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Call for papers - “Recorded Acts of Vio...

Starting from the observation that it's difficult to define violence in the present when it occurs, this conference proposes to grasp it a posteriori, in its traces, by apprehending the marks it leaves and their consequences. Indeed violence is fundamentally the generator of traces. Traces that we may wish to erase, which will disappear by the simple passage of time, which on the contrary we want to perpetuate, even which sometimes persist in spite of ourselves. "An indelible trace is not a trace," writes Jacques Derrida in L'Ecriture et la Difference, thus emphasizing the potentially ephemeral, transitory, shifting character of the "traces" left by events. Faced with this risk of forgetting violence, it may be necessary to register it in order to keep track of it and question it.

Violence is a “polysemous paradigm,” a notion that goes beyond disciplinary limits, and is not limited to the fact of war or to its physical manifestations. Violence can be among other things military, political, social, verbal, physical, or symbolic, and it can be exerted on the bodies, the goods, the landscapes, the spirits… Wars are par excellence the scene of violence, and constitute in any case, a situation favorable to the emergence of different forms of violenceiii. All the manifestations of violence nevertheless have in common that they are part of a dialectical relationship, with the confrontation of two actors who can each leave their own traces of the violence implemented. Most often, this violence therefore appears to be voluntary, because it is motivated. It can be the manifestation of a confrontation, a dispute, a pre-existing conflict, or be the cause of it (revenge, vendetta, reply). Violence is not always part of a balanced balance of power. When society exercises it on an individual or a group of individuals, it then becomes stigmatization, the beings bearing on themselves the mark of the violence suffered.

If the actor who exercises the violence can leave a direct trace (thus altering the object, the body, the mind, the nation, etc. on which the violence is exerted), the one who is subjected to it can also decide to produce a second trace testifying to the lived experience. The violent act and its trace can finally coincide in the same event: in the context of verbal violence, the speech is both a trace of violence and violence itself. The inscription of these traces can be voluntary - fruit of a process of writing, commemoration, testimony - or can be generated by the event itself, to the detriment of the actors. The inscription is above all a writing, guided by the idea of ??conservation, of material survival of the violence suffered and / or exercised. But it can take many forms.

It will therefore be necessary to take an interest in the specificity of each of the supports of this inscription (novels, testimonies, poems, libels and printed matter, theater, engravings, bones, landscapes, archive documents, photographs, painting, video, monuments , body, language, memory, psyche…). The question then relates to the reception that we reserve for these traces: do we want to preserve them? by what means ? for what reasons ? what is the effect produced by these traces, in particular when they undermine the integrity of a body, an asset, a landscape? The trace being in essence erasable, what about erased traces? what then of the violence of this erasure? what about restored traces? On the contrary, the trace can be exhibited, narrated, instrumentalized, aestheticized, glorified until it has a positive connotation:

This plurality inherent in the idea of ??inscriptions of violence prompts us to wonder about the reception of these traces: which traces are legitimate, at what moments in history? what place do we then leave to the duty of memory? Let us think, for example, of the debate concerning the account of the death camps, and the duality between testimony and fiction, the first legitimized by the survivors, the other rejected because deemed unfit to produce a reliable account respectful of the violence suffered (Primo Levi , Jorge Semprun). We can wonder about the evolution of these debates over time leading to the re-legitimation of fiction at the end of the 20th century (Tatiana de Rosnay, Steven Spielberg). The process of legitimizing certain traces can then be the bearer of symbolic violence, or experienced as such,

A reflection could be initiated on the place left to the expression of fictitious violence, seeking to think about violence and its inclusion in society, or even to ward off it through its representation. For example, how to stage the unbearable and overcome the effect of astonishment in the face of immediate violence? Thus the theater in particular poses the question of the propriety of the representation of shocking killings on stage, as well as the question of the material means to represent violence (fake blood, symbolic ribbons): the various rewritings and representations of Medea killing his children on stage or off stage testify in this regard to the debates which animate the authors. Finally, catharsis makes it possible to justify the violence represented by a beneficial effect on the spectator, thanks to the detour through fiction. Conversely, Brechtian distancing would theoretically make it possible to represent an extreme violence affecting the spectator less by breaking the fourth wall. This reflection can be extended to all areas of the human and social sciences.

It will therefore be a question of reflecting on the way in which the violence is inscribed or inscribed (or transcribed) on different media throughout history, on the modalities and particularities of this inscription, but also on the way of considering these traces. , and to question the access to past violence through these traces, inscriptions, impressions, expressions, representations, stigmata, remains, ruins ...

Thematic axes

Speakers will be invited to integrate their communication into one or more of the following areas, without necessarily being limited to:

Practical methods of sending proposals

This call for papers is addressed to all doctoral students and young doctors in human and social sciences, the subject voluntarily allowing an important transversality. The interventions requested are 20 minutes. Communication projects should be addressed

before June 15 at the following address: colloque.violences-inscriptions @ u-picardie.fr . They must include a provisional title, a summary of 500 words maximum, a “bio-bibliography” of less than 10 lines (presentation of your background, thesis subject, supervisors, publications related to the proposed subject).

Indicative bibliography

“Violent (e) s - Gender and violence in the history of art”, Les Cahiers de l'école du Louvre, n ° 15, 2020.

Hannah Arendt, From Lies to Violence, trad. G. Durand, Paris, Calmann-Lévy, 1972.

