Parution: Christian Chelebourg, Les Ecofictions. Mythologies de la fin du monde

Christian Chelebourg, Les Ecofictions. Mythologies de la fin du monde

Bruxelles : Les Impressions Nouvelles, coll. “Réflexions faites”, 2012.

256 p.

Prix 19,50EUR

EAN 9782874491405.

Présentation de l’éditeur :

“Les écofictions. Mythologies de la fin du monde” est un essai qui relève à la fois des études de l’imaginaire et, partant,  des études écocritiques. Mais c’est aussi un livre hautement politique, dans la postérité des Mythologies de Roland Barthes.

Une écofiction n’est pas seulement une fiction (littéraire ou cinématographique) sur l’écologie, c’est avant tout et surtout une fiction sur le désastre écologique que tout le monde prédit.  Pollution, réchauffement climatique, catastrophes naturelles, épidémies, manipulations génétiques font partie de notre quotidien, engendrant une culpabilité et des angoisses dont nous avons de plus en plus de mal à nous défaire. Les fictions, littérature et cinéma en tête, exploitent ces nouvelles peurs, réactivant d’anciens mythes et créant de nouveaux.

À la lumière de plus de deux cents romans, films, bandes dessinées, documentaires, essais ou publicités, Christian Chelebourg démonte pour notre plus grand plaisir les mécanismes de ces écofictions qui nous divertissent autant qu’elles nous effraient, qui nous invitent à méditer sur notre fragilité autant qu’elles nous persuadent de notre puissance.

Parmi les oeuvres étudiées, on trouve:

Yann Arthus-Bertrand, Home
Michael Bay, Armageddon
Jan de Bont, Twister
Danny Boyle, 28 Days Later…
James Cameron, Avatar
Chris Carter, X-Files
Wes Craven, La Colline a des yeux
Robin Cook, Virus
Michael Crichton, État d’urgence
Roger Donaldson, Le Pic de Dante
Roland Emmerich, 2012
Alastair Fothergill, Un Jour sur terre
Terry Gilliam, L’Armée des douze singes
Al Gore, Une Vérité qui dérange
Nicolas Hulot, Le Syndrome du Titanic
Francis Lawrence, Je suis une légende
Mimi Ledder, Deep Impact
James McTeigue, V pour Vendetta
Hayao Miyazaki, Princesse Mononoké
Andrew Niccol, Bienvenue à Gattaca
Alex Proyas, Prédictions
Sam Raimi, Spider-Man 3
Kim Stanley Robinson, 50° au-dessous de zéro
Jean-Christophe Rufin, Le Parfum d’Adam
Steven Soderbergh, Contagion
Steven Spielberg, La Guerre des mondes
Andrew Stanton, Wall-E
Andy & Larry Wachowski, Matrix
Alexander Witt, Resident Evil: Apocalypse
Albert Camus, La Peste
Stephen King, The Stand
Jean-François Gosselin, La Fin du Monde – 21 décembre 2012
Hergé, L’Étoile mystérieuse

Christian Chelebourg est Professeur de Littérature à l’Université de Nancy 2 et directeur du Centre d’Études Littéraires Jean Mourot. Spécialiste de l’imaginaire, il s’est intéressé aux romanciers populaires du XIXe siècle avant de se consacrer à la Littérature de jeunesse contemporaine et aux fictions à destination du grand public. Il est principalement l’auteur de Jules Verne, l’oeil et le ventre (Minard, 1999), L’Imaginaire littéraire (A. Colin, « Fac », 2000) et Le Surnaturel – Poétique et écriture (A. Colin, « U », 2006).

Call for paper Undead in the West II: They Just Keep Coming (Publication)

Call for paper

Undead in the West II: They Just Keep Coming (Publication)

The frontier has long been framed as a landscape of life and death, but few scholarly works have ventured into the realm where the two become one, to explore portrayals of the Undead in the West – the zombies, vampires, mummies, and others that have lumbered, crept, shambled, and swooped into the Western from other genres. This sub-genre, while largely a post-1990 phenomenon, traces it roots to much deeper hybrid traditions of Westerns and horror or science fiction, and yet, also shows ties to the recent Western renaissance.

This volume, a companion to our forthcoming Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier, will focus on the blending of the Western genre and the undead in media other than film: comics, graphic novels, gaming, new media, and literature. Scholarly explorations of material culture and fandom will also be considered.

