{"id":3879,"date":"2021-04-30T09:22:05","date_gmt":"2021-04-30T07:22:05","guid":{"rendered":"https:\/\/wp.unil.ch\/metis\/?p=3879"},"modified":"2021-06-03T11:50:20","modified_gmt":"2021-06-03T09:50:20","slug":"appel-a-communications-esthetiques-emotions-guerres-nouvelles-approches-du-fait-guerrier","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/metis\/2021\/04\/appel-a-communications-esthetiques-emotions-guerres-nouvelles-approches-du-fait-guerrier\/","title":{"rendered":"Appel \u00e0 communications | Esth\u00e9tiques, \u00e9motions, guerres : nouvelles approches du fait guerrier"},"content":{"rendered":"

\"\"<\/a>Colloque : Esth\u00e9tiques, \u00e9motions, guerres : nouvelles approches du fait guerrier<\/strong><\/p>\n

EHESS, Novembre 2021<\/p>\n

Calendrier<\/strong><\/p>\n

15 juin 2021 : date butoir de reception des communications ;<\/p>\n

Juillet 2021 : s\u00e9lection des communicants ;<\/p>\n

15 septembre 2021 : date limite de r\u00e9ception d\u2019une premi\u00e8re version des communications ;<\/p>\n

Novembre : tenue du colloque (la date sera ult\u00e9rieurement communiqu\u00e9e au regard de l\u2019\u00e9volution de la situation sanitaire).<\/p>\n

(English below)<\/em><\/p>\n

Organis\u00e9 \u00e0 l\u2019\u00c9cole des Hautes \u00c9tudes en Sciences Sociales de Paris, ce colloque international sera consacr\u00e9 \u00e0 l\u2019\u00e9tude des rapports de co-d\u00e9pendances entre esth\u00e9tiques, \u00e9motions et guerres. Il s\u2019agira avant tout de f\u00e9d\u00e9rer des d\u00e9bats, \u00e9tay\u00e9s par la revalorisation de l\u2019image souvent rel\u00e9gu\u00e9e aux seuls champs de l\u2019art, entre diverses disciplines disjointes par les sp\u00e9cialisations universitaires et pourtant toutes concern\u00e9es par ces trois notions cl\u00e9s des sciences humaines et sociales.<\/p>\n

La guerre repr\u00e9sente une \u00e9preuve extr\u00eame et radicalement transformative qui bouleverse les perceptions ordinaires\u00a0: elle est un conflit violent qui perturbe le quotidien et \u00e9branle le sujet et son groupe d’appartenance. Elle transforme notre perception du monde environnant ainsi que les relations intersubjectives. \u00c0 cet \u00e9gard, la guerre produit de nouvelles esth\u00e9tiques (a\u00efsthesis<\/em>) entendues \u00e0 la fois comme \u00e9tude des artefacts artistiques mais aussi comme \u00e9tude de la connaissance sensible mobilisant la corpor\u00e9it\u00e9 et ses productions affect\u00e9es. Des formes mat\u00e9rielles et expressives rejaillissent des conflits\u00a0: l\u2019esth\u00e9tique mod\u00e9lise un espace entre geste et regard qui\u00a0met \u00e0 distance<\/em>\u00a0(Boltanski, 1993), r\u00e9v\u00e8le et offusque, \u00e0 la fois\u00a0lectio<\/em>\u00a0(lecture) et\u00a0delectatio<\/em>\u00a0(contemplation) (Didi-Huberman, 2009). Et si la guerre produit de nouvelles\u00a0a\u00efsthesis<\/em>, celles-ci transfigurent \u00e0 leur tour la guerre en g\u00e9n\u00e9rant des images ext\u00e9rieures et concr\u00e8tes aux prises avec les repr\u00e9sentations mentales qui concourent \u00e0 sa formation (Belting, 2004). De plus, elle g\u00e9n\u00e8re des \u00e9motions fortes, les soci\u00e9t\u00e9s en guerre \u00e9tant marqu\u00e9es par la perte, l\u2019humiliation, la haine et la culpabilit\u00e9. De l\u2019alt\u00e9ration du jugement moral face \u00e0 la terreur de mourir (Solomon, Greenberg & Pyszczynski, 2002) \u00e0 l\u2019expression sans retenue d\u2019\u00e9motions viriles telle que l\u2019agressivit\u00e9 (Sasson-Levy, 2008) en passant par le partage social des \u00e9motions (Rim\u00e9, 2005), la vie \u00e9motionnelle, intimement li\u00e9e aux valeurs, aux croyances et aux repr\u00e9sentations de soi et d\u2019autrui, s\u2019en trouve chang\u00e9e.<\/p>\n

