Conférences du Réseau Romand de Narratologie

Conférences organisées par le RRN (Réseau Romand de Narratologie)

Au mois de mars 2012, Philippe Roussin, membre du Centre de recherche sur les arts et le langage (EHESS-CNRS), donnera deux conférences publiques à l’Université de Lausanne. L’entrée est libre et aucune inscription n’est obligatoire. Pour imprimer l’annonce, cliquez sur le lien.

Lundi 12 mars 2012, de 13:15 à 14:45
UNIL-Dorigny, bâtiment Anthropole, salle 3139, troisième étage
Généalogie des théories du récit

Mardi 13 mars 2012, de 15:15 à 16:45
UNIL-Dorigny, bâtiment Anthropole, salle 2055, deuxième étage
Personnage et narratologie contemporaine

CFP: 1st Global Conference Immersive Worlds and Transmedia Narratives

1st Global Conference
Immersive Worlds and Transmedia Narratives

Tuesday 13th November – Thursday 15th November 2012
Salzburg, Austria

* The Novel
* The Film
* The Television Series
* The Graphic Novel
* The Facebook Page
* The Tweets
* The Fan-Sites
* The Video Game
* The You-Tube Clips
* The Smart Phone
* The Convention
* The Theme Park
* The Merchandising

This call for papers is about where the story starts and where it ends, about who writes the story and who reads it and whether any of these definitions apply when we are in the story itself. This then is about world making and about the media, mediums and machinery that converge to make it possible. The rhizomic qualities of a smart phone that enmesh us into the real world also connect and implicate large parts of ourselves in imaginary and virtual spaces; with people we have never met and places we will never see other than through the app, the blog or the social networking site.

“In the final decade of the 21st Century, men and women in rocket ships landed on the moon. By 2200 AD, they had reached the other planets of our solar system. Almost at once there followed the discovery of hyperdrive through which the speed of light was first obtained and later greatly surpassed. And so, at last, mankind began the conquest and colonization of deep space”
(The Forbidden Planet)

True Blood. Originally from Charlene Harris’ Southern Vampire Mysteries series of novels. Now a hit television show. It has a facebook page and characters from the series produce You Tube videos (Jessica- Baby Vamp). The stars from the show share tweets with fans and each other but not as themselves but the characters they play. Viral marketing spreads adverts and teasers for products that come from the show, not just simple merchandising but items such as Tru-Blood, the synthetic blood substitute that bases the premise of the show where vampires can become part of society. The graphic novel, written by the television series creator Allan Ball and which extends storylines from the show. Fangtasia, the vampire bar from the series is recreated in actual real life venues and where people can dress as vampires. At each point of entry the “reader’ can choose which parts and to what level they want to engage, or participate, in the narrative enabling various levels of emersion and ways to influence and change the world that one is entering. Who writes the story and what story are they writing and who consumes what and who and is everyone welcome?

“Welcome to my house! Enter freely and of your own will!” (Dracula)

But who can enter this world and how does it impinge on our own? Is it only for the wealthy, the westernised, the capital-ised? How does it purposely exclude and include certain groups and why? What is the future of the technologies and the types of narratives involved? Will it become a world that people never want to leave or one that will expand to consume our former notions of what constituted reality. Where does the story end and real life begin?

(Keywords: Transmedia, Convergence, Particpatory, Affinity, ReMix, Hypersocibility, Techologies, Medium, Narrative, Story, Play, Interaction, Emersive, Virtual)


The Steering Group particularly welcomes the submission of pre-formed panel proposals, works in progress, performances, literary and visual presentations and practitioner case studies. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 4th May 2012. All other significant dates please see Details page.

