AFEA NEWS: CFP Revisiter l\u2019archive : histoires collectives et libert\u00e9s acad\u00e9miques\/Revisiting the archive: collective histories and academic freedom<\/p>\n
Appel \u00e0 communications:
\nRevisiter l\u2019archive : histoires collectives et libert\u00e9s acad\u00e9miques
\nUniversit\u00e9 de Rouen-Normandie, 10 mars 2023.<\/p>\n
Au cours de la deuxi\u00e8me moiti\u00e9 du vingti\u00e8me si\u00e8cle, les travaux et r\u00e9flexions \u00e0 propos de la notion d\u2019archive se sont consid\u00e9rablement d\u00e9velopp\u00e9s, notamment sous l\u2019impulsion des philosophes Michel Foucault et Jacques Derrida ou de l\u2019historienne Arlette Farge. Loin de se limiter au domaine fran\u00e7ais cependant, ces r\u00e9flexions ont aliment\u00e9 outre-Atlantique des pratiques de recherche qui ont cherch\u00e9 \u00e0 replacer la source archivistique, la consultation de documents conserv\u00e9s dans des centres de ressources au c\u0153ur de leur m\u00e9thode, \u00e0 tel point qu\u2019on a parl\u00e9 du \u00ab tournant archivistique \u00bb (archival turn) qui a accompagn\u00e9 cette nouvelle effervescence.
\nSi l\u2019on peut percevoir l\u2019archive comme une forme de m\u00e9moire collective institutionnalis\u00e9e, trois interrogations apparaissent. Qu\u2019est-ce qui constitue un \u00e9l\u00e9ment de m\u00e9moire digne d\u2019\u00eatre pr\u00e9serv\u00e9 ou non et, par extension, qui a le pouvoir d\u2019en d\u00e9cider ? Quels sont les contours, plus ou moins fluctuants, du collectif d\u00e9sign\u00e9 ? Quel est le r\u00f4le jou\u00e9 par les institutions \u2013 publiques, universitaires ou autres \u2013 dans la pr\u00e9servation de documents ?
\nOutre ces questions liminaires, le colloque propose d\u2019interroger trois th\u00e8mes majeurs :
\n\u2022\tLes rapports entre archive et m\u00e9moire
\n\u2022\tLa dynamique qui unit archive et recherche
\n\u2022\tLes liens entre l\u2019archive et les murs \u2013 physiques, m\u00e9taphoriques ou disciplinaires \u2013 qui la composent et la circonscrivent.
\nSi l\u2019image du mur est globalement associ\u00e9e \u00e0 quelque chose de solide, monolithique voire d\u2019insurmontable, il faudra \u00e9galement s\u2019interroger sur les \u00e9ventuelles porosit\u00e9s de ces murs, c\u2019est-\u00e0-dire ce que l\u2019archive peut laisser filtrer malgr\u00e9 tout. Il ne suffit pas de constituer un fonds d\u2019archive, de collecter les documents laiss\u00e9s par une personnalit\u00e9 artistique, militante, m\u00e9diatique ou encore politique. L\u2019archive ne nous appara\u00eet peut-\u00eatre jamais aussi frustrante que lorsqu\u2019on sait qu\u2019une partie de ce qui avait initialement vocation \u00e0 \u00eatre conserv\u00e9 a en r\u00e9alit\u00e9 \u00e9t\u00e9 \u00e9gar\u00e9, confisqu\u00e9, voire d\u00e9lib\u00e9r\u00e9ment d\u00e9truit.<\/p>\n
Tout d\u2019abord, l\u2019archive peut \u00eatre envisag\u00e9e comme l\u2019une des sources qui donnent leur l\u00e9gitimit\u00e9 \u00e0 certains champs disciplinaires. En effet, le recours \u00e0 l\u2019archive peut \u00eatre per\u00e7u comme un moyen d\u2019enraciner un champ d\u2019\u00e9tude dans une r\u00e9alit\u00e9 mat\u00e9rielle et historique. Aux \u00c9tats-Unis, le rassemblement et la conservation de documents, d\u2019objets aussi \u00e9pars que vari\u00e9s en un ou plusieurs fonds d\u2019archive ont souvent constitu\u00e9 des \u00e9tapes pr\u00e9alables \u00e0 une entreprise visant \u00e0 compl\u00e9menter, corriger voire contredire une