Archives de catégorie : Appels à contribution

Emotional and Affective Narratives in pre-Modern Europe/ Late-Medieval and Renaissance France

Source : fabula

CfP Emotional and Affective Narratives in pre-Modern Europe/ Late-Medieval and Renaissance France

In contemporary thought, the field of emotion studies represents a very potent framework that allows anthropologists, historians, neuroscientists and philosophers to think of the possible ways in which subjects engage with their own sensory experience and with larger practices that enable them to articulate such experiences in in meaningful ways. Nevertheless, « How do I feel? » is a question that was equally quintessential in the pre-modern Western system of thought even if the contemporary significations of the word « emotion  » did not become concrete until the 17th century. In their attempt to capture pre-modern emotional modes and systems of feelings, contemporary medievalists, especially under the influence of poststructuralism, considered emotions primarily as discursive entities that shape collective and individual subjectivities.

Barbara Rosenwein’s influential notion of « emotional communities,” which inaugurates this trajectory in medieval studies, turns away from the Cartesian split between mind and body and, instead, presents emotions as discursive regimes consisting of strategies, tactics and the conscious ways in which subjects engage with these. However, while emotions are indeed discursive cultural constructs producing collective subjectivities they also possess a sensorial aspect that simultaneously escapes being captured by the social while being constitutive of it. This was the special contribution of the affective “turn” in contemporary theory: the epistemological need to distinguish between emotions as discursive constructs, and affects as flashes of sensory experience and feelings.

This volume aims at complicating Rosenwein’s existing notion of emotion as discursive practice and, at the same time, investigating how medieval subjects talked about their somatic, sensorial and affective practices. If emotions belong to the complexities of social dynamics, we ask how are they incorporated in textual artifacts and cultural productions stemming from often conflicting social events, groups and discourses? How do they act as facilitators between the author and its audience, between the period and its meaning, between the genre and its writing? The emotional and affective dimension of a text cannot be rationalized as either its objective or its point of origin. It is more a textual and factual paradigm around which the author develops her intellectual environment, creating the cultural and political dimension for the text. However, it is within this territory of the text, as a socio-cultural entity orchestrated by the auctorial persona, that a whole archive of emotions and affects is disseminated.

We are interested in essays that investigate the constituency of such “archives of feelings” (Cvetkovich) through the study of the affectivity and emotionality of both literary and non-literary texts, such as political and theological treatises, mystical texts, medical works, scientific tracts and pamphlets, hagiographies and encyclopedic compendiums. While we welcome submissions of articles dealing with such topics in different geographic areas, we are particularly interested in late-medieval and Renaissance French texts.

Articles may examine, but are not limited to questions related to:
– Discourses and practices of emotions and affect
– Somatization of the emotional act
– Affect and emotions in poetry
– Emotions, affect and gender
– Queer emotions and affects
– Emotions, affect and race
– Psychogeographies of emotions and affect
– Rhetorics of affect or emotions
– Emotional rewritings of historical events

Please send 300-word abstracts in English, as well as a short biography with university affiliation and email address, to Andreea Marculescu ( or and Charles-Louis Morand Métivier ( before June 1st. Selected abstracts will be notified on July 1st, and the complete papers will be due on November 1st.

Passions of War:Cross-Disciplinary Perspectives on Gender, Sexuality and Conflict, 1550-1945

Passions of War is the name of a new international research network, funded by the Arts & Humanities Research Council (AHRC).

The Network brings together EU and international participants, representing a range of academic disciplines and professional backgrounds, to investigate the influence of war, from the early modern period to the end of the Second World War, on constructions of gender and sexual practices, and how these constructions and practices have, in turn, conditioned the ways in which wars are waged, mediated, felt and understood.

A distinguishing feature of the Network will be the re-examination of standard accounts of war, gender and sexuality in the light of alternative, emergent and marginalised histories, with a particular emphasis on histories of emotions.

Four workshops will take place between June 2015 and October 2116, focussing on ‘Identities’ (Museum Dr. Guislain, Ghent), ‘Intimacies’ and ‘Spaces’ (University of Leicester) and ‘Resistances’ (National Army Museum, London).

Research findings from the four workshops will be discussed with museum practitioners from the Dr. Guislain Museum and the National Army Museum. It is one of the project’s objectives to engage and inform audiences beyond academia through input into museum displays, as well as through a weekly blog and educational resources.

The Network is a co-operation between the English Department at the Leicester University, the Group for Early Modern Studies at Ghent University, the National Army Museum in London and the Museum Dr. Guislain (Ghent). The AHRC awarded the network grant to Prof. Philip Shaw (Principal Investigator, University of Leicester) and Dr. Cornelis van der Haven (Co-Investigator, Ghent University).

