Calenda - Fans de groupes, de chanteurs & de chanteuses

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - Fans de groupes, de chanteurs & de chanteuses</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1207920" /> <meta property="og:title" content="Fans de groupes, de chanteurs & de chanteuses" /> <meta property="og:description" content="Ce numéro de Volume ! 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la revue des musiques populaires聽禄</p> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le vendredi 22 novembre 2024 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div class="tabMenu"><a href="#resume-1207920-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#resume-1207920-en" hreflang="en">English</a> </div> <div id="resume-1207920-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: left;">Ce numéro de <a href="https://journals.openedition.org/volume/"><em>Volume ! la revue des musiques populaires</em> </a>entend rassembler des études sur les fans de musique, de chanteurs et chanteuses, de groupes de musique en privilégiant plusieurs axes et thématiques : un regard historique sur les fans de musique ; une réflexion méthodologique sur les conditions d’une ethnographie des fans ; des analyses des trajectoires et carrières de fans.</p> </div> <div id="resume-1207920-en" class="tabContent hidden" lang="en" xml:lang="en"> <p style="text-align: left;">This issue of <a title="https://journals.openedition.org/volume/" href="https://journals.openedition.org/volume/" rel="noopener noreferrer nofollow"><em title="https://journals.openedition.org/volume/">Volume</em></a><a title="https://journals.openedition.org/volume/" href="https://journals.openedition.org/volume/" rel="noopener noreferrer nofollow"><em title="https://journals.openedition.org/volume/"> </em></a><a title="https://journals.openedition.org/volume/" href="https://journals.openedition.org/volume/" rel="noopener noreferrer nofollow"><em title="https://journals.openedition.org/volume/">!</em></a><a title="https://journals.openedition.org/volume/" href="https://journals.openedition.org/volume/" rel="noopener noreferrer nofollow"><em title="https://journals.openedition.org/volume/"> the French journal of popular music studies</em></a> will bring together studies on fans of music, singers and bands, and focus on several themes: a historical look at music fans; methodological reflections on the conditions of fan ethnographies; analyses of fan trajectories and careers.</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div class="tabMenu"><a href="#annonce-1207920-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#annonce-1207920-en" hreflang="en">English</a> </div> <div id="annonce-1207920-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <h2><span lang="X-NONE">Fan studies en France<br></span></h2> <p class="MsoNormal" style="text-align: left;">La célébrité comme produit de consommation collective par des admirateurs que l’on pourrait, avec Lilti (2014), appeler « fans », apparaît dès le XVIIIe siècle, avec des figures de la littérature, de la pensée, du théâtre ou de la révolution. Les fans, désignés ainsi, verraient le jour, eux, au XIXe, dans le contexte du journalisme sportif et des amateurs de théâtre, avant de se développer dans la presse cinématographique (Heinich, 2012).</p> <p class="MsoNormal" style="text-align: left;">Mais le terme de fan, comme sa figure archétypale (la « groupie » en pleurs lors des concerts d’Elvis ou des Beatles) et le phénomène lui-même semblent s’imposer et se développer notamment dans le domaine de la musique, avec notamment l’émergence du rock et de la pop, la presleymania puis la beatlesmania.</p> <p class="MsoNormal" style="text-align: left;">Les premières recherches sur ces fans naissent, quant à elles, avec le cinéma et la musique (Morin, 1972, Pouchelle, 1983) en France, et dans le monde anglo-saxon, avec les travaux de R. Cooper, 1968 (sur la beatlemania) ou bien J. Fiske (1989, les fans de pop music) par exemple.</p> <p class="MsoNormal" style="text-align: left;">Pourtant, les travaux sur les fans de musique constituent le point aveugle des fan studies et des travaux académiques sur les fans, notamment en France. S’ils existent, ces travaux restent relativement peu nombreux et relèvent principalement d’études de cas. On pourra notamment citer comme exemples, M.C. Pouchelle (sur les fans de C. François), C. Le Bart (2000) sur les fans des Beatles, G. Segré (sur Presley), J. Dalbavie, (2012) sur les fans de Brassens, M. Duphil, (2017), sur les fans de Madonna, ou F. Ribac, (2017, sur les fans de Madonna encore). Et plus récemment E. Nesti (2021, sur les fans de la Dolcenera) ou bien A. Alessandrin et M. Toulze (2024, sur les fans de Mylène Farmer) ou encore E. Edwards-Grossi (2020, sur les fans latinos de Morrissey).</p> <p class="MsoNormal" style="text-align: left;">Les travaux sur les fans de musique, de chanteurs et chanteuses, sont autrement plus nombreux au-delà de nos frontières. Mais guère encore hégémoniques. Citons pour exemple, les travaux de J. Fiske, (1991) sur la réception de Madonna, D. Cavicchi (1998) sur les fans de Springsteen, E. Doss, (1999) sur les fans d’Elvis, de C.B. Fried, (2003) sur les fans de Rap et de heavy metal) ou bien encore ceux de M. Hills, 2007 sur les fans de M. Jackson et de M. Duffett (2013).</p> <p class="MsoNormal" style="text-align: left;">Les études sur les fans de musique demeurent en réalité reléguées dans l’ombre par les travaux sur les fans de cinéma <span lang="EN-US">et plus encore par</span> les très nombreux travaux sur les fans de télévision (H. Jenkins, 1992, C. Becon-Smith, 1992), sur les fans des séries entrepris notamment au sein des Cultural Studies. Si de très nombreuses études ont publiées en dehors de nos frontières, on soulignera néanmoins les travaux de D. Pasquier (1999) sur les fans de Hélène et les garçons), de P. Le Guern, (2002), sur la série « Le Prisonnier », de A.