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T\u00e9l\u00e9charger l’appel \u00e0 communication au format pdf<\/a><\/p>\n Appel \u00e0 contributions pour la revue \u00c9crire l\u2019histoire<\/em><\/strong><\/p>\n \u00ab\u00a0Reconstitutions\u00a0\u00bb<\/strong><\/p>\n Num\u00e9ro \u00e0 para\u00eetre courant 2027<\/strong><\/p>\n [English below]<\/em><\/p>\n Dans les domaines cin\u00e9matographique, t\u00e9l\u00e9visuel, sc\u00e9nique ou artistique, les contraintes de la reconstitution historique sont fr\u00e9quemment associ\u00e9es \u00e0 un id\u00e9al de r\u00e9surrection du pass\u00e9 et \u00e0 un imp\u00e9ratif de respect des donn\u00e9es \u00e9v\u00e9nementielles, mat\u00e9rielles ou arch\u00e9ologiques susceptible de t\u00e9moigner du professionnalisme de la production dans diff\u00e9rents domaines\u00a0: d\u00e9cors, costumes, accessoires, figuration, voire sc\u00e9nario et dialogue (d\u00e9roul\u00e9 chronologique, causalit\u00e9 historique, fonctionnement social). Pour ce faire, les \u0153uvres peuvent mobiliser la collaboration de sp\u00e9cialistes ext\u00e9rieurs au domaine cr\u00e9atif, qui apportent une caution de conformit\u00e9 et de respectabilit\u00e9 \u00e0 l\u2019ensemble.<\/p>\n La reconstitution se heurte fr\u00e9quemment, n\u00e9anmoins, \u00e0 ses propres limites\u00a0: pressions budg\u00e9taires et temporelles associ\u00e9es au domaine de cr\u00e9ation, connaissances incompl\u00e8tes ou discut\u00e9es, difficult\u00e9s \u00e0 documenter l\u2019int\u00e9gralit\u00e9 concr\u00e8te et le quotidien d\u2019une \u00e9poque r\u00e9volue, n\u00e9cessit\u00e9 d\u2019adapter l\u2019effort de restitution aux attentes des publics contemporains, etc. En outre, l\u2019effort de restitution mat\u00e9rielle peut \u00eatre appr\u00e9hend\u00e9 moins comme une ambition que comme une pesanteur, si ce n\u2019est une servitude, la repr\u00e9sentation visuelle du pass\u00e9 renvoyant dans cette optique \u00e0 une dimension na\u00efvement scolaire ou didactique, fatalement partiale ou illusoire, dont l\u2019art aurait int\u00e9r\u00eat \u00e0 s\u2019\u00e9manciper.<\/p>\n De fait, l\u2019attention acad\u00e9mique accord\u00e9e aux tentatives de reconstitution a d\u2019abord r\u00e9sult\u00e9 d\u2019une vigilance disciplinaire d\u2019origine historienne, \u00e9valuant les \u0153uvres au prisme de leur degr\u00e9 de conformit\u00e9 aux connaissances disponibles, approche souvent peu pr\u00e9occup\u00e9e par les enjeux proprement cr\u00e9atifs et imaginaires, peu sensible voire hostile aux n\u00e9cessit\u00e9s de l\u2019anachronisme, du d\u00e9placement et de l\u2019actualisation. Nombreux ont \u00e9t\u00e9 les travaux, par ailleurs, attach\u00e9s aux usages id\u00e9ologiquement charg\u00e9s de la reconstitution, le discours historique dont elle est le vecteur agissant \u00e0 son tour, au moment de sa r\u00e9ception, sur un contexte socio-politique d\u00e9termin\u00e9. Une autre approche semble sp\u00e9cifiquement li\u00e9e, depuis quelques ann\u00e9es, aux enjeux techniques et aux savoir-faire artisanaux pr\u00e9sidant aux r\u00e9alisations de grande envergure, aspects faisant l\u2019objet d\u2019une attention croissante de la recherche, par exemple dans le domaine du cin\u00e9ma (dessins pr\u00e9paratoires, trucages, habillage-maquillage-coiffure [HMC], retomb\u00e9es environnementales, etc.). Les approches \u00e9conomiques et institutionnelles ont \u00e9galement pu croiser, ponctuellement, certaines productions historiques dont les dimensions et le faste ont sembl\u00e9 exemplaires en raison des ressources et des collaborations mobilis\u00e9es.