Some questions to consider:

– What happens when traditional frontier figures, settings, symbols, and ideologies encounter these characters that defy the laws of nature?
– How are Western archetypes subverted or accentuated when confronted by the undead?
– How do zombies, vampires, and the like, affect our understandings and interpretations of the West, and vice-versa? Might these hybrid Westerns function as the new anti-Western, or do the undead facilitate a return to tradition?
– In what ways do undead Westerns consciously use the undead elements of the plot to comment on the nature of traditional Western heroes and villains?
– In what ways do these genre mash-ups revitalize the Western for a new generation of audiences and fans?

Please send your 500-word abstract to both co-editors, Cindy Miller (cynthia_miller@emerson.edu) and Bow Van Riper (bvanriper@bellsouth.net).

Publication timetable:

June 15, 2012 – Deadline for Abstracts
July 15, 2012 – Notification of Acceptance Decisions
Dec. 1, 2012 – Chapter Drafts Due
March 15, 2013 – Chapter Revisions Due
April 15, 2013 – Final Revisions Due
May 1, 2013 – Delivery to Publisher

Acceptance will be contingent upon the contributors’ ability to meet these deadlines, and to deliver professional-quality work.

Parutions: Fascismo senza fascismo? et Quattro “pinocchiate” fasciste (Luciano Curreri, Federico Foni)

Fascismo senza fascismo?
Indovini e revenants nella cultura popolare italiana (1899-1919 e 1989-2009)

Nerosubianco

Collana le bandiere

Rispetto ad altri incontri organizzati o coorganizzati da Luciano Curreri negli ultimi anni in seno all’Université de Liège, ma cercando sempre di coinvolgere tante altre istituzioni e diversi gruppi di studio del Belgio, dell’Italia, dell’Europa e del mondo intero, il convegno Fascismo senza fascismo? Indovini e revenants nella cultura popolare italiana (1899-1919 e 1989-2009) è una mossa più azzardata. Certo, non ambisce a creare una categoria, ché il punto interrogativo del titolo non è messo proprio a caso o per consuetudine. E tuttavia il sottotitolo che lo completa e gli atti che ne risultano vorrebbero provare a sfumare altre categorie, un po’ desuete e/o controverse, come quelle di prefascismo e di neofascismo (anche se a nessuno è stato impedito, et pour cause, di servirsene).
Con interventi di Curreri, Gigante, Comberiati, Foni, Benzoni, Jacquet, Giudicetti, Gola, Lo Presti, Di Vittorio, Manna, Mastropierro, Palumbo, Versari, Leoni, Orsitto, Burguet, Toppano, Viti, Jansen, Papponetti, Scarlini, Turchetta.
Luciano Curreri (1966) è professore ordinario di Lingua e letteratura italiana alla Facoltà di Lettere e Filosofia dell’Università di Liegi. Ha curato e sta curando edizioni di autori otto-novecenteschi per Einaudi, Greco&Greco, Ilisso, Mondadori, Quiritta, Salerno. Di recente ha pubblicato: Pinocchio in camicia nera (Nerosubianco, 2008 e II ed. corretta e aumentata, 2011); D’Annunzio come personaggio nell’immaginario italiano ed europeo (1938-2008). Una mappa (Peter Lang, 2008); Metamorfosi della seduzione. La donna, il corpo malato, la statua in d’Annunzio e dintorni (ETS, 2008); Mariposas de Madrid. Los narradores italianos y la guerra civil española (Prensas Universitarias de Zaragoza, 2009; ed. or. Bulzoni, 2007); Un po’ prima della fine? Ultimi romanzi di Salgari tra novità e ripetizione (1908-1915) (con F. Foni, Sossella, 2009); La consegna dei testimoni tra letteratura e critica. A partire da Nerval, Valéry,
Foscolo, d’Annunzio (FUP, 2009); Silenzi solitudini segreti. Altre metamorfosi dannunziane (Bonanno, 2011); L’elmo e la rivolta. Modernità e surplus mitico di Scipioni e Spartachi (con G. Palumbo, Comma 22, 2011). Ha esordito come narratore con A ciascuno i suoi morti. Un album di racconti (Nerosubianco, 2010). Di prossima pubblicazione: Il peplum di Emilio. Storie e fonti antiche e moderne
dell’immaginario salgariano (1862-2012) (Il Foglio, 2012); L’Europa vista da Istanbul. Mimesis e la ricostruzione intellettuale di Eric Auerbach (Sossella, 2012); Play it again, Pinocchio (Moretti&Vitali, 2012).
Fabrizio Foni (1980), studioso del fantastico popolare, si è laureato in Letteratura italiana a Pisa e ha conseguito il dottorato di ricerca in Italianistica a Trieste, usufruendo poi di una borsa di post-dottorato a Liège. Tra le sue pubblicazioni: le monografie Alla fiera dei mostri (Tunué, 2007) e Piccoli mostri crescono (Perdisa Pop, 2010), e la cura delle antologie Il gran ballo dei tavolini (Nerosubianco, 2008) e Ottocento nero italiano (Aragno, 2009, con C. Gallo). Assieme a Luciano Curreri ha curato il volume collettaneo Un po’ prima della fine? (Sossella, 2009), dedicato agli ultimi romanzi di Emilio Salgari e, con Álvaro Ceballos Viro e Riccardo Trani, la riedizione bilingue di Seis días fuera del mundo/Sei giorni fuori dal mondo di Juan Pérez Zúñiga (Nerosubianco, 2011).

