Talleres

Durante el Congreso se impartirán 3 talleres relacionados con las temáticas principales del congreso. Podrán asistir los ponentes y asistentes inscritos al congreso, basta con que se inscriban en el (los) taller (es) de su preferencia en la mesa de registro durante el congreso. Información de los talleres

Conferencias magistrales

Nos complace anunciar los ponentes magistrales para el congreso EdL 2014.

Manuscrito: Leonardo Funes, Universidad de Buenos Aires
Impreso: Robert Darnton, Harvard University
Electrónico: Andrew Piper, McGill University

Manuscrito

Leonardo Funes
Universidad de Buenos Aires

Título: "La crítica textual frente al scriptum o cómo dar cuenta de lo específico de la cultura manuscrita"

Resumen: En el contexto de la centenaria controversia entre tendencias enmendatorias y tendencias conservadoras de los testimonios manuscritos a la hora de editar un texto medieval, la intervención crítica desde el ámbito frances (con Bernard Cerquiglini como heraldo) y desde el ámbito anglosajón (New Philology, “scribal version paradigm”) han radicalizado y a la vez enriquecido el debate, poniendo en primer plano la consideración de la naturaleza material de la cultura manuscrita.

Apoyado en experiencias editoriales concretadas cumplidas por mi equipo en el seno del SECRIT (Seminario de Edición y Crítica Textual), tales como la edición de crónicas de los siglos XIII y XIV, de las Mocedades de Rodrigo y de los manuscritos escurialenses h.I.13 y K.III.4, me propongo discutir ciertos presupuestos disciplinares e ideológicos de lo que podemos llamar postura anti-filológica dentro del hispano-medievalismo y ofrecer una primera y tentativa respuesta al interrogante del título: cómo dar cuenta la especificidad cultural de una textualidad manuscrita.

CV Leonardo Funes

Leonardo Funes es Catedrático de Literatura Española Medieval en la Universidad de Buenos Aires, Presidente de la Carrera de Doctorado y Director de la Maestría en Estudios Literarios de la Facultad de Filosofía y Letras de esa Universidad, Investigador Principal del CONICET, Vice-Presidente la Asociación Hispánica de Literatura Medieval. Ha publicado siete libros (entre ellos, una edición crítica de las Mocedades de Rodrigo y una edición anotada del Poema de Mio Cid) y más de cien trabajos sobre temas hispano-medievales y cuestiones teóricas de historia literaria y crítica textual.

Impreso

Robert Darnton
Harvard University

Título: "Censors at Work: An Inside History"

Resumen: It is easy to condemn censorship but difficult to know how it operates.  This lecture will explain how censors did their job, how they understood it, and how it fit into the cultural and political context of three authoritarian regimes: Bourbon France in the eighteenth century, British India in the nineteenth century, and Communist East Germany in the twentieth century.  In each case, the documentation is rich enough for one to get inside the system and to study the way it actually worked.  But censorship differed fundamentally from place to place and time to time.  It cannot be treated as a thing-in-itself and traced through a body politic as if it were similar to a substance in the blood stream.  Instead, it should be understood ethnographically as an ingredient of particular regimes, which devised their own ways of controlling books and shaping literature.

CV Robert Darnton

Robert Darnton was educated at Harvard University (A.B., 1960) and Oxford University (B.Phil., 1962; D. Phil., 1964), where he was a Rhodes scholar.  After a brief stint as a reporter for The New York Times, he became a junior fellow in the Society of Fellows at Harvard. He taught at Princeton from 1968 until 2007, when he became Carl H. Pforzheimer University Professor and Director of the University Library at Harvard.  He has been a visiting professor or fellow at many universities and institutes for advanced study, and his outside activities include service as a trustee of the New York Public Library and the Oxford University Press (USA) and terms as president of the American Historical Association and the International Society of Eighteenth-Century Studies.  Among his honors are a MacArthur Prize Fellowship, a National Book Critics Circle Award, election to the French Legion of Honor, the National Humanities Medal conferred by President Obama in February 2012, and the Del Duca World Prize in the Humanities awarded by the Institut de France in 2013.  He has written and edited many books, including The Business of Enlightenment: A Publishing History of the Encyclopédie (1979, an early attempt to develop the history of books as a field of study), The Great Cat Massacre and Other Episodes in French Cultural History (1984, probably his most popular work, which has been translated into 18 languages), Berlin Journal, 1989-1990, (1991, an account of the fall of the Berlin Wall and the collapse of East Germany), and The Forbidden Best-Sellers of Prerevolutionary France (1995, a study of the underground book trade).  His latest books are The Case for Books (2009), The Devil in the Holy Water, or The Art of Slander in France from Louis XIV to Napoleon (2009), and Poetry and the Police: Communication Networks in Eighteenth-Century Paris (2010).

Electrónico

Andrew Piper
McGill University

Título: "Reading's Refrain: From Bibliography to Topology"

Resumen: In this talk I will discuss what it means to move beyond the book as the primary interface for reading in an electronic environment. What can the networked representation of texts tell us about language, narrative, and textuality itself? Exploring a host of new work that uses computational network analysis to study the history of literature, I will be emphasizing the way reading topologically changes our understanding of three primary analytical categories: the scale at which we read; the contingency or constructedness of what we read; and the co-constitutive nature of text and context, the sense of entanglement that accompanies networked thought

CV Andrew Piper

Andrew Piper is Associate Professor of German and European Literature and an associate member of the Department of Art History and Communication Studies at McGill University. He is a former Andrew W. Mellon New Directions Fellow in the Digital Humanities. His work focuses on the intersection of literary and bibliographic communication from the eighteenth century to the present and follows three main lines of inquiry:

• the history of networks and literary topologies;
• practices of textual circulation, copying, and sharing;
• the relationship between media and translation (the nexus of image, letter, and number).

His new book, Book Was There: Reading in Electronic Times (Chicago), addresses current debates about the future of reading through a study of the long history of our embodied interactions with books. In exploring our tactile, visual, spatial, and social relations to reading -- from the scholarly study to the arboreal bower, from medieval manuscripts to urban interactive fictions -- Book Was There attempts to map out the possible futures of reading through an understanding of the historical entanglements of books, bodies, and screens.

Prof. Piper is also the author of Dreaming in Books: The Making of the Bibliographic Imagination in the Romantic Age (Chicago, 2009), which The New Republic named one of the best art books of 2009 and which was awarded the MLA Prize for a First Book as well as honorable mention for the Harry Levin Prize for the American Comparative Literature Association. In addition, he is the author of a number of articles on the cultural role of eighteenth- and nineteenth-century book genres such as atlases, translations, miscellanies, diaries, ballads, note-books and gift-books.

In addition to these writing projects, Prof. Piper is the co-founder of the FQRSC-funded research group, Interacting with Print: Cultural Practices of Intermediality, 1700-1900, which explores through its annual “Interactions” conference how print shaped literary and visual form, individual identity, and social community through its interactions with other media, including handwriting, sculpture, music, theatre, and oral performance.