{"id":1881,"date":"2025-01-22T15:00:51","date_gmt":"2025-01-22T14:00:51","guid":{"rendered":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/?post_type=tribe_events&#038;p=1881"},"modified":"2025-11-03T16:40:27","modified_gmt":"2025-11-03T15:40:27","slug":"1881","status":"publish","type":"tribe_events","link":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/evenement\/1881\/","title":{"rendered":"(What\u2019s the story) Reunion glory?: Assessing Oasis\u2019s legacy as\u00a0Morning Glory turns 30"},"content":{"rendered":"<h3><a href=\"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-content\/uploads\/2025\/11\/flyer-programme-je-oasis.pdf\"><strong>PROGRAMME<\/strong><\/a><\/h3>\n<p><strong>Morning Session:\u00a0 <\/strong><strong>\u2018<em>I need to be myself, I can\u2019t be no-one else<\/em>\u2019<br \/>\n<\/strong><strong>Oasis and identity\/ies<\/strong><\/p>\n<p>8h30: accueil et caf\u00e9<\/p>\n<p><strong>Part 1: A northern, working class band? &#8211; Chair: Aurore Caignet<\/strong><\/p>\n<ul>\n<li>9h: Keynote speaker 1: Alex Niven (Editor, Tribune Magazine): &lsquo;We see things they&rsquo;ll never see&rsquo;: worldhood and marginality in Oasis.<\/li>\n<li>9h45: discussion<\/li>\n<li>10h: Romain Garbaye (Universit\u00e9 Sorbonne-Nouvelle): \u201cOasis, the most \u201cworking class\u201d band of Britpop ?\u201d<\/li>\n<li>10h20: discussion<\/li>\n<li>10h35: pause caf\u00e9<\/li>\n<\/ul>\n<p><strong>Part 2: Beyond Northernness and Englishness &#8211; Chair: Guillaume Cl\u00e9ment <\/strong><\/p>\n<ul>\n<li>10h50: <span style=\"font-size: 12pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Emma Gandrey (ENS Paris-Saclay \/ Universit\u00e9 Paris-Cit\u00e9): <\/span><span style=\"font-size: 12pt; font-family: Arial, sans-serif; color: #000000; background-color: #fdfcfb; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">\u00ab\u00a0<\/span><span style=\"font-size: 12pt; font-family: Arial, sans-serif; color: #000000; background-color: #fdfcfb; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Perceptions of Britishness, Class Experience, and Political Developments in the Music of Oasis: The Case of Letters to the Editor in the New Musical Express in the 1990s\u00a0\u00bb<\/span><\/li>\n<li>11h10: Laurence Harris (Universit\u00e9 Sorbonne Nouvelle): \u201cNorthern Glory (Some Might Say)\u201d<\/li>\n<li>11h30: Sean Campbell (Anglia Ruskin University &#8211; Cambridge): \u201cThe Importance of Being Irish: Oasis, \u2018Britpop\u2019 and Irish ethnicity in England\u201d<\/li>\n<li>11h50: discussion<\/li>\n<\/ul>\n<p>12h15: pause d\u00e9jeuner<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Afternoon Session: <\/strong><strong><em>\u2018Tonight, I\u2019m a rock\u2019n\u2019roll star\u2019<br \/>\n<\/em><\/strong><strong>Oasis and performance: masculinity and sound<br \/>\n<\/strong><strong>Chair: David Haigron<\/strong><\/p>\n<ul>\n<li>14h00: Keynote speaker 2: David Scott (author, journalist and musician): Morning Glory, Northern Stories: Masculinity, Place, and the Mancunian Myth<\/li>\n<li>14h45: discussion<\/li>\n<\/ul>\n<p>15h10: pause caf\u00e9<\/p>\n<ul>\n<li>15h30: Stephen Bruel (University of Lincoln): \u201cRemastering Oasis (What\u2019s the Story) Morning Glory?\u201d<\/li>\n<li>15h50: Chlo\u00e9 Violle (Universit\u00e9 de Li\u00e8ge): \u201cStill \u2018Cool Britannia\u2019 ? La politique d\u2019\u00e9v\u00e9nementialisation des villes en contexte musical : le cas des concerts de reformation d\u2019Oasis \u00e0 Manchester\u201d<\/li>\n<li>16h10: Discussion<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">On estime \u00e0 pr\u00e8s de 14 millions le nombre de personnes ayant essay\u00e9 d\u2019obtenir des billets pour la tourn\u00e9e britannique d\u2019Oasis \u00e0 l\u2019occasion de sa reformation en 2024. Ces chiffres impressionnants font \u00e9cho \u00e0 l\u2019unique concert organis\u00e9 par le groupe \u00e0 Knebworth en 1996, pour lequel 4% de la population britannique avait essay\u00e9 d\u2019acheter un billet. De telles statistiques confirment le statut particulier d\u2019Oasis dans la culture populaire britannique et la mani\u00e8re dont il constitue un v\u00e9ritable support permettant \u00e0 la population de \u201cfaire commun\u201d.\u00a0<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">La musique d\u2019Oasis a en effet rencontr\u00e9 un succ\u00e8s consid\u00e9rable depuis les ann\u00e9es 1990, et si ce dernier peut \u00eatre mesur\u00e9 en termes commerciaux via les ventes d\u2019albums et autres disques de platine collectionn\u00e9s par le groupe (dont tous les albums, ainsi que huit singles, se sont class\u00e9s \u00e0 la premi\u00e8re place des\u00a0charts\u00a0outre-Manche), ce succ\u00e8s prend une ampleur encore plus d\u00e9mesur\u00e9e lorsque l\u2019on prend conscience de la pr\u00e9sence permanente du groupe dans le\u00a0zeitgeist\u00a0culturel national. Suite \u00e0 la s\u00e9paration du groupe en 2009, Liam (chanteur) et Noel Gallagher (guitariste et compositeur) ont men\u00e9 d\u2019honorables carri\u00e8res solo, mais ont continu\u00e9 \u00e0 \u00eatre des figures centrales dans les m\u00e9dias britanniques jusqu\u2019\u00e0 la reformation du groupe \u00e0 l\u2019\u00e9t\u00e9 2024, annon\u00e7ant une tourn\u00e9e mondiale pour 2025. Malgr\u00e9 ce long hiatus, leur second album, (What\u2019s The Story) Morning Glory, est rest\u00e9 dans le classement des meilleures ventes d\u2019albums de mani\u00e8re quasi-ininterrompue depuis sa parution en octobre 1995 jusqu\u2019\u00e0 ce jour, confirmant son statut d\u2019objet culturel majeur pour bon nombre de Britanniques.