2016 – 2017 : Stéphanie Bertrand (Prix Fondation Catherine Gide) et Theresa O’Connor (Prix Fondation des Treilles)
Agrégée de lettres modernes, Stéphanie Bertrand est maître de conférences en littérature française (XXe-XXIe siècles) à l’université de Lorraine (site de Metz). Auteur d’une thèse consacrée à l’aphorisme dans l’œuvre d’André Gide (Prix de thèse établissement de l’université de Lorraine 2016, Prix de l’académie des arts de la ville de Metz 2016, à paraître aux éditions Classiques Garnier, collection « Investigations stylistiques »), elle s’intéresse actuellement plus largement à la langue et au style des écrivains de la « génération NRF », notamment dans leurs liens avec la construction d’une identité nationale. Dans le cadre du prix de la fondation des Treilles, elle établit une édition critique des articles de critique littéraire de Marcel Drouin- Michel Arnauld.
Dr.O’Connor is Irish Ambassador European Society for Literature, Science and Arts http://www.slsa-eu.org and a founding director of the Skellig Foundation, a non-profit multidisciplinary forum dedicated to public education on issues surrounding climate change. In her current work in the emerging field of Multispecies Studies she is especially interested in the art/science pathways through which we might re-set modernity and re-imagine sovereignty in terms of what Habermas terms the “ideal speech situation” of deliberative democracy.
Dr.O’Connor’s research interests are cross-disciplinary and include cultural studies, ecology and trauma, epigenetics, neuroscience, postcolonial studies and the environmental humanities. She has chaired panels and delivered talks on these topics at conferences in Canada, the United States and Europe. As a doctoral student in the United States, she founded the International Graduate Student Conference for Graduate Students in Irish Studies (with the support and participation of Seamus Heaney). She was the first winner of the International Joyce Foundation Fellowship for Graduate Students.
As an interdisciplinary scholar working on the borderlines between art and science, O’Connor was a co-lecturer on an interdisciplinary humanities/neuroscience course for international students on Joyce, Art and the Visual Brain at the Newman School of Irish Studies in Dublin and a visiting research fellow on Joyce, Art, Neuroscience and Technology at the Centre for Research in I.T. (CRITE) at Trinity College Dublin. She has delivered lectures on the environmental humanities at conferences hosted by Trinity College, Dublin and co-hosted the Skellig Foundation Talks on Climate Change in the Royal Irish Academy Dublin (2014). In 2015 she co-hosted Skellig Sessions –COP21 2015, a series of talks and discussions by an international team of experts (including the French “Climates” group) on climate change at the “Centre Culturel Irlandais” in Paris. Podcasts on her work in the environmental humanities, among them,“Joyce’s Brain Atlas: A Deep Map of the Anthropocene and a Roadmap for the Environmental Humanities,” appear on the Trinity College Dublin Environmental Humanities web page, and the Ant, Spider, Bee digital environmental humanities web page of the Rachel Carson Center, Munich Germany. Invited guest lectures she has delivered include the Strauhof Lecture on Joyce and Paul Klee at the Zurich Joyce Foundation, University of Zurich, Switzerland and lectures on Post-Colonial Irish and African Literature at Concordia University in Montreal.
Dr. O’Connor has published on Joyce and nationalism in Joyce in Context (Cambridge University Press), acted as a reviewer for James Joyce Literary Supplement on publications related to art, fascism and modernism. She edited The Comic Tradition in Irish Women Writers, a volume of essays on satire by an international group of scholars and writers. In addition to editing the volume, she contributed an essay on “History, Gender and the Post-Colonial Condition,” and an introduction “Tradition and the Signifying Monkey,” a piece that re-visits Eliot’s critically acclaimed essay on the evolution of literary tradition and argues for an alternative model of tradition that takes into account Irish and African oral traditions of Signifying. In addition to an on-going interdisciplinary project on “Joyce’s Brain Atlas,” she is currently working on a book length study on Joyce, Gide, Sovereignty and the Environmental Humanities entitled The Multispecies Hamlet/Hum Lit.
Abstract of the book in progress: Joyce’s Multispecies Hamlet/Hum Lit: Gide, Le Corbusier, Eileen Gray and the Neuro-Architecture of Modernity.
“What do you do when you are disoriented, when the compass of your phone goes haywire? You reset it. The procedure depends on the situation and device, but you always have to stay calm and carefully follow instructions if you want the compass to capture signals again » (“GLOBALE: Reset Modernity! ZKM_Atrium 8”)
It is by now a critical commonplace that Shakespeare’s work serves in Joyce’s Finnegans Wake as a mould in which something is cast. This something, this study argues, is a sonic mousetrap, a plot to re-set modernity. Anticipating the project of Bruno La Tour’ s “GLOBALE: Reset Modernity!, »Joyce set out in the Paris of the early twentieth-century to re-set modernity by re-setting the way we envisage home, identity, dwelling, and, ultimately, Sovereignty. Finnegans Wake, a work that might well be sub-titled “Joyce’s Hamlet as Brain Atlas,” unfolds as a pilgrimage through the neuro-architecture of modernity. Since the architecture of the city and the « architecture » of the mind are inextricably intertwined in Joyce’s work, Le Corbusier’s work and that of Eileen Gray offered him a convenient set of symbols with which to map and unmap his Hamlet as brain atlas.