historiographie dominante et partiale. Ce fut le cas pour l\u2019histoire des femmes ou pour celle des Africains-Am\u00e9ricains \u2013 pour ne citer que ces deux exemples \u2013 qui s\u2019\u00e9crivent d\u00e9sormais depuis des d\u00e9partements de Women Studies et African American Studies. Quel r\u00f4le tient l\u2019archive dans la consolidation ou le d\u00e9mant\u00e8lement de fronti\u00e8res disciplinaires ? Comment l\u2019archive contribue-t-elle \u00e0 donner de la l\u00e9gitimit\u00e9 \u00e0 l\u2019\u00e9tude de groupes historiquement minor\u00e9s, et comment permet-elle \u00e0 ces derniers de forcer le mur d\u2019enceinte universitaire afin de faire reconna\u00eetre l\u2019importance de leur histoire et de leurs voix aupr\u00e8s des institutions d\u2019enseignement ? \u00c0 l\u2019inverse, que dit une archive conserv\u00e9e hors de ces institutions, hors des centres de ressources consacr\u00e9s et per\u00e7us comme tels, \u00e0 l\u2019initiative d\u2019amateurs et d\u2019amatrices, d\u2019associations ou de communaut\u00e9s enti\u00e8re ? Partant, quelle place accorder aux archives orales et t\u00e9moignages ? Comment interpr\u00e9ter le fait que ces archives sonores sont encore parfois peu exploit\u00e9es par les chercheurs et chercheuses (Lang, Murat, Pardo 2020), et quel est l\u2019impact de leur exploitation sur leurs champs disciplinaires respectifs ? En somme, par quels chemins se dessinent les contours d\u2019une m\u00e9moire collective qui serait jug\u00e9e digne d\u2019\u00eatre conserv\u00e9e ?<\/p>\n
Les murs de l\u2019archive renvoient \u00e9galement \u00e0 l\u2019enceinte physique de ces diff\u00e9rents lieux consacr\u00e9s \u00e0 la pr\u00e9servation de cette m\u00e9moire collective institutionnalis\u00e9e. On pourra ainsi analyser les lieux o\u00f9 se fait la conservation de cette m\u00e9moire ainsi que les liens entretenus entre ces lieux de m\u00e9moire et l\u2019environnement social, politique et g\u00e9ographique dans lesquels ils s\u2019ins\u00e8rent. Comment interpr\u00e9ter par exemple l\u2019ouverture du Mus\u00e9e national de l\u2019histoire et de la culture afro-am\u00e9ricaines \u00e0 Washington en 2016 apr\u00e8s des travaux d\u00e9but\u00e9s en 2012, soit \u00e0 la conclusion du double mandat de Barack Obama, premier pr\u00e9sident noir des \u00c9tats-Unis ? L\u2019archive est certes ce que ces murs renferment, mais ces murs eux-m\u00eames peuvent avoir une histoire. De quelle mani\u00e8re certains sites qui servent de d\u00e9p\u00f4t de documents deviennent-ils eux-m\u00eames des lieux incontournables des rep\u00e8res distinctifs au sein d\u2019une ville ? On peut notamment penser \u00e0 l\u2019\u00e9mergence au vingti\u00e8me si\u00e8cle des biblioth\u00e8ques pr\u00e9sidentielles, implant\u00e9es dans des villes telles que Independence dans le Missouri ou Abilene dans l\u2019\u00c9tat du Kansas qui accueillent, respectivement, les archives li\u00e9es \u00e0 la pr\u00e9sidence de Harry S. Truman et de Dwight D. Eisenhower. L\u2019implantation de centres d\u2019archives dans de petites localit\u00e9s loin des grandes m\u00e9tropoles peut aussi bien transformer la g\u00e9ographie de la ville elle-m\u00eame qu\u2019affecter les dynamiques de recherche.<\/p>\n
