Motifs https://motifs.pergola-publications.fr Revue en ligne de HCTI-EA4249 - Héritage et Construction dans le Texte et l'Image L'Écume éclairée : naviguer entre recherche et création https://motifs.pergola-publications.fr/index.php?id=1644 https://motifs.pergola-publications.fr/index.php?id=1644 Image 10000001000001DA000001B084403250A98DEF84.pngExtrait de « L'Écume éclairée » Partie 2 : « La montée des eaux »Image 10000001000005BE000004A7EBBD343CF9D365D9.png

Nœud 1 : 47°12'N 1°34W – La fiction comme méthode

Nous sommes le 13 septembre 2523. Il y a 12 semaines, lors de notre exploration des abysses du nouvel Atlantique, nous avons fait la révélation d'une terre immergée, reposant à 15 mètres de profondeur, à 75 km au large des côtes de la cité portuaire de Nantes.
– L’Écume éclairée
Une date future, précise, presque bureaucratique : 13 septembre 2523. Un protocole énonciatif s’installe, imitant le ... 24 December 2025 Fictions de l’eau : écopoétique de la fluidité et expériences sensibles https://motifs.pergola-publications.fr/index.php?id=1612 https://motifs.pergola-publications.fr/index.php?id=1612 Dans un contexte où les bouleversements environnementaux invitent à reconsidérer en profondeur les relations entre humains et milieux, de nombreuses pratiques artistiques s’emparent du vivant et des éléments naturels comme sources de réflexion. L’eau, en particulier, suscite un intérêt renouvelé en tant que vecteur d’expériences esthétiques, de réflexions philosophiques et d’engagements écologiques. À travers des installations immersives, certains artistes contemporains mobilisent la puissance plastique,... 24 December 2025 Avoir l’œil bleu : poïétique du paysage élémentaire à partir de l’élément liquide https://motifs.pergola-publications.fr/index.php?id=1604 https://motifs.pergola-publications.fr/index.php?id=1604 Chloé Persillet, Sans titre, 2023, Peinture à facture ouverte, huile sur panneau de bois, encollage à la colle de peau, préparation maigre au blanc de Meudon, impression aluminium et silice, 26,6 x 20,8 cm, coll. de l’artiste. Image 10000000000004C700000634385BE5C301E4BA55.jpgAlors que l’élément liquide se retrouve aujourd’hui à la croisée de nombreuses problématiques environnementales, à l’instar de la question cruciale de la montée des eaux ou encore celle de la pollution alarmante des mers et des océans, notre imaginaire contemporain se confronte tou... 24 December 2025 <span xml:lang="en" lang="en">Female Divinities and Water in Pre-Christian Hispanic Mythology: Imaginary Landscapes for the Conservation of Nature</span> https://motifs.pergola-publications.fr/index.php?id=1594 https://motifs.pergola-publications.fr/index.php?id=1594

Hydrofeminism and Mythical Waters: a Critical Approach

Thinking about water in a way that breaks from dominant and institutionalized definitions of water requires that we look beyond the modern, positivist view of water as a molecule which, from the 18th century onward, became progressively detached from territories and natural landscapes1. This way of conceptualizing the precious liquid that enables all life on earth began developing in Western Europe and North America and now operates around the globe, ... 24 December 2025 <span xml:lang="en" lang="en">Hydrocommonality, Tattoos and Mermaids: The Blue Ecopoetics of Sarah Hall’s</span><em><span xml:lang="en" lang="en"> The Electric Michelangelo</span></em> https://motifs.pergola-publications.fr/index.php?id=1593 https://motifs.pergola-publications.fr/index.php?id=1593