Those that study, research or take part in transmedia narratives or convergence cultures, film and media studies, gaming and virtual worlds, literature and fandom, marketing and advertising, graphic novels and animation, artists, writers …SHOULD APPLY

Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords
E-mails should be entitled: TM1 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:
Phil Fitzsimmons:
Rob Fisher:
Simon Bacon:

For further details of the project, please visit:…

For further details of the conference, please visit:…

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Parution: Histoire de la télévision française de 1935 à nos jours Monique Sauvage et Isabelle Veyrat-Masson

Histoire de la télévision française de 1935 à nos jours

Monique Sauvage et Isabelle Veyrat-Masson

Nouveau Monde éditions

février 2012

Instrument du pouvoir et objet domestique, entreprise de spectacle et organe d’information, la télévision s’est imposée comme un média central des soixante dernières années. Comment en France, comme dans les autres démocraties occidentales, la télévision a-t-elle émergé de l’ombre de la radiodiffusion ? Comment se sont forgés, sous monopole public, les liens avec le pouvoir politique, mais aussi la légitimité naissante d’un art du spectacle à part entière ? Dans quelles conditions l’organisation de la concurrence, et l’installation – dans des conditions tumultueuses – d’un secteur privé, a transformé le paysage audiovisuel ? Comment ont évolué dans le marché les entreprises publiques et privées de télévision et l’offre de programmes ? Quelle est la nouvelle place de la télévision depuis l’apparition de la révolution numérique ?
Cette Histoire de la Télévision propose des repères clairs pour comprendre les étapes majeures des relations entre télévision et pouvoir politique, la généalogie des techniques et l’évolution des programmes et des rapports avec le public, la transformation des modèles économiques.
ISBN-10 2-84736-632-6
ISBN-13 978-2-84736-632-7
GTIN13 (EAN13) 9782847366327

CFP: The Modern Day Fairy Tale in Film and Television (Deadlline May 14th)

The Modern Day Fairy Tale in Film and Television (Deadlline May 14th)

SAMLA November 9-11th, 2012
contact email:

The Modern Day Fairy Tale in Film and Television
(Popular Culture Panel)
SAMLA November 9-11, 2012
Durham, North Carolina

Fairy tales never seem to go out of style. This panel seeks papers that discuss the significance and implications of works that take traditional fairy tales and make them modern. They may take elements of fairy tales or the whole tales themselves and revise or rework them, but there is still some basis in traditional fairy tale. These tales may also be reworked in order to show a more modern sense of race, class, or gender as well or may swap characters or roles.

Examples of these works includes (but are not limited to) the following:
Once Upon a Time
Red Riding Hood
Ella Enchanted
Pan’s Labyrinth
Harry Potter

Please submit a 250 word abstract and a short bio (no longer than 200 words) to by May 14th, 2012.

Marie-Eve Thérenty (Université de Montpellier III)

Marie-Eve Thérenty est professeur de littérature française à l’université de Montpellier III, directrice du centre de recherche RIRRA 21 (représenter, inventer la littérature, du romantisme à l’aube du XXIe siècle), et coresponsable avec Guillaume Pinson du site et du projet, financé par l’ANR et le FRQSC.

Thèmes des recherches : Presse, édition et littérature ; Poétique du support ; Imaginaire des sociétés médiatiques ; Théorie de l’histoire littéraire ; Balzac, Sand, Gautier, Vallès, Zola, Maupassant ; Romann et prose du XIXe siècle ; romans urbains ; questions de gender.

Mes recherches portent généralement sur le XIXe siècle, mais je m’intéresse depuis quelques années aussi au XXe siècle et à la littérature contemporaine dans le cadre d’une poétique des supports.

Parution: P. Brooks et M. Faten Sfar (dir.), Anthologie du mélodrame classique

Anthologie du mélodrame classique

Sous la direction de Peter Brooks et Myriam Faten Sfar

Paris, Éditions Classiques Garnier, “Bibliothèque du XIXe siècle”, 2011.

Présentation de l’éditeur

Voici pour la première fois une anthologie du mélodrame français classique. Cet ouvrage nous offre neuf pièces passionnantes écrites par de vrais hommes de théâtre, pièces qui marquent les étapes de l’évolution du genre. En les réunissant au sein d’une anthologie commentée et illustrée, Peter Brooks et Myriam Faten Sfar rendent ces textes accessibles à un large public auquel ce genre se destinait initialement.



Note sur la présente édition

Les victimes cloîtrées

Coelina ou l’enfant du mystère

La Folle de Wolfenstein

Thérèse ou l’orpheline de Genève

La Vénitienne

Gaspardo le pêcheur

La Grâce de Dieu

Le Chiffonnier de Paris

Les Deux orphelines


Index des noms

Index des œuvres

1273 p. Prix : 69EUR.

EAN : 9782812403286.