{"word_count": 3670, "character_count": 28043}
ArgumentaireR&#233;sum&#233;&#160;: Le colloque &#171;&#160;La chambre d&#8217;enfant, un&#160; microcosme culturel&#160;&#187; vise &#224; dresser l&#8217;&#233;tat des connaissances sur la culture mat&#233;rielle de l&#8217;enfant dans l&#8217;espace domestique et &#224; stimuler les d&#233;veloppements de la recherche suivant trois axes principaux. Ils ont &#233;t&#233; retenus pour mieux saisir la chambre d&#8217;enfant aussi bien dans son histoire que dans le monde contemporain, dans sa mat&#233;rialit&#233; que dans ses repr&#233;sentations. Le premier axe envisagera la chambre d&#8217;enfant sous l&#8217;angle de l&#8217;architecture, comme un espace d&#233;limit&#233; r&#233;serv&#233; &#224; l'enfant au sein de l'habitat et caract&#233;ris&#233; par des sp&#233;cificit&#233;s autant techniques (forme, volume, etc.) que culturelles. Le deuxi&#232;me axe s&#8217;attachera &#224; la chambre comme lieu privil&#233;gi&#233; des biens de l&#8217;enfance. Il s&#8217;agira d&#8217;aborder les questions de consommation et de culture mat&#233;rielle enfantines, ainsi que des modalit&#233;s d&#8217;inscription de ces objets dans les chambres d&#8217;enfant. Enfin le dernier axe consid&#233;rera la chambre comme un espace &#233;ducatif, dans lequel peuvent cohabiter perspectives scolaires et univers du divertissement, vis&#233;es adultes et points de vue enfantins, et dont l&#8217;am&#233;nagement participe tour &#224; tour d&#8217;une formation du go&#251;t, d&#8217;une &#233;ducation esth&#233;tique ou d&#8217;une &#233;ducation &#224; la consommation.Mots-clefs&#160;: chambre d&#8217;enfant, espace domestique, culture mat&#233;rielle, culture enfantine, consommation enfantine, objets de l&#8217;enfance, repr&#233;sentation culturelle de l&#8217;enfance, &#233;ducation&#338;uvre d&#8217;hygi&#232;ne, &#171;&#160;office de prudence&#160;&#187;, p&#233;rim&#232;tre prot&#233;g&#233; des dangers de la maison et de la rue, &#171;&#160;sanctuaire&#160;&#187; f&#233;minin au XIXe si&#232;cle (Fonssagrives 1871), mais aussi &#171;&#160;nid d&#8217;&#226;mes&#160;&#187; (Hugo 1859), instrument d&#8217;&#233;ducation aux valeurs sociales, morales et esth&#233;tiques (Renonciat 1989, 2005), la chambre d'enfant est aujourd'hui une r&#233;alit&#233; partag&#233;e par filles et gar&#231;ons en Occident &#160;: espace de repos et de travail, terrain de jeux r&#233;els ou virtuels, &#171;&#160;refuge de l&#8217;intimit&#233;&#160;&#187; (Ranum 1986), fen&#234;tre ouverte sur le monde, d&#233;couvert ou r&#234;v&#233;, centre d&#8217;apprentissage de l&#8217;autonomie, forge de l&#8217;identit&#233;. Aujourd&#8217;hui, comme jadis, la chambre d&#8217;enfant appara&#238;t comme une r&#233;alit&#233; complexe qui, bien que suscitant depuis un demi-si&#232;cle l&#8217;int&#233;r&#234;t croissant de chercheurs issus de disciplines vari&#233;es, demeure encore, surtout en France, un territoire peu explor&#233;.Les organisateurs du colloque sur &#171;&#160;la chambre d&#8217;enfant, un&#160; microcosme culturel&#160;&#187;, souhaitent tout &#224; la fois dresser l&#8217;&#233;tat des connaissances sur le domaine et stimuler les d&#233;veloppements de la recherche suivant trois axes principaux. Ils ont &#233;t&#233; retenus pour mieux saisir la chambre d&#8217;enfant aussi bien dans son histoire que dans le monde contemporain, &#224; travers sa mat&#233;rialit&#233; qu&#8217;au niveau des repr&#233;sentations qui contribuent &#224; la constituer comme un espace mat&#233;riel, social, esth&#233;tique et culturel.1. Un espace dans la maisonLe premier axe envisagera la chambre d&#8217;enfant sous l&#8217;angle de l&#8217;architecture, comme un espace d&#233;limit&#233; r&#233;serv&#233; &#224; l'enfant au sein de l'habitat, que caract&#233;risent emplacement, forme, superficie, volume, orientation, communication&#160;: autant de sp&#233;cificit&#233;s qui, pour &#234;tre techniques, n&#8217;en d&#233;pendent pas moins