<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">A l\u2019heure o\u00f9 l\u2019industrie musicale nationale reste fragilis\u00e9e par plusieurs crises successives, de la d\u00e9mat\u00e9rialisation de la consommation musicale aux difficult\u00e9s d\u2019exportation et de tourn\u00e9es li\u00e9es au Brexit, la reformation d\u2019Oasis interroge l\u2019\u00e9volution des pratiques et des modes de consommation dans les domaines musical et culturel. Le succ\u00e8s continu du groupe form\u00e9 dans les ann\u00e9es 1990 m\u00e8ne \u00e9galement \u00e0 des questionnements sur la mani\u00e8re dont le groupe et ses chansons peuvent refl\u00e9ter la soci\u00e9t\u00e9 britannique et ses \u00e9volutions politiques et culturelles sur une p\u00e9riode longue et mouvement\u00e9e. De plus, Oasis s\u2019est fr\u00e9quemment vu attribuer plusieurs adjectifs, comme\u00a0mancunien,\u00a0nordiste\u00a0ou encore\u00a0ouvrier, mais que penser de telles \u00e9tiquettes s\u2019agissant d\u2019une entreprise artistique, sujette aux perceptions changeantes d\u2019un public particulier? En d\u2019autres termes, l\u2019identit\u00e9 sociologique r\u00e9elle et tangible des musiciens importe-t-elle plus que l\u2019identit\u00e9 ouvri\u00e8re suppos\u00e9ment per\u00e7ue par le public?<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">\u00c0 l\u2019occasion du trenti\u00e8me anniversaire de la parution de (What\u2019s The Story) Morning Glory, cette journ\u00e9e d\u2019\u00e9tude propose d\u2019\u00e9tudier la place occup\u00e9e par Oasis dans la culture populaire britannique et invite des contributions pluridisciplinaires au croisement des \u00e9tudes anglophones, de la litt\u00e9rature, de l\u2019histoire, de la musicologie, de la linguistique et des sciences politiques en g\u00e9n\u00e9ral.<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Les pistes suivantes de r\u00e9flexion sont envisag\u00e9es, entre autres:<\/span><\/p>\n<ul>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Identit\u00e9 ouvri\u00e8re \/ une voix de la classe ouvri\u00e8re?<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Identit\u00e9s r\u00e9gionales (Manchester,\u00a0northernness) et nationales (Englishness, Britishness)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Identit\u00e9s de genre et masculinit\u00e9 dans l\u2019oeuvre du groupe, notamment dans le contexte de la\u00a0lad culture\u00a0mais aussi dans le monde post-#metoo<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Succ\u00e8s commercial et perception \u00e0 l\u2019\u00e9chelle internationale (notamment le succ\u00e8s de\u00a0Morning Glory\u00a0aux \u00c9tats-Unis)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Influence sur le son des musiques pop et rock britanniques post-Britpop<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Dimension politique de l\u2019oeuvre du groupe, prises de position des musiciens (du\u00a0New Labour\u00a0jusqu\u2019au Brexit)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Adaptation du groupe aux crises de l\u2019industrie musicale.<\/span><\/li>\n<\/ul>\n<p><span style=\"font-family: arial, sans-serif;\">\u00a0<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">\u2014<\/span><\/p>\n<p><span style=\"font-family: arial, sans-serif;\">\u00a0<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">English version:<\/span><\/p>\n<p><span style=\"font-family: arial, sans-serif;\">\u00a0<\/span><\/p>\n<p dir=\"ltr\"><strong><span style=\"font-family: arial, sans-serif;\">(What\u2019s the story) Reunion glory?: <\/span><span style=\"font-family: arial, sans-serif;\">Assessing Oasis\u2019s legacy as\u00a0Morning Glory turns 30<\/span><\/strong><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">One-day conference, Universit\u00e9 Rennes 2 (France), 27 November 2025<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Organisation committee: Aurore Caignet, Guillaume Cl\u00e9ment, David Haigron<\/span><\/p>\n<p><span style=\"font-family: arial, sans-serif;\">\u00a0<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">It is estimated that nearly 14 million people tried to get tickets for this year\u2019s Oasis\u2019s UK tour following the announcement of their reunion in 2024. This staggering figure echoes the band\u2019s one-off concert at Knebworth in 1996, when 4% of the British population had applied for tickets. Such statistics confirm Oasis\u2019s special status within British popular culture and the band\u2019s ability to allow people to come together.