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• 31 mai 2019

  Huddersfield

  Beitragsaufruf - Geschichte

  Arts and Models of Democracy in post-authoritarian Iberian Peninsula

  This two-day conference aims to innovatively question how artistic practices and institutions formed ways of imagining democracy and by what means arts and culture participate in the wider social struggle to define freedom and equality for the post-Estado Novo and post-Francoist period: how did artistic practices instantiate ideas of democracy in this context? Inversely, how did such democratic values inform artistic practice? How did Portuguese and Spanish artists and intellectuals negotiate between creative autonomy and social responsibility? And more broadly, what is the role of culture in a democracy? The core purpose of the conference is to bring scholars together from different subject areas and exploring any artistic practice (literature, visual and plastic arts, cinema and music).

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• 10 jan 2019

  Norwich

  Beitragsaufruf - Politikwissenschaften

  Exploring ‘francophone’ environmental justice approaches

  Anglo-american and francophone environmental justice approaches have largely evolved in parallel, both conceptually and politically. While anglophone EJ scholars have recently called for enlarging the conceptual underpinnings of environmental justice studies, ‘francophone’ influences have largely remained a blind spot in the literature. This panel focusses on the distinctiveness (or lack thereof) of French/francophone approaches to environmental justice. We hope to move this conversation forward by establishing cross-Channel connections between academic environmental justice networks in the UK and in France.

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• 31 jan 2019

  Huddersfield

  Beitragsaufruf - Geistesgeschichte

  Music and Democracy: beyond Metaphors and Idealization

  This study day aims to interrogate the experimental and novel socialities, imagined communities and social and institutional conditions summoned into being by 'democratic' forms of music-making: What is the nature of a 'democratic ideal' in music (or art-making more widely)? What is achieved, politically, by rethinking the way in which music is made? When does such rethinking affect the wider domain of social relations, and when does it not? If democratic music-making can help with the wider democratisation of social life, how does it do so? When and how is ‘democratic' music more than just a metaphor?

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