Indice

Per un’introduzione a nove code (e senza troppe note).

Mappe,griglie,dintorni di due Ventenni alternativi:1899-1919 e 1989-2009

Luciano CURRERI(Université de Liège)……………………………………………………………………………………………………………………….. 7

Scrittori del Risorgimento “precursori del fascismo”?

A proposito di un luogo comune della storiografia letteraria fascista*

Claudio GIGANTE(Université Libre de Bruxelles)………………………………………………………………………………………………………….. 19

La profezia dell’impero nella prima narrativa di Arnaldo Cipolla

(Nell’impero di Menelik,1911)

DANIELECOMBERIATI (Université Libre de Bruxelles)…………………………………………………………………………………………………… 37

Il soprannaturale,antidoto all’imperialismo?

Fabrizio FONI (Université de Liège)………………………………………………………………………………………………………………………………. 46

Tendente al nero.

Voci e derive neofasciste al tempo della politica pop

Pietro BENZONI (Université de Liège – Vrije Universiteit Brussel)……………………………………………………………………………………. 58

A tempo scaduto. I film italiani sul fascismo (1989-2009)

Gabrielle JACQUET (Université catholique de Louvain)

Gian Paolo GIUDICETTI (F.R.S. – Université catholique de Louvain)……………………………………………………………………………….. 73

La religione del fascismo in Anatomia della battagliadi Giacomo Sartori

Sabina GOLA (Université Libre de Bruxelles)…………………………………………………………………………………………. 83

L’anima musicale d’Italia:il canto popolare come bandiera ideologica

Carlo LO PRESTI (Conservatorio Statale di Musica “G. Rossini”,Pesaro)…………………………………………………………………………. 98

Pensare il fascismo oggi

Pierangelo DI VITTORIO,Alessandro MANNA,Enrico MASTROPIERRO,Giuseppe PALUMBO,Andrea RUSSO…………….. 125

È fascista la Madonna del fascio? Arte e architettura a Predappio tra conservazione e polemica politica

Maria Elena VERSARI (Getty Research Institute)……………………………………………………………………………………………………………. 134

Ucronia fascista nella narrativa italiana,tra revisione,rivisitazione e paradossi quantici

Giulio LEONI (Università “La Sapienza”)………………………………………………………………………………………………………………………. 145

Ombre postfasciste e neofasciste nel cinema italiano del nuovo millennio

Fulvio ORSITTO (California State University)………………………………………………………………………………………………………….. 151

Andrea Vitali:il piccolo mondo del lago,un fascismo da operetta e un’intervista all’autore………………………………………………….. 168

Appendice …………………………………………………………………………………………………………………………………………………………………… 176

Willy BURGUET (Società Dante Alighieri, Liège)

Le premesse del condottiere fascista. La rivincita di Lissa(1909) di Yambo

Michela TOPPANO (Université d’Aix-en-Provence)………………………………………………………………………………………………………….. 181

Il rock del Duce:dal caso Disciplinatha al Neofascismo in musica

Alessandro VITI (Università degli Studi di Siena)…………………………………………………………………………………………………………….. 191

Fascismo e fascismi dopo Genova 2001:narrare le forze dell’ordine

Monica JANSEN (Universiteit Antwerpen – Universiteit Utrecht)………………………………………………………………………………………. 203

Giordano Bruno Guerri   Fra documento e racconto

Giuseppe PAPPONETTI (Centro Nazionale di Studi dannunziani,Pescara)………………………………………………………………………… 219

Occulti poteri:esoterismo e fascismo tra Ventennio e Neodestra

Luca SCARLINI (Accademia di Belle Arti di Brera)………………………………………………………………………………………………………… 224

