{"id":1668,"date":"2016-07-22T08:44:14","date_gmt":"2016-07-22T07:44:14","guid":{"rendered":"http:\/\/studioreb.fr\/lde\/?page_id=1668"},"modified":"2018-03-07T17:08:19","modified_gmt":"2018-03-07T16:08:19","slug":"cartographie-patrimoine-litteraire","status":"publish","type":"page","link":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/cartographie-patrimoine-litteraire\/","title":{"rendered":"LORRAINE\u2019S LITERARY HERITAGE"},"content":{"rendered":"<p>[vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;2123&#8243;][vc_column css=&#8221;.vc_custom_1474378787902{margin-top: 50px !important;margin-bottom: 50px !important;}&#8221;][vc_custom_heading text=&#8221;LORRAINE\u2019S LITERARY HERITAGE&#8221; font_container=&#8221;tag:h1|font_size:48px|text_align:center|color:%23ffffff&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221; css=&#8221;.vc_custom_1517822081659{margin-top: 200px !important;}&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<strong>The literary heritage as a space of identification and appropriation, has proven to be a particularly interesting resource for the territorial and cultural development of the region of Lorraine. Heritage is the designation given to a collection of particular memories that can take different forms from an abstract or a concrete point of view. For the geographer <a href=\"http:\/\/www.ades.cnrs.fr\/IMG\/pdf\/GDM_PP_et_CT_Poitiers.pdf\">Guy Di M\u00e9o<\/a> the concept integrates \u201ccultural objects, artifacts that have been made or powerfully transformed by human creativity or work, to which will possibly be added esthetic values and symbolic functions\u201d.<\/strong><\/p>\n<p>DI MEO, Guy, 2008. \u00ab Processus de patrimonialisation et construction des territoires \u00bb. Colloque &#8220;Patrimoine et industrie en Poitou-Charentes : conna\u00eetre pour valoriser&#8221;, Poitiers-Ch\u00e2tellerault, France. Geste \u00e9ditions, p.87-109.<\/p>\n<p><a href=\"http:\/\/www.ades.cnrs.fr\/IMG\/pdf\/GDM_PP_et_CT_Poitiers.pdf\" target=\"_blank\" rel=\"noopener\">ades.cnrs.fr\/<\/a><\/p>\n<p>It is interesting to grasp the forms of the literary resources in the Lorraine region, by doing a first critical review, currently in process, of both the places and the actors of literary tourism (museum managers, associations, etc.) Follow us along the roads of Lorraine parting from this first exploration and around three specific forms (the writer\u2019s house, the museum and literary walks).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<h1 style=\"text-align: center;\"><span style=\"color: #999999;\">LORRAINE\u2019S LITERARY HERITAGE<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2217\" src=\"http:\/\/test-lde.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge-150.png\" alt=\"filet-rouge-150\" width=\"150\" height=\"9\" \/><\/span><\/h1>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n<!-- iframe plugin v.4.5 wordpress.org\/plugins\/iframe\/ -->\n<iframe loading=\"lazy\" src=\"http:\/\/tonic-geo2.uni.lu:8080\/atlasfx\/js\/index.html?mapId=239\" width=\"100%\" height=\"600\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\"><\/iframe>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text]<a name=\"maisonpaulverlainemetz\"><\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_custom_heading text=&#8221;La maison<br \/>\nPaul Verlaine<br \/>\n(Metz)&#8221; font_container=&#8221;tag:h2|font_size:42|text_align:left&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_single_image image=&#8221;2722&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text]<em><strong>\u00ab\u00a0Une sorte de reconnaissance d\u00e9licate s\u2019unit \u00e0 une curiosit\u00e9 digne d\u2019\u00e9loge pour nous int\u00e9resser \u00e0 l\u2019histoire priv\u00e9e de ceux dont nous admirons les ouvrages. Le lieu de leur naissance, leur \u00e9ducation, leur caract\u00e8re (\u2026),\u00a0 tout ce qui les concerne arr\u00eate l\u2019attention de la post\u00e9rit\u00e9. Nous aimons \u00e0 visiter leurs demeures (\u2026). \u00bb<\/strong><\/em><\/p>\n<p><strong>Diderot,\u00a0Essai sur les r\u00e8gnes de Claude et de N\u00e9ron\u00a0<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<h3>A PLACE OF MEMORIES, THE PLACE OF THE AUTHOR\u2019S CONSACRATION<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-2728 alignleft\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/mv2.jpg\" alt=\"mv2\" width=\"400\" height=\"238\" srcset=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/mv2.jpg 400w, http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/mv2-300x179.jpg 300w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/>In 2011, an association of people passionate for the cursed poet opened its doors to the public in the house where Paul Verlan was born (2 rue Haute-Pierre in Metz), a huge middle-class apartment on the second floor, a reconstructed universe to reflect the glory of the man of letters. The visit develops around four exhibition pieces and a reception bookshop. It aims to\u00a0retrace in a chronological perspective the biographical and poetic itinerary of the author from a collection of objects that are part of many of the writers\u2019 images, like identity markers. One of the objects is consecrated to the poet\u2019s Lorraine origin, to his childhood in Metz, his \u201cfatal cradle\u201d and it sends the public back to \u201cSouvenirs d\u2019un Messin\u201d (1892). In this text, Paul Verlain explains his emotional attachment to the place of his childhood:<\/p>\n<p>\u201cI am proud more than ever of being Lorrain and Messin, more than the unhappy Lorraine and Metz, and their pain. And, I love Metz and remember somewhat when I was seven and I had to leave her for Paris\u2026 these vague snatches of childish recollection are more precious to