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"content_html": "<p>The classical high school \"Cagnazzi\" of Altamura, Italy, has won the <a href=\"https://www.istruzione.it/scuola_digitale/premio_scuola_digitale2021.shtml\" target=\"_blank\"><em>Digital School Award</em></a>, organized by the Italian Ministry of Education, for the participatory translation project of the Greek Anthology carried out in collaboration with the Canada Research Chair in Digital Textualities.</p>\r\n\r\n<p>The Ministry of Education - General Directorate of Structural Funds for Education, School Construction and Digital School - promotes the third edition of the Digital School Award to encourage excellence and participation of Italian schools and students in the field of educational and digital innovation.</p>\r\n\r\n<iframe width=\"670\" height=\"389\" src=\"https://www.youtube.com/embed/fLyrICcwWdQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>",
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"content_html": "<p>lecture given as part of the ARCANES Seminar, linked to the research project \"From Deceptive Arts to Post-Truth: Regimes of Authenticity\", funded by the Social Sciences and Humanities Research Council of Canada.</p><p>As Hannah Arendt explains to us, authority is the capacity to produce trust without physical or rational constraint. Digital space, in this sense, is full of authorities: we trust a search engine, social networks, information platforms... But how and why does this trust occur? What are the conditions? And what role do large private companies play in these dynamics of authority?</p>\r\n\r\n<p>the video caption is <a href=\"http://medias.arcanes.ca/seminaire/h21/07-seminaire-arcanes-2021-04-16.mp4\">available here</a>.</p>",
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"content_html": "<p>This is the sixth session in the series run by the CCLA working group Matérialités comparatives: Médias, littérature et théorie / Comparative Materiaities: Media, Literature, Theory.</p>\r\n\r\n<p>Alevtina Lapiy (Ryerson)- What Kind of Thing is a Short Film Programm?<br/>\r\nDhvani Ramanujam (Ryerson)- Reactivating the Film Festival Archive: On the History and Curatorial Practices of the In Visible Colours Festival<br/>\r\nMation Gruner (Waterloo)- Reader Worlds: Constructing Context for Historical Readers of Western Story Magazine with Google Tour Builder<br/>\r\nBrandon Petryna (Waterloo)- Animated Life Writing<br/>\r\nChristina Anto (Ryerson)- Braid and Invisible Cities</p>",
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"description": "<h2>Tuesday, April 6th at 1pm (EST)tuesday, April 6th at 1pm<<br/><a href=\"https://meet.jit.si/CCLA_materialities_2021\">https://meet.jit.si/CCLA_materialities_2021</a></h2>",
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"content_html": "<p>“The Gendered Design of Technologies from\r\nTypewriters to AI Digital Assistants”<br/>“‘Where Does This World End?’ Space, Time and Image in\r\nHarun Farocki’s Parallel”<br/>\r\nLai-Tze Fan, University of Waterloo Joshua Synenko, Trent University</p>\r\n<p>This talk will introduce aspects of my SSHRC-funded\r\nproject Unseen Hands: A Material History of the\r\nGendered Design of Technologies from Typewriters to\r\nAI Virtual Assistants. Specifically, I argue that\r\ntechnologies that are associated with gendered labour--\r\nsuch as Industrial-era typewriters and digital-era AI\r\nvirtual assistants—are in fact gendered by design. In this\r\ntalk, I discuss a method of reverse engineering the\r\nhardware of the first mass-produced typewriters in the\r\n1870s, and then jump ahead 150 years, reverse\r\nengineering the software of popular virtual assistants\r\nsuch as Amazon’s “Alexa” and Apple’s “Siri.” The\r\ntakeaway of the talk is as such: the gendering of service\r\ntechnologies has always been a method