Appel à communications : "Bis repetita placent. Remake et technologie dans le cinéma et les séries télévisées du monde anglophone", Grenoble, 3-5 octobre 2013

« Bis repetita placent » ? Remake et technologie dans le cinéma et les séries télévisées du monde anglophone

Colloque inter-laboratoire CEMRA (Université Stendhal Grenoble 3) et GRIC (Université du Havre)

Université Stendhal Grenoble 3, les 4 et 5 octobre 2013.

Lorsque Serge Daney déclare en 1991 « Ne sera gardé du cinéma que ce qu’on pourra refaire », il dénonce en fait la tendance des studios hollywoodiens à tabler sur le succès d’œuvres antérieures pour alimenter leur usine à rêves, créatrice d’une mythologie qu’il oppose à l’œuvre d’art unique qui « se conserve », alors qu’« une mythologie ne cesse, au contraire, de se gérer, de se recycler selon l’air du temps et l’état des techniques. » Cependant, le remake est loin d’être une pâle imitation de l’œuvre originale et bien des chefs-d’œuvre consacrés sont desremakes, de The Man Who Knew Too Much (Hitchcock, 1956, remake de son propre film de 1934) à A Star is Born (Cukor, 1954, remake de Wellman, 1937), de Scarface (Scorcese, 1973, remake de Hawks, 1932) à The Departed (Scorcese, 2006, remake de Lau et Mak, 2002, et deG-Men, 1935), de True Grit (les frères Coen, 2010, remake de Hathaway, 1969) à 3:10 to Yuma (Mangold, 2007, remake de Daves, 1957). Tous les genres se prêtent aux remakes alors que les technologies évoluent, permettant une actualisation substantielle à partir d’une trame scénaristique connue. L’évolution d’autres facteurs clé, tels que le jeu d’acteur ou les enjeux sociétaux, poussent aux remakes, notamment de films comiques, dramatiques ou politiques.

À travers des études de cas aussi bien que des réflexions théoriques, le colloque tentera de répondre aux questions que toute étude desremakes soulève : quel est le statut du remake ? Quelles sont ses relations avec l’œuvre antérieure ? Que mettent à jour les modulations scénaristiques, esthétiques et technologiques ? En particulier, les typologies des remakes proposées par Michael Druxman, Harvey Roy Greenberg ou, plus récemment, Constantine Verevis peuvent être envisagée à la lumière des nouvelles technologies, qui élargissent les différents types de remake déjà repérés. Si, comme l’affirme Greenberg, le remake est « pré-vendu » au public qui reconnaît l’œuvre originale, l’apport technologique sert-il exclusivement cet objectif de (pré)vente ou peut-on en discerner d’autres fonctions ? Ainsi, on notera que certains films ressortent, inchangés à l’exception de leur « transformation » de 2D en 3D ou voient leurs effets spéciaux « mis à jour ». S’agit-t-il d’une forme nouvelle de remake, et ces ajouts digitaux répondent-ils à la même logique que la colorisation subie en leur temps par les films originellement distribués en noir et blanc, ou que les remakes parlant de films muets, dans la mesure où la technologie altère l’expérience spectatrice ? S’agit-t-il d’un retour aux sources du « cinéma des attractions » permis par la technologie numérique ?

Ces questions sont d’autant plus pertinentes à l’ère des technologies numériques qui repoussent les limites de fabrication de mondes imaginaires. Les films d’horreur, de science-fiction et de fantasy sont depuis longtemps sujets aux remakes et à la sérialité, notamment à l’âge d’or du cinéma et jusque dans les années soixante, où s’enchaînaient les DraculasFrankenstein et autres Nosferatu. Le numérique a permis une recrudescence des remakes de science-fiction et de fantasy, que ce soit sur le grand ou le petit écran. Peut-on en mesurer l’apport, idéologique et esthétique, au-delà de la démarche économique répondant à l’attente d’un public friand d’effets spéciaux et de films en 3D ?