me, dearer, than the louder and blustering memories\u2026\u201d[\/vc_column_text][vc_column_text]Excerpt in response to his long poem \u201cl\u2019Ode \u00e0 Metz\u201d partly resumed in the Confessions that distill the city\u2019s emblematic places like the Fortress, the Serpenoise Gate or even the Cathedral:<\/p>\n<p style=\"text-align: center;\"><strong>\u201cMetz and its magnificent countryside <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>Rivers with prolific waves <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>Wooded hills, fiery vineyards<\/strong><\/p>\n<p style=\"text-align: center;\"><strong> Cathedrals all in curls <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>Where the wind sings over the flute <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>And who answers to it by the Mutte<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>This great voice of the Good God.\u201d<\/strong><\/p>\n<p>[\/vc_column_text][vc_column_text]It is worth pointing out that the lovers of the \u201cprince of poets\u201d may consult two manuscript versions of this collection in the Verlaine media library in the city, thanks to an international reference fund rich with numerous original editions and including a great variety of documents (autographs and manuscripts, published texts, translations, images, music).<\/p>\n<p>The association \u201cles amis de Verlaine\u201d claims the need to preserve by this place, the literary patrimony in order to bring back \u201cthe spirit of an author, give charm and life to a space full of history, bring memories to life through writing and through an invitation to a journey\u2026\u201d. This writer\u2019s house has become a place of worship that aims to offer the curious, the scholars and all types of visitors an opportunity to know the work of Paul Verlaine. This desire for turning into the heritage of literature by using a specific place is consistent with the guidelines of the Federation of Writers\u00b4 Homes and Literary Heritage (http:\/\/www.litterature-lieux.com), It was created in France in 1997, with the purpose of connecting the different places and literary heritages (monuments, collections, archives, documents), while assuring the existence, preservation and cultural influence of the writers\u2019 houses. This group contributes wholeheartedly to the sacralisation of the authors, &#8220;the search of the lost aura&#8221; according to the ethnologist.<\/p>\n<p>Daniel Fabre. (<a href=\"http:\/\/www.litteraturelieux.com\/multimedia\/File\/publications\/fabre.pdf\" target=\"_blank\" rel=\"noopener\">litteraturelieux.com<\/a>)<\/p>\n<h3><\/h3>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;2724&#8243; img_size=&#8221;full&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1517822382272{padding-top: 2px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;background-color: #f2f2f2 !important;}&#8221;]<\/p>\n<h3>A PLACE OF MEDITATION<\/h3>\n<p>Paul Verlaine\u2019s home not only represents one of the means of exposing literature apart from the texts, but it is also recognized as a place of cultural mediation around the author\u00b4s figure. In fact, a wide variety of literary activities are offered to the public in different forms: poetic readings of the text by different voices recalling the life of the poet, recitals, poetic cabarets, exhibitions from artists connected to the author, poetry contests, an annual tribute to Verlaine in front of the monuments dedicated in his honor in Metz (on the Esplanade) and in Paris (Jardin du Luxembourg).[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<p>&nbsp;<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; css=&#8221;.vc_custom_1475245660478{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_column css=&#8221;.vc_custom_1475245652266{margin-top: 0px !important;margin-right: 100px !important;margin-bottom: 0px !important;margin-left: 100px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_column_text]<a name=\"claireetyvangoll\"><\/a>[\/vc_column_text][vc_custom_heading text=&#8221;CLAIRE AND YVAN GOLL&#8221; font_container=&#8221;tag:h1|font_size:68px|text_align:center|color:%23000000&#8243; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221; css=&#8221;.vc_custom_1517822407285{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;2743&#8243;][vc_column css=&#8221;.vc_custom_1475246872270{margin-top: 20px !important;margin-bottom: 20px !important;}&#8221;][vc_custom_heading text=&#8221;WRITERS IN THE MUSEUM&#8221; font_container=&#8221;tag:h1|font_size:48px|text_align:center|color:%23ffffff&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]The Pierre-No\u00ebl Museum in Saint-Di\u00e9-des-Vosges that houses the Claire and Yvan Goll collection presents to the public this mythical couple of intellectuals, writers and journalists who frequented Malraux, Cocteau, Aragon, Soupault, L\u00e9ger, Chagall and many other expressionist and European surrealist artists. Yvan Goll (his real name was Isaac Lang), was born in 1891 in a Jewish family from Saint-Di\u00e9, in a time when the city was under German administration. He managed equally well in French and in German, as we can notice in the publication of his first collection of poems in Metz (Lothringische Volkslieder) which has always proved his dual culture. Yvan Goll is an expressionist poet but also a novelist, author of avant-garde plays, translator and editor. Yvan Goll offers through\u00a0Les \u00e9l\u00e9gies internationales (1915) and Le Nouvel Orph\u00e9e (1923) pacifist and European texts. His poetic production also evokes his land of origin from Lorraine to Alsace, on the intersection of territories, throughout several texts.