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POP, ROCK I SCIENCE FICTION

Bucureti, 16-19 mai 2013

Universitatea Spiru Haret

Str. Ion Ghica Nr. 13, Sector 3, Bucureti

Conferina i propune s aduc mpreun diverse abordri empirice ale

fenomenelor Rock, Pop i Science Fiction, deschizndu-le domeniului larg

al culturii populare.

Structura eterogen a acestor puncte de confluen se contureaz n mai

multe micro-sesiuni ce ofer participanilor concomitent perspective

asupra unor domenii specifice i n acelai timp o deschidere a acestora

prin viziunea de ansamblu ce se conturez din cercetrile curente n

domenii adiacente.

Scopul acestei conferine este s filtreze idei, cunotine i metode,

precum i s adune participanii la sfaritul manifestrii la o mas rotund.

n acest cadru dorim s discutm oportunitile pe care le deschide

aceast manifestare pentru conceperea i realizarea unor proiecteinterdisciplinare de cercetare precum i de ce nu opiunea de a iniia o

a doua ediie n 2014.

Participanii care doresc s prezinte lucrri sunt rugai s opteze pentru

una din seciunile de mai jos, n concordan cu tema contribuiei lor.

Timpul alocat unei lucrri este de 30 de minute pentru prezentare i 10

minute pentru dezbateri.

V rugm s trimitei formularul de nscriere completat direct la adresa decontact a seciunii pentru care optai. Adresele de contact sunt specificate

n apelul conferintei pentru fiecare seciune.

FORMULARUL DE NSCRIERE SE VA TRIMITE PN LA DATA DE 25

APRILIE 2013 LA ADRESA RESPECTIV.

Taxa de participare este de 100 RON.

Pentru participani am rezervat un numr limitat de camere la Hotel

SIQUA: http://www.hotelsiqua.ro/ la un pre special de 55 EUR / noaptepentru single i 60 EUR / noapte pentru double. Pentru cazare la acest pre
http://www.hotelsiqua.ro/http://www.hotelsiqua.ro/


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special v rugm s o contactai pe d-na ALINA GOLEANU, Hote Siqua, la:

[email protected].

V rugm s menionai la rezervare: POP, ROCK I SCIENCE FICTION

pentru a beneficia de acest pre special.

Pentru alte ntrebri nu ezitai s contactai organizatorii de seciuni la

adresele de contact din apelul conferintei.

1. ROMPOP: Importing Western Rock & Pop, Developing Local

Pop

(Panel language: English)

Anamaria Schwab (USH) - George Volceanov (USH)Contact address: [email protected]

Pop / rock music and pop culture, in general, were severelycensored in Communist Romania. The Communist age also produceda strange paradox: While Romanian pop bands and folk singersusually borrowed their lyrics from canonical Romanian poets(Eminescu, Goga, Sorescu, etc.) in order to elude the vigilance ofcensorship, the original lyrics of Western pop and rock artists like

Bob Dylan and John Lennon were published in prestigious literarymagazines under the label Foreign Poetry. Such lyrics were thentranslated and performed during party-controlled concerts (e.g.those organised by Cenaclul Flacra Flacra Circle a series ofweekly cultural events organised by the weekly magazine Flacraand its chief editor, the poet Adrian Punescu).

Our panel in domestic versus foreign pop / rock trends inCommunist Romania invites you to explore the repertoire ofRomanian artists and to answer the questions posed by theaforementioned paradox, exploring the extent to which foreign

musical and ideological trends collided with domestic party-imposedideology. We also welcome papers focusing on the extent to whichforeign musical and ideological trends contributed to the shaping ofthe Romanian pop-rock culture of the 1960s, 1970s and 1980s.Contributions in adjacent domains are also highly welcome.

