\n
Jean-Baptiste Amadieu<\/strong>, Verlaine and Rimbaud examined by the Holy Office
\n<\/em>Without being condemned, the works of Verlaine and Rimbaud were considered by Rome as hazardous for the mind and heart. In 1917, the Holy Office starts proceeding for the writers from the \u00ab\u00a0Catholic Revival\u00a0\u00bb and wishes to examine their models. Since Bloy and Claudel lavished with praises the poets, both of them were to be recommended to the faithful. It is based on that risk that they will be read. In Rimbaud\u2019s work, the Congregation noted blasphemies and obscenities that did not justify the spiritual interpretations lent to obscure passages. As for Verlaine, eroticism in texts written after Sagesse<\/i> puzzled his conversion. However, Consulters are divided on the possibility to list them on the Index. The idea of a general doctrinal text is finally adopted, leading, in May 1927, to an instruction on a \u00ab\u00a0mystical sensual\u00a0\u00bb literature, without specifying clear indication allowing to identify any movement or authors.<\/p>\nOlivier Bivort<\/strong>, Verlaine at the French Academy
\n<\/em>Despite appearances, Verlaine comes up officially with his candidature for the Acad\u00e9mie fran\u00e7aise in 1893. If a lot of reasons might explain that move \u2013 Verlaine is not indifferent to honours \u2013 it looks like a survey in the newspaper Le Journal<\/i>, published in October 1892, urged him to apply. His initiative caused numerous reactions in the papers. Verlaine, himself, in interviews and in articles he wrote at that period, contributed to hold the media\u2019s attention for two years. The candidacy press kit, for the first time brought together here, shows the ins and outs of that candidacy.<\/p>\nAnne-Emmanuelle Demartini<\/strong>, Pleadings in verse in the 19th<\/sup> century
\n<\/em>Once in a while in the XIXth<\/sup> century, France\u2019s courts of justice were theater of a defense expressed in a versified discourse. This type of speech is rare and had never been examined. So this paper gives analysis elements to throw light on the relationships between poetry and law, which never drew attention to the historians. It outlines the court incidents caused by these surprising speeches that are contrary to the common practice and illustrate the way magistrates react, revealing by that their representations of poetry as well as law. Sometimes they authorize versified discourses sometimes they ban them. Do we have the right to declaim verses in court? The versified defense leads to arguments that bring out the question of the spaces in which are allowed the use of verses and implies a conception of the juridical language.<\/p>\nCorinne Legoy<\/strong>, Poetry and celebrations of sovereignty under the Restoration: a daughter of the monarchical state?
\n<\/em>The aim of this article is to explore the links between panegyric poetry and the institutions that orchestrated celebrations of sovereignty under the Bourbon Restoration. It thus shows the involvement of poetry and song in ceremonies of power and, at the same time, the persistence of an ancient practice, traditionally associated with institutions of state and with the academy. Yet the slackening of state control over printed material, the absence of explicit commissions by government and the peculiar nature of panegyric poetry\u2019s relationship to royal rites question this classical interpretation. In this period, the institutions that instigated such poetry were no longer limited to the machinery of the state or to the academy, and therefore constitute another page of the story of royal eulogy.<\/p>\nMuriel Lou\u00e2pre<\/strong>, The winners of the academic contests: from emulation to the \u00ab\u00a0b\u00eate \u00e0 concours\u00a0\u00bb