<\/p>\n Dans cette perspective, le pr\u00e9sent num\u00e9ro de la revue \u00c9crire l\u2019histoire<\/em> souhaite repartir de la question de la reconstitution, malgr\u00e9 son caract\u00e8re d\u2019\u00e9vidence et sa possible trivialit\u00e9, pour interroger de fa\u00e7on probl\u00e9matis\u00e9e l\u2019entrecroisement constant des questions mat\u00e9rielles, historiques, cr\u00e9atives et esth\u00e9tiques. On souhaiterait en particulier donner \u00e0 observer la mani\u00e8re dont l\u2019\u00e9criture et la vision historiques d\u00e9terminent les choix de reconstitution, tout en \u00e9tant en retour d\u00e9termin\u00e9es et reconfigur\u00e9es par ces derniers. On pourra mettre en lumi\u00e8re les marges d\u2019invention et de stylisation laiss\u00e9es aux artistes par les sources \u00e0 disposition, le jeu des r\u00e9f\u00e9rences visuelles et des niveaux d\u2019intertextualit\u00e9 propres \u00e0 toute production d\u2019image, le caract\u00e8re impr\u00e9visible de processus cr\u00e9atifs qui se limitent rarement au simple d\u00e9calque, les modalit\u00e9s d\u2019implication des publics face \u00e0 la diversit\u00e9 des \u00e9chelles et des formats, ou encore les strat\u00e9gies destin\u00e9es \u00e0 g\u00e9n\u00e9rer un sentiment d\u2019authenticit\u00e9. Ces orientations pourront \u00eatre l\u2019occasion de revenir sur le caract\u00e8re collectif et partag\u00e9 d\u2019\u00e9critures essentiellement non verbales, visuelles et mat\u00e9rielles de l\u2019Histoire, d\u00e9termin\u00e9es par des contraintes techniques et institutionnelles sans cesse renouvel\u00e9es, mais aussi par les \u00e9volutions du champ historique proprement dit. En sens inverse, l\u2019emprise et l\u2019influence de ces reconstitutions visuelles sur la recherche acad\u00e9mique pourront faire l\u2019objet d\u2019une r\u00e9flexion sp\u00e9cifique. Conjointement, on pourra interroger le foisonnement des reconstitutions costum\u00e9es \u00e0 caract\u00e8re festif ou comm\u00e9moratif, en lien avec certaines tendances culturelles contemporaines (essor de la patrimonialisation nationale ou r\u00e9gionale, du m\u00e9di\u00e9valisme, de l\u2019histoire militaire, etc.) et avec la diversit\u00e9 des r\u00e9appropriations. La reconstitution pouvant \u00eatre tout autant une tentative r\u00e9surrectionnelle qu\u2019une op\u00e9ration id\u00e9ologique, les implications politiques de la reconstitution dans ses d\u00e9clinaisons actuelles pourront faire l\u2019objet de propositions sp\u00e9cifiques.<\/p>\n Les objets abord\u00e9s pourront relever de l\u2019ensemble des arts de l\u2019image anim\u00e9e\u00a0(cin\u00e9ma, t\u00e9l\u00e9vision, jeu vid\u00e9o) et de la sc\u00e8ne, sans limitation \u00e0 une p\u00e9riode temporelle. Des travaux portant sur des aires non-occidentales seront particuli\u00e8rement appr\u00e9ci\u00e9s. Les enjeux sonores de la reconstitution pourront \u00eatre pris en consid\u00e9ration, de m\u00eame que les dispositifs mus\u00e9aux.<\/p>\n Les propositions de contribution, en fran\u00e7ais et en anglais[1]<\/a>, d\u2019une longueur de 2000 \u00e0 3000 signes, accompagn\u00e9s d\u2019un \u00e9tat bibliographique provisoire, sont attendues pour le 15 avril 2026<\/strong>. Les propositions retenues donneront lieu \u00e0 une remise d\u2019article d\u2019ici au 15 novembre 2026<\/strong>.<\/p>\n Direction du num\u00e9ro et contacts<\/strong><\/p>\n Gaspard Delon \u2013 gaspard.delon@u-paris.fr<\/a><\/p>\n Marie Frappat \u2013 marie.frappat@u-paris.fr<\/a><\/p>\n Universit\u00e9 Paris Cit\u00e9 \u2013 Laboratoire CERILAC \u2013 UFR LAC<\/p>\n https:\/\/u-paris.fr\/cerilac\/<\/a><\/p>\n La revue<\/strong><\/p>\n https:\/\/www.cnrseditions.fr\/revue\/ecrire-lhistoire\/<\/a><\/p>\n \u00a0<\/p>\n Call for Papers for the Journal \u00c9crire l\u2019histoire<\/em><\/strong><\/p>\n \u201cReconstructions\u201d \u00a0<\/p>\n In the fields of cinema, television, theatre, and the arts, the practice of historical reconstruction is often associated with the dual ideal of reviving the past and adhering to factual, material, or archaeological accuracy. Such fidelity is typically viewed as a hallmark of professional excellence, reflected in domains as varied as set design, costume, props, extras, and even scriptwriting and dialogue (chronological sequence, historical causality, social practices). To this end, productions frequently enlist the expertise of specialists from beyond the creative sphere, whose authority guarantees the overall credibility and respectability of the project.