<\/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>\nInformation, documents et \u00e9critures<\/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> 30\/06\/2026<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/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 \u00ab Filigrane \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00e9my <\/span> Michot<\/span>, ICD, universit\u00e9 de Tours<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jeremy.michot@univ-tours.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\tCatherine <\/span> Deutsch<\/span>, CRULH, universit\u00e9 de Lorraine \/ IUF<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, catherine.deutsch@univ-lorraine.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\tMaria Teresa <\/span> Betancor Abbud<\/span>, CRULH, universit\u00e9 de Lorraine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, maria-teresa.betancor-abbud@univ-lorraine.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue Filigrane<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nDans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\nLes \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\nDans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\nLes articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\nPistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\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\/archives-musicales-queer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Archives musicales queer\" \/>\n<meta property=\"og:description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/archives-musicales-queer\/\" 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\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 30\/06\/2026<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/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 \u00ab Filigrane \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00e9my <\/span> Michot<\/span>, ICD, universit\u00e9 de Tours<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jeremy.michot@univ-tours.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\tCatherine <\/span> Deutsch<\/span>, CRULH, universit\u00e9 de Lorraine \/ IUF<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, catherine.deutsch@univ-lorraine.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\tMaria Teresa <\/span> Betancor Abbud<\/span>, CRULH, universit\u00e9 de Lorraine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, maria-teresa.betancor-abbud@univ-lorraine.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue Filigrane<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nDans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\nLes \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\nDans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\nLes articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\nPistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\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\/archives-musicales-queer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Archives musicales queer\" \/>\n<meta property=\"og:description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/archives-musicales-queer\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-24T10:21:10+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/archives-musicales-queer\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/archives-musicales-queer\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"Archives musicales 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/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 \u00ab Filigrane \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00e9my <\/span> Michot<\/span>, ICD, universit\u00e9 de Tours<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jeremy.michot@univ-tours.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\tCatherine <\/span> Deutsch<\/span>, CRULH, universit\u00e9 de Lorraine \/ IUF<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, catherine.deutsch@univ-lorraine.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\tMaria Teresa <\/span> Betancor Abbud<\/span>, CRULH, universit\u00e9 de Lorraine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, maria-teresa.betancor-abbud@univ-lorraine.