Introduction

In its various states, across diverse entities and even ontologies, water emerges as a fundamental element of fictional narrative. Both a site of conquest and exploitation, while also functioning as an aesthetic object foundational to Western culture, water appears to be the locus of countless fantasies. It is precisely this renewed interest in water as a representational and narrative force that will be addressed in this paper. What Elizabeth DeLoughrey refers to as the “oceanic turn1” focus... 24 December 2025 Immersion en paysage bleuté avec<em> Deep See Blue Surrounding You </em>de Laure Prouvost et sa figure du poulpe penseur https://motifs.pergola-publications.fr/index.php?id=1569 https://motifs.pergola-publications.fr/index.php?id=1569 Deep See Blue Surrounding You (Vois Ce Bleu Profond Te Fondre) a été présentée à la 58e Biennale de Venise qui eut lieu du 11 mai au 24 novembre 2019, sous le commissariat de Martha Kirszenbaum. L’exposition in situ et multi-médiums prend tout le pavillon et se compose de plusieurs installations consécutives : une première salle représentant un rivage dévasté par la pollution, une seconde salle plongée dans la pénombre avec une projection vidéo et une troisième salle avec une grande tapisserie accrochée ... 24 December 2025 Restes de mine et eaux polluées : figurer la perte de la mère dans <em>Vivre en arsenic</em> (2024) de Claire Dutrait, et <em>La Mer intérieure</em> (2024) de Lucie Taïeb https://motifs.pergola-publications.fr/index.php?id=1522 https://motifs.pergola-publications.fr/index.php?id=1522 De plus en plus nombreuses au cours des dernières décennies, les œuvres littéraires dépeignant le rapport affectif que l’on peut entretenir avec les lieux anthropisés nous poussent à y interroger l’intrication des crises intimes et environnementales. Comment les auteur·ices de ces textes parviennent-ils·elles, à travers la représentation narrative de préoccupations sociales et écologiques, à y figurer des questions intimes qui resteraient autrement enfouies et inaccessibles ?« Les corps, humains et non h... 24 December 2025 L’in-forme de l’eau dans <em>Le Chant de la rivière </em>de Wendy Delorme : éco-poétique queer et hydroféminisme https://motifs.pergola-publications.fr/index.php?id=1503 https://motifs.pergola-publications.fr/index.php?id=1503

Introduction

Évoquer l’informe de l’eau dans Le Chant de la rivière, c’est réfléchir sur son ambivalence, fertile dans le champ poétique. Depuis Aristote1 jusqu’à nos jours, on estime que les femmes entretiennent une relation intime et paradoxale, stéréotypée, à l’eau : purificatrice mais dangereuse, féconde mais instable, matière immatérielle à la fois visible et invisible, concrète et insaisissable, l’eau est à la fois la mère nourricière et la mer de la perdition. Dans l’ensemble de ses ouvrages, Arist... 24 December 2025 Introduction. Fictions de l’eau : écopoétique bleue et hydro-(im)matérialité https://motifs.pergola-publications.fr/index.php?id=1499 https://motifs.pergola-publications.fr/index.php?id=1499