For further information about the Network please contact Prof. Philip Shaw:

CFP Object Emotions, Revisited

Object Emotions, Revisited: An Interdisciplinary Conference

(February 20-21, 2015, New Haven, CT)


Keynote speaker: Spyros Papapetros (Princeton U)


Organizing Committee: Padma Maitland (UC Berkeley); Christopher P. Miller (UC Berkeley); Marta Figlerowicz (Yale U); Ksenia Sidorenko (Yale U); Emma Natalya Stein (Yale U)


“Object Emotions” continues a critical dialogue about new directions in humanities research and theory that began at UC Berkeley in 2013. This conference is inspired by the recent heightened attention to objects and emotions as new points of entry into history, literature, art, architecture, area studies, and the social sciences. We aim to foster interdisciplinary reflections about the critical uses of thing theory, affect theory, the histories of emotions, and new materialism. We also want to study how these discourses might benefit from being set in conversation with each other.


Last year, these questions inspired papers on, among many other topics, forms of animism in fourteenth-century England, the role of tiles in Taiwanese architecture, representations of churches in Willa Cather, oral accounts of labor in factories in India, and the songs of Kylie Minogue. This coming conference seeks to be similarly diverse and experimental in the kinds of approaches it brings together. By exploring emotions and objects in conjunction with each other we hope to bring out the shared stakes of these scopes of critical inquiry, as well as the divergences among the ways feelings and things are studied in particular disciplines.


Questions we want to ask include, but are not limited to, the following: How is the task of describing emotions within the context of a poem different from describing them within the context of a painting, a cathedral, or temple? How do the current fields of affect theory, thing theory, and the history of emotions participate in the much longer history of debates about the subjective and the objective? How do emotions and the bodies experiencing them relate to each other? Are there cultural differences in the way objects and emotions are defined and assessed? What does it mean to attribute feelings to an inanimate object, or even to describe this object as the cause or inspiration of a feeling? Do feelings have an animating force? How does the critical framing of scale—the microscopic, the individual, the human, the social, the global—change the way we pursue questions about objects and emotions?


The conference will take place at Yale on February 20th and 21st, 2015. Participants will include both graduate students and faculty members. We welcome papers that address any of the questions described above, or related ones, with reference to the bodies of theory shared across disciplines or to individual works of literature, art, or architecture. Please submit 250-word abstracts to Padma Maitland at by November 15, 2014.

Pour une politique des émotions (appel à contributions)

Source : Alain Faure

Congrès de l’Association Française de Science Politiques – Aix en Provence 2015 (

Section Thématique n°8 – Pour une politique des émotions (

Dans différentes controverses académiques internationales en sciences sociales, on observe depuis une décennie une même tendance à la réévaluation de la place des émotions et des sentiments dans les travaux empiriques et dans les schémas explicatifs (en histoire avec l’hypothèse d’un affect turn mais aussi en géographie -l’émotivité de la vie socio-spatiale-, en philosophie -le désir dans la formation des idées et l’équipement politique des passions-, en neuroscience -les sources de la conscience et le libre arbitre-, en psychosociologie, en psychanalyse…). Coté science politique, Philippe Braud a exploré la voie sur les élections puis a progressivement élargi le spectre jusqu’à ses travaux récents sur la colère des foules et sur les engagements affectifs et moraux à long terme, impulsant des recherches fécondes sur des objets aussi divers que la démocratie, les violences, le pouvoir ou les identités (Sommeiller Crettiez 2012). La mise à l’épreuve des émotions fait dorénavant l’objet de recherches spécifiques dans le champ politique, à l’image par exemple des études menées sur les mobilisations collectives par Christophe Traïni et de George Marcus sur le citoyen sentimental, des travaux de sociologie sur la dimension passionnelle du pouvoir, des essais de psychologie sur les révoltes, des recherches historiographiques sur la violence des échanges en milieu parlementaire…

