Writing / text creation (B1) - Historique des versions

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Annulation des modifications 24487 de Maxime (discussion)

Maxime : Suppression du texte écrit par Céline Chazalviel (sur demande Céline) sur la page du cours d'Antoine Boute

2025-09-10T09:36:31Z

Suppression du texte écrit par Céline Chazalviel (sur demande Céline) sur la page du cours d'Antoine Boute

Sammy le 10 octobre 2023 à 12:01

2023-10-10T12:01:30Z

Sammy le 2 juin 2023 à 08:23

2023-06-02T08:23:35Z

Sammy : Page créée avec « Professor : Antoine Boute The course focuses on deconstructing the mechanisms of writing and language work. Various contemporary writing practices are addressed throu... »

2019-10-15T08:12:33Z

Page créée avec « Professor : Antoine Boute The course focuses on deconstructing the mechanisms of writing and language work. Various contemporary writing practices are addressed throu... »

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Professor : [[Antoine Boute]]

The course focuses on deconstructing the mechanisms of writing and language work. Various contemporary writing practices are addressed through reading texts and exploring the relationship between writing and oral expression, body and image.

[[Catégorie:English]]
[[Catégorie:B1]]

← Version précédente		Version du 10 septembre 2025 à 09:39
Ligne 2 :		Ligne 2 :

	===objectives and content===		===objectives and content===
		+
		+	1/ Plural writing practices in the form of writing situations will combine documents and writing. Perspectives on writing devices from a reflective, theoretical and conceptual point of view. This is the “theoretical” part of the course, which introduces the practical exercises.
		+
		+	2/ Writing proposals, which have the function of both exploring different techniques and modalities of writing, but also making it possible to sharpen a critical and reflective sense in relation to personal artistic approaches as well as to encourage people to identify ideas. abstract issues in relation to questions arising from concrete practices. These exercises will result in various edited forms.
		+
		+	3/ Exploration of other language practices, mainly linked to orality. The organization of readings and vocal performances will be an opportunity to not compartmentalize reflection and language creation on the side of the text.
		+
		+
		+	Develop a writing that seeks and invents forms for an inscription in the world that makes sense, emancipated from deadly formatting, singular, relevant (in its possible impertinence), engaged, troubled, worried, cunning, attentive.
		+
		+	To do this, explore various forms of writing, their issues, the possibilities they offer to thought, action, interactions, sensitivity, relationships with the world.
		+	Refine a methodology of concern, of attention, of luminous concern, a care given to imaginative sensitivity and sensitive imagination, in tight adequacy with the world, its worlds, the delicacy of any situation.
		+
		+	Experiment with creative reading practices, consider the act of reading as a performative practice, develop a “reading corporeality” which explores our modalities of attention.
		+	Carry out a happy deconstruction of the relationship to writing, both at the formal, sociological, ecological, political, poetic and ethical levels.
		+	Carry out an experienced reflection, put into action, about “what” writing can do, about its performative devices.
		+
		+	Ecology of flows of languages, worlds, movements, sounds, oralities: caring for rhythms and their various resonances.
		+
		+	Micro-politics of faults, troubles, fragilities, concerns, various sensitivities, or how to transform them into powers, via various writing, textual and/or oral devices.
		+
		+	As references, for example the works of Monique Wittig, Kathy Acker, Nathalie Quintane, Patrick Chamoiseau, Olivier Cadiot, Clarice Lispector, Hélène Bessette, Tim Ingold, Emma Bigé, David Abram, Tarkos, Tania Luhrmann, Charles Stépanoff, Nastassja Martin, Toni Morisson, Hildegarde von Bingen, Pierre Guyotat, Chloé Delaume, Caroline Bergvall, Yves Citton, François Rabelais, Emmanuelle Pireyre, Jack Spicer, Sandra Moussempès, Edouardo Kohn, Olivia Rosenthal, Liliane Giraudon, Jérôme Mauche, Marguerite Duras, Gary Snyder, Christine Aventin , Jody Pou, Charles Pennequin, Walter Benjamin, Ursula K. Leguin, Jean-Christophe Cavallin, Pierre Bayard, Maja Ratkje, Jacques Derrida, Edith Azam, Henri Chopin, Judith Butler, Camille Louis, Bernard Heidsieck, Gertrude Stein.

← Version précédente		Version du 10 septembre 2025 à 09:36
Ligne 2 :		Ligne 2 :