de crit&#232;res et de repr&#233;sentations culturelles, notamment du statut de l&#8217;enfant dans la soci&#233;t&#233; (Perrinjaquet 1979, 1982). Divers sp&#233;cialistes se sont int&#233;ress&#233;s &#224; ce territoire priv&#233; en Grande-Bretagne (King-Hall 1958) et en Allemagne (Weber-Kellermann 1979, 1991), liant son apparition aux mutations de l&#8217;habitat des soci&#233;t&#233;s industrielles d&#8217;Europe du Nord (Robertson 1974, C. Hall 1987, Perrot 1987, Guerrand 1987, Eleb-Vidal et Debarre-Blanchard 1989). Mais les voies ouvertes par ces pionniers ont-elles &#233;t&#233; suivies&#160;: quelle place occupe la chambre d&#8217;enfant, comment est-elle con&#231;ue dans l&#8217;&#339;uvre des grands architectes du XXe si&#232;cle, dans l&#8217;effort de reconstruction apr&#232;s la Seconde Guerre mondiale, dans les ensembles des banlieues construits dans les ann&#233;es 1960&#160;? Quelles sont ses caract&#233;ristiques contemporaines&#160;? 2. Un lieu privil&#233;gi&#233; pour les biens de l&#8217;enfantLi&#233;e aux &#233;volutions des mentalit&#233;s et des modes de vie, l&#8217;&#233;mergence de la chambre d&#8217;enfant au XIXe si&#232;cle accompagne aussi l&#8217;av&#232;nement progressif de la consommation dans la soci&#233;t&#233; industrielle. Elle est tout &#224; la fois encadrement de l&#8217;enfant casseur des biens de l&#8217;adulte, et structure d'accueil et de gestion de ses biens propres : mobilier, livres, images, jouets, v&#234;tements. Les travaux d&#8217;histoire sur ces objets culturels de l&#8217;enfance sont aujourd&#8217;hui nombreux. Certains s&#8217;attachent &#224; tout l&#8217;univers de la chambre d&#8217;enfant, en Grande-Bretagne (Miall 1980, White 1984), en Italie (Nogare et Finocchi 1982) et aux Etats-Unis (Calvert 1992), d&#8217;autres portent principalement sur les livres (trop abondants pour &#234;tre cit&#233;s) et sur les jouets, en France (Manson 2001) ou aux Etats-Unis (Cross 1999). L&#8217;histoire du mobilier et des objets fonctionnels de l&#8217;enfance est tout enti&#232;re &#224; &#233;crire dans notre pays, appelant tout &#224; la fois des monographies et des &#233;tudes globales susceptibles d&#8217;appr&#233;hender production et usages dans leurs dimensions historiques, sociales, et culturelles.Aux &#201;tats-Unis, la puissance de l&#8217;industrie culturelle a conduit les chercheurs &#224; s&#8217;interroger sur les relations de l&#8217;enfant &#224; ses objets dans une chambre con&#231;ue comme espace de consommation individualis&#233;e des produits qui lui sont propos&#233;s. Face au d&#233;veloppement de la culture adolescente (James 2001, Baker 2004), la notion de &#171;&#160;culture de la chambre&#160;&#187; s&#8217;est d&#233;velopp&#233;e (Brown, Dyckers, Steele and White 1994, 1995, Livingstone 2002), &#233;tendue en France &#224; la pr&#233;-adolescence (Glevarec 2010). Elle implique l&#8217;&#233;tude de la fa&#231;on dont les jeunes, dans un processus interactif d&#8217;&#233;laboration de leur identit&#233; (Ang et Herm&#232;s 1991), travaillent et jouent avec une vari&#233;t&#233; de symboles et d&#8217;artefacts culturels disponibles, &#171;&#160;cultural tool kit&#160;&#187; de la soci&#233;t&#233; globale (Swidler 1986). Sous cet angle, la chambre est d&#233;sormais per&#231;ue comme un microcosme culturel,&#160;terrain de tension, de confrontation, de n&#233;gociation, de compromis&#160;entre adultes et enfants, entre m&#233;dias et individus. Il importe de regarder aujourd&#8217;hui ce qui se passe en France, et du c&#244;t&#233; des plus jeunes, pour &#233;tudier leur rapport &#224; la culture mat&#233;rielle, la fa&#231;on dont celle-ci s&#8217;inscrit dans l&#8217;espace domestique, mais aussi pour saisir les diff&#233;rentes strat&#233;gies d&#8217;ind&#233;pendance, d&#8217;autonomisation, ou a contrario de contr&#244;le parental. Pourront &#233;galement trouver une place les travaux sur les biens de l&#8217;enfant, les diff&#233;rents objets qui lui sont