Cette effervescence nous semble particulièrement propice à la tenue d’une section thématique de l’AFSP questionnant la façon dont les émotions influent, orientent et parfois même structurent les comportements et les faits politiques. Au vu de la grande hétérogénéité de méthodes et de concepts mobilisés dans ces travaux, nous souhaitons ouvrir une « boite de dialogue » pour relier ces champs de connaissance spécialisés ou méconnus, pour dresser un bilan sur les différentes traditions intellectuelles en présence et pour engager un exercice prospectif sur de potentielles convergences et innovations intellectuelles. A titre indicatif, trois pistes sont suggérées. La première, la socialisation politique des individus, concerne le repérage des empreintes émotives individuelles qui éclairent, a posteriori, des engagements forts dans l’action politique (qu’il s’agisse de traumatismes familiaux, d’épreuves personnelles, d’évènements marquants, de rencontres décisives, de contextes culturels saillants ou même de sentiers de dépendance aux institutions locales). Une deuxième piste, les passions exprimées dans la pratique du pouvoir, permet de revisiter différentes séquences qui marquent, par leur intensité émotive, le parcours et le métier des élites politiques. On pense aux ressorts personnalisés de l’éligibilité mais aussi à la dramaturgie des campagnes et des défaites électorales, aux affrontements et compromis dans les arènes politiques, aux pactes scellés au cœur des forums de politiques publiques. Une troisième piste enfin, la production des grands récits sur le bien commun, concerne l’ensemble des pratiques discursives et narratives qui donnent aux émotions une place stratégique de réenchantement politique, que ce soit dans le champ plutôt sectoriel (et catégoriel) des mobilisations et des doctrines professionnelles, dans celui plus spatialisé (et identitaire) des stéréotypes territoriaux, ou encore dans celui plus idéologique (et emphatique) des discours sur la défense de l’intérêt général. La focale des champs explorés se veut résolument ouverte (le personnel et les discours politiques, les controverses dans l’analyse des politiques publiques, la représentation et le comportement électoral…) et la section thématique s’intéressera indistinctement à différents moments politiques (la prise du pouvoir, la présentation de soi, les contestations, les alertes, les scènes délibératives…). La seule consigne adressée aux communicants concerne l’exposé du cadrage théorique et des passerelles rendues possibles ou souhaitables entre différentes traditions analytiques. Même si l’hypothèse d’un emotional turn est loin d’être validée dans les champs de la science politique et de la sociologie politique, la section thématique se fixe pour objectif d’amorcer un travail collectif à la fois introspectif et exploratoire dans le monde des émotions qui interfèrent avec la politique.

Sur le plan pratique, il est demandé aux auteurs d’envoyer une proposition de 3 000 signes maximum (espaces compris) avant le 15 octobre 2014 présentant le projet de communication et un bref CV. Les thèses en cours, les projets à plusieurs voix, les essais pluridisciplinaires et les contributions de collègues étrangers (en anglais ou en français) seront particulièrement bienvenus.

Appel à contribution – Senses and sensuality in the Middle Ages

Appel à contribution – Senses and sensuality in the Middle Ages

Barcelona, 20­-22 May 2015

All this was shewde by thre partes, that is to sey by bodyly syght, and by worde formyde in my vnderstondyng, and by goostcly syght.

(Juliana de Norwich, Shewings, Long Version, 9, 29­30).

The rose’s red hue, its intoxicating scent and its thorns show us the many faces of this flower’s truth. Senses are the ways through which humans interact with the world and develop their life learning.

For its connection to pleasure and joy, senses have been dually interpreted as sources of sin and immorality yet also as paths of knowledge, since through them we can reach a universe of perceptions which encourage experimentation ­and thus, relation­ with our surroundings and with our inner self. Julian of Norwich, an English theologian and mystic, expressed with simplicity in the words cited above how she had knowledge of the divine: three types of visions connected to different senses.

In this new researchers’ encounter we seek to open the door to the multiples insights and reflections about senses and sensuality in the Middle Ages, offering a wide range of aspects linked to the multiple narratives which this issue inspires: the ways of knowledge, sensory and spiritual pleasure, or artistic and literary forms which have captured the sensorial universe in the Middle Ages.

With a distinctly interdisciplinary intention, the congress aims to give voice to innovative researches on multiple and corresponding fields, such as History, Philosophy, History of Art or Philology, among others. Our main objective with this call is to help build new spaces of creation and of transmission of knowledge, thus confronting the specialization and compartmentalization of expertises usually attributed to the academic world. The accepted papers will define the final sections in which the congress will be divided.

Call for papers
Proposals will be accepted until October 31st 2014. You can send your texts in a word or OpenDocument text format, to the address You will receive an acceptance/refusal answer from the scientific committee before November 30th.

Abstracts extension: maximum 300 words.
Key words: maximum 5 concepts.

Languages accepted: The congress’ official languages are Catalan, Spanish and English. Likewise, we welcome proposals in French, Italian and Portuguese as well. Selected presentations in any Romanic language should include an English presentation (*ppt) or a handout in English including a summary of the content.

Personal details required:
Name and surname.
Title of the paper or poster.
Contact details: email, phone number (optional).

Inscription price for participants: 25 euros (free of charge for ARDIT members).

