Pub Date : 2019-12-31DOI: 10.21825/jeps.v4i2.15756
Évanghélia Stead
Ce numéro spécial émane du 7e colloque annuel de la European Society for Periodical Research (ESPRit), qui portait sur ‘Les Périodiques comme médiateurs: les périodiques dans l’écosystème de la culture imprimée et visuelle’. L’événement, dont l’organisation à Paris m’a été confiée, s’est tenu à la Bibliothèque nationale de France, à l’Inalco et à l’université Paris-Sorbonne en juin 2018. Cette manifestation bilingue, qui a réuni des chercheurs jeunes et confirmés, a analysé les rôles complexes des périodiques dans un riche éventail de contextes et milieux culturels et scientifiques, sous plusieurs angles: histoire de la littérature, histoire de l’art, presse et médias, études visuelles, littérature comparée, études théâtrales, cultures scientifiques, études de traduction et de réception. Une large palette de publications en série a été examinée: revues, magazines, gazettes, cahiers, suppléments, annales, anthologies, collections, quotidiens, voire une émission radiophonique. Ce numéro spécial propose un choix de contributions, développées en articles de recherche. En les présentant et en rappelant les arguments et thèmes du colloque, l’introduction offre un aperçu des enquêtes, et met en valeur quelques hypothèses signifiantes pour les études sur les périodiques aujourd’hui.
本期特刊来自欧洲期刊研究学会(ESPRit)第七届年度研讨会，主题为“期刊作为媒介:印刷和视觉文化生态系统中的期刊”。该活动由我在巴黎组织，于2018年6月在bibliotheque nationale de France、inalco和universite Paris- sorbonne举行。双语这次活动,汇集了知名学者和青年,定期分析了复杂的角色,在一系列丰富的背景和文化背景和科学发展,从多个角度:历史文学、艺术史、新闻和媒体、视觉研究、比较文学、戏剧、作物科学研究、翻译和验收。审查了各种各样的连续出版物:杂志、杂志、公报、小册子、增刊、年鉴、选集、文集、日报，甚至广播节目。本期特刊精选了一些研究论文。通过介绍它们，回顾研讨会的论点和主题，导言提供了调查的概述，并强调了一些重要的假设，今天的期刊研究。
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Pub Date : 2019-12-31DOI: 10.21825/jeps.v4i2.10903
D. Badini
Shi‘r (Poésie) a été fondée à Beyrouth en 1957 par Yûsuf al-Khâl (1917–87) qui l’entendait comme la première revue arabe entièrement consacrée à la poésie, avec un credo: la liberté comme condition préalable à l’épanouissement personnel et donc à l’établissement d’une société moderne. Pendant plus d’une décennie (1957–64 et 1967–70), Shi‘r fut un espace d’innovation et de circulation de poèmes inédits, d’études critiques et de traductions au plus près de la production contemporaine, et d’essais théoriques promouvant le modernisme naissant. Associée à la trépidante Beyrouth des années 1950–60, Shi‘r fut au centre d’un écosystème culturel qu’elle contribua à enrichir et à dynamiser grâce à ses jeudis, le prix Shi‘r, la maison d’édition Shi‘r, le magazine Adab et la galerie d’art Gallery One. Les séances de jeudi constituèrent pendant plus de sept ans (1957–64) unespace de réception ouvert aux poèmes inédits (lus, commentés, promus). La plateforme médiatique offerte aux jeudis par al-Nahar, parmi d’autres journaux libanais, permit au mouvement Shi‘r de clarifier davantage son message révolutionnaire et ses orientations modernistes, et de se défendre contre les attaques répétées d’intellectuels panarabes vigoureusement attachés aux conventions héritées de la tradition poétique arabe. Cetarticle met en évidence ces aspects médiatiques.
