Horace's influence as a theorist and a practitioner of poetry has been consistently overlooked or downplayed by critics over the last decades, while Aristotle is still considered almost as the only ancient reference in terms of poetical theory. Meanwhile, the reception of a poet like Ovid has produced a significant number of studies, and the revival of rhetoric studies has highlighted the central importance of Cicero and Quintilian. Yet Horace plays a key-role in the development of Renaissance poetry, because he is both a theorist and a model for an tremendously inventive and varied lyrical poetry. He also stands as an author-cum-poet, speaking in the first person, and as such the inventor of a new form of personal poetic discourse. We aim at offering online editions of all the humanist editions of Horace with their commentaries, as well as a number of translations digitized both in image and text modes. These will be enriched by a network of hypertextual links and a series of essays, with a view to showing how Horace's œuvre became a poetic laboratory for humanist and seventeenth-century Europe.

ECRITURES, the Drafts of Social Workers’ Writings: a Genetic, Discursive and Textometric Study of Professional Writing project, conducts a genetic analysis of drafts written by social workers. This work is meant to point out the impact linguistic, discursive, social and cognitive constraints exert on written production aiming at assessing the family situation of potentially at risk children. ECRITURES project relies on a discourse analysis approach, questioning language practice vs. social practices interface; it is also inspired by corpus linguistics methods and problematics, text genetics, language studies in work settings and studies on social cognition. The participation of a psycholinguist specialized in the analysis of writing processes facilitates an interdisciplinary approach to drafts. The three interrelated aims of the project are: • To conduct a discursive and genetic study of social workers’ drafts, able to point out the linguistic aspects of the dynamics characterizing the process of professional writing; • To formulate analytical and methodological proposals for developing and improving automatic tools recording writing processes; • To propose linguistic features for developing the didactics of professional writing. Two corpora will be collected: “corpus 1”, produced on traditional software, where social workers record themselves the drafts of their writings; “corpus 2”, recorded by an automatic tool (Inputlog). We aim a textometric longitudinal analysis of the anonymised and annotated the corpus 1 and a psycholinguistic/genetic analysis of the corpus 2. A textometric longitudinal method and tools for analyzing parallel drafts will be developed online. The syntactical, lexical, enunciative and argumentative qualitative analysis of the corpus 1, related to a quantitative analysis (textometry), are meant to show off the dynamics of discourse in process and, thus, to determine how discourse develops as a form of interactive and contextualized action, that is governed by norms. This project also aims at comparing social workers’ drafts with control texts (literary and students’ drafts), in order to verify that the particular circumstances of social workers’ text production determine their writing process and contents. This study may help to identify linguistic criteria for a typology of writing processes. The results of the project will not only be of interest to such fields as psychology or sociology, but also to the social worker field with whom it is being conducted.

