Author Archives: costanzabeltrami

2 PhD Fellowships in Medieval Literature, University of Southern Denmark, Centre for Medieval Literature

sdulogo2 PhD Fellowships in Medieval Literature, University of Southern Denmark, Centre for Medieval Literature – starting February 1, 2018
Deadline: 1 November 2017

2 PhD fellowships are available at the Centre for Medieval Literature (CML), starting February 1, 2018. The fellowships run for 3 years and the successful candidates must hold an MA within medieval textual culture (literature, philology, history, religion or other with emphasis on texts and/or languages).

CML is a Danish centre of excellence founded in 2012, based jointly at SDU and at the University of York. The centre‘s field of research is European medieval literatures in a broad sense. Its ambition is to propose new theoretical frameworks for the field which is still predominantly divided into national interests and paradigms.

The proposed research project for the PhD must fall within one of the Centre’s main themes, Canon and Library, Imperial Languages or Transformations and Translocations (se further at sdu.dk/cml). The centre encourages projects which include a comparative element, either chronologically, geographically or between disciplines and languages.

At present the centre and its associates can provide competence of supervision in Ancient and Medieval History, History of Religion, Spanish, Greek, Latin, Art History, Comparative Literature; co-supervision can also be provided by York within French, Old and Middle English, Italian and Old Norse.

Further information is available from the Head of the Centre for Medieval Literature Lars Boje Mortensen, email: labo@sdu.dk

Application, salary and conditions of employment etc.
A PhD Fellowship is a three-year position. Employment ends automatically by the end of the period. The holder of the fellowship is not allowed to have other paid employment during the three-year period.

To qualify for a PhD position you must have completed a relevant master’s degree with a good assessment by the application deadline.

Applications will be assessed by an expert assessment panel. All applicants will receive the part of the panel’s assessment that is relevant to their application.

An interview may form part of the overall assessment of the applicants’ qualifications.

The successful applicant will be employed in accordance with the Protocol on PhD Research Fellow signed by the Danish Ministry of Finance and AC (the Danish Confederation of Professional Associations) Juli 1st, 2013, enclosure 5, Cirkulære om overenskomst for Akademikere i staten 2015 (the document only exists in Danish).

Applications should be sent electronically via the link “apply online” at the bottom of this page.

Please note that we only accept files in pdf-format no more than 10 MB per file. We do not accept zip-files, jpg or other image files.

All pdf-files must be unlocked and allow binding and may not be password protected.

In case you have more than one file per field you need to combine the pdf-files into a single file, as each field handles only one file.

The Faculty expects applicants to read the information “How to apply” before applying.
Application and all appendices must be in Danish, English, German, French or one of the Scandinavian languages.
Only research publications in Danish, Norwegian, Swedish, and English will be assessed. Please always include a copy of original diploma/certificates.

The application should include:

  • Special PhD-application form found here
  • Curriculum Vitae
  • Detailed project description, no more than 5 pages of 2.400 keystrokes
  • Examination certificates
  • A maximum of 2 of the most relevant publications. Please attach one pdf-file for each publication. For any publication with a co-author, a co-author statement must be submitted as part of the pdf-file

Further information about the PhD-program at the Faculty of Humanties can be found here.

We recommend that as an international applicant you take the time to visit Working in Denmark where you will find information and facts about moving to, working and living in Denmark, as well as the International Staff Office at SDU.

The University wishes our staff to reflect the diversity of society and thus welcomes applications from all qualified candidates regardless of personal background.

Apply online

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Fellowships at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies

220px-villa_i_tatti2c_ext-2c_giardino_05Villa I Tatti, The Harvard University Center for Italian Renaissance Studies in Florence, Italy is now accepting fellowship applications for the 2018–2019 academic year.
Deadline: November 15

Wallace Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore the historiography and impact of the Italian Renaissance in the Modern Era (19th–21st centuries).

Berenson Fellowship (four or six months; deadline November 15) for post-doctoral scholars who explore “Italy in the World”. Projects should address the transnational dialogues between Italy and other cultures (e.g. Latin American, Mediterranean, African, Asian, etc.) during the Renaissance, broadly understood historically to include the period from the 14th to the 17th century.