destin&#233;s et qui ont le plus souvent vocation &#224; &#234;tre conserv&#233;s et en partie utilis&#233;s dans la chambre&#160;: jouets, jeux, livres, papeterie, objets techniques, bonbons, v&#234;tements, mobiliers, etc. Comment sont con&#231;us, produits, distribu&#233;s et consomm&#233;s les biens de l&#8217;enfant, comment s&#8217;inscrivent-ils dans une culture populaire de masse qui permet une circulation des univers et des personnages &#224; travers divers supports (Broug&#232;re 2003, 2008&#160;; De La Ville et Durup 2008)&#160;? La mise en sc&#232;ne marchande pourra aussi &#234;tre &#233;tudi&#233;e, non seulement en tant que mani&#232;re de pr&#233;senter l&#8217;offre aux enfants-consommateurs, mais aussi comme une &#171;&#160;mise en image&#160;&#187; de ces derniers int&#233;gr&#233;s au processus m&#234;me de conception des produits.3. Un univers &#233;ducatifDans le monde occidental, l&#8217;enfance b&#233;n&#233;ficie d&#8217;une pi&#232;ce qui lui est d&#233;di&#233;e, lieu privil&#233;gi&#233; de concentration dans la maison des objets de la culture mat&#233;rielle enfantine, mais aussi espace de construction identitaire et d&#8217;apprentissage. La chambre est ainsi susceptible, sinon de servir une vis&#233;e p&#233;dagogique, du moins de s&#8217;inscrire dans une dynamique &#233;ducative. Elle n&#8217;est pas &#233;trang&#232;re aux objets typiques de l&#8217;&#233;cole&#160;ou de la transmission des savoirs : mat&#233;riel scolaire (cartable, trousse, cahiers, etc.), mobilier (bureau, biblioth&#232;que), cahiers de vacances, jeux et loisirs &#233;ducatifs&#8230; quand bien m&#234;me ces objets croisent les univers de la culture de masse via une trousse Dora l&#8217;exploratrice ou un cartable Pok&#233;mon. La chambre appara&#238;t alors comme un espace de rencontre, d&#8217;opposition ou d&#8217;int&#233;gration entre le divertissement enfantin et les prescriptions scolaires, mais aussi entre les volont&#233;s des enfants et les attentes parentales.&#192; cet &#233;gard, le d&#233;cor de la chambre d&#8217;enfant s&#8217;av&#232;re un domaine pertinent de recherche, o&#249; se confrontent go&#251;ts et valeurs esth&#233;tiques des adultes et pr&#233;f&#233;rences suppos&#233;es ou r&#233;elles des enfants. D&#232;s la fin du XIXe si&#232;cle, la conscience des effets de l&#8217;environnement mat&#233;riel et visuel de l&#8217;enfant sur son d&#233;veloppement psychique et intellectuel a conduit des &#233;ducateurs, parents et p&#233;dagogues, et des cr&#233;ateurs &#224; se soucier de la qualit&#233; esth&#233;tique de son cadre de vie, sans renoncer pour autant &#224; exploiter les ressources p&#233;dagogiques d&#8217;une chambre parfois con&#231;ue comme un livre aux pages g&#233;antes (Renonciat 2006). Images, papiers peints, tissus, mobilier ont vu le jour, passant rapidement d&#8217;une cr&#233;ation artisanale dot&#233;e d&#8217;ambitions artistiques &#224; une production industrielle qui s&#8217;av&#232;re aujourd&#8217;hui pl&#233;thorique. Ce terrain de recherche, &#224; la crois&#233;e de l&#8217;art et de la p&#233;dagogie, de l&#8217;art et de l&#8217;industrie, ouvre de vastes perspectives, exigeant toutefois, dans un premier temps, le rep&#233;rage patient d&#8217;une production en partie disparue, victime des mauvais traitements de ses destinataires ou de son d&#233;faut de l&#233;gitimit&#233;, artistique et culturelle. Qu&#8217;en est-il aujourd&#8217;hui de la relation entre la chambre, les objets que l&#8217;on y trouve et l&#8217;&#233;ducation de l&#8217;enfant&#160;? Certains objets sont-ils con&#231;us, pens&#233;s, utilis&#233;s comme des moyens pour l&#8217;&#233;ducation esth&#233;tique&#160;? On pourra ainsi s&#8217;int&#233;resser au r&#244;le du design des produits de l&#8217;enfant comme support d&#8217;une formation du go&#251;t. La question de l&#8217;&#233;ducation &#224; la consommation est &#233;galement une des dimensions de cette rencontre entre la chambre, les biens de l&#8217;enfant