Category Archives: Call for Papers

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.

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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

CFP: The manuscripts of Charlemagne’s Court School – Individual creation and European cultural heritage, Stadtbibliothek Trier, 11 – 13 October 2018

Call for Papers: The manuscripts of Charlemagne’s Court School – Individual creation and European cultural heritage, Stadtbibliothek Trier, 11 – 13 October 2018
Deadline: Dec 31, 2017

1024px-meister_der_hofschule_karls_des_groc39fen_001Internationale Tagung
Die Handschriften der Hofschule Kaiser Karls des Großen – individuelle Gestalt und europäisches Kulturerbe
International Conference
The manuscripts of Charlemagne’s Court School – Individual creation and European cultural heritage”

Informationen zum Thema der Tagung: Zur Zeit gibt es intensive Bemühungen, die Handschriften aus der Hofschule Kaiser Karls des Großen in die Liste des UNESCO-Weltdokumentenerbes (Memory of the World) eintragen zu lassen. Hierbei handelt es sich um ein Korpus von acht vollständigen Handschriften und einem Fragment, ergänzt durch das aus der Palastschule Karls des Großen stammende „Wiener Krönungsevangeliar“. Die Trierer Tagung verfolgt ein doppeltes Ziel: In den Vorträgen von Sektion I soll eine aktuelle Bestandsaufnahme der Hofschul-Handschriften erfolgen und die einzelnen Kodizes sollen, basierend auf dem neuesten Forschungsstand, in handbuchartiger Weise vorgestellt werden. Mit einbezogen sind die kunstvollen Einbände der Handschriften. In den Vorträgen von Sektion II sollen die geistigen und kulturellen Rahmenbedingungen der Hofschulproduktion thematisiert werden. Hierbei geht es u. a. um Fragen nach dem kultur-, literatur- und kunstgeschichtlichen Horizont, nach der Antikenauffa

ssung, der Bibelphilologie, den politischen Implikationen, den Auswirkungen des byzantinischen Bilderstreits und dem zugrundeliegenden Bildungsprogramm der Hofschulhandschriften. Die Herangehensweise der Tagung ist dezidiert transdisziplinär. Es können Vorträge aus den unterschiedlichsten involvierten Fachdisziplinen angeboten werden.

Sektion I: Dier Handschriften der karolingischen Hofschule (Impulsreferat 20 min + 10 min Diskussion)
1. Das Godescalc-Evangelistar (Paris, BN, Nouv. Acq. Lat. 1203)
2. Evangeliar aus St.-Martin des Champs (Paris, Bibl. de l’Arsenal, Ms 599)
3. Das Ada-Evangeliar (Trier, Stadtbibl., Hs 22)
4. Der Dagulf-Psalter (Wien ÖNB, Cod. 1861). Einband: Paris (Louvre, Dép. Des Objects d’Art, Iv. 9/10)
5. Ein Evangelien-Fragment mit der Verkündigung an Zacharias (London, BL, Cotton Claudius B. V.)
6. Das Evangeliar aus Centula [de Saint Riquier] (Abbeville, BM, Ms 4 [1])
7. Ein Evangeliar unbekannter Herkunft (London, BL, Cod. Harl. 2788)
8. Das Evangeliar aus St. Médard in Soissons (Paris, BN, Ms lat. 8850)
9. Das Lorscher Evangeliar (Alba Iulia, Rumänien, Bibl. Batthyáneum, Cod. II. [Matthäus und Markus] und Vatikan, BAV, Cod. Pal. Lat. 50 [Lukas und Johannes]. Elfenbeintafeln und Buchdeckel: Vatikanische Museen, und London, Victoria and Albert Museum)
10. Das Wiener Krönungsevangeliar (Wien, Kunsthistorisches Museum, Welt. Schatzkammer, Inv. XIII 18)

Sektion II: Die geistigen und kulturellen Rahmenbedingungen der karolingischen Hofschule sowie deren Erschließung (Vortrag 30 min + 15 min Diskussion)
1. Literaturgeschichtliche Aspekte der karolingischen Epoche
2. Die Antikenauffassung der karolingischen Kunst
3. Bibelphilologie in der Zeit um 800
4. Der byzantinische Bilderstreit und die Stellung des karolingischen Hofes
5. Die Bedeutung der Abtei Tours für die Produktion der karolingischen Hofschule
6. Das Bildungsprogramm Alkuins
7. Die Stifterhandschriften aus der Zeit Karls des Großen
8. Paratexte in den Handschriften der Hofschule Karls des Großen
9. Die Soziographie der Künstler von Handschriften der Hofschule
10. Die politischen Implikationen der Hofschul-Handschriften
11. Die Handschriften der Hofschule Kaiser Karls des Großen – Digitale Rekonstruktion und Erschließung