Il Bronx fuori e dentro di noi. Qualche immagine dell’intolleranza,dal mondo-periferia (1989-2009)

Gianni TURCHETTA(Università degli Studi di Milano)………………………………………………………………………………………………….. 227

Quattro “pinocchiate” fasciste
raccolta illustrata a cura di Luciano Curreri
Cuneo, Nerosubianco, 2008, 144 p.
(Le drizze, 1)
Euro 12,00 – ISBN 88-89056-30-4

Le “pinocchiate” discendono, come è noto, dal personaggio immortalato dal capolavoro di Collodi e muovono dalla fine dell’Ottocento per giungere ai giorni nostri, in seno a una tradizione che le ha spesso snobbate come repliche noiose e indecorose de Le avventure di Pinocchio. Certo, sublimarne l’importanza letteraria sarebbe arbitrario; non, però, coglierne il valore di documento, di testualità ancorate a una storia che è la nostra. In particolare, le “pinocchiate” fasciste, fra anni Venti e anni Quaranta, sono uno spaccato propagandistico significativo del Ventennio e delle sue derive: si va dalle spedizioni punitive ai Balilla, dalla conquista dell’Etiopia alla Repubblica sociale italiana.

Indice

AVVENTURE E SPEDIZIONI PUNITIVE

DI PINOCCHIO FASCISTA

Testo di Giuseppe Petrai,disegni di Giove Toppi 7

PINOCCHIO FRA I BALILLA.

NUOVE MONELLERIE DEL CELEBRE

BURATTINO E SUO RAVVEDIMENTO

Testo e disegni di Cirillo Schizzo del 420 (ps.di  Schiatti,Gino) 25

PINOCCHIO ISTRUTTORE DEL NEGUS 51

IL VIAGGIO DI PINOCCHIO

Testo di Ciapo,disegni di Fulvio Bianconi 63

Appendice 95

PINOCCHIO…IN UN ALTRO MONDO!

Testo di Palmira Melesi-Fanti,illustrazioni di Carlo Pierantoni 97

Postfazione 115

«SOPRA BOSCHI DI BRACCIA TESE».

PLANATE 1923-1944

di Luciano Curreri 117

Nota ai testi 139

Ringraziamenti 142

Postfazione 2011 143

LE “PINOCCHIATE”FASCISTE SONO RACCONTI D’ITALIA?

APPROSSIMAZIONI AL ‘GIÀ DETTO’TRA NOVITÀ E RIPETIZIONE

di Luciano Curreri 145

Ringraziamenti 155

Gorgievski Sandra (Université de Toulon)

Maître de conférences (anglais) à l’Université de Toulon, diplômée de Paris IV-Sorbonne (Doctorat, HDR)

GORGIEVSKI_PHOTO1

Champs de recherches :

L’imaginaire médiéval et ses résurgences contemporaines (cinéma, paralittérature, bande dessinée, séries, beaux-arts) : Figures mythiques, anges, le Moyen Âge comme objet de représentation, Fantasy, Science-fiction.

Continuer la lecture de Gorgievski Sandra (Université de Toulon)

Call for papers, The ethics and poetics of genre literature, Montpellier

The ethics and poetics of genre literature
Université Paul Valéry- Montpellier 3, France  –  15-16 March 2013
Deadline for proposals: 15 September 2012

An international conference organized by EMMA (Etudes Montpelliéraines du Monde Anglophone) with the support of the Société de Stylistique Anglaise (SSA).

This interdisciplinary international conference, the second  section of the project ‘Ethics & Rhetoric’ within EMMA’s line of research ‘Ethics of Alterity’, will focus on language and ethics in literary genres that depict encounters with alterity.

The situations in which the subject is faced with different or alien beings will be studied namely in novels belonging to the genre of utopia/dystopia, science fiction, fantasy, etc., as the so-called ‘genre literature’ embodies a heuristic model that dramatises and exacerbates encounters with alterity, featuring exotic, subhuman or posthuman beings that defy human knowledge (in SF and fantasy especially). Genre literature has often been regarded as an entertaining or escapist field that does not lend itself to ethical and poetical reflections, limiting itself to a hollow and servile repetition of the genre codes.

Nevertheless, theoreticians of these genres that have not been sufficiently studied highlight their defamiliarizing power through which things can be ‘seen’. This process of defamiliarization is often associated with the stylistic, poetic and ethical force inherent in fiction, but in its attempt at meta-conceptualizing the relationship between language and reality, genre literature seems to problematize and enhance these phenomena by making them more easily perceivable. Thus not resting content with merely questioning the mechanism of estrangement, genre literature explores the confines of readability and the break-point between the readerly and the writerly.

