We’ve now had a week to digest the photos, the fashion, and the inevitable memes of Met Gala 2018. Hopefully a week has been enough time to take in the weird, wonderful, and worshipful experience that was this year’s annual fundraiser for the Metropolitan Museum’s Costume Institute. Each year the gala’s theme is based on the Institute’s summer exhibition, and on 10 May Heavenly Bodies: Fashion and the Catholic Imagination opened at both the Met’s 5th Avenue and Cloisters locations. Kim Kardashian was compared to a Eucharist chalice, haloes abounded, and ‘Rihanna going full pope’ is now a phrase.
This free study day will act as an introduction to Ethiopian and Eritrean manuscripts dating from the 4th to 18th centuries. Context, production, and patronage will be discussed by leading experts from institutions such as The British Library and SOAS. See the detailed schedule and link to register below.
The essays in this book focus on various social, political, cultural, and aesthetic meanings ascribed to Gothic cathedrals in Europe in the post-medieval period.
Central to many medieval ritual traditions both sacred and secular, the Gothic cathedral holds a privileged place within the European cultural imagination and experience. Due to the burgeoning historical interest in the medieval past, in connection with the medieval revival in literature, visual arts, and architecture that began in the late seventeenth century and culminated in the nineteenth, the Gothic cathedral took centre stage in numerous ideological discourses. These discourses imposed contemporary political and aesthetic connotations upon the cathedral that were often far removed from its original meaning and ritual use.
This volume presents interdisciplinary perspectives on the resignification of the Gothic cathedral in the post-medieval period. Its contributors, literary scholars and historians of art and architecture, investigate the dynamics of national and cultural movements that turned Gothic cathedrals into symbols of the modern nation-state, highlight the political uses of the edifice in literature and the arts, and underscore the importance of subjectivity in literary and visual representations of Gothic architecture. Contributing to scholarship in historiography, cultural history, intermedial and interdisciplinary studies, as well as traditional disciplines, the volume resonates with wider perspectives, especially relating to the reuse of artefacts to serve particular ideological ends.
Table of Contents
Introduction: The Medieval Edifice in the Modern Period — STEPHANIE A. GLASER
Part I — The Cathedral and the Nation
The Moorish-Gothic Cathedral: Invention, Reality, or Weapon? — MATILDE MATEO
Acting Medieval, Thinking Modern, Feeling German — MICHAEL J. LEWIS
L’Histoire d’une cathédrale: Viollet-le-Duc’s Nationalist Pedagogy — ELIZABETH EMERY
The Gothic Cathedral and Historiographies of Space — KEVIN D. MURPHY
Part II — The Cathedral between Art and Politics
The Anarchist Cathedral — MAYLIS CURIE
L’Imaginaire de la cathédrale à l’épreuve de la Grande Guerre — JOËLLE PRUNGNAUD
Church, Nation, and ‘The Stones of France’ — RONALD R. BERNIER
Part III — The Cathedral in the Arts
Patterns of Behaviour Architectural Representation in the Romantic Period — KLAUS NIEHR
Frozen Music and Symphonies in Stone. Gothic Architecture and the Musical Analogy: Intersecting Trajectories in German and French Thought from the Eighteenth through the Nineteenth Centuries — STEPHANIE A. GLASER
Délires opiomanes et gothicomanes de Thomas De Quincey à Wilfred Sätty — JEAN-MICHEL LENIAUD
The Cathedral as Time Machine: Art, Architecture, and Religion — RICHARD UTZ
Reposted from IAS Blog
On 7 May 1337 goldsmith Ugolino di Vieri received the first payment for his masterpiece, the reliquary of the Santo Corporale of Bolsena. Payments are recorded for the following two years, reflecting the long process of creating an artwork as complex and monumental as this.
The work was commissioned by the Bishop and Canons of Orvieto Cathedral to celebrate a miracle which had taken place in the nearby town of Bolsena in 1263. A priest in the town had become increasingly sceptical of the religious dogma of transubstantiation, namely the real conversion of the wine and bread used at Mass into the body and blood of Christ at the moment of their consecration. As the priest was celebrating the Eucharist one day, the consecrated host started bleeding on the corporal, the linen cloth used to cover the altar at this point of the celebration. Awed by the supernatural event, the priest described it to Pope Urban IV, who recognised it as a miracle and ordered the preservation of the blood-stained corporal as a relic.
Conceived to contain the square corporal, Ugolino di Vieri’s reliquary abandoned the circular or polygonal shape typical of earlier objects of this type. Instead, it adopted a flat, rectangular structure which evokes an altarpiece or the façade of a church. The gables crowning the object are in fact very similar to those of Orvieto cathedral’s own façade.
