Archives de catégorie : Appels

CFP:Tabletop Board Games and the Televisual Imagination (deadline: july 25)

TABLETOP BOARD GAMES AND THE TELEVISUAL IMAGINATION

(SCMS – Chicago, March 6 – 10, 2013)

submission deadline: July 25, 2012

Tabletop Board Games and the Televisual Imagination

Call for Papers: SCMS 2013

[panel proposal for next year’s Society for Cinema and Media Studies conference in Chicago (March 6 – 10, 2013)]

Beginning in the early 1950s, when the Milton Bradley Company contributed to the widespread appeal and fervent fan following of the DuMont Television Network’s science-fiction series Captain Video (1949-1955), tabletop board games have played an important, if critically overlooked, role in expanding the paratextual horizons of cult TV programs. Indeed, because play itself is such an engrained part of the board game experience, the many television shows blessed (or, perhaps, “burdened”) with such paratexts can likewise be said to exude a kind of ludic aura, luring audiences into a playfully participatory arena of “textual gaming.” Although much of the recent scholarly work on immersive and extendable fictions in popular culture (such as Frank Rose’s The Art of Immersion, a chapter of which is entitled “Television: The Game”) has focused on video games, online RPGs, and virtual worlds, little attention has been given to older, more “traditional” forms of gameplay, which continue to draw TV audiences to material sites of individual strategizing and small-group interaction where luck and skill each play a part.

This panel seeks to fill a gap in the critical discourse surrounding both board games and television, two mediums with distinct, yet overlapping, histories whose reciprocal influence can be traced back to the 1950s and 1960s. During those decades, programs as diverse as Dragnet (1951-1959), Perry Mason (1957-1966), The Munsters (1964-1966), Lost in Space (1965-1968), and Star Trek (1966-1969) spawned a host of fun and interactive, if sometimes crude and simplistic, board games, setting a precedent for more recent releases built around such contemporary TV series as The Simpsons (1989- ), Futurama (1999- ), CSI: Crime Scene Investigation (2000- ), NCIS (2003- ), Battlestar Galactica (2004-2009), Lost (2004-2010), It’s Always Sunny in Philadelphia (2005- ), The Office (2005- ), The Walking Dead (2010- ), and A Game of Thrones (2011- ). Many of these board games are considerably more complex than their 1950s and 1960s predecessors, matching the narrative intricacies of their respective television series while fostering a deeper understanding of the original shows’ textual universes.

Panel participants are encouraged to select any TV-themed board game and adopt a variety of methodologies or modes of critical engagement so as to highlight its cultural significance.

Potential paper topics include, but are not limited to:

• Theories of play and their applicability to televisual hermeneutics
• Theories of fandom and their applicability to board gaming culture
• Online board game communities (http://boardgamegeek.com, etc.)
• In-game social interaction (player partnerships, negotiation, bluffing, etc.)
• Paratextuality and television’s game-related promotional culture
• Board game collectability and connoisseurship
• Material culture and the physicality/tactility of play (game pieces, dice, cards, bodies, etc.)
• The aesthetics of board games (visual design, layout, colors, etc.)
• Game-play mechanics, televisual “turn-taking,” and narrative organization
• Character-based role-play and board game performativity
• Ethnicity, gender, and identity in TV-themed board games
• Board game/TV franchise crossovers (Seinfeld Monopoly, Family Guy Operation, etc.)
• Gaming subcategories/subdomains:
o TV-themed card games (Buffy the Vampire Slayer: Pergamum Prophecy, Doctor Who: The Twelve Doctors, Vampire Diaries, etc.)
o TV-themed party games (Bullwinkle and Rocky, The Bachelorette, Big Bang Theory, etc.)
o TV-themed trivia games (M*A*S*H, Friends, Sex and the City, The Sopranos, Modern Family, Nick at Night Classic TV, etc.)
• Board game auteurs and production companies:
o Designers of TV-themed board games (Cory Jones, Corey Konieczka, Christian Petersen, etc.)
o Publishers of TV-themed board games (Cardinal, Edge Entertainment, Cryptozoic Entertainment, etc.)

Please send a 250-300-word abstract with at least 3 bibliographic references and a brief biographical note to David Scott Diffrient (scott.diffrient@colostate.edu) by July 25, 2012. Selections for the panel will be made by August 1, 2012.

Call for Papers – International French-Language Comics Conference

Call for Papers

International French-Language Comics Conference

Miami University (Oxford, Ohio, U.S.A.)

