Colloque international : L’activisme artistique et la mondialisation de la scène de l’art (théorie, pratique, paradigme et circulations)
Lundi 4, mardi 5 et mercredi 6 mai 2020, à l’Université Bordeaux Montaigne.
“Artivism” encompasses artistic actions, which tackle social and political issues and revive agitational practices, in resistance to the planetary hegemony of the ideology of so-called neoliberal capitalism. This resurgent awareness of the political nature of artistic creation questions consensual discourses on the neutrality of art and aesthetics. Taking into account the need for a global approach to the phenomenon, and the exploration of its most diverse forms and concepts, this conference aims to contribute to the study of arts activism since the 1990s.
Ce colloque est organisé par l’axe ADS (Art/Design/Scénographie du MICA – EA 4426) de l’Université Bordeaux Montaigne, le CEIAS (Centre d’Étude de l’Inde et de l’Asie du Sud – UMR 8564-EHESS-CNRS) et CLIMAS (Cultures et littératures des mondes anglophones – EA 4196) de l’Université Bordeaux Montaigne
Sous la direction de Nicolas Nercam ADS-MICA (UBM) chercheur associé CEIAS (EHESS-CNRS) et Mathilde Bertrand CLIMAS (UBM).
(image: RESIST! Cover with art by Malika Fravre)
International Conference: Collaboration, participation and collective practices in contemporary photography in the UK and France.
Université Paris Est Créteil, 15th and 16th May 2020.
Organized by IMAGER (UPEC) and CLIMAS (Université Bordeaux-Montaigne)
The conference seeks to address collaboration and the spectrum of collective working methods which have defined and keep informing some of the independent practices in the field of photography in the 20th and 21st centuries. Our focus is on the UK and France, and seeks to envision case studies in a comparative approach.
(photo by Kevin Dooley - (CC BY 2.0))
L'humour noir sur la scène élisabéthaine et jacobéenne. Black Humour on the Early Modern English Stage
EA Climas, EA SPH, Université Bordeaux Montaigne, 10-11 October 2019
Notwithstanding the widespread opinion that ‘black humour’ (‘Humour noir’) was a phrase coined by André Breton, the co-founder of French Surrealism, in 1930s France; or that, as a mood, it epitomized a post-war American type of humour that persisted into the early 1970s as an expression of the disenchantment in the decline and fall of traditional values; research has shown how black humour was well instated in classical literature, not only in humorous epitaphs and epigrams that dealt with the theme of death (Stevanovic 2007), but in Greek philosophical literature (as in Plato’s Phaedon). Moreover, black humour is directly related to the humorism developed in ancient Greece by Hippocrates, Galen or Theophrastus, a theory introduced in classical comedy by Plautus and Menander and later borrowed and adapted by Elizabethan dramatists. Additionally, early modern research has shown how ‘[i]n plague time normal social decorum [was] breached as people put personal survival before established custom’ and that ‘this [was] productive of the characteristic black humour of observer accounts’, such as Dekker’s, who alludes to the ‘foolery, infidelity, humanity… villany, irreligion, and distrust in God’ which his stories ‘lay open’ (Healey, 1995). Parallel to the paradigm of death by disease, black humour, or gallows humour, summoned the tension that opposed hope and doom by joking about the convicted and their sense of despair as a strategy of coping with fear (Freud 1905) both witnessed and experienced.
Proposals are sought for papers to be given at an international conference on Suspicion. The first part of the conference will take place on 9-10 April 2020 at Bordeaux Montaigne University (France), and the second part on 8-9 April 2021 at the University of Verona (Italy).
The first part of the conference, in Bordeaux, will focus on suspicion in politics, cultural studies, and linguistics; the second part, in Verona, will be concerned with suspicion in literature, film, and visual studies in general.
The conference seeks to explore the ways in which Anglo-American cultural practices and Anglo-American literature define, re-define, and question the notion of suspicion.
Etymologically suspicion—from the Latin sub-specere, to look up at, to regard with awe, to suspect—refers to the way someone or something is looked at. But suspicion has become a synonym for mistrust—whether or not there is proof of wrongdoing. Hence the recurrence of the word in the titles of works belonging to the genres of crime fiction and cinema: Alfred Hitchcock’s 1941 movie, Suspicion, starring Gary Grant and Joan Fontaine, is one example. In 2015, two books bearing the same title were published in the United States: Suspicion by Alexandra Monir and Suspicion by Joseph Finder. While Finder is considered a “master of the modern thriller” (Boston Globe), Monir, a young Iranian-American writer, specializes in science fiction and thrillers for young adults. Since popular culture often feeds on suspense, the result of mystery (or merely uncertainty), suspicion reigns supreme in popular culture—in novels, comics, and movies.