Modernities in the Americas (1910-1970)Readdressing the question of modernity today, whether from the perspective of its literary, artistic, social or political inscriptions, amounts to using a plural designation and along with it a specific chronology. What modernity implies is that the concept of the modern be not limited to the diverse and often ambiguous meanings of the term modernism. âModernity is not a movement, such as dada or imagism. If literary history decides that some movement, English or Spanish, is to be called modernism, the term immediately takes on a technical sense. It becomes stabilized. Its participation in modernity becomes merely fragmentaryâ (Henri Meschonnic, ModernitÃ© modernitÃ©).
The aim of this symposium will be to re-evaluate a multi-faceted and multilingual phenomenon across the whole cultural spectrum of the Americas, in constant interaction with Europe and with other regions of the world. Our concern will be neither to provide an entirely exhaustive nor specifically objective study, but to draw out the key features of the modern and the anti-modern in particular, either individually or in opposition to one another. âIn the name of artistic radicalism and the concept of ruptureâ we âhave set aside or chosen not to highlight a number of individual or collective expressions deemed hybrid, local, late or anti-modernâ (Catherine Grenier, "Le monde Ã lâenvers ?", Centre Georges Pompidou), and the same is true in areas other than art. In literature in particular, Â«Â only what is ancient has a chance at being modern or announcing modernityÂ Â» (Pascale Casanova, La rÃ©publique mondiale des lettres). From this has stemmed the systematic search for ancestors of the modern in places as far removed as so-called Â«Â primitiveÂ Â» or indigenous societies. What is deemed Â«Â barbaricÂ Â» or crude often appears more modern than civilization, as long as we refrain from folklore. A certain kind of realism is sometimes more modern than a form of anti-realism or Â«Â magic realismÂ Â» that have been declared avant-garde. There is also the classicism of the modern , the product of its own repetitonÂ Â» (Meschonnic).
The undeniable differences but also coincidences between the Americas, whether anglophone, francophone, hispanophone or lusophone will undoubtedly bring to light the specific and common characteristics of each cultural area as well as their inner contradictory aesthetic and cultural decisions during the period stretching from 1910 to 1970, namely after Art Nouveau and after the invention of the Â«Â postmodern conditionÂ Â» (Jean-FranÃ§ois Lyotard, La condition postmoderne : Rapport sur le savoir). Lines of inquiry such as those concentrating on Â«Â exchanges between high culture and popular culture, the center and the periphery, formal research and social relevancyÂ Â» (Gauthier) should allow for a thorough mapping of modernity along continental scales.
Abstracts are welcome in French, English, Spanish or Portuguese. Deadline for abstractsÂ : May 1, 2015.
Please send a 300-word abstract, along with a short biography, to all four members of the organizing committee.
HÃ©lÃ¨ne Aji, UniversitÃ© Paris-Ouest Nanterre-La DÃ©fense, firstname.lastname@example.org
Maria Graciete Besse, UniversitÃ© Paris-Sorbonne email@example.com
Paul-Henri Giraud, UniversitÃ© de LilleÂ 3 Sciences humaines et sociales, firstname.lastname@example.org
Fiona McMahon, UniversitÃ© de Bourgogne, Fiona.McMahon@u-bourgogne.fr
Smaro Kamboureli (University of Toronto, Canada)
Bill Mohr (California State University, Long Beach, Ca, USA)
Claudio Cledson Novaes (Universidade Estadual de Feira de Santana, Brazil)
Erica Segre (Trinity College, Cambridge, UK)Â
Conference Location: Dijon, France
Conference Starts: November 18, 2015
Conference Ends: November 20, 2015
CFP Submission Deadline: May 01, 2015
For more information, contact: Helene AJI