2–3 November 2012

Papers

Critical and theoretical presentations in all areas of French-language comics are invited. The conference will help consolidate recent gains in English-language scholarship on French-language comics and will showcase new avenues of research. Publication of revised versions of a selection of the conference papers is planned in the peer-reviewed journal European Comic Art (http://journals.berghahnbooks.com/eca/).

Proposals

Please send the following material in a Word document (doc or docx) to Mark McKinney (mckinnm@muohio.edu) by 25 July 2012: a 150-word abstract and a 100-word bio-bibliography. All presentations will be in English.

Keynote speakers

Clément Baloup, a cartoonist of Vietnamese and French heritage, has published several graphic narratives devoted to Vietnamese and other groups in France and elsewhere from the colonial period to the present. These include two historical fictions, both with Mathieu Jiro: Le chemin de Tuan [Tuan’s Way] (Seuil, 2005) and Le choix de Hai [Hai’s Choice] (Seuil, 2007).He has authored two biographical works, Quitter Saigon: Mémoires de Viet Kieu [Leaving Saigon: Memories of Viet Kieu] (La Boîte à Bulles, 2006, 2010)and Little Saigon: Mémoires de Viet Kieu (La Boîte à Bulles, 2012), which respectively tell the stories of Vietnamese emigrants to France and the United States. Baloup has also published Un automne à Hànôi [An Autumn in Hanoi] (La Boîte à Bulles, 2004), about his time at the fine arts school of Hanoi. He earned degrees in art at the École Européenne Supérieure del’Image in Angoulême, France, and at the École des Beaux-Arts de Hanoï, in Vietnam.

Thierry Smolderen is professor at the Ecole Européenne Supérieure de l’Image in Angoulême, where he has been teaching since 1994, and where hecoordinates a Masters degree program in comics, together with the University of Poitiers. Among his many publications are Hergé, portrait biographique [Hergé, A Biographical Portrait] (with Pierre Sterckx; Casterman, 1988), and the recent Naissances de la bande dessinée, de William Hogarth à Winsor McCay [The Birth of Comics: From William Hogarth to Winsor McCay] (Les Impressions nouvelles, 2009), which explores the beginnings of the art form from the eighteenth through the early twentieth centuries, and is forthcoming in English translation with the University Press of Mississippi. He was a frequent contributor to Les Cahiers de la bande dessinée and Neuvième art. Professor Smolderen has curated numerous comics exhibitions in France and Belgium. He is also an accomplished script-writer of comics.

Registration

Presenters who do not have an up-to-date subscription to European Comic Art will be asked to subscribe with Berghahn. There will also be a reasonable registration fee to pay for conference meals. Information about these fees and about lodging options will be forthcoming.

Sponsors

Sponsors at Miami University include the L.P. Irvin Fund of the Department of French and Italian, the Miami University Special Events Fund, the Humanities Center, the International Visiting Scholar Exchange Fund (from the Office of International Education), Honors and Scholars Program, the International Studies Program, the Department of GREAL, and the Center for American and World Cultures.

CFP: Doctor Who: Fan Phenomena

CFP: Doctor Who: Fan Phenomena

Now accepting abstracts for consideration for the new Doctor Who (Fan Phenomena) title from Intellect Press. This will be part of the second series of Fan Phenomena books, which aim to explore and decode the fascination we have with what constitutes an iconic or cultish phenomenon and how a particular person, TV show or film character/film infiltrates their way into the public consciousness.

The Doctor Who (Fan Phenomena) title will look at particular examples of Doctor Who fan culture and approach the subject in an accessible manner aimed at both fans and those interested in the cultural and social aspects of Doctor Who and fan culture. The editor is particularly interested in exploring the changing characteristics of Doctor Who fandom, from scholars and fans alike, over the fifty-year history of the programme.

As such, we invite papers that address the nature of fandom, the unique attributes of Doctor Who fandom specifically, or the relationship between Doctor Who as a multi-generational text and its fans. Other topics could include (but are not limited to):

• Fandom of specific Doctors
• Changing norms of fandom
• How one knows he/she is a fan
• Aca-Fandom
• The influence of other factors on Doctor Who fandom
• Fandom of Doctor Who ancillary products, like the Big Finish audio or Virgin book titles
• Specific fan practices (vidding, fanfic, cosplay, et al.)
• Multi-generational fandom
• Doctor Who conventions
• Gender/Sexuality in Doctor Who fandom
• New Who vs. Classic Who fandom
• Fandom of Doctor Who DVD
• Fan collecting
• Learning through Doctor Who

This book is aimed at both fans and those interested in the cultural and social aspects of Doctor Who. The book is intended to be entertaining, informative, and generally jargon-free (or at least jargon-lite).