On peut également s’interroger sur la nature et la valeur de la métamorphose la plus récente du remake qu’est le reboot, où ce ne sont plus des films individuels mais des « franchises » entières qui sont remises à zéro et relancées (Star Trek, 2009, Spiderman, 2012). Le phénomène pointe du doigt les nouvelles stratégies mises en place par des studios cherchant à renouveler leurs franchises les plus rentables. Pourtant si la trame générale reste plus ou moins la même d’une mouture à l’autre, les intrigues unitaires peuvent être totalement inédites, les personnages et leurs biographies entièrement refondés, l’esthétique des séries radicalement repensée, tandis que des échos de nature très différentes (scènes ou dialogues qui se répondent d’un métrage à l’autre sans nécessairement se copier) rendent plus complexes qu’autrefois les liens unissant les originaux à leurs remakes. Lorsque Tim Burton, en 2001, qualifie de « reimagining » sa version de La Planète des singes, il cherche à se défendre de l’accusation d’inutile remake, mais il souligne également les possibilités créatives nouvelles offertes par la technologie numérique en même temps qu’il met en avant la capacité d’un auteur à se réapproprier un matériau préexistant et à s’éloigner de celui-ci, au même titre que l’adaptation (et cette deuxième Planète des singes, pour reprendre cet exemple, n’est-elle pas aussi une seconde adaptation du roman de Pierre Boulle avant d’être le remake du premier film ? La distinction a-t-elle encore un sens ?).

Nous invitons les participants à explorer ces questions théoriques et le rapport entre technologie et remake ainsi que l’évolution de celui-ci, en particulier depuis une trentaine d’années et l’apparition des technologies numériques ;

  • Ainsi, on pourra s’intéresser à la représentation, et la mise en scène de la technologie dans les remakes eux-mêmes (notamment les enjeux esthétiques et idéologiques) ;
  • Le remake connaît de nombreux dérivés : quel statut donner à des séries et des films homonymes de l’original dont ils s’inspirent, mais que tout semble séparer ?
  • Comment traiter les cross-overs : la série qui devient film (Twin Peaks, Star Trek…) ou le film qui devient série (M*A*S*H*) ? Quand considère-t-on avec le changement de média que le remake est une adaptation, au même titre que l’adaptation littéraire ?
  • Les remakes de télévision : comment expliquer l’apparition récente des remakes télévisés (Battlestar GalacticaBionic WomanV,Knight Rider, Hawaii Five-O, Charlie’s Angels), ou, si l’on veut, l’absence si longue du phénomène sur le petit écran ? Quel rôle, esthétique ou thématique, y joue la technologie ? Quelles sont les spécificités des remakes télévisés vis-à-vis du cinéma ?
  • Enfin, que dire du rôle des technologies dans la diffusion élargie des films et séries télévisées et les « échos » comme le vidding, desremakes amateurs parodiques postés sur Internet et diffusés par les réseaux sociaux, le rôle des blogs et des fanzines électroniques dans la faisabilité économique d’un remake ?

Les propositions de 350 mots en français ou en anglais, accompagnées d’une notice bio-bibliographique de 200 mots environ sont à envoyer àClaire.Maniez@u-grenoble3.fr et Donna.Andreolle@univ-lehavre.fr pour le 15 février 2013.

Séminaire "Périphéries", « Le roman-photo. Pour une photographie mineure »

Intru

Séminaire “Périphéries”

« Le roman-photo. Pour une photographie mineure »

Le séminaire “Périphéries”, organisé par le laboratoire InTRu de l’Université François-Rabelais, se poursuit le mardi 15 janvier prochain (17h-20h), en salle 325, avec une intervention de Jan Baetens : « Le roman-photo. Pour une photographie mineure ».
Cette intervention sera suivie d’un débat animé par Thierry Smolderen (
professeur à l’Ecole Européenne Supérieure de l’Image d’Angoulême, équipe InTRu).

Le programme des séances est disponible en ligne : http://intru.hypotheses.org/1181
Une affichette en pièce jointe vous permet de relayer l’information sur cette séance.

15 janvier, 17h-20h, salle 325

Jan BAETENS (Professeur en cultural studies, Université de Leuven)

Le roman-photo. Pour une photographie mineure

Dans cette communication, on se propose de revenir sur la qualification du roman-photo comme genre «mineur», voire comme «sous-genre». Non pour expliquer une fois de plus ce qui ne ne va pas dans cette pratique culturelle méprisée, mais pour interroger le sens même du mot mineur, aussi bien en référence au concept de littérature mineure (cf. le livre de Deleuze-Guattari sur Kafka) que par rapport aux idées dominantes sur l’opposition mineur/majeur en photographie. En tant que forme hybride, mélangeant littérature et photographie, le roman-photo ouvre en effet de nouvelles perspectives à une lecture positive de la périphérie.