Genèse du projet

Ce dixième numéro de Motifs prolonge les réflexions engagées lors des précédentes publications en interrogeant cette fois la notion d’« hydro-(im)matérialité ». Les articles qui y sont rassemblés sont issus de la journée d’étude éponyme qui s’est tenue le 21 février 2025, dans une dynamique de recherche collective et interdisciplinaire. Il s’agissait de proposer un espace de dialogue entre jeunes chercheur·euse·s en études anglophones, en arts et en sciences humaines, autour d’une thémati... 24 December 2025 <span xml:lang="en" lang="en">Trouble on the Historical Frontier: Will Rogers’ </span><em><span xml:lang="en" lang="en">Two Wagons</span></em><span xml:lang="en" lang="en">—</span><em><span xml:lang="en" lang="en">Both Covered </span></em><span xml:lang="en" lang="en">(1924)</span> https://motifs.pergola-publications.fr/index.php?id=1137 https://motifs.pergola-publications.fr/index.php?id=1137 The concluding sequence of Two Wagons—Both Covered (Rob Wagner, 1924), co-written by and starring Will Rogers, sees a pioneer party newly arrived on Californian soil ambushed by a band of “Escrow Indians.” At first, they circle their victims, encroaching behind a camouflage of leaves and branches (Fig. 1), before they lower their disguises to reveal white faces and tailored suits. The attackers are not Native Americans, protective of a land invaded, but real estate agents determined to profit off one. In... 25 February 2025 <span xml:lang="en" lang="en">Under the Influence: Trouble in the Audience</span> https://motifs.pergola-publications.fr/index.php?id=1117 https://motifs.pergola-publications.fr/index.php?id=1117 In a weekend in early August, 2019, U.S. citizens witnessed horrific mass shootings of at least twenty-two people killed and twenty-nine wounded in the border city of El Paso, Texas, and at least nine killed and twenty-seven wounded in Dayton, Ohio. President Donald Trump promptly tweeted that the causes for these tragedies included “the glorification of violence in our society” in video games and elsewhere (Wagner), urging mostly a mental health response to the problem. Another Republican claimed the ma... 25 February 2025 <span xml:lang="en" lang="en">Screening the Troubled South: “Professional Southerners” in Hollywood Before and During the Code Era</span> https://motifs.pergola-publications.fr/index.php?id=1432 https://motifs.pergola-publications.fr/index.php?id=1432 In an opinion piece on clichés about the African continent, Alabamian journalist and writer James Saxon Childers bemoaned the stereotypes that he felt painted a wrong picture of the South, and especially of Southerners, who could only be portrayed either as backward hillbillies and rednecks or as moonlight-and-magnolia types:
Any Southerner who goes North finds that many Yankees have all sorts of wild ideas about us and about our way of living. Isn’t the reason for this chiefly the movies that are made ab...
 24 December 2024 <span xml:lang="en" lang="en">Introduction</span> https://motifs.pergola-publications.fr/index.php?id=1257 https://motifs.pergola-publications.fr/index.php?id=1257 It is a truth universally acknowledged that film and television productions allow people to escape their everyday troubles. And yet, from their inception, these media have been a locus of trouble on all sides of the screen, from production and aesthetics to reception.From the outset, screen representations in the English-speaking world have walked a fine line between simple entertainment for the masses — as in the early silent-era “cinema of attractions” (Gunning, 384) — and catalyzer of troubling underc... 24 December 2024 <span xml:lang="en" lang="en">Crossing the lines between fiction and reality: </span><em><span xml:lang="en" lang="en">The Infiltrators </span></em><span xml:lang="en" lang="en">and the De-criminalization of Unauthorized Immigrants </span> https://motifs.pergola-publications.fr/index.php?id=1229 https://motifs.pergola-publications.fr/index.php?id=1229 While hybrid documentaries are not new1, some recent experiments have highlighted the creative possibilities of the documentary form. Filmmakers have shown that they are capable of bending and challenging genre codes, often resorting to techniques belonging to the realm of fiction. For instance, in Joshua Oppenheimer’s The Act of Killing, audiences have been intrigued (and even shocked) by the filmmaker’s wish to have former genocide perpetrators re-enact their past crimes in front of the camera, as if t... 24 December 2024 <span xml:lang="en" lang="en">Distorting Perception to Influence Reception: the Troubling Impact of TV Series Representations on US Politics and Society</span> https://motifs.pergola-publications.fr/index.php?id=1225 