-S. Béliard (2009) sur les fans de Prison Break, ou de M. Bourdaa (2012) sur les fans de Battlestar Galatica.</p> <p class="MsoNormal" style="text-align: left;">C’est le cas aussi du fait de l’extension de la notion de fan à tout un ensemble d’objets et de Fandoms autour d’Harry Potter (S. François, 2009), de Walt Disney (H. Breda), ou d’événements musicaux comme l’eurovision (P. Le Guern, 2007, A. Pointazeau, 2019), des jeux vidéo (H. Jenkins, 2006, W. Crawford, 2011), de manga et de cosplay (2005, J. Nouhet-Roseman), des jouets Lego (Yun Mi Antorini, Albert M. Muñiz Jr et Tormod Askildsen, 2012).</p> <p class="MsoNormal" style="text-align: left;">Ces relégations ont eu pour conséquence la minoration de certaines problématiques comme par exemple les espaces de recrutement des fans de musique, les fans et la classe sociale, les fans de milieux populaires ou des milieux ruraux, ou encore le détour par le religieux (initié par les travaux de Pouchelle, de Morin, puis très critiqués et rapidement ignorés au sein des fans studies).</p> <p class="MsoNormal" style="text-align: left;">Les questions de culture participative, de réappropriation de contenus, de l’activité créatrice (fan art, cosplay, fan fiction, wikis, fansubbing, remix, mashup), de production d’&oelig;uvres, de transformative works, d’« activisme culturel et social » (Bourdaa, 2021), semblent aujourd’hui bien plus investies. Tout comme d’ailleurs les questions du genre, des identités sexuelles (Bourdaa, Alessandrin dirs, 2017), des fans à l’heure de la convergence numérique (Booth, 2010, Jenkins 2013), de l’engagement civique et de l’activisme (Bourdaa, 2015).</p> <p class="ParagrapheSansRetrait" style="text-align: left;">Pour partie, disparaissent ainsi des travaux et analyses, certaines catégories de fans, peu diplômés, de milieux populaires, mais aussi des analyses de classe, d’interactions familiales…</p> <p class="MsoNormal" style="text-align: left;">Pour cet appel à contribution, ce numéro de <em>Volume !</em> se propose donc de rassembler des travaux, textes, analyses, études sur les fans de musique, de chanteurs/euses, groupes de musique en privilégiant plusieurs axes et thématiques :</p> <ul> <li class="MsoNormal"> <h3>Un regard historique sur les fans de musique</h3> </li> </ul> <p class="MsoNormal" style="text-align: left;">Ainsi, pourrions-nous interroger non seulement l’histoire de certains groupes de fans, de magazines, de conventions mais également l’histoire de ces travaux sur les fans de musique et notamment de chanteurs, de chanteuses ou de groupes.</p> <ul> <li> <h3><span lang="X-NONE">Une réflexion méthodologique</span></h3> </li> </ul> <p class="MsoNormal" style="text-align: left;">Il s'agit de mener une réflexion méthodologique sur les conditions d’une ethnographie des fans ou bien encore sur le fait d’être fan et d’étudier les fans (la position de recherche et les rapports à l’objet de « l’aca-fan » (Jenkins, Christofari, Guitton, 2015), appliqué à l’univers musical. </p> <p class="MsoNormal" style="text-align: left;">À l’inverse, la rencontre de l’altérité (l’objet éloigné), les risques du surplomb, du mépris pourront être étudiés. Enfin, il nous paraît important de s’interroger sur les possibilités et conditions de l’enquête quantitative des fans : comment établir une photographie sociologique d’une population de fans de musique ? Dans cette perspective, une réflexion épistémologique, située entre légitimité et disqualification de l’objet, notamment en portant un regard sur les formes de disqualifications des fans de musique dans le domaine public ou dans la littérature savante. Plus classiquement, nous pourrions interroger dans ce numéro de <em>Volume !</em> la musique comme objet de recherche « illégitime » : quels effets et quelles conséquences sur la production d’études ?</p> <ul> <li class="MsoNormal"> <h3>Le « devenir fan », parcours, carrières, trajectoires</h3> </li> </ul> <p class="MsoNormal" style="text-align: left;">Au sein des groupes de fans de musique, ou dans une trajectoire de vie, qu’est-ce que le statut de « fan » fait au(x) fan(s) ? À ce titre une analyse croisée des « émotions », des « souvenirs » et des cultures faniques, parait tout à fait judicieuse<span class="FootnoteCharacters">.</span> Être fan relève aussi de la pratique : des gestes et des cultures de fan ; quelles pratiques, quels codes, quelles conventions, quelles normes et croyances chez les fans de musique…</p> <p class="MsoNormal" style="text-align: left;">Un autre aspect de ces pratiques de fans renvoie aux questions de communautés, de sociabilités, d’identifications, d’identités ou appartenance. Tout comme la question de l’intersectionnalité des études de fans et des études sur la « race », la sexualité ou le genre, nous pourrons investiguer celle des liens sociaux, psychologiques comme imaginaires qui se tissent dans ces pratiques et dans ces communautés. À l’heure des études faniques revendiquant le fan comme acteur / comme actrice et non seulement comme consommateur ou spectateur passif, nous interrogerons aussi les réceptions, les créations et les cultures participatives, mais aussi les bénéfices pour les fans ou les « fruits de la passion » (profits symboliques, matériels, compétences, ressources) qui s’animent ici. Aussi nous invitons les contributeurs à proposer leurs études de l’engagement des fans (militant, promotionnel, professionnel dans le prolongement des nombreux travaux sur la culture participative, les activités de co-création, les productions et l’engagement militant des fans (Fiske, Bourdaa, 2020).