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue Filigrane<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nDans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\nLes \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\nDans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\nLes articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\nPistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\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\/archives-musicales-queer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Archives musicales queer\" \/>\n<meta property=\"og:description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/archives-musicales-queer\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-24T10:21:10+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/archives-musicales-queer\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/archives-musicales-queer\\\/\"},\"author\":{\"name\":\"Axelle Martin\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/d3606993477708f4359fb9aeda58df3b\"},\"headline\":\"Archives musicales 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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 \u00ab Filigrane \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00e9my <\/span> Michot<\/span>, ICD, universit\u00e9 de Tours<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jeremy.michot@univ-tours.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\tCatherine <\/span> Deutsch<\/span>, CRULH, universit\u00e9 de Lorraine \/ IUF<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, catherine.deutsch@univ-lorraine.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\tMaria Teresa <\/span> Betancor Abbud<\/span>, CRULH, universit\u00e9 de Lorraine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, maria-teresa.betancor-abbud@univ-lorraine.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue Filigrane<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nDans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\nLes \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\nDans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\nLes articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\nPistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\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\/archives-musicales-queer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Archives musicales queer\" \/>\n<meta property=\"og:description\" content=\"La revue \u00ab Filigrane \u00bb lance un appel \u00e0 article pour son num\u00e9ro 32 sur la th\u00e9matique "Archives musicales queer" dirig\u00e9 par J\u00e9r\u00e9my Michot, Catherine Deutsch et Maria Teresa Betancor Abbud.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/archives-musicales-queer\/\" 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Filigrane \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tJ\u00e9r\u00e9my <\/span> Michot<\/span>, ICD, universit\u00e9 de Tours<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, jeremy.michot@univ-tours.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\tCatherine <\/span> Deutsch<\/span>, CRULH, universit\u00e9 de Lorraine \/ IUF<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, catherine.deutsch@univ-lorraine.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\tMaria Teresa <\/span> Betancor Abbud<\/span>, CRULH, universit\u00e9 de Lorraine<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, maria-teresa.betancor-abbud@univ-lorraine.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue Filigrane<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nDans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\nLes \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\nDans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\nLes articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\nPistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane 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Dans le sillage de la musicologie critique et des th\u00e9ories\u00a0queer (De Lauretis 1990, Butler 1990), un nouveau champ d\u2019\u00e9tude s\u2019est d\u00e9velopp\u00e9 autour des interactions politiques entre sexualit\u00e9s, genre, musique et son (depuis l\u2019ouvrage fondateur Queering the Pitch en 1994, jusqu\u2019au Oxford Handbook of Music and Queerness en 2022, pour n\u2019en citer que quelques-uns). Pourtant, la question des archives reste marginale dans ces travaux, plus ax\u00e9s sur des approches th\u00e9oriques et analytiques.<\/p>\n