\n<\/span><\/em>Literary competition, in the XIXth<\/sup> century, invaded public space as a democratic mode of recruitment and as a way to govern by honours. But the XIXth<\/sup> century academic competitions contrast with those of the XVIIIth<\/sup> century, since these latter were part of the Enlightenment intellectual project that aimed emulation instead of the normative culture established in the XIXth<\/sup> century. This increasing normativity, that we can read in the candidates works for the Acad\u00e9mie poetic prizes, as well as in the letters and the judges report, is a phenomenon that goes far beyond the literary sphere, so that the critical competition discourse creates a convergence that take place in various fields of activity such as letters, teaching and agriculture, convergence that underlie Flaubert\u2019s agricultural show scene, and get popular in the social discourse in metaphor like \u00ab\u00a0b\u00eate de concours\u00a0\u00bb.<\/p>\nHugues Marchal<\/strong>, \u00ab Les sciences peuvent avoir quelques obligations \u00e0 la po\u00e9sie \u00bb : Delille and the academic institution
\n<\/span><\/em>I propose to read Jacques the fatalist<\/i> by Diderot in the light of The Thousand and One Nights<\/i>. Beyond the technique of embedding, I will try to see to what extent the relationship between Jacques and his master is analogous, firstly to the one between Shahriar and his brother Sh\u00e2h Zam\u00e2n, on the other hand then to the one between Shahriar and Scheherazade.<\/p>\nJean-Yves Mollier<\/strong>, Poetry under surveillance in the 19th<\/sup> century
\n<\/em>Noble genre par excellence, that largely contribute to the anointing of the writer and at the rising of a laic spiritual power in the XIXth<\/sup> century, poetry is also an area of investment by the working classes, who see in popular songs the ideal vector of their claim or of their state of mind. Controlled, hunted by the police, who doesn\u2019t mind to use its subversive power, versified songs of B\u00e9ranger, Jean-Baptiste Cl\u00e9ment and Montehus are the object of an incredible censor from 1810 to 1905, that has no effect on their popularity since they are sang in all houses of the common people. Even though it looses the special place it occupies in the editors catalogue after 1848, the popular song continue its expansion, and thanks to self-publishing it reaches at the end all the classes, Parisian elites, provincial elites as well as the les educated population. Ubiquitous at school, sang in the street and in the caf\u00e9, music hall and cabarets, it forms a gigantic ocean of texts that should be studied free of any esthetical prejudice.<\/p>\nLuciano Pellegrini<\/strong>, Mystery and magisterium. Victor Hugo academician
\n<\/em>The election of Victor Hugo at the Acad\u00e9mie fran\u00e7aise was the result of a long campaign that exposed the poet to several failures. His stuborness is a sign of the importance that the author of the Preface to Cromwell attached to the academic consecration. The way Hugo reports himself to the Acad\u00e9mie helps to understand the relationship of poetry and power, tradition and novelty in the poet\u2019s work. There is a link between the increase of the poet\u2019s academic ambitions and the rise of the theme of a classical past, modeled on classical antiquity and on the French seventeenth century.<\/p>\nLise Sabourin<\/strong>, Poets and poetry at the French Academy in the 19th<\/sup> century (1803-1914)