In their desire to represent the Other in all its complexity, writers are indeed confronted with an ethical and poetical aporia: how to describe what escapes Humanity in Human language? In the eyes of its critics, Science Fiction (SF) seems to lean towards the side of the readerly. On the border between total defamiliarization and cognition (Darko Suvin speaks of ‘cognitive estrangement’), SF seems to embody a genre that cannot afford to lose its readers. That may be the reason why extra-terrestrial languages are often filtered by English — crushing down linguistic difference under the weight of a single language that everybody can understand — as in Vonnegut’s Cat’s Cradle in which the creole form of English is ironed out through translation. How to represent a world in which the classical pronominal references (she/he) are not relevant anymore since ontology no longer relies on binary distinctions (as in The Left Hand of Darkness by Ursula Le Guin)? Yet certain SF or dystopia writers do manage to stretch out language and readability in their description of an alien situation (Russell Hoban’s Riddley Walker might be the best example here). But fantasy can perhaps be construed as the most subversive genre in that matter as it wallows in undecidability and interpretative wavering. In its attempt to reconcile the inexpressible, what is without a name, and the speakable or visible, according to Rosemary Jackson, fantasy delimits a zone of non-signification where the Other cannot be reduced to the self. Should we thus conclude that reaching the breaking point of intelligibility can guarantee the birth of the other in its radical alterity?

Todorov brought to light the difficulty of apprehending alterity in schemes other than the ones we are familiar with, questioning the possibility of mapping the other’s radical difference. The narratives about the Aztecs are among the first illustrations of this tendency to project pre-conceived expectations onto the other: ‘One would seek to transpose it into a familiar cognitive scheme in order to make it understandable and thereby at least partially acceptable’ (Tzvetan Todorov, Les Morales de l’histoire, Paris, Grasset, 1991, p. 41, our translation). Can reducing alterity to the categories of the same or resorting to the other as a foil to reinforce the self (the other being then everything the self is not) be said to be part of the more conservative trend in SF as opposed to more subversive trends of the genre (what Broderick calls allographers along Terry Dowling’s coinage ‘xenographies’) or of fantasy?

Are we condemned to a certain ethno — or anthropo-centrism — an accusation that is launched against the socio-constructionists that contend that our beliefs, desires or intentions are mediated by shared social and normative conventions that have been learnt and internalized in the specific discourse community we belong to — or can the other be ‘known’ to a certain extent while preserving its radical difference? Do tropes have a heuristic power able to change our conception of the world and of others? Is there such a thing as ‘rhetorical ethics’ that could give us access to the other? If, according to Broderick, zeugma and syllepses are characteristic of the poetics of SF, what relationships do these tropes of fusion entertain between self and other? How effective are other figures of speech in their depiction of the Other? Can they be said to be a product of an all-powerful Reason reducing alterity to the same? In La Raison classificatoire, for example, Patrick Tort indeed recalls that the two major classifying systems of human thoughts rely on metaphor and metonymy. Or, on the other hand, can tropes be said to ensure a speculative and prospective exploration, producing ‘scandalous or non-sense effects’ (Rosolato) that are capable of upsetting the classifications through which we have been trained to perceive the world? Can stylistic problems like focalisation or reported speech — that are often a privileged way to access the other’s conceptual schemes — be seen as anthropocentric blows dealt to alterity? Can the other be sketched out through lexical and syntactic inventiveness without its portrait being entirely tamed or harnessed?

The focus on this conference will thus be on the linguistic and poetic means writers resort to in their description of others (rather than be merely thematic). The point is to bring under scrutiny how fiction succeeds (or fails) in its discursive mapping of otherness and what the dialogue it imagines with the other teaches us on language and the human self. What will be explored are the limits of language and the linguistic strategies that are displayed by genre literature to get around this predicament.

This interdisciplinary international conference wishes to attract both literary critics, linguists and stylisticians working on the literature of the English-speaking countries from the 19th to the 21st centuries.

The following themes could be addressed but they are in no way restrictive:

  • linguistic representation of alterity
  • tropological ethics
  • stylistics and genre
  • intelligibility and linguistic experimentation
  • the speakable / unspeakable
  • representation of cognitive structures through focalisation, reported speech, pronominal identification, etc.