Lecture timing:
Papers: 20 minutes
Posters: 5 minutes

One of the main aims of our meeting is to spread the scientific results of the congress, publishing a selection of the best contributions. We will propose to ways of publication, as we did in the past edition of the congress:

Spaces of Knowledge: Four Dimensions of Medieval Thought
(Cambridge Scholars Publishing, in press).
SVMMA. Revista de Cultures Medievals, N. 3, primavera 2014 (Institut de Recerca en Cultures Medievals ­ Universitat de Barcelona). [link to journal]

Organizing Committee

ARDIT Medieval Cultures Coordinator: Carme Muntaner

Contact details

Information related to the accommodation in Barcelona and other useful information coming soon on ArditCongress’ website:

With the support of:
Institut de Recerca en Cultures Medievals (IRCVM)
Màster en Cultures Medievals de la Universitat de Barcelona Societat Catalana de Filosofia (filial of Institut d’Estudis Catalans)

Criminal Law and Emotions in European Legal Cultures: From 16th Century to the Present

Criminal Law and Emotions in European Legal Cultures: From 16th Century to the Present
21-22 MAY 2015
Max Planck Institute for Human Development, Berlin
Elizabeth Lunbeck (Vanderbilt University)
David Sabean (UCLA)
Dagmar Ellerbrock (MPIB/TU Dresden)
Terry Maroney (Vanderbilt University)
Legal institutions and jurists have often perceived themselves and promoted an image of their role and activity as essentially ‘rational’. Yet, emotions have always been integral to the law, particularly in the case of criminal law. Emotions were and are taken explicitly or implicitly into consideration in legal debates, in law-making, in the codified norms and in their application, especially in relation to paramount categories such as free will, individual responsibility and culpability, or the aggravating and mitigating circumstances of a crime. Emotions could directly or indirectly play a role in defining what conduct was legally relevant, worthy of legal protection or in need of legal proscription; in why and how it was necessary to punish, and what feelings punishment was meant to evoke.
Legal scholars in the past did not shun the complex relationship between law and emotions. Yet it is in the last two decades that specialists from different disciplines, from law theory to psychology, from philosophy to history, have shown an increasing and lively interest in unravelling the role played by passions, feelings and sentiments in criminal law. Special attention has been focused on three key areas: norms, practices and people.
This two-day conference seeks to historicize the relationship between law and emotions, focusing on the period from the sixteenth century to the present. It aims to ask how legal definitions, categorizations and judgments were influenced by, and themselves influenced, moral and social codes; religious and ideological norms; scientific and medical expertise; and perceptions of the body, gender, age, social status. By examining the period between the sixteenth century and the present day, this conference also seeks to challenge and problematize the demarcation between the early modern and the modern period, looking at patterns and
continuities, as well as points of fissure and change, in the relationship between law and emotions. In particular, it seeks to question the extent to which ideas about law and emotions fundamentally shifted around the eighteenth century—the traditional marker of the ‘modern’ period.
This conference will explore how legal professionals, as judges, prosecutors, defense attorneys and other legal officials, handled different forms of knowledge about emotions in the practice of law, in accordance with, or in opposition to, general social and cultural attitudes and public opinion. It will further investigate the presence and absence—and their meanings—of emotions in the courtroom, as a fundamental aspect of criminal law practices. It will take into consideration not only the emotions which were shown, expected and provoked but also the ones which were repressed, controlled or proscribed by different legal actors and the public. Finally it will also include analysis of how legal understandings of emotions were portrayed in the media and in the wider society.
We invite submissions from scholars of different historical disciplines, working on early modern and modern periods and particularly encourage proposals from scholars working on Northern, Central and Eastern European countries, and the non-Western world.
The conference will be held in English.
Accommodation and travel expenses for those presenting will be covered by the Max Planck Institute for Human Development.

If you are interested in participating in this conference, please send us a proposal of no more than 300 words and a short CV by 1 October 2014 to

Papers should be no longer than 20 minutes, in order to allow time for questions and discussion.
Dr. Laura Kounine, Centre for the History of Emotions, Max Planck Institute for Human Development in Berlin
Dr. Gian Marco Vidor, Centre for the History of Emotions, Max Planck Institute for Human Development in Berlin

Shakespeare and Emotion — European style

Source : Digital Shakespeares

Shakespeare and European Communities of Emotion

Dr Erin Sullivan, Shakespeare Institute, University of Birmingham,
Dr Kristine Steenbergh, VU University of Amsterdam,

This seminar focuses on the importance of emotion in Shakespeare’s plays and poems and their significance within various European contexts. Acknowledging that emotion can be both culturally and historically contingent, as well as something shared across different cultures and communities, this seminar is interested in searching out the fault-lines of Shakespeare’s emotional registers and understanding their power to transcend different kinds of European boundaries, as well as reinforce them.