<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Oasis\u2019s music has met with considerable success since the 1990s, and while this success may be measured commercially through the band\u2019s album sales (with all their albums and 8 singles reaching the top of the UK music charts) it appears even greater when considering the band\u2019s permanent place within the national cultural zeitgeist. Following Oasis\u2019s breakup in 2009, Liam (singer) and Noel Gallagher (guitarist and songwriter) led respectable solo careers and remained central figures in British media up until their reunion announcement in the summer of 2024. Despite this long hiatus, their second album\u00a0(What\u2019s The Story) Morning Glory\u00a0has charted almost continuously since its release in October 1995, thus confirming the album\u2019s status as a major cultural commodity for many Britons.<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">As the national music industry has been, and still is, weakened by successive crises \u2013 from the digitisation of music consumption to post-Brexit restrictions on exports and touring \u2013 Oasis\u2019s reunion raises questions about the evolution of practices and consumption patterns in popular music and culture in general. The band\u2019s lasting success since the 1990s also leads one to wonder to what extent the band and their songs reflect British society in general, and its political and cultural developments in particular, over a long and tumultuous period. Moreover, Oasis has often been assigned several adjectives, such as Mancunian, Northern, or working-class, but what should one make of such labels when it comes to an artistic enterprise that is subject to the changing perceptions of a particular audience? In other words, does the musicians\u2019 tangible sociological identity take precedence over the working-class credentials supposedly perceived by the public?<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">On the occasion of\u00a0(What\u2019s The Story) Morning Glory\u2019s 30th anniversary, this one-day conference aims to examine Oasis\u2019s place in British popular culture and invites multidisciplinary contributions within the fields of English \/ British studies, literature, history, musicology, linguistics, and political science.<\/span><\/p>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Contributions on, but not limited to, the following topics will be particularly welcome:<\/span><\/p>\n<ul>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Working-class identity \/ a working class voice?<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Regional identities (Manchester, northernness) and national identities (Englishness, Britishness)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Gender identities and masculinity in the band\u2019s work, especially in the context of lad culture but also in the post-#MeToo world<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Commercial success and international perception (especially\u00a0Morning Glory\u2019s success in the United States)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Influence on post-Britpop pop and rock music<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Political dimension of the band\u2019s work, musicians\u2019 political stances (from New Labour to Brexit)<\/span><\/li>\n<li dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">The band\u2019s adaptation to the music industry\u2019s crises.<\/span><\/li>\n<\/ul>\n<p dir=\"ltr\"><span style=\"font-family: arial, sans-serif;\">Proposals (200-word abstract along with a short biography) should be sent to the organisers:\u00a0<a href=\"mailto:aurore.caignet@univ-rennes2.fr\" target=\"_blank\" rel=\"nofollow noopener\">aurore.caignet@univ-rennes2.fr<\/a>,\u00a0<a href=\"mailto:guillaume.clement@univ-rennes.fr\" target=\"_blank\" rel=\"nofollow noopener\">guillaume.clement@univ-rennes.fr<\/a>, and\u00a0<a href=\"mailto:david.haigron@univ-rennes2.fr\" target=\"_blank\" rel=\"nofollow noopener\">david.haigron@univ-rennes2.fr<\/a>\u00a0 by 7 April 2025. A response will be provided before 30 April 2025<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>PROGRAMME Morning Session:\u00a0 \u2018I need to be myself, I can\u2019t be no-one else\u2019 Oasis and identity\/ies 8h30: accueil et caf\u00e9 Part 1: A northern,&hellip;<\/p>\n","protected":false},"author":2,"featured_media":2107,"template":"","meta":{"_acf_changed":false,"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tribe_events_cat":[23],"class_list":["post-1881","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tribe_events_cat-journees-detude","cat_journees-detude"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/tribe_events\/1881","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/users\/2"}],"version-history":[{"count":12,"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/tribe_events\/1881\/revisions"}],"predecessor-version":[{"id":2126,"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/tribe_events\/1881\/revisions\/2126"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/media\/2107"}],"wp:attachment":[{"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/media?parent=1881"}],"wp:term":[{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/sites-recherche.univ-rennes2.fr\/ace\/wp-json\/wp\/v2\/tribe_events_cat?post=1881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}