</p> <h1><span lang="X-NONE">Modalités de soumission & calendrier</span></h1> <p style="text-align: left;">Les propositions d’article (3 000 signes) accompagnées d’un titre, de 5 références bibliographiques maximum et d’une brève présentation de l’auteur, devront être envoyées<strong> </strong>à l’adresse suivante : <strong>gabriel.segre@parisnanterre.fr</strong></p> <h3>avant le 31 janvier 2025</h3> <ul> <li class="MsoListParagraphCxSpMiddle">Les<strong> </strong>auteurs seront notifiés de l’acceptation ou du refus de leur proposition avant le <strong>30 mars 2025</strong>.</li> <li class="MsoListParagraphCxSpMiddle">Ils pourront ensuite soumettre leur article<strong> avant le 30 juillet 2025. </strong>Les contributions finales ne devront pas dépasser 40 000 signes. Elles devront suivre les <a href="https://journals.openedition.org/volume/1651">instructions aux auteurs</a> de la revue.</li> <li class="MsoListParagraphCxSpLast">Elles seront soumises à la procédure d’évaluation de la revue : l’acceptation du résumé ne vaut pas acceptation de la version définitive de l’article.</li> </ul> <h1>Responsables scientifiques</h1> <ul> <li>Gabriel Segré : Maître de Conférences HDR, sociologie, Université Paris Nanterre <a title="gabriel.segre@parisnanterre.fr" href="mailto:gabriel.segre%40parisnanterre.fr?subject=Volume%20!%20Fans">gabriel.segre@parisnanterre.fr</a></li> <li>Arnaud Alessandrin, docteur en sociologie, Université de Bordeaux <a href="mailto:arnaud.alessandrin@gmail.com?subject=Volume%20!%20Fans">arnaud.alessandrin@gmail.com</a></li> <li>Christophe Apprill, sociologue, membre associé à l’URMIS (UR migrations et société) <a href="mailto:christophe.apprill@orange.fr?subject=Volume%20!%20fans">christophe.apprill@orange.fr</a></li> </ul> <h1>Bibliographie</h1> <p style="text-align: left;">Alessandrin, A., 2017, « Who run the world? Girls! Beyoncé, pop féminisme et fandom », dans <em>Alessandrin, A.</em> et <em>Bourdaa, M.</em> (dir.), <em>Fan et genre studies : la rencontre</em>, Téraèdre.</p> <p style="text-align: left;">Anderson, T., 2012, « Still kissing their posters goodnight: Female fandom and the politics of popular music », <em>Participations. Journal of Audience & Reception Studies</em>, vol. 9.</p> <p style="text-align: left;">Becon-Smith, C., 1992, <em>Enterprising Women: Television Fandom and the Creation of Popular Myth</em>, University of Pennsylvania Press.</p> <p style="text-align: left;">Béliard, A.-S., 2009/1, « Pseudos, avatars et bannières : la mise en scène des fans. Étude d’un forum de fans de la série télévisée <em>Prison Break</em> (enquête) », <em>ENS Cachan | Terrains & travaux</em><span class="Aucun">, n<sup>o</sup></span> 15, p. 191-212.</p> <p style="text-align: left;">Bennet, L., 2012, « Music Fandom Online: R.E.M. fans in pursuit of the ultimate first listen », <em>New Media & Society</em>, 14(5).</p> <p style="text-align: left;">Berman, G., Lapidos, M., Bernstein, S., 2008, <em>« We’re Going to See the Beatles! » : An Oral History of Beatlemania as Told by the Fans Who Were There</em>, Solana Beach, CA : Santa Monica Press.</p> <p style="text-align: left;">Booth, P., 2010, <em>Digital Fandom. New Media Studies</em>, New York, Peter Lang.</p> <p style="text-align: left;">Bourdaa, M., 2012, « “Taking a break from all your worries” : <em>Battlestar Galactica</em> et les nouvelles pratiques télévisuelles des fans », <em>Questions de communication</em> [En ligne], 22, mis en ligne le 31 décembre 2014.</p> <p style="text-align: left;">Bourdaa, M., 2020, « Quand les publics fans deviennent co-créateurs des séries télévisées », <em>Effeuillage</em>, vol. 9<span class="Aucun">, n<sup>o</sup></span> 1, p. 15-19.</p> <p style="text-align: left;">Bourdaa, M., 2019, « Les fans, ces publics si spécifiques. Définition et méthodologie pour le chercheur », <em>Belphégor</em> [En ligne], 17.</p> <p style="text-align: left;">Brooker, W., 2002, <em>Using the Force: Creativity, Community and Star Wars Fans</em>, New York, London, Continuum.</p> <p style="text-align: left;">Cherry, B., 2002, « Screaming for release: femininity and horror film fandom in Britain », dans Chibnall, S., Petley, J. (dir.), <em>British Horror Cinema</em>, Routledge, p. 42–57.</p> <p style="text-align: left;">Collier, N., Lamadue, C., Wooten, H. R., 2009, « <em>Buffy the Vampire Slayer</em> and <em>Xena: Warrior Princess</em> : Reception of the Texts by a Sample of Lesbian Fans and Website Users », <em>Journal of Homosexuality</em>, 56(5), p. 575–609.</p> <p style="text-align: left;">Cooper, R., 1968, <em>Beatlesmania: An Adolescent Contra-Culture</em>, MA Diss, McGill University.</p> <p style="text-align: left;">Costel, O., 1993, « Des jeunes en quête d’identité : Michael Jackson et ses fans de Bucarest », <em>Civilisations</em> [En ligne], 42-2, mis en ligne le 1er décembre 1996, URL : <a href="http://journals.openedition.org/civilisations/2396" target="_new">journals.openedition.org/civilisations/2396</a>.</p> <p style="text-align: left;">Couldry, N., 2007, « On the Set of <em>The Sopranos</em> : ‘Inside’ a Fan’s Construction of Nearness », dans Gray, J., Harrington, C. L., Sandvoss, C. (dir.), <em>Fandom : Identities and Communities in a Mediated World</em>, New York, New York University Press, p. 139–148.</p> <p style="text-align: left;">Crawford, W., 2011, <em>Video Gamers</em>, Abingdon, Routledge.</p> <p style="text-align: left;">Dalbavie, J., 2012, « Entre patrimoine et mémoire collective, la tombe de Georges Brassens », <em>Questions de communication</em>, 22, p. 103-121.</p> <p style="text-align: left;">DeAngelis, M., 2001, <em>Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves</em>, Durham, Duke University Press.</p> <p style="text-align: left;">Doss, E., 1999, <em>Elvis Culture: Fan, Face and Image</em>, University of Kansas Press, Kansas.