Past residents

The Camargo Foundation welcomes over 60 residents every year. Learn more about the artists, scholars and thinkers who stayed at the Camargo Foundation since 1971 (profiles of residents before 2018 are available on the French page, and soon on this page.)

To discover the current residents of the Camargo Foundation, visit the Current residency page.

Residencies prior to 2014 are listed in English only.

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Music & Composition & Sound Arts

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Translation

1989

The Netherlands

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Visual Arts

Camargo Fellowship

1989

United States of America

1989

Italy

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Camargo Fellowship

1989

United States of America

Visual Arts

Camargo Fellowship

1989

2025

Camargo x BAYA

Camargo x Cité Internationale des Arts

2026

Algeria

Project : Raïtrospective

Phd candidate & Artist, Architect, Humanitarian Aid Worker

2025

Brazil

France

Russia

Finland

Costa Rica

Bhoutan

Film Video & Digital Arts

Artist & Scholar

Project : La Parte Maudite

PhD Candidate, Film Director & Art Director, and Director of the School of Cinema and Audiovisual Directing (ALBA-UOB)

Camargo x EHESS

2025

Lebanon

France

Scholars

Projet : Did you fight? Did you run? Did you freeze?

Professor of Oceanic Humanities at the Muséum national d’Histoire naturelle in Paris

2025

France

Artist, Curator, DJ

Camargo x 3Arts

2025

United States of America

Nigeria

Multidisciplinary Arts

Project : A (M)other Sense Is Possible

Visual artist

2025

Camargo x Sawa Sawa

Visual Arts

Project : The last chapter

Writer and translator

Camargo Fellowship

2025

India

Creative Writing

College professor

Camargo Fellowship

2025

United States of America

Mexico

Scholars

Project : "Fragments of Carceral Memory: The Abolitionist Visuality of Prison Ruins"

Writer, translator and educator

Camargo Fellowship

2025

United States of America

Creative Writing

Artist & Scholar

Artist, filmmaker

Camargo Fellowship

2025

Argentina

United Kingdom

Film Video & Digital Arts

Project : "Eyes That Shine at Night"

Ethnomusicologist and interdisciplinary scholar, singer

Camargo Fellowship

2025

Philippines

United States of America

France

Artist & Scholar

Project : REKINDLING KINSHIP

Professor and writer

Camargo Fellowship

2025

United States of America

Canada

France

Scholars

Creative Writing

Project : “The ‘I’ in Diaspora”

Social Psychologist and writer

2025

Camargo Fellowship

United Kingdom

United States of America

South Africa

Scholars

Project: "Après Soixante-huit: An exploration of political mourning, love and history through a girl's eyes"

Leslie Parker

Assistant Professor

2025

Canada

Project: Revolutionary Circuits of Liberation: The Radical Tradition of Palestinian Resistance Culture and Internationalism

Researcher, Curator, Climate Activist

2025

France

Scholars

Project: ‘Climate Quitting’ in the Visual Art Sector. When the Ecological Commitment from the Art World is No Longer Enough

Singers, musicians and composers

2025

Palestine

Lebanon

Egypt

Music & Composition & Sound Arts

Project : Milaha

Theatre Director And Activist

2025

United States of America

Performing Arts

Project: Omowale: Exigencies in “Artivism”

Filmmaker And Producer

2025

Iran

Film Video & Digital Arts

Project: Hope against hope

Historian

2025

United States of America

Scholars

Project: Mapping Métis Montana: Reclaiming Urban Indigenous Space

2022

2024

2023

Au long cours

2025

Belgium

Music & Composition & Sound Arts

Composer & Vocalist and musician

2023

2024

Au long cours

United States of America

Poland

France

India

Music & Composition & Sound Arts

Singer, author and choreographer

2021

2023

2022

2024

Rwanda

United Kingdom

France

Multidisciplinary Arts

Project: Choreographic Research and Creation Residency in Marseille with the Women of Cité La Castellane

Rapper and scholar

2024

Benin

France

Writer

2024

Algeria

Writer and filmmaker

2024

Algeria

Artist and medical doctor

2024

S+T+ARTS4WaterII – Ports in Transformation

Au long cours

Lebanon

Camargo x Jerome

2024

USA

Artist, musician, and producer

Camargo x Jerome

2024

USA

Composer, pianist and producer

Camargo x Jerome

2024

Japan

USA

Assistant Professor in the Department of History

2024

Camargo Fellowship

Canada

Artist

2024

USA

Impromptus

2024

2023

France

Performing Arts

Anthropologist & Artists

2023

2024

Au long cours

France

United States of America

Multidisciplinary Arts

Actress, activist and writer

2024

2025

France

Performing Arts

Project: To Aim Right

Filmmaker and photographer

Impromptus

2024

United States of America

Film Video & Digital Arts

Researcher, writer and literature translator

Camargo x Cité Internationale des Arts

2024

Algeria

Writer, journalist and translator

Impromptus

Iran

Performing Arts

Film Video & Digital Arts

Writer

2023

Impromptus

Algeria

Scholars

Researcher, writer, and cultural organiser

2023

Camargo Fellowship

United Kingdom

France

Writer

2023

Camargo Fellowship

South Africa

Writer, journalist and historian

2023

Camargo Fellowship

Germany

Philosopher, anthropologist and translator

2023

Camargo Fellowship

France

Multidisciplinary artist, director and cultural practitioner

Camargo x EHESS

2023

Italy

Scholars

2023

Camargo x Jerome

United States of America

Multidisciplinary Arts

Writer, Filmmaker & Scholar

Camargo x EHESS

2022

2023

France

Italy

Visual Arts

Scholars

Transdisciplinary artist

2023

Camargo x 3Arts

United States of America

2022

2023

France

Scholars

Writer and anthropologist

Camargo Fellowship

2023

Canada

Scholars

Multidisciplinary artist

Camargo x 3Arts

2023

USA

Multidisciplinary Arts

Perfoming artist and singer & Scholar at CNRS

2024

2023

France

Music & Composition & Sound Arts

Camargo x EHESS

2023

France

Belgium

Film Video & Digital Arts

Scholars

Interdisciplinary artist

Camargo x Jerome

2023

United States of America

Multidisciplinary Arts

Stage director, artistic director of Cie Zone Critique

Impromptus

2024

2023

France

Performing Arts

Composer and musician

2023

Camargo Fellowship

United States of America

Music & Composition & Sound Arts

Anthropologist & Artists

2023

2024

Au long cours

France

United States of America

Multidisciplinary Arts

Professor of History and Women’s & Gender Studies

Camargo Fellowship

2023

United States of America

Scholars

Associate Professor of Cinema and French Culture

Camargo Fellowship

2023

United States of America

Scholars

Scholar

Camargo Fellowship

2023

India

Scholars

Writer and translator

Impromptus

2023

Artist, journalist, and filmmaker

2023

Camargo x Jerome

United States of America

2022

Carl Hancock Rux

Playwright

2022

Cultural Diaspora Program

United States of America

Anthropologist, architect, and graphic designer

2019

2020

2021

2022

Belgium

Artist & Scholar

Scholars

Multidisciplinary Arts

Project: Unmapping soils

Composer and musician

2022

2024

2023

Au long cours

2025

Belgium

Music & Composition & Sound Arts

Singer, author and choreographer

2021

2023

2022

2024

Rwanda

United Kingdom

France

Multidisciplinary Arts

Project: Choreographic Research and Creation Residency in Marseille with the Women of Cité La Castellane

Artist

Camargo x Jerome

2022

United States of America

Multidisciplinary Arts

Filmmaker

2022

Camargo x Jerome

United States of America

Writer, Filmmaker & Scholar

Camargo x EHESS

2022

2023

France

Italy

Visual Arts

Scholars

Assistant professor in Philosophy of Art

2022

Camargo Fellowship

Iran

Artist & Scholar

Director of the Experimental Orchestra of Indigenous Instruments, composer and researcher

2022

Camargo Fellowship

Bolivia

Filmmaker

Camargo x FIDLab

2022

2021

United Kingdom

Film Video & Digital Arts

Project: Dead Lands

Artist and Cultural Historian

2022

The Netherlands

Palestine

Artist & Scholar

Camargo Fellowship

2022

New Zealand

Composer

Camargo Fellowship

2022

Hong Kong

France

Film Video & Digital Arts

Artist and dance researcher

Camargo Fellowship

2022

Uganda

Performing Arts

Artist performer & anthropologist

2022

Camargo x EHESS

France

Cameroon

Performing Arts

Artists

Camargo Fellowship

2022

Cuba

United States of America

Artist and performer

Camargo x Mahmoud Darwish chair

2022

Palestine

Film Video & Digital Arts

Aminata Labor, Rosanna Puyol, Nina Kennel & Pauline L. Boulba

Camargo Fellowship

2022

France

Translation

Performing Arts

Scholar

Camargo Fellowship

2022

United States of America

France

Choreographer

Other partnership

2022

Germany

France

Performing Arts

David McCallam

Camargo Fellowship

2022

United Kingdom

Scholar

Camargo Fellowship

2022

United States of America

Filmmaker

Camargo x FIDLab

2022

2022

Switzerland

Philosopher, scholar

Other partnership

2022

France

Scholars

Historian, Philosopher & Choreographer

Playwright

Cultural Diaspora Program

2022

United States of America

Writer

Cultural Diaspora Program

2022

United States of America

Cultural Diaspora Program

2022

United States of America

Project: Jazz's Silent Theatre: Explorations of Black Women Performers in Paris

2021

Camargo x Goethe Institut

2021

Germany

France

Translation

Multidisciplinary Arts

Project: Lip sing for your art.

