In an era where migration intricately weaves through the socio-political fabric of nations, it is... more In an era where migration intricately weaves through the socio-political fabric of nations, it is imperative to understand the diverse narratives that emerge from these global movements. The discourse surrounding migration in Europe, particularly in the Nord region of France, Belgium, and Southern England, has often been dominated by perspectives that emphasise security and crisis management, frequently portraying migrants more as subjects of policy rather than active members of society. This call for papers seeks to challenge and enrich this narrative by highlighting the vibrant, albeit often underestimated, social and artistic contributions of migrants within these specific cultural contexts. Migration is not merely the movement of individuals from one place to another; it is a complex phenomenon that involves the interaction of diverse narratives, identities, and cultures. As Europe faces the dynamics of migration, especially in areas with diverse social fabrics and political landscapes, it becomes increasingly important to engage with and understand the stories of migrantsstories that are often overshadowed by macro-level discussions on integration policies. Migrants from the countries of America and the Iberian Peninsula, with their rich cultural heritage and experiences, offer a unique perspective through which we can explore these narratives, particularly within the regions mentioned that provide a rich backdrop for examining the diverse social and artistic impacts of migration. The objective of this call for papers is to highlight the contributions of migrants, with a particular focus on those of Hispanic origin, in reshaping the cultural, social, and artistic landscapes of their host countries, specifically in the Nord region of France, Belgium, and Southern England. By focusing on literature, cinema, art, media, and social projects initiated by these migrants, we aim to uncover the complex web of experiences that lie beneath the surface of mainstream migration discourse. Our project is guided by a set of fundamental questions designed to probe the depth of the migratory experience and its manifold expressions within these specific geographical areas. These questions serve as the backbone of our research, steering us towards a holistic understanding of the role of Ibero-American migrants in shaping and transforming their environments, particularly within the context of the cultural, social, and political landscapes of the Nord region of France, Belgium, and Southern England.
Cultural policies of Felipe González's government were intended to reshape a certain national ide... more Cultural policies of Felipe González's government were intended to reshape a certain national identity. We will focus on these legitimation strategies through TV series, and particularly those with historical background produced and exhibited by the public broadcasting institution, Television Española. The recovery of some liberal mythology from the 19th century and its adaptation to the 80s will allow us to connect the promoted national identity with the concept of constitutional patriotism defended by important figures of the PSOE since the transition to democracy until nowadays.
La realización de un arte falangista fue uno de los proyectos que surgió casi al mismo tiempo que... more La realización de un arte falangista fue uno de los proyectos que surgió casi al mismo tiempo que el propio partido político de José Antonio Primo de Rivera. Haciendo un recorrido a lo largo de la historia cultural de Falange, vamos a relatar la historia de su fracaso, como queda patente en la producción cinematográfica, y en particular en dos filmes de ficción, Rojo y negro (Carlos Arévalo, 1942) y Surcos (José Antonio Nieves Conde, 1951) ambos enfrentados a dificultades económicas, políticas y diplomáticas, todas ellas reflejo de los inestables equilibrios de poder durante los primeros años de la dictadura franquista.
As a television genre, the anthology series established itself in the medium's early years. Follo... more As a television genre, the anthology series established itself in the medium's early years. Following the radio formula, shows like The Philco Television Playhouse in the US or Theatre Royal in the UK adapted theatre and musical plays for television. The affiliation between the artistic world and this then-new medium was thus established from its very beginnings. In this sense, the anthology series appeals to the spectator's sense of the artistic value of these cultural products. This is even more evident in fantasy or psychological thrillers, where the format allowed producers and showrunners a particularly free creative space. This artistic freedom is evident in the seminal The Twilight Zone, a source of inspiration for shows to come.
Il est question dans cet article d’interpréter les types de représentations que les fictions séri... more Il est question dans cet article d’interpréter les types de représentations que les fictions sérielles de la télévision publique espagnole (TVE) font des femmes au regard de leur classe sociale, de 1989 à 1993. Nous proposons une analyse des logiques économiques et industrielles qui sous-tendent les fictions sérielles analysées et interrogeons, au sein de notre corpus, la distribution des rôles en termes de genre et de catégories socio-professionnelles. Si on observe, durant cette période, une présence de plus en plus importante des personnages de femmes actives appartenant à la classe moyenne à l’intérieur des intrigues, leur caractérisation et leurs fonctions narratives restent largement prisonnières du regard masculin. Par ailleurs, la représentation des femmes à l’écran n’échappe pas à un certain classisme.