</p> <p style="text-align: left;">Duffett, M., 2011, « Elvis Presley and Susan Boyle: Bodies of Controversy », <em>Journal of Popular Music Studies</em>, 23(2), p. 166-188.</p> <p style="text-align: left;">Duffett, M., 2013, <em>Understanding Fandom. An Introduction to the Study of Media Fan Culture</em>, New York, London, Bloomsbury.</p> <p style="text-align: left;">Duphil, M., 2017, « Fan de Madonna : d’une ethnographie réflexive à une sociologie des affects », <em>Me, myself and I and Madonna</em>, consulté le 12 juillet 2024 à l’adresse <a href="https://madonnaethno.hypotheses.org/1" target="_new">https://madonnaethno.hypotheses.org/1</a>.</p> <p style="text-align: left;">Edwards-Grossi, E., « Mexican Blood, American Heart : l’entrepreneuriat de soi et le culte DIY des fans latinos de Morrissey à Los Angeles », <em>Volume!</em>, 16:2-17:1, p. 225–241.</p> <p style="text-align: left;">Fiske, J., 1992, « The cultural economy of fandom », dans Lewis, L. A. (dir.), <em>The Adoring Audience: Fan Culture and Popular Media</em>, Londres, Routledge, p. 30–49.</p> <p style="text-align: left;">Fiske, J., 1991, « Madonna », dans <em>Reading the Popular</em>, Londres, Routledge, p. 95–114.</p> <p style="text-align: left;">Fiske, J., 1989, <em>Understanding Popular Culture</em>, Londres, Routledge.</p> <p style="text-align: left;">François, S., 2009, « Fanf(r)ictions. Tensions identitaires et relationnelles chez les auteurs de récits de fans », <em>Réseaux</em>, vol. 153<span class="Aucun">, n<sup>o</sup></span> 27, p. 157-190.</p> <p style="text-align: left;">Fried, C. B., 2003, « Stereotypes of Music Fans: Are Rap and Heavy Metal Fans a Danger to Themselves or Others? », <em>Journal of Media Psychology</em>, 8(3), publication en ligne le 1er septembre.</p> <p style="text-align: left;">Guedj, P., 2012, « Freaks on this Side. Notes pour une analyse anthropologique des communautés de fans de Prince en France ? », <em>Parcours anthropologiques</em><span class="Aucun">, n<sup>o</sup></span> 8, p. 79-96.</p> <p style="text-align: left;">Hebdige, D., 1979, <em>Subculture : The Meaning of Style</em>, Londres, Routledge.</p> <p style="text-align: left;">Heinich, N., 2012, <em>De la célébrité. Excellence et singularité en régime médiatique</em>, Paris, Gallimard.</p> <p style="text-align: left;">Hills, M., 2007, « Michael Jackson Fans on Trial? Documenting Emotivism and Fandom in <em>Wacko about Jacko</em> », <em>Social Semiotics</em>, 17(4).</p> <p style="text-align: left;">Hills, M., 2002, <em>Fan Cultures</em>, Londres, Routledge.</p> <p style="text-align: left;">Jenkins, H., 1992, <em>Textual Poachers: Television Fans & Participatory Culture</em>, Londres, Routledge.</p> <p style="text-align: left;">Jenkins, H., 2008, « La Filk et la construction sociale de la communauté des fans de science-fiction », dans Glevarec, H., Macé, É., Maigret, É. (dir.), <em>Cultural Studies. Anthologie</em>, Paris, A. Colin/Institut national de l’audiovisuel, p. 212-222.</p> <p style="text-align: left;">Jenkins, H., 2006, <em>Fans, Bloggers, and Gamers: Exploring Participatory Culture</em>, New York et Londres, New York University Press.</p> <p style="text-align: left;">Jensen, J., 1992, « Fandom as Pathology: The Consequences of Characterization », dans Lewis, L. A. (dir.), <em>The Adoring Audience: Fan Culture and Popular Media</em>, Londres, Routledge.</p> <p style="text-align: left;">Jeong, I. H., 2013, « Mon prince charmant parle coréen : les fans de K-Pop en France et Lituanie », <em>Sociétés</em><span class="Aucun">, n<sup>o</sup></span> 122, p. 85-94.</p> <p style="text-align: left;">Lavery, H. A., Cartwright, M. (dir.), 1996, <em>Deny All Knowledge: Reading the X-Files (Television and Popular Culture)</em>, Syracuse, Syracuse University Press.</p> <p style="text-align: left;">Le Bart, C., Ambroise, J.-C., 2000, <em>Les fans des Beatles. Sociologie d’une passion</em>, Rennes, Presses Universitaires de Rennes.</p> <p style="text-align: left;">Le Guern, P., 2002, « En être ou pas. Le fan club de la série <em>Le Prisonnier</em>, une enquête par observation », dans Le Guern, P. (dir.), <em>Les cultes médiatiques. Culture fan et &oelig;uvres cultes</em>, Rennes, PUR, p. 177-215.</p> <p style="text-align: left;">Le Guern, P., 2007, « Aimer l’Eurovision, une faute de goût ? Une approche sociologique du fan-club français de l’Eurovision », <em>Réseaux</em>, vol. 25<span class="Aucun">, n<sup>o</sup></span> 141-142, p. 231-265.</p> <p style="text-align: left;">Lilti, A., 2014, <em>Figures publiques. L’invention de la célébrité (1750-1850)</em>, Paris, Fayard.</p> <p style="text-align: left;">Lizé, W., 2009, « La réception de la musique comme activité collective. Enquête ethnographique auprès des jazzophiles de premier rang », dans Pecqueux, A., Roueff, O. (dir.), <em>Ecologie sociale de l’oreille. Enquête de sciences sociales sur l’expérience musicale</em>, Paris, Éditions de l’EHESS.</p> <p style="text-align: left;">Nesti, E., 2021, <em>Fans et idoles – quand chacun tient l’autre. Pour une anthropologie des affects : enquête sur un attachement corporel et numérique</em>, Antoine Hennion et Carlo Capello (dirs.), Université Sorbonne Nouvelle-Paris III, Universita Degli Studi Di Torino.</p> <p style="text-align: left;">Nouhet-Roseman, J., 2005, « Mangamania et cosplay », <em>Adolescence</em>, 2005/3<span class="Aucun">, n<sup>o</sup></span> 53, p. 659-668.</p> <p style="text-align: left;">Pasquier, D., 1999, <em>La culture des sentiments. L’expérience télévisuelle des adolescentes</em>, Paris, Éd. La Maison des sciences de l’homme.</p> <p style="text-align: left;">Pearsons, P., 1991, <em>Batman and His Audience: The Dialectic of Culture</em>, dans Pearson, R., Uricchio, W. (dirs.), <em>The Many Lives of The Batman: Critical Approaches to a Superhero and His Media</em>, Routledge Revivals.