Scholar

Camargo Fellowship

2021

Argentina

Scholars

Project: Cactus: The Cultures of Artificial Nature

Musician, composer and producer

Camargo x Jerome

2021

United States of America

Music & Composition & Sound Arts

Project: Sound Recordings in the Calanques National Park and Cassis for a New Creation

Visual Artist

Camargo Fellowship

2021

Germany

Visual Arts

Project: Simple People – A working class graphic novel.

Poet, Writer and Journalist

Other partnership

2021

Sudan

Creative Writing

Alireza Mirmohammadi and collaborator Maryam Ghiasi

Choreographer & Dancer

Camargo Fellowship

2021

Iran

Performing Arts

Film Video & Digital Arts

Project: Mourning

Writer, Illustrator

2021

France

Democratic Republic of the Congo

Music & Composition & Sound Arts

Performing Arts

Project: Creation of a Musical Theater Piece about Lema’s Life

Writer

2021

Lebanon

Creative Writing

Project: A Man Who Resembles Me.

2021

Lebanon

Artist & Scholar

Project: A personal museum of dance.

Composer

Camargo x GMEM

2021

France

Music & Composition & Sound Arts

"Sur l'Horizon": Residency Program for Composers

Visual artist

Camargo Fellowship

2021

France

Visual Arts

Project: The Bubble

Visual artist

Camargo Fellowship

2021

United States of America

Visual Arts

Project: Staring at sight

Scholar

Camargo Fellowship

2021

United States of America

Scholars

Project: Mapping Senufo: Rethinking the Art-Historical Monograph in the Era of Digital Publication.

Composer

Scholars

Project: Interactive Comic Book on Migration and Priya and the Swarm

Composer

Camargo Fellowship

2021

United States of America

India

Music & Composition & Sound Arts

Project: Daughter of a Temple (2)

Documentary filmmaker

Camargo x Jerome

2021

United States of America

Film Video & Digital Arts

Project: Interactive Comic Book on Women’s Migration to Europe

Romina De Novellis

2021

Marocco

Germany

Artist & Scholar

Visual Arts

Project: Performed Ethnography of Contemporary Arab Art

Photographer & Philosopher

2021

France

Artist & Scholar

Project: Interactions Between the Space of Theater and Life

Choreographers

Other partnership

2021

United States of America

Performing Arts

Daniel Mann

Filmmaker

Camargo x FIDLab

2022

2021

Australia

Music & Composition & Sound Arts

Project: Synesthésie cachée / Hidden Synesthesia

Theatre Director, Writer

Other partnership

2020

France

Performing Arts

Marion Slitine & Youness Atbane

Anthropologist & Visual Artist

Camargo x EHESS

2020

France

Marocco

Germany

Artist & Scholar

Visual Arts

Project: Ramakech, Intersecting views on ‘contemporary Arab art’

Artist

Other partnership

Poet

2020

Camargo x Cipm

France

Creative Writing

Project: Translating but Shakespeare's Sonnets

Anthropologist

Camargo x EHESS

2020

France

Scholars

Project: Château Beijing: Wine, France, China, and Globalization.

Composer

Camargo Fellowship

2020

United States of America

Music & Composition & Sound Arts

Project: Mistral

Anthropologist & Filmmaker

Camargo x EHESS

2020

France

Lebanon

Film Video & Digital Arts

Project: The Sky Had Cried (Le ciel avait pleuré)

Scholar (Humanities)

Camargo Fellowship

2020

United States of America

Scholars

Project: Paris and the Global University: International Students and Cultural Internationalism at the Cité Universitaire, 1945-1975

Writer

Camargo Fellowship

2020

Germany

Creative Writing

Project: China Quintet

Visual Artist

Camargo Fellowship

Composer

Camargo x GMEM

2020

France

Music & Composition & Sound Arts

Project: "Sur l'Horizon": residency program for composers

Graphic designer & Writer

2020

Camargo x Cipm

2020

Türkiye

Creative Writing

Project: Cezbe (Ecstasy)

Ph.D. Candidate at Yale University

Other partnership

2020

United States of America

Scholars

Project: Suicide and resistance in African and Afro-Caribbean literatures

Anthropologist, architect, and graphic designer

2019

2020

2021

2022

Belgium

Artist & Scholar

Scholars

Multidisciplinary Arts

Project: Unmapping soils

Visual Artist & Writer

Camargo Fellowship

2020

United States of America

Visual Arts

Project: Empire and the Aerial Imaginary: Britain’s Neoimperial Quest to Colonize the Skies

Writer

Other partnership

2020

France

Creative Writing

Project: Research on Japanese writer Osamu Dazai

Anthropologists

2020

France

Scholars

Project: You Are Not Here by Chance

Dancer

Camargo x Jerome

2020

Palestine

Performing Arts

Project: Body Watani

Architect, Artist

Programme Calanques

2020

2019

Japan

Artist & Scholar

Visual Arts

Project: Approaches

Filmmaker, Writer

Other partnership

2020

Australia

Music & Composition & Sound Arts

Project: Synesthésie cachée / Hidden Synesthesia

Theatre Director, Writer

Other partnership

2020

France

Performing Arts

Marion Slitine & Youness Atbane

Anthropologist & Visual Artist

Camargo x EHESS

2020

France

Marocco

Germany

Artist & Scholar

Visual Arts

Project: Ramakech, Intersecting views on ‘contemporary Arab art’

Artist

Other partnership

Poet

2020

Camargo x Cipm

France

Creative Writing

Project: Translating but Shakespeare's Sonnets

Anthropologist

Camargo x EHESS

2020

France

Scholars

Project: Château Beijing: Wine, France, China, and Globalization.

Composer

Camargo Fellowship

2020

United States of America

Music & Composition & Sound Arts

Project: Mistral

Anthropologist & Filmmaker

Camargo x EHESS

2020

France

Lebanon

Film Video & Digital Arts

Project: The Sky Had Cried (Le ciel avait pleuré)

Scholar (Humanities)

Camargo Fellowship

2020

United States of America

Scholars

Project: Paris and the Global University: International Students and Cultural Internationalism at the Cité Universitaire, 1945-1975

Writer

Camargo Fellowship

2020

Germany

Creative Writing

Project: China Quintet

Visual Artist

Camargo Fellowship

Composer

Camargo x GMEM

2020

France

Music & Composition & Sound Arts

Project: "Sur l'Horizon": residency program for composers

Graphic designer & Writer

2020

Camargo x Cipm

2020

Türkiye

Creative Writing

Project: Cezbe (Ecstasy)

Ph.D. Candidate at Yale University

Other partnership

2020

United States of America

Scholars

Project: Suicide and resistance in African and Afro-Caribbean literatures

Anthropologist, architect, and graphic designer

2019

2020

2021

2022

Belgium

Artist & Scholar

Scholars

Multidisciplinary Arts

Project: Unmapping soils

Visual Artist & Writer

Camargo Fellowship

2020

United States of America

Visual Arts

Project: Empire and the Aerial Imaginary: Britain’s Neoimperial Quest to Colonize the Skies

Writer

Other partnership

2020

France

Creative Writing

Project: Research on Japanese writer Osamu Dazai

Anthropologists

2020

France

Scholars

Project: You Are Not Here by Chance

Dancer

Camargo x Jerome

2020

Palestine

Performing Arts

Project: Body Watani

Architect, Artist

Programme Calanques

2020

2019

Japan

Artist & Scholar

Visual Arts

Project: Approaches

Filmmaker, Writer

Other partnership

2020

Camargo Fellowship

2018

Austria

France

Film Video & Digital Arts

Project: Lisa Fittko, Crossing Point

Visual Artist

Camargo Fellowship

2018

Nigeria

Visual Arts

Project: No Victor, No Vanquished

Composer

Camargo Fellowship

2018

United States of America

Music & Composition & Sound Arts

Project: Isolario: Book II

Writer & Scholar

2018

festival de Marseille partnership

Senegal

Creative Writing

Scholars

Project: Kansala (a novel)

Multidisciplinary team

Camargo x 3Arts

2018

Japan

Performing Arts

Project: Ethos

Playwright

Cultural Diaspora Program

2018

United States of America

Performing Arts

Project: The Diaspora Cycle

Playwright

Cultural Diaspora Program

2018

Nigeria

Switzerland

Performing Arts

Project: Transnational Nomadism and Cultural Transfer: Drama in Mobility

Writer and engineer

Camargo x Jerome

2018

United States of America

Creative Writing

Project: Governing Bodies

Playwright

Cultural Diaspora Program

2018

Zimbabwe

Performing Arts

Project: Dogs and Pigs, An African Journey to Sexual Freedom

2018

France

Artist & Scholar

Project: Maps & Islands

Artist

Programme Calanques

2018

Italy

Albania

France

Artist & Scholar

Multidisciplinary Arts

Project: Monumentalization of Power, Architecture and Urban Practices in the Balkans and the Mediterranean