	===objectives and content===		===objectives and content===
−
−	1/ Plural writing practices in the form of writing situations will combine documents and writing. Perspectives on writing devices from a reflective, theoretical and conceptual point of view. This is the “theoretical” part of the course, which introduces the practical exercises.
−
−	2/ Writing proposals, which have the function of both exploring different techniques and modalities of writing, but also making it possible to sharpen a critical and reflective sense in relation to personal artistic approaches as well as to encourage people to identify ideas. abstract issues in relation to questions arising from concrete practices. These exercises will result in various edited forms.
−
−	3/ Exploration of other language practices, mainly linked to orality. The organization of readings and vocal performances will be an opportunity to not compartmentalize reflection and language creation on the side of the text.
−
−
−	Develop a writing that seeks and invents forms for an inscription in the world that makes sense, emancipated from deadly formatting, singular, relevant (in its possible impertinence), engaged, troubled, worried, cunning, attentive.
−
−	~~To do this, explore various forms of writing, their issues, the possibilities they offer to thought, action, interactions, sensitivity, relationships with the world.~~
−	Refine a methodology of concern, of attention, of luminous concern, a care given to imaginative sensitivity and sensitive imagination, in tight adequacy with the world, its worlds, the delicacy of any situation.
−
−	~~Experiment with creative reading practices, consider the act of reading as a performative practice, develop a “reading corporeality” which explores our modalities of attention.~~
−	~~Carry out a happy deconstruction of the relationship to writing, both at the formal, sociological, ecological, political, poetic and ethical levels.~~
−	~~Carry out an experienced reflection, put into action, about “what” writing can do, about its performative devices.~~
−
−	~~Ecology of flows of languages, worlds, movements, sounds, oralities: caring for rhythms and their various resonances.~~
−
−	~~Micro-politics of faults, troubles, fragilities, concerns, various sensitivities, or how to transform them into powers, via various writing, textual and/or oral devices.~~
−
−	As references, for example the works of Monique Wittig, Kathy Acker, Nathalie Quintane, Patrick Chamoiseau, Olivier Cadiot, Clarice Lispector, Hélène Bessette, Tim Ingold, Emma Bigé, David Abram, Tarkos, Tania Luhrmann, Charles Stépanoff, Nastassja Martin, Toni Morisson, Hildegarde von Bingen, Pierre Guyotat, Chloé Delaume, Caroline Bergvall, Yves Citton, François Rabelais, Emmanuelle Pireyre, Jack Spicer, Sandra Moussempès, Edouardo Kohn, Olivia Rosenthal, Liliane Giraudon, Jérôme Mauche, Marguerite Duras, Gary Snyder, Christine Aventin , Jody Pou, Charles Pennequin, Walter Benjamin, Ursula K. Leguin, Jean-Christophe Cavallin, Pierre Bayard, Maja Ratkje, Jacques Derrida, Edith Azam, Henri Chopin, Judith Butler, Camille Louis, Bernard Heidsieck, Gertrude Stein.

← Version précédente		Version du 10 octobre 2023 à 12:01
Ligne 1 :		Ligne 1 :
	Teacher: [[Antoine Boute]]		Teacher: [[Antoine Boute]]

−	The ~~course focuses~~ on ~~deconstructing~~ the ~~mechanisms~~ of writing and ~~language work~~. ~~Various contemporary~~ writing practices ~~are addressed through~~ reading ~~texts and exploring~~ the relationship ~~between~~ writing and oral ~~expression~~, ~~body and image~~.	+	===objectives and content===
		+
		+	1/ Plural writing practices in the form of writing situations will combine documents and writing. Perspectives on writing devices from a reflective, theoretical and conceptual point of view. This is the “theoretical” part of the course, which introduces the practical exercises.
		+
		+	2/ Writing proposals, which have the function of both exploring different techniques and modalities of writing, but also making it possible to sharpen a critical and reflective sense in relation to personal artistic approaches as well as to encourage people to identify ideas. abstract issues in relation to questions arising from concrete practices. These exercises will result in various edited forms.
		+
		+	3/ Exploration of other language practices, mainly linked to orality. The organization of readings and vocal performances will be an opportunity to not compartmentalize reflection and language creation on the side of the text.
		+
		+
		+	Develop a writing that seeks and invents forms for an inscription in the world that makes sense, emancipated from deadly formatting, singular, relevant (in its possible impertinence), engaged, troubled, worried, cunning, attentive.
		+
		+	To do this, explore various forms of writing, their issues, the possibilities they offer to thought, action, interactions, sensitivity, relationships with the world.
		+	Refine a methodology of concern, of attention, of luminous concern, a care given to imaginative sensitivity and sensitive imagination, in tight adequacy with the world, its worlds, the delicacy of any situation.
		+
		+	Experiment with creative reading practices, consider the act of reading as a performative practice, develop a “reading corporeality” which explores our modalities of attention.
		+	Carry out a happy deconstruction of the relationship to writing, both at the formal, sociological, ecological, political, poetic and ethical levels.
		+	Carry out an experienced reflection, put into action, about “what” writing can do, about its performative devices.
		+
		+	Ecology of flows of languages, worlds, movements, sounds, oralities: caring for rhythms and their various resonances.
		+
		+	Micro-politics of faults, troubles, fragilities, concerns, various sensitivities, or how to transform them into powers, via various writing, textual and/or oral devices.
		+
		+	As references, for example the works of Monique Wittig, Kathy Acker, Nathalie Quintane, Patrick Chamoiseau, Olivier Cadiot, Clarice Lispector, Hélène Bessette, Tim Ingold, Emma Bigé, David Abram, Tarkos, Tania Luhrmann, Charles Stépanoff, Nastassja Martin, Toni Morisson, Hildegarde von Bingen, Pierre Guyotat, Chloé Delaume, Caroline Bergvall, Yves Citton, François Rabelais, Emmanuelle Pireyre, Jack Spicer, Sandra Moussempès, Edouardo Kohn, Olivia Rosenthal, Liliane Giraudon, Jérôme Mauche, Marguerite Duras, Gary Snyder, Christine Aventin , Jody Pou, Charles Pennequin, Walter Benjamin, Ursula K. Leguin, Jean-Christophe Cavallin, Pierre Bayard, Maja Ratkje, Jacques Derrida, Edith Azam, Henri Chopin, Judith Butler, Camille Louis, Bernard Heidsieck, Gertrude Stein.

← Version précédente		Version du 2 juin 2023 à 08:23
Ligne 1 :		Ligne 1 :
−	~~Professor~~ : [[Antoine Boute]]	+	Teacher: [[Antoine Boute]]

	The course focuses on deconstructing the mechanisms of writing and language work. Various contemporary writing practices are addressed through reading texts and exploring the relationship between writing and oral expression, body and image.		The course focuses on deconstructing the mechanisms of writing and language work. Various contemporary writing practices are addressed through reading texts and exploring the relationship between writing and oral expression, body and image.
−
−	~~[[Catégorie:English]]~~
−	~~[[Catégorie:B1]]~~