2. AUSTROPOP: Before and After Falco

(Panel language: German)

Peter Ernst (University of Vienna) - Christiane Pabst (University of

Vienna)

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mailto:[email protected]:[email protected]:[email protected]


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Contact address: [email protected]

Austropop steht fr die in sterreich vorherrschendepopulre Musikkultur, die unterschiedliche Genres umfasst. Ab den60er Jahren des 20. Jahrhunderts kristallisierten sich in denLiedtexten sterreichischer Musiker verstrkt sprachliche Spezifikaheraus: Dialektales, fach- und gruppensprachliche Elemente, wie

jene aus dem Jargon der Wiener Unterwelt. In den letzten Jahrenwerden diese Formen der populren Musikkultur verstrkt vonCodeswitching und Mehrsprachigkeit gekennzeichnet. DieseErscheinungen sollen - nicht nur aus linguistischer Perspektive inder Sektion behandelt werden. .

Exemplarisch fr die interdisziplinre Herangehensweise steht

falcos many languages, ein von Christian Ide Hintze 2010 imResidenz Verlag herausgegebener Band, in dem sowohl diesprachlichen Besonderheiten von Falcos Liedtexten, als auch derensoziokultureller Hintergrund und Wirkung beleuchtet werden.Dieser Ansatz soll die Beschreibung der Merkmale von Liedtexten aufdie gesamte Austropop-Szene und ihre Stars ausweiten.Fr die Sektion sind Beitrge erwnscht, die den Austropop zumGegenstand linguistischer, interdisziplinrer oder diachronerUntersuchungen machen.

3. Student Section: R, P and SF: The Melting Pot(Panel language: English)

Lisa Atzelsdorfer (University of Vienna) - Iris Gassenbauer (University

of Applied Arts Vienna) - Loredana Pan (USH) - Georgiana Voicu

(USH)

Contact address for Romanian students:[email protected]

Contact address for Austrian students:[email protected]

We gather in our Student Section contributions on the culturalvarieties of rock (R), pop (P) and Science Fiction (SF) focussing ontheir impact on the live of young people. Alike the famous MeltingPot New York, both R and P, as well as SF serve as instruments ofidentification and vehicles of identity construction.

You will be amazed by a variety of contributions on R, P or SFand their cultural impact on our society.

As we are sure that you have heard at least one R&P song andread at least one SF book, we are summoning you to participate inour section.

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Why not try listening to a presentation that will bring you happiness,arouse your curiosity and astonish your mind?

But here comes the challenge:Why not try to present a paper on one of these topics yourself? Weare sure you have a lot to say and are looking forward to receive theannouncements of your interesting contributions.We encourage you to write about whatever concerns you the most,be it literature, politics, architecture, photography, cinematography,music and their impact on R, P & SF and freely discuss it in ourconference. We also highly welcome papers linking thesephenomena to literature.

4. Wo/men do popular culture? Present Pop, Gender, Politics

(Panel language: English)Susanne Hochreiter (University of Vienna) - Ramona Mihil (USH)


Since the womens movement in Western countries re/startedin the late 1960s in the context of students and anti-war struggles itwas closely connected with popular culture: Jazz, rock music, hippieballads created the sound of the political movements as modernart and literature delivered the pictures and words of what the new

future democracy, liberty, equal rights for people of all colours andgenders should look like. At the same, time womens access asartists and active participants to popular culture was quite limited because the alternative realms of art were also dominated bymen.

Artists as Yoko Ono, Niki de Saint Phalle, Janis Joplin, or as ValieExport in Austria were feminist pioneers in art and popular culture. Achanged concept of art was an integral part of womens involvementin this context: Art was supposed to have meaning beyond elitistexclusiveness and an anachronistic divide of high brow art andpopular culture. Feminist popular culture was always political and, atthe same time, claimed aesthetic innovation.

Todays discussion of popular culture within a genderperspective is very different from what happened four centuries ago.Women are now part of a huge pop music industry, an extremelyfast and tough business, where some people make a lot of money.

Popular culture of this kind is nowadays more an expression ofa severe neoliberalism and hardly a symbol of peace, love andhappiness. But what alternative spaces do exist, what are political

aims and what role plays gender today in popular culture ofWestern and Eastern European countries? This conference

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section aims for an analysis of contemporary relations of popularculture and gender aspects.

