Adossé au laboratoire IDEA (Université de Lorraine), ce séminaire hebdomadaire en études intermédiales est animé par les étudiants du Master Langues et Sociétés - Mondes anglophones de l'Université de Lorraine à Metz.
Il se déroule en présentiel sur le Campus du Saulcy à Metz, et est accessible en ligne via Teams.
Organisateur.ices :
Diane Leblond, IDEA, Université de Lorraine
Camille Ternisien, IDEA, Université de Lorraine
Le programme des séances du séminaire est disponible ici.
Suivre le séminaire en visioconférence via Teams.
Derniers événements associés:
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2026
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13 février 2026 : Alice Morin (UL)
Séminaire de 14h-16h
What do we talk about when we talk about fashion photography? Photographs’ afterlives, from magazines to books — and back.
This presentation takes as its starting point the tension between the multiplicity and diversity of photographs produced by and for the fashion press; and the formation of a narrow canon of iconic fashion photographs. Positing this dissonance will allow to explore entwined issues relating to the production, circulation, and ultimately reception of fashion images, that have had significant bearings on collective conceptions of gender and gender norms, beauty, taste and class. More specifically, I will use the example of Vogue magazine (1892-) and its editorial photographs from the 1930s (when the magazine started to invest significantly in the photographic medium) until the 1970s (when the said photographs entered museum spaces, attaining institutional legitimation as a form of art). By following the "trajectory" of selected pictures over time and across media, I endeavor to analyze how a mass corpus was produced for magazine uses; then selectively re-used towards branding, in crucially intermedial ways. Processes of selection and hierarchisation, unfolding across several (print) media, will come to the fore, in order to deconstruct dominant fashion photography imagery and replace it within negotiated practices of reception. Questioning fashion photographs' afterlives illuminates how they successively interacted with various audiences in varied geographical and institutional contexts.
Note bio-bibliographique:
Alice Morin is ATER at the Université de Lorraine in Metz. A cultural historian, her research examines editorial uses of photographic images in mainstream magazines, mass corpora scrutinized from their production to their re-uses. She was awarded a PhD in American studies from the Université Sorbonne Nouvelle (2018), was a postdoc in media studies at the Philipps-Universität Marburg (2020-2023) and at the Institute for Advanced Study in the Humanities-KWI Essen (2024-2025). She was also scientific advisor to the exhibition Vogue Paris. 100 Years (Musée Galliera, 2021-2022). Her latest work focuses on the transnational and transmedial circulation of photographs in the 20th century, and she is currently drafting a monograph on the transatlantic history of media conglomerate Condé Nast in the 20th century.
20 février 2026 : Pierre Degott (UL)
Séminaire de 14h-16h
Gender issues on the eighteenth-century operatic stage
This seminar will focus on the issue of “voicing gender” on the English operatic stage of the eighteenth-century. As is usually well-known, in a context where the presence of women onstage was still a relatively recent feature, the majority of major male parts in Italian opera were sung by castratos/castrati, male singers whose vocal range – soprano or alto – was exactly the same as that of female singers. In many instances male and female singers were actually interchangeable, and several parts intended for men could alternately be sung by women without anyone taking notice. If few castrati, at least in England, condescended to act female roles, a certain number of female singers actually specialized in the impersonation of male parts, a feature that could also enhance – or undermine – their erotic appeal, thereby creating further confusion.
The seminar will address a certain number of questions linked to the theatrical practices of the time. How did the mixed rejection and admiration for the castrato manifest itself? How did the public respond to the castrato sound? How did they respond to the physical appearance of male singers whose looks and body could sometimes be affected by their condition? How was the general hostility towards the castrato amalgamated with the xenophobic rejection of Italian citizens on religious and political grounds? In a context where theatrical parts could be played by either men or women, how was the issue of masculinity/femininity perceived, and how did that affect the very genre of opera itself? In other words, the seminar should show how the issue of gender literally informed a musical genre that was just beginning to flourish and find its identity on English soil.Note bio-bibliographique:
Pierre Degott is Professor of English at the Université de Lorraine in Metz, where he mainly teaches eighteenth-century literature. His PhD. (now published at Éditions L’Harmattan) was a study on the themes and poetics of Handel’s libretti for his English oratorios. His current research is on the following subjects: 1. Librettology, and more specifically the reflexivity of the sung text; 2. the representation of musical and operatic performances in Anglo-Saxon fiction; 3. opera and oratorio in translation. Even though his research covers all eras concerned by operatic practise, he mainly concentrates on eighteenth-century musical forms (opera, semi-opera, oratorio, odes, ballad-opera, musical plays…). He has published about a hundred academic articles and organised several conferences, mainly on musico-literary subjects. He was the Dean of the “UFR Arts, Lettres et Langues” in Metz from 2012 to 2022 and he is currently Vice-President for Student Life at Université de Lorraine.