Digital Humanities Fellowship (four or six months; deadline November 15) for projects that cut across traditional disciplinary boundaries and actively employ digital technology. Applicants can be scholars in the humanities or social sciences, librarians, archivists, and data science professionals. Projects should apply digital technologies such as mapping, textual analysis, visualization, or the semantic web to topics on any aspect of the Italian Renaissance.

Villa I Tatti – Boğaziçi University Joint Fellowship (one year; deadline November 15) for post-doctoral research focusing on the interaction between Italy and the Byzantine Empire (ca. 1300 to ca. 1700). Scholars will spend a semester at Villa I Tatti and a semester at the Byzantine Studies Research Center of Boğaziçi University.

Craig Hugh Smyth Fellowship (four or six months; deadline November 15) for curators and conservators. Projects can address any aspect of the Italian Renaissance art or architecture, including landscape architecture.

David and Julie Tobey Fellowship (four or six months; deadline November 15) for research on drawings, prints, and illustrated manuscripts from the Italian Renaissance, and especially the role that these works played in the creative process, the history of taste and collecting, and questions of connoisseurship.

For more information on all fellowships at Villa I Tatti please visit http://itatti.harvard.edu/fellowships

CFP: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018

e4172ce752979324efadeeb13ae35d66-viollet-le-duc-game-propsCall for Papers: L’architecture gothique. Entre réception et invention. Impact, continuité et réinterprétation (XIIe – XXe siècle), Centre André Chastel, Paris, 10 March 2018
Deadline: 15 November 2017
L’une des définitions les plus correctes du terme « gothique » est celle qui interprète ce phénomène architectural non comme l’expression d’une période historique mais comme un système structurel, défini en Ile-de-France à partir du milieu du XIIe siècle. Les connaissances techniques déjà expérimentées à l’époque romane sont alors intégrées dans une relation consciente entre structures portantes et structures portées, en obtenant de nouveaux effets esthétiques et symboliques.

Entre la fin du XIIe et le XIIIe siècle, l’architecture gothique se développe en Europe, particulièrement en Angleterre, Allemagne, Espagne, Italie, Hongrie et Bohème et entre en contact avec les traditions constructives locales, notamment grâce à l’activité des ordres monastiques. La synthèse entre la réception de modèles existants et l’invention de nouvelles expressions artistiques donne naissance à des œuvres neuves créées dans des contextes historiques, géographiques et socio-culturels différents par rapport au contexte français.

En Italie, par exemple, la leçon du gothique français, transmise principalement par les cisterciens, est ensuite assimilée par les ordres mendiants et, en Italie méridionale, par Frédéric II et finalement par les Angevins. Cependant, le gothique italien ne développe pas l’audace structurelle qui fut, en France, à l’origine d’un formidable élan vertical des parois et de l’effet de lux continua. Cette différence est à la fois due à la persistance de techniques constructives traditionnelles dans la filiation de l’architecture paléochrétienne et à l’impossibilité d’appliquer la technique de l’arc-boutant dans une zone fortement sismique.

Au même titre, en France, entre le début du XVe et le milieu du XVIe siècle, l’art gothique flamboyant se mêle à la tradition de la Renaissance importée d’Italie : si l’ossature des églises reste « gothique » même lorsque les formes ornementales assimilent des caractères à l’antique, l’originale rationalité structurelle est en grande partie perdue. La persistance des formes flamboyantes dans l’architecture de la Renaissance française est un phénomène intéressant qui révèle l’importance et l’influence de la tradition gothique.

Plus tardivement et à titre d’exemple, au XIXe siècle le phénomène des revivals historicistes atteste la reprise du langage gothique en Europe. Une telle tendance s’imposa d’abord en Grande-Bretagne puis se diffusa dans d’autres pays européens, parallèlement à l’intense activité de restauration des monuments médiévaux : en France c’est surtout Eugène Viollet-le-Duc qui en souligna la rationalité constructive. Le néogothique, devenu désormais partie intégrante de l’éclectisme historiciste, constitue une source fondamentale pour l’art nouveau jusqu’au début du XXe siècle.

La journée sera par conséquent consacrée à une réflexion sur la réception de l’architecture gothique comme langage flexible, à même de créer de nouvelles formes artistiques : l’objectif est de conduire l’historien de l’art et de l’architecture à enquêter sur la portée et l’influence de ce phénomène dans des contextes différents de celui d’origine. La journée vise ainsi à élargir l’analyse aux questions historiques, politiques, culturelles et urbaines, en fonction des objectifs des commanditaires et en établissant des liens entre aspects structurels, fonctionnels et formels. La journée doctorale sera l’occasion de partager les réflexions méthodologiques, les problématiques et les résultats des recherches en histoire de l’architecture de doctorants et jeunes docteurs de formations et de pays divers.