{"title":"Le Jeudi de la revue libanaise Shi‘r (1957–70): Un canal de médiologie du projet moderniste de Yûsuf al-Khâl (1917–87)","authors":"D. Badini","doi":"10.21825/jeps.v4i2.10903","DOIUrl":"https://doi.org/10.21825/jeps.v4i2.10903","url":null,"abstract":"Shi‘r (Poésie) a été fondée à Beyrouth en 1957 par Yûsuf al-Khâl (1917–87) qui l’entendait comme la première revue arabe entièrement consacrée à la poésie, avec un credo: la liberté comme condition préalable à l’épanouissement personnel et donc à l’établissement d’une société moderne. Pendant plus d’une décennie (1957–64 et 1967–70), Shi‘r fut un espace d’innovation et de circulation de poèmes inédits, d’études critiques et de traductions au plus près de la production contemporaine, et d’essais théoriques promouvant le modernisme naissant. Associée à la trépidante Beyrouth des années 1950–60, Shi‘r fut au centre d’un écosystème culturel qu’elle contribua à enrichir et à dynamiser grâce à ses jeudis, le prix Shi‘r, la maison d’édition Shi‘r, le magazine Adab et la galerie d’art Gallery One. Les séances de jeudi constituèrent pendant plus de sept ans (1957–64) unespace de réception ouvert aux poèmes inédits (lus, commentés, promus). La plateforme médiatique offerte aux jeudis par al-Nahar, parmi d’autres journaux libanais, permit au mouvement Shi‘r de clarifier davantage son message révolutionnaire et ses orientations modernistes, et de se défendre contre les attaques répétées d’intellectuels panarabes vigoureusement attachés aux conventions héritées de la tradition poétique arabe. Cetarticle met en évidence ces aspects médiatiques.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121452264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.21825/jeps.v4i2.10772
Marie-Eve Therenty
Cet article s’intéresse à l’association entre 1928 et 1940 de la prestigieuse maison d’édition Gallimard et de trois hebdomadaires créés par Gallimard : Détective, un magazine orienté autour des faits divers; Voilà, un périodique centré autour du grand reportage; et Marianne, un journal politique. Grâce à des documents d’archives, l’article prouve que, malgré les déclarations publiques et malgré la différence des contenusrédactionnels, il faut considérer l’ensemble comme un système entièrement organisé autour des écrivains Gallimard et de leur production. L’article fait même l’hypothèse que l’association généralisée entre hebdomadaires et maisons d’éditions, notamment le nexus Gallimard, ont permis de trouver un débouché éditorial à des formes hybrides à la frontière entre journalisme et littérature et de les légitimer.
{"title":"L’esprit Gallimard: Stratégies médiatiques et dispositifs éditoriaux de Détective, Voilà et Marianne (1928–40)","authors":"Marie-Eve Therenty","doi":"10.21825/jeps.v4i2.10772","DOIUrl":"https://doi.org/10.21825/jeps.v4i2.10772","url":null,"abstract":"Cet article s’intéresse à l’association entre 1928 et 1940 de la prestigieuse maison d’édition Gallimard et de trois hebdomadaires créés par Gallimard : Détective, un magazine orienté autour des faits divers; Voilà, un périodique centré autour du grand reportage; et Marianne, un journal politique. Grâce à des documents d’archives, l’article prouve que, malgré les déclarations publiques et malgré la différence des contenusrédactionnels, il faut considérer l’ensemble comme un système entièrement organisé autour des écrivains Gallimard et de leur production. L’article fait même l’hypothèse que l’association généralisée entre hebdomadaires et maisons d’éditions, notamment le nexus Gallimard, ont permis de trouver un débouché éditorial à des formes hybrides à la frontière entre journalisme et littérature et de les légitimer.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133463745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.21825/jeps.v4i2.12585
R. Matchett
Review of Catherine Clay, Time and Tide: The Feminist and Cultural Politics of a Modern Magazine (2018)
《时间与潮流:一本现代杂志的女性主义与文化政治》(2018)
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Pub Date : 2019-06-30DOI: 10.21825/jeps.v4i1.11797
P. Collier
Review of Catherine Clay, Maria DiCenzo, Barbara Green, and Fiona Hackney, eds, Women’s Periodicals and Print Culture, 1918–1939: The Interwar Period (2018)
{"title":"Review of Catherine Clay, Maria DiCenzo, Barbara Green, and Fiona Hackney, eds, Women’s Periodicals and Print Culture, 1918–1939: The Interwar Period (2018)","authors":"P. Collier","doi":"10.21825/jeps.v4i1.11797","DOIUrl":"https://doi.org/10.21825/jeps.v4i1.11797","url":null,"abstract":"Review of Catherine Clay, Maria DiCenzo, Barbara Green, and Fiona Hackney, eds, Women’s Periodicals and Print Culture, 1918–1939: The Interwar Period (2018)","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133657486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.21825/JEPS.V4I1.10188
M. Kestemont, Gunther Martens, Thorsten Ries
The article proposes a computational stylometric authorship verification approach to contribute to the solution of the longstanding philological problem concerning Johann Wolfgang Goethe's (1749-1832) anonymous contributions to the journal Frankfurter gelehrte Anzeigen of 1772/73 (FgA).