5. From Fantasy to Science Fiction

(Panel language: English)

Alina Mciuc (USH) - Florin Ptea (USH)


While Fantasy is the oldest form of literature, going back to theEpic of Gilgamesh, Science Fiction was only made possible by theemergence of the Industrial Age and the cross of popular science,

adventure stories, the popular press and compulsory education. BothFantasy and Science Fiction, as well as their dark cousin, HorrorFiction, took various exciting forms throughout the 20 th century andat the turn of the millennium, from Lord Dunsanys parables to ChinaMivilles New Weird and from Isaac Asimovs robots to StanislawLems intelligent ocean.

This section covers the diachronic evolution of this genre andits subspecies. Papers analysing the subversive message of Fantasywritings in Eastern European Communist times, as well as theirgeneral role as vehicles for covert social critique, are highly

welcome.Another main topic of the section is the representations of rockand pop subcultures in the field of speculative fiction, as well as itsreferential status therein.

6. Deutsche Science-Fiction-Romane und ihre Verfilmungenim Kontext der europischen und der amerikanischen

Filmkultur

(Panel language: German)

Ioana Crciun-Fischer (Universitt Bukarest) - Sorin Gdeanu(Universitt Wien)


Als Form der phantastischen Prosa, die sich vor dem ZweitenWeltkrieg noch technische Utopie oder Zukunftsroman nannte undeskapistischen Bedrfnissen breiter Lesermassen entgegenkam,entwickelte sich der deutsche Science-Fiction-Roman im Schatten

seiner berhmteren europischen und amerikanischen Brder, vondenen er die fr das Genre spezifischen Themen und Motivebernahm: Zeitreisen und Weltraumfahrten, in denen die Gesetze

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von Zeit und Raum auer Kraft gesetzt wurden, intergalaktischeKriege und globale Katastrophen, Roboter und Androiden,Zukunftsbilder und -visionen, Entdeckungen und Erfindungen

jenseits des technisch Machbaren und rational Plausiblen. Der oft alsliterarische Massenware und als Trivialliteratur apostrophierteScience-Fiction-Roman ist aus der deutschen Kultur der Modernenicht mehr wegzudenken, zumal er auch in der deutschen Filmkulturals literarische Grundlage von berhmten Kassenschlagern mandenke nur an Fritz Langs Kultfilm Metropolis (1926) eineSchlsselrolle gespielt hat.

In dieser Sektion sind Referate willkommen, die derProblematik und der sthetik deutscher Science-Fiction-Romane undihrer Verfilmungen gewidmet sind. Erwnscht ist dabei eine

interdisziplinre Annherungsweise, in der die germanistischePerspektive ergnzt wird durch eine film- und / oder einekulturwissenschaftliche Betrachtungsweise. Willkommen sind auchkomparatistisch verfasste Referate, in denen der deutsche Science-Fiction-Roman auf seine Wurzeln und auf seine Originalitt hin imKontrast zur Entwicklung des Genres im brigen Europa und inNordamerika analysiert wird.

Auch als Gegenstand soziologischer und sozialpsychologischerUntersuchungen bieten Verfilmungen deutscher Science-Fiction-Romane ein ergiebiges Forschungsfeld, das wir in dieser

Konferenzsektion zu erweitern und zu vertiefen bestrebt sind.

7. French Studies on Pop, Rock and Popular Culture

(Panel language: French)

Mihaela Chapelan (USH) - Alexandru Matei (USH)


En France, dans les annes 1960, la sociologie est unediscipline mergeante, o sillustre surtout Pierre Bourdieu,philosophe de formation, qui pratique la sociologie en tant quediscours critique. Aux annes 1950, il y a deux intellectuels quisintressent la culture de masse qui sempare de lexistencepublique des Franais de laprs-guerre: les sociologues JeanBaudrillard, Edgar Morin et le critique littraire et smioticienRoland Barthes. Leurs approches sont certes diffrentes, mais ils

essaient tous les trois dentreprendre une critique du discours de laculture de masse, et de certifier par l son avnement dans laculture franaise.