Laboratoire InTRu – Interactions, transferts, ruptures artistiques et culturels, JE2527
Université François-Rabelais
3 rue des Tanneurs
37041 TOURS CEDEX 1

http://www.intru.univ-tours.fr

Call for Papers : « ICA pre-conference on transmedia storytelling », 17 June 2013

ICA pre-conference on transmedia storytelling

Transmedia Storytelling: Theories, Methods and Research Strategies

Monday, 17 June; 08.00 – 17.00

Hilton Metropole London Hotel

Costs: 115.00 USD – This fee covers the pre-conference registration, two coffee breaks and a lunch.

Organizers:

  • Carlos A. Scolari (Universitat Pompeu Fabra, Barcelona, Spain)
  • Indrek Ibrus (Tallinn University, Estonia)

Sponsor:

  • Tallinn University Baltic Film and Media School
  • Universitat Pompeu Fabra

Website: http://ica2013transmedia.wordpress.com/

Description: Transmedia storytelling is one of the remarkable experiences emerging

from the contemporary media ecology. It is a complex research object that can be

approached from different perspectives: economical (diversification strategies,

industry re-structuring, evolving business models, marketing purposes, branding

applications, etc.), narratological (narrative structures, expansion strategies,

etc.), legal (copyrights, remix cultures, etc.), sociological (audience formation,

user-generated content creation, fan cultures, etc.). The main objectives of the

pre-conference are to present and discuss the cutting edge studies on transmedia

phenomena around the world and to consolidate an international and

interdisciplinary network of transmedia researchers.

Format: The pre-conference will consist of three sessions and a concluding panel

of keynotes:

  • Session I (09.15-10.45) Political Economy of Transmedia: global and regional
  • cross-platform industries, their diversification strategies, business models,
  • marketing strategies, transmedia and branding, production routines, legal issues,
  • etc.
  • Session II (11.00-12.30) Transmedia Narrative Worlds: semiotics of transmedia,
  • studies of narrative structures, expansion strategies, adaptation studies, story
  • gamification, etc.
  • Session III (13.30-15.00) Transmedia and audiences: studies of co-creation, user
  • agencies, remix practices, fan cultures, etc.
  • Keynotes panel (15.15-17.00) : Sarah Atkinson (University of Brighton), Elizabeth Evans (University of Nottingham), Göran Bolin (Södertorn University)

Each session will have five papers presented based on abstracts submitted in

advance. There will be a respondent for each panel, designed to facilitate

dialogue and interaction.

Submission Process: Scholars interested in participating in the preconference

should submit abstracts of no more than 400 words to Carlos A. Scolari

(carlos.scolari@gmail.com) and Indrek Ibrus (ibrus@tlu.ee) by February 4, 2013.

Authors will be informed regarding acceptance / rejection for the preconference no

later than February 25, 2013. Full papers will need to be submitted no later than

May 15, 2013. The pre-conference will take place on June 17, 2013.

Please direct queries and requests for information to carlos.scolari@gmail.com and

ibrus@tlu.ee.

Publication : "Culture and the Media", Paul Bowman

Culture and the Media looks at the relationship between what we term ‘media’ and ‘culture’, asking the question: where does one end and the other begin? Written in a lively and accessible style, this book introduces and contextualises the range of different approaches to the study of both of these fields.

Using a lively range of examples and case studies – including moral panics in the British media around punk rock in the 1970s, critiques of consumerism in the films Fight Club and American Psycho, and the YouTube-captured ‘violence’ of protests against student fees – Culture and the Media shows how theoretical and disciplinary debates over the meaning of the media and culture relate to our everyday cultural experiences.

CONTENT

– Introduction

– Chapter 1: Culture is (not) the Media

  • ‘Culture and the Media?’ What and the What?
  • Familiar Impossible Terms
  • Discourse
  • The Extremities of Culture
  • (Un)Popular Culture
  • Barbarian, Philistine and Popular Culture
  • Culture versus the Media
  • Culture as Media
  • The Disagreement of Culture

– Chapter 2: Media is (not) the Culture

  • Media (and) Messages
  • Interconnectedness, V.1
  • Interconnectedness V.2
  • Interconnectedness V2.1 (Supplement)
  • Shop Around
  • Media and Cultural Agency
  • Interconnectedness V3: Disconnectedness