Abstracts should be 300 words long. Please also send a CV or resume with your abstract. Abstracts due 15 Aug 2012. Final chapters of 3000-3500 words will be due 01 Nov 2012. The final book will include ten chapters. Please direct all questions and submissions to Paul Booth, pbooth@depaul.edu

CFP: "The B Film" (The Projector: A Journal on Film, Media, and Culture)

Call for Papers for Special Issue

“The B Film”

for The Projector: A Journal on Film, Media, and Culture

The Projector: An Electronic Journal on Film, Media, and Culture is a peer-reviewed journal published twice a year under the auspices of the Department of Theatre and Film at Bowling Green State University. The Projector is seeking research-based essays for a special double issue on the B feature or “low-budget” film, studio-produced or independently financed, in any genre or country of origin. A range of possible topics or approaches appears below. This proposed special issue will comprise our Spring 2013 and Fall 2013 issues.

•Industrial contexts of production, financing models, marketing strategies, exhibition outlets (broadcast or cable television, DVD, Internet)
•Historical studies (e.g., Poverty Row, Bryan Foy) or historiographic issues, such as problems of definition
•Reception or audience analyses
•Aesthetic innovations; impact of digital and new media technologies
•Regional production (e.g., Appalshop)
•Cultural, social, historical aspects of B production and reception
•B cinema and cultural hierarchy; “bad cinema” and taste formation; exploitation (e.g., AIP, Troma,John Waters)
•B film labor: the auteur, star, scriptwriter; below-the-line personnel; the producer or financier
•Nonstudio sites of production; the industrial, educational, or training film
•Mumblecore; student films
•The B film/art cinema nexus (e.g., Reichhardt, Bigelow, the Coens, Raimi)

Essays should be sent electronically to both the Guest Editor Heidi Kenaga at kenaga@oakland.edu and General Editor Cynthia Baron at cbaron@bgsu.edu by October 1, 2012. Please send the manuscript in MS Word, using the MLA style of bibliographic citation, with a separate cover sheet containing author and affiliation information. Length: 20-25 pages, excluding cover sheet, Works Cited, and images. Queries should be sent to Heidi Kenaga.

Call for Papers: Participations special issue: The Fan Studies Network: New Connections, New Research

Call for Papers: Participations special issue: The Fan Studies Network: New Connections, New Research

Formed in March 2012, the Fan Studies Network (http://fanstudies.wordpress.com/) was created with the idea of cultivating a space in which scholars of fandom could easily forge connections with other academics in the field, and discuss the latest topics within fan studies. Having attracted close to 200 members, the network is already fostering a sense of community and engendering fruitful debate. We intend to capture this dynamic intersection of scholars working in the field, and present it in a special issue of Participations: Journal of Audience&  Reception Studies (http://www.participations.org/).

Although fandom has been, to a degree, widely studied, the influence of the Internet and social media on fandom is resulting in scholars questioning and ruminating on how these platforms are presenting new challenges and how their influence can be understood. In this issue we will present a snapshot of the current state of the field and the topical themes that are presently being debated within this.

Thusly, the issue will provide a platform for new scholarly collaborations between FSN members, demonstrating the possibilities for new modes of research.

We encourage new members to the network and welcome proposals for articles on, but not limited to, the following possible topics:

  • Fan use of social media platforms
  • Fan practices
  • Activism and fandom
  • Producer-audience interactions
  • “Underrepresented” fan cultures
  • New modes of fan fiction

New collaborations between network members, in addition to individual submissions, are particularly encouraged in order to reflect the FSN’s aims at strengthening the way in which knowledge is shared across the field.

We also invite shorter pieces for a forum section. These will be 2,000 words maximum, non-peer reviewed debates between scholars on particular issues. Aiming for a more conversational mode, we welcome proposals for themes that may include:

  • Acafandom
  • Fan studies methodologies
  • Offline fandoms
  • The “next generation” of fan studies
  • Defining “fandom”
  • The ethics of fan studies
  • Fandom and brands

Please submit article proposals or forum provocations of no more than 300 words, along with a 200 word biographical note to both Tom Phillips (T.Phillips@uea.ac.uk) and Lucy Bennett (Bennettlucyk@gmail.com) by 2 July 2012. Please also contact us with any queries or requests for further information. Completed articles will have a submission deadline of 10 December 2012 and you must be a member of the network to participate.