Theater artists

Camargo x Jerome

2018

United States of America

Performing Arts

Project: The Total People

Artist

Camargo Fellowship

2018

Egypt

Visual Arts

Project: let the sea eat me: to perform a ferry

Poet and Writer

Camargo x Jerome

2018

United States of America

Creative Writing

Project: Signs of Life

Architect, Artist

Programme Calanques

2018

Israel

Marocco

Translation

Project: Translation of 'The Monolingualism of the Other' by Jacques Derrida

Ceramic Artist

Other partnership

2017

United States of America

Visual Arts

Project: At The Table

Professor of Linguistics and African Languages

Camargo Fellowship

2017

United States of America

Scholars

Project: Language and urban life in Dakar: A critical sociolinguistics of language contact in the post colony

Artist

Camargo x Goethe Institut

Professor of History

Camargo Fellowship

DJ

Camargo x Jerome

2017

United States of America

Music & Composition & Sound Arts

Filmmaker

Camargo x FIDLab

2016

United Kingdom

Film Video & Digital Arts

Project: Apprenticeship of a Criminal and The Flying Proletarian

Visual Arts

Project: Karstic Crossings

Composer and sound artist

Camargo x Jerome

2016

2017

United States of America

Music & Composition & Sound Arts

Project: Coin Coin

Camargo Fellowship

2016

Brazil

France

Music & Composition & Sound Arts

Project: The Mérule

Filmmaker

Camargo x FIDLab

2016

Belgium

Film Video & Digital Arts

Project: Mitra

Project: Jimmie Durham – Creative Residency at Cirva and the Camargo Foundation

Visual Artist

2016

United States of America

Film Video & Digital Arts

Scholars

Project: Andre Bazin's Film Theory; Art, Science and Religion

Project: Fragile Abstractions

Choreographer & Historian

2016

France

Artist & Scholar

Performing Arts

Project: Droite/Gauche. Archeology of a French right-wing ethos.

Associate Professor, Florida Atlantic University

Camargo Fellowship

2016

United States of America

Scholars

Project: The Cultural Memorialisation of the Lebanese Civil War in (Francophone) Texts and Images (2000-2015)

Film Video & Digital Arts

Project: Save the Rex

Visual Artist

Camargo Fellowship

2016

Camargo x Goethe Institut

2015

2016

Germany

France

Artist & Scholar

Multidisciplinary Arts

PARC – Artistic Practices and Cartographic Research on the Edges of the Calanques National Park.

Graduate Student, Harvard/EHESS

Camargo Fellowship

2015

United States of America

Scholars

Project: Euro-Mediterranean Dreams: Reframing Urban Identity and Belonging in Southern France

Theatre director/Writer

Camargo Fellowship

2015

United States of America

Performing Arts

Project: I don't want to change your mind, I want to change your music

Multidisciplinary team

2015

France

Artist & Scholar

Project: To the closest, together. The interplay between art, literature, and the humanities for the understanding of a territory between the city and nature

Artist

Camargo Fellowship

2015

Camargo Fellowship

2015

United States of America

Scholars

Project: Twelfth-Century Camargue, Landscape Change and Crusader Foundation

2014

Anke Doberauer & Elisabeth Dorier

Painter & Geographer

Camargo x Goethe Institut

2014

France

Germany

Artist & Scholar

Project: Gated communities

Gardener and writer

2014

France

Artist & Scholar

Choreographer & writer

2014

Camargo x Jerome

United States of America

Tunisia

France

Creative Writing

Music & Composition & Sound Arts

Project: The Museum of Nothing

2011

United Kingdom

A monograph entitled, Remapping French Cinema: France and the road movie , which re-evaluates French cinema from the perspective of its journey narratives. This book theorizes the road movie genre, foregrounding its ability to articulate complex issues of identity, whether personal, national, or filmic. My intention throughout has been to break away from auteur- or movement-based classifications, in order to establish new critical and theoretical pathways and connections between individual films and their historical or social contexts, as well as between film and other cultural discourses – including literature, music, art, photography, and architecture. The interdisciplinary atmosphere of the Camargo Foundation has proved invaluable in this context, and while here I have completed two major sections of the book. The first examines the relationship between cinema and the railway, within the wider context of modernism, and probes questions of speed, perception, stasis, mobility and identity in relation to a corpus of filmic train-journeys, exploring ways in which their changing dynamics and tensions reveal deeper, often problematic, social, cultural, and political issues. The second section studies the urban road movie, and looks at ways in which the protagonists of such films remap the traditional spaces of the city. Concentrating on Paris, in particular, this section demonstrates how urban road movies, which combine references to the flâneur , the migrant, and the nomad with the complex fractal narratives of the postmodern, not only provoke a reassessment of the theory and practice of genre, which is a key concern throughout the monograph, but also provide new insight into the psychological, ethical, and social issues of contemporary urban life.

Natalie Bakapoulos

Writer

Camargo Fellowship

Brian Molanphy

Visiting Artist

Camargo Fellowship

2010

Canada

Visual Arts

La Faïence de Provence: Ceramics inspired by Cassis. Conveniently located in nearby Aubagne, a rich ceramics tradition features two techniques, "le décor au clou" and "le jaspé", which I use to evoke the landscape, presented in the architectural convention of the dimensional tile. The calanques are a revelation, so much like and so much unlike the Rocky Mountains.

Associate Professor of History

Camargo Fellowship

2010

United States of America

A book focusing on the inquisitorial trial of Marguerite Porete, one of the most controversial and original authors of the Middle Ages. In 1310 Marguerite Porete and her supporter Guiard of Cressonessart were tried and sentenced as heretics by the Dominican inquisitor William of Paris. Marguerite was a beguine who had written a book in French, known as the Mirror of Simple Souls . It had earlier been burned by a hostile bishop, but Marguerite re-circulated it and hence ended up under inquisitorial arrest in Paris. Guiard, a fascinating character in his own right, had been arrested for publicly voicing his support for Marguerite. Guiard recanted at the last moment and thus saved his life, in the process leaving intriguing testimony about his claim to be the "Angel of Philadelphia," charged with an apocalyptic mission to defend the true "adherents of the Lord." Marguerite, however, remained obstinate and was burned at the stake in Paris as a relapsed heretic.My study is the first sustained analysis of this pivotal trial, its context, and its historical significance, piecing together the story of Marguerite, her defender, and the inquisitor who proceeded against them. The book further argues for this trial’s impact on the way churchmen linked women, writing, and heresy in succeeding decades, and makes this story accessible to a wide audience by presenting the first English translation of the trial documents and related texts.

2009

Kate Soper

Graduate student

Camargo Fellowship

Associate Professor

Camargo Fellowship

2009

United States of America

A book on crowd theory and mass theater movements entitled The Crowd in the Theater that investigates political theories of 'the people' and mass performances by thinking about crowds and the politics of power in the modern era. Grounded in the early history of people's theaters, The Crowd in the Theater primarily studies the late nineteenth and early twentieth century mass theaters in France, Italy, and Germany, with some discussion of the Communist theaters in the Soviet Union and American and British legacies in the 1960s. The book is a study of the influence of mass politics on theater and on theories of the audience/performer relationship. It draws from theater history, crowd theory, and theoretical analyses of the audience to think about the political implications of dynamics of power in theatrical performances. Crowd theory helps us to see that people's theaters envisioned their audiences as crowds; that is, groups of people that could experience a sense of both freedom and belonging through the theater's orchestration of a live performance event. The Crowd in the Theater studies the major European people's theaters initiatives through this theoretical lens, informed by archival traces of their productions. The time at Camargo supports the writing of the chapter on their background, drawn from Rousseau and Festivals of the French Revolution; as well as on the chapter on Firmin Gémier's Théâtre National Ambulant. Gémier's theater is not well-enough known, but it reveals much about the potent combination of culture, nationalism, and populist aesthetics in early twentieth-century France. Bringing theater to 'le people' on specially-built wagons hauling collapsible stages (seating a thousand spectators), Gémier sought to transform and decentralize dramatic culture in France. In doing so, he provided a link between the country's history of mass festivals from the Revolution and the experimental theorists of people's theaters that resulted in the Festival d'Avignon. The Crowd in the Theater is a cross-disciplinary study that establishes a new paradigm for thinking about experimental theater in new political contexts. It also contributes to audience studies by combining crowd theory and historically contextualized theories of the theatrical audience.