Le corps en guerre s\u2019\u00e9tudie d\u00e9j\u00e0 dans sa mat\u00e9rialit\u00e9 (K\u00f6rper<\/em>) comme corps abim\u00e9 (Delaporte, 2017), corps viol\u00e9 (Branche, 2011), corps disciplin\u00e9 (Teboul, 2017). D\u2019autres travaux, moins nombreux, pensent \u00e9galement la guerre au seul prisme de l’esth\u00e9tique ou de l’\u00e9motion. Des \u00e9tudes comme celle de Scott Hughes Myerly (1996) qui dessine une histoire socio-esth\u00e9tique de la guerre \u00e0 partir du spectacle militaire pourront nous \u00eatre utiles. Relevons aussi l’ouvrage de Reichel (1993) paru trois ans plus t\u00f4t et r\u00e9fl\u00e9chissant la strat\u00e9gie esth\u00e9tique du parti hitl\u00e9rien\u00a0; ou celui d’Annette Becker,\u00a0Les cicatrices rouges<\/em>\u00a0(2010), qui r\u00e9v\u00e8le les \u00e9motions subies par les occup\u00e9s fran\u00e7ais de 1914-1918, \u00e0 l\u2019instar de l\u2019investigation propos\u00e9e par Dominique Roynette et Tomasz Kizny qui montre la puissance et la singularit\u00e9 des \u00e9motions provoqu\u00e9es par la Grande Terreur en URSS en mettant en exergue leurs formes m\u00eame\u00a0: t\u00e9moignages, archives et photographies r\u00e9alis\u00e9es par Kizny lui-m\u00eame (2013). Pensons encore et pour finir au manuel \u00e0 l\u2019usage des femmes soldates de l\u2019artiste contemporaine Coco Fusco (2008) dans lequel elle interroge la fa\u00e7on dont l\u2019hypersexualisation peut devenir une arme de torture \u00e0 part enti\u00e8re. Le colloque\u00a0Esth\u00e9tiques, \u00c9motions, Guerres<\/em>\u00a0vise donc \u00e0 souligner la n\u00e9cessit\u00e9 de l’association de ces trois termes et, \u00e0 cette fin, nous y consid\u00e8rerons le corps comme vecteur et \/ ou r\u00e9ceptacle d\u2019esth\u00e9tiques et d\u2019\u00e9motions.<\/p>\n

L\u2019objectif premier de cette rencontre scientifique sera d’explorer de nouvelles approches du fait guerrier \u00e0 l’intersection d’un large \u00e9ventail de disciplines permettant l’\u00e9tude des esth\u00e9tiques et des \u00e9motions en temps de guerre \u2013 notamment l’histoire, la sociologie, la psychologie sociale, la philosophie, la litt\u00e9rature, les \u00e9tudes esth\u00e9tiques, l’anthropologie visuelle, les sciences cognitives, les \u00e9tudes coloniales\u00a0et les \u00e9tudes de genre, pour n’en citer que quelques-unes. Sa question centrale sera la suivante\u00a0: en quoi le fait guerrier est-il le berceau d\u2019esth\u00e9tiques, de configurations affectives et de croyances partag\u00e9es et qu\u2019ont-elles produit sur ces \u00e9v\u00e9nements eux-m\u00eames, aussi bien dans leurs manifestations imm\u00e9diates que dans leurs perceptions futures\u00a0? Ainsi, sans restrictions disciplinaires ou spatio-temporelles \u2013 les relations d\u2019influences entre esth\u00e9tiques, \u00e9motions et guerres n\u2019\u00e9tant sp\u00e9cifiques ni d\u2019un pays ni d\u2019une \u00e9poque ni d\u2019un champ \u00e9pist\u00e9mologique \u2013 les propositions de communication pourront emprunter les pistes suivantes\u00a0:<\/p>\n