</p> <p style="text-align: left;">Pontoizeau, A., 2019, « L’Eurovision en France : concours de reconquête du public aux airs de soft power », <em>Effeuillage</em>, vol. 8, no. 1, p. 20–27.</p> <p style="text-align: left;">Pouchelle, M.-C., 1983, « Sentiments religieux et show-business : Claude François, objet de dévotion populaire », dans Schmitt, J.-C. (dir.), <em>Les Saints et les stars</em>, Beauchesne, p. 276-300.</p> <p style="text-align: left;">Ribac, F., 2017, « Justify Madonna? Star, fans et genre », dans Bourdaa, M., Alessandrin, A. (dirs.), <em>Fan et Gender Studies, la rencontre</em>, Téraèdre, p. 37-52.</p> <p style="text-align: left;">Segré, G., 2003, <em>Le culte Presley</em>, « Sociologie d’Aujourd’hui », Paris, Presses Universitaires de France.</p> <p style="text-align: left;">Segré, G., 2007, <em>Au nom du King. Elvis, les fans et l’ethnologue</em>, Montreuil, Aux lieux d’être.</p> <p style="text-align: left;">Segré, G., 2014, <em>Fan de… Sociologie des nouveaux cultes contemporains</em>, Paris, Armand Colin.</p> <p style="text-align: left;">Stevenson, N., 2009, « Talking to Bowie fans: Masculinity, Ambivalence, and Cultural Citizenship », <em>European Journal of Cultural Studies</em><span class="Aucun">, n<sup>o</sup></span> 12, p. 79-98.</p> <p style="text-align: left;">Thomas, L., O’Shea, T. (dirs.), 2010, <em>Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It</em>, Des Moines, Mad Norwegian Press.</p> <p style="text-align: left;">Tulloch, J., Jenkins, H. (dirs.), 1995, <em>Science Fiction Audiences: Watching Doctor Who and Star Trek</em>, Londres et New York, Routledge, p. 144–172.</p> <p style="text-align: left;">Turner, K. (dir.), 1993, <em>I Dream of Madonna: Women’s Dreams of the Goddess of Pop</em>, San Francisco, Collins.</p> <p style="text-align: left;">Zittoun, T., 2008, « La musique pour changer la vie. Usages de connaissances, dynamiques de reconnaissance », <em>Education et sociétés</em><span class="Aucun">, n<sup>o</sup></span> 22, p. 43-55.</p> </div> <div id="annonce-1207920-en" class="tabContent hidden" lang="en" xml:lang="en"> <h1>Argument</h1> <h2><span lang="X-NONE">Fans studies in France<br></span></h2> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">Celebrity, as a product of collective consumption by admirers called “fans” (Lilti, 2014), appears as early as the 18<sup>th</sup> century, with figures spanning the fields of literature, thought, or theater; revolutionary figures can also become celebrities. Fandom developed in the 19<sup>th</sup> century, with the phenomena of sports journalism and theater enthusiasts, before expanding to the film press (Heinich, 2012).</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">But the term fan, like its archetypal figure (the Elvis or Beatles “groupie” at concerts) and the phenomenon itself, seem to have particularly taken hold in the field of music, with the emergence of rock and pop, presleymania and then beatlesmania.</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">The first research on fans was carried out on cinema and music (Morin, 1972; Pouchelle, 1983) in France, and in the English-speaking world, with the work of R. Cooper (1968) on beatlemania, or J. Fiske (1989) on pop music fans, for example.</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">However, work on music fans is a blind spot academic work on fans, especially in France. While such academic work does exist, it remains relatively rare and is mainly based on case studies. Examples include M. C. Pouchelle on Claude François fans, C. Le Bart (2000) on Beatles fans, G. Segré on Presley fans and rituals, J. Dalbavie, (2012) on Brassens fans, M. Duphil, (2017) or F. Ribac, (2017) on Madonna fans; more recently, E. Nesti (2021), has worked on Dolcenera fans, A. Alessandrin and M. Toulze (2024), on Mylène Farmer fans and E. Edwards-Grossi (2020) on Morrissey’s Latino fans.</span></p> <p class="MsoNormal" style="text-align: left;">There are many more studies on fans of music and singers beyond our borders, but they are hardly hegemonic. Examples include J. Fiske’s (1991) work on the reception of Madonna, D. Cavicchi (1998) on Springsteen fans, E. Doss (1999) on Elvis fans, C. B. Fried (2003) on rap and heavy metal fans, and M. Hills (2007) on Michael Jackson fans, as well as M. Duffett’s (2013) recent work.</p> <p class="MsoNormal" style="text-align: left;">Studies of music fans are still overshadowed film and television (Jenkins, 1992, Becon-Smith, 1992) as well as TV series, particularly in the field of cultural studies. While many studies have been published beyond France, we would like to highlight the work of D. Pasquier (1999) on fans of <em>Hélène et les garçons</em>, P. Le Guern (2002) on the series <em>Le Prisonnier</em> (<em>The Prisoner</em>), A.-S. Béliard (2009) on fans of <em>Prison Break</em>, and M. Bourdaa (2012) on fans of <em>Battlestar Galatica</em>.</p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">This is also du to the extension of the notion to a whole range of objects and fandoms focused on Harry Potter (François, 2009), Walt Disney (Breda), or musical events such as the Eurovision (Le Guern, 2007; Pointazeau, 2019), video games (Jenkins, 2006, Crawford, 2011), manga and cosplay (Nouhet-Roseman, 2005), Lego toys (Antorini, Muñiz Jr and Askildsen, 2012).</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">The relegation of our objet – music fans – has resulted in the undermining of certain issues, such as music fan recruitment spaces, fans and social class, working-class or rural fans, or a detour via the religious (initiated by the work of Pouchelle or Morin, which was submitted to harsh criticism and quickly ignored within the field of fan studies).