HISPANIA NOVA. Primera Revista de Historia Contemporánea on-line en castellano. Segunda Época
Presentamos en este artículo los trabajos que componen este dossier sobre las artes visuales y pl... more Presentamos en este artículo los trabajos que componen este dossier sobre las artes visuales y plásticas de vanguardia entre 1918 y 1936. El análisis de las relaciones complejas e inestables que se establecen estos años entre arte, publicidad e información nos permitirán acercarnos, desde una necesaria perspectiva pluridisciplinar, a los cambios sociales, políticos y económicos que provocaron el advenimiento de la comunicación de masas.
RIHC. Revista Internacional de Historia de la Comunicación, 2021
En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora e... more En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora en las series de ficción durante la tercera legislatura de Felipe González. Son los años en los que el Instituto de la Mujer establece el primer Plan para la Igualdad de Oportunidades de las Mujeres (PIOM, 1988-1990) que favorece la integración masiva de las mujeres en el mercado laboral remunerado, esto es, a su "profesionalización". Esta imagen se transmite en las series en la que la caracterización y las narrativas se presentan bajo la óptica patriarcal respecto a la imagen de la mujer. Es más, las mujeres de clase trabajadora están sistemáticamente invisibilizadas y/o minusvaloradas a través de bromas sexistas, violencia verbal...
Professor Sally Faulkner, Hispanic literary critic, presents with this book as an easy reading, w... more Professor Sally Faulkner, Hispanic literary critic, presents with this book as an easy reading, well-researched and structured book on Spanish middle class cinema. Furthermore, it details a history of Spanish cinema with an emphasis on class mobility and the appearance of the middle classes in Spain...
We will try to establish in this essay some of the assigned women roles in the films awarded by t... more We will try to establish in this essay some of the assigned women roles in the films awarded by the Franco administration. We will do so using a sociological approach as well as film analysis. Awards, grants and credits were part of a cultural production system that supported singular discourses. While censorship has received an important attention in Spanish film studies it is our opinion that these incentives had been somewhat overlooked. Scripts, characters and subjects where directly affected by them. We will try to show, therefore, the efficacy and persistence of the models established during the first years of dictatorship and that we can track in some cases even nowadays.
Historical Journal of Film, Radio and Television, 2014
the economic risk all by itself. On the other hand, though this progress could only be achieved i... more the economic risk all by itself. On the other hand, though this progress could only be achieved in the context of governmental support (411), still it was the state which promoted the German color film as a national accomplishment. Conventional film histories would likely stop here. Alt goes a decisive step further and scrutinizes not only the feature film production of the major companies under the roof of Ufa Trust GmbH, but also looks intensively at the non-fiction output by the army, the Deutsche Wochenschau GmbH, the propaganda companies at the battle fronts, the NSDAP and the likes, which were constantly competing with one another and at times even demanded their priority over the feature film production. While it may not come as a surprise that on all levels of state, party and army, there was a lively interest in the application of color to their respective cinematic self-promotion, it is really amazing that despite the ever becoming more-severe situation on the fronts, indeed in the face of inevitable defeat, German authorities took every measure to keep up the production of color films. What is even more: it was assumed that Germany could become once again the leading film nation in Europe after the war. One can suppose that on various levels of the state, it was more important for some apparatchiks to keep the face than to deal with the ultimate decline of Nazi Germany. The prime merit of Alt’s book—its attempt at an overall survey—is, at the same time, problematic to a certain degree. Many producers, be they commercial or official, preferred different color systems at certain times. Their demand for color raw stock and processing facilities needed to be negotiated on a very regular basis. Alt tries his best—and succeeds—to bring to light the opposing points of view; still, this makes his book very complex and a complicated reading. Nevertheless, his study will become a standard work in Nazi film historiography and a prime example of how to undertake like studies into the inauguration of color at large. The numerous itemized lists of films produced with various color processes and for many different purposes give a very detailed idea of the scope of early color film production in Germany. The extensive footnotes document in an exemplary way the archival and contemporary journalistic sources Alt draws on. An elaborate bibliography rounds the book up. The personal index is unfortunately not quite complete.