Penser les institutions \u2013 militaire ou scolaire en particulier \u2013 comme g\u00e9n\u00e9ratrices d\u2019esth\u00e9tiques et d\u2019\u00e9motions, la guerre en horizon d\u2019attente. Comment ces institutions, avec en perspective les conflits pass\u00e9s, pr\u00e9sents ou anticip\u00e9s, transforment-elles les corps \u2013 et avec quels objectifs et r\u00e9sultats sur le champ de bataille\u00a0? Quels sont les enjeux militaires auxquels r\u00e9pondent ces esth\u00e9tiques et ces \u00e9motions\u00a0? Par exemple, comment favorisent-elles, ou au contraire d\u00e9truisent-elles, la coh\u00e9sion du \u201cgroupe primaire\u201d (Shils et Janowitz, 1948), du corps de m\u00e9tier ou encore de l\u2019arm\u00e9e enti\u00e8re\u00a0?<\/p>\n

Interroger la fa\u00e7on dont l\u2019individu en guerre produit, \u00e0 son \u00e9chelle, de nouvelles normes esth\u00e9tiques. Ainsi, les propositions ayant trait aux questions de transgression de ces normes, notamment genr\u00e9es, sont les bienvenues. Nous pensons notamment aux questions de mise en sc\u00e8ne du soi guerrier et de ses \u00e9motions, dans ses dimensions sensibles \u2013 \u00e0 la fois concr\u00e8tes et mat\u00e9rielles.<\/p>\n

\u00c9tudier comment les exp\u00e9riences de violence extr\u00eame, de mort massive et de terreur en viennent \u00e0 transformer nos relations inter-subjectives et plus pr\u00e9cis\u00e9ment notre rapport \u00e0 l’alt\u00e9rit\u00e9, \u00e0 la r\u00e9putation et \u00e0 l’identit\u00e9. Que nous apprend le renversement, voire l\u2019annihilation des inf\u00e9rences sociales et valeurs morales jusqu\u2019alors collectivement partag\u00e9es\u00a0? Voisins d\u2019hier devenus ennemis, h\u00e9ros domestiques d\u00e9sign\u00e9s comme assassins sur d\u2019autres territoires, comment la guerre produit-elle des communaut\u00e9s d\u2019affects si puissantes qu\u2019elles en viennent \u00e0 alt\u00e9rer notre perception d\u2019autrui\u00a0?<\/p>\n

Examiner les mani\u00e8res qu\u2019a le sujet de renverser l\u2019exp\u00e9rience affect\u00e9e de la guerre par sa mise en forme esth\u00e9tique aux prises avec la m\u00e9moire \u2013 sans exhaustivit\u00e9, nous pouvons ici penser au roman, \u00e0 la constitution d\u2019albums photographiques ou \u00e0 l\u2019\u00e9laboration d’\u0153uvres picturales comme celles du courant expressionniste allemand. C\u2019est donc principalement du sujet individuel dont il sera question et de la forme (Gestalt<\/em>) qu\u2019il produit \u00e0 partir des \u00e9motions suscit\u00e9es par l\u2019exp\u00e9rience-guerre. Quelles sont les caract\u00e9ristiques de ces productions esth\u00e9tiques\u00a0? Modifient-elles, et si oui comment, l\u2019exp\u00e9rience- guerre telle qu\u2019elle a \u00e9t\u00e9 v\u00e9cue sur le plan des affects\u00a0? Et que concourent-elles \u00e0 produire sur le long terme pour le collectif\u00a0?<\/p>\n