of abstracting\r\nwomen and their bodies into machines that perform so-\r\ncalled menial labour and services, including by typing\r\ndictation, connecting calls, and giving directions. Through an essayistic narrative voice, Harun Farocki’s\r\n(2012) Parallel describes the worldly transformations that\r\noccur through digital images, borrowing from an archive of\r\nvideo game landscapes categorized by elements including\r\nfire, water, earth, and air. Unlike Oscar Sharp’s (2016)\r\nSunspring, which highlights the bizarre collisions that\r\nresult from an affectively charged AI scriptwriting machine,\r\nFarocki pushes both image construction, and the curatorial\r\narts of video presentation, to the uncomfortable limits of\r\nuncharted territories. This paper offers an analysis of\r\nParallel through the following questions: What formats of\r\nstorytelling can express the power inherent in digitally\r\nconstructed images? What is the method of\r\nrepresentation that lies at the center of those formats,\r\nwhether it be mimicry or simulation? What are its affective\r\nregisters, and what evaluation criteria can we use to\r\nassess the outcomes?“The Gendered Design of Technologies from\r\nTypewriters to AI Digital Assistants” </p>\r\n<p>“‘Where Does This World End?’ Space, Time and Image in\r\nHarun Farocki’s Parallel”<br/>\r\nLai-Tze Fan, University of Waterloo Joshua Synenko, Trent University</p>\r\n<p>This talk will introduce aspects of my SSHRC-funded\r\nproject Unseen Hands: A Material History of the\r\nGendered Design of Technologies from Typewriters to\r\nAI Virtual Assistants. Specifically, I argue that\r\ntechnologies that are associated with gendered labour--\r\nsuch as Industrial-era typewriters and digital-era AI\r\nvirtual assistants—are in fact gendered by design. In this\r\ntalk, I discuss a method of reverse engineering the\r\nhardware of the first mass-produced typewriters in the\r\n1870s, and then jump ahead 150 years, reverse\r\nengineering the software of popular virtual assistants\r\nsuch as Amazon’s “Alexa” and Apple’s “Siri.” The\r\ntakeaway of the talk is as such: the gendering of service\r\ntechnologies has always been a method of abstracting\r\nwomen and their bodies into machines that perform so-\r\ncalled menial labour and services, including by typing\r\ndictation, connecting calls, and giving directions. Through an essayistic narrative voice, Harun Farocki’s\r\n(2012) Parallel describes the worldly transformations that\r\noccur through digital images, borrowing from an archive of\r\nvideo game landscapes categorized by elements including\r\nfire, water, earth, and air. Unlike Oscar Sharp’s (2016)\r\nSunspring, which highlights the bizarre collisions that\r\nresult from an affectively charged AI scriptwriting machine,\r\nFarocki pushes both image construction, and the curatorial\r\narts of video presentation, to the uncomfortable limits of\r\nuncharted territories. This paper offers an analysis of\r\nParallel through the following questions: What formats of\r\nstorytelling can express the power inherent in digitally\r\nconstructed images? What is the method of\r\nrepresentation that lies at the center of those formats,\r\nwhether it be mimicry or simulation? What are its affective\r\nregisters, and what evaluation criteria can we use to\r\nassess the outcomes?</p>",