Deadline for submission: September 15 2012
Notification of acceptance: November 30 2012

Proposals of around 300 words to be sent to both:

  • Maylis Rospide <maylis.rospide@univ-montp3.fr>
  • Sandrine Sorlin <sandrine.sorlin@univ-montp3.fr>

Language of the conference: English

Source : The European Society for the Study of English

Publication of Greening the Media by Toby Miller and Richard Maxwell

Richard Maxwell and Toby Miller, Greening the Media, Oxford University Press: Greening the Media, 256 pages.

ISBN13: 978-0-19-991467-8

ISBN10: 0-19-991467-2

You will never look at your cell phone, TV, or computer the same way after reading this book. Maxwell and Miller not only reveal the dirty secrets that hide inside our beloved electronics; they also take apart the myths that have pushed these gadgets to the centre of our lives. With an astounding array of economic, environmental and historical facts, Greening the Media debunks the idea that information and communication technologies (ITC) are clean and ecologically benign. In this compassionate and sharply argued book, the authors show how the physical reality of making, consuming, and discarding them is rife with toxic ingredients, poisonous working conditions, and hazardous waste. But all is not lost. As the title suggests, Maxwell and Miller dwell critically on these environmental problems in order to think creatively about ways to solve them. They enlist a range of potential allies in this effort to foster greener media – from green consumers to green citizens, with stops along the way to hear from exploited workers, celebrities, and assorted bureaucrats. Ultimately, Greening the Media rethinks the status of print and screen technologies, opening new lines of historical and social analysis of ICT, consumer electronics, and media production.

Table of contents

ACKNOWLEDGEMENTS

INTRODUCTION

1. CONSUMERS

2. WORDS

3. SCREENS

4. WORKERS

5. BUREAUCRATS

6. CITIZENS

CONCLUSION

BIBLIOGRAPHY

Authors

  • Richard Maxwell is Professor and Chair of Media Studies at Queens College, City University of New York.
  • Toby Miller is Distinguished Professor of Media & Cultural Studies at the University of California, Riverside.

See some podcasts and presentation on the Facebook page : https://www.facebook.com/greeningthemedia

Further information and purchase at : http://ukcatalogue.oup.com/product/9780195325201.do.

Call for Papers Richard Matheson (1st june 2012)

Call for Papers

Richard Matheson

Richard Matheson is a prolific writer who has shaped the horror genre through his contributions to literature, film, and television. His work spans genres of horror, science fiction, fantasy, and suspense, totaling more than 90 short stories and 28 full-length novels, including I Am Legend, A Stir of Echoes, What Dreams May Come, and The Incredible Shrinking Man. Seminal horror figures Stephen King and George A. Romero cite Matheson as a major influence, and his writing has inspired multiple film and graphic novel adaptations.

Despite his extensive body of work, Matheson remains largely outside the scope of academia, with little available scholarship of his work. We have been asked by a reputable academic press to compile an as-yet-untitled volume of critical articles about Richard Matheson. Completed articles should be 15-20 pages in length and may address any aspect of Matheson’s career, from his original writing to adaptations of his work.

Possible topics include but are not limited to:
• Discourses of superstition and science
• Alienation and isolation
• Disease and decay
• Power and privilege in class inequalities
• Deconstructing mythologies or defying generic expectations
• Shifting concepts of normalcy or aberrant behavior
• Sex and sexuality in gender and marriage roles

Please submit a 250-300 word abstract for publication consideration. The deadline for submissions is June 1, 2012.
Please address all inquiries and submissions to Cheyenne Mathews (cxm3593@ull.edu).

Editors:
Cheyenne Mathews, Department of English, University of Louisiana at Lafayette
Dr. Janet V. Haedicke, Department of English, University of Louisiana at Monroe

Colloque: Culture populaire et/ou culture grand public ? De la subversion au marketing (23 mai)

Culture populaire et/ou culture grand public ?

De la subversion au marketing (XIXe-XXIe siècles)

Mercredi 23 mai 2012, Auditorium de la BU de Saint-Quentin-en-Yvelines. (De 9h30 à 17h30.)

PRÉSENTATION

Quels seraient les enjeux d’une mise en parallèle entre culture populaire et culture grand public ? S’agit-il d’une distinction entre logique éducative et logique de marché, ou d’une confrontation entre authenticité d’un côté, et séduction du marché de l’autre? Les termes formulés appellent inévitablement celui de culture de masse dans son rapport à la modernité.