*<\/p>\n

MODALIT\u00c9S DE SOUMISSION<\/strong><\/p>\n

Le colloque, organis\u00e9 avec le soutien conjoint du Centre d’\u00e9tudes sociologiques et politiques Raymond Aron (CESPRA) de l\u2019EHESS et du Campus Condorcet, se veut\u00a0interdisciplinaire<\/strong>\u00a0et ouvert \u00e0 la jeune recherche des cycles sup\u00e9rieurs (ma\u00eetrise, doctorat et post-doctorat). Il s\u2019adresse \u00e0 toutes recherches (du champ des sciences humaines et sociales) en lien avec l\u2019\u00e9tude des esth\u00e9tiques et des \u00e9motions en situation de guerre, de l\u2019Antiquit\u00e9 \u00e0 nos jours.<\/p>\n

Les propositions de communication devront inclure une br\u00e8ve pr\u00e9sentation du corpus \u00e9tudi\u00e9 (sources, cadre de l\u2019enqu\u00eate, m\u00e9thodologie) suivie d\u2019une\u00a0courte bio-bibliographie<\/strong>. Les nom, pr\u00e9nom, niveau d\u2019\u00e9tudes (ma\u00eetrise, doctorat, post-doctorat) et affiliations institutionnelles doivent y \u00eatre indiqu\u00e9s. Elles peuvent \u00eatre r\u00e9dig\u00e9es en anglais ou en fran\u00e7ais et ne devront pas exc\u00e9der\u00a02 500 caract\u00e8res<\/strong>, espaces compris. Les propositions seront accompagn\u00e9es de\u00a0deux images<\/strong>repr\u00e9sentatives de l\u2019objet, situation, \u00e9v\u00e9nement ou ph\u00e9nom\u00e8ne \u00e9tudi\u00e9 dans le cadre de la pr\u00e9sentation.<\/p>\n

Les propositions et les deux images (ins\u00e9r\u00e9es dans le fichier .pdf ou .doc) sont attendues au plus tard le\u00a015 juin 2021<\/strong>\u00a0et sont \u00e0 envoyer \u00e0 l’adresse suivante\u00a0:\u00a0recherches.eeg@gmail.com<\/a><\/p>\n

Nous vous invitons \u00e0 contacter votre universit\u00e9 ou votre centre de recherche afin de conna\u00eetre les modalit\u00e9s de financement de votre d\u00e9placement et de votre h\u00e9bergement \u00e0 Paris. En cas de refus de votre institution, nous vous prions de bien vouloir nous indiquer les \u00e9ventuels besoins de soutien financier.<\/p>\n

*<\/p>\n

CALENDRIER<\/strong><\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a015 juin 2021\u00a0: date butoir de reception des communications\u00a0;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Juillet 2021\u00a0: s\u00e9lection des communicants\u00a0;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a015 septembre 2021\u00a0: date limite de r\u00e9ception d\u2019une premi\u00e8re version des communications\u00a0;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Novembre\u00a0: tenue du colloque (la date sera ult\u00e9rieurement communiqu\u00e9e au regard de l\u2019\u00e9volution de la situation sanitaire).<\/p>\n

