Conference: Renaissance College: Corpus Christi College in Context, c.1450-1650, residential conference at Corpus Christi College, Oxford, 6-9 September 2017
Register by 3 September
Corpus Christi College, Oxford was founded on humanistic principles in 1517. Its fellows included specially-appointed lecturers in Latin literature, Greek and Theology and its new trilingual library featured works in Latin, Greek and Hebrew. Throughout the long sixteenth century, Corpus was a major centre of learning and religion: it played host to the Spanish humanist, Juan Luis Vives and the German astronomer and mathematician, Nicholas Kratzer; its fellows included the Catholic reformer Reginald Pole and the Protestant thinkers John Jewel and Richard Hooker; it played a prominent part in the production of the King James Bible. In the College’s 500th anniversary year, we are holding a conference to discuss the wider context and implications of this remarkable foundation, exploring the inter-connected worlds of learning and education, prelacy and public service, charity and communal life, religion, literature and the arts, in Oxford and beyond, during a two hundred-year period of Renaissance and Reformation.
The programme includes papers from Susan Brigden, Clive Burgess, Jeremy Catto, Paul Cavill, Alexandra Gajda, Anthony Grafton, Lucy Kaufman, Nicholas Hardy, Pamela King, Julian Reid, Richard Rex, Miri Rubin, David Rundle, Christopher Stray, Joanna Weinberg, Magnus Williamson, and William Whyte. A round table of Mordechai Feingold, Felicity Heal and Diarmaid MacCulloch, chaired by Keith Thomas, will bring proceedings to a close.
Details are available here: Conference Programme.
Booking is now open: please click here Renaissance College Conference.
CFP: Regionalism in Medieval Art and Architecture, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018.
Deadline: 10 September 2017
Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by Mark H. Summers (University of Wisconsin, Madison) and Andrew Sears (University of California, Berkeley/University of Bern)
In 2001, Eva Hoffman introduced the concept of portability, suggesting a style that transcended traditional geographic, cultural, and religious boundaries. Since then, studies of traveling objects, trade networks, and pluralistic communities have created a veritable new field of the “Global Middle Ages,” which has helped us to better understand the interconnected medieval past as well as its role in shaping our sense of place today.
Our panel seeks to consider how local identity was shaped by such global networks. Potential questions include: Are artistic or architectural styles connected to specific places for specific reasons? Were medieval artists conscious about their own regional styles and the social, political, and religious impact they had? How was art positioned to both create communities and delineate boundaries? What about the rise of the “International Gothic” towards the end of the Middle Ages? Our concerns are also temporal, such as how the use of historicizing motifs and spolia helped medieval artists to communicate something about the here and now.
We welcome submissions for 20-minute papers from graduate student ICMA members. To propose a paper, please send a title, abstract of 300 words, CV, and completed Congress Information form to Mark H. Summers (firstname.lastname@example.org) and Andrew Sears (email@example.com) by 10 September 2017.
The Student Committee of the International Center for Medieval Art involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.
- Byzantine spiritual heritage in the history of Ukraine-Rus’ and Eastern churches of the Kievan tradition
- the role and influence of the Byzantine Empire in the formation of Ukrainian national identity
- spiritual culture
- publishing and literature
- theological and philosophical thought
- religious traditions
Call for papers: Medievalism and the Rediscovery of Medieval Art (International Congress on Medieval Studies, Kalamazoo, May 10-13, 2018)
Deadline: September 15
Required: 300-word abstract and CV
From archaeology to the archive, medieval studies can be traced through various discoveries – from the physical uncovering of artifacts and collections that shift the canon, to periods of concentrated, sometimes unprecedented, attention received by an artist, medium, region or particular artifact. Parallel to these physical and theoretical discoveries, the reuse and display of medieval styles, motifs and objects has brought scholarly discovery into contemporary discourse, and the reception of medieval objects into areas beyond academia. Each generation has their own vision of the Middle Ages, from Horace Walpole to William Morris, from J.R.R. Tolkien to George R.R. Martin. Through the imitation and inspiration of the past, figures interested in medieval art have added their own preoccupations into how the period is understood, from the sixteenth century up to the present day. The same is true of scholars and collectors, who have promoted particular geographical or political agendas in their study and favouring of particular schools, regions, countries, and empires.
At a time when facts seem flexible and the consensus seems fragmented, a considerationof the agendas behind the presentation of medieval studies seems timely. We are interested in the phenomenon of discovery as event, narrative, academic and artistic moment, in how discoveries alter how we understand history and shift disciplines. Discoveries often teach us as much about the society doing the discovering as the objects being discovered, in both the field of medieval studies and the broader picture of medieval art reception. As such, it seems appropriate to consider academic discovery and popular discovery side by side. How might one affect the other? What parallels can be drawn between different kinds of discoveries?
This session seeks papers about how such discoveries can be and are engendered, and how contemporary concerns affect the presentation or process of scholarly and popular discovery. Possible topics might include the re-use of medieval or medievalising motifs in subsequent centuries and contemporary culture, medievalising restorations, particular medieval collectors or collections, the appropriation of medieval aesthetics, old objects in new settings, case studies of particular discoveries or rediscoveries, the changing display of medieval artifacts, and how political and geographical agendas affect the reception of medieval art.
Please send 300-word abstracts, together with a CV, to firstname.lastname@example.org and email@example.com by September 15.