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"content_html": "<p>Digital culture has profoundly disrupted, particularly since the 2000s, the world of books. Current practices of creation, publishing, and reading are being reconfigured in part around new formats and media for books and literature: \"enriched\" or \"augmented\" books, digital books, audio books, interactive applications for mobile devices, and hypertexts navigable on the web. In this process of metamorphosis, the idea of the \"book\" still occupies an essential place, but thinking about its forms, its production, its dissemination, its positioning within culture cannot now do without a reflection on the consequences of entering the digital age.</p> <p>The book studies of the book and literature are the result of a process of transformation that has taken place in the last decade.</p>\r\n\r\n<p>Book studies in the twenty-first century is a nascent disciplinary field, even though work within it has been conducted in isolation for years. The symposium is an opportunity to connect researchers⋅e⋅s in training, who are devoting their efforts to excavating various aspects of this theme. In order to open up this community broadly, both geographically and thematically, we are proposing a long and asynchronous event, a springtime of 21st century book studies that invites discovery of this new area of research. We invite you to visit the event's website to discover the twenty or so scholarly contributions published at intervals until May - short interventions in various forms: filmed presentation, text including illustrations, narrated digital presentation, audio capture, etc. Your comments, suggestions and questions are expected at the bottom of each intervention, to recreate that dynamic of exchange associated with colloquia and seminars.</p>\r\n\r\n<p>With the participation of:<br/>\r\n- Antoine Fauchié, on March 10: to be viewed <a href=\"https://projets.ex-situ.info/etudesdulivre21/liv1/fauchie/\">here</a>.<br/>\r\n- Moragot Mellet, on March 24: to be viewed <a href=\"https://projets.ex-situ.info/etudesdulivre21/liv2/mellet/\">here</a>.<br/>\r\n- Emmanuelle Lescouet, May 5: <a href=\"https://projets.ex-situ.info/etudesdulivre21/liv5/lescouet/\">here</a>.</p>\r\n",
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"title": "Two doctoral fellowships obtained in the CRC on Digital Textualities's team",
"content_html": "<h3>GREN-CRIHN 2020-2021 Doctoral fellowship - Antoine Fauchié</h3>\r\n\r\n<img src=\"https://gren.openum.ca/files/sites/169/2021/02/avatar.png\" />\r\n\r\n<p><a href=\"https://ecrituresnumeriques.ca/fr/Equipe/Antoine-Fauchie\" target=\"_blank\">Antoine Fauchié</a> won the first joint doctoral award from the <a href=\"https://gren.openum.ca\" target=\"_blank\">GREN</a> and the <a href=\"https://crihn.openum.ca/\" target=\"blank\">CRIHN</a>, in the amount of $25,000 for his research project \"<strong>Reconfiguration des processus de publication et évolution des pratiques d’écriture et d’édition dans le champ littéraire</strong>\":\r\n\r\n<blockquote><p>Les deux millénaires de pratiques autour du codex ont donné naissance au livre tel que nous le connaissons aujourd’hui, avec des étapes majeures allant de l’impression à caractère mobile jusqu’à l’impression à la demande, en passant par le livre de poche ou le livre numérique. Les phases successives d’informatisation des métiers du livre ont fait émerger des nouveaux modes de production et de diffusion, dont l’hypertexte est l’un des signes les plus marquants. Le recours aux traitements de texte, la mise en réseau, l’essor du livre numérique : autant de transmutations qui marquent l’intégration du numérique jusque dans les procédés d’écriture. Si les profonds changements induits par le numérique se constatent par l’accès, l’analyse du comment se présente désormais à nous comme une nécessité : la constitution d’une phénoménologie de l’édition à l’ère numérique – l’édition se modèle à partir de ses pratiques diverses qu’il convient d’observer et d’analyser.