*<\/p>\n

COMIT\u00c9 SCIENTIFIQUE<\/strong><\/p>\n

St\u00e9phane Audoin-Rouzeau (EHESS, CESPRA)<\/p>\n

Barbara Carnevali (EHESS, CESPRA)<\/p>\n

Christian Ingrao (CNRS, CESPRA)<\/p>\n

Manon Pignot (UPJV)<\/p>\n

Richard Rechtman (EHESS, CESPRA)<\/p>\n

*<\/p>\n

COMIT\u00c9 ORGANISATEUR<\/strong><\/p>\n

Juliette Bour (EHESS, CESPRA)<\/p>\n

Parand Danesh (EHESS, CESPRA)<\/p>\n

Jean-Philippe Miller-Tremblay (EHESS, CESPRA)<\/p>\n

Doriane Molay (EHESS, CESPRA)<\/p>\n

*<\/p>\n

R\u00c9F\u00c9RENCES<\/strong><\/p>\n

BECKER Annette,\u00a0Les cicatrices rouges, 14-18, France et Belgique occup\u00e9es<\/em>, Paris, Fayard, 2010.<\/p>\n

BELTING Hans,\u00a0Pour une anthropologie des images<\/em>, trad. par J. Torrent, Paris, Gallimard, coll. Le Temps des images, 2004.<\/p>\n

BOLTANSKI Luc,\u00a0La souffrance \u00e0 distance<\/em>, Paris, \u00c9ditions M\u00e9taili\u00e9, coll. Le\u00e7ons de choses, 1993.<\/p>\n

BRANCHE Rapha\u00eblle (dir.),\u00a0Viols en temps de guerre<\/em>, Paris, Payot, 2011.<\/p>\n

DIDI-HUBERMAN Georges,\u00a0Quand les images prennent position, L\u2019\u0153il de l\u2019histoire, 1<\/em>, Paris, \u00c9ditions de Minuit, coll. Paradoxe, 2009.<\/p>\n

FUSCO Coco et CUSSET Fran\u00e7ois,\u00a0Petit manuel de torture \u00e0 l\u2019usage des femmes-soldats<\/em>, Paris, Les Prairies Ordinaires, 2008.<\/p>\n

HUGHES MYERLY Scott,\u00a0British Military Spectacle: From the Napoleonic Wars through the Crimea<\/em>, Cambridge (MA), Harvard University Press, 1996.<\/p>\n

HUTCHISON Emma,\u00a0Affective Communities in World Politics: Collective Emotions after Trauma<\/em>, Cambridge, Cambridge University Press, 2016.<\/p>\n

KIZNY Tomasz et ROYNETTE Dominique,\u00a0La Grande Terreur en URSS 1937-1938<\/em>, trad. par V. Patte et A. Wisniewski, Paris, Noir sur Blanc, coll.\u00a0Essais Docs, 2013.<\/p>\n

PYSZCZYNSKI Thomas A., SOLOMON Sheldon, GREENBERG Jeff,\u00a0In the Wake of 9\/11, The Psychology of Terror<\/em>, USA, American Psychological Association, 2002.<\/p>\n

REICHEL Peter,\u00a0La Fascination du nazisme<\/em>, trad. par O. Mannoni, Paris, Odile Jacob, 1993.<\/p>\n

RIM\u00c9 Bernard,\u00a0Le partage social des \u00e9motions<\/em>, Paris, Puf, 2005.<\/p>\n

SASSON-LEVY Orna, \u00ab\u00a0Individual Bodies, Collective State Interests\u00a0\u00bb,\u00a0Men and Masculinities<\/em>, 2008, vol. 10, p. 296-321.<\/p>\n

SHILS Edward A. et JANOWITZ Morris, \u00ab\u00a0Cohesion and Disintegration in the Wehrmacht in World War II\u00a0\u00bb,\u00a0Public Opinion Quarterly<\/em>, 1948, vol. 12, no 2, p. 280-315.<\/p>\n

TEBOUL Jeanne,\u00a0Corps combattant\u00a0: la production du soldat<\/em>, Paris, Maison des sciences de l\u2019homme, 2017.<\/p>\n

* *<\/p>\n

Organized in Paris at the \u00c9cole des Hautes \u00c9tudes en Sciences Sociales (EHESS, School of Advanced Studies in the Social Sciences), this international conference will be devoted to the study of the co-dependencies between aesthetics, emotions, and wars. Our aim is to organize debates known to various disciplines disjointed by university specializations and yet all concerned by these three key notions of humanities and social sciences.<\/p>\n

