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HAR 9201 / ARTH 809 BLOCK A Seminar, Integrative Seminar: Art History and It's Methodologies I: Écritures et horizons de l'historie de l'art de l'histoire de l'art

T - 14:00-17:00

Location: Fall 2017: UQAM, Management Science Pavilion, R-4240   /   Winter 2018: UQAM, Management Science Pavilion, R-4240 



The Block A seminar is a required, year-long methodology course (Fall and Winter semesters) in which students from each of the four universities come together to discuss their doctoral research in a stimulating and collaborative environment.


The proposed program for the integrative seminar in 2018-2019 is in continuity with the programs of previous years. Its primary objectives remain "the integration of new students and new students into the doctoral program and the development of their main research project".

The global theme proposed for the coming year is  built around the writings and horizons of art history. It encourages  a reflection on metahistorical vectors that contribute to our work,  or that can, at least, have an impact on the directions that will take  them.

This perspective is adopted to allow opening  at first a series of texts (touching on conceptual approaches  and working methods in art history) that  reflect the multiple approaches that cross the discipline ( up to the indiscipline  sometimes). We will indeed consider the history of art as a  set of narratives among which the doctoral thesis takes its place; thesis which  is the horizon of our work from the point of view of our anchoring in  traditions more or less old (or the distance we take  vis-à-vis these traditions), traditions that study and describe themselves at from an articulation between structures and narrative strategies,  philosophies of history and the fundamental motivation that we attribute to  the definition of our research pathways. The thesis becomes a place  of complex affiliation: with the historians and art historians who precede us  , with the research communities to which we identify, with the  linguistic and visual structures from which, in all their historicity, we have to imagine the path of the doctoral thesis.  

To make this journey, the seminar will focus on the intersection of participants' research concerns with two questions: the first, devoted to the formation of narrative structures that we use in art history, articulating with the second which will allow us to take an interest in the changes that the discipline is experiencing under the impetus of certain interdisciplinary (or even undisciplinary) approaches that may have remarkable epistemological effects.

Preliminary bibliography 

Michael Baxandall, Forms of Intention. On the historical explanation of the tables , trad. Catherine Fraixe, Nimes, Jacqueline Chambon Publishing, 1991 (1985).

Stefan Berger and Chris Lorenz (eds.), The Contexted Nation. Ethnicity, Class, Religion and Gender in National Histories , Basingstoke (United Kingdom) and New York, Palgrave Macmillan, 2008

Jonathan  Crary, Suspensions of perception. Watch out, Spectacle and Modern  Culture , Cambridge (USA) and London, MIT Press, 2001 (1999).  

Whitney Davis, "Winckelmann divided: mourning the death of art history," Donald Preziosi (eds.), The Art of Art History , Oxford and New York, Oxford University Press, 1998, p. 40-51.

Michel de Certeau, The Writing of History , Paris, Gallimard, 2007 [1975].

Georges Didi-Huberman, The surviving image. History of art and time of ghosts according to Aby Warburg , Paris, Midnight edition, 2002. 

Monika Kin Gagnon and Richard Fung (eds.), Territories and Trajectories. 14 Dialogues on Art and Racial, Cultural and Identity Constructions , Montreal, Artextes Publishing / Taking the Word, 2006, p. 133-150.

François Hartog, Regimes of historicity. Presentism and time experiences , Paris, Editions du Seuil, coll. The Bookshop of the 21st Century, 2003. 

Kristina Huneault and Janice Anderson, Rethinking Professionalism. Women and Art in Canada 1850-1970 , Montreal, McGill-Queens University Press, 2012.

Nicolai Koposov, From the historical imagination , Paris, Editions de l'EHESS, 2009. 

Johanne Lamoureux, "Seeing through art history. Showing scars of legibilty ", in Donald Preziosi, In the Aftermath of Art. Ethics, Aesthetics, Politics , London and New York, Routledge, p. 131-154.

Martha Langford (eds.), Narratives unfolding. National histories in an unfinished world , Montreal and Kingston, McGill-Queens University Press, 2017, 454 p. 

Richard Leeman (under the dir.), History and historiography: the art of the second twentieth century , Nanterre, Center Pierre Francastel, 2008. p. 191-215.

Neil McWilliam, Constance Moreteau and Johanne Lamoureux (eds.), Social Histories of Art. A critical anthology (2 vols), Paris, The presses of the real / INHA, 2016. 

Eric Michaud, "The image, matrix of history", The history of art. A discipline at its borders , Paris, Hazan, 2005.

WJT Mitchell, What do the pictures want? A critique of visual culture , Paris, Presses du réel, 2014 [2004]. 

Krystof Pomian, On History , Paris, Gallimard, coll. History Folio, 1999.

Alex Potts, Flesh and the Ideal. Winckelmann and the Origins of Art History , New Haven and London, Yale University Press, 1994. 

Donald Preziosi (eds.), The Art of Art History: A Critical Anthology , Oxford and New York, Oxford University Press, 2009, 624p.

Paul Ricoeur, Time and story (3 vols.), Paris, Editions du Seuil, coll. Points, nd [1983-1985]. 

Hayden White, Metahistory. The historical imagination in nineteenth-century Europe , Baltimore and London, Johns Hopkins University Press, 1973.

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