How to apply: Einreichung eines schriftlichen Exposees (ca. 400-500 Wörter) sowie eines kurzen Lebenslaufs (max. 150 Wörter). Einsendeschluss ist der 31. Dezember 2017; eine Benachrichtigung der angenommenen Themenvorschläge erfolgt bis zum 01. Februar 2018. Ein Antrag auf Tagungsbeihilfe ist gestellt. Vorbehaltlich der erfolgreichen Bewilligung können die Reisekosten der Teilnehmer und Teilnehmerinnen ganz oder teilweise übernommen werden. Es ist geplant, die Beiträge zu publizieren.
Für weitere Informationen richten Sie sich bitte an: Prof. Dr. Michael Embach, Stadtbibliothek Trier, michael.embach@trier.de
Prof. Dr. Claudine Moulin, Universität Trier, moulin@uni-trier.de

CFP: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, 16 February 2018

HolyofHoliesReliquary

Call for papers: The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2017
Deadline: 30 October 2017

The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium invites speakers to consider the nature of medieval collections, the context of their creation and fruition, and their legacy — or disappearance — in the present.

Inspired by objects such as a cedar box chest once kept in the Holy of Holies of the Lateran, this colloquium seeks to explore a diverse set of topics surrounding medieval practices of collecting. This wooden box may seem simple, but once opened it reveals a priceless collection: fragments of rock and wood from the Holy Land, each labelled with its precise place of origin by a sixth-century hand. Here and there, stones have fallen out, leaving imprints in the soil. The wooden relic chest is an object of small size and almost no material value, but has nevertheless been treasured for centuries by one of the largest and most powerful institutions of the medieval world.

The study of medieval collecting raises a variety of questions. How and why were objects collected, practically and conceptually? What was their expected time-span and what enabled their survival? How have medieval collections impacted modern scholarship, and how do modern collecting and display practices influence our interpretation of the past?

Applicants to the colloquium are encouraged to explore these issues from a diverse range of methodologies, analysing objects from the 6th to the 16th century and from a wide-ranging geographical span. Possible areas of discussion might include:

  • Collecting through time: How do we define the medieval collection/collector? How did medieval objects take on new meanings in medieval collections, ie. in the case of spolia? How has scholarship on medieval art been influenced by varying collecting practices and curatorial strategies across time?
  • Collecting in space: can the idea of the ‘collection’ be expanded to include objects, places and spaces spread across different geographical locales? Could objects or spaces communicate their commonality across a distance? How did pilgrimage routes, travel narratives and travel guides conceptualize their surroundings and weave a thread through geographical and historical difference?
  • Collectors, intermediaries, and craftsmen: how did institutions and single collectors acquire and expand their collections? For example, did they rely on a merchant network to acquire foreign objects or new relics? Did they collect newly commissioned objects, and display them in purpose-built spaces?
  • Collections and Legacies: how did inheritance impact the notion of collecting, looking forwards as well backwards? How did the meaning of objects change as they were passed down through families and dynasties? What happened to collections when familial lines ended? How did individuals link themselves to courts or dynasties through collections?
  • Accessibility: When, how and why were collections visible? Were there different levels of accessibility and interaction and who was allowed to ‘access all areas’? How were restricted collections advertised and open collections protected? And did objects themselves interact with each other, for example in specific displays or assemblages?
  • Organising Collections: What were the systems for assembling a collection, and for how they were curated? How did purpose-built spaces impact the growth of collections, and vice-versa? What were the roles of documents in collections, and how have medieval recording practices influenced modern views of the medieval collection?

The Medieval Postgraduate Colloquium offers an opportunity for research students at all levels from universities across the UK and abroad to present, discuss and promote their research. To apply, please send a proposal of up to 250 words for a 20 minute paper, together with a CV, to costanza.beltrami@courtauld.ac.uk and maggie.crosland@courtauld.ac.uk no later than 30 October 2017.

courtauldlogo

CFP: Rethinking the Medieval Frontier, University of Leeds, 10 April 2018

avila-753643_1920Call for Papers: Rethinking the Medieval Frontier, University of Leeds, 10 April 2018
Deadline: 1 February 2018

Few topics in medieval studies have as much current relevance and activity as frontiers and borders. Yet approaches to their study in the Middle Ages are often untheorised, and
compare, if at all, only to often outdated studies of the ancient or modern world. Yet
medievalists are well placed, given the richness of their material and the complexity of
medieval politics and society, to challenge such ‘classical’ ideas of The Frontier, whose
weaknesses are now being exposed by current events. A fully comparative approach to the possibilities of what it meant to establish, live in or contest a frontier or border zone shown by the societies of late Antiquity and the Middle Ages can power the development of a new shared understanding of the processes at work where borders are laid down or transgressed.