Please note that Participations operates an open-refereeing policy. For more information see the website (http://www.participations.org/submission_guidelines.htm).

Call for papers – Revisiting the ethnographic turn in contemporary art (Critical Arts : South-North Cultural and Media Studies)

Critical Arts: South-North Cultural and Media Studies

Call for papers for a themed issue on

Revisiting the ethnographic turn in contemporary art

To be published December 2013

Guest editors: An van. Dienderen – Kris Rutten – Ronald Soetaert

Editorial consultant: Leora Farber

Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. For more information on the history and the orientation of the journal, as well as guidelines for authors, and legal and editorial procedures, please visit : http://www.tandf.co.uk/journals/authors/rcrcauth.asp

Critical Arts is now published five times annually (moving to six from 2013) and has been accepted for coverage in the Social Sciences Citation Index and the Arts & Humanities Citation Index (ISI – Thompson- Reuters) and other indexes.

Theme:

Hal Foster introduced the concept ‘The ethnographic turn of contemporary art’ in a seminal article entitled: The Artist as Ethnographer? (Foster 1995). Since the 90s an increasing wave of challenging art events occurred that shows significant similarities with anthropology and ethnography in its theorisations of cultural difference and representational practices. In this theme issue, we aim to revisit the ethnographic turn in contemporary art by focusing on practice-led research. We invite papers from theorists, artists and critics to engage critically with the ethnographic perspective in their work. Next to full research papers we also invite short statements and reflections by artists about their practice.

In the issue, we approach ethnography from a thematic and/or methodological perspective rather than looking for fixed categories for defining ‘ethnographic art’. Our aim is to further the critical work on ethnography in relation to contemporary art by specifically looking at authorship in art practices and processes, thereby offering a bottom-up perspective from artists, critics and theorists addressing the question if, why and how an ethnographic perspective is indeed at work. In these practices we are equally interested in to what extent contextualisation is relevant when dealing with the display of alterity and outsiderness. We are specifically interested in papers dealing with southern-based art practices and/or representations of self and other in relation to the north-south nexus.

Submission guidelines

Deadline for abstracts: Please send your abstracts to Kris.Rutten@UGent.be by August 31st 2012.

Deadline for article submission: Please send your papers to Kris.Rutten@UGent.be by December 31st 2012.

Information and instructions for authors: http://www.tandf.co.uk/journals/RCRC

So Why Publish in Critical Arts?

Critical Arts has niched itself in terms of conceptual freshness, textured writing, and experiential analysis which draws readers into its articles, its narrative themes and its theoretical explorations. Articles published in Critical Arts are universal in reach while retaining a particularity of context, specificity of content and relevance of topic. We invite articles which have the potential to influence the ways in which disciplines represented by cultural and media studies think about themselves in terms of critical dialogues generated within the South-North relationship, with special reference to Africa. How do people, institutions and constituencies cope within, resist and engage this relational nexus?

*  *  *

Journals come and go. Some stay the course. Critical Arts is one such journal. It has been published since 1980. The journal was started by a young academic novice, providing publishing opportunities for scholar-activists who did not fit the mould. Our board has matured with the journal and young bloods have replaced those who have retired. Our editorial board reflects an age, gender, ethnic, international and geographic mix, much as is found in the pages of the journal.

As editor since 1980, and as an author, I am aware of the challenges that face youngsters in getting published. New, and indeed seasoned, authors are sometimes bewildered at the way that they are sometimes treated by reviewers, editors and editorial assistants, on the assessment of articles, special issues and proposals. Young authors are faced with:

  • Single-sentence dismissals of their work as being “too wordy, too long; obviously drawn from a PhD thesis.” Thus, in one sentence, many years of intensive study are disregarded, without recommendations – or even the opportunity – for revision.
  • Criticism rather than critique. This is sometimes disrespectful of the author’s work, affecting their sense of self-esteem and confidence.
  • Failure on the part of editors and reviewers to offer clear recommendations for revision.
  • Failure to remain in contact with authors as to the status of their papers.
  • A feeling of alienation when unsuccessful, thinking of themselves as interlopers, as cogs in someone else’s machine. It takes an act of will to try again.