Par ailleurs, qu\u2019en est-il du mur comme archive ? \u00c0 travers des inscriptions plus ou moins \u00e9ph\u00e9m\u00e8res \u2013 fresque, tag, graffiti, gravure \u2013 les murs peuvent devenir les d\u00e9positaires d\u2019une forme de m\u00e9moire collective, c\u00e9l\u00e9brer les illustres comme les anonymes. On peut ainsi penser au \u00ab Wall of Respect \u00bb, peint en 1967 dans le quartier de Bronzeville \u00e0 Chicago qui repr\u00e9sentait les acteurs et actrices du mouvement africain-am\u00e9ricain, aux centaines de fresques murales qui pars\u00e8ment la ville de Los Angeles et qui peuvent rendre hommage aux personnalit\u00e9s li\u00e9es \u00e0 la ville ainsi qu\u2019\u00e0 la culture \u2013 parfois ethnique et raciale \u2013 des communaut\u00e9s qui la composent, ou encore aux m\u00e9moriaux de guerre situ\u00e9s \u00e0 Washington DC. L\u2019apparition \u00e0 travers tout le pays de fresques en hommage \u00e0 George Floyd, Breonna Taylor, ou encore Kobe Bryant au cours des derni\u00e8res ann\u00e9es ou, en d\u00e9cembre 2021, l\u2019ajout sur le m\u00e9morial d\u00e9di\u00e9 \u00e0 la guerre de Cor\u00e9e des noms des 43,000 soldats \u00e9tats-uniens tomb\u00e9s au cours du conflit attestent de l\u2019importance des murs pour \u00e9crire, compl\u00e9ter et surtout p\u00e9renniser un r\u00e9cit collectif, que ce dernier soit communautaire ou national.
\n\u00c0 l\u2019inverse, il peut \u00eatre difficile de trancher entre l\u2019inscription murale qui constitue un \u00e9l\u00e9ment de m\u00e9moire digne d\u2019\u00eatre pr\u00e9serv\u00e9 et ce qui dispara\u00eetra irr\u00e9m\u00e9diablement sous une nouvelle couche de peinture ou au cours d\u2019une prochaine d\u00e9molition. Les murs en tant que supports portent des inscriptions qui peuvent saisir les soubresauts, les interrogations et les aspirations qui agitent un quartier, une ville ou une communaut\u00e9 au m\u00eame titre qu\u2019un pamphlet ou une manifestation. De quelle mani\u00e8re peut-on documenter et enregistrer ces traces fugitives, ces graffitis qui peuvent, selon, \u00eatre protestataires ou simplement marquer une territorialit\u00e9 commune mais qui, en d\u00e9finitive, viennent attester des enjeux politiques et culturels \u00e0 laisser son empreinte dans l\u2019espace public ?<\/p>\n
Si l\u2019archive fournit un moyen de mesurer, d\u2019appr\u00e9hender le r\u00e9el, sa d\u00e9mesure occasionnelle d\u00e9stabilise cette prise sur le r\u00e9el : cette d\u00e9stabilisation peut-elle, en soi, conduire \u00e0 saper la l\u00e9gitimit\u00e9 scientifique d\u2019une entreprise historiographique, \u00e0 rebours de la vision d\u2019une archive qui sert de soubassement mat\u00e9riel \u00e0 la recherche ? \u00c0 ce titre, on pourra s\u2019interroger sur les effets que peut avoir l\u2019archive sur la litt\u00e9rature, lorsque les manuscrits enfouis dans des chemises poussi\u00e9reuses se trouvent soudainement exhum\u00e9s et \u00e9dit\u00e9s en ouvrages posthumes. D\u00e8s lors, l\u2019archive vient d\u00e9stabiliser un corpus litt\u00e9raire existant en lui adjoignant une excroissance aussi in\u00e9dite qu\u2019ambig\u00fce. De nombreux exemples peuvent \u00eatre convoqu\u00e9s, de la parution de A Long Fatal Love Chase de Louisa May Alcott en 1995 \u00e0 celle de The Original of Laura de Vladimir Nabokov, publi\u00e9 en 2009 et qui a re\u00e7u un accueil pour le moins mitig\u00e9 par la critique. Quelle place accorder \u00e0 ces nouveaux \u00e9crits qui, \u00e0 l\u2019origine, \u00e9taient destin\u00e9s \u00e0 ne rester que de simples documents d\u2019archives ? Comment les int\u00e9grer au reste de l\u2019\u0153uvre et quelles sont les probl\u00e9matiques soulev\u00e9es par cette \u00e9ventuelle int\u00e9gration ?
