La prochaine séance du séminaire Intersections aura lieu en distanciel vendredi 15 avril à 10h30. Nous accueillerons Irène Langlet, professeur de littérature contemporaine à l’université Gustave Eiffel, pour une conférence intitulée :
« La position, fonction et fortune de H. G Wells dans les théorisations de la science fiction ».
Discutant : Aurélien Royer (doctorant de CLIMAS).
La séance aura lieu en zoom, pour y participer : https://u-bordeaux-montaigne-f
ID de réunion : 840 7086 4629
Pour obtenir le code secret, contacter Aurélien Royer, Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser. ou Pascale Antolin, pascale.antolin@u-bordeaux-mon
Actualités
L’Abondance et le manque – Colloque de doctorants – 17 & 18 février 2022 - Vidéos des interventions
L’Abondance et le manque – Colloque de doctorants
Abondance et manque se posent comme des états opposés et sont pourtant tous deux contraires de l’équilibre, de l’harmonie, du neutre. La recherche ou la fuite d’une de ces deux extrémités met en jeu notre rapport aux ressources, au besoin et au désir, et nous invite à réfléchir aux questions de la valeur, de la norme, et de l’excès. D’abord une question de survie fondamentale, notre rapport à l’abondance et au manque peut s’observer dans l'organisation de nos sociétés, de la langue, mais aussi dans nos recherches d’une esthétique et d’une expression. (CFP complet)
Ce colloque, organisé par quatre doctorants de CLIMAS (Nina Eldridge, Méliné Kasparian-Le Fèvre, Riyad Moosoody et Aurélien Royer) a eu lieu les 17 et 18 février en Salle des thèses, à la Maison de la Recherche de l’Université Bordeaux Montaigne.
L’approche interdisciplinaire du projet a suscité divers angles d’approche des notions d’abondance et de manque de la part des participants, dont cinq doctorants de CLIMAS. Vous pouvez visionner leurs communications ci-dessous.
(Les communications des autres participants peuvent être visionnées sur la chaîne Youtube de l’université : https://www.youtube.com/user/Bordeaux3TV )
Intersections - séminaire d'équipe - 11 février 2022 (vidéo)
Michela Vanon Alliata, Ca’Foscari University of Venice
Representations of Individual and Collective Trauma in Patrick McGrath’s Trauma (2008) and Don DeLillo’s Falling Man (2007)
Drawing on Freud’s definition of trauma as one of latent memory, an experience which makes itself known by its unsummoned, recurring presence long after the traumatic event is over, on Cathy Caruth and other leading scholars’ claim that that trauma’s peculiarity is its original inaccessibility and delayed recognition, I will analyse Patrick McGrath’s Trauma (2008) and Don DeLillo’s Falling Man (2007) which are an attempt to confront the aftermath of two dreadful events: the Vietnam War and the 9/11 terrorist attacks on the World Trade Centre. Both novels explore the psychology of trauma and the connected issues of survival and guilt by intertwining the drama of their protagonists with the evocation of the horror, inhumane devastation and unspeakable sufferings of the Vietnam War and of the 9/11 attacks. Like all trauma narratives, Trauma and Falling Man resist a linear ordering of events favouring instead, disjunctive and fragmented modes of telling. In this way McGrath and DeLillo take the reader into their protagonists’ damaged past and uncertain future.
Discutante : Béatrice Laurent
CFP - Art and decoloniality (practice, theory, paradigm) - 26, 27 et 28 octobre 2022
The research team ADS (Art/Design/Scenography – research laboratory of MICA – EA 4426), AMERIBER (Latin America, Iberian countries – EA3656) and CLIMAS (Cultures and literatures of the English-speaking worlds – EA 4196) of Bordeaux Montaigne University are organizing an International Symposium on Wednesday 26th, Thursday 27th and Friday 28th October 2022, at Bordeaux Montaigne University, France.
Under the direction of Nicolas Nercam ADS-MICA (UBM) associate researcher CEIAS (EHESSCNRS), Martien Bovo AMERIBER (UBM) and Mathilde Bertrand CLIMAS (UBM).
