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Colloque international et interdisciplinaire organis&#233; par le CESR (U. Fran&#231;ois Rabelais/CNRS/MCC) et THALIM (CNRS/ENS/U. Paris 3) En partenariat avec le Punk Scholars NetworkPhilharmonie de Paris, 25 et 26 novembre 2016Argumentaire&#160;C&#8217;est au cours de l&#8217;&#233;t&#233; 1976 que simultan&#233;ment aux &#201;tats-Unis, en Australie, en Angleterre et dans de nombreux pays d&#8217;Europe, dont la France, une multitude de formations musicales sont brutalement d&#233;sign&#233;es dans la presse, ou s&#8217;autod&#233;signent comme &#171; punk &#187;, un terme argotique synonyme de vaurien, voyou, pourri, sans valeur. D&#233;fini par Hebdige dans son ouvrage s&#233;minal comme un &#171; amalgame contre nature &#187;, une &#171; alliance improbable et myst&#233;rieuse de traditions h&#233;t&#233;rog&#232;nes apparemment incompatibles &#187;, ces groupes ont en commun la volont&#233; de faire table rase de l&#8217;histoire du rock au moyen d&#8217;une musique qui revendique la simplicit&#233;, des textes qui se moquent des conventions sociales et politiques et une attitude &#233;nergique et provocatrice.Dans la France de Giscard o&#249; bruissent encore les &#233;chos du gaullisme finissant et de mai 1968, l&#8217;explosion punk, marqu&#233;e d&#232;s l&#8217;&#233;t&#233; 1976 par le festival de Mont-de-Marsan, prend &#224; revers la morosit&#233; ambiante li&#233;e &#224; la crise &#233;conomique et &#224; la forte hausse du ch&#244;mage, et clame son refus de l&#8217;ennui. Le mouvement, dont l&#8217;absence de perspective revendiqu&#233;e s&#8217;incarne dans le slogan No future, trouve un premier ach&#232;vement en 1978, lorsque les groupes embl&#233;matiques se sabordent et qu&#8217;une grande partie des sc&#232;nes occidentales dispara&#238;t, d&#233;bord&#233;e par le succ&#232;s des nouveaux courants musicaux comme le post-punk, la new wave et le disco. Pour autant, la dynamique punk trouve en France comme ailleurs un nouveau souffle, avec l&#8217;&#233;mergence d&#8217;une nouvelle sc&#232;ne qui se cristallise autour de sons musicaux plus durs et de textes plus engag&#233;s politiquement, l&#8217;apparition de nouvelles cat&#233;gories musicales (street punk, hardcore, o&#239;, etc.) et de nouveaux codes vestimentaires (cuirs clout&#233;s, cr&#234;tes, etc.), r&#233;inventant jusqu&#8217;&#224; nos jours le son et l&#8217;&#234;tre punk. L&#8217;&#233;tude de cette histoire en recomposition, de ses paradoxes, de ses forces et de ses fragilit&#233;s constitue la probl&#233;matique centrale de ce colloque.Il s&#8217;agira ainsi de revisiter la pertinence des p&#233;riodisations et des ruptures qui d&#233;finissent et organisent quarante ans de sc&#232;ne punk en France, de d&#233;passer le spectre d&#8217;un ph&#233;nom&#232;ne r&#233;duit &#224; l&#8217;&#233;vidence culturelle anglo-am&#233;ricaine et d&#8217;&#233;tudier comment s&#8217;&#233;laborent et se n&#233;gocient les fronti&#232;res entre une culture h&#233;g&#233;monique et une culture restreinte de la subversion.Modalit&#233;s pratiques d'envoi des propositions&#160;Les propositions de communication devront parveniravant le 15 septembre 2016aux adresses suivantes : luc.robene@u-bordeaux.fr et solveig.serre@gmail.com. Elles comprendront un titre, un r&#233;sum&#233; de 15 lignes maximum et une courte biobibliographie de 10 lignes maximum.Les communications dureront 20 minutes et seront suivies d&#8217;une discussion.Langues du colloque : fran&#231;ais et anglaisResponsables scientifiquesLuc Rob&#232;neSolveig SerreInternational and interdisciplinary conference organized by CESR (U. Fran&#231;ois Rabelais/CNRS/MCC) and THALIM (CNRS/ENS/U. Paris 3)&#160;In association with the Punk Scholars NetworkPhilharmonie de Paris, 25 and 26 November 2016Argument&#160;During the summer of 1976, simultaneously in the United States, Australia, the United Kingdom and across many European countries including France, scores of musical groups were suddenly being referred to in the press or self-defining themselves as &#8220;punk&#8221;, a slang term meaning lout, a good-for-nothing, a worthless nobody. Defined by Hebdige as an &#8220;unnatural synthesis&#8221; and an &#8220;alliance of diverse and superficially incompatible musical traditions&#8221;, all of these groups had one thing in common: the desire to wipe the slate of rock history clean and to start from scratch, thanks to a form of music which laid stress on simplicity,on lyrics which derided social and political conventions, and on an energetic and confrontational attitude.In the stultifying France of president Val&#233;rie Giscard d&#8217;Estaing, where the ebbing shadow of Gaullism and of the May 1968 student protests lingered on, the punk explosion, signalled as early as summer 1976 by the Mont-de-Marsan festival, defied the pervasive gloom linked to the economic crisis and to rising unemployment, and voiced its refusal of boredom. The first stage of a movement which asserted lack of hope and of prospects &#8211; summed up by the motto &#8220;No Future&#8221; &#8211; came to a close in 1978 when across the Western world, many iconic groups brought about their own end and a large number of scenes disappeared,upstaged by emerging musical trends such as post-punk, new wave and disco. And yet punk was to be rejuvenated in France, as elsewhere, by the emergence of a novel wave of punk which was characterised by a harsher and less melodic sound and by more politically committed lyrics, the appearance of new musical categories (street punk, hardcore, oi, etc.) and new sartorial codes (studded leather, Mohican haircuts, etc.), reinventing what it means to sound punk and to be punk up until this very day. The study of this ever-unfolding and evolving history, with all of its paradoxes, strengths and weaknesses, is the task which lies at the heart of this conference. &#160;&#160;&#160;&#160;&#160;&#160;&#160;The aim of the conference is thus to reconsider the relevance of the periodizations and turning-points which are taken to define and structure France&#8221;s forty-year-old punk scene, to transcend interpretations which view the punk phenomenon as an essentially Anglo-American cultural expression and to examine how the boundaries between a hegemonic culture and a relatively subversive culture are constructed and negotiated.Submission guidelinesProposals should be submittedno later than the 15th September 2016and sent to the following addresses&#160;: &#160;luc.robene@ubordeaux.fr&#160;and&#160;solveig.serre@gmail.com. They should include a title, an abstract (15 lines max) and a short biography and bibliography (10 lines max). The presentations will last 20 minutes and will be followed by a discussion.&#160;Conference languages: French and EnglishScientific responsabilityLuc Rob&#232;neSolveig Serre