issus des univers marchands et non-marchands et la vis&#233;e &#233;ducative des adultes. Th&#233;&#226;tre d&#8217;une activit&#233; sp&#233;cifique, la chambre est tant le produit que le producteur de m&#233;diations sociales et s&#233;miotiques qui rendent possible la participation de l&#8217;enfant &#224; de multiples activit&#233;s de consommation (De La Ville et Tartas 2011). C&#8217;est &#224; travers l&#8217;usage des outils culturels qu&#8217;on lui transmet que l&#8217;enfant va apprendre &#224; donner du sens &#224; ses propres pratiques de consommation et les faire &#233;voluer.Conditions de soumission &#160;&#160;&#160;&#160;&#160; Les propositions de contribution s&#8217;inscriront dans l&#8217;une de ces trois dimensions, architecturale, mat&#233;rielle et &#233;ducative de la chambre d&#8217;enfant&#160;ou, &#224; d&#233;faut, justifieront leur &#233;cart. Mais on pourra aborder ces questions sous plusieurs angles transversaux&#160;: repr&#233;sentations de la chambre d&#8217;enfant (dans la litt&#233;rature, le cin&#233;ma, les arts, etc.), dimensions historiques, anthropologiques, sociologiques, psychologiques, question du genre, etc.Les propositions, en fran&#231;ais ou en anglais, devront parvenir&#160; &#224; l&#8217;adresse suivante&#160;: annie.renonciat@cndp.fr avant le 1er d&#233;cembre 2012Elle se pr&#233;senteront sous la forme d&#8217;un document Word qui n&#8217;exc&#233;dera pas une page A4 (Times new roman 12, simple interligne) et comprendra&#160;:    Titre de la communication     Auteur    Appartenance institutionnelle     Coordonn&#233;es : adresse, pays de r&#233;sidence, num&#233;ro de t&#233;l&#233;phone, courriel.    Un r&#233;sum&#233; de 400 &#224; 500 mots environ. Il devra pr&#233;senter l&#8217;objet de la communication, la m&#233;thodologie, le corpus ou les donn&#233;es analys&#233;s et les principaux r&#233;sultats.Notification d&#8217;acceptation&#160;: 1er f&#233;vrier 2013Dates et lieu du colloque : Mus&#233;e national de l&#8217;&#201;ducation, Rouen, France, 8-10 avril 2013Les auteurs devront envoyer leur communication &#233;crite d&#8217;ici le 30 avril 2013 pour publication des actes.Frais d&#8217;inscription&#160;: 130&#8364; (comprennent pauses caf&#233;, trois d&#233;jeuners et un d&#238;ner)Organisateurs&#160;: Mus&#233;e national de l&#8217;&#201;ducation/CNDP, Universit&#233; Paris 13 (EXPERICE), Universit&#233; de Poitiers (CEREGE), avec le soutien de l&#8217;ANR, programme de recherche &#171;&#160;Les biens de l&#8217;enfant dans l&#8217;espace familial&#160;&#187;Sur le Mus&#233;e national de l&#8217;&#201;ducation&#160;: http://www.cndp.fr/musee/Sur la ville de Rouen&#160;: http://www.rouentourisme.com/&#160;Comit&#233; scientifique    Gilles Broug&#232;re (Universit&#233; de Paris Nord)    David Buckingham (University of London)    Dan Cook (Rutgers University)    In&#232;s de la Ville (Universit&#233; de Poitiers)    Yves Gaulupeau (Mus&#233;e national de l&#8217;&#201;ducation/CNDP)    Michel Manson (Universit&#233; de Paris Nord)    Roger Perrinjaquet (&#201;cole nationale sup&#233;rieure d&#8217;architecture de Paris &#8211; La Villette)    Michelle Perrot (Universit&#233; Paris 7- Denis Diderot)    Annie Renonciat (ENS Lyon, Mus&#233;e national de l&#8217;&#201;ducation/CNDP)English versionSummary&#160;: &#8216;The child&#8217;s room as a cultural microcosm&#8217; aims at gathering knowledge on the subject of children&#8217;s domestic material culture and stimulating the development of research along three main axes. These axes were chosen to have a better understanding of the child&#8217;s room in its history as well as in the contemporary world, in its materiality as well as in its representations. The first axis will examine the child&#8217;s room from an architectural-spatial point of view, as well as a well-defined space within the house specifically intended for the child. It may be characterized by technical specificities (shape, volume, etc.) as well as