The project Rethinking the Medieval Frontier has been exploring such ideas since 2015. Its first one-day conference, made possible by a British Academy/Leverhulme Trust Small Research Grant, will take place on 10th April 2018. Scholars at all levels working on frontiers and borders within the period 100-1500 CE, in any geographical area, are invited to offer papers addressing questions such as these:
§ Who defines or defined a frontier, and with what effect?
§ How did the medieval understanding of the world envisage or describe frontiers?
§ How was a frontier physically constituted?
§ Did military frontiers differ from other sorts of border, and if so how?
§ How do archaeologists’ views of medieval frontiers compare to those of historians?
§ What persons or groups crossed medieval borders, and why? Who was prevented from
doing so, and how effectively?
§ What persons or groups lived in border zones, for what reasons?
§ How far did frontiers and borders create or inform medieval identities?
§ How do the insights of other disciplines studying frontiers apply to medieval societies,
and how do medievalist disciplines differ in their study of frontiers?
Papers should be up to 15 minutes long and may be exploratory or experimental.
Comparison of more than one medieval society is encouraged. Titles and abstracts should be received by 1st February 2018. It may not be possible to accept all submissions. Some travel bursaries are available to allow attendance which might otherwise not be possible, including from outside the UK.
Submissions, as well as any other queries, should be sent to Jonathan Jarrett, School of History, University of Leeds, LS2 9JT, j.jarrett@leeds.ac.uk.

CFP: Enchanted Environs: Architecture, Automata, and the Art of Mechanical Performance, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018

l27horlogedesapience28theclockofwisdom29fromabout1450Call for Papers: Enchanted Environs: Architecture, Automata, and the Art of Mechanical Performance, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018.
Deadline: 15 September 2017.

Sponsored by AVISTA (The Association Villard de Honnecourt for the Interdisciplinary Study of Technology, Science, and Art).

Organized by Zachary Stewart (Texas A&M University) and Amy Gillette (The Barnes Foundation).

Medieval spaces were often sites of spectacular performances animated by various kinds of mechanical installations—the most complex of which featured automata or self-operating devices. Some items survive in material form; the most notable examples are the famous mechanical clocks of Central Europe. Other items survive in textual form; examples range from the singing birds in the palace of Caliph al-Muqtadir, the dancing monkeys in the garden of Count Robert II of Artois, and the bowing angel in the coronation pavilion of King Richard II of England to the Throne of Solomon of Middle Byzantine Constantinople, the ritual statues of late medieval Spain, and the liturgical set-pieces of late medieval Italy. This session, enriched by the work of scholars such as Jean Gimpel and, more recently, Scott Lightsey and Elly Truitt, seeks to revisit the issue of mechanical installations as it relates to the history of the built environment—an area of academic research in which studies of human performance are many but studies of non-human performance are few. The working conceit of the session will be that of the Wunderkammer. Participants will deliver a series of shorter papers in order to facilitate a wide-ranging exploration of mechanical invention in the medieval world: Latin, Byzantine, and Islamic. Possible topics of inquiry may include individual case studies, modes of production and/or reception, and larger questions of historical evidence (physical, textual, and visual) and/or historical significance (political, social, and economic). Especially desirable are contributions involving technical reconstructions (analog or digital), theoretical speculations (phenomenological or ontological), and, in keeping with the mission of AVISTA, investigations of famous polymaths such as Ismail al-Jazari, Villard d’Honnecourt, and Leonardo da Vinci.

Please send an abstract (500 words max) and a Participant Information Form to Zachary Stewart (zstewart@arch.tamu.edu) and Amy Gillette (agillette@barnesfoundation.org) by 15 September 2017.

AVISTA is pleased to offer the annual, merit-based Villard de Honnecourt Award for the outstanding paper by a graduate student in an AVISTA session at the ICMS at Kalamazoo. It is based on evaluation of the candidate’s abstract and CV. This award, which comes with a $500 honorarium, is intended to further young talent in the study of medieval technology, science, and art. The Society is also pleased to offer up to two $500 grants-in-aid to graduate students or independent scholars to defray costs of attending the ICMS at Kalamazoo. Application for one of these grants consists of a 300-word statement of need and CV, which should be submitted to the session organizer(s) by September 15, 2017, together with the paper abstract and PIF form.

CFP: Medieval Eurabia: Religious Crosspollinations in Architecture, Art and Material Culture during the High and Late Middle Ages (1000-1600) at Annual Conference of the Association for Art History, UK, Courtauld Institute of Art, University of London, UK, 5th-7th April, 2018

800px-french_ciborium_with_rim_engraved_with_arabic_script_and_islamic_inspired_diamond_shaped_pattern_limoges_france_1215_1230Call for Papers: Session on Medieval Eurabia: Religious Crosspollinations in Architecture, Art and Material Culture during the High and Late Middle Ages (1000-1600) at Annual Conference of the Association for Art History, UK, Courtauld Institute of Art, University of London, UK, 5th-7th April, 2018
Deadline:
1st November, 2017

Panel organised by Sami De Giosa, Oxford University and Nikolaos Vryzidis, British
School at Athens
Email: aahchristianmuslimpanel2018@gmail.com
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
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.
Abstract should be no more than 250 words long.