War represents an extreme and radically transformative ordeal that disorganizes ordinary perceptions: it is a violent conflict that disrupts daily life and unsettles the subject and the group to which he belongs. It transforms the perception of the surrounding world as well as intersubjective relationships. In this respect, the war produces new aesthetics (a\u00efsthesis<\/em>) understood as the study of the artistic artifacts as well as the study of the sensitive knowledge mobilizing the body and its affected productions. From conflicts emerge material and expressive forms: aesthetics model a space between gesture and gaze that\u00a0distances<\/em>\u00a0(Boltanski, 1993), reveals and offends, both\u00a0lectio<\/em>\u00a0(reading) and\u00a0delectation<\/em>\u00a0(contemplation) (Didi- Huberman, 2009). And if the war produces new\u00a0a\u00efsthesis<\/em>, these in turn transfigure the war by generating external and concrete images that are at odds with the mental representations that contributed to its formation (Belting, 2004). Moreover, war generates strong emotions, as societies are marked by loss, humiliation, hatred, and guilt. From the alteration of moral judgment when face to face with the terror of dying (Solomon, Greenberg & Pyszczynski, 2002) to the unrestrained expression of virile emotions such as aggressiveness (Sasson-Levy, 2008), and the social sharing of emotions (Rim\u00e9, 2005), emotional life, which is intimately linked to values, beliefs and representations of oneself and others, is changed.<\/p>\n

The body in war is already studied in its materiality (K\u00f6rper<\/em>) as a damaged body (Delaporte, 2017), a raped body (Branche, 2011), a disciplined body (Teboul, 2017). Other, less numerous works also think about war through the sole prism of aesthetics or emotion. Studies such as that of Scott Hughes Myerly (1996), which draws a socio-aesthetic history of war from the military spectacle, may be useful. We can also mention Reichel’s work (1993), published three years earlier and reflecting on the aesthetic strategy of Hitler’s party; or Annette Becker’s\u00a0Les cicatrices rouges<\/em>\u00a0(2010), which reveals the emotions suffered by the French population of occupied territories in 1914-1918, as well as the investigation proposed by Dominique Roynette and Tomasz Kizny, which shows the power and singularity of the emotions provoked by the Great Terror in the USSR by highlighting their very forms: testimonies, archives and photographs made by Kizny himself (2013). Finally, let us think of the manual for female soldiers by contemporary artist Coco Fusco (2008) in which she questions the way hypersexualization can become a weapon of torture in its own right. The conference\u00a0Aesthetics, Emotions, Wars<\/em>\u00a0thus aims to underline the necessary association of these three terms and, to this end, we will consider the body as a vector and \/ or receptacle of aesthetics and emotions.<\/p>\n

The primary objective of this scientific meeting will be to explore new approaches to warfare at the intersection of a wide range of disciplines that allow the study of aesthetics and emotions in wartime – including history, sociology, social psychology, philosophy, literature, aesthetic studies, visual anthropology, cognitive sciences, colonial studies, and gender studies, to name but a few. Its central question will be: in what way is warfare the cradle of aesthetics, affective configurations, and shared beliefs and what have they produced on these events themselves, both in their immediate manifestations and in their future\u00a0perceptions? Thus, without disciplinary or spatio-temporal restrictions \u2013 the relations of influence between aesthetics, emotions and wars being specific neither to a country, nor to an epoch, nor to an epistemological field \u2013 proposals could take the following directions:<\/p>\n

To think of institutions \u2013 such as the military or the school \u2013 as generators of aesthetics and emotions with war as a horizon of expectation (horizon d\u2019attente<\/em>). How do these institutions, with past, present, or anticipated conflicts in perspective, transform bodies \u2013 and with what objectives and results on the battlefield? What are the military stakes to which these aesthetics and emotions respond? For example, how do they promote, or on the contrary destroy, the cohesion of the “primary group” (Shils and Janowitz, 1948), of the service branch or even of the entire army?<\/p>\n