<\/p>\n Yet reconstruction inevitably encounters its own limitations: the financial and temporal constraints inherent in any creative process; the incompleteness or contestation of historical knowledge; the difficulty of documenting the material and everyday realities of vanished worlds; and the need to adapt reconstruction to the expectations of contemporary audiences. Moreover, the very endeavour to reproduce the past in material form may be perceived less as an artistic aspiration than as a burden\u2014or even a form of servitude\u2014whereby the visual representation of history assumes a na\u00efvely academic or didactic guise, inevitably partial or illusory, from which art might seek to liberate itself.<\/p>\n Academic engagement with reconstruction has long stemmed from the disciplinary vigilance of historians, assessing works according to their degree of conformity with established knowledge. Such assessments have often shown limited concern for creative or imaginative processes, and little sympathy for anachronism, displacement, or reinterpretation. Numerous studies have also examined the ideologically charged uses of reconstruction, whereby the historical discourse embedded in representation interacts with the socio-political context of its reception. More recently, attention has turned to the technical challenges and craftsmanship of large-scale productions\u2014subjects that have gained increasing scholarly interest in fields such as cinema (storyboarding, special effects, costume, make-up and hairstyling, environmental impact, and so forth). Economic and institutional analyses have likewise intersected with case studies of historical productions whose magnitude or splendour exemplifies the networks of resources and collaboration they mobilise.<\/p>\n Against this background, this issue of \u00c9crire l\u2019histoire<\/em> seeks to revisit the notion of reconstruction\u2014despite, or precisely because of, its apparent obviousness and ubiquity\u2014in order to explore the constant entanglement of material, historical, creative, and aesthetic concerns. In particular, we aim to highlight how historical writing and vision inform the choices involved in reconstruction, while simultaneously being shaped and reconfigured by them. Contributors are invited to examine the scope for invention and stylisation that available sources afford artists; the interplay of visual references and intertextual strata intrinsic to image-making; the unpredictability of creative processes that rarely amount to mere replication; the ways in which audiences participate across diverse scales and formats; and the strategies employed to evoke authenticity.<\/p>\n Such approaches may also provide an opportunity to reconsider the collective and shared nature of essentially non-verbal, visual, and material modes of historical writing\u2014modes conditioned by ever-evolving technical and institutional constraints, as well as by developments within the discipline of history itself. Conversely, contributors might reflect on how these visual reconstructions, in turn, influence academic research. Furthermore, the proliferation of festive or commemorative costume re-enactments invites reflection on contemporary cultural phenomena such as the rise of national or regional heritage movements, medievalism, or the popularisation of military history, together with their diverse reappropriations. Since re-enactment may function as both an act of revival and an ideological operation, its political implications in present-day contexts are also welcome areas of inquiry.