[Discussion] CFP: Frames and Framing (France) (12/15/05; SAIT, 3/17/06-3/18/06)

[gpultar@cstgroup.org]

From: Delphine Cingal <dcingal@club-internet.fr>

"Frames & framing"
SAIT Conference
March 17th & 18th 2006
Institute of English Studies, University of Paris III (Sorbonne Nouvelle)
Rue de l'Ecole de Médecine, Paris 75006, France.


SAIT specialises in intertextual and intersemiotic studies, concentrating on the
interaction and interconnections between different forms of art. The theme of
its winter conference for 2006 is "frames and framing," taken both in their
literal and metaphorical acceptions.

The word "frame," in the 16th Century, referred to the internal structure of an
object, such as the frame of a barn or the ingredients of a potion, or even to
the organisation of language, as in Samuel Daniel's "all verse is but a frame of
words"  (cf article by Rayna Kalas). From internal, mechanical structures to
the modern meaning of enclosing a given space, frames foreground the question of
outsideness and insideness, of objects and their representations, and invite us
to look into the making and the putting together of works of art.

Today the word "frame" refers to the visible and often ornamental limit between
an inner and an outer space, but it is also what defines and creates this very
limit, what constrains an art which sometimes seek to escape, and flow beyond
the boundaries that seek to contain it. One can think for instance of narratives
that chafe against glib effects of circularity (in which the ending of the book
neatly refers back to the incipit), or musical effects of circularity and
repetition (coda, leitmotive etc.).

It may be worthwhile also to look into the blurring of boundaries, for example
between pictorial space and represented space: in Henry James's The Ambassadors,
Strether's vision transforms a French rural landscape into a Lambinet painting;
framed by the "oblong gilt frame" that had encircled the Lambinet when he had
seen it, years before, in the "maroon-coloured, sky-lighted inner shrine" at a
Boston dealer's.

In texts there are internal spaces cut out by divisions into chapters or
paragraphs, with the narrative sometimes playfully refusing to respect the
separating lines: in Tristram Shandy a sentence can "flow on" into the next
sentence or the next paragraph, regardless of the apparent boundary constituted
by a full stop or the typographical marker of a chapter heading.

In most paintings the scene sits harmoniously within the enclosing frame, in
more contemporary representations the frame can cut across the human shape,
dividing the body between a visible inner space and an absent outer space (in
brothel scenes painted by Toulouse-Lautrec for instance). Or the human body
overlaps the frame, as in a fresco painted by Tiepolo in which one of the
characters's legs seem to hang out over the painted frame on the wall.

More generally, in paintings, films, plays, operas one can analyse the framing
or lack of framing of space and the use of interior, embedded framed spaces
(doors, windows, mirrors...).

We hope these few guidelines will inspire many varied approaches. Please
send your paper outlines before December 15th to Nelly Valtat-Comet
(nelly.valtat@wanadoo.fr) or to Catherine Pesso-Miquel
(catherine.miquel@wanadoo.fr).


Bonitzer, Pascal. « Peinture et cinéma, décadrages ». Cahiers du Cinéma 284,
1978.

Brunet et al. Effets de cadre, de la limite en art. Presses Universitaires de
Vincennes : 22 mai 2003.

Cahn Isabelle. Cadres de Peintres. Réunion des musées nationaux. Paris: Hermann,
1989.

Deleuze , Gilles (ed). L'Image-mouvement et l'image-temps. Paris, Minuit : 2
tomes, 1983 et 1985.

Derrida, Jacques.  Dans La vérité en peinture. Paris, Flammarion : 1979
(réflexion sur le parergon autour de la p. 85).

Duro, Paul (ed). The Rhetoric of the Frame: Essays on the Boundaries of the
Aesthetic. New York: Cambridge UP, 1996. 1-10.

Kalas, Rayna. "The Language of Framing". Shakespeare Studies, 2000.

Larroux Guy. « Mise en cadre et clausularité », Poétique 98, avril 1994.

Le Calvez , Éric. « La description focalisée. Un problème de poétique génétique
(à propos de L'Éducation sentimentale) », Poétique 108, novembre 1996.

Leplatre Olivier. « Le repas d'une image », Poetique 98, avril 1994.

Louvel, Liliane. L'¦il du texte. Toulouse, Presses Universitaires du Mirail :
1998. (voir pp. 97-107).

Louvel, Liliane. Texte Image : images à lire, textes à voir. Presses
Universitaires de Rennes: 2002. Chapitre 2 sur « le miroir en texte ».

Marin, Louis. « Le cadre de la représentation et quelques-unes de ses figures ».
Cahiers du Musée National d'Art Moderne 24 (été 1988): 62-81. Article repris
dans Marin, Louis, De la Représentation. Paris : Gallimard Le Seuil 1994
pp.342-363.

Miller, Jonathan. On Reflection, London, National Gallery 1998.

Rougé, B. (ed). Cadres & marges. Pau: Publications de l'université de Pau, 1995.

Stoichita, Victor. L'instauration du tableau, Droz, 1999.





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