[Commlist] L'Aquila - First International Conference CLAM - Transcodification: Literatures - Arts - Media

-------------------------------------------------------------------------------------------------------------------------------


University of L'Aquila (Italy)
Department of Humanities – Excellence Program 2018-2022

July 1-3, 2020

First Conference of the ICLA Research Committee on 
Literatures/Arts/Media (CLAM)

Transcodification: Literatures - Arts - Media

We invite you to send paper proposals to (clam2020conference /at/ gmail.com) 
<mailto:(clam2020conference /at/ gmail.com)>

Proposals should include an abstract (300 words max), five keywords and 
a short biographical note (10 lines max).

The working language of the conference will be English.

The deadline for abstracts submission is February 10, 2020.

Participants will be notified of acceptance by March 15, 2020.

The conference will not have a registration fee.

The conference venue is the Department of Humanities, Viale Nizza, 14, 
L’Aquila (Italy).

Further information about accommodation and how to reach the conference 
venue will be published at http://www.clam-icla.com (the website is 
currently under construction). <http://www.clam-icla.com(the website is 
currently under construction).>

Call for Papers:

The transition of narratives, characters, themes and iconic elements 
from one code of representation to another represents one of the most 
fundamental processes through which the literary and artistic fields 
evolve, transform, and expand within a given culture. These same 
processes of /transcodification/ also play a vital role in how different 
cultures interact across time and space. In the classical world, 
mythical narratives were disseminated through the Homeric epic, the 
theatrical genre of tragedy and the visual arts. From the onset of 
Christianity to the late modern age, the history of European art has 
been driven by the adaptation of episodes from the Bible and other 
religious texts across a number of media, from painting to sculpture, 
from medieval plays to /sacre rappresentazioni/, from musical texts to 
folkloric practices. Fables have moved from orality to the written form; 
at the same time, written narratives have been circulating through oral 
transmission. Medieval and early modern manuscripts were illuminated; 
modern and contemporary texts are illustrated. From antiquity to the 
contemporary media franchise, transcodification is ubiquitous.

Today, mass media and the digital revolution have changed—and are still 
changing—the notions of author, text, public, intellectual property and 
medium that were inherited from the 20^th century’s critical traditions. 
Literature, cinema, theatre and television are now facing the 
multisensory logic of the contemporary mediascape, a logic based on 
inclusion, acceleration, simultaneity and hyper-mediation. The idea of 
text has expanded into that of hypertext, while narration is becoming 
more and more pluralistic, polycentric and antihierarchical: as proposed 
by Lev Manovich (2010), narratives are becoming more and more like 
/softwares/ that can be endlessly rewritten and reused. Cinema is being 
re-articulated in the forms of the so-called postcinema, in which films 
become part of a larger system of converging media and cinema can be 
relocated outside its traditional and institutional spaces. This 
medium’s formal structures are being disseminated in urban spaces, thus 
giving birth to new forms of visuality like videomapping and media 
façade installations. Media may quote and thematize other media, 
according to the well-known concept of re-mediation coined by Bolter and 
Grusin (1999), thus generating what Irina Rajewsky (2002) defined as 
“intermedia references”. The interactivity and immersivity of 
videogames, augmented reality and virtual reality, as well as the 
transmedia and crossmedia organization of storytelling (especially in 
the case of TV series), also suggest a deep sense of engagement towards 
media hybridization and the exploration of innovative forms of 
textuality. Finally, the question has arisen, and is still being 
debated, whether it is appropriate to consider the theatre as part of 
the cluster of forms which, since the middle of the 20th century, have 
been subsumed under the general label "media".

Given these premises, the first CLAM conference /Transcodification: 
Literatures – Arts - Media/ represents an invitation to investigate the 
principles and practices of transcodification across time and space, as 
well as to discuss re-mediation as an aesthetic category which implies 
fluidity, fragmentation and pluralization. The conference’s main purpose 
is to offer an intermedial perspective on fiction and the arts taking as 
a starting point the insights provided by the most recent developments 
in comparative literature. More specifically, such an inquiry’s aim is 
twofold:

-historicizing transcodification, re-mediation and intermediality as 
both a set of practices and a set of philosophical notions;

-exploring transcodification in the contemporary (post-WWII) age and 
examining the new roles and configurations of literature in the global 
polymorphic imagination.

We encourage contributions addressing any of the following areas or any 
interrelation between them:

-Transcodification, adaptation and intermediality, from antiquity to today;

-Literatures and the arts;

-Transmedia narratology;

-Philosophies of transcodification;

-Literary transcodifications: new perspectives in comparative literature;

-The dissemination of literary techniques (narration, empathy, point of 
view and other rhetoric strategies) in every aspect of contemporary culture;

-Cinema/TV series and intermediality: theoretical frameworks;

-Postcinema and new digital technologies;

-TV series and transmedia television

-Baroque/Neo-Baroque: theories, aesthetics and technologies;

-Performance, performativity and theatricality;

-Digital Art: aesthetics, environments and historical perspectives;

-Inter-art studies;

-Hybrid forms of mediality: musical theatre, theatrical performance, 
graphic novels, transmedia storytelling, computer games, video art, 
video clips, advertising, webseries, videomapping, media façade, etc.

Confirmed Keynotes:

Sean Cubitt(University of Melbourne) / Marina Grishakova (University of 
Tartu) / Christopher Johnson (Arizona State University) / Ágnes Pethő 
(Sapientia University of Cluj-Napoca) / Marie-Laure Ryan (University of 
Colorado) / Rebecca Schneider (Brown University) /

Scientific Committee:

Massimo Fusillo, University of L’Aquila, Italy / Marina Grishakova, 
University of Tartu, Estonia / Hans-Joachim Backe, IT University of 
Copenhagen, Denmark / Jan Baetens, KU Leuven, Belgium / Bart Van Den 
Bossche, KU Leuven, Belgium / Kiene Brillenburg Wurth, University of 
Utrecht, Netherlands / Jørgen Bruhn, Linnaeus University, Sweden / 
Philippe Despoix, University of Montréal, Canada / Caroline Fischer, 
Université de Pau, France / Yorimitsu Hashimoto, University of Osaka, 
Japan / Karin Kukkonen, University of Oslo, Norway / Christina 
Ljungberg, University of Zurich, Switzerland / Kai Mikkonen, University 
of Helsinki, Finland / Nam Soo-Young, Korea National Univerity of Arts, 
Korea / Haun Saussy, University of Chicago, USA  / Márcio 
Seligmann-Silva, State University of Campinas, UNICAMP, Brazil

Organizing Committee:

Massimo Fusillo / Doriana Legge / Mirko Lino / Mattia Petricola / 
Gianluigi Rossini





---------------
The COMMLIST
---------------
This mailing list is a free service offered by Nico Carpentier. Please use it responsibly and wisely.
--
To subscribe or unsubscribe, please visit http://commlist.org/
--
Before sending a posting request, please always read the guidelines at http://commlist.org/
--
To contact the mailing list manager:
Email: (nico.carpentier /at/ vub.ac.be)
URL: http://nicocarpentier.net
---------------