineteenth century. Bloomsbury visual arts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ingersoll, R. (2018). World Architecture\u202f: A Cross-Cultural History (2e \u00e9dition). Oxford University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mallgrave, H. F., Contandriopoulos, C., (2006). Architectural theory. Blackwell Pub.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">James-Chakraborty, Kathleen, (2014) \u201cBeyond Postcolonialism: New Directions for the History of Nonwestern Architecture,\u201d Frontiers of Architectural Research 3:1<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mansion, N. (2016). Faire et refaire l\u2019histoire de l\u2019architecture\u202f: Le r\u00f4le des archives d\u2019architecture face aux erreurs de la recherche. Essais. Revue interdisciplinaire d\u2019Humanit\u00e9s, 8, Article 8.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martin, R. (2005). The organizational complex\u202f: Architecture, media, and corporate space (First MIT Press paperback edition, 2005). The MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mexico City\u2019s Z\u00f3calo\u202f: A History of a Constructed Spatial Identity. (s. d.). Routledge &amp; CRC Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Million, A., Haid, C., &amp; Castillo Ulloa, I. (2022). Spatial transformations\u202f: Kaleidoscopic perspectives on the refiguration of spaces (1 1 online resource). Routledge, Taylor &amp; Francis Group.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Picon, A. (2017). Repenser les limites de l\u2019architecture\u202f: Un acte politique. In A. Thomine-Berrada &amp; B. Bergdol (\u00c9ds.), Repenser les limites\u202f: L\u2019architecture \u00e0 travers l\u2019espace, le temps et les disciplines\u202f: 31 ao\u00fbt\u20144 septembre 2005. Publications de l\u2019Institut national d\u2019histoire de l\u2019art.<br>Picon, A. (2020). The Materiality of Architecture (1 1 online resource (194 p.)). University of Minnesota Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Silverman, D. L. (2011). Art Nouveau, Art of Darkness\u202f: African Lineages of Belgian Modernism, Part I. West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 18(2), 139 181.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">States of emergency\u202f: Architecture, urbanism, and the First World War (1 1 online resource (351 pages) : illustrations, maps). (2022). Leuven University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Williams, H. (s. d.). #15 Cities (Spring 2023) (World) [Text]. Journal18: A Journal of Eighteenth-Century Art and Culture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wittman, Richard, The Problem Concerning History. (s. d.)., <a href=\"https:\/\/www.e-flux.com\/architecture\/history-theory\/159237\/the-problem-concerning-history\/\" rel=\"nofollow\">https:\/\/www.e-flux.com\/architecture\/history-theory\/159237\/the-problem-concerning-history\/<\/a><\/p>\n<\/details>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>HAR 912N &#8211;<strong> Actualit\u00e9 de la recherche en histoire de l\u2019architecture et du paysage\u00a0<br><\/strong>Dr. Christina Contandriopoulos<br>Mardi 14h-17h <br>Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, local R-4215<br>Langue (s) d\u2019enseignement : Fran\u00e7ais et anglais<br>Langue(s) de discussion : Fran\u00e7ais et anglais<\/summary>\n<p class=\"wp-block-paragraph\">Ce s\u00e9minaire propose de faire un bilan sur les nouvelles approches, m\u00e9thodes et probl\u00e9matiques en histoire de l\u2019architecture. Comme toute \u00e9criture historique, quelle que soit sa pr\u00e9tention \u00e0 l&#8217;objectivit\u00e9, l&#8217;histoire de l&#8217;architecture r\u00e9agit aux conditions pr\u00e9sentes. Parmi les nouvelles orientations de la discipline, trois grandes th\u00e9matiques seront abord\u00e9es. Premi\u00e8rement, la restitution des femmes dans l\u2019historiographie architecturale et dans les corpus historiques (avant 1900). Ensuite, les perspectives crois\u00e9es sur l\u2019histoire coloniale et la distinction entre les approches post-coloniales et d\u00e9coloniales. Finalement, l\u2019impact des pr\u00e9occupations environnementales sur les narratifs historiques, avec le \u00ab tournant mat\u00e9riel \u00bb et plus largement l\u2019inscription de l\u2019architecture dans le champ du paysage et des infrastructures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En se concentrant sur les recherches r\u00e9centes (2000-aujourd\u2019hui), ce s\u00e9minaire invite plus largement \u00e0 questionner le rapport qu\u2019entretient notre \u00e9poque avec l\u2019histoire. L\u2019\u00e9mergence de nouveaux champs comme les \u00e9tudes sur la nuit (night studies), les \u00e9tudes m\u00e9diatiques et les \u00e9tudes migratoires feront aussi l\u2019objet de discussions. Finalement, les nouvelles modalit\u00e9s et outils num\u00e9riques seront aussi \u00e9tudi\u00e9s afin d\u2019en saisir l\u2019impact sur la recherche et le transfert des savoirs.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary>Bibliographie<\/summary>\n<p class=\"wp-block-paragraph\">Bardati, F. (2007). \u00c0 la recherche de la formule perdue\u202f? Les m\u00e9thodes en histoire de l\u2019architecture en question. Perspective. Actualit\u00e9 en histoire de l\u2019art, 2, Article 2.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bergdoll, B., Comas, C. E., Liernur, J. F., Del Real, P., (2015). Latin America in construction\u202f: Architecture, 1955-1980. The Museum of Modern Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bressani, Martin; Timothy Brittain-Catlin et Jan De Maeyer, (2016) Gothic revival worldwide\u202f: A.W.N. Pugin\u2019s global influence, Leuven University Press<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chattopadhyay, Swati (2014), \u201cArchitectural History and Spatial Imagination,\u201d Perspectives on History 52, 1 (Jan 2014), 32\u20133<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chattopadhyay, S. (2005). Representing Calcutta\u202f: Modernity, nationalism, and the colonial uncanny (1 1 online resource (xvi, 314 pages) : illustrations, plans). Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ching, F. D. K., Jarzombek, M., &amp; Prakash, V. (2011). A global history of architecture (2nd ed). Wiley.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cohen, M., &amp; Madeline, F. (2014). Space in the Medieval West\u202f: Places, territories and imagined geographies (1 1 online resource). Ashgate.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contandriopoulos, Christina (2024) &#8220;Woman Writings on Art and Architecture in Eighteenth-Century Paris,&#8221; in Roff, Shelley (ed) Women as Builders, Designers, and Critics of the Built Environment, 1200 \u2013 1800. Routlege<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gordo Pel\u00e1ez, Luis J.and Paul B. Niell (2024), Architecture and Extraction in the Atlantic World, 1500-1850. (s. d.). Routledge &amp; CRC Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hills, H. (2016). Architecture and the politics of gender in early Modern Europe (1 1 ressource en ligne (231 pages)). Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hutton, J. E. (2020). Reciprocal landscapes\u202f: Stories of material movements. Routledge, an imprint of the Taylor &amp; Francis Group.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hvattum, Mari. ., Hultzsch, A., Hvattum, M., &amp; Hultzsch, A. (2018). The printed and the built\u202f: Architecture, print culture, and public debate in the nineteenth century. Bloomsbury visual arts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ingersoll, R. (2018). World Architecture\u202f: A Cross-Cultural History (2e \u00e9dition). Oxford University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mallgrave, H. F., Contandriopoulos, C., (2006). Architectural theory. Blackwell Pub.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">James-Chakraborty, Kathleen, (2014) \u201cBeyond Postcolonialism: New Directions for the History of Nonwestern Architecture,\u201d Frontiers of Architectural Research 3:1<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mansion, N. (2016). Faire et refaire l\u2019histoire de l\u2019architecture\u202f: Le r\u00f4le des archives d\u2019architecture face aux erreurs de la recherche. Essais. Revue interdisciplinaire d\u2019Humanit\u00e9s, 8, Article 8.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martin, R. (2005). The organizational complex\u202f: Architecture, media, and corporate space (First MIT Press paperback edition, 2005). The MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mexico City\u2019s Z\u00f3calo\u202f: A History of a Constructed Spatial Identity. (s. d.). Routledge &amp; CRC Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Million, A., Haid, C., &amp; Castillo Ulloa, I. (2022). Spatial transformations\u202f: Kaleidoscopic perspectives on the refiguration of spaces (1 1 online resource). Routledge, Taylor &amp; Francis Group.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Picon, A. (2017). Repenser les limites de l\u2019architecture\u202f: Un acte politique. In A. Thomine-Berrada &amp; B. Bergdol (\u00c9ds.), Repenser les limites\u202f: L\u2019architecture \u00e0 travers l\u2019espace, le temps et les disciplines\u202f: 31 ao\u00fbt\u20144 septembre 2005. Publications de l\u2019Institut national d\u2019histoire de l\u2019art.<br>Picon, A. (2020). The Materiality of Architecture (1 1 online resource (194 p.)). University of Minnesota Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Silverman, D. L. (2011). Art Nouveau, Art of Darkness\u202f: African Lineages of Belgian Modernism, Part I. West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 18(2), 139 181.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">States of emergency\u202f: Architecture, urbanism, and the First World War (1 1 online resource (351 pages) : illustrations, maps). (2022). Leuven University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Williams, H. (s. d.). #15 Cities (Spring 2023) (World) [Text]. Journal18: A Journal of Eighteenth-Century Art and Culture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wittman, Richard, The Problem Concerning History. (s. d.)., <a href=\"https:\/\/www.e-flux.com\/architecture\/history-theory\/159237\/the-problem-concerning-history\/\" rel=\"nofollow\">https:\/\/www.e-flux.com\/architecture\/history-theory\/159237\/the-problem-concerning-history\/<\/a><\/p>\n<\/details>\n<\/details>\n","protected":false},"excerpt":{"rendered":"<p>Bloc A - Th\u00e9orie et m\u00e9thodologie Automne 2024 Hiver 2025 BLOC B Questions et th\u00e9matiques Automne 2024 Hiver 2025<\/p>","protected":false},"author":242268434,"featured_media":0,"parent":65,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_crdt_document":"","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-8259","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PfghYs-29d","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/pages\/8259","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/users\/242268434"}],"replies":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/comments?post=8259"}],"version-history":[{"count":37,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/pages\/8259\/revisions"}],"predecessor-version":[{"id":9572,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/pages\/8259\/revisions\/9572"}],"up":[{"embeddable":true,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/pages\/65"}],"wp:attachment":[{"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/media?parent=8259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/categories?post=8259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/docinterhar.ca\/fr\/wp-json\/wp\/v2\/tags?post=8259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}