https://motifs.pergola-publications.fr/index.php?id=1225 It is tempting to consider trouble on screen exclusively from the perspective of film and TV representations. On the one hand, the indiscernibility of fact and fiction causes distrust in representations. On the other hand, representing the problems generated by this blurred line seems to be the obvious solution. This can be observed, more and more often, in films or TV series that focus on this very cognitive problem, treating the deceiving power of screen representations as central to the plot (Black Mi... 24 December 2024 <span xml:lang="en" lang="en">Trouble in Paradise: Stanley Kubrick’s</span><em><span xml:lang="en" lang="en"> Eyes Wide Shut</span></em><span xml:lang="en" lang="en"> (1999), from Generic Instability to an Ethics of Trouble</span> https://motifs.pergola-publications.fr/index.php?id=1216 https://motifs.pergola-publications.fr/index.php?id=1216 Upon its release in 1999, Eyes Wide Shut baffled and frustrated quite a few critics and scholars who expected Stanley Kubrick’s last work to be a daring exploration of eroticism, only to discover a film they considered a disappointingly prudish and conservative Erotic Thriller1. Others noted how the film evades any easy generic affiliation, like Peter Bradshaw, who writes in his review published in The Guardian that the film cannot be considered an Erotic Thriller, as it is “sui generis in modern Angloph... 24 December 2024 <span xml:lang="en" lang="en">Correcting the problem: genre trouble and manipulation in </span><em><span xml:lang="en" lang="en">The Shining </span></em><span xml:lang="en" lang="en">(Stanley Kubrick’s film, 1980; Mick Garris’s miniseries, 1997)</span> https://motifs.pergola-publications.fr/index.php?id=1202 https://motifs.pergola-publications.fr/index.php?id=1202 In Stanley Kubrick’s The Shining, the celebrated introductory aerial shots of the little Torrance Volkswagen winding up the road to the remote Overlook Hotel foreshadow Jack’s tortuous and torturous journey through the hotel’s and America’s history. As many critics have repeatedly pointed out, the meandering trajectory of the whole family driving up to the Wild West Rockies also inscribes on screen the characters’ twisted mindscapes – and first and foremost Jack’s growing mental disorder (Jack Nicholson)... 24 December 2024 <span xml:lang="en" lang="en">Working Girls, From Ally McBeal to Rebecca Bunch: the Evolution of the “Crazy Ex-Girlfriend” on Screen</span> https://motifs.pergola-publications.fr/index.php?id=1186 https://motifs.pergola-publications.fr/index.php?id=1186 In 1997, Ally McBeal, the title character of the Fox TV show (Ally McBeal, Fox, 1997-2002), banged her head on her office door while repeating “I have my health.” Over the course of the following seasons, this initial assertion was regularly questioned, as Ally always seemed to be on the verge of a nervous breakdown brought about by her complicated love life. Yet, Ally was never diagnosed with any specific trouble; her emotional distress, anxiety, and hallucinations were mostly dismissed as quirky manife... 24 December 2024 <span xml:lang="en" lang="en">The “Trouble” with Female Power: Witchcraft, Sexuality and Magic in the </span><em><span xml:lang="en" lang="en">Chilling Adventures of Sabrina </span></em><span xml:lang="en" lang="en">(Netflix, 2018-2020)</span> https://motifs.pergola-publications.fr/index.php?id=1173 https://motifs.pergola-publications.fr/index.php?id=1173 “Being wicked never felt so good” announces the trailer for the second season1 of the Chilling Adventures of Sabrina2 (Netflix, 2018-2020)3, a fantasy and horror TV series about a high school student who is half-witch4 and half-mortal, and who belongs to a family and greater magical community of devil-worshipping, human-dissecting, cannibal witches. Sabrina is different from many other representations of TV witch heroines as she revels in her powers, which are associated with the Dark Lord (devil). Yet t... 24 December 2024 <span xml:lang="en" lang="en">The Trouble with Burlesque (in Classical Hollywood Cinema)</span> https://motifs.pergola-publications.fr/index.php?id=1169 https://motifs.pergola-publications.fr/index.php?id=1169 Hollywood’s self-censorship notoriously led to a suggestive eroticism, sometimes more effective than an explicit one (Jacobs; Caïra). It found a famous apotheosis in Rita Hayworth’s implied striptease in Gilda. Did that scene raise any sort of trouble at the time? Not exactly, considering that suggesting instead of showing remained the primary goal of the Production Code Administration (PCA). This scene was more erotic than fundamentally subversive and “the fact that Gilda is ‘performing,’ that is, prete... 24 December 2024