<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<h3 style=\"text-align: center;\">CROSS OF LORRAINE<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<p style=\"text-align: center;\">Cross of Lorraine<\/p>\n<p style=\"text-align: center;\">Heart of France<\/p>\n<p style=\"text-align: center;\">France of my Heart<\/p>\n<p style=\"text-align: center;\">Tower of suffering<\/p>\n<p style=\"text-align: center;\">Garden of tears<\/p>\n<p style=\"text-align: center;\">I have climbed the plum trees of Lorraine<\/p>\n<p style=\"text-align: center;\">I have pressed the olives of Provence<\/p>\n<p style=\"text-align: center;\">I have picked your chervils and your verbenas<\/p>\n<p style=\"text-align: center;\">France: orchard of love and abundance<\/p>\n<p style=\"text-align: center;\">Lime or oak<\/p>\n<p style=\"text-align: center;\">Wooden cross<\/p>\n<p style=\"text-align: center;\">Cross of Lorraine<\/p>\n<p style=\"text-align: center;\">Everywhere you believe<\/p>\n<p style=\"text-align: center;\">Your old elms are today transformed in gallows<\/p>\n<p style=\"text-align: center;\">Your wheat fields are now just fields of honor<\/p>\n<p style=\"text-align: center;\">Your executed sons kneel behind your churches<\/p>\n<p style=\"text-align: center;\">A mass grave opens under the blossoming clover<\/p>\n<p style=\"text-align: center;\">Cross of France<\/p>\n<p style=\"text-align: center;\">France in Cross<\/p>\n<p style=\"text-align: center;\">Yew of Patience<\/p>\n<p style=\"text-align: center;\">Lys of Faith<\/p>\n<p style=\"text-align: center;\">Bread of sorrow<\/p>\n<p style=\"text-align: center;\">Mystique wine<\/p>\n<p style=\"text-align: center;\">Door of wisdom<\/p>\n<p style=\"text-align: center;\">Arch of alliance<\/p>\n<p style=\"text-align: center;\">Mirror of angels<\/p>\n<p style=\"text-align: center;\">Jean\u2019s stake<\/p>\n<p style=\"text-align: center;\">Yule log<\/p>\n<p style=\"text-align: center;\">Three-colored sky<\/p>\n<p style=\"text-align: center;\">Rose of Chartres<\/p>\n<p style=\"text-align: center;\">Strasbourg\u2019s reed<\/p>\n<p style=\"text-align: center;\">Tower of love<\/p>\n<p style=\"text-align: center;\">Love of France<\/p>\n<p style=\"text-align: center;\">France of my heart<\/p>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/yvanclairegoll.canalblog.com\/archives\/2008\/11\/30\/11579131.html\" target=\"_blank\" rel=\"noopener\">yvanclairegoll.canalblog.com\/<\/a><\/p>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<h3 style=\"text-align: left;\">Chant du soldat de France<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761 alignleft\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<p>[\/vc_column_text][vc_column_text]Excerpt from \u201cChant du soldat de France\u201d 1940 (original)<\/p>\n<p>When on the Maginary line<\/p>\n<p>The yellow moon flooded me<\/p>\n<p>I dreamt that we were in war<\/p>\n<p>But death didn\u2019t touch me<\/p>\n<p>Thus they bang, bang, bang<\/p>\n<p>The little bayonets<\/p>\n<p>They shoot three times<\/p>\n<p>And then they leave<\/p>\n<p>They have come from Brutality<\/p>\n<p>Behind Metz, near to Ch\u00e2lons<\/p>\n<p>Up to Paris in distress<\/p>\n<p>And I walked backwards<\/p>\n<p>Thus they bang, bang, bang<\/p>\n<p>The little machine guns<\/p>\n<p>They shoot a hundred times<\/p>\n<p>And then they leave<\/p>\n<p>Why didn\u2019t I pick the rose<\/p>\n<p>With the Strasbourg thorn<\/p>\n<p>The apotheosis ladder<\/p>\n<p>Has made me come down from the Tower[\/vc_column_text][vc_separator][vc_empty_space][vc_column_text]<\/p>\n<h3>EXCERPT<br \/>\nVERSES ON &#8220;THE GREAT MISERY OF FRANCE\u201d NEW YORK (1940) ORIGINAL<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761 alignleft\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<p>[\/vc_column_text][vc_column_text]New York (1940) unpublished<\/p>\n<p>When on the Maginary line<\/p>\n<p>The dreamers drunk of drums<\/p>\n<p>Cultivated the rose mallow<\/p>\n<p>From Munster rose of Strasbourg<\/p>\n<p>Behind your beautiful drapes of barley<\/p>\n<p>Where the skylark honed the air<\/p>\n<p>Have you ever heard about the forges of hate where Fafner worked?<\/p>\n<p>France: wicked peasant Charmed by the side of the Sleeping Wood<\/p>\n<p>The sons of your romances in the Rhine<\/p>\n<p>Come to give you punishment<\/p>\n<p>They come from Brutality Behind Metz, near to Ch\u00e2lons<\/p>\n<p>Up to Paris in distress<\/p>\n<p>Who mount towards Cavaillon[\/vc_column_text][vc_empty_space][vc_column_text]<a href=\"http:\/\/yvanclairegoll.canalblog.com\" target=\"_blank\" rel=\"noopener\">yvanclairegoll.canalblog.com<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1517823037899{padding-top: 2px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #f2f2f2 !important;}&#8221;]In 1921, he married Claire Aischmann-Studer, a German novelist, poet and\u00a0journalist who in 1977bequeathed the city of Saint-Di\u00e9-des-Vosges, numerous manuscripts in French and diverse objects that form the Claire et Yvan Goll fund. The manuscripts, books and personal documents of the writer are kept at the Victor Hugo library, whereas the Pierre No\u00ebl museum displays the furniture, the works of art and the posters.<br \/>\nIn addition to the archives, the musealization of the writer, whose works are translated in 16 languages and published in 3 continents, takes place here through this exhibition that offers the visitors an &#8220;exposed literature&#8221;. (Olivia Rosenthal, Lionel Ruffel, \u00ab introduction\u00a0\u00bb,\u00a0<i>Litt\u00e9rature<\/i>,\u00a0 n\u00b0160, 2010\/4, p. 4.<\/p>\n<p><a href=\"https:\/\/www.cairn.info\/revue-litterature-2010-4-page-3.htm\" target=\"_blank\" rel=\"noopener\">cairn.info<\/a>\u00a0lors de trois grandes expositions\u00a0:<\/p>\n<p>Mary CUNY, Daniel GRANDIDIER, \u00ab\u00a0Yvan Goll : un po\u00e8te, sa femme, ses illustrateurs\u00a0\u00bb, Saint-Di\u00e9 des Vosges, 1980, catalogue de l\u2019exposition au Mus\u00e9e de Saint-Di\u00e9 des Vosges 22 novembre \u2013 14 d\u00e9cembre 1980.