CALL FOR PAPERS

Usable Pasts and Futurities: The Changing Place of Europe in Global Memory Cultures

Date: May 22-23, 2014

Place: Toronto, ON, Canada

Deadline: 18 December 2013

CALL FOR PAPERS

Usable Pasts and Futurities: The Changing Place of Europe in Global Memory Cultures

Date: May 22-23, 2014

Place: Toronto, ON, Canada

Deadline: 18 December 2013

Andreas Huyssen’s observation of a «memory boom of unprecedented proportions» in the post-wall era has not lost its pertinence today; on the contrary, the 21st century continues to be marked by a preoccupation with discourses surrounding memory in the academic, political, cultural and public spheres. This is most certainly the case in Europe, where efforts to foster a greater sense of purpose for the project of European integration are often accompanied by a turn to memory and commemorative practices. For example, a 2009 European Parliament resolution on European conscience and totalitarianism states that «Europe will not be united unless it is able to form a common view of its history» and holds that «appropriate preservation of historical memory, a comprehensive reassessment of European history and Europe-wide recognition of all historical aspects of modern Europe will strengthen European integration». Tony Judt therefore has gone so far as to suggest that memory has become a definitional narrative, the ‘common currency’, of the EU project.

Alongside such institutional calls for a common European memory, academic memory studies have stressed the need to consider the transnational dimensions of cultural memory. As the nation loses its credence as the sole framework for collective memory and identity in this latest phase of globalization, mass migration and new media, scholars have drawn increasing attention to the ways in which memories operate multidirectionally (Rothberg) within as well as outside of and between nations. This conference seeks to take stock of such transnational dimensions of European memory by investigating not only how memory discourses circulate on intra-European, but also on extra-European levels. We seek proposals for 20-minute presentations that consider how memories of ‘Europe’ are being transferred, translated, and/or transformed through global interactions.

Questions to be addressed might include:

• How are cultural memories related to ‘Europe’ being shaped and mobilized in the 21st century?

• How have supra-national memories relating to wars, genocide, colonialism, communism, migration or expulsion been cast as central to, or divisive of, the European imaginary of the present moment?

• How are memories beyond those mandated by European institutions being forged either within or beyond the boundaries of Europe?

• How are contemporary artists, writers, filmmakers, and other cultural agents exploring the transnational dimensions of European memory?

• How have networks of transnational memory become a platform for future solidarity and/or activism?

• Are there alternative (potentially more positive) narratives that can be added to what Claus Leggewie calls the ‘negative foundational myths’ of Europe?

The conference is meant to serve as a venue at which to discuss papers to be reworked and expanded for inclusion in an edited volume. We are aiming to submit a collection of selected, article-length papers by Spring 2015.

Funding applications are still pending, but the organizers are making every effort to secure partial support for participants’ travel expenses. Participants are encouraged to seek funding from other sources in the meantime.

Please submit your abstracts (500 words maximum) as well as a short CV (academic background and relevant publications) by December 18th, 2013 to Dr. Christina Kraenzle kraenzle@yorku.ca and Dr. Maria Mayr mmayr@mun.ca.

CALL FOR PAPERS:

Transnational Politics of Memory in Europe – edited volume/special issue

Deadline: 30 November 2013

CALL FOR PAPERS

Transnational Politics of Memory in Europe – edited volume/special issue

Deadline: 30 November 2013

While memory studies has seen considerable development at the level of national and comparative studies, the European level has been treated mostly in speculative, often highly normative, essays. There remains a lack of comprehensive empirical studies dealing with both transnational

pan-European politics of remembrance and the question of whether and how they are linked to an unfolding European public sphere. Little research has been done regarding European remembrance as a field of transnational policy making in which individual and institutional actors compete through the use of various resources and the articulation of norms, interests, divergent political cultures and practices.

We are looking to connect with like-minded scholars working on these issues who are interested in not only submitting an article, but working together to shape a common research agenda. The results of these efforts will be published in an edited volume or special issue of a journal. Initially, we are calling for the submission of abstracts (250-300 words).

Scholars dealing with politics of remembrance on the European level through a social science perspective are invited to submit a proposal. We are interested in research projects that investigate the nexus between transnational politics of remembrance, European integration and an emerging European public sphere from different angles. We are particularly interested in innovative theoretical and empirical approaches that move away from abstract and normative perspectives that have dominated this area of research thus far. Possible topics include, but are not restricted to, questions such as:

– How has the European Union dealt publicly with various historical legacies?

– Has there been an emergence of a European public sphere vis-à-vis the remembrance of oppression and dictatorship?

– How can we map European efforts to establish a common European culture of memory?