Papers in this seminar might take a historical approach, considering, for instance, how Shakespeare’s works participated in scholastic debates about the relationship between emotion and the body, the rhetoric of emotion, the role of emotion in politics and governance, or the ethics of emotion. They might in turn consider how religious change across Europe in the sixteenth and seventeenth centuries shaped Shakespeare’s representation of emotion and its place within spiritual devotion, personal piety, and holy ritual.

Other participants may choose to take a different approach, using literary readings or performance-based analyses to consider how emotion in Shakespeare has been interpreted more recently by European readers, philosophers, directors, actors, and audiences. Such papers might focus, for instance, on the role emotion has played in themacting styles developed by famous practitioners such as Stanislavski, Brecht, or Laban, and the subsequent effect this has had on Shakespearean performance, or on how particular emotions have been generated within the context of European national theatres, Shakespeare festivals, and other performance venues.

Whatever their preferred approach, participants in the seminar are invited to consider the extent to which emotion is a hallmark of Shakespeare’s literary and dramatic craft, and whether or not it is a constant, or at least translatable, feature across different European cultures and communities. To what extent does emotion in Shakespeare bring European readers, performers, and audiences together, and to what extent does push them apart?

If you’re interested please submit an abstract (200-300 words) and a brief biography (150 words) by 1 December 2014 to both me and Kristine. All participants will be notified about the acceptance of their proposals by 1 March 2015, and the deadline for submitting the completed seminar papers (3,000 words) will be 1 May 2015.

Emotional Bodies (appel à communications)


A Workshop on the Historical Performativity of Emotions 

20-22 October, 2014                                                     

Louis Jeantet Auditorium

Geneva, Switzerland


Dolores Martin Moruno – IEH2, University of Geneva  

Sophie Milquet – Department of French Modern Studies, University of Lausanne

Beatriz Pichel – PHRC, de Montfort University


Deadline: 1st July, 2014




The idea that the body is the site in which emotions are expressed is an old one in Western Culture. We manifest fear through trembling, embarrassment while blushing or demonstrate love by showing that the pulse quickens and breathing becomes irregular. However, we cannot take for granted the existence of a natural relationship between emotions and these bodily translations. For instance, while the passions were considered in the Early Modern period to be the expression of the movements of the soul, as well as powerful agents shaping bodies in health and disease, late nineteenth century and early twentieth century physiologists and psychologists would discover that the material body was an effect of “the immediate and local emotions produced in the laboratory” (Dror, 1998). From this historical perspective, the relationships between bodies and emotions seem to be far from being universal, as they are also socially and institutionally produced in specific historical contexts. 

This three-day workshop seeks to challenge the idea that emotions invariably correspond to certain bodily expressions, by showing that they can alternatively be understood as cultural practices that have the affective power of transforming reality by creating emotional bodies. On the one hand, bodies will be interpreted as an expressive medium that allows us to “negotiate the boundaries and crossings of self and society” (Porter, 2001). These malleable boundaries of the body will be understood in connection with the changing meaning of social norms, cultural codes and institutions, but especially as the result of the work of emotions. On the other, we propose the understanding of emotions as cultural practices that do things. This performativity of emotions has been stressed by scholars working on the history of the French revolution (Reddy, 1997; 2001), the history of medicine (Bound-Alberti, 2006), political theory (Ahmed, 2004) and literary theory (Labanyi, 2010) as one of the most fruitful lines of research in emotion history.

Taking the metaphor of the body as starting point, this conference aims at discussing new possibilities to enhancing our understanding of the historical performativity of emotions as agents that have generated meaning to physical, social, political, artistic and literary bodies. Therefore, the expression “emotional bodies” may be regarded as an analytical category enabling us to explore how different historical conceptions of emotions (e.g. sentiments, passions, affects and feelings), as well as the practices and objects associated with them, had produced systems of symbolic and physical relations which we understood here as “bodies” with a multidisciplinary purpose. We invite scholars working in any historical period to focus on one of the following topics; each of them related to the creation of scientific, socio-political and artistic bodies.