Constatant les confusions existantes entre culture populaire et grand public, les conflits sémantiques et idéologiques constitueront un axe d’analyse essentiel. On sera particulièrement attentifs aux luttes de définition et aux enjeux de labellisation. On le sait, le champ culturel est animé par un déplacement permanent des frontières au sein de « la culture », de redéfinition des hiérarchies. Certaines manifestations de résistances aux cultures dominantes sont parfois qualifiées de « populaires », en oppositions aux cultures officielles. Des labels comme « underground », « rock alternatif », et même « nanar » deviennent ainsi des outils de distinction. Mais les processus de reconnaissance, au sein desquels il faudra étudier l’action des entrepreneurs culturels, peuvent être –et sont- souvent interprétés comme des phénomènes de « récupération » et de routinisation. Au vu de ces reconversions, on peut être tenté de se demander si toute contre-culture est destinée à être absorbée par le système culturel dominant.

Née d’observations faites aux cours de nos travaux respectifs, cette journée d’études a pour objectif de développer de telles problématiques, tout en favorisant la rencontre entre de jeunes chercheurs venus d’horizons et de disciplines différentes.

PROGRAMME

9h : Accueil des participants et introduction de la journée.

9h30-11h : Lorsque les politiques publiques dressent des espaces de médiation, entre culture pour le peuple et grand public.

Présidence: Alexis Blanchet (IRCAV – Paris 3).

Thibault Le Hégarat (doctorant en histoire, CHCSC-UVSQ),

Le patrimoine matériel en France depuis l’après-guerre : de la difficulté de définir un objet support de représentations et de pratiques mouvantes.

Caroline Saugier (doctorante en arts du spectacle, MRSH- Université de Caen),

La culture large public comme produit des institutions culturelles de marché : le cas du festival d’Avignon ”In” contemporain.

Justine Delassus (doctorante en histoire, CHCSC-UVSQ),

Matérialiser l’art littéraire : des maisons d’écrivains aux parcs à thème, quelles identités culturelles ?.

11h30-13h : Le cinéma, ou le triomphe de la culture de masse ?

Présidence: Évelyne Cohen (ENSSIB – Université de Lyon).

Myriam Juan (doctorante en histoire, CHS-Paris 1),

Vedettes populaires, stars grand public ? Éléments de réflexion sur les modèles français et hollywoodiens dans les années 1930.

Alexandra Schwetzoff (doctorante en études slaves, Paris 4),

Une nouvelle culture de masse cinématographique en Russie contemporaine, le russkij blockbuster.

Nathanel Amar (doctorant en sciences politiques, CERI–Sciences-Po), De l’avant-garde à la propagande : le parcours du cinéma chinois.

14h30-16h30 : La contre-culture, entre récupération et marketing.

Présidence: Anaïs Fléchet (CHCSC – UVSQ).

Marcos Giadas Conde (maître de conférences en sciences de l’information et de la communication, HAR – Paris-Ouest-Nanterre),

Le cas Manu Chao : entre culture légitime et hit-parade.

Annabelle Seoane (doctorante en sciences du langage, CEDITEC- Paris-Est-Créteil), Le positionnement du Guide du Routard : de ”l’auberge de jeunesse cracra” au ”petit hôtel de charme.

Marjorie Glas (doctorante en sciences sociales, EHESS-IRIS),

La transformation des modes de revendication du théâtre populaire des années 1950 à nos jours.

Emmanuelle Fantin (doctorante en sciences de l’information et de la communication, GRIPIC-CELSA),

L’instrumentalisation de la contre-culture par le discours publicitaire.

16h45-17h30 : Conclusion de la journée par Dimitri Vezyroglou (CERHEC – Paris I).

Organisateurs : Yann Hermans, Nicolas Lahaye, Géraldine Poels, Matthias Steinle.

Comité scientifique : Alexis Blanchet, Évelyne Cohen, Christian Delporte, Éric Fimbel, Anaïs Fléchet, Laurent Jullier, Jean-Yves Mollier, Jean-Marie Privat, Dimitri Vezyroglou, Jean-Claude Yon.

Entrée libre dans la limite des places disponibles.

Url de référence :
http://www.chcsc.uvsq.fr/
Adresse : UNIVERSITE DE VERSAILLES SAINT-QUENTIN-EN-YVELINES 47, Boulevard Vauban – 78047 Guyancourt Cedex

Call for papers – Emerging Vectors of Narratology: Toward Consolidation or Diversification? Call for papers


ENN Conference 2013 – Emerging Vectors of Narratology: Toward Consolidation or Diversification? Call for papers

The 3rd Conference of the European Narratology Network

Organized by the Centre de recherches sur les arts et le langage (CRAL – CNRS/EHESS)

March 29 and 30, 2013

Pre-Conference Doctoral Seminar – March 27 and 28, 2013

Paris, France

Call for papers

Emerging Vectors of Narratology: Toward Consolidation or Diversification?