– Chapter 3: Media Representation and its Cultural Consequences

  • Editing Culture: From trivia to tradition
  • Mediatized Ideas, Mediatized Bodies
  • Mediatized Politics
  • Violent Demonstration: A Mediatized Logic
  • Demonstrations of Violence
  • Playing War Games

– Chapter 4: Filming Culture

  • Post-Cinematic Effects
  • Classic Cinematic Effects
  • Media Culture and Coercive Mimeticism

– Conclusion: The Tangled Web

AUTHOR

Paul Bowman is Senior Lecturer in Cultural Studies at Cardiff University, UK. His previous books include Deconstructing Popular Culture, Interrogating Cultural StudiesPost-Marxism versus Cultural Studies and The Truth of Žižek.

More information : http://us.macmillan.com/cultureandthemedia/PaulBowman

Call for Papers : Journal of Screenwriting, n°5.2

Call for papers : Journal of Screenwriting   Vol. 5.2.

We invite researchers, educators and practitioners to contribute to Issue 5.2 of the Journal of Screenwriting, a peer-reviewed journal that focuses on this important aspect of moving image pre-production and conceptualisation.

This special issue is concerned with archival scholarship and screenwriting research from the United States.  The issue will include contributions from archivists and pioneering scholars.

Papers submitted for consideration might include but are by no means limited to the following areas:

discussion of twentieth-century American film scholarship and criticism

– assessments of problems and opportunities in researching particular:

  • periods
  • screenwriters
  • archives and collections

– script doctoring

– the effect on screenwriting of:

  • manuals
  • festivals
  • competitions
  • industrial change

– relationship between studio systems and  textual forms

The peer reviewed Journal of Screenwriting brings together research and reflection on pedagogy, professionalism and practice in an area which has been somewhat overlooked in academic discourse.  New work has conventionally been scattered throughout journals devoted to specific aspects of media theory or practice, and this academic journal aims to bring together serious screenwriting-related work under one title.  The Journal is international in scope, and seeks wide-ranging work which is critical, rigorous and original in its contribution to this developing area of study.  We expect to include work which employs a diverse range of methodological approaches, including textual analysis, production analysis, practice as research and historical investigation.

Articles should be between 4000 and 7000 words in length.

Articles, to include a 200 word abstract, should be sent by Monday 13th March 2013 to the Principal Editor Jill Nelmes (j.nelmes@uel.ac.uk), and to the Co-Editor of this issue Steven Price (els024@bangor.ac.uk).

Please contact either Jill or Steven regarding any queries about suitability of subject or other requirements.

Forthcoming issues will focus on TV Writing, writing for Animation and Adaptation.

Publication : « Queer Tracks: Subversive Strategies in Rock and Pop Music », Doris Leibetseder

Now available from Ashgate Publishing…

Queer Tracks: Subversive Strategies in Rock and Pop Music, Doris Leibetseder, Alpen-Adria Universität Klagenfurt (Austria)

Queer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities. This cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Queer Tracks is a revised translation of Queere Tracks. Subversive Strategien in Rock- und Popmusik, originally published in German.

Contents: Introduction: historical prelude; Irony – the cutting edge; Parody – gender trouble; Camp – queer revolt in style; Mask/masquerade – transforming the gaze; Mimesis/mimicry – poetic aesthetic; Cyborg – transhuman; Trans* – border wars?; Dildo –gender blender; Fade out: looking forward; Bibliography; Index.

Sample pages are available to view online at: www.ashgate.com/isbn/9781409437024

Dr.in Mag.a Doris Leibetseder
Zentrum für Frauen- und Geschlechterstudien
Alpen-Adria Universität Klagenfurt
Sterneckstrasse 15
9020 Klagenfurt/Celovec
Österreich/Austria 
Tel: +43/463/2700-1021
E-mail: doris.leibetseder@aau.at Homepage: http://wwwu.uni-klu.ac.at/dleibets/wordpress/

NEUERSCHEINUNG

Doris Leibetseder: Queer Tracks. Subversive Strategies in Rock and Pop Music. Ashgate (December) 2012 
ISBN 978-1-4094-3702-4 
eISBN 978-1-4094-3703-1
http://www.ashgate.com/default.aspx?page=637&calcTitle=1&title_id=11328&edition_id=11678