So, how does Critical Arts conduct itself?

  • We work with our authors if a paper is deemed publishable, but requires revision.
  • Our editors and reviewers engage arguments, rather than applying an instrumentalist check list evaluation that forgets what the author is attempting to do. Our reviewers act as readers, they are not just evaluators.
  • We like to build long-term relationships with our authors.
  • We understand that young authors need to build their careers, and we hope that their relationship with Critical Arts will be beneficial in this regard.
  • Critical Arts takes risks. Editors will sometimes over-ride negative reviews if it is thought that the article in question will create debate and feed into ongoing dialogue, thus opening up topics for discussion.

So, if you are an author, what can you further expect from Critical Arts?

  • Acknowledgement of your submission and correspondence within 48 hours of receipt.
  • To be treated with respect whether you are a new author or an internationally known guru.
  • Recognition that not every submission will be accepted; authors will have engaged in a learning experience via the evaluation process that may be arduous and challenging, but rewarding.
  • If your article is accepted, you will join an illustrious complement of authors amongst whom are included two Nobel Laureates (who wrote for us when they were much younger), luminaries in the field of cultural and media studies, and emergent authors who will one day replace these. Your reputation will grow by association.

What we expect from authors:

  • To follow the Guide for Authors when submitting.
  • To have perused some Critical Arts back copies to ensure that we are the appropriate journal for the particular submission, that you have researched the topic thoroughly, and that you have familiarised yourself with previous issues if such a topical thread exists.
  • To engage in a rigorous learning process.
  • We expect to be treated with respect and for authors to respect the time taken to secure reviews and our production schedule.
  • Authors should remain in touch with our editorial office.

Where Critical Arts is Indexed:

  • Social Sciences Citation Index (SSCI) [ISI ranked]
  • Arts and Humanities Citation Index
  • Alternative Press Index
  • ARTBibliographies Modern
  • British Humanities Index
  • Film Literature Index
  • Humanities International Index
  • Index to South African Periodicals
  • International Bibliography of Social Sciences
  • International Bibliography of Theatre & Dance
  • Linguistics and Language Behavior Abstracts
  • M L A International Bibliography
  • Periodicals Index Online
  • R I L M Abstracts of Music Literatur

Call for papers – Urban Mobility 2012

CALL  FOR  PAPERS

Faculty of Humanities in cooperation with Faculty of Public Health of Airlangga University will hold its 3rd International Conference. The main theme of the 2012 conference is “Urban Mobility: Its Impacts on Socio-Cultural and Health Issues”. The conference seeks to bring analysis in the field of humanities and health sciences to explore and redefine social relationships, religious identities, gender identities, social norms, and health issues in urban societies characterized by rapid pace of  changes.

OBJECTIVES

The general objective of this international conference is to understand moving urban societies from multidisciplinary perspectives. Specifically, the objectives of the conference are:

  • to provide a forum for sharing and learning ideas, developments, and research findings on socio-cultural and health issues in the domain of urban studies.
  • to capture mobile societies more comprehensively. As this will be an interdisciplinary conference, the phenomena of these moving societies will be analyzed from different perspectives, such as from the perspectives of Cultural Studies, Literature, History, Sociology, Law, Psychology, Medicine, Public Health and others.
  • to redefine social relationships, religious identities, gender identities, and social norms of urban societies from multidisciplinary perspectives.
  • to build a collaborative partnership among universities, so that the issues which become the concerns of this conference can be discussed more elaborately.

MAIN AND SUB-THEMES

The main theme of the conference is “Urban Mobility: Its Impacts on Socio-cultural and Health Sciences”. The program committee welcomes original contributions on the following sub-themes:

  • shifting gender and sexual identities
  • urban mobility and language variations
  • language and social changes
  • urban communities and popular cultures
  • health and life styles in urban societies
  • diseases in moving societies
  • eco awareness in urban societies
  • local traditions in urbanized societies
  • literatures, languages, and identities in cyber societies
  • religious practices in urbanized societies
  • urban space and economy

DATE

7-8 December 2012

VENUE

Kantor Manajemen Universitas Airlangga (The Management Building of Universitas Airlangga)