– How has the continuous conflict between the memory of Stalinism and Nazism/Fascism been navigated on the European level?

– How are «marginal» memories (of colonialism, migration etc.) articulated?

– Who are the crucial actors in European politics of remembrance?

– What is the relationship between elite and «ordinary» or grassroots approaches to the past

– How have European memory actors interacted with actors from other regions?

– Through which practical mechanisms do European memory politics operate?

Paper proposals (250-300 word abstracts) should be sent to aline.sierp@maastrichtuniversity.nl & jwustenberg@gmail.com by *30 November 2013.*

Please do not hesitate to contact either of us if you have further questions! We are looking forward to your contributions.

7 de diciembre de 2012
Université Michel de Montaigne
Bordeaux 3 (Amphithéâtre Cirot)
Domaine Universitaire 33607 Pessac cedex
Tramway B arrêt “Montaigne/Montesquieu”

Más información

Contacto

fgodicheau@u-bordeaux3.fr

ameriber.u-bordeaux3.fr/

Barcelona, 13 y el 14 de diciembre de 2012

Más información

Sala Maria Zambrano 0C9

Instituto de Filosofía
Centro de Ciencias Humanas y Sociales
C/ Albasanz 26-28, 28037 Madrid

16.30h., José Luis García Barrientos (ILLA-CCHS): “El actor en el centro de una teoría del teatro”

18.00 Encuentro con Daniel Veronese Lectura dramatizada de textos de Daniel Veronese

Organiza: Juan Mayorga (IFS-CCHS)

Al menos desde que Esquilo escribió «Los persas» –la pieza de literatura dramática más antigua que conservamos; una ficción sobre un acontecimiento histórico a la vez que un discurso moral sobre los límites del ser humano-, el teatro ha sido un lugar para la memoria y el pensamiento. El teatro ha puesto en espacio, ante la asamblea de espectadores, ideas, controversias y paradojas; también ha contribuido a levantar o derruir imágenes del pasado, o incluso a discutir la naturaleza misma de esas imágenes.

El teatro no puede no interesar a la filosofía. En particular, no puede ser ignorado por una filosofía que tenga la memoria y el olvido entre sus motivos de meditación.

Recíprocamente, el teatro es más rico cuando es infectado por las preguntas a que atienden los filósofos y cuando se deja sacudir en sus fundamentos, objetivos y estrategias por la inteligencia crítica.

«Memoria y pensamiento en el teatro contemporáneo» aspira, modestamente, a abrir un lugar y un tiempo de encuentro en que filosofía y teatro –probablemente de forma conflictiva, como es propio de dos ámbitos que nacen y viven del conflicto- se conozcan y se interroguen. Que la filosofía desafíe al teatro, que el teatro desafíe a la filosofía, ése es el objetivo último de esta propuesta.

Las sesiones del seminario –que se inscribe en la línea de investigación «Justicia: memoria, narración y cultura»- se articularán sobre la revisión de la obra de maestros del siglo XX, el análisis de las últimas tendencias y el diálogo con pensadores y creadores de nuestros días.

Hemos querido que en la primera sesión de este nuevo curso el seminario se ocupe del eje mismo del arte teatral: el actor. El teatro es el arte del actor, y es desde éste desde donde ha de partir cualquier reflexión sobre las posibilidades y los límites del hecho escénico.

Para provocar esa reflexión contaremos con José Luis García Barrientos. Doctor en Filología, es investigador del Consejo Superior de Investigaciones Científicas (CSIC), además de miembro fundador del Instituto de Teatro de Madrid y profesor del Máster en Teatro y Artes Escénicas de la Universidad Complutense. Entre sus publicaciones más relevantes están Drama y tiempo: Dramatología I, Cómo se comenta una obra de teatro: Ensayo de método, Teatro y ficción: Ensayos de teoría, El teatro del futuro, Actuación y escritura (Teatro y cine) y Análisis de la dramaturgia: Nueve obras y un método.

Seguidamente nos encontraremos con uno de los directores teatrales y dramaturgos más influyentes de la actualidad. Daniel Veronese, que comenzó su carrera como actor y mimo y a finales de los ochenta fundó el grupo «El Periférico de Objetos», ha firmado en los últimos años puestas en escena a partir de textos propios o de la reescritura de clásicos que, centradas en el trabajo del actor, han sido tan aplaudidas como imitadas. Entre sus trabajos están Mujeres soñaron caballos, Todos los grandes gobiernos han evitado el teatro íntimo, Los hijos se han dormido, Un hombre que se ahoga y Espía a una mujer que se mata.

La sesión concluirá con la lectura dramatizada de textos teatrales de Daniel Veronese.