</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">Questions of participatory culture, content re-appropriation, creative activity (fan art, cosplay, fan fiction, wikis, fansubbing, remixing, mashups), work production, transformative works, “cultural and social activism” (Bourdaa, 2021), now seem much more investigated. As do questions of gender, sexual identities (Bourdaa & Alessandrin, 2017), fans in the age of digital convergence (Booth, 2010; Jenkins 2013), civic engagement and activism (Bourdaa, 2015).</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">This also means that certain categories of fans – those with lower levels of education, from working-class backgrounds – have disappeared from research and analysis, as have analyses of class, family interactions…</span></p> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">For this call for contributions, this issue aims to bring together works, texts, analyses and studies on fans of music, singers and music groups, focusing on several themes:</span></p> <ul> <li> <h3><span lang="X-NONE">A historical look</span></h3> </li> </ul> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">A historical look at music fans. In this way, we can examine not only the history of certain fan groups, magazines and conventions, but also the history of these works on music fans, and in particular on singers and bands.</span></p> <ul> <li> <h3><span lang="X-NONE">A methodological reflection</span></h3> </li> </ul> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">A methodological reflection on the conditions for an ethnography of fans, or on being a fan and studying fans (the research position and relationships to the “aca-fan” object (Jenkins, Christofari, Guitton, 2015), applied to the musical universe. Conversely, the encounter with otherness (the distant object), issues of distance and contempt can be studied. Finally, we feel it is important to consider the possibilities and conditions of quantitative research on fandoms: how can we establish a sociological snapshot of a population of music fans? From this perspective, an epistemological reflection could look at how music fans are considered in the public domain or in scholarly literature, on a continuum between the legitimation and the disqualification of their practices. More classically, we could in this issue of <em>Volume!</em> question music as an “illegitimate” object of research, and the effects of such positions on the production of studies.</span></p> <ul> <li> <h3><span lang="X-NONE">Fan trajectories</span></h3> </li> </ul> <p class="MsoNormal" style="text-align: left;"><span lang="EN-US">Becoming a fan: paths, careers, trajectories. Within music fandom, or in a life trajectory, what does the status of “fan” do to the fan(s)? In this respect, a cross-analysis of “emotions”, “memories” and “fan cultures” would be justified. Being a fan is also a matter of practice, of gestures and cultures: what practices, codes, conventions, norms and beliefs do they have and resort to? Another aspect of fan practices relates to questions of community, sociability, identification, identity or belonging. Just as the question of the intersectionality of fan studies and studies on “race”, sexuality or gender, we can investigate the question of the social, psychological and imaginary links that are woven in these practices and communities. <span class="--l">At</span></span> <span class="--l">a</span> <span class="--l">time</span> <span class="--l">when</span> <span class="--l">fan</span> <span class="--l">studies</span> <span class="--l">are</span> <span class="--l">asserting</span> <span class="--l">their object</span> <span class="--l">as</span> <span class="--l">an</span> <span class="--l">actor</span> <span class="--l">and</span> <span class="--l">not</span> <span class="--l">just</span> <span class="--l">as</span> <span class="--l">a</span> <span class="--l">passive</span> <span class="--l">consumer</span> <span class="--l">or</span> <span class="--l">spectator</span>, <span class="--l">we</span> <span class="--l">will</span> <span class="--l">also</span> <span class="--l">question</span> <span class="--l">reception,</span> <span class="--l">creations</span> <span class="--l">and</span> <span class="--l">participatory</span> <span class="--l">cultures</span>, <span class="--l">as well as</span> <span class="--l">the</span> <span class="--l">benefits</span> <span class="--l">(</span>symbolic, <span class="--l">material</span> <span class="--l">profits</span>, <span class="--l">skills</span>, <span class="--l">resources</span>) <span class="--l">for</span> <span class="--l">fans</span>. <span class="--l">We</span> <span class="--l">also</span> <span class="--l">invite</span> <span class="--l">contributors</span> <span class="--l">to</span> <span class="--l">propose</span> <span class="--l">their</span> <span class="--l">studies</span> <span class="--l">of</span> <span class="--l">fan</span> <span class="--l">engagement</span> <span class="--l">(</span>militant, <span class="--l">promotional</span>, <span class="--l">professional</span>) <span class="--l">in</span> <span class="--l">the</span> <span class="--l">wake</span> <span class="--l">of</span> <span class="--l">the</span> <span class="--l">many</span> <span class="--l">works</span> <span class="--l">on</span> <span class="--l">participatory</span> <span class="--l">culture</span>, <span class="--l">co</span>-creation <span class="--l">activities</span>, <span class="--l">productions</span> <span class="--l">and</span> <span class="--l">fan</span> <span class="--l">militant</span> <span class="--l">engagement</span> <span class="--l">(</span>Fiske, <span class="--l">Bourdaa</span>, <span class="--l">2020</span>).