<br \/>\n\u00ab\u00a0Yvan Goll : l&#8217;homme et l&#8217;\u00e9crivain dans son si\u00e8cle\u00a0\u00bb, Mus\u00e9e de Saint-Di\u00e9 des Vosges, 1991, catalogue de l\u2019exposition r\u00e9alis\u00e9e par le Mus\u00e9e et la M\u00e9diath\u00e8que de Saint-Di\u00e9 des Vosges.<br \/>\n\u00ab\u00a0Yvan Goll : po\u00e8te europ\u00e9en des cinq continents\u00a0\u00bb, Paris et Pont-\u00e0-Mousson, 1999, catalogue de l\u2019exposition de St Di\u00e9 des Vosges 2000, Berlin 2001.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/3&#8243;][vc_column_text]<\/p>\n<h2><b>Pierre-No\u00ebl Museum: A noteworthy collection <\/b><\/h2>\n<p>Thanks to Clair Goll\u2019s legacy, the museum in the town of Saint-Di\u00e9-des-Vosges preserves the furniture of their apartment in Paris, their personal belongings and photographs. In addition to these objects there is a very beautiful art collection comprised of paintings (Gleizes, H\u00e9lion), drawings (Chagall, Clav\u00e9, Dali, Robert Delaunay, Lam, Larionov, L\u00e9ger, Masson, Sch\u00f6ffer, Takal, Tanguy, Villon, Zao Wou-ki), engravings (Arp, Brauner, Fini, Friedl\u00e4nder, Mir\u00f3, Picasso, Survage), as well as other objects that have traits of the performing arts (posters with the author\u2019s plays, a musical score, designs of props and costumes, puppets of Java, etc.).[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;2752&#8243; img_size=&#8221;full&#8221;][vc_single_image image=&#8221;2754&#8243; img_size=&#8221;full&#8221;][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_column_text]<\/p>\n<h2><b><\/b><b>A FOUNDATION AND A LITERARY AWARD<\/b><\/h2>\n<p>In 1991, under the aegis of the France Foundation, a Yvan and Claire Goll Foundation was created in order to promote the work of the couple by developing mediation activities (colloquiums, conferences, expositions) and editing. In partnership with the French-speaking Alliance, the Ministry of Culture and French-speaking countries, the Yvan and Claire Goll Foundation has been attributing the Yvan Goll International Awards for French Poetry (\u20ac4,000) at the Poetry market, Saint-Sulpice square in Paris, since 1994.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1517823164024{background-color: #f2f2f2 !important;}&#8221;]<\/p>\n<h3 style=\"text-align: center;\"><b><\/b><strong>FOR ADDITIONAL INFORMATION:<\/strong><\/h3>\n<h3 style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<h3 style=\"text-align: center;\">FRIENDS OF THE YVAN AND CLAIRE GOLL FOUNDATION.<\/h3>\n<h4 style=\"text-align: center;\">Contact : Service de l\u2019Action Culturelle \u2013 H\u00f4tel de Ville \u2013 BP 275 \u2013 88100 Saint-Di\u00e9-des-Vosges<br \/>\nT\u00e9l : 03.29.52.66.45.<br \/>\nshecht@ville-saintdie.fr<\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221;][vc_column css=&#8221;.vc_custom_1475246860615{margin-top: 20px !important;margin-bottom: 20px !important;}&#8221;][vc_column_text]<a name=\"promenadelitteraireenlorraine\"><\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;2775&#8243;][vc_column css=&#8221;.vc_custom_1475246860615{margin-top: 20px !important;margin-bottom: 20px !important;}&#8221;][vc_custom_heading text=&#8221;PROMENADE LITT\u00c9RAIRE ET HISTORIQUE EN LORRAINE (TOUL)&#8221; font_container=&#8221;tag:h1|font_size:48px|text_align:center|color:%23ffffff&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/3&#8243;][vc_column_text]<\/p>\n<h3><strong>STROLLS IN TOULON<\/strong><\/h3>\n<p>Since 2006, the literary and historic strolls in Toul have existed and were created and organised by the Claveau Association (a cultural association in Toul that aims to develop, animate and restore the old Hotel de Pimodan and the old Hospital du Saint-Esprit). They occur every year during the summer season: one takes place in July and the other in August. Each year, a different theme is chosen: Emile Moselly (a famous author from Toul), witchcraft and evil in Toul, the Great War in Toul, mention of Renaissance through old Toul, following the tracks leading to places to have fun in Toulon or even the bourgeois in Toul during the 17th and 18th centuries.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_column_text]<\/p>\n<h3><strong>LITERARY THEMES<\/strong><\/h3>\n<p>Once the theme for the stroll has been chosen, the four members that organise the event: Andr\u00e9 Rouyer (president of Le Claveau Association and initiator of the strolls), Philippe Masson (historian), Josette Codron (former literature teacher) and Jean-Pierre Ziegler (narrator for the strolls), start\u00a0extensive efforts in documental research in order to choose the theme from literary texts and archives in relation to the town of Toul.<br \/>\nToul, a fortified town, rich in history and heritage, lends itself perfectly to this type of cultural activity by mixing scientific references and strolls.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_column_text]<\/p>\n<h3>AN ACCESSIBLE URBAN HERITAGE<\/h3>\n<p>The tourism office offers a stroll lasting about one and a half to two and a half hours, free of cost and no registration. It allows one to discover the town of Toul from a new angle and in an original way, outside its beaten paths. From the forecourt of Toul\u2019s cathedral, fifty to eighty persons participate each year in a journey full of historical explanations and interspersed with literary extracts and anecdotes read aloud at carefully chosen locations in the town.