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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
{"title":"Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)","authors":"T. Bauduin, Julia W. Krikke","doi":"10.21825/jeps.v4i1.8843","DOIUrl":"https://doi.org/10.21825/jeps.v4i1.8843","url":null,"abstract":"The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125788065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.21825/jeps.v4i1.10119
F. Laramée
Why did the French show so little enthusiasm for emigration to their early modern colonies, compared to other European peoples? In 2006, historian Yves Landry proposed that the image of America communicated to the French reading public by print media might have played a role in this phenomenon. This article examines this question by showing how America in general, and French colonies in particular, were represented in the Ancien Régime's three most prominent periodicals: the weekly news Gazette, the literary Mercure de France and the learned Journal des Savants. Through a combination of distant reading methods, the article builds a three-layered portrait of the New World as displayed to French readers. The first layer, made up of references to America in theater, games and other cultural artefacts built upon common knowledge, shows an unchanging, alien land filled with riches and glory for the few, mortal threats for the many, and the best, perhaps, set aside for foreigners. A second layer, made up of the periodicals' coverage of the slow production of knowledge through science and exploration, edulcorates this picture to some extent by showing that the New World is in the process of being domesticated, but that this process is very much still in its infancy. Finally, the top layer, represented by the Gazette's news coverage, shows a French colonial world that is dominated by Britain, virtually invisible in peacetime, and fraught with chaos at every moment. This top layer is especially important since it was the only one visible to the majority of readers, as the Gazette reached an audience perhaps ten times larger than the other periodicals. Therefore, the article largely supports the original hypothesis.
{"title":"Migration and the French Colonial Atlantic as Imagined by the Periodical Press, 1740–61","authors":"F. Laramée","doi":"10.21825/jeps.v4i1.10119","DOIUrl":"https://doi.org/10.21825/jeps.v4i1.10119","url":null,"abstract":"Why did the French show so little enthusiasm for emigration to their early modern colonies, compared to other European peoples? In 2006, historian Yves Landry proposed that the image of America communicated to the French reading public by print media might have played a role in this phenomenon. This article examines this question by showing how America in general, and French colonies in particular, were represented in the Ancien Régime's three most prominent periodicals: the weekly news Gazette, the literary Mercure de France and the learned Journal des Savants. Through a combination of distant reading methods, the article builds a three-layered portrait of the New World as displayed to French readers. The first layer, made up of references to America in theater, games and other cultural artefacts built upon common knowledge, shows an unchanging, alien land filled with riches and glory for the few, mortal threats for the many, and the best, perhaps, set aside for foreigners. A second layer, made up of the periodicals' coverage of the slow production of knowledge through science and exploration, edulcorates this picture to some extent by showing that the New World is in the process of being domesticated, but that this process is very much still in its infancy. Finally, the top layer, represented by the Gazette's news coverage, shows a French colonial world that is dominated by Britain, virtually invisible in peacetime, and fraught with chaos at every moment. This top layer is especially important since it was the only one visible to the majority of readers, as the Gazette reached an audience perhaps ten times larger than the other periodicals. Therefore, the article largely supports the original hypothesis.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131507819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.21825/jeps.v4i1.11800
Mark W. Turner
Review of Koenraad Claes, The Late-Victorian Little Magazine (2018)
评科恩拉德·克莱斯《维多利亚晚期小杂志》(2018)
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{"title":"Review of Evanghelia Stead and Hélène Védrine, eds, L’Europe des revues II (1860–1930): Réseaux et circulations des modèles (2018)","authors":"Catherine Delyfer","doi":"10.21825/jeps.v4i1.11798","DOIUrl":"https://doi.org/10.21825/jeps.v4i1.11798","url":null,"abstract":"Review of Évanghélia Stead and Hélène Védrine, eds, L’Europe des revues II (1860–1930): Réseaux et circulations des modèles (2018)","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116897469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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