Campus C, Jalan Mulyorejo

Surabaya – INDONESIA

KEYNOTE SPEAKERS

Associate Prof. Catherine Driscoll (The University of Sydney, Australia), Constance Kampf, PhD (Aarhus University, Denmark), Associate Prof. Goh Beng Lan (National University of Singapore), Deny Arnos Kwary, PhD (Universitas Airlangga, Indonesia), Manneke Budiman, PhD (University of Indonesia), Dr. Purnawan Basundoro (Universitas Airlangga, Indonesia), Dr. Rahmat Hargono (Universitas Airlangga), Prof. Wan Zawawi Ibrahim (Universiti Brunei Darussalam)

Deadline for abstract: 20 July 2012

Notification for selected abstracts: 3 August 2012

Deadline for full papers: 5 October 2012

Please send your abstract (no more than 350 words) and a short bio-note to: urbanfib2012@gmail.com

For further information, please visit our website: www.fib.unair.ac.id/urbanmobility2012

(Appel) Fiction policière et série télévisée : Nicolas Le Floch, un "expert" au temps des Lumières (31 octobre 2012)

Fiction policière historique et série télévisée

Nicolas Le Floch, un « expert » au temps des Lumières

Journée d’étude

Université de la Sorbonne Nouvelle, Maison de la recherche

22 mars 2013


Organisée conjointement par le CEISME-CIM (Paris 3), TELEM (Bordeaux 3) et l’Equipe « Culture et communication » du Centre Norbert Elias de l’université d’Avignon (UMR 8562), et avec la participation de l’INA.

Depuis 2008, France 2 propose dans sa case « polar » du vendredi soir, et à raison de deux épisodes par an (huit en tout à ce jour), une série policière historique, mettant en scène les enquêtes d’un commissaire de police, Nicolas Le Floch, au service du lieutenant général de police Sartine pendant le règne de Louis XV. Avec ses amis l’inspecteur Bourdeau, son adjoint, et Sanson le bourreau, également préposé aux dissections (et autopsies !), il mène l’enquête avec sens du devoir, humanité et humour. Affichant assez ouvertement son adhésion aux valeurs des Lumières, il ne cache pas son amour de la vie et cède volontiers aux séductions d’un libertinage bien tempéré. Celui qui est aussi le marquis de Ranreuil est un familier du roi, souvent chargé d’ « affaires extraordinaires » où se mêlent énigme policière, espionnage et diplomatie.

La fiction policière historique est un genre relativement rare sur le petit écran et elle ne s’est que peu aventurée en-deçà du 19 ème siècle. Celle dont il est ici question n’entretient avec la « réalité » du 18ème siècle qu’un rapport de seconde main. En effet, cette fiction filmique résulte de l’adaptation des romans policiers historiques de Jean-François Parot, qui s’efforcent de restituer au plus près la réalité politique, économique et sociale des règnes de Louis XV et de Louis XVI, tout en s’efforçant de procéder à une « restitution vraisemblable » (Jean-François Parot) de la langue de l’époque. Mais seuls les quatre premiers épisodes de la série sont de véritables « adaptations » car aujourd’hui, personnage affranchi de la tutelle de son créateur, Nicolas Le Floch est télévisuellement franchisé. Ce personnage récurrent et ses principaux comparses appartiennent en effet désormais à la société de production Phares et Balises, qui peut leur faire vivre des aventures originales sous la plume du scénariste Hugues Pagan. Et, comme le dit Ariane Gardel, la directrice littéraire (www.nicolaslefloch.fr), à l’issue de toutes ces médiations, nous n’avons pas affaire à « un « documentaire sur le 18ème » ni à une adaptation littéraire mais bien à « une série, en prime time, pour la télévision. »

Notre journée d’étude – sous le regard croisé de dix-huitiémistes, d’historiens des médias, de sémiologues, de sociologues de la réception, de linguistes… – aura pour vocation de mettre en lumière toutes les médiations qui construisent cet objet télévisuel complexe et d’en dessiner l’archéologie génétique ; de souligner les rapports que cette série entretient avec l’Histoire et de s’interroger sur la « vérité de la fiction » (Jean-Pierre Esquenazi, La vérité de la fiction, Hermès-Lavoisier, 2009.) ; de mettre en évidence les ressorts de l’écriture sérielle ainsi que son inscription dans l’histoire du genre policier à la télévision ; de questionner son rapport singulier à la langue ; de s’efforcer enfin de définir le(s) public(s) au(x)quel(s) elle se destine.