</p>\r\n\r\n<p>Notre hypothèse est qu’une pluralité de visions du monde s’incarnent dans une pluralité de modèles éditoriaux. La reconfiguration des processus de publication engendre des bouleversements dans les pratiques d’écriture et d’édition dans le champ littéraire. Le sens est généré d’une façon nouvelle, car les formes de son inscription changent : les formats, les protocoles et le code sont autant l’origine que la manifestation de ces bouleversements. Notre démarche s’appuie sur l’analyse de dispositifs éditoriaux à travers un corpus constitué de carnets d’auteurs, d’ouvrages édités et de maisons d’édition. Partant du principe qu’il n’est pas possible de dissocier le texte de sa représentation, le fond de la forme, que l’énonciation est ancrée dans le processus, nous observerons des initiatives éditoriales classiques et originales, conventionnelles et non conventionnelles, en déterminant des modus operandi.</p>\r\n\r\n<p>Notre recherche s’inscrit dans le prolongement des études des médias, ou <i>Media Studies</i>, s’attachant au support autant qu’au contenu. La forme de l’artéfact – ici un livre imprimé ou un livre numérique – importe autant que ce qu’il contient : la réception du texte dépend de son moyen de diffusion. Nous examinerons par ailleurs le processus d’écriture et d’édition en tant que partie intégrante de l’acte littéraire, et non plus le seul texte édité et sa forme produite. Dans cette perspective, notre projet visera à faire apparaître des systèmes de publication – ou l’ensemble des outils et méthodes permettant l’écriture, la fabrication et la diffusion de textes – et leur évolution.</p></blockquote>\r\n\r\n<h3>Doctoral Excellence Scholarship 2020-2021 : Emmanuelle Lescouët</h3>\r\n\r\n<img src=\"https://i.imgur.com/4HEs4p3.jpg\" />\r\n\r\n<p><a href=\"https://ecrituresnumeriques.ca/fr/Equipe/Emmanuelle-Lescouet\" target=\"_blank\">Emmanuelle Lescouët</a> is one of two recipients of the joint Doctoral Excellence Award from the <a href=\"https://gren.openum.ca\" target=\"_blank\">GREN</a> and the <a href=\"https://crihn.openum.ca/\" target=\"blank\">CRIHN</a> for her doctoral thesis project: <strong>Quand le museur part à la dérive : parcours de lecture en environnement numérique</strong>\".</p>",
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"title": "Annual Meeting of the Canadian Comparative Literature Association: Changing Directions in Comparative Literature",
"content_html": "<h3>Tuesday, May 11th 2021 :</h3>\r\n\t<ul><li>10:00 – 12:00 : Executive Board Meeting </li>\r\n\t<li>13:00 – 14:00 : Annual General Meeting</li>\r\n\t<li>14:30 – 16:00 : Book Launch</li></ul>\r\n\t\r\n<h3>Wednesday, May 12th 2021 :</h3>\r\n\t<ul><li>11:00 – 12:00 : Film Discussion with Mark Terry, director of <i>The Antarctica Challenge</i> (2009) and <i>The Polar Explorer</i> (2011)</li>\r\n\t<li>13:00 – 14:00 : World Premiere of <i>The Changing face of Iceland</i> (dir. Mark Terry)</li></ul>\r\n\t\r\n<h3>Thursday, May 13th 2021 :</h3>\r\n\t<ul><li><b>10:00 – 11:30 : Panel 1 : Post-Magical Realist Worlds</b>, avec :<br/>\r\n\t1. Kurosh Amoui (York University), \"The Otherness Within: <i>Jinn</i> in the 20th Century Farsi Novel\"<br/>\r\n\t2. Cody Lang (University of Alberta), \"The Ex-centric in Magical Realist Cinema\"<br/>\r\n\t3. Moira Marquis (University of North Carolina), \"Black Magic: Magic as Knowledge in <i>Lovecraft Country</i>\"</li>\r\n\t<br/><br/>\r\n\t<li><b>12:00 – 13:30 : Panel 2 : Post-Magical Realist Worlds</b> avec : <br/>\r\n\t1. Chinelo Ifeyinwa Ezenwa (University of Western Ontario), “Re-thinking Colonial Missionization in Tsitsi Dangaremgba’s Nervous Conditions”<br/>\r\n\t2. Leslie Katz (Independent Scholar), “The Theatre of Sony Labou Tansi: A Magical Unmasking”<br/>\r\n\t3. Jill Planche (Brock University), “’It is the storyteller . . . who makes us what we are’: The Ontological and the Material in Zakes Mda’s Postapartheid Novels.”