AN INTERNATIONAL RESEARCH NETWORK Created in partnership with the CRAL (CNRS/EHESS) and Research unit “Écritures de la modernité” (U. of Paris 3/CNRS), and including eight researchers, the Animots project (2010-2014) aims at widening a still vastly unexplored field of research, in the medium or long run, on animals and animality in 20th- and 21st-century French and Francophone Literature. Three members of the research team affiliated with American and British universities will follow theoretical developments in the English-speaking world and assess and help set up international projects in English and in French. An interdisciplinary seminar, a doctoral research seminar, two one-day conferences, two colloquia, an international convention and ten collaborative publications will set forth the latest reflection on the topic in France, the United States and the United Kingdom. NOVELTY VALUE OF THE QUESTION ON ANIMALITY: A DISCOURSE ACROSS THE DISCIPLINES Historical events, in the 20th and 21st century, have given rise to an intense intellectual energy around the question of the animal: from Darwin’s and Mendel’s huge scientific discoveries to contemporary pandemics, from the mechanization of living beings (including human beings) to massive extinction of certain species or the practice of xenografting, the frontiers of anthropozoology have been either dramatically reinforced or fully challenged. From philosophy to biology, from cognitive sciences to history or political science, to name but a few, the animal has become a fundamental research subject. It has led to new and major configurations in many fields of research: the disappearance of natural history, the development of ecology, ethology and ethics… In this intellectual chorus, literary discourse and representation are seldom considered by an academic criticism whose views on animality are limited to traditional approaches (allegorical analysis, regional studies, limitation to minor genres). However, since the beginning of the 20th century numerous writers have been interested in sharing contemporary social and epistemological reflections. Therefore, it is now crucial to legitimize the research on animality in literary studies and to renew scholarly research by inviting other disciplines into the field. ANIMALITY, AN EMERGING TOPIC IN LITERARY STUDIES The animal, so “natural” at the phenomenological and existential level, is in fact a flexible and multiple topic of research, one constructed and analyzed by the researchers themselves: inspired by a neologism created by Jacques Derrida, the plural form of the project title aims at marginalizing the reductive character of the singular form, “animal”, which, as such, presupposes the conglomeration of all instances of a world which is, at all events, composed of diversified and unique yet multiple forms. Animots seeks to develop a research that will be done at a critical as well as at a creative level: we will work at precisely defining related concepts such as “beast”, “animal”, “bestiality”, “humanity,” as well as offering a reflection on the pluses and minuses of anthropomorphism. We will analyze which narrative and stylistic strategies may best highlight new modalities that up to now have remained closed to the study of the “human” (von Uexküll), and, at the cognitive level, see if emotions like projection and empathy, often part of the writing process, may offer access to a specific kind of otherness. Through the problematic of animality, we will be able to inscribe texts in their scientific context while simultaneously reconfiguring literary history. If the animal, of which Moby Dick might be the quintessential paradigm, constitutes the vanishing point of literature (J.-C. Bailly), poetry and fiction, by ways of figures and figuration, nevertheless speak of and for the animal (G. Deleuze), and thus convey a specific knowledge of the living that goes beyond the mere representation of its forms.

French Film Studies have been dominated until now by auteurism and aesthetics ; we propose a shift in both the paradigm and the object of study, by approaching French mainstream cinema from 1945 to 1958 in a cultural history perspective, and by exploring the many movie weeklies published during the period, when attendance reached a historical high in France. British and American specialists in cultural studies and star studies have already worked on magazines of this kind, but not so in France, where mainstream cinema has been neglected, when it is not simply despised, by critics and academics ever since its condemnation by the Cahiers du cinema in the fifties, in order to obtain cultural legitimacy for film. Today, this attitude must be abandoned and a more scientific posture adopted, by exploring all the kinds of film shown theatrically in France, at a time when it was the most popular entertainment for all social classes, and by focusing on mass audience behaviour patterns and tastes. This project requires a multidisciplinary framework, articulating economy, sociology, anthropology, film studies, cultural history, and more recent Anglo-American approaches such as cultural studies, gender studies and star studies. Our corpus will be composed, on the one hand, of the 20 top box-office titles for each year under study, and on the other hand, of the most popular fan magazines and “photo-romans” (novelizations), published on a weekly basis. We will also consult trade papers, for material concerning distribution and exhibition, as well as private archives to shed light on the ways individual film-buffs appreciated what they saw. Because none of the French popular magazines of the period have been explored in an academic perspective until now, we need first to locate collections and complete them if necessary, before cataloguing and indexing them by articles, film titles, names and themes. Not only will this index be the basis for our project, but it will also be available to all scholars on a database at the médiathèque de Pessac (in the Bordeaux suburb). This index will be a major tool for the examination of the reception of popular stars and genres, both French and foreign, in conjunction with box-office figures. After establishing these data, we will be able to study the whole panorama of mainstream cinema in post-war France, both through overall analysis and case studies of a particular star, a given genre or category of film-buff. This project is aimed at retrieving an unjustly forgotten cultural heritage, in particular those well-crafted French, American, Italian and British films aimed at a mass audience – and denigrated by the Cahiers du cinéma under the term “cinema de qualité”–, as well as to bring to light the film-viewing competency of ordinary spectators of both sexes…