Pang-Chieh Hsu

Assistant Professor of Art

Camargo Fellowship

James B. Duke Professor of Literature and Romance Studies

Camargo Fellowship

2009

United States of America

The Emergence of European Modernism 1870-1914. Taking French symbolism as its test case, this project seeks to understand the nature of historical change in literary history. For historians of European literature the period from 1870 to 1914 has always been a nightmare to explain. The proliferation of trends and movements appear to defy coherent theorization. Terms multiply: realism, naturalism, symbolism, decadence, nihilism, neo-romanticism, aestheticism, fin-de-siècle, avant-garde, late Victorian and Edwardian are only some of the most common. My project takes a new look at this vital period of proliferating aesthetic projects. I aim to understand exactly how literary modernism emerges out of a non-modernist tradition. The emphasis on emergence or becoming is important. Most theories of modernism posit some kind of radical break between modernism and its predecessors. As many literary critics have pointed out, all such theories of a "break" have failed to find it: the "break" functions more as a heuristic fiction than as a historical reality. My interest is not in positing any kind of clear break, but in discovering how literary historical change actually works. My theory is that the proliferation of various proto-modernist aesthetic strategies in the period from 1870 to 1914 can be understood as different ways to negate idealism (the idea that the beautiful, the true and the good are one, and that the task of art is to uplift us). What the various forms have in common is not what they are , but what they are against . French Symbolism is the ideal test case for this theory. Its aesthetics are almost purely idealist; and its relationship to modernism is highly complicated. While Symbolist poetry is often linked to Anglo-American modernism in poetry, modernism in the novel has generally been considered to have very little to do with Symbolism. At the same time, Symbolism was radically anti-theatrical, yet it produced the influential early theater of Maurice Maeterlinck, whose plays were produced together with those of Henrik Ibsen throughout the 1890s. (Ibsen is the subject of my book Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy , OUP, 2006). The question that drives this part of my work is: What is the relationship between the aesthetics of symbolism and the aesthetics of modernism? By answering that question, I hope to discover something important about the emergence of modernism in France, and in Europe.

Gabriel Leger

Artist

Camargo Fellowship

Composer

Camargo Fellowship

2009

United States of America

Music & Composition & Sound Arts

The composition of works for electronic support or instruments with live electronics, in some cases integrating multimedia elements. To compose works employing computer-assisted techniques, physical modeling, and in some cases, real-time electronics. During the residency, a series of short pieces for guitar and live electronics entitled menus morceaux par un autre moi réunis was composed, as well as the third of a series of electro-acoustic pieces entitled Nani. Computer-assisted composition techniques were used to derive the compositional materials for both works from recordings. Both works also feature synthesis according to physical models (in real-time in the case of the latter). Both works were premiered during the residency (in Brazil and the UK respectively), and selected movements were performed in a concert hosted by the Camargo Foundation. Preliminary work and planning meetings also took place during the residency for the following multimedia works: Becoming Monostatos for dancer and ensemble with live electronics; a work with live electronics for percussionist Thierry Miroglio; Rovina nell’immagine, a collaborative multimedia work with composers Marco Momi and Stefano Trevisi and visual artist Chiara Vecchiarelli; and a possible collaboration with video artist Shirin Abu Shaqra.

Alia Al-Saji

Associate Professor

Camargo Fellowship

Studio Artist

Camargo Fellowship

2008

United States of America

Visual Arts

The creation of a couture site specific installation piece that explores French archetypes - specifically the role of Marseille's ethnic bouillabaisse within the larger context of France's cultural values and history. While researching Marseille’s history prior to my visit, I came across an account of the 2005 riots that took place in France over immigration issues. While there was tremendous upheaval and violence in Paris, Marseille, home to numerous immigrants for centuries, remained relatively peaceful. Why? The immigration issues that seemed to plague Paris--ethnicity, equality, opportunity, and acceptance-- were just as prevalent in Marseille. As I examined the issue more closely, I found that despite these matters of contention, Marseille’s citizens had forged a kind of peace--one that ensured survival rather than self-destruction. Just why that is so, is unknown and is currently being studied. I found Marseille, this hidden layer of France and its culture, fascinating. In the work that followed I wanted to uncover both the tension and the beauty I found there during my many visits. I tried to place it all in the larger context of France’s long and rich cultural heritage--and so I created Sous Ses Jupes or Under Her Skirts. I have found that the dress gives me great freedom when I am constructing metaphor. In this work, the bodice is made in a style that was popular during the reign of Marie Antoinette-a complex period of splendor and violent upheaval. The porcelain flowers as well as the gold thread and white tulle all represent France’s gift of culture to the rest of the world. What lies beneath the skirts, though, is a different story. It is gritty and passionate, colorful and alive--a web of raffia and paper, red and black--bursting from beneath France’s perfect skirts--it is Marseille.

Patrick McCray

Professor

Camargo Fellowship

Assistant Professor of History

Camargo Fellowship

2007

United States of America

A book Calvinist Crucible that uses the case of Nîmes, one of the most important Protestant towns in France, to examine the growth of the Protestant movement in France. In addition to town and church records, I created a database of all 1750 surviving Nîmes wills and marriage contracts from 1550-1562 to develop a comprehensive sociological picture of Nîmes society; changing religious formulas also help chart the religious shifts in the town. I showed that early Protestants in Nîmes were drawn from a wide spectrum of society, but biased towards merchants and clothworkers. The movement was successful, however, in expanding to the more prestigious groups of lawyers and officials in the early 1560s. This was crucial to Protestantism's success, since these groups were the most powerful members of the city's governing class. The Protestant movement was able to attract these powerful figures because it succeeded in linking its program to broader issues of political reform, which gained urgency in the later 1550s and early 1560s as the town suffered a succession of political and economic crises. I also undertook a study of the 250 most important families in Nîmes, and determined that family relationships and factions were also crucial to the movement's success. So my project touches on urban and social history as well as religious history.

Sean Shepherd

Composer and Graduate Student

Camargo Fellowship

Professor of Photography

Camargo Fellowship

Graduate Student, Department of Comparative Literature

Camargo Fellowship

2006

United States of America

My dissertation, Forgiveness and the Age of Reason: Fénelon, Voltaire, Rousseau and Staël , interrogates what was a discursive crisis in understanding the concept of forgiveness in France in purely secular terms during the long eighteenth-century. As such, it examines the degree to which the philosophical, political and theological discourses that these pre-eminent Enlightenment thinkers both inherited and cultivated directed their discussions concerning conciliatory action. There is no shortage of theological literature dealing with the problem of forgiveness during this period. Albrecht Ritschl, Karl Barth, Paul Lehmann and others have examined how deist methodology, in discrediting Revelation, directly challenged what had previously been the traditional understanding of forgiveness. However, whereas I do not attempt to minimize what were the profound ramifications of deism on forgiveness, there is much evidence that suggests that these analyses only tell half the story. More specifically, if forgiveness was called into doubt during this period, it was not simply because it was caught up in the crossfire as deism combated against more orthodox interpretations of Christian Revelation. Forgiveness and its constitutive processes were voraciously attacked for political reasons by thinkers such as John Trichard, Voltaire and the Baron d’Holbach independently of their attacks on the rational basis and/or credibility of Scripture. In theological literature, the discursive effects that this had on eighteenth-century discussions of forgiveness have been largely ignored. What has also been largely ignored is the extent to which –independently of deism–both attacks on amour-propre , as well as the dismantling of the heroic ideal and, it follows, of the magnanimous pardon in the late seventeenth-century affected the Enlightenment’s treatment of forgiveness. As a result of such attacks on more traditional understandings of forgiveness, it became unclear to many of the philosophes how one could speak about forgiveness as a real secular possibility without reducing it to a mere functional apparatus justified through the dictates of the greater good. I argue that this tendency persisted until the hyper-rationalist tendencies of the Enlightenment began to wane in the mid 1760’s. Only then did Voltaire and Rousseau both begin to search out the means to resuscitate forgiveness as an ethical ideal, without referencing either Revelation or any doctrine of utility. And, although Voltaire and Rousseau ultimately defended two very much opposed positions concerning the value and processes inherent to the pardon, the evidence they gathered in support of these positions was derived largely from quietism, a sect of Christian mysticism that was refined and popularized by Fénelon towards the end of the seventeenth-century. This is particularly true of the late Voltaire, whose Les Lois de Minos (ca 1770), Les Adorateurs (1769) and Dieu et les hommes (1769) all have a distinctly quietist tenor. I interpret these later works as an auto-critique on Voltaire’s part of his earlier, decidedly deist writings on religion, forgiveness and tolerance, such as Le Traité de la tolérance (1764) and his Dictionnaire philosophique (1765). Madame de Staël, following in the footsteps of her Enlightenment predecessors, would also turn to Fénelon in the hopes of salvaging the forgiveness as an ethical ideal. She not only shared many of the anxieties surrounding conciliatory action as discussed by Voltaire, Rousseau and others but, further, attempted to reconcile many of their contradictory views by synthesizing German Enlightenment philosophy--particularly Kant’s--to humanist and, even, quietist ideals.

Michael Osborne

Associate Professor, Department of History and Environmental Studies

2006

United States of America

A book on the Emergence of Tropical Medicine in France Completion of a book on colonial medicine in France and the French empire from 1830 to 1914. The study charts the tumultuous transformation of colonial medicine from an activity rooted in anatomy, geography, and naval hygiene, to a partially civilianized discipline wedded to the medical laboratory and clinic. It seeks two things. The first is recovery of discrete "places" effaced by the emergence of a "universal" biomedicine and modernity. After the foundation of the Pasteur Institute in 1888, and its first foreign branch at Saigon in 1891, physicians began to speak of a universal and scientific tropical medicine rather than a more restricted colonial medicine or hygiene attached to a localized place or a specific colony. Yet the heritage of this newer and ostensibly universal tropical medicine lay in very particular and localized linguistic, legislative, anthropological and cultural traditions long associated with maritime culture. The French navy’s medical education system, which trained the vast majority of colonial physicians up to 1914, was rooted in the "great school of the sea" and in port medical facilities at Brest, Rochefort, Toulon, and later Bordeaux. Linked initially to prisons and arsenals in provincial cities, the navy trained colonial physicians until the 1890s when reforms dismantled and partially civilianized the activity to meet new needs of nation and empire. These port schools drew students mainly from their immediate regions, and as late as the 1860s some students and professors spoke French only as a second language. The second major goal is to take seriously medicalized ideas of race in their internal and external dimensions.