HISPANIA NOVA. Primera Revista de Historia Contemporánea on-line en castellano. Segunda Época
occidentales-hacen de este estudio una aportación sustancial al estudio de los medios de comunica... more occidentales-hacen de este estudio una aportación sustancial al estudio de los medios de comunicación en la primera mitad del siglo XX, aun cuando el acceso a las fuentes realmente primarias, esto es las emisiones propiamente dichas, sea uno de los obstáculos probablemente insalvables de este tipo de investigaciones.
We intend in this paper to review the discourse of the Democratic Transition in Spain through the... more We intend in this paper to review the discourse of the Democratic Transition in Spain through the evolution of film censorship these years. We will focus specially in the judicial processes that "Cuenca’s crime" ("El cri-men de Cuenca", Pilar Miró, 1981) and "Rocío" (Fernando Ruiz Vergara, 1983) suffered then. We will make a brief account of the last years of an institution that biased reception of movies for the Spanish public for at least 40 years. We will stress that its formal disappearance matched similar legislation in other countries of democratic Europe. We are going to try the limits of freedom of speech during the Transition years through the study of the press at that time and what was published concerning the polemic exhibition of both films. Using the analysis of the media discourse from different ideological angles we think we have contributed to put into perspective the hopes, conflicts and resistances that the political changes of late 70s and early 80s. These came into birth with much more difficulty than it has usually been accepted. Finally, in coherence with this interdisciplinary effort of gaining perspective, we find it important to show the socio-economic changes of those years in a supranational scale: the emergence of economic neoliberalism, the establishment of the affluent society and the appearance of the consensual society as a consequence of the previous factors.
In an era where migration intricately weaves through the socio-political fabric of nations, it is... more In an era where migration intricately weaves through the socio-political fabric of nations, it is imperative to understand the diverse narratives that emerge from these global movements. The discourse surrounding migration in Europe, particularly in the Nord region of France, Belgium, and Southern England, has often been dominated by perspectives that emphasise security and crisis management, frequently portraying migrants more as subjects of policy rather than active members of society. This call for papers seeks to challenge and enrich this narrative by highlighting the vibrant, albeit often underestimated, social and artistic contributions of migrants within these specific cultural contexts. Migration is not merely the movement of individuals from one place to another; it is a complex phenomenon that involves the interaction of diverse narratives, identities, and cultures. As Europe faces the dynamics of migration, especially in areas with diverse social fabrics and political landscapes, it becomes increasingly important to engage with and understand the stories of migrantsstories that are often overshadowed by macro-level discussions on integration policies. Migrants from the countries of America and the Iberian Peninsula, with their rich cultural heritage and experiences, offer a unique perspective through which we can explore these narratives, particularly within the regions mentioned that provide a rich backdrop for examining the diverse social and artistic impacts of migration. The objective of this call for papers is to highlight the contributions of migrants, with a particular focus on those of Hispanic origin, in reshaping the cultural, social, and artistic landscapes of their host countries, specifically in the Nord region of France, Belgium, and Southern England. By focusing on literature, cinema, art, media, and social projects initiated by these migrants, we aim to uncover the complex web of experiences that lie beneath the surface of mainstream migration discourse. Our project is guided by a set of fundamental questions designed to probe the depth of the migratory experience and its manifold expressions within these specific geographical areas. These questions serve as the backbone of our research, steering us towards a holistic understanding of the role of Ibero-American migrants in shaping and transforming their environments, particularly within the context of the cultural, social, and political landscapes of the Nord region of France, Belgium, and Southern England.
Cultural policies of Felipe González's government were intended to reshape a certain national ide... more Cultural policies of Felipe González's government were intended to reshape a certain national identity. We will focus on these legitimation strategies through TV series, and particularly those with historical background produced and exhibited by the public broadcasting institution, Television Española. The recovery of some liberal mythology from the 19th century and its adaptation to the 80s will allow us to connect the promoted national identity with the concept of constitutional patriotism defended by important figures of the PSOE since the transition to democracy until nowadays.
La realización de un arte falangista fue uno de los proyectos que surgió casi al mismo tiempo que... more La realización de un arte falangista fue uno de los proyectos que surgió casi al mismo tiempo que el propio partido político de José Antonio Primo de Rivera. Haciendo un recorrido a lo largo de la historia cultural de Falange, vamos a relatar la historia de su fracaso, como queda patente en la producción cinematográfica, y en particular en dos filmes de ficción, Rojo y negro (Carlos Arévalo, 1942) y Surcos (José Antonio Nieves Conde, 1951) ambos enfrentados a dificultades económicas, políticas y diplomáticas, todas ellas reflejo de los inestables equilibrios de poder durante los primeros años de la dictadura franquista.