\nL\u2019archive conserve donc un double pouvoir d\u2019un point de vue \u00e9pist\u00e9mologique, c\u2019est-\u00e0-dire celui qui consiste \u00e0 la fois \u00e0 stabiliser et \u00e0 d\u00e9stabiliser la connaissance scientifique. Le colloque pourra \u00e9galement \u00eatre l\u2019occasion d\u2019interroger les enjeux qui surgissent lorsque l\u2019archive, ou plut\u00f4t les centres d\u2019archives tiennent une partie du public et, parfois, une partie de la communaut\u00e9 scientifique \u00e0 l\u2019\u00e9cart ou, pour le dire autrement, comment l\u2019archive incarne le lien qui existe entre libre acc\u00e8s et libert\u00e9s acad\u00e9miques.<\/p>\n
Les propositions de communication en fran\u00e7ais ou en anglais doivent faire 300 mots et \u00eatre accompagn\u00e9es d\u2019une notice biographique. Elles sont \u00e0 envoyer conjointement \u00e0 m.douzou et yohann.lucas. La date limite de soumission est fix\u00e9e au 31 octobre 2022.<\/p>\n
Call for Papers
\nRevisiting the archive: collective histories and academic freedom
\nUniversit\u00e9 de Rouen-Normandie, March 10, 2023.<\/p>\n
During the second half of the twentieth century, works by historian Arlette Farge and philosophers Michel Foucault and Jacques Derrida \u2013 among others \u2013 have considerably contributed to our understanding of the notion of the archive. Far from being limited to the French academy, these works have fueled research practices across the Atlantic which have made the archival source the heart of their method, to such an extent that the expression \u201carchival turn\u201d was coined to better represent this new effervescence.
\nIf the archive can be perceived as a form of institutionalized collective memory, three questions immediately appear. How do we decide if something is worth preserving and, by extension, who has the power to do so? What are the contours of this collective? What role do institutions \u2013 public, academic, or otherwise \u2013 play in the preservation of documents?
\nBeyond these preliminary questions, the conference will be the occasion to reflect along three main axes:
\n\u2022\tThe relationships between the archive and memory
\n\u2022\tThe connection between the archive and research
\n\u2022\tThe links between the archive and walls \u2013 be they physical, metaphorical or disciplinary walls \u2013 which are part of the archive and which circumscribe it.