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/leclaveau.blogspot.fr\/\" target=\"_blank\" rel=\"noopener\">http:\/\/leclaveau.blogspot.fr\/<\/a><\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;4287&#8243;][vc_column css=&#8221;.vc_custom_1475246860615{margin-top: 20px !important;margin-bottom: 20px !important;}&#8221;][vc_custom_heading text=&#8221;FONDS LITT\u00c9RAIRES LORRAIN&#8221; font_container=&#8221;tag:h1|font_size:48px|text_align:center|color:%23ffffff&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1508486480464{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;][vc_column_text]<\/p>\n<h3>Les fonds litt\u00e9raires en Lorraine, l\u2019exemple des fonds Verlaine, Kahn et Moselly<\/h3>\n<p>Les fonds litt\u00e9raires de manuscrits connaissent aujourd\u2019hui en France un regain d\u2019int\u00e9r\u00eat et un engouement sans pr\u00e9c\u00e9dent. T\u00e9moins et garants de notre patrimoine litt\u00e9raire, ils apparaissent comme des points d\u2019ancrage autour desquels s\u2019\u00e9toffe la vie litt\u00e9raire.<br \/>\nSi les fonds litt\u00e9raires couvrent l\u2019ensemble du territoire, certains parmi les plus importants se concentrent en \u00cele-de-France, alors que d\u2019autres jalonnent la Lorraine comme le fonds Yvan Goll ou Maxime Alexandre \u00e0 Saint-Di\u00e9-des-Vosges, au encore ceux que nous \u00e9voquons dans cet article, le fonds Paul Verlaine et le fonds Gustave Kahn \u00e0 Metz et le fonds \u00c9mile Moselly \u00e0 Nancy.<\/p>\n<p>Surtout consult\u00e9s dans le cadre de recherches et d\u2019\u00e9tudes par les chercheurs, les fonds litt\u00e9raires sont n\u00e9anmoins accessibles au grand public. Ils donnent \u00e0 voir des manuscrits originaux, autographes, coupures de presse, photographies, fragments de correspondances et autres documents ayant trait \u00e0 la vie de leurs auteur-e-s. Les \u00e9tablissements de conservation pr\u00e9servent et collectent ces documents dont l\u2019acquisition s\u2019effectue le plus souvent aupr\u00e8s de collectionneurs, donateurs, ou \u00e0 l\u2019occasion de ventes aux ench\u00e8res.<\/p>\n<p>Outre la conservation du patrimoine litt\u00e9raire, les institutions de conservation s\u2019attachent \u00e9galement \u00e0 promouvoir et valoriser la figure de leurs auteur-e-s. Ainsi, de nombreux \u00e9v\u00e9nements et expositions sont organis\u00e9s afin d\u2019attirer donateurs et passionn\u00e9s. Les publications soutiennent \u00e9galement cette mission, c\u2019est pourquoi d\u2019innombrables revues naissent sous leur initiatives comme les revues, <em>Parade sauvage <\/em>ou <em>Actes de colloques,<\/em> consacr\u00e9es \u00e0 l\u2019actualit\u00e9 des \u00e9tudes rimbaldiennes, <em>Revue Verlaine,<\/em> propos\u00e9es par la m\u00e9diath\u00e9que Voyelle \u00e0 Charleville-M\u00e9zi\u00e8res ou <em>Les Carnets de Medamothi <\/em>que l\u2019on pourra retrouver \u00e0 la m\u00e9diath\u00e9que Verlaine \u00e0 Metz.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1508486491027{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_single_image image=&#8221;4231&#8243; img_size=&#8221;full&#8221;][vc_column_text css=&#8221;.vc_custom_1508486498686{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;]Aux abords de la m\u00e9diath\u00e9que, Paul Verlaine vous accompagne. Cr\u00e9dit photo\u00a0: Karen Cayrat (2017)[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; css=&#8221;.vc_custom_1475245660478{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_column css=&#8221;.vc_custom_1475245652266{margin-top: 0px !important;margin-right: 100px !important;margin-bottom: 0px !important;margin-left: 100px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_column_text]<a name=\"claireetyvangoll\"><\/a>[\/vc_column_text][vc_custom_heading text=&#8221;Le fonds Paul Verlaine&#8221; font_container=&#8221;tag:h1|font_size:68px|text_align:center|color:%23000000&#8243; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221; css=&#8221;.vc_custom_1508486692033{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_custom_heading text=&#8221;(m\u00e9diath\u00e8que Verlaine, Metz)&#8221; font_container=&#8221;tag:h4|font_size:24|text_align:center&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1508487298276{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;][vc_column_text css=&#8221;.vc_custom_1508487182646{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;]<\/p>\n<h5><strong>Les murs de la m\u00e9diath\u00e8que Verlaine renferment l\u2019un des trois plus importants fonds litt\u00e9raires d\u00e9di\u00e9s au po\u00e8te messin. <\/strong><\/h5>\n<p>Si certaines pi\u00e8ces de la collection du fonds Verlaine peuplent les diff\u00e9rents secteurs de la m\u00e9diath\u00e8que et sont en libre acc\u00e8s, d\u2019autres, plus pr\u00e9cieuses, se consultent exclusivement sur demande. Il faudra donc traverser la m\u00e9diath\u00e8que pour emprunter les quelques marches h\u00e9lico\u00efdales qui conduisent dans le secret de l\u2019espace d\u00e9volu \u00e0 la recherche. C\u2019est dans cet antre aux rayonnages richement orn\u00e9s, o\u00f9 flotte le doux parfum des livres, que travaille Nicolas Jourdan, assistant de conservation au d\u00e9partement Patrimoines.<\/p>\n<p>Nicolas Jourdan conte avec passion l\u2019historique du fonds Verlaine, dont la constitution remonte \u00e0 1966 et qui \u00e0 l\u2019origine fut financ\u00e9 par les \u00ab\u00a0dommages de guerre\u00a0\u00bb. Ce bibliophile averti partage fort volontiers son savoir encyclop\u00e9dique ainsi que de nombreuses anecdotes au d\u00e9tour des majestueuses reliures, pi\u00e8ces et coffrets qu\u2019il manipule avec d\u00e9lice et \u00e9merveillement.<\/p>\n<p>[\/vc_column_text][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4240&#8243; img_size=&#8221;full&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator border_width=&#8221;2&#8243;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text]En effet, le fonds r\u00e9unit une grande h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 de documents dont une myriade de manuscrits autographes, d\u2019\u00e9ditions illustr\u00e9es et\/ou originales, de traductions, ou encore de documents iconographiques.