Brian Nelson

Professor, Department of French Studies, Editor

2006

United Kingdom

Programming and development of a responsive performance system for live electroacoustic improvisation utilizing software and consumer gaming interfaces. The metaphor of the composer-as-explorer, navigating through compositional space , is a familiar analogy used amongst music-makers to describe their creative processes. As computer musicians, we find ourselves in a position to not only recognize this metaphor, but model the metaphor as well. Compositional space is a broad concept encompassing many aspects of the music-making process. Primarily, compositional space may be envisioned as a sonic environment, defined by a multi-dimensional set of parameters; here I define two possible types. Parameters could include specific events such as the presence of certain materials–a string quartet, the human voice, radio static: this is the event space . By moving through these event spaces, much like one might move through the rooms of a large house, the performer determines the progression of events. Additionally, compositional arrays may contain parameters which act upon the event space to bring about a transformation of that event–a modulation of frequencies, temporal alteration: this is a transformative space . A transformative element, like an aural pair of sunglasses, colors what is heard by the explorer as she progresses from room to room. By populating a compositional array with event spaces and subsequently overlaying/masking these events with an array of transformative spaces , an aurally rich compositional environment may be constructed. As a performer travels through compositional space, she is making musical decisions based upon where she has been and where she presently finds herself. The resulting performance system was comprised of purpose-built software running on a laptop computer which allowed for the playback and control of predetermined samples (pre-recorded ‘snippets’ of sound) arranged spatially on the screen as a two-dimensional matrix. By moving a cursor across/over this matrix, the samples may be performed In lieu of a computer mouse, however, this software was actuated (i.e., performed) by an external USB device–in this case, a consumer-model video game interface. The model of gamepad used for this project incorporated an accelerometer (or inclinometer) such that the cursor could be moved across the ‘matrix of samples’ by the performer moving the gamepad through the air, roughly navigating through the two-dimensional matrix represented on the screen. The nature of the project was twofold: technical as well as aesthetic. It was important to not only develop a system that would be responsive to my movements but to develop a performance practice as well: to not only build the instrument, but learn to play it. The system was first demonstrated on 22 November 2006 at the Camargo Foundation during the New Music from Camargo concert.

Marilynn Desmond

Professor of English and Comparative Literature

Camargo Fellowship

2006

United States of America

Completiion of a monograph entitled The Burden of the Past: The Fall of Troy and the Francophone Middle Ages ; this study analyzes the textual as well as visual tradition of the Histoire ancienne . As a vast compendium of universal history, the French prose text known as the Histoire ancienne jusqu’à César presents an illustrated narrative of Biblical, Greek, Theban, Trojan and Roman history.The first compilation of universal history in the vernacular, the Histoire ancienne was originally composed in early thirteenth-century Flanders for Roger IV, Châtelain of Lille.However, the Histoire ancienne was repeatedly copied in the ensuing centuries, in Francophone centers in Acre, Naples, Southern France and Brittany, as well as Paris.Several later redactions appear in the fourteenth and fifteenth centuries. No complete modern edition has ever been attempted, though sizeable portions of the first redaction have been made available in various editions. As the manuscript tradition attests, the textual and pictorial compilation of universal history envisioned in the Histoire ancienne was widely diffused and highly influential. For instance, several manuscripts of the Histoire ancienne were produced in the late thirteenth century in the Crusader Kingdom in the Latin East. These later productions of the Histoire ancienne were put to an altogether different purpose than the aristocratic claims its original patron, Roger IV, Châtelain of Lille, envisioned. The wide circulation of the Histoire ancienne demonstrates the centrality of the notion of universal history to the medieval imagination, and the visuality of these manuscripts attests to the importance of pictorial media for imagining the past. The circulation of the Histoire ancienne likewise allowed vernacular poets to construct rich and poetic notions of narrative temporality. This project examines the reception and transformation of the Histoire ancienne and its impact on literary cultures. Chapters 1 and 2 examine the rhetorical structures of the Histoire ancienne ; Chapter 3 focuses specifically on the visual program in the Crusader manuscripts of the Histoire ancienne . Chapter 4 explores the pictorial traditions of the Troy story in the second redaction; Chapter 5 examines three specific manuscripts of later redactions. Chapter 6 demonstrates the impact of the visual and textual traditions of the Histoire ancienne on Christine de Pizan’s universal history in verse, the Mutacion de Fortune .

Jen Bervin

Artist and Visiting Professor

Camargo Fellowship

Composer and Associate Professor of Music Theory and Composition

Camargo Fellowship

2006

United States of America

A four-act, one hour and 15 minute opera for chamber ensemble (flute, clarinet, piano, violin, cello) and bluegrass band (fiddle, banjo, mandolin, guitar, bass) with four lead voices. The opera is set in a small southern town and utilizes music of the Appalachians as well as tunes from the Southern Harmony hymnal. Entitled Cast Out Devils, Speak With New Tongues (retitled while at Camargo) on a libretto by the composer, the composed music transforms the folk and hymn materials for the chamber ensemble and singers while additionally being played in traditional manners by the bluegrass band, sometimes in harmonic and rhythmic agreement, and sometimes and stylistic and sonic clash.

Writer

Camargo Fellowship

2005

United States of America

Work on a book of creative nonfiction about counterculture artists, literary rebels and dissident journalists. I am linking several biographical essays through the themes of memory, conviction, art and exile. These pieces focus on the counterculture impulse in youth and its less common counterpart in age; and particularly on the struggle in mid-life and later to hold on to the dreams of one's youth. As I write about my subjects' lives and legacies, I also discuss my own relationship to their work. During the fellowship period, I researched and completed a first essay on Jessica Mitford . I also began an essay about Emma Goldman, and revised an essay on the Czech new wave filmmaker Vera Chytilova.

2004

Steven Woodward

Artist

Camargo Fellowship

Artist

Camargo Fellowship

Camargo Fellowship

2003

United States of America

Work on a doctoral dissertation on the Franciscan inquisition and Franciscan inquisitors in Provence and the Dauphiné from 1235-1400. In contrast to past scholarship, which largely ignores the existence of a Franciscan inquisition in the south of France, this study, "A Dilemma of Obedience and Authority: The Franciscan Inquisition and Franciscan Inquisitors in Provence and the Dauphiné , 1235-1400," argues that Franciscan inquisitors and the Franciscan inquisition in Provence and the Dauphiné played a role very different from that of Dominican inquisitors in Languedoc . Unlike the Dominicans at Toulouse and Carcassonne , Franciscans continually struggled with heterodox and marginal tendencies and factions within their own order and among their lay supporters. This intimate connection with heresy meant that a Franciscan inquisitor did more than police the general population: he also kept a watchful eye on his own dissident brothers. After a brief introduction to the inquisition of the Middle Ages and a review of the scholarly literature, the study examines the theory and execution of inquisition, investigates the physical work of the inquisition, including the process of interrogation, sentencing, and relations with the papacy, as well as the theoretical tools—inquisitorial manuals and treatises—available to guide the inquisitor in his work. A series of case studies illustrates the roles Franciscan inquisitors played in different communities. A stark contrast exists between the inquisitor at Marseille in the first quarter of the fourteenth century who was actively involved in his own convent as well as a spokesman for the city, and the inquisitor in the Dauphiné in the last half of the same century, repeatedly called to task for excessive harshness by local bishops and the pope. Finally, the dissertation looks at the nature of Franciscan inquisitors and the Franciscan inquisition as compared to the Dominican inquisition in Languedoc . This project argues that Franciscans were more effective inquisitors in Provence and the Dauphiné due to the increased level of popular devotion to the order in these regions. By pulling together and analyzing the available sources on the Franciscan inquisitors, including the original guidelines of the Franciscan Rule, papal letters and bulls, the constitutions of general and provincial chapters of the order, as well as other inquisitorial documents from the south of France, this dissertation creates an intimate portrait of the Order of Friars Minor in their role as inquisitorial agents. Providing more than a chronology of Franciscan involvement in the medieval inquisition, this study presents the dilemmas of obedience faced by Franciscan inquisitors: their particular interpretation and understanding of both the task that confronted them and the rule that guided their lives, their daily activities in Provence and the Dauphiné during the Middle Ages, and the sources from which they drew their inspiration and knowledge as inquisitors. In so doing, this project fills a long-empty place in both the history of the medieval inquisition and in the history of the Franciscan Order.

Philip Fried

Composer

Camargo Fellowship

Visual Arts

Completed two video installations, Smile and Nuclear Family ; and began the second part of a three part video trilogy, Tourist Trap — a series of interactive performance pieces. Interested in relationships between tourist migration/immigration, playing/being played, eroticism/escapism and voyaging/voyeurism — each film takes place during a different cultural event or game where random participants are unaware of their involvement in the making of the piece and where the filming continues until each camera is destroyed. The results are gritty and playful. As an installation a room is filled by a dozen simultaneous projections—one observation after another, until we have experienced dozens of different detailed and perverse perspectives. Then, one by one, all the screens go blank.