</li>\r\n\t<br/><br/>\r\n\t<li><b>14:30 – 16:00 : Panel 3 : Future Directions</b> avec :<br/>\r\n\t1. Jack Leong (York University), “Ascending to the Stars: Ideology and Transcendence in Science Fiction by Arthur C. Clarke, Stanley Kubrick, Stanislaw Lem and Cixin Liu”<br/>\r\n\t2. Lee Campbell (York University), “Reading like a Replicant: Literature, Embodiment, and Mortal Archives in <i>Blade Runner 2049</i>”<br/>\r\n\t3. Joshua Synenko (Trent University), “Data-Driven Narratives in Farocki and Sharp” <br/>\r\n\t4. Jessy Neau (University of Mayotte), “Dark Exoticism and Literary Tropes of Dystopia in Island Narratives”</li></ul>\r\n\t\r\n\t<h3>Friday, May 14th 2021 :</h3>\r\n\t\t<ul><li><b>10:00 – 11:30 : Panel 1 : Workshop: Questioning Inscription</b><br/>Hosted by the Research Group COMPARATIVE MATERIALITIES: MEDIA, LITERATURE, THEORY</li>\r\n\t\t<li><b>12:00 – 13:30 : Panel 2 : Workshop: Enacting Inscription</b><br/>Hosted by the Research Group COMPARATIVE MATERIALITIES: MEDIA, LITERATURE, THEORY\r\n\t\t</li>\r\n\t\t<li><b>14:30 – 16:00 : Panel 3 : Poetry Workshop with Kendel Hippolyte</b> animé par Doris Hambuch.</li></ul>\r\n\t\r\n\t<h3>Saturday, May 15th 2021 : </h3>\r\n\t\t<ul><li><b>10:00 – 11:30 : Panel 1 : Multilingual Directions</b> avec :<br/>\r\n\t\t\t1. Elena Siemens (University of Alberta), “Ole Nopea! Multilingual Writing, Google Translate, and the Polaroid”<br/>\r\n\t\t\t2. Shlomo Gleibman (York University), “The Intersecting Languages of Learning and Lovemaking: Queer Images of Text Study in Jewish Multilingual Art”<br/>\r\n\t\t\t3. Carole Hoyan (The Chinese University of Hong Kong), “The “Transgression Model” of <i>Worlding</i>: Reading the Hong Kong Author Leung Ping-kwan (Yesi)”<br/>\r\n\t\t\t4. Doris Hambuch (United Arab Emirates University), “English Intrusions in Humaid Alsuwaidi’s <i>Abdullah</i> and <i>Musk</i>”</li>\r\n\t\t<li><b>12:00 – 13:30 : Panel 2 : Literary Translation</b>, animé par Joe Pivato, avec :<br/>\r\n\t\t\t1. Jerry White (University of Saskatchewan), “The Question of Translation in Fleur Jaeggy: Perspectives from Huston and Kundera”<br/>\r\n\t\t\t2. Shengyu Wang (Soochow University), “Against a “Scientific” Translation: George Soulié de Morant’s Creative Retelling of Seventeenth-Century Chinese Ghost Stories”<br/>\r\n\t\t\t3. Jessica Tsui-yan Li (York University), “The Self-Portrayal in Eileen Chang's Autobiographical Work”<br/>\r\n\t\t\t4. Yaser Aman (Imam Abdulrahman Bin Faisal University), “Examples of Appropriation in Literary Translation”</li>\r\n<li><b>14:30 – 16:00 : Panel 3 : Between Directions</b>, avec :<br/> 1. Sibel Kuşca Güngör (Eskişehir Osmangazi University), “Construction of Identity and the Psychology of Exploitation in <i>The Bluest Eye</i> by Toni Morrison and <i>White Teeth</i> by Zadie Smith”<br/>\r\n\t2. Ramanpreet Kaur (Western University), “Confronting Historical Imaginings of Punjabi Nautch-Girl: A Comparative Study of Nineteenth-Century Colonial and Native Writings”<br/>\r\n\t3. Flora Roussel (Université de Montréal), “Affective In-between-ness: Dis/orienting Narrative Selves in Akwaeke Emezi’s <i>Freshwater</i> and Kanehara Hitomi’s <i>AMEBIC</i>”<br/>\r\n\t4. Louis-Thomas Leguerrier (Harvard University), « Du corps lesbien à King kong : figures fluides et figurations de la fluidité chez Monique Wittig et Virginie Despentes »\r\n</li>\t\t\t</ul>\r\n\t<h3>Sunday, May 16th 2021 :</h3>\r\n\t\t<ul><li><b>10:00 – 11:30 : Panel 1 : East and West</b>, avec : <br/>1. Ayesha Altaher (University of Waterloo), “Syrian Traces in America: Building a Syrian Community”<br/>\r\n\t\t\t2. Lamees Al Ethari (Univerity of Waterloo), “Demonstrations, Resistance and Redefining Iraqi Identity through Social Media”<br/>\r\n\t\t\t3. Baia Kotrikadze (Mount Royal University), “Orientalism in Pushkin’s <i>Prisoner in the Caucasus</i>”<br/>\r\n\t\t\t4. Mai Hussein (Concordia University), “Wajdi Mouawad’s <i>Littoral</i>: Bridging Cultures”</li>\r\n\t\t<li><b>12:00 – 13:30 : Panel 2 : Different Directions</b>, avec :<br/>\r\n\t\t\t1. Nella Darbouze (University of Calgary), “Narrative Structure and the Appraisal of Racial Injustice in