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1Olivier Chiquet currently is a contractual PhD student at Paris-Sorbonne University, who formerly graduated from the ENS at the rue d’Ulm and passed the “Agrégation d’Italien.” His PhD is co-supervised by Frédérique Dubard de Gaillarbois (Paris-Sorbonne University) & by Michel Hochmann (Ecole Pratique des Hautes Etudes) and is devoted to ugliness in literature on art (history) and paintings in Italy in the second half of the 16th century.

2Gabriele Quaranta is an art historian of the early modern period. After his graduation in Rome and a Research Fellowship at the Collège de France in Paris (2008), he defended a PhD thesis entitled L’arte del romanzo. Temi letterari nella pittura francese del Seicento in 2013 (international partnership between Sapienza Università di Roma & Université Paris 1 Panthéon-Sorbonne). His publications look into the relationships between figurative arts on the one hand and literature, emblems, as well as religious iconography in late-medieval painting on the other hand. Currently, he is adjunct professor of Iconography and Iconology at Sapienza Università di Roma.

3Xavier Giudicelli is Senior Lecturer at the English Department of the University of Reims, and a member of CIRLEP (Interdisciplinary Research Centre on Languages and Thought). His research interests include fin-de-siècle art and literature, word and image studies, and the rewriting and reinterpretation of Victorian and Edwardian literature in the twentieth and twenty-first centuries. In 2016, he published a monograph, Portraits de Dorian Gray. Le texte, le livre, l’image (PUPS) and edited a special issue of Études anglaises on Wilde and the arts.

4Caroline Marie is a lecturer in English Literature at Université Paris 8-Saint-Denis. Her research focuses on intermediality in Virginia Woolf’s essays and novels, which she reads through drama and theatre studies, dance studies, and cinema studies. She has published on adaptations of Woolf and her works in drama and graphic narratives. Her research interests also include contemporary British drama, words and images in 20th-century literature, and children’s picture books by Modernist writers.

5David Lemaire is adjunct-curator at the Museum of Modern and Contemporary Art of Geneva. He is the author of a PhD dissertation about Delacroix’s religious paintings, forthcoming with Les Presses du Réel in 2017. Beside a monograph about Alain Huck (Mamco, 2015), his last publications include studies on the painters Eduardo Arroyo (“The Repetition of History”, Arroyo. The Swiss Chapters, Thun, Wien, VmK, 2016) and Hervé Télémaque (« Une promenade à trois jambes », Télémaque, Paris, Flammarion, 2015). Since 2016, David Lemaire has also been lecturing at the University of Geneva.

6Liliane Louvel is emeritus Professor of British literature at the University of Poitiers and specializes in contemporary British literature and word/image relationship. She has written numerous articles on this particular subject and published five books on the interrelationship between word and image: L’œil du texte (Toulouse PUM 1998), The Picture of Dorian Gray, Le double miroir de l’art (Ellipses, 2000), Texte/image, images à lire et textes à voir (Rennes PUR, 2002), Le tiers pictural (PUR, 2010) and Poetics of the Iconotext (translated by Laurence Petit & edited by Karen Jacobs, Ashgate July 2011. Between 2000 and 2014 she has also edited or co-edited six collections of essays on the subject: Word/image (one volume with EJES & one with Taylor & Francis), Like Painting, La licorne, Texte/image nouveaux problèmes with Henri Scepi. Actes du colloque de Cerisy Littérature et photographie (with J-P Montier, P. Ortel, D Méhaut, PUR), Intermedial Arts (with Leena Eilitta and Sabine Kim, Cambridge Scholars Press) & Musing in the Museum (with Laurence Petit and Karen Brown).

7Cécile Sorin is now Professor in Film Studies at the University of Paris 8. Her thesis submitted for the obtention of the accreditation to supervise doctoral research was succesfully defended in December 2015 and was entitled “‘Pastiche’ et mélanges: de Pier Paolo Pasolini à Abdellatif Kechiche”. After a book on the practices of parody and pastiche in cinema (Pratiques de la parodie et du pastiche au cinéma, Paris: L’Harmattan, 2010), her research now hinges on the presence of pastiche in contemporary cinema. Her publications and communications develop a methodology articulating poetics and reception and cover a diversified corpus of self-reflexive films.

8Jessy Neau is a doctoral candidate in Comparative Literature at the University of Western Ontario and the University of Poitiers. She is interested in 18th- and 19th-century fantastic novel and their interactions with cinema, through the lens of film adaptations made during the 1960s and 1970s. More specifically, her work examines how the filmmaker Wojciech Has adapts various texts, such as novels by Jan Potocki or James Hogg.

9Isabelle Roblin is an Assistant professor at the Université du Littoral-Côte d’Opale and specialises in contemporary anglophone literature. She is currently working on literary and cinematographic rewritings of the British and American literary canons and more particularly on British playwright Harold Pinter’s adapted screenplays, and she has published Harold Pinter adaptateur: la liberté artistique et ses limites.

10Isabelle Davy completed her postgraduate studies at Le Fresnoy (Tourcoing) and received her PhD in Plastic arts from the University of Paris 8 in 2009. She is a member of the research centre “Esthétique des Nouveaux Médias” at the Université Paris 8 and her current research in art, literature and linguistics focuses on the role of rhythm in installation art and in performance art to define a general poetics of art. She has published essays in Écrans, Proteus: Cahiers des Théories de l’art, and Histoire Épistémologie Langage.

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Electronic reference

« Notes on contributors », Interfaces [Online], 37 | 2016, Online since 19 March 2018, connection on 18 January 2020. URL :

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