As a television genre, the anthology series established itself in the medium's early years. Follo... more As a television genre, the anthology series established itself in the medium's early years. Following the radio formula, shows like The Philco Television Playhouse in the US or Theatre Royal in the UK adapted theatre and musical plays for television. The affiliation between the artistic world and this then-new medium was thus established from its very beginnings. In this sense, the anthology series appeals to the spectator's sense of the artistic value of these cultural products. This is even more evident in fantasy or psychological thrillers, where the format allowed producers and showrunners a particularly free creative space. This artistic freedom is evident in the seminal The Twilight Zone, a source of inspiration for shows to come.
Il est question dans cet article d’interpréter les types de représentations que les fictions séri... more Il est question dans cet article d’interpréter les types de représentations que les fictions sérielles de la télévision publique espagnole (TVE) font des femmes au regard de leur classe sociale, de 1989 à 1993. Nous proposons une analyse des logiques économiques et industrielles qui sous-tendent les fictions sérielles analysées et interrogeons, au sein de notre corpus, la distribution des rôles en termes de genre et de catégories socio-professionnelles. Si on observe, durant cette période, une présence de plus en plus importante des personnages de femmes actives appartenant à la classe moyenne à l’intérieur des intrigues, leur caractérisation et leurs fonctions narratives restent largement prisonnières du regard masculin. Par ailleurs, la représentation des femmes à l’écran n’échappe pas à un certain classisme.
HISPANIA NOVA. Primera Revista de Historia Contemporánea on-line en castellano. Segunda Época
Presentamos en este artículo los trabajos que componen este dossier sobre las artes visuales y pl... more Presentamos en este artículo los trabajos que componen este dossier sobre las artes visuales y plásticas de vanguardia entre 1918 y 1936. El análisis de las relaciones complejas e inestables que se establecen estos años entre arte, publicidad e información nos permitirán acercarnos, desde una necesaria perspectiva pluridisciplinar, a los cambios sociales, políticos y económicos que provocaron el advenimiento de la comunicación de masas.
RIHC. Revista Internacional de Historia de la Comunicación, 2021
En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora e... more En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora en las series de ficción durante la tercera legislatura de Felipe González. Son los años en los que el Instituto de la Mujer establece el primer Plan para la Igualdad de Oportunidades de las Mujeres (PIOM, 1988-1990) que favorece la integración masiva de las mujeres en el mercado laboral remunerado, esto es, a su "profesionalización". Esta imagen se transmite en las series en la que la caracterización y las narrativas se presentan bajo la óptica patriarcal respecto a la imagen de la mujer. Es más, las mujeres de clase trabajadora están sistemáticamente invisibilizadas y/o minusvaloradas a través de bromas sexistas, violencia verbal...
Professor Sally Faulkner, Hispanic literary critic, presents with this book as an easy reading, w... more Professor Sally Faulkner, Hispanic literary critic, presents with this book as an easy reading, well-researched and structured book on Spanish middle class cinema. Furthermore, it details a history of Spanish cinema with an emphasis on class mobility and the appearance of the middle classes in Spain...
We will try to establish in this essay some of the assigned women roles in the films awarded by t... more We will try to establish in this essay some of the assigned women roles in the films awarded by the Franco administration. We will do so using a sociological approach as well as film analysis. Awards, grants and credits were part of a cultural production system that supported singular discourses. While censorship has received an important attention in Spanish film studies it is our opinion that these incentives had been somewhat overlooked. Scripts, characters and subjects where directly affected by them. We will try to show, therefore, the efficacy and persistence of the models established during the first years of dictatorship and that we can track in some cases even nowadays.