La série de thématiques suivante est destinée à suggérer des domaines et directions de recherche et n’a que valeur indicative :
– Techniques et matériaux de l’Architecture gothique : innovations structurelles, continuité et rupture avec le passé
– Cathédrale gothique et différentes formes locales en France
– Gothique français et sa diffusion en Europe
– Gothique flamboyant et Renaissance : dialectique entre survivances structurelles et décor « à l’antique »
– Réception du Gothique après le Gothique : survivance et renouveau néogothique
– L’architecture gothique, sa restauration ou sa réutilisation contemporaine
– L’architecture gothique intégrée dans les autres formes de l’art visuels (peinture, gravure, sculpture), sémantique visuelle et revival.

La journée donnera la priorité aux interventions des doctorants et jeunes docteurs. Elle se déroulera le 10 mars 2018 au Centre André Chastel (INHA, 2, rue Vivienne, 75002 Paris).

How to apply:  Les propositions de communication (300 mots maximum), en français ou en anglais, accompagnées d’un bref curriculum vitae (2 pages maximum), sont à envoyer, le 15/11/2017 au plus tard, à Camilla Ceccotti et Emanuele Gallotta aux adresses suivantes :
camilla.ceccotti@uniroma1.it
emanuele.gallotta@uniroma1.it

10 Doctoral Fellowships in the a.r.t.e.s. EUmanities-Programme

10 Doctoral Fellowships in the a.r.t.e.s. EUmanities-Programme
Deadline: November 3, 2017
csm_eumanities_rgb_2680d6c349a.r.t.e.s. EUmanities is a pioneering programme for a European Graduate School for the Humanities, co-funded by the European Union and the University of Cologne as part of the Marie Skłodowska-Curie Actions (Horizon 2020: MSCA). Central to this programme are its interdisciplinary approach and obligatory mobility phase.

Designed to meet the needs of individual Early Stage Researchers (ESRs) in the Humanities, beginning in April 2018 a.r.t.e.s. EUmanities provides places for up to 10 ESRs, training young scholars to excel in research and cope with the global challenges Europe is facing. Our mission is to empower ESRs in the Humanities to become aware of their pivotal role in shaping the future of Europe.

ESR positions have a duration of 36 months per person. The ESRs will be employed full-time by the a.r.t.e.s. Graduate School (living allowance EUR 3,073 less tax deductions and employer’s contribution to social insurance plus a monthly paid mobility allowance and additional travel and, if applicable, family allowances). The employment conditions include social benefit payments such as health insurance, unemployment insurance, pension contributions and parental benefits. Please note that, in general, the a.r.t.e.s. Graduate School is not able to cover tuition fees for the institution chosen for the obligatory mobility phase.

The ESRs of a.r.t.e.s. EUmanities are enrolled in the structured doctoral model of the a.r.t.e.s. Graduate School, the “Integrated Track”, according to two international mobility options. ESRs may apply for:

• “a.r.t.e.s. EU”: the European fellowship at a.r.t.e.s. EUmanities

• “a.r.t.e.s. global”: the global fellowship at a.r.t.e.s. EUmanities

a.r.t.e.s. EUmanities is funded by the Universität zu Köln and the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 713600.

For more information on the application procedures and requirements, please visit www.artes.uni-koeln.de pr contact us via e-mail: artes-EUmanities@uni-koeln.de.

Job: tenure-track position in History of Art (Visual Culture and Cultural Studies), Pompeu Fabra University, Barcelona

logo_upfJob: Tenure-track position in History of Art (Visual Culture and Cultural Studies), Pompeu Fabra University, Barcelona
Application deadline: Nov 17, 2017

The Department of Humanities at Pompeu Fabra University in Barcelona has opened a call for a tenure-track position in History of Art (Visual Culture and Cultural Studies).