Producing emotional bodies in the sciences. Observation, experimentation and diagnosis have been historically used as techniques of scientific standardisation for defining the body in love, pain or pleasure. For instance, passions have been identified since Aristotle as powerful agents shaping human and animal physiognomies. Particularly, the body in love has been defined by determining the state of the pulse and the redness of countenance in Ancient medicine or through its twentieth-century conceptualisation in terms of hormone adrenaline and excitement. In which ways have scientific practices normalized emotional expressions throughout history? Have scientists’ emotions affected their work in hospitals or laboratories? How have emotions of non-speaking bodies such as those of infants and animals been scientifically categorized? Have scientific approaches on emotions penetrated into popular culture through novels, theatre, photography or film? We are looking for proposals that can contribute to shedding light on what extent the scientific production of emotions has shaped bodies that are recognisable in everyday life.

Emotions as sites for social exchange and political change. From the politics of fear examined by Joanna Bourke, to Anne-Claude Ambroise-Rendu and Christian Delaporte’s analysis of indignation and Sara Ahmed’s study on happiness, the collective dimension of emotions has been stressed as a potential site for social activism and political change. Is there any connection between the emergence of emotional styles and the production of the revolutionary bodies? What kind of materials and sources do we need to explore in order to reconstruct the emotions of the crowd? Has the performance of different emotions contributed to defining new bodies such as those of the feminist, anti-racist and queer movements? In this panel, we would like to address the question about the possibility of creating new social and political bodies through the performance of collective emotions.

The affective power of literature, photography and film. Scholars working in literary and photographic studies have claimed an affective turn in order to look at texts and cultural productions from the point of view of what they can do, rather than what they mean (Labanyi, 2010; Edwards, 2012; Bouju and Gefen, 2012). Thus, for example, a great number of novels, photographs and films of war have mobilised our empathy towards a humanitarian sensibility (Taithe, 2006). It was not long ago that Stéphane Hessel’s Indignez-vous! reminded us that emotions could also be a call for social and political action. How we should understand the performativity of aesthetic emotions? What role have they played in the creation of broader emotional regimes (e.g. mobilization of empathy, compassion or pity in the actual rise of the victim figure)? Can books, photographs or works of art be considered as “affective objects” produced by our sensory, haptic engagements with them? We encourage scholars interested in discussing the affective power of literary texts, photographic and film documents or artistic creations to present a proposal exploring the ways in which these objects can be interpreted as emotional bodies.

If you are interested in participating in this workshop, please send us a proposal of no more than 300 words for a 20 minutes presentation to by the 1st, July 2014.

Emotions and the Cultural History of World Wars (CFP)

Source: Site du colloque

24–25 September 2014

University of Helsinki


The history of emotions and the cultural history of war are disciplines that have recently attracted expanding scholarship. During the last two decades the history of emotions has deepened our understanding on changing emotional norms, concepts and experiences and it has contributed to the debunking of the mind–body dualism and invested the emotions with historical agency. The roots of the cultural history of war can be traced a little bit further down in historiography. Since the 1960s and 1970s it has added to our understanding of the interplay between crises and cultural and social change. The topics have included the literatures of war, the remembrance of war, myths and symbols and the traumas of war. Recently also the cultural representations of emotions and the histories of emotional experiences in war have received increasing scholarship, which has led us to rethink the significance of wartime to ever-evolving emotional styles and norms.

This two-day conference is dedicated to the exploration of emotions in twentieth-century world wars. The conference is premised on the hypothesis that the wartime emotions are not to be studied only as reactions to exceptional events but rather as actions causing these exceptional events. The conference seeks to address the following questions: what are the roles of emotional norms and emotional concepts at the front and in wartime society? How does the war affect the emotional cultures and how is this reflected both in wartime experiences and in the aftermath?  Are the emotional experiences inherently embedded in culture or are there grounds for claiming certain emotional universalism in human wartime experience?

The scope of the conference covers histories of individual and group emotions from numb and unconnected trauma to collective displays of wartime elevation. We welcome especially proposals that address the wartime histories of:

  • love and attachment
  • hatred, aggression and fear
  • honor, shame and mourning
  • war enthusiasm and disillusionment

However, other emotional concepts and experiences are given consideration as well.

Application: Please submit a proposal of a maximum of 500 words to emotionsandwar(at) by 15 April 2014. Please attach a short bio to the proposal. Successful applicants will be notified by 15 May 2014. The presentation of accepted papers should not exceed 20 minutes. The program of the small-scale event is scheduled without parallel sessions allowing everyone to participate in all the sessions.

Participation fee: 150 euros for full-waged/100 euros for graduate students. Registered participants are expected to cover their own travel and accommodation costs. Further details are provided upon acceptance of the proposals. For any further questions, please contact us on:


Artialisation des émotions

Source : Calenda

Congrès de la Société française d’esthétique

19-21 mai 2014, Nice

L’Artialisation des émotions

La Société française d’esthétique, en partenariat avec le CRHI de l’Université de Nice, organise un congrès d’esthétique sur la question des rapports des arts et des émotions.