Historical Journal of Film, Radio and Television, 2014
the economic risk all by itself. On the other hand, though this progress could only be achieved i... more the economic risk all by itself. On the other hand, though this progress could only be achieved in the context of governmental support (411), still it was the state which promoted the German color film as a national accomplishment. Conventional film histories would likely stop here. Alt goes a decisive step further and scrutinizes not only the feature film production of the major companies under the roof of Ufa Trust GmbH, but also looks intensively at the non-fiction output by the army, the Deutsche Wochenschau GmbH, the propaganda companies at the battle fronts, the NSDAP and the likes, which were constantly competing with one another and at times even demanded their priority over the feature film production. While it may not come as a surprise that on all levels of state, party and army, there was a lively interest in the application of color to their respective cinematic self-promotion, it is really amazing that despite the ever becoming more-severe situation on the fronts, indeed in the face of inevitable defeat, German authorities took every measure to keep up the production of color films. What is even more: it was assumed that Germany could become once again the leading film nation in Europe after the war. One can suppose that on various levels of the state, it was more important for some apparatchiks to keep the face than to deal with the ultimate decline of Nazi Germany. The prime merit of Alt’s book—its attempt at an overall survey—is, at the same time, problematic to a certain degree. Many producers, be they commercial or official, preferred different color systems at certain times. Their demand for color raw stock and processing facilities needed to be negotiated on a very regular basis. Alt tries his best—and succeeds—to bring to light the opposing points of view; still, this makes his book very complex and a complicated reading. Nevertheless, his study will become a standard work in Nazi film historiography and a prime example of how to undertake like studies into the inauguration of color at large. The numerous itemized lists of films produced with various color processes and for many different purposes give a very detailed idea of the scope of early color film production in Germany. The extensive footnotes document in an exemplary way the archival and contemporary journalistic sources Alt draws on. An elaborate bibliography rounds the book up. The personal index is unfortunately not quite complete.
HISPANIA NOVA. Primera Revista de Historia Contemporánea on-line en castellano. Segunda Época
occidentales-hacen de este estudio una aportación sustancial al estudio de los medios de comunica... more occidentales-hacen de este estudio una aportación sustancial al estudio de los medios de comunicación en la primera mitad del siglo XX, aun cuando el acceso a las fuentes realmente primarias, esto es las emisiones propiamente dichas, sea uno de los obstáculos probablemente insalvables de este tipo de investigaciones.
We intend in this paper to review the discourse of the Democratic Transition in Spain through the... more We intend in this paper to review the discourse of the Democratic Transition in Spain through the evolution of film censorship these years. We will focus specially in the judicial processes that "Cuenca’s crime" ("El cri-men de Cuenca", Pilar Miró, 1981) and "Rocío" (Fernando Ruiz Vergara, 1983) suffered then. We will make a brief account of the last years of an institution that biased reception of movies for the Spanish public for at least 40 years. We will stress that its formal disappearance matched similar legislation in other countries of democratic Europe. We are going to try the limits of freedom of speech during the Transition years through the study of the press at that time and what was published concerning the polemic exhibition of both films. Using the analysis of the media discourse from different ideological angles we think we have contributed to put into perspective the hopes, conflicts and resistances that the political changes of late 70s and early 80s. These came into birth with much more difficulty than it has usually been accepted. Finally, in coherence with this interdisciplinary effort of gaining perspective, we find it important to show the socio-economic changes of those years in a supranational scale: the emergence of economic neoliberalism, the establishment of the affluent society and the appearance of the consensual society as a consequence of the previous factors.
In an era where migration intricately weaves through the socio-political fabric of nations, it is... more In an era where migration intricately weaves through the socio-political fabric of nations, it is imperative to understand the diverse narratives that emerge from these global movements. The discourse surrounding migration in Europe, particularly in the Nord region of France, Belgium, and Southern England, has often been dominated by perspectives that emphasise security and crisis management, frequently portraying migrants more as subjects of policy rather than active members of society. This call for papers seeks to challenge and enrich this narrative by highlighting the vibrant, albeit often underestimated, social and artistic contributions of migrants within these specific cultural contexts.
Atlante : revue d'études romanes, publiée par l'université de Lille, lance un appel à contributio... more Atlante : revue d'études romanes, publiée par l'université de Lille, lance un appel à contribution pour un numéro consacré au changement des représentations de l'identité basque dans les productions culturelles contemporaines. Il s'agira d'interroger l'impact que la nouvelle période politique, ouverte avec la dissolution de l'ETA et l'entrée du parti EH Bildu au Congrès, a sur les créations littéraires, audiovisuelles et artistiques. L'évolution des sensibilités de la population, en particulier à partir de la tension entre les sentiments basquistes et/ou espagnolistes, émerge dans des romans, séries ou spectacles actuels, nourrissant ainsi la construction d'un discours polyphonique sur l'histoire récente.