Vacancy description
The postdoctoral tenure track position in History of Art (Visual Culture and Cultural Studies) is a combined research and teaching position. This announcement is part of the UPF-Department of Humanities strategy to recruit talented researchers in high priority research disciplines.
The candidate must hold a Ph.D. qualification in the field of History of Art. He or she will need to have developed research within the spheres of cultural studies and visual culture without being limited to a specific historical period, though it would be desirable for the candidate to have explored a contemporary perspective. A track record of publications with a reflective interest in the History of Art will be appreciated, along with interdisciplinary methodological openness and an ability to work within more than one historical context. An interest on the part of the candidate in debates that critically analyse the social, cultural and political dimensions of art will be viewed in a highly positive light.
The candidate will need to meet the following requirements: having taken part in research projects within the framework of national or international programmes; having published papers internationally; and being prepared to embark on new research projects, ideally as lead researcher.
The following shall be expected from the candidate: to join the Faculty team in the area of the History of Art; to teach in the sphere of Humanities and Global Studies; to take part in the Department’s research activities; and to ultimately hold management positions.
A command of English and Spanish or Catalan is essential and knowledge of other languages would be an asset.
In terms of additional distinctions: professional expertise in museums and experience as curator for exhibitions or social projects involving practices associated with art and its disciplines would be an advantage.

Specific requirements
– To hold a Ph.D. qualification in the field of History of Art
– If the Ph.D. qualification was issued by UPF, the candidate will need to have been contractually separated from the institution for at least two years since securing the Ph.D. qualification
– Three years’ post-doctoral research activity
– Languages: Catalan and/or Spanish and English

Advantages
Salary: up to 60,000 euros. The salary depends on the successful candidate’s qualifications and experience.
The position involves a fixed-term contract for six years. One year before the contract expires, the candidate will be assessed by the Department’s Teaching Staff Committee. The outcome will determine whether the candidate is recommended to stay in the position as a permanent researcher or whether the contract will be terminated at the end of the year.

For more information see: https://www.euraxess.org.cy/jobs/220155

In order to apply to this call for applications, you will need to send the following documentation by email to seleccio.humanitats@upf.edu quoting reference number 2017-HUMA/TT01:
– Ph.D. qualification, or a receipt confirming it has been applied for
– Full CV
– Document specifying the applicant’s 5 foremost contributions in the field of research (journal articles, books, book chapters, etc.)
– Descriptive report on the applicant’s background as a teacher based on the following format:
– Teaching activity report
– Teaching activity assessment: results of student surveys charting their satisfaction with teaching given (or positive assessment certificate issued by the teaching institution)
– Professional development
– Training activities followed and taught
– Teaching innovation activities
– Experience in teaching coordination

Descriptive report on the applicant’s background as a researcher based on the following format:
– Publications and dissemination of research results (participation in conferences, seminars, etc.)
– Supervision and/or participation in research projects and resulting scientific output
– Dissertation supervision (completed and in progress)
– Other merits: awards and prizes, research stays, positions of scientific responsibility, etc.
– A summarised statement of the applicant’s teaching and research interests in keeping with the specific field to which the six-year vacancy contract pertains (no more than 5,000 characters including spaces)
– Five recommendation letters (at least one of which must be by an academic representative)
– A teaching project relating to the specific field to which the six-year contract vacancy pertains (no more than 100 pages)
– A research project relating to the specific field to which the six-year contract vacancy pertains (no more than 50 pages)

Schedule
– Submission of applications: the application needs to be submitted no later than 17/11/2017 (before midnight Spanish time)
– Results on candidates chosen in the first distance stage: second half of January 2018
– Live interview stage and results: January and February 2018
– Results of live interview stage: February-March 2018
– Incorporation of successful candidate: September 2018
– Results of the selection process

The list of candidates chosen in each stage will be published on the website https://www.upf.edu/web/humanitats/convocatoria-de-places

CFP: 15th Annual Conference of the International Medieval Society-Paris (IMS): Truth and Fiction, 28-30 June 2018

25e58865266eadd5bdb9a530a627b0db-medieval-art-middle-agesCall for Papers: 15th Annual Conference of the International Medieval Society-Paris (IMS), Truth and Fiction
Deadline: 24 November 2017.

In the wake of the US presidential election and the Brexit referendum, the Oxford English Dictionary chose the expression “post-truth” as its word of the year. This expression underlines the growing tendency to dismiss objective facts in favor of impulsive—and often prejudicial—feelings, frequently supported by “alternative facts.” The contentious relationship between the truth and lies, or truth and fiction, which is currently playing out in the public arena has, in fact, a long-standing legacy—one which can be traced back to the Middle Ages. For this reason, this year’s IMS conference seeks to investigate the variety of different approaches to truth and fiction that existed in the Middle Ages.

