Catherine Bernard

Catherine Bernard is Professor of English literature and art history at Paris Diderot University, UMR 8225 (Laboratoire de Recherche sur les Cultures Anglophones). Her research hinges on the history and the politics of forms and aesthetics, from Modernism to contemporary aesthetics. She has published extensively on modernist and contemporary visual culture and art (from the Bloomsbury group, to Andy Warhol, David Hockney, but also Gillian Wearing, Rachel Whiteread or Mark Wallinger). Among her most recent publications in that field, one may mention: “Christopher Nolan’s Inception: Spectacular Speculations,” Screen, Martine Beugnet et Jane Sillars (eds.), “The Reflexive Turn: Mediating and Remediating Hollywood,” n°58/2, Spring 2017,; “La vielle dame et la preneuse de son : (micro)-utopies d’un art de l’ordinaire,” Polysèmes, Anne-Laure Fortin (ed.), “L’art intempestif — La démesure du temps,” n°17, Spring 2017,; “Âmes sensibles s’abstenir : violence à / de l’art contemporain. À propos de Gillian Wearing, Damien Hirst, les frères Chapman & co.,” Sillages critiques, Marc Amfreville, Aloysia Rousseau et Armelle Sabatier (eds.), “Écriture de la violence,” n°22, 2017,; as well as the following chapters: “Modernity’s Sylvan Subjectivity, from Gainsborough to Gallaccio,” in Julian Wolfreys (ed.), New Critical Thinking. Criticism to Come, Edimbourg: Edinburgh UP, 2017, pp. 36-49; “Rethinking Originality / Making Us See: Contemporary Art’s Strategic Transpositions,” in Sonya Stephens (ed.) Translation and the Arts in Modern France (ouvrage en l’honneur du Professeur Rosemary Lloyd), Bloomington: University of Indiana Press, 2017, pp. 237-247. Her research has also focused both on Modernist literature and on contemporary English fiction (Graham Swift, Martin Amis…). She is the author of critical editions and translations into French of Flush (Paris: Gallimard, coll. La Pléiade, 2012) and of a selection of Virginia Woolf’s essays (Essais choisis, Paris: Gallimard, 2015). She has also edited several volumes of Études britanniques contemporaines, among which: “State of Britain”, Études britanniques contemporaines, n°49, 2015,, as well as “Reassessing Literary Commitment (Anew)”, “Commitment / L’engagement”, Études britanniques contemporaines, n°50, 2016. She is currently working towards a monograph on the body politic of contemporary British fiction and visual arts to be published in 2018 with the Presses de l’Université Paris-Sorbonne. Contact:

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