The health crisis resulting from the Covid-19 pandemic has irreversibly modified, and is still mo... more The health crisis resulting from the Covid-19 pandemic has irreversibly modified, and is still modifying, social, economic and cultural relations on a global scale, making this crisis an unprecedented event in the recent history of humanity. Covid-19 has clearly exposed social inequalities, which in Ibero-America have a particular character due to its socioeconomic structure: the vast number of irregular jobs, the difficulties of accessing healthcare, the densification of urban spaces, etc. Although contagious and infectious diseases are undeniably a long-standing issue, the coronavirus epidemic has placed the world in an unprecedented health crisis, intensified by the characteristics of our societies, which are connected both geographically and in terms of communication. * No payment will be required. Travel costs may be covered by the organisation. *
Image, Cinema & Politics: the Avant-Garde Dilemma in the Interwar Period (1918-1936), 2022
In this publication we would like to explore the relation between the post-1918 crisis of the lib... more In this publication we would like to explore the relation between the post-1918 crisis of the liberal system and the use of art and image as political media including its nationalist, gender and class discourses since they reflect the political and economic transformations of the post-war years. Art and cinema allow us to observe processes such as accelerated urbanisation, electrification and the automobile revolution, the incorporation of women into the waged-labour market or class struggles, all of which fed the insecurity and anxiety of industrialised societies which sought shelter in growing protectionism and corporatism. Contributions in English or Spanish are invited for a special issue of the journal Hispania Nova to address the following facets of the period 1918-1936 in the West: - Dialogues between visual arts and cinema - Society and mass spectacles - Politics and cinema - Reception and reach of audio-visual discourses - Representation, gender roles and popular culture - Nationalism and cosmopolitism in cinema and/or art Proposals in English or Spanish of no more than 400 words and a biography of 100 words should be submitted to [email protected] before Wednesday 30th September 2020. The deadline for full articles will be Friday 30 th July 2021.
Le colloque se tiendra à l’Université de Lille en avril-mai 2021. La date précise de la rencontre... more Le colloque se tiendra à l’Université de Lille en avril-mai 2021. La date précise de la rencontre sera communiquée le plus rapidement possible. Les frais de séjour seront pris en charge. En revanche, nous ne pouvons nous engager pour l’instant à couvrir les frais de déplacements et vous prions de vous tourner d’abord vers vos équipes de recherche.
Les propositions de communications (titre et résumé de 300 mots environ), accompagnées d’une brève notice biographique, seront à envoyer pour le 31 mai 2020 à l’adresse suivante : retoursalapocalypse[@]gmail.com
La langue de la rencontre sera de préférence le français, mais seront également acceptés l’espagnol, l’italien et le portugais. Pour la publication postérieure des travaux présentés au cours du colloque, les différentes langues des domaines linguistiques étudiés seront acceptées.
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Papers by Javier Jurado
Art and cinema allow us to observe processes such as accelerated urbanisation, electrification and the automobile revolution, the incorporation of women into the waged-labour market or class struggles, all of which fed the insecurity and anxiety of industrialised societies which sought shelter in growing protectionism and corporatism.
Contributions in English or Spanish are invited for a special issue of the journal Hispania Nova to address the following facets of the period 1918-1936 in the West:
- Dialogues between visual arts and cinema
- Society and mass spectacles
- Politics and cinema
- Reception and reach of audio-visual discourses
- Representation, gender roles and popular culture
- Nationalism and cosmopolitism in cinema and/or art
Proposals in English or Spanish of no more than 400 words and a biography of 100 words should be submitted to [email protected] before Wednesday 30th September 2020.
The deadline for full articles will be Friday 30 th July 2021.
Les frais de séjour seront pris en charge. En revanche, nous ne pouvons nous engager pour l’instant à couvrir les frais de déplacements et vous prions de vous tourner d’abord vers vos équipes de recherche.
Les propositions de communications (titre et résumé de 300 mots environ), accompagnées d’une brève notice biographique, seront à envoyer pour le 31 mai 2020 à l’adresse suivante :
retoursalapocalypse[@]gmail.com
La langue de la rencontre sera de préférence le français, mais seront également acceptés l’espagnol, l’italien et le portugais. Pour la publication postérieure des travaux présentés au cours du colloque, les différentes langues des domaines linguistiques étudiés seront acceptées.