One possible avenue of inquiry concerns new ideas of Truth introduced by the Gregorian reforms. On a philosophical and doctrinal level, the idea of the infallibility of the Pope, the “Doctor of Truth,” was introduced by Gregory VII who, taking up the words of Christ, contended that he was the Truth (via, veritas, et vita). From a liturgical and sacramental point of view, on the other hand, we can study contemporary tenets of Eucharistic doctrine as a challenge to common sense as a mystery of human understanding—albeit articulated in rationalist terms. Papers thus might address the manner by which the Gregorian reforms placed the question of truth at the center of the demands of society: by constructing this “ideology of truth,” but also—and above all—by implementing mechanisms like preaching, which spread Truth to Christians, and confession, which introduced the obligation to speak the truth. We are particularly interested in the place and the role of Fictions in these devices (sermons, exempla, vita, etc.).

A second approach to this theme is through language, discourse and narrative forms that aimed to produce a supposed truth. We could examine the relationships between literature and history and their ambiguity with respect to the truth. For example, fictionalized historical narratives throughout the medieval period were frequently thought to be true because they provided a means of decrypting the social order. As John of Salisbury wrote, “even the lies of poets served the Truth.” Papers might explore relationships between truth and fiction through the lens of historical and literary genres (novels, epics, etc.) and the ‘truths’ they produced, placing special emphasis on the way that it was possible to believe the facts related in these works. The importance of these historico-literary fictions—what Paul Veyne called “doctrine in the face of facts”—might also be taken into account.

Law and rhetoric also construct notions of truth. Rhetoric permits the control of the relationship between the author and the audiences of a text and the establishment of the status of a text as veridic, among other things. It can even create direct links between music and words, using metaphor as a means of approaching the truth. Papers could consider, for instance, the virtuosity of the effects of Truth produced by the dictamen or even the quaestio scholastique as a method for establishing Truth with certitude, as well as the place of fiction within these new political languages.

Images throughout the medieval period play a fundamental role in the construction or undermining of truth(s). According to Augustine, the image is not truth, but rather a means of understanding Truth. For him, the work of art renders abstractions concrete using representations hat are both specific and individualized. What is the art object’s role in dispelling truth or decrying falsehoods? Through what formal and material means does it achieve either? Papers might consider the use and forms of medieval diagrams, the role of the art object in spiritual form, etc.

Finally, the conference aims to examine the origins and development of interrogative procedures in the medieval period, in that they illustrate relationships with the truth maintained by medieval societies. We are especially interested in the uses and status of fictive facts in inquisitorial trials, the manner that fictions were revealed during trials, or even how the participation of individuals in inquisitorial trials was viewed as an instrument of legitimization of power and as a way of acknowledging those individuals’ own truths and interpretations of facts.

This great diversity of themes opens participation to researchers working in a variety of different fields and coming from a variety of backgrounds: historians, art historians, musicologists, philosophers, literary scholars, specialists in auxiliary sciences (paleographers, epigraphists, codicologists, numismatists)… While we focus on medieval France, compelling submissions focused on other geographical areas that also fit the conference theme are welcomed. In bringing together such diverse proposals, the IMS conference seeks to take a new look at the notion of Truth, its articulations, and its relationship with Fiction in the medieval world.

Abstracts of no more than 300 words (in French or English) for a 20-minute paper should be sent to communications.ims.paris@gmail.com. Each proposal should be accompanied by full contact information, a CV, and a list of the audio-visual equipment required for the presentation.

The deadline for abstracts is 24 November 2017.

Paper selections will be made by a scientific committee composed of Catherine Croizy-Naquet (Univ. Paris 3/CERAM), Marie Dejoux (Univ. Paris 1/LAMOP), Lindsey Hansen (IMS), Fanny Madeline (LAMOP/IMS), and Valerie Wilhite (Univ. of the Virgin Islands/IMS), as well as the members of the Board of Directors of the IMS.

Please be aware that the IMS-Paris submissions review process is highly competitive and is carried out on a strictly anonymous basis.

The selection committee will email applicants in mid-December to notify them of its decisions. Titles of accepted papers will be made available on the IMS-Paris website thereafter.