Conférenciers invités : M. Cérisuelo (Univ. Paris-Est), A. Gefen (CNRS-Paris Sorbonne), P. Glaudes (Univ. Paris 4), N. Heinich (CNRS), Ch. Ramond (Univ. Paris 8), B. Rimé (Univ. De Louvain), J. Levinson (Univ. Maryland), S. Laugier (Univ. Paris 1), P. Lombardo (Univ. Genève), S. Snaevaer (Univ. Lillehammer), C. Talon-Hugon (Univ. De Nice)

Il s’agit ici de réfléchir sur le rôle des arts dans la construction sociale des émotions. Même si, à la suite de Darwin affirmant que les émotions sont des phénomènes biologiques mis en place par l’évolution, beaucoup de recherches contemporaines vont dans le sens d’une naturalisation des affects, il serait faux d’en faire des entités fixes, discrètes et imperméables à la culture. L’hypothèse que ce colloque voudrait tester est que certains arts offrent aux émotions des scénarios paradigmatiques. Les arts concernés sont ceux de la narration ; non seulement les grandes œuvres de la littérature et du cinéma, mais aussi et peut-être plus encore les arts populaires (au sens des romans populaires du XIXème siècle) et les arts de masse contemporains (blockbusters, séries TV, clips, jeux-vidéo), dont l’impact médiatique est considérablement plus grand que celui des anciens « beaux-arts ».

Ne doit-on pas penser que certaines oeuvres attachant à un nom un scénario paradigmatique, influent sur la manière dont nous ressentons, catégorisons, évaluons telle ou telle émotion, et jouent un rôle dans nos réactions et nos comportements vis-à-vis d’elles ? Les grands mythes de l’amour véhiculés par la littérature ont façonné notre manière même d’éprouver et, ainsi que l’écrit Denis de Rougemont : dans l’Amour et l’occident : “nul Européen n’a jamais été Tristan ni Don Juan, – et pas plus dans le passé qu’aujourd’hui ; mais sans ces mythes les Européens ne seraient pas ce qu’ils sont, n’aimeraient pas comme ils aiment, et leurs passions seraient incompréhensibles”. Il est incontestable que La Princesse de Clèves de Madame de Lafayette ou La nouvelle Héloïse de Rousseau furent pour leurs lecteurs, des maîtres à aimer, que le pré-romantisme (pensons au Werther de Goethe) et le premier romantisme allemand (celui des frères Schlegel notamment) ont transformé la conception de l’intériorité et produit un nouveau style d’autonarrativité (Wilhelm Schapp. In Geschichten verstrickt. Zum Sein von Ding und Mensch). Il faut ajouter à ces classiques les formes nouvelles de narration citées plus haut. Les fictions contribuent à cadrer les structures des émotions. Le passage par l’imaginaire est un puissant vecteur de frayage émotionnel et de mise en commun des émotions.

Les propositions de contribution (pour une conférence de 30 minutes suivie de 15 minutes de discussion) incluant titre, résumé en 400 mots environ, et 3 lignes de présentation de l’auteur, doivent être envoyées au secrétariat de la SFE :

Date limite de soumission : 20 mars 2014

Les réponses seront envoyées le 30 mars 2014.

Droits d’inscription : 50 euros (30 euros pour les membres de la SFE)

L’histoire et les sens (appel à communications)

Source : Society for the Study of French History
Vingt-huitième colloque annuel: 10-12 juillet 2014, Durham, St John’s College

Thème du colloque : L’histoire et les sens

Conférenciers invités : William Reddy, Duke University Sophia Rosenfeld, Virginia University Christophe Prochasson, École des Hautes Études en Sciences Sociales, Paris

De l’école des Annales à la phénoménologie, historiens français et intellectuels ont joué un rôle pionnier dans l’exploration et l’interprétation de l’expérience sensible. Nous invitons cette année les chercheurs à soumettre des propositions de communications ou de panels sur ce thème des sens. Cet appel à communication s’adresse à un large éventail d’historiens, ceux dont le travail concerne les cinq sens mais aussi ceux qui étudient le sens sous d’autres formes : sens de l’espace et du temps, sentiment d’appartenance ou sens de la communauté, voire « sixièmes » sens moins immédiatement évidents et tangibles. Les chercheurs, quelle que soit leur période de prédilection, se sont intéressés aux sens comme à des moyens de reconstruire l’expérience vécue du passé, ou de réfléchir à la nature du témoignage historique ou de l’écriture de l’histoire. Images et sons, vue et ouïe, goût, odorat et toucher constituent un ensemble de champs de recherche nouveaux en histoire de la médecine, de la littérature, aussi bien qu’en histoire sociale ou culturelle. Mais les sens sont également au fondement de réflexions plus larges sur les processus politiques, les pratiques culturelles ou la manière dont différentes générations de femmes et d’hommes ont, en France, tenté de comprendre et de décrire le monde dans lequel ils vivaient.