Jay Reise

Chantal Bertrand-Jennings

Professor Emerita

Camargo Fellowship

Moiya Callahan

Graduate Student

Camargo Fellowship

Karen McCoy

Artist

Camargo Fellowship

2000

United States of America

Visual Arts

Drawings, sculpture and photographic images (film and video) evolved from long walks. On the walks a kind of heightened perception is engaged as a guide to finding "material" for the work. The aim is to take notice of the surroundings with an intensity that is simultaneously purposeful and playful. Fragments from industrial production, shore detritus, nests, plants and earth pigments are collected on the walks. Images in the artwork are derived from these, as well as the flora, fauna, geologic or architectural structure of the region. A project goal is that the sculpture, drawings and photographic images act as a generative force in a complex conversation about the world. The dialogue begins with the artists own feet walking, muscles working, eyes seeing, lungs breathing and hands making—the artist as a sensing, creating body—and continues in its presentation to others. The relationship between nature and culture is paramount; a relationship that includes the earth, the body, language, and the artist's potential to construct meaning through a process of participating with and within these systems.

Shira Malkin

Composer

Camargo Fellowship

Neal Weiss

Independent Artist

Camargo Fellowship

1997

United States of America

Visual Arts

To create a body of paintings entailing a classic revisitation of Nature with a reconsideration of French Modernism's sources and forms. The Camargo painting project will integrate itself into the ongoing working practice of a New York studio painter by adding the observation of Nature to a regimen of memory, art and reproduction as the painter's primary visual resources. The goal is to create a daily process defined by a perceptive circuit incorporating the direct observation of Nature, the consequent development of a visual vocabulary and a reflection upon the formal and poetic sources of French Modernism. In order to accomplish this, the artist will target vision to sea, sky, landscape, flora, moss and moist soil; study specific, unique and infinitely varied form; introduce painting to new texture, organic enmeshing, atmospheric miasma and tangle of light; and steal forms from their settings and coerce them into paintings. Insights gained at Camargo will become integrated as elements of a larger visual language within a pre-existing studio process, and will ultimately be exported back to New York to undergo advanced stages of development and synthesis. The ultimate goal is painting in «grand style,» exaggerated and exacerbated overgrown easel painting verging on the mutated and unwieldy. Efforts will be made to summon and evoke the ever-present raw contact with nature to engender fresh form, excessive ornament and overbearing space and scale, sharpened by the lessons of French Modernism, overflowing its own sensible propriety; and to create works that tear into the vines, ravage with brambles and naively leave behind the constraints and decorum of good taste and the consistency of daily aesthetic experience. Aesthetic activity by the sea, navigation uncertain: above and beyond the willed machinery of the artist's creative mechanisms, the Camargo Foundation fellowship promises simple wonder - that age old painter's fuel of filling the lungs and eyes with the fresh air of a new culture.

Preparation of a Translation with Introduction and Notes of the Conseil à un ami of Pierre de Fontaines. Joinville's famous description of King Louis IX (the future Saint Louis) holding court under the oak tree in the Bois de Vincennes includes his calling on two judges to hear the suits: one of the judges is Pierre de Fontaines. The manuscript tradition of the latter's mid-thirteenth-century legal treatise suggests that it may have been written at the request of Louis IX for the education of his son, the future Philip III (le Hardi), 1270-1285. While it may have been adapted for that purpose, the treatise seems more like answers given by a senior judge or lawyer to a series of questions posed by a junior judge concerning cases and situations, some of which may have been actually present in a court where he was presiding. The French law cited in the treatise is that of the French province of the Vermandois, not all of it good law outside that province, and none of it, in the thirteen century, «national» law. There is another source of law for Pierre de Fontaines. (There are places near Cassis where the salt water of the Mediterranean is rendered fresh by underwater streams flowing in, delivering as much water as the Seine at Paris.) Well read in the Roman law rediscovered in Italy and taught in law schools since the previous century, de Fontaines frequently translates directly from the Digest, the Code and the Institutes of Justinian, sometimes with an acknowledgement of his source, but sometimes (by accident or design?) setting forth his translation as if it were actually already French customary law. This represents one of the ways in which Roman law was incorporated into French law. In de Fontaines, the borrowing is still very fresh. Particular problems encountered in translating this book were: (1) Much of the Old French text is (mis)translated from a Latin text that is readily consulted (so what to do about the often revealing errors?); and (2) Since Old French droit and loi are both rendered «law» in English, how to sort out the connotations of the Old French terms (droit is more like «jurisprudence» and loi is more like «statute»).

Rosalynn Voaden

Research Fellow in Medieval Literature

1997

United Kingdom

A comparative study of four medieval visionaries. The purpose of this work is to explore the influence of gender and historical context on the articulation of visionary experience, and on its reception. The study considers the lives and works of Hildegard of Bingen (d. 1179), Robert d'Uzès (d. 1296), John of Rupecissa (d. 1365), and Bridget of Sweden (d. 1373). There is particular merit in comparing these four visionaries, since it is known that Robert of Uzès, a Dominican who preached in Languedoc and Provence, read, and was profoundly influenced by the works of Hildegard, known as the «Rhineland Sibyl.» In turn, Robert's writings affected John of Rupecissa, a controversial Franciscan prophet from Aurillac who probably ended his days in the Sultan's Prison in Avignon. Controversial or not, John was read by Bridget of Sweden, who may also have known of Robert's works directly, and who had certainly read Hildegard. Each of those visionaries was influential in her or his own time as a political prophet. Although, of course, the historical context differed for each of them, they all directed their considerable spiritual energies towards reforming the Church, and attacked clerical corruption with burning zeal. This study considers the style and content of specific visions by each of the prophets, and finds significant commonalities of language and imagery. It also examines the lives of each visionary, and the contemporary reception of their works. The general conclusion of the study is that although there are instances of imagery that can be attributed to the gender of the visionary, in the articulation of political prophecy gender seems to have had surprisingly little influence. Similarly, in the reception of the prophets and their works, factors such as class, economic status and willingness to negotiate with ecclesiastical authority seem to have had a more significant effect than gender alone.

Sara Sturm-Maddox

Professor of French and Italian

Camargo Fellowship

1997

United States of America

Writing of a segment of a study exploring the movement toward cultural self-definition in lyric poetry in France from the fourteenth through the mid-sixteenth centuries. The study as a whole will examine the literary and cultural relations between France and Italy in the period spanning the late Middle Ages and the early Renaissance, focusing on two loci of fruitful exchange: Avignon and its region in the fourteenth century, and Lyon in the late fifteenth and sixteenth centuries. In each city in turn, unique convergences of economic and political circumstances created a privileged center for commerce, both material and intellectual, and particularly with Italy. Each, moreover, is identified with a major poet or poets: in the first, Petrarch wrote most of the vernacular poetry that was to serve as model for generations of lyric poets in both Italy and France; in the second, French poets began to define their own voices through an apprenticeship in the Petrarchan vein that led to self-assertiveness and finally to rivalry with the Italian master. The emphasis of the Camargo project is on the literary culture of the Vaucluse during the period of Papal residency in the region. The resolutely Latin culture promoted by a series of «Avignon Popes» has been well documented in studies of the development of the Papal library and of Petrarch's contributions to its development during the long period of his own residency in Avignon. But an active vernacular poetic culture, whose traces are more difficult to determine, also evolved in the same period, during which Avignon served as principal crossroads for diplomats, merchants, scholars and literary figures whose activities linked the courts of Italy with those of Provence, of Spain and of northern France. The study of that culture reveals it to be central to a critical period whose successive phases are marked by the reception, recognition and assimilation of—and resistance to—literary and cultural «otherness.»

J. Mark Stambaugh

Composer

Camargo Fellowship

Peter Baker

Professor of English

Camargo Fellowship

1997

United States of America

Writing the Gift is a two-volume critical study in the field of comparative literature, of which twelve of fifteen chapters have either been completed or for which significant portions exist. The first volume is a comparative literary study, including chapters on Saint-John Perse, René Char, Georges Perec and other twentieth-century French poets. The second volume extends reflections developed in the first volume and includes serious discussion of contemporary French poetry—including the writings of Nicole Brossard, Pierre Alferi, Dominique Fourcade and Joseph Guglielmi—alongside contemporary anglophone poetry from the United States, Canada, Great Britain and the Caribbean. The theoretical matrix for the discussion derives in large measure from recent writings of Jacques Derrida, including Donner le temps (Given Tîme) and Politiques de l'amitié, extending the author's treatment of Derrida in the recently published Descontruction and the Ethical Turn (1995). Among the approaches utilized in reading modern French poetry in the study are chaos theory, autobiography, translatability, holocaust studies and multiculturalism. During the Camargo residency the author presented a version in French of the chapter on Saint-John Perse and chaos theory to a colloquium sponsored jointly by the Camargo Foundation and the Fondation Saint-John Perse, based on an article to be published in Souffle de Perse.