Dinah Craik’s <i>Olive</i> and Mayne Reid’s <i>The Yellow Chief</i>”<br/>\r\n\t\t\t2. Mehraneh Ebrahimi (York University), “Human-rights and Stories in the Age of Social Media”<br/>\r\n\t\t\t3. Asma Sayed & Sameena Siddiqui (UBC), “South Asian Canadian Diasporic Art: Examining the Cultural Politics of Canonization and Deviant Artistic Subjectivities” <br/>\r\n\t\t\t4. Laurence Sylvain (Université de Montréal), « La querelle des icônes (eikonomachía) : La représentation et la question du libre arbitre »</li>\r\n\t\t<li><b>14:30 – 16:00 : Panel 3 : Literary Translation</b>, avec :<br/>\r\n\t\t\t1. Maria Cristina Seccia (University of Udine), “ReMediating the Mother’s Memories: Mary Melfi’s <i>Italy Revisited</i> and its Translation <i>Ritorno in Italia</i>”<br/>\r\n\t\t\t2. Deborah Saidero (University of Udine), “Reclaiming the (Mother)Tongue through Self-Translation”<br/>\r\n\t\t\t3. Joe Pivato (Athabasca University), “Lost in Translation: Slavery in European Art”<br/>\r\n\t\t\t4. Maral Aktokmakyan (Independent Scholar), “<i>Akabi</i> in English or the Limits of Translating an Armeno-Turkish Novel”</li></ul>\r\n",
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"description": "<h2>11th to 16th May 2021",
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"slug": "visual-materialities",
"date_start": "2021-02-04",
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"title": "Visual Materialities",
"content_html": "<h3>Migrant Dreams Build Nations: Shirin Neshat’s Reverent Gaze in <I>Land of Dreams</i></h3>\r\n<p>Migrant dreams are potent political vehicles for envisioning the nation of the future.\r\nShirin Neshat has captured the abject migrants dreamy gaze with reverence and in so doing\r\nendowed them with dignity and human rights. Her collection <i>Land of Dreams</i> distills the exilic\r\nimaginary in the desolate landscape of the present moment. A murky analogy to the American\r\nDream, her work explores the unconscious dream life of migrants in these dark times of walls\r\nand ICE. She represents the exilic subjects with dignity. The proximity of the migrant’s face\r\nawakens a sense of responsibility. The aporetic gaze is a salutary reminder that the West is\r\ncomplicit in the plight of the migrant and thus response-able.</p><p>Mehraneh Ebrahimi, PhD\r\nAssistant Professor, York University</p>\r\n<h3>The canvas as technique: Paul Klee and Walter Benjamin</h3>\r\n<p>One of Klee’s well-known arguments about painting is his conception of the canvas as a\r\nbody, as a skeleton, which he renders by the expression “anatomy of the canvas” (an argument\r\nwhich can now be found in the book titled <i>On Modern Art</i>, which contains many of the lectures\r\nhe presented while teaching at the Bauhaus). This conference will discuss how this conception of\r\nthe canvas is related to Benjamin’s articulation of technique in his famous <i>The Work of Art in the\r\nAge of its Technological Reproducibility</i>. For both thinkers, the “apparatus,” i.e., the technique,\r\ninforms the work of art in a profound way, for it is also a dispositive of thought. This conference\r\nwill also discuss the influence of the Baroque on both thinkers, since it is part of such a\r\nconception of the work of art, the Baroque paving the way for a perspectivism that is intimately\r\nlinked to the technique as a dispositive of thought.</p><p>Laurence Sylvain\r\nCandidate au doctorat, Littérature comparée\r\nOption Théorie et épistémologie\r\nUniversité de Montréal</p>\r\n\r\n<p>more informations : <a href=\"https://ccla.digitaltextualities.ca/post/session-04/\">https://ccla.digitaltextualities.ca/post/session-04/</a></p>\r\n<p>See caption<a href=\"https://ia601508.us.archive.org/5/items/ccla-materialities-2021/CCLA_materialities_2021.mp4\"> here !</a></p>",