\n<\/em>All over the XIXth<\/sup> century political systems, the elections and the activities of the poets at the Acad\u00e9mie fran\u00e7aise still have influence, but the classical formal expectations from which the Romantics have taken distance provoke suspicions on the Parnassian generation, lately entered. Abandoning its scholar customs thirsty of poetics reading, the institution, more professorial, is more concerned about the defence of the French language, the study of the regional languages, translation, the analysis of antic poetry and poems from elsewhere or at the celebration of the literature history heroes. Even if it continues to give prizes to poetry, the institution is less inspired by these competitions inherited from monarchic centuries, sometimes worn out by a power that grips everything, sometimes depreciated by recurrent winners. The most talented become academicians, the others are seen as instruments of an alternation politic, wanted as eclectic, but non coherent, between subjects of actuality, classical themes, scientific discoveries.<\/p>\nAndrea Schellino<\/strong>, Baudelaire and the academic\u00a0\u201cutopia\u201d
\n<\/em>This paper focuses on the candidacy of Baudelaire to the Acad\u00e9mie fran\u00e7aise between December 1861 and February 1862. After discussing the reasons of the approach of the poet, it highlights the political issue of the election through the analysis of Sainte-Beuve\u2019s article \u00ab Des prochaines \u00e9lections de l\u2019Acad\u00e9mie \u00bb, published in Le Constitutionnel<\/i> (January 20, 1862). The Author, by introducing the note of renunciation of Baudelaire, published in Le Si\u00e8cle<\/i> (Monday, 17 February 1862), also provides a more accurate dating of the poet\u2019s letter to Taxile Delord.<\/p>\n<\/div>Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>\n
Jean-Baptiste Amadieu
\n<\/strong>Jean-Baptiste Amadieu, chercheur au CNRS, est rattach\u00e9 \u00e0 l\u2019unit\u00e9 R\u00e9publique des savoirs (CNRS\/ENS Ulm\/Coll\u00e8ge de France). Depuis sa th\u00e8se de doctorat sur la litt\u00e9rature fran\u00e7aise du XIXe<\/sup>\u00a0si\u00e8cle mise \u00e0 l\u2019Index, il travaille sur les censures litt\u00e9raires de la Restauration \u00e0 nos jours, par la publication d\u2019archives in\u00e9dites de Rome et Paris et l\u2019animation d\u2019un s\u00e9minaire d\u2019\u00e9crivains sur l\u2019autocensure contemporaine. Ses centres de recherches portent sur les rapports entre la litt\u00e9rature fran\u00e7aise des XIXe<\/sup> et XXe<\/sup>\u00a0si\u00e8cles et les institutions (politiques, sociales, religieuses et acad\u00e9miques), entre la litt\u00e9rature et les normes juridiques et rh\u00e9toriques. Il a aussi publi\u00e9 un livre d\u2019entretiens avec Antoine Compagnon (Une question de discipline<\/i>, Flammarion, 2013).<\/p>\nOlivier Bivort
\n<\/strong>Olivier Bivort, professeur de litt\u00e9rature fran\u00e7aise \u00e0 l\u2019Universit\u00e9 Ca\u2019 Foscari de Venise, a consacr\u00e9 l\u2019essentiel de ses travaux \u00e0 la po\u00e9sie du xixe<\/sup> et du premier xxe<\/sup> si\u00e8cles. Il est l\u2019\u00e9diteur de l\u2019\u0153uvre po\u00e9tique de Verlaine dans la collection \u00ab\u00a0Classique\u00a0\u00bb du Livre de poche.<\/p>\nAnne-Emmanuelle Demartini
\n<\/strong>Anne-Emmanuelle Demartini est ma\u00eetre de conf\u00e9rences HDR en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 7-Denis Diderot. Elle est sp\u00e9cialiste d\u2019histoire des repr\u00e9sentations et de l\u2019imaginaire social. Ses travaux portent plus sp\u00e9cifiquement sur l\u2019histoire du crime et de ses repr\u00e9sentations aux XIXe<\/sup>-XXe<\/sup> si\u00e8cles. Elle pr\u00e9pare un livre sur l\u2019empoisonneuse parricide Violette Nozi\u00e8re. Ouvrages\u00a0: L\u2019Affaire Lacenaire<\/i>, Paris, Aubier, 2001\u00a0; Imaginaire et sensibilit\u00e9s. \u00c9tudes pour Alain Corbin<\/i>, dir. avec Dominique Kalifa, Paris, Cr\u00e9aphis, 2005\u00a0; Monstre et imaginaire social<\/i>, dir. avec Anna Caiozzo, Paris, Cr\u00e9aphis, 2008.<\/p>\nCorinne Legoy
\n<\/strong>Corinne Legoy est ma\u00eetre de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 d\u2019Orl\u00e9ans (laboratoire Polen). Elle est l\u2019auteur de L\u2019Enthousiasme d\u00e9senchant\u00e9. \u00c9loge du pouvoir sous la Restauration<\/i>, paru en 2011 (Prix Albert Mathiez). Ses travaux portent sur les usages sociaux et politiques de la po\u00e9sie, sur le th\u00e9\u00e2tre sous la Restauration et, plus largement, sur les liens entre histoire politique et histoire culturelle au xixe<\/sup> si\u00e8cle.<\/p>\nMuriel Lou\u00e2pre