On attend tout particulièrement les contributions et propositions de chercheurs qui, dans leur manière d’approcher l’histoire de France, se sont intéressés aux sens (dans leur spécificité ou leur conjonction) et ont pu apprécier leur importance centrale. Les communications pourront ainsi traiter de l’un des cinq sens en tant que mode de connaissance, elles pourront analyser les conflits et les effets de hiérarchie entre les différents sens, ou encore explorer des termes connexes tels que « sens commun », « sentiment » ou « sensation ». En somme, le sujet « l’histoire et les sens » devrait, espérons-nous, inspirer la réflexion la plus large, venue d’approches disciplinaires diverses, dans des domaines tels que l’histoire des idées, l’histoire sociale, l’histoire politique ou encore l’histoire culturelle.

Trois réceptions ponctueront le colloque, et chacune d’entre elles permettra d’explorer notre thème général. Le premier soir, la cathédrale de Durham nous accueillera pour un cocktail où seront servis des canapés préparés selon une recette du XIIe siècle récemment découverte dans les manuscrits de la bibliothèque médiévale de la ville. La réception sera suivie d’une visite en nocturne de la cathédrale de Durham, l’un des plus beaux exemples d’architecture normande en Europe. Le soir du deuxième jour sera l’occasion de découvrir la riche collection de textes de la période moderne issue du fonds de la Durham Palace Green Library : une partie en sera exposée tout au long de la soirée. Après la clôture officielle du colloque, ceux d’entre les participants qui resteront à Durham une nuit de plus se verront proposer une visite des expositions temporaires présentées au Bowes Museum, extraordinaire bâtiment du dix-neuvième siècle dont l’architecture et les collections furent inspirés par un goût très prononcé pour l’art français et l’histoire de France.

Conformément à son habitude, la société invite chaleureusement tous les chercheurs en histoire de France à proposer des communications pour cette rencontre. Les communications et panels ne sont pas cantonnés au seul thème principal du colloque. Une subvention importante sera par ailleurs allouée spécifiquement aux doctorants. Les propositions consisteront en un CV d’une page et en un résumé de communication n’excédant pas 300 mots, le tout en un document unique, de préférence au format PDF. Les propositions de panels doivent également consister en un document unique. La date limite de candidature est fixée au 10 janvier 2014.

Pour tout correspondance, veuillez utiliser :

Memory and Emotion in Nineteenth-Century German Visual Culture (CFP)

Call For Papers— Memory and Emotion in Nineteenth-Century German Visual Culture


Symposium participants will explore the intersection of cultural memory with emotion studies to create a methodological toolbox for historians. Both approaches contain within them the problem of integrating subjective experience with the social scientific process of researching and writing about the past. Papers will analyze an aspect of nineteenth-century German visual culture through a specific theoretical lens focusing on emotion and cultural memory; for example, the Kantian sublime, Nietzschean concepts of pain and pleasure, or Langbehn and cultural pessimism. Some of the questions under discussion might include: to what extent can emotion be theorized as a cultural or historical phenomenon? Are the interior lives of individuals relevant to historiography? What new insights can be gained through the analysis and interpretation of documentary evidence of emotions? Can historians trace the reverberations of an emotionally freighted episode through time? To what degree is identity established or shaped by individual or group reactions to events? The symposium will connect scholars working in a range of German visual culture fields, with an emphasis on analytic and practical approaches to cultural memory and/or emotion studies.


Proposals might include, but are not limited to:

·      Collective experiences

·      Involuntary reaction

·      The emotional resonances of space

·      Gendered constructions of emotion

·      Commemorative practices

·      Individual or group reactions, such as joy, empathy, nostalgia or sorrow

·      Fabrication, fantasy, the virtual

·      Physical stimulus and emotional response

·      Psychoanalytic, post-psychoanalytic, and neuroscience methodologies versus emotion studies in the humanities and social sciences


The symposium will be held in June at the University of London, School of Advanced Study, Institute of Modern Languages Research, Centre for the Study of Cultural Memory. Please contact Colleen Becker at or Eric Anderson with your 150 word max. proposals for twenty-minute papers by 20 January, 2014.