<\/p>\n<p>[\/vc_column_text][vc_single_image image=&#8221;4237&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1508487590376{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_single_image image=&#8221;4238&#8243; img_size=&#8221;full&#8221;][vc_column_text css=&#8221;.vc_custom_1508487580818{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;]Manuscrit autographe du po\u00e8me <em>Minuit<\/em> de Paul Verlaine paru dans le recueil <em>Chair<\/em> (1896). Cr\u00e9dit photo\u00a0: Karen Cayrat (2017)[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1508487729361{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;]Paul Verlaine, <em>Lassitude, Po\u00e8mes Saturniens<\/em> (1866). Cr\u00e9dit photo\u00a0: Karen Cayrat (2017)[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text]Mais il poss\u00e8de \u00e9galement des pi\u00e8ces rares et prestigieuses qui font depuis de nombreuses ann\u00e9es sa renomm\u00e9e comme le manuscrit Barthou ou Gimpel, manuscrit autographe des <em>Confessions <\/em>acquis en 2004.[\/vc_column_text][vc_single_image image=&#8221;4239&#8243; img_size=&#8221;full&#8221;][vc_column_text css=&#8221;.vc_custom_1508487862256{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;]Paul Verlaine, <em>Les Confessions <\/em>(1895), Manuscrit Gimpel d\u00e9tail de la reliure, dorure sur tranche. Cr\u00e9dit photo\u00a0: Karen Cayrat (2017)[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text css=&#8221;.vc_custom_1508492109814{border-top-width: 5px !important;border-right-width: 5px !important;border-bottom-width: 5px !important;border-left-width: 5px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;border-left-style: dotted !important;border-right-style: dotted !important;border-top-style: dotted !important;border-bottom-style: dotted !important;border-radius: 10px !important;}&#8221;]<strong>Par ailleurs, des commandes r\u00e9alis\u00e9es aupr\u00e8s d\u2019artistes contemporains, comme Jean Chauvelot ou Isabelle Cridlig, viennent enrichir le fonds, et lui apportent une certaine modernit\u00e9 qui s\u2019inscrit directement en lien avec l\u2019\u00e9criture, \u00e0 la fois empreinte d\u2019oralit\u00e9 et de musicalit\u00e9, du po\u00e8te.<\/strong><\/p>\n<p>Comme le pr\u00e9cise Nicolas Jourdan, le fonds Verlaine s\u2019articule autour de trois r\u00e9serves o\u00f9 se conjuguent des crit\u00e8res, thermiques, hygrom\u00e9triques ou li\u00e9s \u00e0 la qualit\u00e9 de l\u2019air. En effet les p\u00e2tes \u00e0 papier \u00e9tant diff\u00e9rentes et plus ou moins acides, une ma\u00eetrise draconienne de ces facteurs est indispensable \u00e0 la bonne conservation des documents. \u00c0 l\u2019occasion des Journ\u00e9es europ\u00e9ennes du Patrimoine, l\u2019\u00e9quipe de la m\u00e9diath\u00e8que Verlaine propose des visites guid\u00e9es de ses exceptionnelles r\u00e9serves. La premi\u00e8re est la r\u00e9serve pr\u00e9cieuse, qui conserve les pi\u00e8ces les plus \u00e9minentes et extraordinaires telles que les manuscrits autographes ou originaux. La deuxi\u00e8me est la r\u00e9serve patrimoniale, qui regroupe principalement diverses \u00e9ditions. Contrairement \u00e0 la derni\u00e8re r\u00e9serve, la r\u00e9serve de conservation, ces deux r\u00e9serves s\u2019av\u00e8rent toutes deux inali\u00e9nables et p\u00e9rennes. Alors que la r\u00e9serve de conservation s\u2019attache \u00e0 pr\u00e9server des documents ou ouvrages pr\u00e9sentant un int\u00e9r\u00eat que seules les ann\u00e9es pourront ou non ent\u00e9riner.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-4248 alignright\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/Entre\u0301e-de-la-me\u0301diathe\u0301que.jpg\" alt=\"Entre\u0301e-de-la-me\u0301diathe\u0301que\" width=\"239\" height=\"159\" srcset=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/Entre\u0301e-de-la-me\u0301diathe\u0301que.jpg 600w, http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/Entre\u0301e-de-la-me\u0301diathe\u0301que-300x201.jpg 300w\" sizes=\"auto, (max-width: 239px) 100vw, 239px\" \/><strong>Le d\u00e9partement Patrimoines de la m\u00e9diath\u00e8que Verlaine a \u00e0 c\u0153ur de promouvoir et faire d\u00e9couvrir toutes les facettes de Verlaine, mais \u00e9galement celles de nombreuses autres figures messines ou li\u00e9es \u00e0 la Lorraine.<\/strong> Ainsi, la m\u00e9diath\u00e8que tend depuis plusieurs ann\u00e9es \u00e0 privil\u00e9gier les supports num\u00e9riques afin de toucher tous les publics et b\u00e9n\u00e9ficier d\u2019une plus large audience. Elle num\u00e9rise certaines \u0153uvres, d\u00e9ploie un site internet tr\u00e8s fourni (<a href=\"http:\/\/bm.metz.fr\/iguana\/www.main.cls?surl=accueil\">http:\/\/bm.metz.fr\/iguana\/www.main.cls?surl=accueil<\/a>) ainsi qu\u2019un blog\u00a0; investit les r\u00e9seaux sociaux ou partage quelques-unes des ses publications dont notamment sa revue <em>Les Carnets de M\u00e9damothi <\/em>(<a href=\"http:\/\/fr.calameo.com\/accounts\/657934)\">http:\/\/fr.calameo.com\/accounts\/657934)<\/a>.<\/p>\n<p style=\"text-align: right;\">Entr\u00e9e de la m\u00e9diath\u00e9que Paul Verlaine, Metz. Cr\u00e9dit photo\u00a0: Karen Cayrat (2017)<\/p>\n<p>Outre les supports num\u00e9riques qui constituent un enjeu majeur pour le fonds Verlaine, les rencontres, conf\u00e9rences, et \u00e9v\u00e9nements participent de m\u00eame \u00e0 sa mise en valeur. En guise d\u2019exemple s\u2019\u00e9tait tenue en 2014, l\u2019exposition \u00ab\u00a0Et maintenant, aux Fesses\u00a0!