</p> <h1><span lang="EN-US">Submission guidelines & timetable</span></h1> <p style="text-align: left;"><span lang="EN-US">Proposals for articles</span><span lang="EN-US"> (3,000 characters, spaces included), accompanied by a title, a maximum of 5 bibliographical references and a brief presentation of the author, should be sent to the following address: <strong>gabriel.segre@parisnanterre.fr</strong></span></p> <h3><span lang="EN-US">before 31 January 2025 </span></h3> <ul> <li class="MsoListParagraphCxSpMiddle"><span lang="EN-US">Authors will be notified of the acceptance or rejection of their proposal</span><span lang="EN-US"> by <strong>30 March 2025</strong>.</span></li> <li class="MsoListParagraphCxSpMiddle"><span lang="EN-US">They will then be able to submit their article by <strong>30 July 2025.</strong> Final contributions should not exceed 40,000 characters (spaces included). They should follow the journal’s <a title="https://journals.openedition.org/volume/1651" href="https://journals.openedition.org/volume/1651">instructions for authors</a>. </span></li> </ul> <p style="text-align: left;"><span lang="EN-US">They will undergo the <em>Volume!</em>’s<strong> </strong>double-blind peer review procedure: acceptance of abstracts does not imply acceptance of the final version of the article.</span></p> <h1>Scientific coordination</h1> <ul> <li>Gabriel Segré : Maître de Conférences HDR, sociologie, Université Paris Nanterre <a title="gabriel.segre@parisnanterre.fr" href="mailto:gabriel.segre%40parisnanterre.fr?subject=Volume%20!%20Fans">gabriel.segre@parisnanterre.fr</a></li> <li>Arnaud Alessandrin, docteur en sociologie, Université de Bordeaux <a href="mailto:arnaud.alessandrin@gmail.com?subject=Volume%20!%20Fans">arnaud.alessandrin@gmail.com</a></li> <li>Christophe Apprill, sociologue, membre associé à l’URMIS (UR migrations et société) <a href="mailto:christophe.apprill@orange.fr?subject=Volume%20!%20fans">christophe.apprill@orange.fr</a></li> </ul> <h1>References</h1> <p style="text-align: left;"><span lang="EN-US">Alessandrin, A., 2017, « “Who run the world? Girls!” Beyoncé, pop féminisme et fandom », dans Alessandrin, A. et Bourdaa, M. (dir.), <em>Fan et genre studies : la rencontre</em>, Téraèdre.</span></p> <p style="text-align: left;"><span lang="EN-US">Anderson, T., 2012, “Still kissing their posters goodnight: Female fandom and the politics of popular music ”, <em>Participations. Journal of Audience & Reception Studies</em>, vol. 9.</span></p> <p style="text-align: left;"><span lang="EN-US">Becon-Smith, C., 1992, <em>Enterprising Women: Television Fandom and the Creation of Popular Myth</em>, University of Pennsylvania Press.</span></p> <p style="text-align: left;"><span lang="EN-US">Béliard, A.-S., 2009/1, “Pseudos, avatars et bannières : la mise en scène des fans. Étude d’un forum de fans de la série télévisée <em>Prison Break</em> (enquête) », <em>ENS Cachan | Terrains & travaux</em>, n<sup>o</sup> 15, p. 191-212.</span></p> <p style="text-align: left;"><span lang="EN-US">Bennet, L., 2012, “Music Fandom Online: R.E.M. fans in pursuit of the ultimate first listen ”, <em>New Media & Society</em>, 14(5).</span></p> <p style="text-align: left;"><span lang="EN-US">Berman, G., Lapidos, M., Bernstein, S., 2008, <em>« We’re Going to See the Beatles! » : An Oral History of Beatlemania as Told by the Fans Who Were There</em>, Solana Beach, CA: Santa Monica Press.</span></p> <p style="text-align: left;"><span lang="EN-US">Booth, P., 2010, <em>Digital Fandom. New Media Studies</em>, New York, Peter Lang.</span></p> <p style="text-align: left;"><span lang="EN-US">Bourdaa, M., 2012, « “Taking a break from all your worries” : <em>Battlestar Galactica</em> et les nouvelles pratiques télévisuelles des fans », <em>Questions de communication</em> [En ligne], 22, mis en ligne le 31 décembre 2014.</span></p> <p style="text-align: left;"><span lang="EN-US">Bourdaa, M., 2020, « Quand les publics fans deviennent co-créateurs des séries télévisées », <em>Effeuillage</em>, vol. 9, n<sup>o</sup> 1, p. 15-19.</span></p> <p style="text-align: left;"><span lang="EN-US">Bourdaa, M., 2019, « Les fans, ces publics si spécifiques. Définition et méthodologie pour le chercheur », <em>Belphégor</em> [En ligne], 17.</span></p> <p style="text-align: left;"><span lang="EN-US">Brooker, W., 2002, <em>Using the Force: Creativity, Community and Star Wars Fans</em>, New York, London, Continuum.</span></p> <p style="text-align: left;"><span lang="EN-US">Cherry, B., 2002, “Screaming for release: femininity and horror film fandom in Britain ”, dans Chibnall, S., Petley, J. (dir.), <em>British Horror Cinema</em>, Routledge, p. 42–57.</span></p> <p style="text-align: left;"><span lang="EN-US">Collier, N., Lamadue, C., Wooten, H. R., 2009, « <em>Buffy the Vampire Slayer</em> and <em>Xena: Warrior Princess</em>: Reception of the Texts by a Sample of Lesbian Fans and Website Users », <em>Journal of Homosexuality</em>, 56(5), p. 575–609.</span></p> <p style="text-align: left;"><span lang="EN-US">Cooper, R., 1968, <em>Beatlesmania: An Adolescent Contra-Culture</em>, MA Diss, McGill University.</span></p> <p style="text-align: left;"><span lang="EN-US">Costel, O., 1993, « Des jeunes en quête d’identité : Michael Jackson et ses fans de Bucarest », <em>Civilisations</em> [En ligne], 42-2, mis en ligne le 1er décembre 1996, URL : <a href="http://journals.openedition.org/civilisations/2396" target="_new">journals.openedition.org/civilisations/2396</a>.</span></p> <p style="text-align: left;"><span lang="EN-US">Couldry, N., 2007, « On the Set of <em>The Sopranos</em>: ‘Inside’ a Fan’s Construction of Nearness », dans Gray, J., Harrington, C. L., Sandvoss, C. (dir.), <em>Fandom : Identities and Communities in a Mediated World</em>, New York, New York University Press, p. 139–148.