<\/p>\n
\n\t\t\t\t\t\tInformations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda<\/strong><\/a>.\t\t\t\t\t<\/p>\n\n\nTh\u00e9matiques<\/span><\/span><\/li>\nImages, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\nM\u00e9diations m\u00e9morielles, culturelles et patrimoniales<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 15\/10\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tAnne-Sophie <\/span> Aguilar <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, annesophie.aguilar@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tEl\u00e9onore <\/span> Challine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, eleonore.challine@univ-paris1.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nSitu\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\nCe dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 15\/10\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tAnne-Sophie <\/span> Aguilar <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, annesophie.aguilar@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tEl\u00e9onore <\/span> Challine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, eleonore.challine@univ-paris1.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nSitu\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\nCe dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> Contribution compl\u00e8te<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tAnne-Sophie <\/span> Aguilar <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, annesophie.aguilar@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tEl\u00e9onore <\/span> Challine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, eleonore.challine@univ-paris1.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nSitu\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\nCe dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tAnne-Sophie <\/span> Aguilar <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, annesophie.aguilar@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tEl\u00e9onore <\/span> Challine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, eleonore.challine@univ-paris1.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nSitu\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\nCe dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tAnne-Sophie <\/span> Aguilar <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, annesophie.aguilar@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tEl\u00e9onore <\/span> Challine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, eleonore.challine@univ-paris1.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\nArgumentaire<\/h2>\nSitu\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\nCe dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance son appel \u00e0 contribution sur le th\u00e8me "Cultures publicitaires".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/cultures-publicitaires\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cultures publicitaires\" \/>\n<meta property=\"og:description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance son appel \u00e0 contribution sur le th\u00e8me "Cultures publicitaires".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/cultures-publicitaires\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-03-13T09:52:00+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Situ\u00e9e au croisement de nombreux champs d\u2019\u00e9tudes (\u00e9tudes visuelles, histoire et g\u00e9ographie urbaines, histoire des m\u00e9dias, histoire de l\u2019art, histoire de la photographie, histoire du design, histoire du graphisme, sociologie, s\u00e9miologie, litt\u00e9rature, etc.), la publicit\u00e9 a pris, \u00e0 l\u2019\u00e9poque contemporaine, des formes vari\u00e9es : placards, affiches, enseignes, imprim\u00e9s, spots radio ou t\u00e9l\u00e9-diffus\u00e9s, dessins de lettres, de logos ou de mod\u00e8les, marketing web, participent \u00e0 modeler le rapport des individus \u00e0 la soci\u00e9t\u00e9 commerciale.<\/p>\n
Ce dossier de la revue Soci\u00e9t\u00e9s & Repr\u00e9sentations<\/em> souhaite faire le point sur les recherches r\u00e9centes touchant \u00e0 l\u2019histoire publicitaire, de la R\u00e9volution \u00e0 nos jours, en interrogeant les formes et les objets de la (ou des) culture(s) publicitaire(s). Quelles sont les m\u00e9thodes, les sources \u00e0 la disposition des historiens pour saisir ces objets ? Pour quelle histoire ?<\/p>\nAfin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\nPlus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance son appel \u00e0 contribution sur le th\u00e8me "Cultures publicitaires".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/cultures-publicitaires\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cultures publicitaires\" \/>\n<meta property=\"og:description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance son appel \u00e0 contribution sur le th\u00e8me "Cultures publicitaires".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/cultures-publicitaires\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-03-13T09:52:00+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Afin de croiser les approches, plusieurs axes peuvent \u00eatre envisag\u00e9s, qu\u2019ils touchent \u00e0 l\u2019esth\u00e9tique publicitaire, \u00e0 la construction d\u2019une identit\u00e9 visuelle d\u2019une industrie, d\u2019un commerce ou d\u2019un produit, aux espaces publics de la publicit\u00e9, ou, dans une perspective d\u2019histoire sociale, \u00e0 la culture d\u2019entreprise ou d\u2019atelier, et aux usages de celle-ci. Peut \u00e9galement \u00eatre interrog\u00e9e, dans la perspective d\u2019une histoire visuelle, la pr\u00e9sence de la publicit\u00e9 dans les repr\u00e9sentations, la mani\u00e8re dont elle est discut\u00e9e par les critiques d\u2019art et th\u00e9oriciens, ou encore l\u2019influence qu\u2019elle a pu exercer sur les cr\u00e9ateurs.<\/p>\n