cultural ones. The second axis will investigate the child&#8217;s room as a privileged place for his or her belongings. The idea will be to focus on children&#8217;s consumption&#160; and material culture, examining how objects actually belong to a child in a child&#8217;s room. Finally, the last axis comprehends the child&#8217;s room as an educational place that sits at the intersection of both pedagogical and recreational uses and, as such, &#160;of both adults&#8217; and children&#8217;s points of view. The organisation of this room thus may contribute, in turn, to the education of taste, to an aesthetic education or to the education to consumption. Key words&#160;: child&#8217;s room, domestic space, material culture, children&#8217;s culture, children&#8217;s consumption, childhood objects, cultural representation of childhood, educationIn the 19th century, the child&#8217;s room was conceptualised by french authors as a &#8216;place for hygiene and prudence&#8217;, a perimeter protected from the dangers of the house and from those of the street, a women&#8217;s &#8216;sanctuary&#8217; (Fonssagrives 1871) as well as a &#8216;nest of souls&#8217; (Hugo 1859) and an instrument for the education to social, moral and aesthetic values (Renonciat 1989, 2005). Today, the&#160; child&#8217;s room is a reality shared by boys and girls in the Western world&#160;: a place to rest and work, a place of either real or virtual games, a &#8216;refuge for intimacy&#8217; (Ranum 1986), an open window on the world (be it discovered or fantasized), a learning center for autonomy, a developer of identity. As it was the case in the past, the contemporary child&#8217;s room turns out to be a complex reality which, although it has aroused researchers&#8217; interest in various fields for over half a century, still remains an unexplored territory, especially in France. The organisers of the conference &#8216;The child&#8217;s room as a cultural microcosm&#8217; wish to study the state of knowledge on the subject and to stimulate the development of research along three main axes&#160;: these axes were chosen to provide a better understanding of the child&#8217;s room in its history and the contemporary world, through its materiality as well as through the representations which contribute to defining it as a material, social, aesthetic and cultural place.     1. A      space within the houseThe first axis will investigate the child&#8217;s room from an architectura-spatial point of view, as a well-delimited space belonging to the child within the house and defined by location, shape, area, volume, orientation, communication. These various specificities, for all their technicalities, still depend on cultural criteria and representations to define the space as a child&#8217;s space (Perrinjaquet 1979, 1982). Various specialists have studied this private territory in Great Britain (King-Hall 1958) and Germany (Weber-Kellermann 1979, 1991), have linked its appearance to the mutations of housing in industrial societies in Northern Europe (Robertson 1974, C. Hall 1987, Perrot 1987, Guerrand 1987, Eleb-Vidal and Debarre-Blanchard 1989), among other things. Yet, we ask, have the new prospects opened by these pioneers been followed&#160;? What is the place of a child&#8217;s room today&#160;? What is its place in the work of the great architects of the 20th century, in the post-WW2 reconstruction effort, in all the suburbs built in the 60s&#160;? What are its contemporary features&#160;?2. A privileged place for the      child&#8217;s belongingsAs it was related to the evolution of mentalities and ways of living, the emergence of the child&#8217;s room in the 19th century emerged alongside the rise of consumption in industrial societies. The child&#8217;s own room became a place to control children as well as a container where they could store, play with and attend to the increasing number of things specially made for their use and consumption&#160;: furniture, books, pictures, toys, clothes. A good deal of historical research exists on these cultural objects belonging to childhood for Great Britain (Miall 1980, White 1984), Italy (Nogare and Finocchi 1982), the United States (Calvert 1992&#160;; Cross 1999). In France, studies look mainly at books (there are too many to be mentioned here) and at toys (Manson 2001). The history of children&#8217;s furniture and functionnal objects is to be written in our country, requiring the use of&#160; monographs and comprehensive studies which would be likely to comprehend production and customs in their historical, social and cultural dimension.In the United States, the power of the cultural industry has led researchers to wonder about the relationships between children and their belongings in rooms that were created as spaces of individual consumption of the products they are being offered. Facing the development of adolescent culture (James 2001, Baker 2004), the very notion of &#8216;room culture&#8217; has developed&#160; (Brown, Dyckers, Steele and White 1994, 1995, Livingstone 2002) and extended to pre-adolescence in France (Glevarec 2010). It requires the analysis of the way youngsters work and play with a variety of available symbols and cultural artefacts, in an interactive process of elaboration of their identity (Ang et Herm&#232;s 1991) &#8211; the &#8216;cultural tool kit&#8217; of global society (Swidler 1986). From this angle, the room is now perceived as a cultural microcosm, a place laden with tension, confrontation, negotiation, a place of compromises between adults and children, between the media and individuals. Today, it is important to look at what is happening in France, especially with the youngest ones, to study their relationship to material culture and the way their culture belongs to the domestic space, and also to grasp the different strategies of independence, of autonomy or, on the contrary, of parental guidance.The various objects which are aimed at children and which are meant to be kept and used in the child&#8217;s room (toys, games, books, stationery, technical objects, sweets, clothes, etc.) will also be of interest in the research on children&#8217;s belongings. How are these belongings conceived, produced, distributed and consumed&#160;? How do they fit into a mass culture which allows the circulation of characters and worlds through various media (Broug&#232;re 2003, 2008&#160;; De La Ville et Durup 2008)&#160;? The mercantile aspect shall also be analysed, not only as a way of presenting consumer-children with what they can buy, but also as a way of &#8216;portraying&#8217; the latter, as a part of the very process of conception of these products.     3. An      educational worldIn the Western world, the child benefits from a room that is dedicated to him or herself, a privileged place for the concentration of the objects of children&#8217;s material culture in the house, but also a place of identity construction and learning. The room may also be used, if not in an educational purpose, as a way of enhancing education. It is not different from the typical objects used at school to transmit knowledge&#160;: school material (schoolbags, pencil cases, books, etc.), furniture (desk, bookcase), holiday homework books, educational games, etc., even if these objects have to be confronted with mass culture references such as a Dora the Explorer pencil case or a Pokemon schoolbag. The room then appears as a place where different things can meet, oppose or be integrated&#160;: children&#8217;s leisure and school prescriptions but also children&#8217;s desires and parents&#8217; expectations.