SOCIALMAPONPARIS

THE SOCIAL MEANING OF IMAGES: ADVERTISING POSTERS IN THE FIRST HALF OF THE 20TH CENTURY IN PARIS

Coordinatore	ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES    more  Organization address address: AVENUE DE FRANCE 190 city: PARIS 13 postcode: 75013 contact info Titolo: Ms. Nome: Samira Cognome: Ben Touhami Email: send email Telefono: 33149542663 Fax: 33149542513
Nazionalità Coordinatore	France [FR]
Totale costo	132˙538 €
EC contributo	132˙538 €
Programma	FP7-PEOPLE Specific programme "People" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013)
Code Call	FP7-PEOPLE-2009-IEF
Funding Scheme	MC-IEF
Anno di inizio	2010
Periodo (anno-mese-giorno)	2010-09-01   -   2012-04-30

 Partecipanti

#	participant	country	role	EC contrib. [€]
1	ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES  Organization address address: AVENUE DE FRANCE 190 city: PARIS 13 postcode: 75013 contact info Titolo: Ms. Nome: Samira Cognome: Ben Touhami Email: send email Telefono: 33149542663 Fax: 33149542513	FR (PARIS 13)	coordinator	132˙538.00

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 Obiettivo del progetto (Objective)

'With this fellowship proposal I intend to explore the cultural context of the city of Paris in the first half of the 20th century, through the analysis of a specific cultural object: the advertising poster. My research will look at these posters as “social events” that create new historical identities through a communicative and symbolic efficacy. In this way I analyze these images as a real source of documentation of social practices, and as main social actors in the communicative interactions. My work will necessarily be interdisciplinary, merging together the textual meaning sciences and a narrative approach with the history of graphic arts and social-interaction-oriented methodologies. My research will also concern the relation between art and advertising during the birth of a modern city. In general I can state that, from their beginnings in the 19th century with Manet’s posters, the relation between the poster and Paris is a primal binomial that engendered the future evolution of advertisting arts, with influences still visible today. This is true not only in Paris but also in many other European cities. This is the reason why, by studying the cultural identity of Paris, we will also be studying an important aspect of a more general European identity.'