Plus largement, \u00e0 travers l\u2019\u00e9tude des pratiques et des acteurs, il s\u2019agit de cerner les contours d\u2019une ou de plusieurs cultures publicitaires, voire d\u2019en examiner les enjeux au-del\u00e0 du seul cadre commercial. Comment ces pratiques et strat\u00e9gies publicitaires, sans cesse \u00e9largies, mod\u00e8lent-elles les rapports sociaux mais aussi l\u2019environnement (urbain, rural) ? L\u2019histoire culturelle et sociale, ainsi que l\u2019histoire des m\u00e9dias ou de la communication politique, interrogent ainsi l\u2019appropriation par diff\u00e9rents acteurs d\u2019une rh\u00e9torique publicitaire \u2013\u00a0les strat\u00e9gies d\u2019autopromotion, de m\u00e9diatisation, de construction d\u2019une identit\u00e9 publique ou professionnelle\u00a0\u2013, dont les enjeux sont parfois explicitement politiques. Les pratiques contestataires (adbusting<\/em>, d\u00e9tournements d\u2019affiches ou de panneaux publicitaires) pourront \u00e0 ce titre \u00eatre envisag\u00e9es en tant que r\u00e9v\u00e9lateur de rapports critiques, voire hostiles, \u00e0 la culture publicitaire.<\/p>\nIl s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\nModalit\u00e9s de soumission<\/h2>\nLes articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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Il s\u2019agira, enfin, de poser la question plus anthropologique d\u2019une \u00e9conomie de l\u2019attention (du consommateur, du fl\u00e2neur, du spectateur) propre \u00e0 l\u2019\u00e9poque contemporaine.<\/p>\n
Les articles, d\u2019une longueur de 25\u00a0000 \u00e0 40\u00a0000 signes<\/strong> (espaces et notes compris), devront \u00eatre envoy\u00e9s avant le 15 octobre 2021\u00a0 <\/strong>\u00e0 Anne-Sophie Aguilar et El\u00e9onore Challine, coordinatrices du num\u00e9ro :<\/p>\n\neleonore.challine@univ-paris1.fr<\/li>\nannesophie.aguilar@parisnanterre.fr<\/li>\n<\/ul>\nDirecteurs de la revue<\/h2>\n\nBertrand Tillier, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nJulie Verlaine, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\nComit\u00e9 de r\u00e9daction<\/h2>\n\nAnne-Sophie Aguilar, ma\u00eetresse de conf\u00e9rences en histoire de l’art, Universit\u00e9 Paris Nanterre.<\/li>\nPhilippe Arti\u00e8res, directeur de recherche au CNRS.<\/li>\nGuillaume Bridet, professeur de litt\u00e9rature fran\u00e7aise, Universit\u00e9 de Bourgogne.<\/li>\n\u00c9velyne Cohen, professeur d\u2019histoire et anthropologie culturelle \u00e0 l\u2019ENSSIB-Universit\u00e9 de Lyon.<\/li>\nVal\u00e9rie Devillard, professeur en sciences de l’information et de la communication, Universit\u00e9 Paris 2 Panth\u00e9on-Assas.<\/li>\nPascal Dibie, professeur d\u2019ethnologie \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nPascale Goetschel, ma\u00eetresse de conf\u00e9rences en histoire contemporaine \u00e0 l\u2019Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nDominique Kalifa \u2020, professeur d\u2019histoire contemporaine \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nS\u00e9bastien Le Pajolec, ma\u00eetre de conf\u00e9rences en Histoire et communication audiovisuelle \u00e0 l\u2019universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Martin, professeur d\u2019histoire culturelle \u00e0 l\u2019universit\u00e9 Paris 3 Sorbonne nouvelle.<\/li>\nSarga Moussa, directeur de recherche en litt\u00e9rature au CNRS, UMR Lire\u2014universit\u00e9 de Lyon.<\/li>\nAurore Renaut, ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques et audiovisuelles, Universit\u00e9 de Lorraine.<\/li>\nJulien Schuh, ma\u00eetre de conf\u00e9rences en lettres modernes, Universit\u00e9 Paris Nanterre.<\/li>\n<\/ul>\nUn mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\nComit\u00e9 de lecture<\/h2>\n\nVictoria Afanasyeva, ing\u00e9nieure d’\u00e9tudes en appui \u00e0 la recherche, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAnne-\u00c9lisabeth Andr\u00e9assian, PRAG d\u2019\u00e9conomie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nLaurent Bihl, ma\u00eetre de conf\u00e9rences en histoire et communication audiovisuelle, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nAna\u00efs Fl\u00e9chet, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 de Versailles Saint-Quentin-en-Yvelines.<\/li>\nThierry Lefebvre, ma\u00eetre de conf\u00e9rences en Sciences de l\u2019information et de la communication \u00e0 l\u2019universit\u00e9 Paris 7 Denis Diderot.<\/li>\nR\u00e9mi Lenoir, professeur de sociologie, universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne.<\/li>\nIsabelle Rabault-Mazi\u00e8res, ma\u00eetresse de conf\u00e9rences en histoire contemporaine, universit\u00e9 Paris 1 Panth\u00e9on Sorbonne.<\/li>\n<\/ul>\nComit\u00e9 scientifique<\/h2>\nFran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nculture publicitaire<\/span><\/a><\/li>\nDesign<\/span><\/a><\/li>\nHistoire de l’Art<\/span><\/a><\/li>\nImage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nCultures publicitaires<\/title>\n<meta name=\"description\" content=\"La Revue Soci\u00e9t\u00e9s&Repr\u00e9sentations lance 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Un mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux directeurs de la revue.<\/p>\n
Un mandat de 5 ans, renouvelable une fois, est confi\u00e9 aux membre du comit\u00e9 de r\u00e9daction.<\/p>\n
Fran\u00e7ois Alb\u00e8ra, Paul Aron, Philippe Braud, Jean-Pierre Chaline, Dominique Chateau, Fr\u00e9d\u00e9ric Chauvaud, Alain Corbin, Julia Csergo, Annie Duprat, Andr\u00e9 Gaudreault, Claude Gauvard, Bernard Gazier, Philippe Hamon, Sylvie Lindeperg, Jean-No\u00ebl Luc, Jann Matlock, Fr\u00e9d\u00e9rique Matonti, H\u00e9l\u00e8ne Menegaldo, J\u00fcrgen E.\u202fM\u00fcller, V\u00e9ronique Nahoum-Grappe, Didier Nourrisson, Pascal Ory, Michel Porret, Andr\u00e9 Rauch, Pierre Sorlin, Danielle Tartakowsky, Myriam Tsikounas, Sylvain Venayre, Mikhail Yampolski.<\/p>\n<\/div><\/div>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Mis en ligne le 15 mars 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[433,173,398,165,86],"thematique":[35,38],"sfsic":[],"class_list":["post-16001","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-culture-publicitaire","tag-design","tag-histoire-de-lart","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\n