</span></p> <p style="text-align: left;"><span lang="EN-US">Crawford, W., 2011, <em>Video Gamers</em>, Abingdon, Routledge.</span></p> <p style="text-align: left;"><span lang="EN-US">Dalbavie, J., 2012, « Entre patrimoine et mémoire collective, la tombe de Georges Brassens », <em>Questions de communication</em>, 22, p. 103-121.</span></p> <p style="text-align: left;"><span lang="EN-US">DeAngelis, M., 2001, <em>Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves</em>, Durham, Duke University Press.</span></p> <p style="text-align: left;"><span lang="EN-US">Doss, E., 1999, <em>Elvis Culture: Fan, Face and Image</em>, University of Kansas Press, Kansas.</span></p> <p style="text-align: left;"><span lang="EN-US">Duffett, M., 2011, « Elvis Presley and Susan Boyle: Bodies of Controversy », <em>Journal of Popular Music Studies</em>, 23(2), p. 166-188.</span></p> <p style="text-align: left;"><span lang="EN-US">Duffett, M., 2013, <em>Understanding Fandom. An Introduction to the Study of Media Fan Culture</em>, New York, London, Bloomsbury.</span></p> <p style="text-align: left;"><span lang="EN-US">Duphil, M., 2017, « Fan de Madonna : d’une ethnographie réflexive à une sociologie des affects », <em>Me, myself and I and Madonna</em>, consulté le 12 juillet 2024 à l’adresse <a href="https://madonnaethno.hypotheses.org/1" target="_new">https://madonnaethno.hypotheses.org/1</a>.</span></p> <p style="text-align: left;"><span lang="EN-US">Edwards-Grossi, E., “Mexican Blood, American Heart: l’entrepreneuriat de soi et le culte DIY des fans latinos de Morrissey à Los Angeles ”, <em>Volume!</em>, 16:2-17:1, p. 225–241.</span></p> <p style="text-align: left;"><span lang="EN-US">Fiske, J., 1992, “The cultural economy of fandom ”, dans Lewis, L. A. 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(dirs.), <em>The Many Lives of The Batman: Critical Approaches to a Superhero and His Media</em>, Routledge Revivals.</span></p> <p style="text-align: left;"><span lang="EN-US">Pontoizeau, A., 2019, “L’Eurovision en France : concours de reconquête du public aux airs de soft power ”, <em>Effeuillage</em>, vol. 8, no. 1, p. 20–27.</span></p> <p style="text-align: left;"><span lang="EN-US">Pouchelle, M.-C., 1983, « Sentiments religieux et show-business : Claude François, objet de dévotion populaire », dans Schmitt, J.-C. (dir.), <em>Les Saints et les stars</em>, Beauchesne, p. 276-300.</span></p> <p style="text-align: left;"><span lang="EN-US">Ribac, F., 2017, « Justify Madonna? Star, fans et genre », dans Bourdaa, M., Alessandrin, A. (dirs.), <em>Fan et Gender Studies, la rencontre</em>, Téraèdre, p. 37-52.</span></p> <p style="text-align: left;"><span lang="EN-US">Segré, G., 2003, <em>Le culte Presley</em>, « Sociologie d’Aujourd’hui », Paris, Presses Universitaires de France.</span></p> <p style="text-align: left;"><span lang="EN-US">Segré, G., 2007, <em>Au nom du King. Elvis, les fans et l’ethnologue</em>, Montreuil, Aux lieux d’être.</span></p> <p style="text-align: left;"><span lang="EN-US">Segré, G., 2014, <em>Fan de… Sociologie des nouveaux cultes contemporains</em>, Paris, Armand Colin.</span></p> <p style="text-align: left;"><span lang="EN-US">Stevenson, N., 2009, « Talking to Bowie fans: Masculinity, Ambivalence, and Cultural Citizenship », <em>European Journal of Cultural Studies</em>, n<sup>o</sup> 12, p. 79-98.</span></p> <p style="text-align: left;"><span lang="EN-US">Thomas, L., O’Shea, T. 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Usages de connaissances, dynamiques de reconnaissance », <em>Education et sociétés</em>, n<sup>o</sup> 22, p. 43-55.</span></p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=201">Sociologie</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=270">Information</a> > <a href="search?primary=fsubject&fsubject=271">Sciences de l'information</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a> > <a href="search?primary=fsubject&fsubject=215">Anthropologie culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=201">Sociologie</a> > <a href="search?primary=fsubject&fsubject=206">Sport et loisirs</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=201">Sociologie</a> > <a href="search?primary=fsubject&fsubject=207">Sociologie de la consommation</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=270">Information</a> > <a href="search?primary=fsubject&fsubject=275">Histoire et sociologie des m茅dias</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=201">Sociologie</a> > <a href="search?primary=fsubject&fsubject=211">Sociologie de la culture</a></li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>vendredi 31 janvier 2025</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>fans, amateurs, passion, musiques populaires</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Arnaud Alessandrin<br/><em>courriel :</em> arnaud [dot] alessandrin [at] gmail [dot] com<br/></li> <li>Christophe Apprill<br/><em>courriel :</em> christophe [dot] apprill [at] orange [dot] fr<br/></li> <li>Gabriel Segr茅<br/><em>courriel :</em> gabriel [dot] segre [at] parisnanterre [dot] fr<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://journals.openedition.org/volume/">Volume ! la revue des musiques populaires</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Jedediah Sklower<br/><em>courriel :</em> jedediah [dot] sklower [at] sorbonne-nouvelle [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Fans de groupes, de chanteurs & de chanteuses 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le vendredi 22 novembre 2024, <a class="url" href="https://doi.org/10.58079/12qq6">https://doi.org/10.58079/12qq6</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('1207920?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="1207920?formatage=print">Imprimer</a> <a id="signaler" 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