Les \u00e9tudes sur la musique ne se sont pas encore saisies des interrogations archivistiques issues des \u00e9tudes et milieux queer et f\u00e9ministes. R\u00e9cemment, de nouvelles dynamiques politiques et historiographiques ont ainsi abouti \u00e0 la cr\u00e9ation de centres d\u2019archives militantes et communautaires – on pense, entre autres, pour la France aux Centre archives LGBTQIA+ de Paris, aux archives du f\u00e9minisme d\u2019Angers, ou encore \u00e0 l\u2019Archivo de la Memoria Trans en Argentine (Bourcier 2025). Toutefois, il ne s\u2019agit pas uniquement, pour les militant\u00b7es, artistes et chercheur\u00b7euses \u00e0 l\u2019origine de ces initiatives, de \u00ab classer \u00bb, remettre de l\u2019ordre ou encore remettre en lumi\u00e8re des archives englouties par les structures biopolitiques de nos soci\u00e9t\u00e9s. Ces initiatives, pens\u00e9s conjointement \u00e0 l\u2019\u00e9dification de nouveau cadres th\u00e9oriques, s\u2019accompagnent en effet d\u2019un important renouvellement \u00e9pist\u00e9mologique sur la nature et les usages des archives (Cvetkovich 2003, Watts 2018, Benarrosh-Orsoni 2018, Graille 2019, Faure 2021, Bard et al. 2023). On pense par exemple \u00e0 \u00ab l\u2019analyse queer des d\u00e9bris \u00bb sugg\u00e9r\u00e9e par Gina Watts, aux fa\u00e7ons de conserver les archives sur le fil d\u2019un souvenir reconstitu\u00e9, partiel et non chronologique (Watts 2018, p.\u00a0107), ou \u00e0 tous les autres subterfuges n\u00e9cessaires pour combler en les reconstituant les espaces fragmentaires des vies non chrono-normatives (Freeman 2010). Les combler, voire les d\u00e9former dans la pratique m\u00eame de l\u2019archive, les \u00ab tordre [\u2026] dans tous les sens pour r\u00e9sister \u00e0 l\u2019inclusion des histoires LGBTI+ dans certains agendas nationalistes et imp\u00e9rialistes aux \u00c9tats-Unis et en Europe \u00bb – et surtout de les faire \u00e0 nouveau circuler, comme le pr\u00e9conise Sam Bourcier, et, dans notre cas, de les faire \u00e9couter : \u00ab Qu\u2019apprend l\u2019oreille et non plus l\u2019\u0153il ? \u00bb (Bourcier 2025, p.\u00a055).<\/p>\n
Dans la continuit\u00e9 des r\u00e9flexions engag\u00e9es dans le no\u00a029 de Filigrane, \u00ab \u00c0 l\u2019\u00e9coute de l\u2019archive : usages artistiques des traces sonores \u00bb, et dans le sillage d\u2019une historiographie contemporaine nourrie par les travaux de Michel Foucault (1969), Pierre Nora (1984), Arlette Farge (1989) et Jacques Derrida (1995), ce num\u00e9ro sp\u00e9cial entend ouvrir un chantier sur les archives musicales queer, largement d\u00e9laiss\u00e9es par la musicologie. Le manque de travaux sur ces sujets semble inversement proportionnel \u00e0 l\u2019importance de la musique dans les cultures et les luttes LGBTQIA+ et f\u00e9ministes (Cantillon et al. 2017, Reitsamer 2020), qu\u2019il s\u2019agisse des sc\u00e8nes musicales actuelles, de cr\u00e9ation contemporaine, de spectacles vivants ou de r\u00e9actualisation d\u2019un pass\u00e9 militant.<\/p>\n
Les articles de recherche, de recherche-cr\u00e9ation, les textes d\u2019artiste, les entretiens ou encore les notes de terrain pourront s\u2019inscrire dans un ou plusieurs axes de r\u00e9flexion suivants :<\/p>\n
Pistes de r\u00e9flexion \/ Axes de recherche :\n<\/strong><\/p>\nPratique et \u00e9thique de l\u2019archivage<\/h3>\nCet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\nArchives mat\u00e9rielles : cartographier les traces<\/h3>\nDans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\nCr\u00e9ations d\u2019archives vivantes<\/h3>\nCe num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\nArchives et cr\u00e9ation sonore et artistique<\/h3>\nEnfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\nModalit\u00e9s de contribution<\/h2>\nConsignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane 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Cet axe invite \u00e0 engager une r\u00e9flexion sur le large spectre des \u00ab technologies archivales \u00bb (Bourcier 2025, p.\u00a0200), sur les rapports de pouvoir entre les archiv\u00e9\u00b7es et les archiveur\u00b7euses, ou encore sur enjeux de la cr\u00e9ation et de l\u2019usage des archives musicales queer ; plus largement, \u00e0 r\u00e9fl\u00e9chir sur l\u2019\u00e9thique de l\u2019archivage musical, et des phases qui pr\u00e9c\u00e8dent \u00e0 son \u00e9laboration (archivalisation, archivation, Keteelar 2006).<\/p>\n
Dans une perspective de visibilisation, nous encourageons \u00e0 proposer des \u00e9tudes de cas fond\u00e9es sur des corpus archivistiques de diff\u00e9rentes provenances : des fonds institutionnels et inventori\u00e9s \u00e0 toutes les formes d\u2019archives moins visibles et structur\u00e9es, m\u00e9connues, priv\u00e9es, associatives, etc.<\/p>\n