Authors of accepted papers will be responsible for their own travel costs and conference registration fees (35€ per person, 20€ for students, free for members of LAMOP and CERAM; 10€ membership dues for all participants).

The IMS-Paris is an interdisciplinary, bilingual (French/English) organization that fosters exchanges between French and foreign scholars. For more than a decade, the IMS has served as a center for medievalists who travel to France to conduct research, work or study. For more information about the IMS-Paris and for past symposium programs, please visit our websites: www.ims-paris.org and https://imsparis.hypotheses.org.

IMS-Paris Graduate Student Prize:

The IMS-Paris is pleased to offer one prize for the best paper proposal by a graduate student. Applications should consist of:

1) a symposium paper abstract

2) an outline of a current research project (PhD dissertation research)

3) the names and contact information of two academic referees

The prize-winner will be selected by the board and a committee of honorary members, and will be notified upon acceptance to the Symposium. An award of 350€ to support international travel/accommodation (within France, 150€) will be paid at the symposium.

CFP: 2 sessions at the AAH Annual Conference, Courtauld Institute of Art and King’s College London, 5 – 7 April 2018

350px-hispanomoresqueCall for Papers: Medieval Eurabia: Religious Crosspollinations in Architecture, Art and Material Culture during the High and Late Middle Ages (1000-1600)
Deadline: November 1, 2017

The coexistence of Christianity and Islam in the Medieval Mediterranean led to a transfer of knowledge in architecture and material culture which went well beyond religious and geographical boundaries. The use of Islamic objects in Christian contexts, the conversion of churches into mosques and the mobility of craftsmen are only some manifestations of this process. Although studies beginning with Avinoam Shalem’s Islam Christianized (1996), have dealt extensively with Islamic influence in the West and European influence in the Islamic Mediterranean, sacred objects, and material culture more generally, have been relatively neglected. From crosses found in Mosques, to European-Christian coins with pseudo/-shahada inscriptions, medieval material culture is rife with visual evidence of the two faiths co-existing in both individual objects and monuments.
This panel invites papers from scholars working on intercultural exchange in art, architecture and material culture. We particularly welcome contributions that focus on sacred objects that have been diverted or ‘converted’ to a new purpose, whether inside or outside an explicitly religious context.
Papers should present original research, which expands the boundaries of knowledge and which the scholars would like to be considered for publication. Abstracts should be no more than 250 words long. Panel organised by Sami De Giosa, Oxford University and Nikolaos Vryzidis, British School at Athens. Email: aahchristianmuslimpanel2018@gmail.com

maesta700CFP: Art and Law: Objects and Spaces as Legal Actors
DeadlineNovember 6, 2017

Art history has long investigated the role of the law, from issues of visual evidence and legal aesthetics to ideas of artistic originality and authorship. But recent scholarship has increasingly drawn attention to the ways in which art can participate in the law’s actual operation. This session aims to broaden these investigations by tracing the long history of artistic intrusions into legal life, focusing on moments when the objects and spaces of art and architecture, broadly defined, have functioned as legal actors in their own right.
The session promises to explore these ideas through interdisciplinary and cross-chronological case studies from researchers, artists, and practitioners both in art history and in parallel fields such as law, journalism, and the social sciences. How have aesthetic objects past and present actively shaped the production and execution of the law as witnesses or juridical subjects in themselves? How have artists approached the courtroom as a site of artistic production and intervention? And in what ways has aesthetic production sought to short-circuit legal structures or forward alternative, even utopian, legal systems? Such questions have taken on new urgency in light of recent political and constitutional crises worldwide.

Papers might address, amongst other topics:
– historical and contemporary objects that dispense justice
– signs, emblems, or inscriptions that enforced legal boundaries or enacted legal codes
– artworks framed as legal victims, or which have been tried in absentia of criminals
– objects and theories of legal proof
– architectural actors as part of the fabric of legal drama
– art historical or theoretical texts investigating legal production and evidence-gathering and witnessing as forms of aesthetic production and research

Proposals of 250 words, accompanied by a short academic CV, should be sent to the two session organisers no later than 6 November 2017:
Dr Jack Hartnell (University of East Anglia, UK)
j.hartnell@uea.ac.uk
Dr Kevin Lotery (Sarah Lawrence College, USA)
klotery@sarahlawrence.edu