Doris Leibetseder: Queere Tracks. Subversive Strategien in der Rock- und Popmusik.
Verlag: Transcript; EUR 29,80
ISBN: 978-3-8376-1193-9
http://www.transcript-verlag.de/ts1193/ts1193.php

Publication : "Global Media Apocalypse", Jeff Lewis

Global Media Apocalypse. Pleasure, Violence and the Cultural Imaginings of Doom, Jeff Lewis, Palgrave Macmillan

PRESENTATION

The modern world has become trapped between fantasies of infinite bliss and the prospects of total global collapse. Global Media Apocalypse explores these contrary imaginings through an evolving cultural ecology of violence. Articulated through the global media, these apocalyptic fantasies express a profoundly human condition of crisis. Paying particular attention to the role of digital and networked communication systems, Jeff Lewis presents an analysis of mediated imaginings of many of the world’s most pressing problems, including consumerism, ecological disaster, global power shifts, terrorism, refugees, borders and cultural warfare. An accessible analysis of a world teetering on the edge of systemic collapse, the book offers a powerful rendering of many of the world’s most challenging and potentially devastating problems, presenting explanations and solutions that are both original and starkly provocative.

CONTENT

  • Preface
  • Introduction: Out of the 9/11 Decade
  • New Media-Old Empires: Celebrity, Sex and Revolutions of Knowing
  • Under the Volcano: The Cultural Ecology of Nature
  • Hyper-Pleasure: Consumer Rituals and Transactions of Desire
  • Menace: Westernism, Media and the Cultural Ecology of Violence
  • After the Apocalypse: Refugees, Human Rights and the Global Media Future
  • Conclusion
  • Peace
  • References

AUTHOR

Jeff Lewis is Director of the Human Security Research Program at RMIT University, Melbourne, Australia. He has published numerous journal articles and books, including Cultural Studies, Language Wars, Bali’s Silent Crisis, and Crisis in the Global Mediasphere.

Call for papers : Narrative Minds and Virtual Worlds, 21-22 May 2013

Narrative Minds and Virtual Worlds

Tampere, Finland, May 21st and 22nd 2013

Call for Papers, abstract deadline January 31st, 2013

Keynote speakers:

  • Marie-Laure Ryan (author of Possible Worlds, Artificial Intelligence and Narrative Theory [1991], Narrative as Virtual Reality [2001] and Avatars of Story [2006]; editor of Cyberspace Textuality [1999] and Narrative across Media [2004])
  • Jarmila Mildorf (author of Storying Domestic Violence [2007]; editor of Magic, Science, Technology, and Literature [2006] and Imaginary Dialogues in English [2011])

The postclassical turn in narratology has led to 1) a new emphasis on minds, both fictional and interpretative, and 2) the theoretical discovery of storyworlds. These ideas come together in cognitive-theoretically informed narratology, which is well on its way to getting to grips with the processes of immersion and readerly orientation within the storyworld, and also with perceptual positioning on the levels of storyworld, narration and the actual reading process. This conference discusses, applies and tests narratological theories of world and mind construction in different media, ranging from literature to digital games, classroom interaction and corporate communication.

The conference calls for papers from any relevant field of study addressing interfaces of minds and worlds, narrative as well as virtual. Bringing together research on different narrative and quasi-narrative media will reveal both the medium-specific and the transmedial dynamics between inner and outer worlds in narrative sense-making. For instance, the narratological notions of fictional mind construction have lately been informed by theories of spatial and temporal situatedness and its effect on the reading process. The situation of game players immersed in a virtual world involves both interesting similarities with as well as differences to more prototypically narrative environments, particularly in its prioritisation of navigation and problem-solving over empathetic identification. Furthermore, the use of shared storyworlds as foundations for transmedial franchises suggests that worlds may, indeed, be translatable.

This conference is inspired by interdisciplinary and transmedial studies of narrative as pursued by, among others, our keynote speakers Jarmila Mildorf and Marie-Laure Ryan. We welcome papers discussing general and theoretical issues, as well as papers focusing on particular texts or cases in any medium. Furthermore, papers may address medium-specificity or disciplinary boundaries as interpretative or methodological challenges.