It can be observed that postclassical narratology, in its initial phase, expanded the scope of inquiry of its predecessor to become multiple, interdisciplinary, transgeneric, transmedial. More recently, it appears that narratology has entered a phase of consolidation, but with a continued trend toward diversification.

What does this consolidation consist of, and in what ways can narratology be said to diversify? Are narratologies, in the plural, evolving toward narratology, in the singular – possibly to become a discipline in the full sense of the term? Does diversification imply more double-entry narratologies, or does it, perhaps simultaneously, involve a look at the various scientific cultures underlying research programs in narrative theory, past and present, but also non-Western? As theoreticians address issues of cognition and context in narrative, in what ways should the role of poetics in narratology be rethought?

Ubiquitous, stories have encouraged narratologists to expand their purview beyond the literary corpus and take the “narrative turn,” embracing fields as diverse as psychology, sociology, ethnology, history, the law, corporate management, digital technology, and more. But whatever the universals common to all narratives, literary scholars, psychotherapists, sociologists, ethnologists, historians, jurists, advertising executives and AI experts view narrative in significantly different ways and as serving purposes that may be wholly at odds from one field to another. What, then, is the influence on narrative of genre – not necessarily in the sense of traditional literary scholarship, but possibly in that of “speech genres” (Bakhtin), those “relatively fixed forms” that bridge the gap between units of language or other signifying systems and discourse in its prolific manifestations? Then, too, is the question of narrative in non-verbal forms – the plastic arts and music – but also narrative in its pluri-medial forms.

Yet other questions arise. If, as Barthes stressed nearly half a century ago, narrative is a universal anthropological phenomenon, to what extent is it constitutive of culture? Can similar lines of inquiry be pursued with regard to homo narrans, the storytelling animal?

Such are but a few of the questions open for debate at the 3rd Conference of the ENN, hosted by the Centre de recherches sur les arts et le langage at the Centre National de Recherche Scientifique and the École des Hautes Études en Sciences Sociales in Paris on March 29 and 30, 2013.

More information (about the keynotes speakers, the workshops, the pre-conference doctoral seminar on the conference website.

Deadline for submission of proposed papers (200 words): October 15, 2012

Send submissions to the conference coordinators:  John Pier: j.pier@wanadoo.fr and Philippe Roussin: roussin@ehess.fr

Please write “ENN Conference: Submission” in the subject line.

Acceptances will be sent out on November 15, 2012

Registration for the Conference will open on November 15, 2012

Deadline for registration: January 10, 2013

Registration fee: 165 € – Students: 85 €

In order to take part in the conference, participants must be members of the ENN.

To register as a member, please consult the ENN website – “How to join the ENN

The official languages of the Conference are English and French1.

The Conference will take place at the Cité Internationale Universitaire de Paris:  Fondation des États-Unis – 15, bd Jourdan and Fondation Biermans-Lapôtre – 9A, bd Jourdan 75014 Paris – RER station: Cité Universitaire

Conférence de Henry Jenkins, Transmédia 2.0 à la bibliothèque du Centre Georges Pompidou


Conférence de Henry Jenkins, Transmédia 2.0 à la bibliothèque du Centre Georges Pompidou

le 25 mai 2012
19h

Pionnier des études sur les fans, théoricien célébré de la culture de la convergence, Henry Jenkins a repensé l’écosystème médiatique à l’aune du tournant participatif, marqué par l’essor des productions transmédiatiques. Passée la phase utopiste, ces dernières s’inscrivent dans un paysage de plus en plus diversifié, traversé par une même culture en réseau. Henry Jenkins en dévoilera les multiples logiques, du mainstream aux productions indépendantes, en passant par les serious games. En coproduction avec la Sorbonne Nouvelle – Paris 3 et avec le partenariat de Orange Transmedia Lab.
Le vendredi 25 mai, 19h, Grande salle, niveau -1
Entrée libre dans la limite des places disponibles

Renseignement : Romain Lacroix, 01 44 78 42 25, romain.lacroix@centrepompidou.fr
Pour recevoir les annonces de nos soirées : Claire Couffy, paroleaucentre@centrepompidou.fr

Plus d’information sur le site du Centre George Pompidou.

La conférence sera diffusée en direct sur  epresence.univ-paris3.fr