\nIf a wall projects the image of something solid, monolithic, even insurmountable, attention should also be given to the porosity that walls can contain, in other words, to what the archive can fail to hold in. Collecting documents left by an artist, an activist or a politician is only one step towards the constitution of an archive, and frustration runs high whenever researchers know that a part of what was originally meant to be conserved has been lost, locked off or even deliberately destroyed.<\/p>\n
The archive can first be seen as one of the sources giving legitimacy to some disciplines. Indeed, various archives have been used as a way to root an academic field in a material and historical reality. In the US, the act of gathering and preserving documents as well as miscellaneous objects in an archive center has often been a prerequisite to efforts aiming at complementing, correcting, or contradicting a dominant and biased historiography. This was the case of women\u2019s history and African American history, to name but two examples. What role is played by the archive in the consolidation or dismantling of disciplinary boundaries? How does the archive contribute in reinforcing the legitimacy of studying groups that have been historically marginalized, and how does it help them break down the academic walls that have kept their histories and voices at bay from colleges and universities? Conversely, what happens when archives are preserved outside of the academy or public institutions, on the initiative of amateurs, associations, or entire communities? By extension, what place should be given to oral archives and testimonies? If sound archives can still be vastly underused by researchers (Lang, Murat, Pardo 2020), what impact would a more systematic study have on their respective academic fields? In short, the conference will be the occasion to assess how the contours of a collective memory worth preserving are drawn.<\/p>\n
The image of walls can also refer to the physical buildings where this institutionalized collective memory is kept. Attention can be given to the locations where this memory is preserved as well as to the relationship that exists between these buildings and the social, political, and geographical environment in which they are set. For example, what interpretations can be made of the opening of the National Museum of African American History and Culture in Washington DC in 2016, at the conclusion of the two terms of the first African American president, Barack Obama? The archive certainly designates what is held inside the walls, but these very walls may tell a story of their own about a community or a nation. To what extent can archival buildings become landmarks in some cities? We may think of the emergence of Presidential Libraries throughout the 20th century, set in cities such as Independence, Missouri or Abilene, Kansas which, respectively, are home to the archives of the Harry S. Truman and Dwight D. Eisenhower presidencies. Setting up archival centers in smaller towns, far from large metropolitan areas, can affect both the geography of the town itself and the way research is conducted.<\/p>\n
Besides, what about the wall as a form of archive? Through more or less ephemeral inscriptions \u2013 tags, murals, graffiti, engravings \u2013 walls can be used as a medium that celebrates the famous and the anonymous alike, showcasing the contours of a community. Examples include the \u201cWall of Respect\u201d which appeared in Bronzeville, Chicago in 1967 and which represented the main heroes and heroines of the black community in the 1960s, the hundreds of murals strewn all over Los Angeles which pay tribute to the people linked to the city or to the communities composing it. Walls remain a privileged medium when it comes down to writing, completing, and, more importantly, trying to make sure a collective narrative \u2013 be it national or community-based \u2013 stands the test of time. Illustrations of that include the mushrooming of murals that pay tribute to George Floyd, Breonna Taylor, or Kobe Bryant over the past few years, or the decision in December 2021 to add the names of the 43,000 US casualties of the Korean War to the memorial in Washington DC.
\nYet, it can be hard to discriminate between an inscription on a wall that is part of a collective narrative \u2013 and as such, perhaps, worth preserving \u2013 and what might as well disappear under a new coat of paint or during the next demolition. As a medium, walls bear inscriptions that reflect the tensions and aspirations of a neighborhood, a city, or a community, just as a pamphlet or a demonstration would. How can we document and record these fleeting traces, these graffiti that can either express a form of protest or simply mark the boundaries of a common territory, but which, ultimately, underscore the political and cultural impact that can be attached to leaving one\u2019s mark in the public space?<\/p>\n
If the archive provides a way of measuring and grasping reality, its potential depth can destabilize this grip on reality. In the final analysis, can this destabilization undermine the scientific legitimacy of historiographic efforts? In this respect, we welcome inquiries about the effects of the archive on literature, when, for example, manuscripts resurface after many years and end up being edited posthumously. This destabilizes an existing literary corpus by adding a text whose status is as new as it is ambiguous. Many examples can be cited, from the publishing of Amiable with Big Teeth by Claude McKay in 2017 to the release in 2009 of The Original of Laura by Vladimir Nabokov, which has received mixed reviews to put it mildly. What can we make of these writings which were originally meant to remain mere archival documents? How can we incorporate them to the rest of an author\u2019s work, and what are the problems raised by this potential incorporation?
\n>From an epistemological standpoint, the archive retains thus a dual power, that of stabilizing and destabilizing scientific knowledge. The symposium will also be the occasion to reflect on the issues that are raised when an archive center keeps part of the public \u2013 and sometimes part of the scientific community \u2013 at bay, or, in other words, to reflect on the relationship which exists between open access and academic freedom.<\/p>\n
Proposals in French or English will include a 300-word abstract along with a short biographical sketch. Please submit them to m.douzou and yohann.lucas, by October 31, 2022.<\/p>\n
Source: Yohann Lucas et Marion Douzou<\/p>\n","protected":false},"excerpt":{"rendered":"
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