\u00a0\u00bb sous l\u2019impulsion de la m\u00e9diath\u00e8que. Une exposition originale et sensuelle qui donnait \u00e0 voir pour la premi\u00e8re fois les \u00e9ditions \u00e9rotiques illustr\u00e9es de Verlaine qui couvrent environ 25\u00a0% du fonds Verlaine. \u00c0 cette occasion se c\u00f4toyaient art, po\u00e9sie et musique afin de d\u00e9voiler un aspect m\u00e9connu de Paul Verlaine (1844-1896).<\/p>\n<p>Comme le souligne Nicolas Jourdan, il existe une multitude d\u2019axes d\u2019exploration pour s\u2019immerger au coeur du mythe que Paul Verlaine a su se construire ou pour aborder ses \u0153uvres. C\u2019est pourquoi la m\u00e9diath\u00e8que continuera \u00e0 enrichir le fonds Verlaine d\u2019acquisitions nouvelles et prot\u00e9iformes, tout en s\u2019effor\u00e7ant de valoriser les \u00e9crits et la figure du po\u00e8te gr\u00e2ce \u00e0 sa communication, ses publications et aux multiples projets qu\u2019elle d\u00e9veloppe.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n<h3 style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;Le fonds Gustave Kahn &#8221; font_container=&#8221;tag:h2|font_size:50|text_align:left&#8221; css=&#8221;.vc_custom_1508490590307{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_custom_heading text=&#8221;(m\u00e9diath\u00e8que Verlaine, Metz)&#8221; font_container=&#8221;tag:h2|font_size:24|text_align:left&#8221; css=&#8221;.vc_custom_1508490582074{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;][vc_column_text]<\/p>\n<h4>D\u2019autres fonds litt\u00e9raires plus confidentiels, trouvent \u00e9galement refuge au sein de la m\u00e9diath\u00e8que Verlaine. Ainsi l\u2019un d\u2019eux se consacre-t-il \u00e0 la figure de Gustave Kahn. Po\u00e8te, critique et fervent admirateur de Paul Verlaine, Gustave Kahn (1859-1936) reste, en d\u00e9pit de son \u0153uvre prot\u00e9iforme et de ses combats, encore assez m\u00e9connu.<\/h4>\n<p>Le fonds qui lui est d\u00e9di\u00e9 comprend de nombreux manuscrits autographes d\u2019\u0153uvres, \u00e9tudes, chroniques, critiques litt\u00e9raires, allocutions, ainsi que des carnets de notes et des in\u00e9dits de l\u2019auteur des <em>Palais nomades<\/em> (1887) comme <em>Les Baisers courent d\u2019un vol, \u00e0 travers l\u2019espace, \u00e0 travers l\u2019absence<\/em>. La plupart des pi\u00e8ces sont issues de legs du po\u00e8te, mais aussi de donations notamment de son petit-fils, Jacques Boutet, ou de son amie et sculptrice Anna Bass, qui r\u00e9alisa \u00e0 sa m\u00e9moire un buste qui se laisse aujourd\u2019hui contempler sur le parvis de la synagogue de Metz, au square Gustave Kahn.<\/p>\n<p>En 2010 le fonds \u00e9tait \u00e9toff\u00e9 de nouveaux documents comprenant entre autres des lettres et discours. Ces documents sont t\u00e9moins de l\u2019adoration de Gustave Kahn pour Paul Verlaine et de son implication au sein de la Soci\u00e9t\u00e9 des amis de Verlaine qu\u2019il pr\u00e9sidait. Gustave Kahn a de son vivant men\u00e9 moult actions en hommage \u00e0 l\u2019auteur des <em>Po\u00e8mes Saturniens<\/em> (1866) comme la commande et l\u2019inauguration du buste r\u00e9alis\u00e9 par James Vibert en m\u00e9moire sa m\u00e9moire, situ\u00e9 \u00e0 la lisi\u00e8re de l\u2019Esplanade, boulevard Poincar\u00e9.<\/p>\n<p>Ainsi l\u2019exploration du fonds Gustave Kahn compl\u00e8te-t-elle efficacement celle du fonds Verlaine. Les allocutions, discours et lettres que poss\u00e8de la m\u00e9diath\u00e8que le prouvent et soulignent les conceptions po\u00e9tiques divergentes de ces deux figures messines.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;4252&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n<h3 style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2761\" src=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/wp-content\/uploads\/2016\/07\/filet-rouge4.png\" alt=\"filet-rouge4\" width=\"246\" height=\"5\" \/><\/h3>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_custom_heading text=&#8221;Le fonds \u00c9mile Moselly &#8221; font_container=&#8221;tag:h2|font_size:50|text_align:left&#8221; css=&#8221;.vc_custom_1508490600430{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}&#8221;][vc_custom_heading text=&#8221;(biblioth\u00e8que Stanislas, Nancy)&#8221; font_container=&#8221;tag:h2|font_size:24|text_align:left&#8221; css=&#8221;.vc_custom_1508490607692{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}&#8221;][vc_column_text]<\/p>\n<h4>Les manuscrits, \u00e9preuves ratur\u00e9es, carnets, cahiers in\u00e9dits et photographies d\u2019\u00c9mile Moselly (1870-1918), sont aujourd\u2019hui conserv\u00e9s au c\u0153ur de la biblioth\u00e8que Stanislas de Nancy qui depuis 2007 s\u2019est vue confier par Jean-Fran\u00e7ois Ch\u00e9nin, petit-fils de l\u2019auteur de <em>Terres Lorraines <\/em>(1907), ces documents pr\u00e9cieux. Ces documents concernent d\u2019une part la vie professionnelle et d\u2019autre part la vie litt\u00e9raire de l\u2019\u00e9crivain, ce qui permet de mieux cerner sa personnalit\u00e9 tout en explorant les m\u00e9andres de son processus d\u2019\u00e9criture.<\/h4>\n<p>Pour faire conna\u00eetre la richesse des manuscrits dont elle dispose, la biblioth\u00e8que Stanislas de Nancy mise sur une politique de valorisation principalement ax\u00e9e sur l\u2019organisation d\u2019\u00e9v\u00e9nements et d\u2019expositions. Celles-ci ont g\u00e9n\u00e9ralement lieu tous les deux ou trois ans et se ponctuent de \u00ab\u00a0Petite Expo\u00a0\u00bb portant sur des th\u00e9matiques bien d\u00e9finies et renouvel\u00e9es tous les deux mois. En 2011, se d\u00e9roulait ainsi une \u00ab\u00a0Petite Expo\u00a0\u00bb intitul\u00e9e \u00ab\u00a0Moselly\u00a0: un Lorrain de c\u0153ur\u00a0\u00bb qui visait \u00e0 faire conna\u00eetre davantage ce chantre des paysages lorrains. Plus r\u00e9cemment, en 2015 \u00e0 l\u2019occasion du Livre sur la Place se tenait \u00ab\u2009Place des manuscrits\u2009\u00bb, exposition qui mettait \u00e0 l\u2019honneur