Ce num\u00e9ro sera \u00e9galement l\u2019occasion de produire de nouvelles archives, \u00e0 partir de m\u00e9moires vivantes, militantes, artistiques ou institutionnelles. Il pourra s\u2019agir de notes de terrains abord\u00e9es sous l\u2019angle de l\u2019anthropologie culturelle, de l\u2019auto-th\u00e9orie, ou de l\u2019anamn\u00e8se \u00e9motionnelle.<\/p>\n
Enfin, nous accueillerons des propositions rendant compte de cr\u00e9ations musicales et sonores fond\u00e9es \u00e0 partir d\u2019archives queer, ou sur les \u0153uvres t\u00e9moignant d\u2019une telle intention archivistique. Une place sera \u00e9galement faite aux propositions qui entendent renouveler les formes s\u00e9culaires de discours acad\u00e9miques, pouvant int\u00e9grer des m\u00e9dias audiovisuels, des carnets de recherche ou de cr\u00e9ation, des scenarii, etc.<\/p>\n
Consignes<\/strong><\/p>\nLes articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\nLe comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\nLes propositions doivent inclure :<\/p>\n\nTitre<\/li>\nNom et affiliation de(s) auteur(s)<\/li>\nTexte jusqu\u2019\u00e0 1\u00a0000 mots maximum<\/li>\n5 mots-cl\u00e9s<\/li>\nBiographie courte jusqu\u2019\u00e0 350 mots<\/li>\n<\/ul>\nLa r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\nPour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\nCalendrier<\/h2>\n\nR\u00e9ception des propositions\/abstracts : 30 juin 2026<\/strong><\/li>\nS\u00e9lection des contributions : 31 juillet 2026<\/li>\nR\u00e9ception d\u2019articles complets : 31 janvier 2027<\/li>\nRetours aux auteurs des deux relectures :\u00a031 mars 2027<\/li>\nEnvoi de la version d\u00e9finitive apr\u00e8s r\u00e9vision :\u00a031 mai 2027<\/li>\nPublication : d\u00e9but novembre 2027<\/li>\n<\/ul>\nEnvoi de propositions et contact<\/p>\n\nCaroline Bo\u00eb : s.filigrane@gmail.com<\/strong><\/li>\nJ\u00e9r\u00e9my Michot : jeremy.michot@univ-tours.fr<\/strong><\/li>\nCatherine Deutsch : catherine.deutsch@univ-lorraine.fr<\/strong><\/li>\nMaria Teresa Betancor Abbud : maria-teresa.betancor-abbud@univ-lorraine.fr<\/strong><\/li>\n<\/ul>\nDirection du num\u00e9ro<\/h2>\n\nJ\u00e9r\u00e9my Michot (ICD, universit\u00e9 de Tours)<\/li>\nCatherine Deutsch (CRULH, universit\u00e9 de Lorraine \/ IUF)<\/li>\nMaria Teresa Betancor Abbud (CRULH, universit\u00e9 de Lorraine)<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nArchives<\/span><\/a><\/li>\nCr\u00e9ation<\/span><\/a><\/li>\nEthique<\/span><\/a><\/li>\nGenre<\/span><\/a><\/li>\nMusique<\/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 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nArchives musicales queer<\/title>\n<meta name=\"description\" content=\"La revue \u00ab Filigrane 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Les articles peuvent \u00eatre r\u00e9dig\u00e9s en fran\u00e7ais ou en anglais.<\/p>\n
Le comit\u00e9 scientifique sera particuli\u00e8rement attentif au cadre th\u00e9orique et empirique mobilis\u00e9, ainsi qu\u2019\u00e0 l\u2019originalit\u00e9 des propositions. Par ailleurs, le texte devra \u00eatre accompagn\u00e9 d\u2019une courte pr\u00e9sentation bio-bibliographique de quelques phrases et, le cas \u00e9ch\u00e9ant, des publications scientifiques les plus repr\u00e9sentatives de l\u2019auteur. Nous encourageons particuli\u00e8rement les jeunes chercheur\u00b7euses \u00e0 proposer des articles. Nous invitons les personnes int\u00e9ress\u00e9es \u00e0 nous solliciter en amont pour toute question ou demande de pr\u00e9cision si n\u00e9cessaire.<\/p>\n
Les propositions doivent inclure :<\/p>\n
La r\u00e9vision linguistique du texte sera la responsabilit\u00e9 des auteurs. Les auteurs doivent respecter les consignes de la revue.<\/p>\n
Pour toute question veuillez contacter s.filigrane [at] gmail.com<\/p>\n
Envoi de propositions et contact<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Mis en ligne le 21 mars 2026 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Information, documents et \u00e9critures M\u00e9diations m\u00e9morielles, culturelles et […]<\/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":[345,169,180,120,327],"thematique":[35,40,38],"sfsic":[],"class_list":["post-35839","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-archives","tag-creation","tag-ethique","tag-genre","tag-musique","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-information-documents-et-ecritures","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\n