Stéphane Audoin-Rouzeau, 1914-1918. La violence de guerre, Paris, Gallimard, 2014.

Stéphane Audoin-Rouzeau et al. (ed.), La Violence de guerre, 1914-1945. Comparative approaches to the two world conflicts, Brussels, Complexe, 2002.

Stéphane Audoin-Rouzeau, C'est la guerre: small subjects on the violence of war, 19th-21st century, Paris, ed. of the Feline, 2020.

Vincent Azoulay and Patrick Boucheron (eds.), Le mot qui tue. A history of intellectual violence from Antiquity to the present day, Seyssel, Champ Vallon, 2009.

Christian Biet and Marie-Madeleine Fragonard (eds.), Classical Literature, special issue, Theater, violence and the arts in Europe (16th-17th centuries), n ° 73, autumn 2010.

Christian Biet (dir.), Theater of cruelty and bloody stories in France, 16th-17th century, Paris, Robert Laffont, 2006.

Charlotte Bouteille-Meister and Kjerstin Aukrust (ed.), Bodies blood, suffering and macabres (16th-17th century), Paris, Presses Sorbonne Nouvelle, 2010.

Philippe Buc, Holy War, Martyrdom, and Terror. Christianity, Violence and the West, Philadelphia, University of Pennsylvania Press, 2015.

Coline Cardi and Geneviève Pruvost (dir.), Penser la violence des femmes, Paris, La Découverte, 2012.

Stuart Carroll (ed.), Cultures of Violence Interpersonal Violence in Historical Perspective, London, Palgrave Macmillan, 2007.

Stuart Carroll, Blood and Violence in Early Modern France, Oxford, Oxford University Press, 2006.

Denis Crouzet, The warriors of God. Violence at the time of religious disturbances (around 1525 - around 1610), Seyssel, Champ Vallon, 1990.

René Démoris, Florence Ferran, Corinne Lucas Fiorato (ed.), Art and violence. Lives of artists between the 16th and 18th centuries. Italy, France, England, Proceedings of the international conference organized on December 9 - 11, 2010, Universities Paris Ouest Nanterre, Sorbonne Nouvelle-Paris 3 and DEFI, 2012.

Jacques Derrida, Writing and Difference, Paris, Seuil, 1967.

David El Kenz and François-Xavier Nérard (eds.), Commemorating the victims in Europe: 16th-21st centuries, Seyssel, Champ Vallon, 2011.

Lucien Faggion and Christophe Régina (eds.), Violence: Crossed views on a plural reality, Paris, CNRS Éditions, 2010.

Suzanne Ferrières-Pestureau, Violence at work, Paris Les éditions du Cerf, 2018.

René Girard, Violence and the sacred, Paris, Grasset, 1972.

Françoise Héritier, De la violence I & II, Paris, Odile Jacob, 1996-1999.

Richard W. Kaeuper, Chivalry and Violence in Medieval Europe, Oxford, Oxford University Press, 2001.

Stathis N. Kalyvas, Ian Shapiro, and Tarek Masoud (ed.), Order, Conflict, and Violence, Cambridge, Cambridge University Press, 2008.

Déborah Lévy-Bertherat and Pierre Schoentjes (dir.), “I killed” War violence and fiction, Genève Droz, 2010

Yves Michaud, Violence, “What do I know? », Paris, Presses Universitaires de France, 2018.

Robert Muchembled, A History of Violence, Paris, Seuil, 2008.

Pierre Nora (dir.), The Places of Memory, Paris, Quarto Gallimard, 1997.

Robert Pujade and Olivier de Sagazan, Propos on the violence of art, violence in art, Arles, L'Art-Dit, 2010.

Paul Ricoeur, Mémoire, histoire, oubli, Paris, Seuil, 2000.

Jacqueline de Romilly, Ancient Greece against violence, Paris, Editions de Fallois, 2000.

Tiphaine Samoyault, Translation and violence, Paris, Seuil, 2020.

Françoise Vergès, A feminist theory of violence, Paris, La Fabrique Eds, 2020.

Collective, Traces of the Great War, Amiens, Les Editions de la Gouttière, 2018.

Scientific and Organizing Committee

Marie-Françoise Lemonnier-Delpy, University Professor, University of Picardie- Jules Verne, CERCLL (UR-UPJV 4283)

Kévin Hémery, contractual doctoral student, University of Picardie- Jules Verne, TrAme (UR-UPJV 4284),

Elisabeth Lacombe, contractual doctoral student, University of Picardie- Jules Verne, CERCLL (UR-UPJV 4283)

Juliette Sauvage, contractual doctoral student, University of Picardie- Jules Verne, CERCLL (UR-UPJV 4283) and, CHSSC (UR-UPJV 4289)

With the support of laboratories CERCLL (UR-UPJV 4283), TrAme (UR-UPJV 4284), CHSSC (UR-UPJV 4289) and ED-SHS 586.


i Jacques Derrida, Writing and Difference, Paris, Seuil, 1967.

ii Lucien Faggion, Christophe Regina, La Violence. Perspectives on a plural reality, Introduction, CNRS Editions, 2010, p. 13.

iii Annette Becker and Henry Rousso, “From one war to another” in S. Audoin-Rouzeau, A. Becker, Chr. Ingrao, H. Rousso (eds.), La Violence de guerre. 1914-1945, Editions Complexe, 2002, p. 21.