auteur-e-s et territoire lorrains, gr\u00e2ce \u00e0 une kyrielle de collaborations et de pr\u00eats. Il \u00e9tait alors possible pour le public d\u2019admirer un grand nombre de manuscrits provenant \u00e0 la fois des diff\u00e9rents fonds litt\u00e9raires de Lorraine, mais aussi des archives de certains auteurs contemporains, soulignant ainsi le caract\u00e8re intemporel et ambigu du manuscrit au fil des si\u00e8cles. Les \u00e9preuves corrig\u00e9es de <em>Fils de gueux <\/em>(1910), roman d\u2019\u00c9mile Moselly, particuli\u00e8rement originales et orn\u00e9es d\u2019annotations figuraient parmi les pi\u00e8ces phares de l\u2019exposition. La biblioth\u00e8que Stanislas de Nancy organise r\u00e9guli\u00e8rement des rencontres \u00ab\u2009Une heure avec\u2009\u00bb et a \u00e0 c\u0153ur de faire d\u00e9couvrir ses fonds gr\u00e2ce aux articles de son carnet de recherche <em>\u00c9pitom\u00e9<\/em> (<a href=\"http:\/\/epitome.hypotheses.org\/\">http:\/\/epitome.hypotheses.org\/<\/a>).<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;4257&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][\/vc_row_inner][vc_separator border_width=&#8221;2&#8243;][vc_row_inner][vc_column_inner][vc_column_text]En somme, lesinstitutions de conservation , v\u00e9ritables garantes de notre patrimoine litt\u00e9raire comme en t\u00e9moignent les fonds Verlaine, Kahn ou Moselly, ne cessent d\u2019\u00e9voluer et de se r\u00e9inventer en vue de porter et valoriser toujours davantage les \u0153uvres et les figures de leurs auteur-e-s. \u00c0 l\u2019\u00e9re du num\u00e9rique, elles multiplient les supports, les \u00e9v\u00e9nements et rencontres, afin de r\u00e9pondre au mieux \u00e0 la passion qui anime aussi bien sp\u00e9cialistes que grand public.<\/p>\n<p>Outre les fonds sp\u00e9cialis\u00e9s pr\u00e9sent\u00e9s au sein de cet article, les m\u00e9diath\u00e8ques Verlaine et la biblioth\u00e8que Stanislas rec\u00e8lent bien d\u2019autres tr\u00e9sors\u2026 La m\u00e9diath\u00e8que Verlaine poss\u00e8de ainsi d\u2019autres manuscrits litt\u00e9raires et autographes, notamment de Maurice Barr\u00e8s, mais \u00e9galement des textes d\u2019auteurs lorrains contemporains ou r\u00e9sidant en Lorraine, ou encore un riche fonds de manuscrits m\u00e9di\u00e9vaux ou modernes. Quant \u00e0 la biblioth\u00e8que Stanislas, elle accueille en sus le fonds Robert Honnert ainsi qu\u2019une collection d\u2019une grande richesse d\u00e9di\u00e9e \u00e0 l\u2019histoire locale. En ce sens, ces institutions apparaissent bel et bien comme des points d\u2019ancrage sur lesquels la vie litt\u00e9raire s\u2019appuie pour mieux se d\u00e9ployer.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1508491494420{padding-top: 2px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #f2f2f2 !important;}&#8221;]<strong>Pour aller plus loin\u00a0: Quelques fonds litt\u00e9raires en Lorraine <\/strong><\/p>\n<p>Manuscrits de Maurice Barr\u00e8s, de Moselly, ou de Robert Honnert \u00e0 Nancy.<br \/>\nManuscrits de Gustave Kahn \u00e0 Metz.<br \/>\nBiblioth\u00e8que du Cardinal de Retz \u00e0 Saint-Mihiel.<br \/>\nManuscrits d\u2019Erckmann-Chatrian \u00e0 Phalsbourg.<br \/>\nManuscrits d\u2019Yvan Goll ou de Maxime Alexandre \u00e0 Saint-Di\u00e9.<\/p>\n<p><strong>R\u00e9f\u00e9rences<\/strong><\/p>\n<p>Kahn G., 1887, <em>Les<\/em> <em>Palais nomades<\/em>, Paris, Tresse et Stock.<br \/>\nMoselly \u00c9., 1907, <em>Terres Lorraine<\/em><em>s<\/em>, Paris, Plon-Nourrit et Cie.<br \/>\nMoselly \u00c9., s. d., <em>Fils de gueux<\/em>, Paris, P. Ollendorff.<br \/>\nSzafranski P., 2013, \u00ab\u00a0Un jeu d\u2019\u00e9preuves de <em>Fils de Gueux,<\/em> roman d\u2019Emile Moselly\u00a0\u00bb, <em>Genesis, <\/em>37<em>, <\/em>pp. 114-148. Acc\u00e8s\u00a0: <a href=\"http:\/\/genesis.revues.org\/1239\">http:\/\/genesis.revues.org\/1239<\/a>.<br \/>\nVerlaine P., 1866, <em>Po\u00e8mes Saturniens,<\/em> Paris, A. Lemerre.<br \/>\nVerlaine P., 1895, <em>Confessions<\/em>, Paris, Publications du \u00ab\u00a0Fin de si\u00e8cle\u00a0\u00bb.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;2756&#8243; css=&#8221;.vc_custom_1475230119559{padding-top: 200px !important;padding-bottom: 200px !important;}&#8221;][vc_column][\/vc_column][\/vc_row]<\/p>","protected":false},"excerpt":{"rendered":"<p>[vc_row full_width=&#8221;stretch_row&#8221; parallax=&#8221;content-moving&#8221; parallax_image=&#8221;2123&#8243;][vc_column css=&#8221;.vc_custom_1474378787902{margin-top: 50px !important;margin-bottom: 50px !important;}&#8221;][vc_custom_heading text=&#8221;LORRAINE\u2019S LITERARY HERITAGE&#8221; font_container=&#8221;tag:h1|font_size:48px|text_align:center|color:%23ffffff&#8221; google_fonts=&#8221;font_family:Lato%3A100%2C100italic%2C300%2C300italic%2Cregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20regular%3A700%3Anormal&#8221; css=&#8221;.vc_custom_1517822081659{margin-top: 200px !important;}&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]The literary heritage as a space of identification and appropriation, has<\/p>\n<p> <a class=\"more-link\" href=\"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/cartographie-patrimoine-litteraire\/\">Lire la suite<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1668","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/pages\/1668","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/comments?post=1668"}],"version-history":[{"count":109,"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/pages\/1668\/revisions"}],"predecessor-version":[{"id":4552,"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/pages\/1668\/revisions\/4552"}],"wp:attachment":[{"href":"http:\/\/lalorrainedesecrivains.univ-lorraine.fr\/en\/wp-json\/wp\/v2\/media?parent=1668"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}