The iconography of the reliquary is as innovative as its form. It is decorated with 32 scenes representing the Passion of Christ and the Miracle of Bolsena in colourful basse taille enamel. The former narrative is illustrated with scenes copied from the famous Maestà altarpiece painted by Duccio di Buoninsegna for Siena Cathedral in 1308–11. Instead, the miracle had never been represented in art before, and Ugolino had to invent a completely new iconography to represent the event. Proud perhaps of his great achievement, Ugolino inscribed the reliquary with his name and with its date of completion.
On the day of Corpus Christi, 1338, a solemn procession transported the completed reliquary from Ugolino’s workshop to the cathedral. The procession evokes the similar celebration held for Duccio’s Maestà in 1311, as narrated by an anonymous Sienese chronicler:
On the day on which [the Maestà] was carried to the Duomo, the shops were locked up and the Bishop ordered a great and devout company of priests and brothers with a solemn procession, accompanied by the Signori of the Nine and all the officials of the Comune, and all the populace and all the most worthy were in order next to the said panel with lights lit in their hands, and then behind were women and children with much devotion; and they accompanied it right to the Duomo making procession around the Campo, as was the custom, sounding all the bells in glory out of devotion for such a noble panel as was this.
In Orvieto, Ugolino’s reliquary is still paraded every year during Corpus Christi celebrations.
Reference: Geddes, Helen. “Ugolino di Vieri.” Grove Art Online. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000086908.
Doctoral & Post-doctoral Positions – Study of Coptic Magic, University of Würzburg
Deadline: 31st May 2018
As part of the new Excellent Ideas programme, the Julius-Maximilians-Universität Würzburg is pleased to announce two vacancies within the Department of Egyptology: 1 postdoctoral researcher and 1 doctoral assistant.
These positions will be part of a new in-depth project studying “magical” texts from Late Antique and early Islamic Egypt written in Coptic, and will involve the creation of a database of published and unpublished texts, the edition and re-edition of original manuscripts, and the production of research situating them within their historical, social and intellectual context. The appointed applicants will work with the team co-ordinator (Dr. Korshi Dosoo). Both positions will begin 1 September 2018, running for five years until 31 August 2023.
The postdoctoral candidate will require a doctoral degree in a relevant discipline (Coptic Studies, Papyrology, Egyptology, Early Christian Studies, Islamic Studies etc.), and a strong knowledge of the Coptic and Greek languages, as well as fluent English and at least a reading knowledge of German, French, Italian, and Spanish. Language skills in Arabic, Hebrew, Aramaic, Latin, and earlier phases of Egyptian are also highly desirable. As a position intended for a junior researcher, applicants are normally expected to have completed their doctorate within the last three years.
The candidate for the position of a doctoral assistant will require a master’s degree or equivalent in a relevant discipline (Ancient History, Coptic Studies, Papyrology, Egyptology, Early Christian Studies, Islamic Studies etc.), and a strong knowledge of the Coptic and Greek languages, as well as fluent English. A reading knowledge of German, French, Italian, and Spanish is highly desirable, as are language skills in Arabic, Hebrew, Aramaic, Spanish, Latin, and earlier phases of Egyptian. She or he will receive supervision to allow her or him to complete her or his doctoral degree. The candidate will be free to decide on a thesis topic, although it will preferably overlap to some degree with the project theme.
More information here: https://www.uni-wuerzburg.de/verwaltung/personal/jobboerse-und-ausbildung/ausschreibungen-der-uni/single/news/two-five-year-positions-study-of-coptic-magic-doctoral-and-post-doctoral-department-of-egyptolo/
Two PhD positions (3 years each) are available at the University of Bologna (Department of Philosophy and Communication studies) within the ERC project (Consolidator Grant): “Alchemy in the Making: From ancient Babylonia via Graeco-Roman Egypt into the Byzantine, Syriac and Arabic traditions (1500 BCE -1000 AD)”, Acronym: AlchemEast.
The AlchemEast project is devoted to the study of alchemical theories and practices as they appeared and developed in distinct, albeit contiguous (both chronologically and geographically) areas: Graeco-Roman Egypt, Byzantium, and the Near East, from Ancient Babylonian Times to the early Islamic Period. Applicants are expected to propose research projects dealing with the ancient alchemical tradition.
Proposals may focus on the analysis of a specific set of primary sources — depending on the historical period on which the applicant prefers to focus on, primary sources may include alchemical writings in Akkadian, Greek, Syriac or Arabic. The proposals may also focus on a wider and cross-cutting analysis of topics connected to important issues pertaining to the ancient alchemical science and its relations with close fields, such as natural philosophy and medicine.
The doctoral research shall result either in editions and translations of ancient alchemical writings or in monographs focused on central issues of the ancient history of alchemy.
The two scholarships are part of the PhD programme: “Philosophy, Science, Cognition and Semiotics”
By following the link “PHD PROGRAMME TABLE” (at the top of the webpage), you will find the full description of the programme, with reference to the 2 scholarships specifically linked to the AlchemEast project.
Please visit the following webpage in order to apply (or for further information about the call):
For any doubt or question, please do not hesitate to e-mail: email@example.com