LINGUIST List 32.86
Thu Jan 07 2021
Calls: Romance; Anthro Ling, Disc Analysis, Ling & Lit, Text/Corpus Ling, Translation/Germany
Editor for this issue: Lauren Perkins <laurenlinguistlist.org>
Paula Rebecca Schreiber <paula.schreiber
Popular Music of Europe in Romance Languages? – Historical and Present Dimensions of “Hidden” Connections E-mail this message to a friend
Full Title: Popular Music of Europe in Romance Languages? - Historical and Present Dimensions of "Hidden" Connections
Short Title: XXXVII. Romanistentag
Date: 04-Oct-2021 - 07-Oct-2021
Location: Augsburg, Germany
Contact Person: Paula Rebecca Schreiber
Meeting Email: < click here to access email >
Web Site: https://www.uni-augsburg.de/de/fakultaet/philhist/forschung/tagungen-konferenzen/37-romanistentag-2020/
Linguistic Field(s): Anthropological Linguistics; Discourse Analysis; Ling & Literature; Text/Corpus Linguistics; Translation
Language Family(ies): Romance; Romance-based
Call Deadline: 15-Jan-2021
Common values and convictions, but also a common memorial culture, have so far been described in detail as the link between the European idea (cf. den Boer et al. 2012 following the theses of Pierre Nora / Nora 1998). Europe or the identification with Europe is suffering from the lack of discussion about a common popular culture. This was already conspicuous by the end of the East-West conflict and the integration of Eastern Europe into the European Union, insofar as US culture has clearly lost its binding force (Linke / Tanner 2006) and similarities are often found more strongly at the binational level ( for Germany-France see Hüser / Pfeil 2015 or Umlauf et al. 2013, for Italy-Poland see Henzelmann / Mayer / Olcese 2020, for France-Bulgaria Mayer / Henzelmann 2018). Come in addition, that the perception of a common European popular culture obviously makes use of a wide range, but on closer inspection it becomes apparent that increasingly only the poles of this continuum are served. These range from a Europe that presents itself as a global community (as shown by the orientation of the WDR's “guest worker program”, created in 1961, to “Funkhaus Europa” and since 2016 now as a global broadcaster “COSMO”) to the contrary Isolation movements that work against the trend of a common popular culture and move popular music out of its global and European context in order to make it a figure of identification in nationalistic and patriotic programs (such as rapper Chris Ares,Message - or prophet rap - see Lapassade 1990 - puts it into distorted relationships).
On the one hand, the section would like to look at the factors that bind popular music, ranging from the idea of Eurovision (cf.Vuletic 2018) to funding programs such as Music Moves Europe , youth movements such as existentialism, to a European academy culture dealing with popular music (e.g. the new established European Hiphop Studies Network) pass. On the other hand, it is important to take stock of the present and to look into the future, ie to question political ideas (Treaty of Aachen, Macron's initiatives) in terms of popular cultural anchoring. The focus is on specific reception and production phenomena in Europe, i.e. on spectacles such as the Eurovision Song Contest, but also on offers of identification by Romania (the French chanson, the Italian canzone and the Spanish party song), popular music for the shared identity of the international Raise student exchanges. Various locally specific realities have established themselves in Romania as European metropolises of popular music and, on the one hand, are characterized by contemporary superdiversity, on the other hand, are also considered to be the linchpin of local and regional authenticity issues: Ibiza as a stronghold of house music (and the dominant style of Balearic Beat ), Marseille as a European rap Mecca that revives varieties of Provencal spoken at the same time (Spanu 2015) and the repopularisierte in the province of Lecce culture of Tarantismo and the Pizzica by La Notte della Taranta .
Romania is to be assigned a formative role in determining a European popular culture, which should be discussed from a transdisciplinary point of view. Concepts such as discourse (e.g. inclusion and exclusion factors of linguistic positioning according to Englebretson 2007), performance (in the area of tension between Petras 2011 and Gruber 2017), aesthetics and transgression (Kimminich 2007) are interlinked between cultural studies, linguistic, ethnographic, but also philosophical and to discuss anthropological perspectives as well as perspectives from communication and cognitive sciences in order to work out the Romance ingredients of a common European popular culture.
Call for Papers:
The section seeks to emphasize the binding factors of popular music. Moreover, the focus lies on identification points which elevate popular music of the countries of romance languages to a shared identity of international exchange. Various local realities have established themselves in Romance-speaking Europe as European metropolises of popular music and are characterized by the current “super diversity”, yet also considered to be the cornerstone of local and regional authenticity issues.
The event shall take place during the XXXVII Romanistentag from 04 to 07 October in Augsburg, however, in light of the current circumstances, we do not yet know to what extent the event can be carried out. Online alternatives will be made available.
Publication of the contributions is planned.
If interested, please send a short abstract (max. 400 characters) and a brief biographical profile to the responsible of this section by 15 January 2021.
Page Updated: 07-Jan-2021