2018 07 18 centr

Публічна програма “Місто на лінії: Львів у листопаді 1918 року” розглядатиме війну крізь три відмінні, однак взаємопов’язані перспективи – глобальну, локальну та індивідуальну. Дослідники з різних країн дискутуватимуть про місце українсько-польської війни у контексті “довгої” європейської кризи 1914–1923 рр. Значну увагу буде зосереджено на війні як індивідуальних досвідах різних її учасників – солдатів, цивільного населення, зокрема жінок, та військовополонених. Окремі лекції порушать питання про те, що означала війна для воюючих сторін у місті – української та польської, а також для офіційно нейтральної єврейської громади; у який спосіб і для чого формувалися міфи “Листопадового Чину” та “оборони Львова” в українському та польському символічному полі. На завершення програми презентації інтерактивної карти про Львів у Першій світовій запропонують новий погляд на війну через дослідження впливу воєнного конфлікту на повсякдення міста.


Volume for the Routledge Series in Conspiracy Theories

Edited by

Anastasiya Astapova (University of Tartu)

Onoriu Colacel (Stefan cel Mare University of Suceava)

Corneliu Pintilescu (The Romanian Academy Cluj-Napoca)

Tamás Scheibner (Eötvös Loránd University of Budapest)


In this volume, we explore new democracies that emerged after communism in Eastern Europe in the early 1990s. The expectation then was that countries of the region regain their agency and join capitalist states in a pan-European and worldwide circulation of capital, people, and ideas. This was dominantly imagined as a process leading to greater democracy and freedom, including freedom of speech and a more sophisticated public discourse capable to feed politics with refined ideas. Twenty years after the regime changes, however, Eastern Europe emerged instead as a primary place for inventing, adapting, mediating, and redistributing conspiracy theories.

This volume has three principal objectives: (1) it explores the various manifestations of the most viral conspiracy theories in contemporary Eastern Europe, (2) it seek answers to the question what are the historical conditions of the popularity of conspiracy theories in the region and, with a particular focus on how Cold War media (on both sides of the Iron Curtain) was managed and what imprint it had on regional practices and mindset, and (3) what are the historical-cultural specificities in these countries on the longue durée that contributed to the emergence of such a great variety of conspiracy theories. To answer these questions, we concentrate on the case studies from East European states exemplary of the interplay of the Communist influence, local dynamics, and global processes in the formation of conspiracy theories in this region.

Please send your suggestions, the abstract of your potential contribution, or questions about the volume to anastasiya.ast@gmail.com.


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War, Art and Visual Culture

An International Symposium on the Art and Visual Culture of War, Conflict and Political Violence

Monday 25 February 2019 SH Ervin Gallery
Sydney, Australia


Prof Joanna Bourke
Professor of History, Birkbeck, London and editor of War and Art: A Visual History of Modern Conflict (2017)
Dr George Gittoes AM Sydney Peace Prize 2015,
Bassel Shehadeh Award for Social Justice USA 2013

Today’s images of war and violent conflict are unlike those of the past – and the stakes are particularly high. News images of attacks on major European cities are immediate and their presentation emotive, videos of ISIS beheadings or military strikes spark across the internet in seconds, and contemporary war artists reflect on these images, sometimes offering alternative perspectives on war and violence. Artists and photojournalists are often embedded with troops, while others risk everything to work independently. Some voices dominate, while others are excluded. In recent years, then, the art and visual culture surrounding conflict is diverse and politically complex. War, Art and Visual Culture is a symposium aimed at exploring these complexities and generating new knowledge in this growing field.

The War, Art and Visual Culture symposium invites proposal submissions from artists, theorists, historians and researchers of war, art and visual culture.

We invite abstract submissions for individual 20-minute papers, as well as proposals for panel discussions, and other modes of presentation. We also invite graduate researchers, and particularly encourage interdisciplinary, cross-cultural and international submissions.

Possible topics include, but are not limited to:
- The conflicts and compromises of embedding artists, journalists and photographers with troops
- Historical perspectives on war, art and visual culture in comparison with today
- The ethics and aesthetics of aftermath photography and moving images
- The exclusion of other voices from the art and visual culture of war
- Uncovering the violence of image archives
- The politics of aesthetics in images of war and violence
- Differences in the approaches and work of official and non-official war artists
- The still and moving digital image in contemporary warfare
- Populism and nationalism in the art and visual culture of war and conflict

For papers and panel proposals, please submit an abstract of no more than 350 words, as well as a brief CV and 100-word biography (for each participant). Deadline for submission is Monday 16 July 2018.

Please direct submissions and questions to A/Prof Kit Messham-Muir at kit.messham-muir@curtin.edu.au Accepted participants will be notified in August 2018.

The War, Art and Visual Culture symposium is presented as part of the Art in Conflict project by Curtin University, University of Melbourne, UNSW Art & Design and University of Manchester, in partnership with the Australian War Memorial and the SH Ervin Gallery (National Trust NSW), with the generous support of the Australian Research Council.

Assoc Prof Kit Messham-Muir
Lead Investigator, Art in Conflict project School of Media, Creative Arts and Social Inquiry GPO Box U1987
Perth Western Australia 6845

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