&#160;&#160; In this respect, decoration in the child&#8217;s room seems an interesting subject for research, where the tastes and aesthetic values of adults meet the supposed or real preferences of the child. As early as at the end of the 19th century, the discovery of the effects of the child&#8217;s material and visual environment on his or her mental and intellectual development led educators, parents, educationalists and creators to pay attention to the aesthetic quality of his or her environment, without failing to use educational resources, in a room that is sometimes perceived as a book with giant pages (Renonciat 2006). Pictures, wallpapers, fabric, furniture then appeared, promptly switching from traditional creation with artistic ambitions to an industrial production which turns out to be huge today. This field of investigation opens vast prospects and lies between art and education, art and industry. Still, to start with, these prospects require the close analysis of a production that has partly disappeared, being the victim of the ill-treatment of its recipients or the victim of its illegitimacy, both artistic and cultural.What can be said today about the relationship between the room, the objects that it contains and the education of children&#160;? Are some objects conceived, created and used as tools for aesthetic education&#160;? It shall also be interesting to study the role of the design of children&#8217;s objects as a way of educating their taste. The question of the education to consumption is also one of the dimensions of the encounter between the room, children&#8217;s objects originating from mercantile and non-mercantile backgrounds and also adults&#8217; instructional design. Hosting a specific activity, the room is the product as much as the producer of social and semiotic mediations which make it possible for children to participate in multiple activities of consumption (De La Ville et Tartas 2011). Thanks to the use of cultural tools, children are being shown how to give meaning to their own consumption habits and how to make them change.&#160;To submitThe paper proposals will have to be related to one of the three axes (architectural, material or educational) and if they are not, it will have to be clearly justified. Yet, these questions can be addressed from multiple angles&#160;: representations of the child&#8217;s room (in literature, in films, in arts, etc.), historical, anthropological, sociological, psychological dimensions, as well as questions of gender, etc. The proposals, either in English or in French, should be sent to the following address : annie.renonciat@cndp.fr by the first of December  2012They will have to be a Word document of no more than one page (Times New Roman 12, single spaced), including the following&#160;:    Title of the paper    Author    Institutional belonging    Personal details : address, country of residence, phone number, e-mail address    A summary of approximately 400 to 500 words, which shall contain the object of the paper, the methodology which was used, the corpus or the data which were analysed and the results.Dates and place of the colloquium : National Museum of Education, Rouen, France, 8 &#8211; 10 April 2013Notification of acceptance&#160;: 1st February  2013Authors will have to send their written papers by 30th April  2013, for publication of the proceedings.&#160; Fees&#160;: 130&#8364; (including coffee breaks, three lunches and one night banquet)Organisers&#160;: National Museum of Education/CNDP, University of Paris 13  (EXPERICE), University of Poitiers (CEREGE), with the support of the  ANR, research programme &#171; Children&#8217;s possessions at home&#160;&#187;About the National Museum of Education&#160;: http://www.cndp.fr/musee/About Rouen&#160;: http://www.rouentourisme.com/Scientific committee    Gilles Broug&#232;re (University of Paris Nord)    David Buckingham (Loughborough University)    Dan Cook (Rutgers University)    In&#232;s de la Ville (University of Poitiers)    Yves Gaulupeau (National Museum of Education/CNDP)    Michel Manson (University of Paris Nord)    Roger Perrinjaquet (&#201;cole nationale sup&#233;rieure d&#8217;architecture de Paris - La Villette)    Michelle Perrot (University Paris 7- Denis Diderot)    Annie Renonciat (ENS Lyon, National Museum of Education/CNDP)     