« La table dans les littératures et arts du monde anglophone » / “A table!”: Eating and culinary practices in the literatures and arts of the English-speaking world 25-26 avril 2024 Maison de la recherche,…
Contemporary British Poetry in the Long 1980s: From Deregulation to Self-Regulation 15-16 June 2023 Sorbonne Université / UPEC With funding from CECILLE (Université de Lille), LARSH (Université Polytechnique des Hauts de France), IMAGER (UPEC), and VALE…
Congrès de la SAES. Université de Clermont-Auvergne - 2 au 4 juin 2022. « Failles » / « Faults and Fault Lines » Atelier 26 : Scènes anglophones contemporaines (RADAC) Les failles, lignes de tensions, points faibles et fractures deviennent saillants…
Le corps du roi en scène : le théâtre de la monarchie dans l’Europe de la 1ère modernité Sorbonne Université (UR VALE et Projet ClioS : L’Histoire immédiate en scène) Université de Rennes 2 (Cellam EA 3206)…
Chères Collègues, chers Collègues, Nous vous prions de bien vouloir trouver ci-joint un appel à communications pour le Colloque sur "Le Corps du roi en scène: le théâtre de la monarchie dans l'Europe de la 1ère modernité »…
Nous avons le plaisir de vous communiquer, en pièces jointes et ci-dessous, un appel à communications pour un colloque qui se tiendra les 18 et 19 novembre 2021 sur le thème "Les règles du jeu…
Vous trouverez ci-dessous l’appel à communications pour le colloque final du projet Emergence ClioS: L’histoire immédiate sur la scène britannique. Les propositions de communication sont à envoyer avant le 30 juin prochain. Bien cordialement, Line Cottegnies…
Chères et chers collègues,
La situation sanitaire et les difficultés de fonctionnement de notre messagerie nous amènent à modifier notre calendrier. Vos propositions d’articles pourront nous parvenir jusqu’au 30 mai. Nous vous rappelons qu’il ne s’agit pour l’instant que de simples résumés.
Bien cordialement
C. Beaufils, J. Oltarzewska, F. Regard, C. Wrobel
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Sillages Critiques Special Issue
Call for Papers
After Nineteen Eighty-Four: British Dystopias, from 1984 to the present day
1984 is the date in the future when the action in Orwell’s premonitory novel was supposed to take place. When people in the real world of 1984 came to realise that history had caught up with that originally fictional date, worried interrogations started to emerge as to whether Orwell’s fiction had actually come true. Whether we now lived in the dystopian world that the novel had foreseen, i.e. in the world of Big Brother – a world of omnipresent surveillance screens, greedily confiscated power structures, constant linguistic revisionary tactics, and ruthlessly utilitarian biopolitics. Orwell’s striking modernity was apparent to everyone, ordinary citizens and journalists, sophisticated literary critics and astute political thinkers, and of course shrewd artists of all sorts, including film directors and novelists. We did indeed live in ‘Dismaland’, as Banksy’s 2015 anti-amusement art installation (featuring fifty other dystopian artists) would much later make clear.
RECEPTION: CONTEMPORARY PERSPECTIVES (VALE 2021) (SCROLL DOWN FOR FRENCH VERSION)
24-25 June 2021, Sorbonne Université, Paris.
VALE Research unit, « Reception » research program.
Confirmed keynote speakers: Roger Chartier (Collège de France/EHESS), Pascale Aebischer (University of Exeter), Catherine Bernard (Université de Paris)
Proposals (around 400 words) along with a short bio-bibliographical notice should be sent before September 30th, 2020 to the organizing committee to the following address: receptionvale2021@gmail.com.
Organizing committee: Jagna Oltarzewska, Anne-Valérie Dulac and Cécile Beaufils
Call for Papers
Reception: contemporary perspectives
Since the publication of landmark works on reception aesthetics by Jauss and Iser in the 1970s and early 80s, the field of literary studies has undergone momentous shifts. Disciplinary boundaries have been interrogated and redrawn, new fields of study have emerged, critical paradigms have proliferated. The notion of reception has been reworked and amplified in response to a vastly expanded register of aesthetic forms and practices available to the critical intelligence. Initially centred on the text/reader relationship, reception studies has broadened its remit to take in the spectator and auditor, the audience and the public, the phenomena of fandom, mass participation and mass viewership in an age of global connectivity. Visual culture, the performing arts and the digital revolution have emerged as objects of critical enquiry in their own right. Under the impetus of the cultural turn in postmodernity (Jameson 1998), and the shift from literary to cultural studies in the 1980s and 90s (Easthope 1991), questions of reception have resurfaced with fresh urgency across the entire spectrum of cultural practice. Postcolonial and critical race theory, gender studies and queer theory explore challenges to (and complicities with) a forced and prolonged reception of hegemonic cultures. Forms of counter-interpellation – talking or writing back – expose mechanisms of oppression at the point where reception becomes a matter of voicing dissent. Voicing is intimately connected to the notion of agency, which in turn delivers the coup de grâce to reception conceived as a passive registering of information: whether they be imagined as reader, listener, viewer, spectator or player, the receptors/addressees are increasingly understood to enact a species of performance.
Vous trouverez ci-dessous l’appel à communications pour la Journée d’Etude internationale qui se déroulera le 3 juin prochain à la Maison de la recherche de Sorbonne Université sur : “Le théâtre d’actualité, fabrique de l’histoire…