<\/p>\n Submissions may address all forms of the moving image (film, television, video games) as well as the performing arts, without temporal restriction. Contributions focusing on non-Western contexts are particularly encouraged. Consideration may also be given to the sonic dimensions of reconstruction and to museographic practices.<\/p>\n Proposals, in French or English[2]<\/a>, of between 2,000 and 3,000 characters<\/strong> (including spaces), accompanied by a provisional bibliography<\/strong>, should be submitted by 15 April 2026<\/strong>. Authors of selected proposals will be invited to submit their full articles by 15 November 2026<\/strong>.<\/p>\n Issue editors and contact details:<\/strong><\/p>\n Gaspard Delon \u2013 gaspard.delon@u-paris.fr<\/a><\/p>\n Marie Frappat \u2013 marie.frappat@u-paris.fr<\/a><\/p>\n Universit\u00e9 Paris Cit\u00e9 \u2013 Laboratoire CERILAC \u2013 UFR LAC<\/p>\n https:\/\/u-paris.fr\/cerilac\/<\/a><\/p>\n Journal <\/strong><\/p>\n https:\/\/www.cnrseditions.fr\/revue\/ecrire-lhistoire\/<\/a><\/p>\n [1]<\/a> La revue ne garantissant pas le financement de traductions, les auteurs et autrices retenus devront veiller \u00e0 proposer une traduction de leur article.<\/p>\n [2]<\/a> As the journal does not guarantee funding for translations, authors whose articles are accepted must ensure that a French translation of their article is provided.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″ _builder_version=\u00a0\u00bb3.0.47″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb3.22″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.22″][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb3.0.47″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n [\/et_pb_text][et_pb_blog posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″ header_level=\u00a0\u00bbh4″ border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb] T\u00e9l\u00e9charger l’appel \u00e0 communication au format pdfAppel \u00e0 contributions pour la revue \u00c9crire l\u2019histoire\u00ab\u00a0Reconstitutions\u00a0\u00bbNum\u00e9ro \u00e0 para\u00eetre courant 2027[English below]Dans les domaines cin\u00e9matographique, t\u00e9l\u00e9visuel, sc\u00e9nique ou artistique, les contraintes de la reconstitution historique sont fr\u00e9quemment associ\u00e9es \u00e0 un id\u00e9al de r\u00e9surrection du pass\u00e9 et \u00e0 un imp\u00e9ratif de respect des donn\u00e9es \u00e9v\u00e9nementielles, mat\u00e9rielles ou arch\u00e9ologiques susceptible… Lire la suite AAC – \u00c9crire l’histoire \u00ab\u00a0Reconstitutions\u00a0\u00bb 15 avril 2026<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":6411,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[31,25,1],"tags":[],"coauthors":[68],"class_list":["post-6405","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-agenda","category-appels-a-communications","category-cerilac"],"_links":{"self":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=6405"}],"version-history":[{"count":6,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6405\/revisions"}],"predecessor-version":[{"id":6415,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6405\/revisions\/6415"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/media\/6411"}],"wp:attachment":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=6405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=6405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=6405"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/coauthors?post=6405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Issue to be published in 2027<\/strong><\/p>\n\u00c0<\/span> lire aussi<\/h2>\n
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