To question the way in which the individual at war produces, on his own scale, new aesthetic norms. Thus, proposals dealing with questions of transgression of these norms, notably gender norms, are welcome. We are thinking of the staging of the warrior self and its emotions, in its sensitive dimensions \u2013 both concrete and material.<\/p>\n

To study how experiences of extreme violence, mass death and terror come to transform our inter- subjective relations and more precisely our relationship to otherness, reputation, and identity. What can we learn from the reversal, or even the annihilation of social inferences and moral values that were previously collectively shared? Yesterday’s neighbors becoming enemies, domestic heroes being designated as assassins on other territories: how does war produce communities of affects so powerful that they alter our perception of others?<\/p>\n

To examine how the subject can topple an affected experience of war by giving it an aesthetic form that confronts memory – without begin exhaustive, we can think here of the novel, the constitution of photographic albums or the elaboration of pictorial works like those of the German expressionist current. It is thus mainly the individual subject that will be discussed and the form (Gestalt<\/em>) that it produces from the emotions brought by his experience of war. What are the characteristics of these aesthetic productions? Do they modify the \u2018experience-war\u2019 as it was lived on the level of affects, and if so, how? And what impact do they have in the long term and on a collective scale?<\/p>\n

PROPOSAL SUBMISSION PROCEDURE<\/strong><\/p>\n

The conference, organized with the joint support of the Centre d’\u00e9tudes sociologiques et politiques Raymond Aron (CESPRA) of the EHESS and the Campus Condorcet, is intended to be\u00a0interdisciplinary<\/strong>\u00a0and open to young researchers (master\u2019s, doctoral, postdoctoral). It is open to all research (in the humanities and social sciences) related to the study of aesthetics and emotions in war situations, from Antiquity to the present.<\/p>\n

Proposals should include a brief presentation of the corpus studied (sources, framework of the investigation, methodology) followed by\u00a0a short bio-bibliography<\/strong>. Surname, first name, level of study (master\u2019s, doctoral, postdoctoral) and institutional affiliations must be indicated. They may be written in English or French and should not exceed\u00a02,500 characters<\/strong>, spaces included. Proposals should be accompanied by\u00a0two images<\/strong>\u00a0representative of the object, situation, event or phenomenon studied in the presentation.<\/p>\n

The proposals and the two images (inserted in the .pdf or .doc file) are due by\u00a0June 15, 2021<\/strong>\u00a0and should be sent to the following address:\u00a0recherches.eeg@gmail.com<\/a><\/p>\n

We invite you to contact your university or research center to know how to finance your travel and accommodation in Paris. In case your institution refuses, we kindly ask you to indicate the possible needs for financial support.<\/p>\n

TIMELINE<\/strong><\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0June 15, 2021: proposal submission deadline;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0July 2021: selection of speakers;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0September 15, 2021: first draft of the paper submission deadline;<\/p>\n

\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0November 2021: holding of the conference (the exact dates will be transmitted later in light of the evolution of the health situation).<\/p>\n

SCIENTIFIC COMMITTEE<\/strong><\/p>\n

St\u00e9phane Audoin-Rouzeau (EHESS, CESPRA)<\/p>\n

Barbara Carnevali (EHESS, CESPRA)<\/p>\n

Christian Ingrao (CNRS, CESPRA)<\/p>\n

Manon Pignot (UPJV)<\/p>\n

Richard Rechtman (EHESS, CESPRA)<\/p>\n

ORGANIZING COMMITTEE<\/strong><\/p>\n

Juliette Bour (EHESS, CESPRA)<\/p>\n

Parand Danesh (EHESS, CESPRA)<\/p>\n

Jean-Philippe Miller-Tremblay (EHESS, CESPRA)<\/p>\n

Doriane Molay (EHESS, CESPRA)<\/p>\n

BIBLIOGRAPHY<\/strong><\/p>\n

BECKER Annette,\u00a0Les cicatrices rouges, 14-18<\/em>, France et Belgique occup\u00e9es, Paris, Fayard, 2010.<\/p>\n