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"description": "<h2>Tuesday, February 23, 2021, @12:00 noon EST)<br/><a href=\"https://meet.jit.si/CCLA_materialities_2021\">https://meet.jit.si/CCLA_materialities_2021</a></h2>",
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{
"slug": "simone-beta-lecture-les-enigmes-grecques-depuis-constantin-cephalas-jusqu-a-jean-eugenikos",
"date_start": "2021-01-16",
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"title": "Simone Beta Lecture : Les énigmes grecques, depuis Constantin Céphalas jusqu'à Jean Eugenikos",
"content_html": "<p>We know the poetic genre of the riddle in Greek literature thanks to the fourteenth book of the <em> Palatine Anthology. In this small collection, which contains about fifty riddles, fifty oracles and fifty mathematical problems, we find categories of riddles that will become very popular in the following centuries.</p>\r\n<p> \r\nIn the conference these small texts will be examined by comparing them to the texts of the Byzantine enigmas, attributed to more or less known authors (Jean Mauropous, Jean Géomètre, Christope de Mytilène, Michel Psellos, Basile Mégalomytes, Eustathios Makrembolites, Théodore Aulikalamos, Théodore Prodromos, Jean Eugénikos) who were active between the 11th and 15th centuries.</p>\r\n<p>Simone Beta is Professor of Classical Philology at the University of Siena. His research focuses on ancient theater and its fortune (especially Greek comedy), metaphor, epigrams and enigmas.</p>\r\n<p>\r\nAs far as comedy is concerned, he has worked mainly on Aristophanes: we recall here <em>Il linguaggio nella commedia di Aristofane: parola positiva e parola negativa nella commedia antica</em>, Rome 2004; The Metamorphosis of a Greek Comedy and its Protagonist: Some Musical Versions of Aristophanes' <em>Lysistrata</em>, in P. Brown & S. Ograjensek (eds.), <em>Ancient Drama in Music for the Modern Stage</em>, Oxford and New York 2010, 240-57 ; <em>Attend, o Muse, Our Holy Dances and Come to Rejoice in Our Songs: The Reception of Aristophanes in the Modern Musical Theater</em>, in S. Douglas Olson (ed.), <em>Ancient Comedy and Reception. Essays in Honor of Jeffrey Henderson, Berlin and Boston 2013, 824-48.</p>.\r\n<p>\r\nRegarding the metaphor, we can quote <em>La metafora. Testi greci e latini tradotti e commentati da Giulio Guidorizzi e Simone Beta</em>, Pisa 2000; as regards the epigrams, <em>Vino e poesia. Centocinquanta epigrammi greci sul vino</em>, a cura di S. Beta, Milan 2006.</p>\r\n<p>\r\nHe has published unpublished Byzantine riddles ('You possess me, you bring me with you, I am a part of you': a new Byzantine riddle in the Pal.gr. 116, BZ 107, 2014, 37-50; An Enigmatic Literature. Interpreting an Unedited Collection of Byzantine Riddles in a Manuscript of Cardinal Bessarion, DOP 68, 2014, 211-40; A Challenge to the Reader. The Twelve Byzantine Riddles of Pal.gr. 356, JÖB 66, 2016, 11-32).</p>\r\n<p>\r\nHis latest publications are Il labirinto della parola. Enigmi, oracoli e sogni nella cultura antica</em>, Turin, 2020 and <em>Io, un manoscritto: l'Antologia Palatina si racconta</em>, Rome, 2019, translated into French by Les belles lettres (<em>Moi, un manuscrit. Autobiographie de l'Anthologie Palatine</em>).\r\nHe has just translated into Italian the <em>Antigone</em> by Sophocles (Milan, 2020) and the <em>Lysistrata</em> by Aristophanes (Milan, 2020).</p>\r\n\r\n<iframe src=\"https://archive.org/embed/confsimonebeta_202102\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen></iframe>",
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"description": "<h2>4th February 2021<br />\r\n10.30 am, Montreal Time<br />\r\n<a href=\"https://jitsi.iro.umontreal.ca/conferenceSimoneBetaEnigmesGrecques\">https://jitsi.iro.umontreal.ca/conferenceSimoneBetaEnigmesGrecques</a>",
