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• 06 jui 2017

  Paris

  Call for papers - Epistemology and methodology

  Thinking and conducting the transformation of work

  The contribution of the ergological approach and the works of Yves Schwartz

  The ergological approach intends to the co-production of knowledge with the aim of transforming work and more generally the social life. As stated by the scientific project of the Workshop, “the ergological approach, in its history and in its issues, is a priori a subject of interest for everyone, each exploring in its own way the intricacies of human life, but also anyone who wants to think about its own activity and that of others, to reconsider the ways of doing and taking action, of opening new perspectives in ways of working, acting and living”. Yet this approach, which is particularly needed nowadays, is insufficiently known and sometimes considered complex. This is the state of play at the origin of this international workshop for which this call for papers is published.

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• 10 mar 2014

  11 mar 2014

  12 mar 2014

  Paris

  Conference, symposium - Representation

  Revolution and cinema: the Portuguese example

  In honour of the fortieth anniversary of the Carnation Revolution, this three-day international conference seeks to interrogate the cinematic representation of the political event from 1974 to today. Paul Ricœur states that “rethinking is a form that cancels temporal distance.” To rethink the revolution would then entail making the revolution present, making it come alive, bringing the past and the present together, questioning the effects of the passing of time on the images, the narratives and on cinema itself as an historical device. Today’s acute economic and political crisis in Portugal shakes the very foundations of April’s democracy, and this legacy could perhaps use the present as the inaugural strength of another history to come. Taking the cinema of revolution as a nodal point and as a major historical shift, which links – other than referential and chronological ones –, unify the pre- and post-revolutionary Portuguese cinemas? In other words, how can this idea of “revolution” remain, irrigate and illuminate Portuguese cinema?

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