BELTING Hans,\u00a0Pour une anthropologie des images<\/em>, trad. par J. Torrent, Paris, Gallimard, coll. Le Temps des images, 2004.<\/p>\n

BOLTANSKI Luc,\u00a0La souffrance \u00e0 distance<\/em>, Paris, \u00c9ditions M\u00e9taili\u00e9, coll. Le\u00e7ons de choses, 1993.<\/p>\n

BRANCHE Rapha\u00eblle (dir.),\u00a0Viols en temps de guerre<\/em>, Paris, Payot, 2011.<\/p>\n

DIDI-HUBERMAN Georges,\u00a0Quand les images prennent position, L\u2019\u0153il de l\u2019histoire, 1<\/em>, Paris, \u00c9ditions de Minuit, coll. Paradoxe, 2009.<\/p>\n

FUSCO Coco et CUSSET Fran\u00e7ois,\u00a0Petit manuel de torture \u00e0 l\u2019usage des femmes-soldats<\/em>, Paris, Les Prairies Ordinaires, 2008.<\/p>\n

HUGHES MYERLY Scott,\u00a0British Military Spectacle: From the Napoleonic Wars through the Crimea<\/em>, Cambridge (MA), Harvard University Press, 1996.<\/p>\n

HUTCHISON Emma,\u00a0Affective Communities in World Politics: Collective Emotions after Trauma<\/em>, Cambridge, Cambridge University Press, 2016.<\/p>\n

KIZNY Tomasz et ROYNETTE Dominique,\u00a0La Grande Terreur en URSS 1937-1938<\/em>, trad. par V. Patte et A. Wisniewski, Paris, Noir sur Blanc, coll.\u00a0Essais Docs, 2013.<\/p>\n

PYSZCZYNSKI Thomas A., SOLOMON Sheldon, GREENBERG Jeff,\u00a0In the Wake of 9\/11, The Psychology of Terror<\/em>, USA, American Psychological Association, 2002.<\/p>\n

REICHEL Peter,\u00a0La Fascination du nazisme<\/em>, trad. par O. Mannoni, Paris, Odile Jacob, 1993.<\/p>\n

RIM\u00c9 Bernard,\u00a0Le partage social des \u00e9motions<\/em>, Paris, Puf, 2005.<\/p>\n

SASSON-LEVY Orna, \u00ab\u00a0Individual Bodies, Collective State Interests\u00a0\u00bb,\u00a0Men and Masculinities<\/em>, 2008, vol. 10, p. 296-321.<\/p>\n

SHILS Edward A. et JANOWITZ Morris, \u00ab\u00a0Cohesion and Disintegration in the Wehrmacht in World War II\u00a0\u00bb,\u00a0Public Opinion Quarterly<\/em>, 1948, vol. 12, no 2, p. 280-315.<\/p>\n

TEBOUL Jeanne,\u00a0Corps combattant\u00a0: la production du soldat<\/em>, Paris, Maison des sciences de l\u2019homme, 2017.<\/p>\n","protected":false},"excerpt":{"rendered":"

Colloque : Esth\u00e9tiques, \u00e9motions, guerres : nouvelles approches du fait guerrier EHESS, Novembre 2021 Calendrier 15 juin 2021 : date butoir de reception des communications ; Juillet 2021 : s\u00e9lection … <\/p>\n","protected":false},"author":1001537,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[65],"tags":[],"class_list":["post-3879","post","type-post","status-publish","format-standard","category-appels-a-communication"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/3879","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/users\/1001537"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/comments?post=3879"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/posts\/3879\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/media?parent=3879"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/categories?post=3879"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/metis\/wp-json\/wp\/v2\/tags?post=3879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}