Possible topics include, but are not limited to:

  • medial and intermedial construction of minds and worlds in literature and the everyday
  • adapting storyworlds from one medium to another
  • socially distributed minds in everyday conversation, narration and life stories
  • the role of fiction and narration in digital games
  • misreading virtual minds in fiction
  • fictional worlds in picture books and graphic novels
  • virtual worlds and fictional minds as tools for teaching
  • game worlds between real action and imaginary spaces
  • narrative and ludic agency in game playing
  • narrative, material and visual dimensions of organisational sense-making
  • ?Theories of Mind? in different media
  • attributing minds and representing worlds in historical narratives
  • exceptional minds and bodies in fiction and the everyday
  • dream narratives as virtual worlds
  • narrative embodiment in illness narratives
  • the function of stories in marketing and brand development

Please send a 250-word abstract to Mari Hatavara (mari.hatavara[at]uta.fi) by January 31st 2013. Be sure to give the title, author(s), affiliation(s), and e-mail address in the same document.

The conference is organised by:

  • Mari Hatavara, professor of Finnish literature at the University of Tampere School of Language, Translation and Literary Studies
  • Matti Hyvärinen, professor of Sociology at the University of Tampere School of Social Sciences and Humanities
  • Frans Mäyrä, professor of Information Studies and Interactive Media at the University of Tampere School of Information Sciences

Call for Papers : Cultural Memory, 5-6 September, Skopje

Call for Papers and Call for Panel Proposals

The Centre for Culture and Cultural Studies (CCCS)

The Balkan Network for Culture and Culture Studies (BNCCS)

Annual Conference 2013: “Cultural Memory”

September 5-6, 2013, Skopje, Republic of Macedonia

The deadline for proposals is February 1st, 2013

The Centre for Culture and Cultural Studies (CCCS) and The Balkan Network for Culture and Culture Studies (BNCCS) will organize the first of many to follow, annually-held conferences, under the overarching theme “Cultural Memory”.

The interest in the past, and consequently, the interest in collective and individual memory, is quite pertinent to our overall present-day research interests. Finding a way to articulate and express individual and collective identities, which find themselves under the undeniable pressure of globalization, transition and consumer processes, is becoming increasingly important. On the one hand, in today’s contemporary, post-modern societies, the various ethnic groups call for recognition, which in turn demonstrates a need for the construction of their pasts, and thus, their cultural memories. On the other hand, if national, regional, religious and/or local cultural identities present today were portrayed as more or less stable entities, today they may be observed as nothing more than events, changes or conflicts usually associated with secularization, industrialization, globalization, migration, or many other political, economic, cultural and/or religious. From this stance, culture is seen as shaped under the influence of processes that stand in constant mutual tension. In other words, it is located in a state of constant negotiation with the newly present conditions, values, ideas and beliefs, set in circumstances whence the previously dominant segments are no longer present. In such processes, the term memory occupies a central role.

The objective of this first conference is twofold: namely, to contribute to the study of cultural memory by unlocking narratives about the past (and their canonization), and offer relevant critical observations on the manifestations of cultural memory that are not essentially ‘narratives’. This approach provides a kind of multidisciplinary and interdisciplinary access to cultural memory taken from various perspectives.

In this context, we are faced the following questions: how do we recall, remember and forget? What stories are ‘permitted’ and which are ‘forbidden’? How does the past determine the present and shape the future? How do the various discourses of the past determine the social and personal identities? How are our deepest emotions, desires and fantasies articulated in the present through the discursive space of memory? What are the relations between memory and monuments, archives and museums? How can we understand the dual nature of monuments: as tools of ideologically driven memory (fixed memory) and/or as constant sources of creative construction and opening up of memory? Does technological development influence the process of remembering the past? What are the implications of a digitalization of memory? What kind of history is created by the massive use of digital technologies (i.e., online archives that are encoding/decoding their users’ memories in virtual space)? How do the systems used for production affect the ways that use, protect and work with memory? In what ways is cultural tourism associated with memory? How does it reflect the local and global histories in terms of which narratives are being produced and consumed?

On that note, individual and collective memory within the processes of creating identities provides for the contemporary researcher indispensable links to the myriad present-day realities that are at the same time quite problematic. This duality manifests itself in the creative and conceptual forms of expression. Hence, the aim of the conference is to bring closer the various aspects applied in studying cultural memory. The conference aims at fostering a critical dialogue beyond the boundaries set by various disciplines, thus papers from various disciplines and fields are most welcomed, including art history, literature, anthropology, architecture, philosophy, political science, sociology, cultural geography, cultural studies, media and film studies, ethnology and folklore, economics, history, heritage studies, museum studies, landscape studies, leisure studies, tourism studies, transport studies and urban/spatial planning.

