Dr Nigel Saint

Dr Nigel Saint

Lecturer in French

+44 (0)113 343 2955

Summary: Modern theories of the visual (Marin, Didi-Huberman); writing on the visual arts since 1800, including theory, criticism and literature; modern fiction, especially Yourcenar, Perec, Toussaint.

Biography

I was born in Slough in 1968 and later read French at Durham University. I did my doctorate at University College London and from 1996-97 I was a Temporary Lecturer at the University of Edinburgh. Then I moved to Royal Holloway, University of London, as a British Academy Postdoctoral Fellow, from 1998-2001. In 2002 I joined the Department in Leeds as a Lecturer.

Teaching

As well as contributing to our provision of language teaching, I currently teach on the following courses: Critical Questions: Approaches to Reading and Interpretation (Level 1); Foundations of Modern French Thought, Age of Extremes, Short Form Twentieth-Century French Novel (Level 2); and Literature and the Visual Arts in Twentieth-Century France (Level 3).

Research

My research focuses on modern French thought and literature. Following my doctoral work and book on Yourcenar and the visual, I have written a series of articles and papers on Louis Marin's theories of representation. I am currently working on a study of the visual philosophy of Georges Didi-Huberman: I am interested in his questioning of art history, which seeks to relocate the origins of our modern understanding of the image from the Renaissance to Freud and Warburg.
I am interested in supervising research in the following areas: modern theories of representation and the visual from painting to film; writing on the visual arts since Balzac and Delacroix, including art theory, art criticism and literature; the visual in 19th- and 20th-century fiction; and modern and contemporary fiction (notably Marguerite Yourcenar, Jean-Philippe Toussaint, Georges Perec). 

Book

Edited books

Articles

  • 'L'Ecrivain et sa source: l'essai sur l'Histoire Auguste', Bulletin de la Société Internationale d'Études Yourcenariennes (Tours: Université de Tours), 13 (June 1994), 71-84.
  • 'The Body's Contract or Realism's Revenge: Peter Greenaway's The Belly of an Architect', Interfaces (Dijon: Université de Bourgogne, Cahier du Centre de Recherches "Image Texte Langage"), 7 (April 1995), 185-197.
  • 'Speaking volumes: Poussin's water colours', Interfaces, 10 (February 1996), 15-23.
  • 'Et in Arcadia Ego: Yourcenar devant les tableaux de Poussin', in A. de Medeiros et B. Deprez (ed.), Marguerite Yourcenar: Ecritures de l'exil (Louvain-la-Neuve: Academia Bruylant, 1998), 201-210.
  • '"Drame de juillet, tragédie de l'été": Perec et Roland-Garros', French Cultural Studies, 10: 2 (June 1999), 173-178.
  • 'Pour l'amour d'un plaisir sévère: Following Louis Marin', in M. Heusser, M. Hannoosh, C. Schoell-Glass and D. Scott (ed.), Text and Visuality: Word and Image Interactions III (Amsterdam and Atlanta, GA: Rodopi, 1999), 65-75.
  • 'Livres à la limite', in Mauricette Berne (ed.), Livres de Pierre Lecuire (Paris: Bibliothèque Nationale de France, 2001), 124-5.
  • 'Sarah Farmer: Martyred Village: Commemorating the 1944 Massacre at Oradour-sur-Glane' (review article), Patterns of Prejudice 36: 3 (2002), 79-82.
  • 'Louis Marin', in Christopher J. Murray (ed.), Encyclopedia of Modern French Thought (New York: Fitzroy Dearborn, 2004), 456-458.
    Georges Didi-Huberman', in Christopher J. Murray (ed.), Encyclopedia of Modern French Thought (New York: Fitzroy Dearborn, 2004), 173-176.
  • 'Esthétique et temporalité dans les réflexions théoriques de Louis Marin sur les idoles,' in R. Dekoninck and M. Watthee-Delmotte (ed.), L'Idole dans l'imaginaire occidental (Paris, L'Harmattan, 2005), 49-56.
  • 'Pierre Lecuire and the artists,' in M. Heusser, M. Hannoosh, E. Haskell, L. Hoek, D. Scott and Peter de Voogd (ed.), On Verbal / Visual Representation: Word & Image Interactions 4 (Amsterdam and Atlanta, GA: Rodopi, 2005), 83-93.
  • 'Pascal Convert and the Family: History, Conflict and Creativity,' in M-C Barnet and E. Welch (ed.) Affaires de famille: The Family in Contemporary French Culture (Amsterdam: Rodopi, 2007), 151-168.
  • 'Reading Stendhal's Vie de Henry Brulard: Louis Marin and the Limits of Representation', Dalhousie French Studies 80 (Fall 2007), 59-67.
  • '"This is my body": the words of the Eucharist in the work of Louis Marin and Jean-Luc Nancy', in Thomas Baldwin, James Fowler and Shane Weller (ed.), The Flesh in the Text (Bern: Peter Lang, 2007), 243-259.
  • 'Poussin aux Etats-Unis d'Arcadie', in Hélène Merlin-Kajman (éd.), La littérature, le XVIIe siècle et nous: dialogue transatlantique (Paris: Presses Sorbonne Nouvelle, 2008), 283-292.
  • 'Space and Absence in Sophie Calle's Suite vénitienne and Disparitions', L'Esprit Créateur 51: 1 (Spring 2011), 'Watch this Space: Women's Conceptualisations of Space in Contemporary French Film and Visual Art', ed. M-C Barnet and S. Jordan, 125-38.
  • 'Louis Marin, Poussin and the Sublime', Art History 34: 5 (November 2011), 914-933. ‘Joseph Epstein (1911-1944): The case of the forgotten French Resistance hero rescued by the artist Pascal Convert’, French Cultural Studies 24: 4 (November 2013), 398-416.
  • ‘Écrire l’art : enjeux esthétiques, stylistiques et politiques dans l’œuvre de Georges Didi-Huberman’, in
    Existe-t-il un style Minuit?, eds K. Germoni et al. (Aix-en-Provence: Presses de l'Université d'Aix-Marseille, 2015).  

Translation

  • Laetitia Fieschi-Vivet, 'Investigation of a mystery: Cinema and the Sacred in Hélas pour moi', in Michael Temple and James S. Williams (ed.), The Cinema Alone: Essays on the Work of Jean-Luc Godard 1985-2000 (Amsterdam: Amsterdam University Press, 2000), 189-206.