Can I Work With Impetigo

Places, memories, commemorations

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17, 18 and 19 May 2011, the Faculty of Arts Moulay Ismail in Meknes The research group in art and literature and the French Institute of Meknès organize a symposium on the theme plural Places, memories, commemorations. This event will be accompanied by several photographic exhibitions.

Rationale:

"I know right away that I'll spend my life trying to coincide with the open space"

Philippe Sollers, dictionary lovers Venice

This conference could, in the wake of the lectures, "Poetics of the City" and "Representations and Aesthetics of Ruins," extend the approach to become (s) memory (s) seized (s) through the prism of relations may develop between one (s) and the latter "places" which is the texture of a substance now eminently hybrid because of stones as well as writings and images (still or moving). Thus, in literature as in art, it revisits the places already there, as well as those that can be described as "new" or simply "unpopular" or "not seen enough."

Some of these places are as insular spaces and incantatory in that they cause an effect ataractic, cathartic and even that is likely to make us aware of all the progress in taking over the space that we end up investing in a place that is ours, that is to say, giving him an identity.

What kind of sentimental ties thus established with these places? Where does that man feel the need to visit these places of remembrance and what effects they produce in him? Finally, these places do they take today the same place and do they have the same importance as before?

But the question then is what are here and there, the issues, the ins and outs, knowing that since Msid (Koranic school), steam room or the medina (largely revisited sites in Moroccan literature in French language) until the arrival of a community of "new" spaces (cinema, prison, text or images ), we are witnessing a process of expanding the paradigm of places of memory. Many memories can be called here, including: memory geographical, architectural, urban, sound processor, pictorial, musical, etc..

In Morocco, for example, Abdellatif Laâbi claims necessary, if not urgency, a cultural policy to preserve the "memory of the contemporary" history to guard against the risk of amnesia, or "erase" irreversible. A painter like Kacimi, a writer like Choukri and many other proper names of writers, artists and "addresses" as emblematic of sociocultural change policies do not deserve to be among the "new" sites memory? Is there no need to define or redefine what is meant by memorials? Is there a "policy" and a "discourse" aware themselves in the matter?

The themes used could be partly related to how the mapping (the "list" or paradigm places of memory "local" and / or "(g) premises") wins "extended", " update "and" rewritten "- given that the boundaries here are more" short-circuited "by the" transnational "-so the question might be this:

What are the figures, methods and procedures "clean" for artists and writers " inhabited "(sometimes obsessively) by a place (or places) that they (re) roam," reinventing "and / or" réédifient "a place where they meet, each time, likely to attempt a possible and / or impossible quest that crystallizes the experience of Time itself , to use another word about Venice Sollers.

We invite all those interested in the topic to us send, until 20 January 2011, a 400-word abstract of their proposed communications to the following addresses:

m.lehdahda @ gmail.com

ifmeknes @ co. my