Les axes d’étude majeurs de cette journée pourraient être, sans en exclure d’autres :

L’Histoire et la fiction

Quel rapport la fiction historique proposée ici entretient-elle avec la « vérité » historique et les événements historiques dans lesquels elle s’inscrit ? Quel(s) usage(s) fait-elle des personnages historiques (Sartine, par exemple) qu’elle met en scène ? Quelle image de la société du temps, de ses moeurs et usages, nous renvoie la série ? En quoi cette série contribue-t-elle à la « construction d’une culture commune par la fiction » ? (Images du Siècle des Lumières à la télévision. Construction d’une culture commune par la fiction, de boeck-INA, 2010, dir. Bernard Papin).

Les stratégies de l’adaptation et l’intertextualité télévisuelle

Les romans de Jean-François Parot et leur adaptation. La triple médiation Histoire/roman/scénario. Construction du personnage et intertextualité : quels modèles littéraires, cinématographiques et télévisuels pour le commissaire Le Floch (le « Maigret des Lumières » ou déjà un véritable « expert » ?). La « franchisation » progressive du personnage.

Ecriture sérielle, genre et ton

Structure des épisodes. Construction du « personnel » sériel. Musique, costumes et décors : dénotation et connotation.

La fiction policière historique, un « genre intermédiatique » (Fictions patrimoniales sur grand et petit écran, Contours et enjeux d’un genre intermédiatique, PUB, 2009, dir. Pierre Beylot, Raphaëlle Moine) et le mélange des genres : adaptation littéraire, série policière, film historique « en costumes », « fiction patrimoniale », « heritage films », « téléfilms de prestige » …

La diversité des tons au fil des épisodes.

La langue comme mode de contextualisation

La mise en oeuvre de la langue comme mode de contextualisation. Etudes des discours et des interactions. Syntaxe et lexique : héritage, emprunt et/ou empreinte historique, modernisation, rupture ? Citation des dialogues des romans de Jean-François Parot dans la série ? Les personnages parlent –ils « comme » au 18ème siècle – c’est-à-dire comme les personnages des romans du 18ème siècle ? Leur langue est-elle une récriture archaïsante à partir du français d’aujourd’hui ou une actualisation du français du 18ème ?

Programmation et réception

Le canal (public) de diffusion (La série est-elle concevable sur TF1 ? France 2 est-elle la chaîne par excellence de l’Histoire et du patrimoine ?).

Programmations horizontale et verticale : la case horaire du vendredi soir « polar » sur France 2 ; les publics visés ; PDA ; étude de réception (médiatique, publique). Convergence et storytelling transmédiatique.

Les propositions de contributions (3000 signes/500 mots), devront être envoyées aux trois adresses suivantes :

genevieve.landie@laposte.net ; papin.b@orange.fr ; alainsebbah@orange.fr

pour le délai de rigueur du 31 octobre 2012.

Les auteurs des propositions seront informés de la réponse du comité scientifique le 15 décembre 2012.

Comité scientifique : Sabine Chalvon-Demersay, directrice de recherche CNRS ; François Jost, professeur Paris 3 ; Geneviève Landié, MCF université d’Avignon ; Philippe Lavat, docteur, Paris 3 ; Denis Maréchal, INA ; Emmanuelle Meunier, docteur, Paris 8 ; Bernard Papin, MCF Paris 11 ; Alain Sebbah, MCF Bordeaux 3 ; Geneviève Sellier, professeur Bordeaux 3 ; Myriam Tsikounas, professeur Paris 1.

Comité d’organisation : Geneviève Landié, MCF université d’Avignon, Centre Norbert Elias Avignon ; Philippe Lavat, docteur, CEISME-CIM Paris 3 ; Emmanuelle Meunier, docteur, Centre de recherche sur les arts du spectacle en Italie, Paris 8; Isabelle Meunier-Messika, doctorante université de Franche-Comté ; Bernard Papin, MCF Paris 11, CEISME-CIM Paris 3 ; Alain Sebbah, MCF Bordeaux 3, TELEM ; Nicolas Schmidt, ingénieur de recherche à l’IHTP-CNRS

CFP: Edited Collection: Challenger Unbound (Revaluating Arthur Conan Doyle’s Professor Challenger Narratives)



Edited Collection: Challenger Unbound

(Revaluating Arthur Conan Doyle’s Professor Challenger Narratives)

Habitually characterised as a late-appearing variant upon the Victorian Quest Romance, Arthur Conan Doyle’s “The Lost World” (1912) in fact marked the beginning of the author’s prolonged investigation of science, ideology and belief under the inhibiting constraints of early twentieth-century modernity. The narratives span from 1912 to 1929 and this new collection will be dedicated to re-evaluating the narratives, their author, the wider culture that he inhabited and the legacy of his work for the twentieth and twenty-first centuries. We are interested in work that treats the texts either directly or tangentially through other aspects of Conan Doyle’s life and thought.