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Ils ont tous ragi aux vnements qui ont marqu la secondevague de modernisation de la France : en premier lieu, cetavnement de la culture matrielle amricaine en France, tudiepar Kristin Ross en rapport avec la dcolonisation de lAlgrie et lamode du discours thorique dans un livre traduit en franais, FastCars, Clean Bodies: Decolonization and the Reordering of FrenchCulture (1995). En second lieu, Mai 1968 et un nouvel ethos qui servle vite tre, en partie, celui de la culture pop amricaine, occupeles cerveaux de plus brillants intellectuels. En troisime lieu, il sagitde cartographier les subcultures mergeantes aux annes 1990 ettudier la vie des immigrants.

Leurs discours critiques ont tous un autre point commun, quiles rend difficilement traduisibles et interprts aux Etats-Unislcriture, qui emprunte aux plus radicaux textes littraires que la

littrature franaise ait connus. Aux annes 2000, dautresapproches ont vu le jour, pour mesurer mieux la diversit des formesde la culture de masse, et pour en faire connatre ses formes: lamusique, le cinma, la tlvision ou bien internet (voir Jean PierreRioux Jean Francois Sirinelli, La Culture de masse en France, Fayard,2006).

Notre colloque accepte toutes sortes dobjets danalyse et dediscours (sociologie, cultural studies, fminisme, postcolonialstudies, pop philosophie, French theory, ou comptes rendus deprojets raliss hors lespace acadmique). Pour les rpondeurs

roumains, il serait peut-tre intressant de voir combien la culturede masse franaise a marqu la culture de masse roumaine durantle rgime communiste, et comment elle dcline partir des annes1980. Pour tous les rpondeurs, il serait intressant de voir en quellemesure un discours thorique franais existe encore pour rendrecompte de la culture du quotidien, ou si nous ne faisons autre choseque parler un discours amricain, mme si nous le faisons enfranais.

8. De la cultura textului la cultura popular n epoca pop-

rock

(Panel language: Romanian)

Andreea Lupu (USH): literatur, comparatism i teoria literaturii

Elena Silvestru (USH): lingvistic general i limb romn

contemporan


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Retrospectiv, ultimii 50 de ani de cultur european ne apar caun moment de rentoarcere (auto)reflexiv a literaturitii i ametadiscursului literar spre autenticitatea propriilor resurse originarei spre abloanele pe care, n discursul textual i meta- sau inter-textual le demistific, demitiznd necrutor locurile comune,valorile consacrate, tabuurile, retorica oficial(izat), orice form alimbii de lemn. Perioada ne apare mai ales ca o epoc a impuneriiunor noi patern-uri culturale, cu un impact i un receptor de odiversitate i de o amploare fr precedent, generatoare de popularculture.

n consecin, seciunea i propune circumscrierea etapei caun contrapunct violent fa de tradiii i tabieturi culturale

nrdcinate n mentalul colectiv, ca un reflex al unor noi ritmurispirituale, cu un alt tip de sonoritate, nu lipsit de o anumit poezie a

luciditii, dur sau amar i de stridene (de)constructivcontestatare.

Rmnnd deschii la sugestiile colegilor, care opteaz pentruelaborarea interveniilor n limba romn, sugerm, orientativ, caaxe ale cercetrii n cadrul seciunii:Teoria i critica literar a sfritului de secol XX: Orientri polemice,re/de-structurri i configurri;Literatur comparat i studii culturale (dialogul cultural ireceptarea / lectura activ ca act interpretativ al cititorului, ca

metod de abordare textual comparatist; model i canon;complementariti i disocieri ale domeniilor / perspectivelor, abordri teoretice i studii de caz;Literatura romn-autorii populari n epoc; (re)sursele succesului;lectura critic a clasicilor; form(ul)e ale literaturii de mas; condiiafantasticului i literatura S.F.; genuri / specii de frontier; expresii alerezistenei estetice i opoziiei anticomuniste; popularitatealiteraturii de sertarLingvistic i limb romn contemporan: Lingvistica actual:moment de criz sau reconfigurri (post)structuraliste? (abordri

teoretice); direcii i tendine actuale n limba romn contemporan(studii de caz).

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