Derek Attridge

Professor of English

Camargo Fellowship

1997

United States of America

Work toward a book on the ethical demands of literature. Recent years have seen increasing attention in literary studies to questions of ethics, but there remain a number of problems with the recasting of literary questions as ethical questions. This project addresses the issue of the relation of the reader to the literary work, as a singular human product, drawing primarily on the thinking of the French philosopher and Talmudic scholar, Emmanuel Levinas. In a number of important works Levinas argued that ethics is not a systematic set of principles for action but a fundamental and founding respect for that which is outside of, and wholly other than, the self. By approaching the literary work as an instance of «the other,» and examining the kinds of demands it makes on the reader it is possible to reformulate the question of ethic in literary studies as having to do not with representations of moral conduct nor with political efficacy but with the fundamental creativity and responsiveness involved in any responsible reading (or writing, or relating to other persons). The literary texts taken as primary examples—texts that themselves make an important contribution to the debate about otherness and ethics—are the novels of the South African writer and critic J. M. Coetzee.

1996

M. G Shanahan

Graduate Student, History of Art Department

Camargo Fellowship

1995

Artist and Assistant Professor of Art

Camargo Fellowship

Camargo Fellowship

1995

Gerard J. Brault

Edwin Erle Sparks Professor of French and Medieval Studies

Camargo Fellowship

1994

United States of America

An analytical edition of Thomas' Tristan . The medieval legend of Tristan and Isolt gave rise to several works which together constitute one of the best-known stories in Western literature. Among the earliest and most important versions is that of Thomas who lived in England during the reign of Henry II and composed his poem c. 1170. Only about one-fourth of Thomas' text survives in the Anglo-Norman dialect in which it was written. The rest necessitates. having recourse to medieval German, Norse and English redactions. Thanks to Bédier's efforts at the turn of the century, scholars have a clear picture of what Thomas originally wrote. However, Bédier based much of his evaluation of Thomas' aesthetic merits on the latter's faithfulness to a presumed written source, elements and even the existence of which many have since challenged. Three major critical editions of Thomas (Bédier, 1902-05; Wind, 1960; and Lecoy, 1992) are quite different in content and style. There is also a Modem French translation (Walter, 1989) and a Modern English version (Hatto, 1960). The many reviews of these works proposed numerous corrections, each of which will be given serious consideration. The literary commentary will draw on such diverse disciplines as thematic criticism, philology and anthropology. It will also take into account the contributions that have been made since Bédier, many of which present a far more positive view of Thomas' artistry. The final product seeks to make Thomas' Tristan more accessible to scholars and the general reader in humanities.

1993

Gerry Bergstein

Artist and Art Instructor

Camargo Fellowship

Professor of Theatre

Camargo Fellowship

1993

United States of America

In1990, England's Chichester Theatre Festival and its former artistic director, Michael Rudman (now at Sheffield Theatre), commissioned the musical book to Till Tomorrow (American Pie) based on the 1970s hit songs by Don McLean. Act I was workshopped December 1990 in London by the Chichester Theatre. The second half which takes place in southern France, was the focus of the Camargo residency. The story involves a rock musician of the late 1960s who falls in love with a young woman during his whirlwind tour of the United States. Unbeknownst to the musician after a prolonged separation, the woman gives birth to a son. The musician fakes his own "on-stage" suicide during the height of his success—in part due to his disgust of commercial musical success and all its trappings. The second part of the story is told twenty years later as the woman—now a formidable magazine journalist—travels with her adult son to Europe to cover the fall of the Berlin Wall. Her son is unaware of his father's identity, and ironically performs the musician's ballads in an innocent tribute to the bygone rock period. Rumors suggest the musician is alive, painting canvases under an assumed alias in a southern French seaport. Because of overlapping emotional motives, mother and son decide to check out these reports. In short time, they find the musician hanging out in a fringe cabaret (in Marseilles) and cavorting with a young French singing/dancer. After some difficult exchanges and confrontations, the older lovers recognize one another and reconcile, and their son falls in love with the young French singer.

Martha Lewis

Artist

Camargo Fellowship

Composer and Graduate Student, Music Department

Camargo Fellowship

Associate Professor of Music

Camargo Fellowship

Michael Bishop

Professor of French and Chair, Department of French

Camargo Fellowship

1990

Canada

A book on nineteenth-century French poetry, with Twayne, World History of Poetry Series. The volume, some three hundred pages in print, offers individuel chapters on Marceline Desbordes-Valmore, Lamartine, Vigny, Baudelaire, Hugo, Verlaine, Mallarmé, Rimbaud, Laforgue, Lautréamont; a bridge chapter on Musset, Nerval and Gautier; introduction, conclusion and bibliography. Each chapter contains eight or more sections focusing upon specific aspects of the poetics at hand and draws upon the entire poetic oeuvre and all other pertinent material, especially notebooks and essays. Emphasis is frequently placed upon the tensions of ontology, the search for meaning, the discourse of the body, questions of (self-)creation, présence, characteristic continuing but finely nuanced discourses of l'ennui and le mal, conceivable transcendences, and so on; but a significant effort is made to treat the specificities of form, mode, and style. Modem and contemporary poetic practice and theory, from Breton and Reverdy to Deguy and Bonnefoy, are often in mind in analysis, as, to some inevitable degree, is contemporary literary, critical, and philosophical thought. All remains, however, lightly centered upon the oeuvre under scrutiny, and considerable textual justification is adduced. Whilst evolution and continuity are not neglected, all chapters strive to avoid the temptations of easy equations, revealing paradoxes and "deconstructions" that tend to destabilize and open the poetics rather than seal it within some reductive pattern. Existing critical discourse on the poets examined is recognized in notes, otherwise in bibliographies.

Camargo Fellowship

1990

United States of America

Camargo Fellowship

1990

United States of America

Camargo Fellowship

1990

United States of America

Camargo Fellowship

1990

Canada

Music & Composition & Sound Arts

Camargo Fellowship

1990

United States of America

1990

United Kingdom

Camargo Fellowship

1990

United States of America

Visual Arts

Camargo Fellowship

1990

United States of America

1990

United Kingdom

Camargo Fellowship

1990

United States of America

1988

Judith Roode

Associate Professor of Art

Camargo Fellowship

Two main series of connecting paintings showing panoramic views of the port of Cassis and the Mediterranean. Each series experiments with the prolongation of the visual experience of painting through a process of segmentation.

Daniel Brewbaker

Composer and Assistant Professor of Music

Camargo Fellowship

1988

United States of America

Music & Composition & Sound Arts

Composition of a full-length ballet La Infanta , commissioned by the San Francisco Ballet. The scenario is based on Oscar Wilde's story "The Birthday of the Infanta," which was inspired by Velasquez's painting of the Infanta Maria Theresa. The ballet contrasts the spontaneity, naturalness and vulnerability of the dwarf with the impregnable formality and cynicism of the Spanish court, the Infanta being transformed by the former and the dwarf being destroyed by the latter. Correspondingly, simple diatonic, harmonically tonal treatment of musical motives is contrasted with more complex, chromatic and serial development to convey these dramatic and psychological transformations through musical structure.

David Bradby

Professor of Drama and Theatre Studies, Royal Holloway

1988

Writer

Camargo Fellowship

1987

United States of America

To work on a novel already in progress and to write an essay entitled Reflections from a High Window for the New York Times supplement known as The Sophisticated Traveler. The piece will probably be included in a volume of essays and literary criticism.

Fernande Bassan

Professor of French

Camargo Fellowship

1987

United States of America

Graduate Student, Department of Music

Camargo Fellowship

1987

United States of America

Music & Composition & Sound Arts

Composition of a full-scale opera in two acts based on Nathaniel Hawthorne's The Scarlet Letter with a libretto by Tom Curley.

H. Gaston Hall

Reader in French Studies

1987

United Kingdom

A book entitled Richelieu's Desmarets and the Century of Louis XIV, which focuses on Jean Desmarets, later Sieur de Saint-Sorlin, and reassesses innovative aspects of Cardinal Richelieu's patronage of the arts, especially theatre, and the historiography by which the period of Louis XIII came to be minimized in accounts of the seventeenth century foreshortened as "the Century of Louis XIV." A post-Renaissance "universal man," uniquely innovative at critical moments of French cultural history, Desmarets is often representative of aspirations of the French Counter-Reformation as well as of certain weaknesses. When in 1634 he entered the personal service of Richelieu, he was already Contrôleur général de l'Extraordinaire des guerres, author of a successful novel and of poems, first Chancellor of the Académie Française, and probably (as Marets) a star performer in Court ballets—an hypothesis which would account for his selection as foremost writer with the royal family, and aspects of his writing, which includes three novels, seven plays, four sets of didactic playing cards, an epic, other heroic and lyric poetry, and a work of Catholic apologetics, Les Délices de l'Esprit. His late controversies with Pierre Nicole and with Boileau, and his excessive claims for the superiority of modern French language and literature over ancient Greek and Latin, have clouded the reputation of an officier highly innovative in stagecraft and devoted to the advancement of the French language not only through belles-lettres, but public inscriptions, translations of biblical, liturgical and devotional texts, and exegesis in French of books of the Old Testament. His imaginative works, idealist and steeped in a neo-Platonic confidence in the perfectibility of mankind through improving examples, relate to theories of the social function of literature and of the merveilleux chrétien unlikely to regain popularity in the late twentieth century, but coherent and influential among Desmaret's contemporaries.