Possible topics could include, but are not limited to, the following areas:

  • Cultural Memory and Identity: family memory; biographical and autobiographical memory; the ‘homå’; immigration; the migrant; borders; nationalism; ethnicity; history and changing historical narratives; tradition; violence; trauma and terror; forgiveness; memories of transitions: important personal and national events.
  • Cultural Memory and Politics: the use of propaganda; the use of cultural memory; the politics of cultural memory; authority; resistance; creating cultural memory; collective remembering and forgetting.
  • Cultural Memory and Space/Place: architecture; geography (cartography); the city and urbanization; the use of nature in the collective memory; transformed places; monuments, archives, museums.
  • Cultural Memory and Social Institutions/Cultural Products: myth; religion; art/literature presentation; language; clashing memories, popular culture.
  • Cultural Memory and Everyday Life: rituals; bodily practices; nostalgia.
  • Mediated Memories: cultural representations; mass media/digitalized memories; virtual memories.
  • Cultural Memory and Tourism: ‘imagined routes’ (mythic highways and meta-narratives); crossing boundaries; war itineraries; violence and displacement; consumerism.
  • Papers, creative projects, and other non-traditional presentations exploring the aforementioned topics are also welcomed.

The Conference will be held on September 5-6, 2013 in Skopje, Republic of Macedonia.

Please submit your proposals to conference@cultcenter.net by February 1st, 2013. Submissions should include a 250-300 word abstract, keywords and a brief bio, as well as a contact address. The paper proposals should be prepared filling in a paper form.

Please feel free to contact Loreta Georgievska-Jakovleva (lgeorgievska@yahoo.com) or Mishel Pavlovski (mpavlovski@iml.ukim.edu.mk) with any interim questions.

Notifications of acceptance would come no later than February 15th, 2013.

Abstracts will be published and made available with the conference materials. Full papers will be published in the peer-rewieved journal “Култура/Culture”.

We are seeking proposals for panels within the scope of the Conference Panels are organized by internationally recognized experts aiming to bring together researchers on focused topics for an interactive discussion among the panel members and the participants. Panels are an important component of Annual Conference 2013. Panel members are researchers who have done well-known or controversial work related to the theme of the panel. Researchers interested in organizing a special session are invited to submit a formal proposal to conference@cultcenter.net by February 1st, 2013.

Before submitting a panel proposal, the organizer of a panel is expected to contact all the proposed panel members and get their agreement to serve as a panel member. A list of questions to be discussed in the panel should be made available to all the panel members well ahead of time for them to prepare their response. Each panel typically allows a certain amount of time for each panel member to present their response before an open discussion is opened.

The panel proposals should be prepared filling in a panel form.

Fees:

  • Early registration (till April 1st, 2013): € 40 (for members of The Balkan Network for Culture and Cultural Studies – € 20)
  • Late registration (till August 15th, 2013): € 60 (for members of The Balkan Network for Culture and Cultural Studies – € 40)
  • On-site registration (or after August 15th, 2013): € 80 (for members of The Balkan Network for Culture and Cultural Studies – € 60)
  • The registration fee includes the conference materials, the publication of the abstract and the papers, refreshment breaks, a welcome dinner for all participants of the Conference.

The Centre for Culture and Cultural Studies web site: http://www.cultcenter.net/

Conference web site: http://www.cultcenter.net/conf2013.php

Parution : Strenae, n° 4, "La culture matérielle de l'enfance: un nouvel horizon de recherche"


Parution du n°4 de la revue Strenæ. Recherches sur les livres et objets culturels de l’enfance. Intitulé “La culture matérielle de l’enfance: un nouvel horizon de recherche” et dirigé par Annie Renonciat et Michel Manson, il est disponible à cette adresse:

http://strenae.revues.org/

DOSSIER THEMATIQUE

Positionnement et ressources théoriques

De la conception à la distribution

Univers et fiction: une culture transmédiatique

Représentations

FONDS D’ARCHIVES ET COLLECTIONS

COMPTES RENDUS

Dossier Ségur
La Comtesse de Ségur  a suscité dernièrement une littérature critique abondante, dont l’importance nous a semblé nécessiter une approche globale. Les deux premiers textes publiés ici sont inédits, les deux suivants ont fait l’objet d’une publication dans les Cahiers Séguriens, qui nous ont autorisés à les republier.