Image: "Icy and Sot offer up some postcolonial c" (CC BY-ND 2.0) by hragv
[French version blow]
[Download the bilingual CFP as PDF]
The question of a “decolonization of knowledge”, inspired in large part by cultural and postcolonial studies, permeates today across all university fields. The Decolonization studies have acquired a wide audience in Anglo-Saxon universities.
If this current of thought, whose precise contours are impossible to determine, proposes, in particular, to link the decolonization of knowledge to social and political actions on the ground, its most relevant contribution lies in the continuation of the reflection on “deconstruction” (a key term within postcolonial studies). It is indeed a question, not of "destroying", but of dismantling the presuppositions from which ideas, concepts and practices were able to build themselves in order to give them a new meaning and finally make visible their harmful and their stigmatizing effects.
In addition, following the example of postcolonial studies, many activist organisations, qualified for some as “radicals”, embraces the discourse of decolonial studies (Nicolas Bancel, 2019).
In France, this question weighs on many political, epistemological, institutional and disciplinary debates, with their passions and their polemics[1]. These debates have repercussions in the field of theorical reflection on art and culture, as well as on the practice of the arts. Artists, art historians, museum curators, and exhibition curators now explicitly refer to the theoretical field of the postcolonial and decolonial.
Within contemporary production (constructed as “oppositional” or even “activist”) artistic practices denounce a series of oppressions and alienations considered to be intrinsically linked to one another: the critique of global neoliberal capitalism and of major ecological disasters – the denunciation of wars, of commercial conflicts and technological cyber perils – the rejection of totalitarianism, nationalism and religious fundamentalism – the defence of the rights of minorities and immigrant populations – an adhesion to feminist, anti-racist and LGBT struggles. All of this constitutes the framework for so-called “reactive” artistic productions (Christine Macel, 2020) within which postcolonial and decolonial struggles find their place.
This international symposium, "Art and decoloniality (practices, theory, paradigm)", far from the controversies that often stand in the way of a real scientific debate, proposes to analyze the effects of the phenomenon of "decolonization" both within sciences of art, and within artistic practices. The intention is to assess the possible epistemological and methodological repercussions, as well as the possible changes of objects of study and artistic approaches that this “question of the decolonial” may have given rise to.
This symposium therefore proposes to study artistic productions, characteristics of this movement, and the intellectual proposals that accompany them and aim to transcend the conditions of oppression of yesteryear, to remove the remaining stigmata and discard a "cultural intimacy and epistemic with the former coloniser” (Enrique Dussel, 2000).
The organizing team of this symposium intends to bring together researchers from diverse disciplines in order to reflect together on the various forms and conceptions of the contributions of decolonialism in the arts (thus strengthening and expanding our partnerships with foreign and French researchers).
A non-exclusive and non-exhaustive list of questions presented here in a non-exhaustive way, can serve as a common thread in the preparation of this colloquium: - Does the “decolonial” mean a break with the “postcolonial” or not?
- Under what guises does “the coloniality of the matrix of power” (Anibal Quijano, Ramon Grosfoguel, Santiago Castro-Gomez, 2007 and Walter Mignolo, 2011), having resisted postcolonial independence movements and criticism, continues to manifest itself in the practices of the arts, in the institutions of the art world and in their theoretical approaches? - What are the contemporary legacies of a “colonial period”, still in progress and still in the process of being constantly grasped and recaptured by different actors from the political world and the world of art?
- Can the combative dimension of decoloniality also be creative in the field of the arts? - Does the impact of the postcolonial and the decolonial in the sphere of the arts contribute to the construction of a “radical ethical critique”?
- Can we perceive, within artistic manifestations and their theoretical substrates, the impact of the postcolonial and the decolonial in the emergence of an art aimed at a specific community?
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- CFP - Carmilla et ses sœurs/Carmilla’s Sisters - 6-7 Octobre 2022
- Windrush (1948) and Rivers of Blood (1968): Legacy and Assessment - edited by Trevor Harris,
- Séminaires Intersections - programme 2021-2022
- Translating Samuel Beckett around the World - José Francisco Fernández and Pascale Sardin (Eds.)