community; music; authenticity; contingency; literature; alterity; globalization; theory; architecture; arts
Imesch Kornelia Sigrid Schade and Samuel Sieber (2016), Constructions of Cultural Identities in Newsreel Cinema and Television after 1945
Imesch Kornelia (2016), Jean Tinguely & Le Corbusier in Swiss Weekly Film Newsreels and Television. Medial Rhetorics—Medial Discourses, 117-132.
Imesch Kornelia Sigrid Schabe and Samuel Sieber (2016), Newsreel and Cultural Identity in a Historical Perspective. An Introduction, 7-20.
Claviez Thomas ed. (2016), The Common Growl: Toward a Poetics of Precarious Community
Cavedon Christina (2015), Cultural Melancholia: US Trauma Discourses Before and After 9/11
Marchi Viola (2015), Ethics, Interrupted: Community and Impersonality in Levinas, n/a-n/a.
Claviez Thomas (2015), Krise, Kritik, Kontingenz: Prolegomena zu einer neuen Poetik der Gemeinschaft, 107-120.
Sweers Britta (2015), Le Mystère de Marcel Cellier: Transfer Processes in Early World Music, in Journal for World and Popular Music
, 2(n/a), 156-179.
Wetzel Dietmar (2015), The New Limits to Growth and the Birth of the Décroissance Movement
Hennard Dutheil de la Rochère Martine (2014), Angela Carter traductrice - Angela Carter en traduction
Hennard Dutheil de la Rochere Martine (2014), Beyond Centre and Margin: (self-)translation and the Ecopoetics of Space in Geetanjali Shree's Mai, 379-400.
Imesch Kornelia (2014), City, Urbanism, and the Art of a Brand: HafenCity Hamburg & Saadyat Island Cultural District, 203-219.
Sweers Britta (2014), Der lettische Pagan Metal: Eine ethnomusikologische Quellenkritik und Diskursanalyse, 101-116.
Hagmann Lea and Volker Dellwo (2014), Listeners may rely on intonation to distinguish languages of different rhythm classes, in Loquesn. Spanish Journal of Speech Sciences
, 1, n.p..
Sweers Britta (2014), Newport et au-delà: Discours sur la mythologie des festivals, in Les Cahiers d’ Ethnomusicologie
, 27, 165-186.
Sweers Britta (2014), Towards an Application of Globalization Paradigms to Modern Folk Music Revivals” In: Bithell, Caroline und Juniper Hill, 466-486.
Claviez Thomas (2014), Traces of a Metonymic Society in American Literary History, 299-322.
Imesch Kornelia and Adèle Etter and Edmond Charrière (2014), Utopia and Reality as Phenomena and Parameters of a Contemporary Look on the City, 9-16.
Imesch Kornelia and Edmond Charrière and Adèle Etter (2014), Utopia and the reality of urbanism in the 20th century La Chaux-de-Fonds, Chandigarh, Brasilia
Wetzel Dietmar J. (2014), Wachstumskritik im postmodernen Kapitalismus. Begründungsversuche ‚unbedingter Ansprüche‘ im Kontext alternativer Lebensformen, 211-227.
Claviez Thomas, A Metonymic Community? Towards a Poetics of Contingency, 39-56.
Hennard Dutheil Martine et al., Cinderella Across Cultures: New Directions and Interdisciplinary Perspectives
Claviez Thomas, Introduction: Towards a poetics of Community, 1-15.
Sweers Britta, Marcel Cellier, 94-100.
Wetzel Dietmar, New Aesthetico-Political Forms of Community? “Occupy” and the “Sharing Economy” as Examples, n/a.
Claviez Thomas, The Common Growl: Towards a Poetics of Precarious Community
Claviez Thomas and Dietmar Wetzel, Zur Aktualität von Jacques Rancière. Einleitung in sein Werk
SUBPROJECT A: A Post-Authentic Society? Toward a Metonymic Poetics of Community - Thomas Claviez / Dietmar WetzelSUBPROJECT B: Musical Modes of Authenticity -Britta SweersSUBPROJECT C: Authenticity and Hybridity in Culture, Art and Architecture of the Greater Middle East - Kornelia Imesch Oechslin / Martine Hennard Dutheil de la Rochère*****************************************************Within contemporary society, the concept of authenticity has acquired a paradoxical status. Developments within psychoanalysis, deconstruction, post-colonialism, and feminism have undermined the unquestioned legitimacy often attributed to authenticity as a means of asserting individual or collective identity. Nonetheless, cultural producers and promoters often deploy claims of authenticity to confer legitimacy, currency, and popular appeal. Generally depending on unempirical justification for financial underwriting and public dissemination, the arena of cultural production thus provides fertile ground through which to analyze the deployment of the trope of authenticity in contemporary society. The label of the authentic simultaneously enables artists and artifacts to appeal to both local and global audiences and to mediate new systems of social inclusion and exclusion. Bridging the ambivalent attitudes of theoretical doubt and pragmatic utilization of tropes of authenticity, this project aims to use an analysis of claims of authenticity to produce models of collective identity in a globalizing world of ever-increasing cultural flux.Under the leadership of the Center for Cultural Studies (CCS) of the University of Bern, and in cooperation with members of the Faculté des lettres at the University of Lausanne, the interdisciplinary SINERGIA project "Theory and Practice of Authenticity in Global Cultural Production" examines the paradoxical relevance of this concept within various disciplines and cultural fields, bridging theoretical considerations and cultural practices connected to it and creating a methodology allowing for a mutual commensurability of the different discourses inhabiting the term 'authenticity.' In light of recent theoretical discussion, it addresses questions such as:-UNDER WHAT CONDITIONS, BY WHOM, AND FOR WHOM IS THE CONCEPT OF 'AUTHENTICITY' DEPLOYED, REJECTED, OR DEBATED, AND WHO PROFITS FROM IT? -DOES AUTHENTICITY STILL HAVE HEURISTIC OR HERMENEUTIC VALUE? IF NOT, HOW CAN WE EXPLAIN THE LASTING POWER OF AUTHENTICITY IN CULTURAL PRACTICE? -HOW DO CONCEPTS OF AUTHENTICITY VARY BETWEEN DISCIPLINES AND CULTURES? -HOW DO NOTIONS OF AUTHENTICITY DIFFER REGARDING OBJECTS, SUBJECTS, AND COLLECTIVES?-HOW CAN A CROSS-DISCIPLINARY METHODOLOGY BE DEVISED THROUGH WHICH TO ANALYZE THE SOCIAL FUNCTION OF THE TROPE OF 'AUTHENTICITY' IN BOTH THEORETICAL AND PRAGMATIC TERMS?The interdisciplinary institutional structure of the CCS provides unique qualification for the leadership with this project which is expanded through collaboration with the University of Lausanne. The project will not only promote and support young researchers, but will also serve as a first step toward a joint, inter-university doctoral program, as defined in the "Projektskizze" for future doctoral programs 2014-16 circulated by the Schweizerische Universitätskonferenz (SUK). The project will use its colloquia and publications to disseminate new models of collective agency to participate in contemporary theoretical debate about the cultural production of community in the contemporary world, and will propose pragmatic uses of alternatives to the trope of authenticity for use in cultural and marketing contexts.