\n<\/strong>Ancienne \u00e9l\u00e8ve de l\u2019\u00c9cole normale sup\u00e9rieure, ma\u00eetre de conf\u00e9rences en litt\u00e9rature fran\u00e7aise (Sorbonne Paris Cit\u00e9 \u2013 CERILAC), Muriel Lou\u00e2pre consacre ses recherche aux territoires d\u2019\u00e9criture communs aux sciences et aux lettres, et aux mod\u00e9lisations permettant les circulations entre champs disciplinaires. Elle a particip\u00e9 \u00e0 un programme ANR sur la po\u00e9sie scientifique, et poursuit ce travail au sein de l\u2019\u00e9quipe ANR\/DFG Biolographes<\/i>, ainsi que du programme de la Fondation nationale suisse \u00ab\u00a0Reconstruire Delille\u00a0\u00bb. Elle fait partie du comit\u00e9 de r\u00e9daction de la revue en ligne \u00c9crire l\u2019histoire<\/i> et s\u2019int\u00e9resse aux apports de la datavisualisation<\/i> \u00e0 l\u2019exploitation de corpus litt\u00e9raires. Derni\u00e8res publications : \u00ab\u00a0Les ouvriers de l\u2019oubli\u00a0\u00bb, dossier pour \u00c9crire l\u2019histoire<\/i>, \u00e9ditions du CNRS, 2014\u00a0; La<\/i> Po\u00e9sie scientifique, de la gloire au d\u00e9clin<\/i>, textes rassembl\u00e9s par M. Lou\u00e2pre, H.\u00a0Marchal et M. Pierssens, \u00c9pist\u00e9mocritique, 2014\u00a0; Muses et pt\u00e9rodactyles : la po\u00e9sie de la science de Ch\u00e9nier \u00e0 Rimbaud,<\/i>\u00a0anthologie sous la direction d\u2019H. Marchal, Paris, Seuil, 2013.<\/p>\nHugues Marchal
\n<\/strong>Professeur \u00e0 la Facult\u00e9 des Lettres de Rabat, Abdelfattah Kilito a publi\u00e9, entre autres, L\u2019\u0152il et l\u2019aiguille<\/i> (La D\u00e9couverte, 1992) et Dites-moi le songe<\/i> (Sindbad-Actes Sud, 2010). Abdelfattah Kilito a obtenu, en 1989, le Grand Prix du Maroc et, en 1996, le prix du Rayonnement de la langue fran\u00e7aise attribu\u00e9 par l\u2019Acad\u00e9mie fran\u00e7aise.<\/p>\nJean-Yves Mollier
\n<\/strong>Jean-Yves Mollier est professeur d\u2019histoire contemporaine et directeur de l\u2019\u00c9cole doctorale \u00ab\u00a0Cultures, R\u00e9gulations, Institutions et Territoires\u00a0\u00bb \u00e0 l\u2019universit\u00e9 de Versailles Saint-Quentin-en-Yvelines. Il a r\u00e9cemment publi\u00e9 \u00c9dition, presse et pouvoir en France au<\/i> XXe<\/sup> si\u00e8cle<\/i> (Fayard, 2008), La\u00a0Librairie Tallandier. Histoire d\u2019une grande maison d\u2019\u00e9dition populaire (1870-2000)<\/i>, en collaboration avec Matthieu Letourneux (Nouveau Monde \u00c9ditions, 2011), Histoire de la librairie Larousse (1852-2010)<\/i>, en collaboration avec Bruno Dubot (Fayard, 2012), La mise au pas des \u00e9crivains. L\u2019impossible pari de l\u2019abb\u00e9 Bethl\u00e9em au XXe<\/sup> si\u00e8cle<\/i> (Fayard, 2014) et dirig\u00e9 les trois \u00e9ditions de O\u00f9 va le livre\u00a0?<\/i> (La Dispute, 2000, 2002 et 2007).<\/p>\nLuciano Pellegrini
\n<\/strong>Luciano Pellegrini est docteur en litt\u00e9rature fran\u00e7aise et il enseigne \u00e0 l\u2019Universit\u00e9 t\u00e9l\u00e9matique e-Campus de Novedrate (C\u00f4me). Il s\u2019int\u00e9resse, notamment, \u00e0 l\u2019\u0153uvre po\u00e9tique et th\u00e9\u00e2trale de Victor Hugo. Il a publi\u00e9 des articles sur le traitement de l\u2019espace sc\u00e9nique dans Ruy Blas <\/i>(PUPS) et la po\u00e9sie de Hugo des ann\u00e9es 1815-1840 (Publif@rum<\/i>, Revue italienne d\u2019\u00e9tudes fran\u00e7aises<\/i>). Il pr\u00e9pare, pour la Revue d\u2019histoire litt\u00e9raire de la France<\/i>, <\/i>un essai sur la premi\u00e8re production po\u00e9tique de Hugo, et une anthologie de la po\u00e9sie fran\u00e7aise sous le Consulat et l\u2019Empire. Il est l\u2019auteur d\u2019une traduction en vers de
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