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"content_html": "<p>2nd part of the conference cycle \"Critical editions: new methodological issues\".\r\n\r\n<p>Elena Pierazzo is a professor in Tours, at the Center for Higher Studies of the Renaissance, where she is responsible for the Digital Humanities, the Master's Degree in Intelligence of Culture and Heritage Data and the Master's Degree in Digital Mediation of Culture and Heritage. D. in Italian Philology from the Ecole Normale Superiore of Pisa in 2001, she worked at the University of Pisa until 2006; was a Research Fellow at the Harvard Center for Italian Renaissance Studies \"Villa I Tatti\" in Florence (2002-2003); then worked at King's College London (2006-2014) before being elected Professor at the University of Grenoble Alpes. From 2012 to 2015 she was also President of the TEI and in 2019 co-chaired the DH conference in Utrecht.</p>\r\n\r\n<iframe src=\"https://archive.org/embed/gren_editionscritiques2\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen></iframe>",
"links": null,
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"description": "<h2>28th January<br/>110-11h (East hour)<br/><a href:\"https://meet.jit.si/GREN_EditionsCritiques2_EP_28janvier\r\n \">https://meet.jit.si/GREN_EditionsCritiques2_EP_28janvier\r\n </a></h2>",
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"slug": "",
"date_start": "2020-12-22",
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"content_html": "<p>\r\nWithin the framework of the collaborative publishing project of the Palatine Anthology led by the CRCEN, a digital space for the discovery, study and appropriation of this ancient and fragmentary corpus has been designed and is currently under development. The platform is designed in collaboration with Perseids and will be open to all, both in reading and writing. It will gather all the established versions and translations of the Anthology, all the handwritten data (including the scholies), and has the ambition to be adapted to the needs of the scientific community as well as to the curiosity of the general public. The major challenge in the realization of this space is the following: how to design a data model to describe the anthological object, the epigram, to present the aspects of a philological work? In order to tag the text for research purposes as well as for wider public dissemination, we are currently working on data models and text ontologies that are key questions for critical digital publishing.</p>\r\n\r\n<p>In association with the Canadian Digital Humanities Society (CSDH/SCHN) and our center, the Groupe de Recherche sur les Éditions critiques en contexte Numérique (GREN) is pleased to announce a two-part event. The first part is a discussion of two articles on the Palatine Anthology project led by Marcello Vitali-Rosati (Université de Montréal), with Aurélien Berra (Université de Paris Nanterre) as respondent :</p>\r\n\r\n<p><a href=\"https://ecrituresnumeriques.ca/fr/2020/1/1/spanMarcello-Vitali-Rosati-Servanne-Monjour-Joana-Casenaveet-al-Editorializing-the-Greek-Anthology-The-palatin-manuscript-as-a-collective-imaginary-iDigital-Humanities-Quarterlyi-volzerooneforone-twozerotwozerospan>Editorializing the Greek Anthology: The palatin manuscript as a collective imaginary\"</a>.</p>\r\n<p><a href=\"http://blog.sens-public.org/marcellovitalirosati/pour-une-edition-participative-de-lanthologie-palatine/\">For a participative edition of the Palatine Anthology \"</a></p>\r\n<iframe src=\"https://archive.org/embed/editioncritique1\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen></iframe>",
"links": null,
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"description": "<h2>21 janvier 2021 <br/>10-11h<a href=\"https://jitsi.iro.umontreal.ca/GREN_EditionsCritiques1_AP_21janvier\">https://jitsi.iro.umontreal.ca/GREN_EditionsCritiques1_AP_21janvier</a></h2>",
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