Associate Professor of Humanities and Social Studies in Medicine

Camargo Fellowship

1985

Canada

To complete a book entitled The medical elite in France in the 19th and 20th centuries. The medical profession is frequently viewed by historians and sociologists as a monolithic entity imposing its perspectives on a helpless public. This project, however, takes a different approach and attempts to analyze French medicine in the nineteenth and twentieth centuries as a complex system of power relations—a political economy, in fact, of power relations that is itself part of wider political economies of power in society. Starting with an analysis of the different types of power which exist in any society, the book seeks to locate the networks of institutions and individuals who have exercised medical authority in France. What, for instance, is the relationship between the power to control medical education (and thereby, professional reproduction) and the right to make decisions regarding public heath? What are the relationships among the various groups who wield the different sources of power as well as between these and the majority of practitioners who are effectively without institutional influence? What is the relationship between specifically medical forms of power (a professorship in a medical school, for example) and other forms of privilege and authority based on non-medical criteria such as wealth, political office or control of economic institutions? Such questions can only be answered through a historical examination of the French medical elite that combines conventional historical methods with the techniques of collective biography and of literary analysis of symbolic representations.

Stephen W. Schultz

Associate Professor of Art

Camargo Fellowship

Director, Center for Twentieth Century Studies, Associate Professor of English

Camargo Fellowship

1984

United States of America

A book on the representations of aging in twentieth-century Western culture, with an emphasis on recent French psychoanalytic theory (Lacan, Pontalis, Kristeva) and important modern and. postmodern French texts (Proust, Beckett, Barthes). Each chapter focuses on a major psychoanalytic concern (among them, the mirror stage, mourning and melancholia, narcissism, the fragmented body and transitional objects), which is paired with a major literary text. These literary and psychoanalytic scenes are presented as parables that help us understand both the cultural construction of aging and the experience of aging in the twentieth century.

Steven Trefonides

Free-lance Photographer and Painter

Camargo Fellowship

Assistant Professor of History

Camargo Fellowship

1984

United States of America

A book to be entitled Dreyfus, a Biography. The literature on the Dreyfus affair consists of over 600 titles. There is, however, one startling omission: Dreyfus himself has never taken center stage. The principal actor of the most celebrated affaire of modern France remains a mere symbol and symptom, a shadowy presence. This project is based on materials from Parisian and departmental archives and libraries, as well as family papers and interviews. It will examine the story of Alfred Dreyfus and his family over a 150-year period, starting with his grandfather, a peddler in early nineteenth-century Alsace, through the Paris years and the Affair, and concluding with World War II and the deportation of the granddaughter of Dreyfus and her death at Auschwitz. A study of the evolution and migration of the Dreyfus family will illuminate crucial aspects of social, cultural, and political change in France and will shed new light—filtered through a detailed personal history—on the process of cultural assimilation and on the growth and impact of modern European anti-Semitism.

Willard Bohn

Assistant Professor of French

Camargo Fellowship

Composer

Camargo Fellowship

To work on a commission for chorus, soloists and chamber ensemble. The piece, a Cantata whose libretto is based on William Butler Yeats' play Calvary, has been commissioned by the Atlanta Singers, Inc.

William L. Hendrickson

Associate Professor of French

Camargo Fellowship

1983

United States of America

Completion of a critical edition of "Garin de Monglane," a thirteenth-century French epic poem. According to the categories set up by Bertrand de Bar-sur-Aube in Girart de Vienne (c. 1180), this poem is the titular head of the third of the three "gestes" dealing with epic matter in France. His particular song has yet to be published in its entirety (a Paris manuscript of 15,068 lines). The second project is a study of the minor works and translations of Jean de Meun whose major work was his continuation of Guillaume de Lorris' Roman de la Rose, which was very possibly the most popular vernacular work of the Middle Ages, with more than 300 extant manuscripts. The minor works attributed to him are the Testament and the Codicille. The purpose of this study is an attempt to encompass the man, his background, interests and ideas. Each of his works provide the material for separate chapters of a monograph which could shed new light on the continuation of the Roman de la Rose, its morality, and the unity of the work as a whole. The monograph includes appropriate critical editions of texts to complement the literary study.

Patricia A. Hansen

Free-lance Artist

Camargo Fellowship

To complete a set of three songs on texts by Rainer Maria Rilke for soprano, flute, B-flat clarinet, F horn, violin, cello, piano and percussion, and to begin work on a string quartet.

1981

United States of America

To prepare a reduced edition of her book French Literature 1920-1970 (the last in the sixteen-volume Collection Arthaud). To work on a study of French poetry since the forties, a confused area within which conflicting theories and widely divergent poetic works proliferate.

Benjamin F. Bart

Professor of French

Camargo Fellowship

Professor of French

Camargo Fellowship

1980

United States of America

A book which traces the origin and development of the French essay. Beginning with a study of classical literary antecedents, this work examines French adaptations of the genre from Montaigne through the Classical period, the Age of Enlightenment and the nineteenth and twentieth centuries. Utilizing the principle that it is virtually impossible to attempt a unitary characterization of this enormously rich and varied non-fictional form, this work deals historically with the changing role of the genre through its various phases.

Frank DiPerna

Professor of Photography

Camargo Fellowship

Graduate Student, Department of Art History

Camargo Fellowship

Professor of Comparative Literature

Camargo Fellowship

1980

United States of America

Transparent Bodies is a study of the mechanics of contemporary fiction with side-glances at the other arts. It is divided into six chapters plus an introduction. Each chapter deals with one attribute or convention in terms of several experimental writers. The object is less to study the individual writer or his work than to examine in that work the manifestations of the attribute or convention studied. The chapters deal with "Double-Distancing," the an-aesthetic, aesthetic distance preferred by many creators who, consciously or not, are rethinking the basic positions of modernism; "Impossible Objectivity" or the transparent illusionism that points to the essential arbitrariness of artistic representation; "Paratactics" or the refusal of flow, an insistence on dis-continuity and in-subordination; "Nodality" or the structuring of texts by clusters of ideas, actions or themes, rather than by plot and character development; "Self-Generation" or theproduction of the illusion that the text is growing out of its own substance and "Verbo-Centrism," or the shifting of focus in fiction from the signified to the signifier. This list is not intended to be comprehensive, but it can represent an initial step toward a general mechanics of contemporary form.

Serge Gavronsky

Professor of French

Camargo Fellowship

Assistant Professor of French

Camargo Fellowship

1979

United States of America

A critical evaluation of the poetics of landscape in the works of Lamartine.

1978

Camargo Fellowship

1978

United States of America

Arthur S. Kimmel

Anne K. Winters

Independent Scholar

Camargo Fellowship

Associate Professor of Romance Languages

Camargo Fellowship

1976

United States of America

A book-length essay on several related aspects of narration in Diderot's fiction.

Frans C. Amelinckx

Film Video & Digital Arts

To complete a manuscript on the differences inherent in presenting filmically novelistic material

Past residents

Courtney Bryan

Musician

Sibel Horada

Artist

Inès Hayouni

Autor & researcher

Rachel Pacheco & Nirsa

Phd candidate & Artist, Architect, Humanitarian Aid Worker

Charlotte Schwarzinger, Achraf Motaweh & Danielle Davie

PhD Candidate, Film Director & Art Director, and Director of the School of Cinema and Audiovisual Directing (ALBA-UOB)

Hélène Artaud

Professor of Oceanic Humanities at the Muséum national d’Histoire naturelle in Paris

Alexandria Eregbu

Artist, Curator, DJ

Rula Halawani

Visual artist

Jayasree Kalathil

Writer and translator

Michael Reyes Salas

College professor

Marci Vogel

Writer, translator and educator

Jessica Sarah Rinland

Artist, filmmaker

Grace Nono

Ethnomusicologist and interdisciplinary scholar, singer

Arlene Keizer

Professor and writer

Alexandra Stein

Social Psychologist and writer

Leslie Parker

Leila Bordreuil

Ama Codjoe

Leonardo Mouramateus

Lorenzo Bianchi Hoesch, Fabrizio Cassol, Adèle Viret

Fabrizio Cassol

Composer and musician

Chandni Desnai

Assistant Professor

Anaïs Roesch

Researcher, Curator, Climate Activist

Maya Al Khaldi, Youmna Saba & Dina El Wedidi

Singers, musicians and composers

Chuck Mike

Theatre Director And Activist

Mina Keshavarz

Filmmaker And Producer

Delia Hagen

Historian

Adebayo Quadry-Adekanbi & Emmanuel Ndefo

Phd Candidate & Performer

Adèle Haenel

Actress, activist and writer

Rashida Braggs

Writer

Fabrizio Cassol

Composer and musician

Sivan Eldar & Ganavya Doraiswamy

Composer & Vocalist and musician

Dorothée Munyaneza

Singer, author and choreographer

Yewhe Yeton and Cécile Van den Avenne

Rapper and scholar

Reslane Lounici

Writer

Ahmed Semiane

Writer and filmmaker

Lara Tabet

Artist and medical doctor

Olga Kokcharova

Sound artist, composer, musician

Simona Rukuižaitė

Visual artist, researcher

Vaiva Grainytė

Writer, poet, playwright

Indrė Umbrasaitė

Architect, researcher and assistant professor

Siraji Koloto

Multidisciplinary Artist And Thinker