The editors would like to solicit abstracts of 200-300 words or completed articles of 6,000-12,000 words. We are interested in covering as many divergent approaches to the narratives as possible but potential topics might include:

• The Twentieth-Century Quest Romance.
• Arthur Conan Doyle: Low Modernist.
• Arthur Conan Doyle’s Contribution to Science-Fiction and/or Speculative Fiction
• Modernity and the State in Early Twentieth-Century Popular Fiction.
• Science and the Popular Press, 1912-1930.
• Science as a Public Discourse, 1912-1930.
• Science as State-Craft, 1912-1930.
• Spiritual vs. Material Science.
• Grief, Trauma, Mourning and Science during and after the Great War.
• Twentieth-Century Medievalism/Primitivism.
• Spiritualism, Science and the Great War.
• The Strand Magazine in the Twentieth-Century.
• The Twentieth-Century Afterlife of “Victorian” Ideology/Thought/Literary Forms.
• Weapons of Mass Destruction, 1912-1930.
• Heroism, Chivalry and Masculinity after the Great War.
• Science, Technology and European Competition, 1912-1930.
• The Twentieth-Century Legacy of Arthur Conan Doyle in Europe.
• Machines, Weapons, Products, Commodities.
• Conan Doyle’s Non-Fiction, 1912-1930.
• The Endurance of Professor Challenger in Critical Theory (Deleuze & Guattari, Jon McKenzie etc…).
• Early Treatments of Capitalist/Communist Confrontations in Popular Fiction.

Abstracts, submissions and questions should be sent to Dr. Jonathan Cranfield (j.cranfield@kent.ac.uk) and Prof. Hélène Machinal (helene.machinal@univ-brest.fr)

Captivity and Culpability: The Disciplining Subject in the Literary and Cultural Imagination

Captivity and Culpability: The Disciplining Subject in the Literary and Cultural Imagination

14 December 2012, 10:00 – 15 December 2012 18:00

Organised by: Human Rights Consortium
Event Type: Conference / Symposium
Venue: The Senate Room (Senate House, First Floor)
Venue Details: South Block of Senate House, Ground Floor

Description

Societies often have ambiguous and even conflicting attitudes towards state institutions that fulfil normalising, reformatory, punitive or disciplinary functions. This unease is frequently represented in an ambivalence or a hostility not only towards those disciplined or incarcerated but also, and perhaps paradoxically, towards the agents of those institutions, e.g. state incarcerators, the police, interrogators, soldiers, counterterrorist agents, or staff in mental hospitals. These figures tend to be conceptualised and represented in simplistic and often reductively negative terms. This demonisation reflects an unease towards institutions that are understood to be at once socially and politically necessary and saturated with threatening potential.

Connected to this is a complex social attitude towards state violence. At the same time as societies sanction it, figures such as executioners, torturers, and concentration camp guards are frequently despised. For this reason, while severe state violence is sometimes deemed to have situational or conditional necessity, expedience, or legitimacy, it often must also seek to conceal or disguise its own extreme nature as violence. Much as those perpetrating acts of state-sanctioned violence are disavowed, the violence itself is also surrounded by an apparent uncomfortable double standard.

This conference aims to interrogate literary, filmic, popular cultural and artistic representations of the agents of those institutions, specifically in terms of guilt and culpability. Why, for example, can we observe a tendency to hold at a cautious distance the disciplining subject whilst accepting (or even celebrating) the institutions they represent as socially and politically necessary? Why, when the actions of such agents become extreme, transgressive or criminal, is there a tendency to pathologise such actions in terms of individual perversity – as the actions of ‘bad apples’ – and thereby transfer culpability from the institution to the individual subject, rather than explaining such actions in systemic, structural or institutional terms?

Please see the Call for Papers

The conference is organised by Alex Adams (Newcastle University) and Cornelia Wächter (University of Paderborn, Bielefeld University) in cooperation with the Institute of English Studies (University of London) and the Human Rights Consortium (University of London). Please email 200-300 word abstracts for 20 minute papers to a.t.adams@newcastle.ac.uk and cornelia.waechter@uni-paderborn.de by Sunday, 19th August 2012.