Recorded Webinar: Race, Racism, and Teaching the Middle Ages

On 20 July 2020, The Medieval Academy of America hosted the webinar Race, Racism, and Teaching in the Middle Ages. In the wake of recent events and ongoing racially motivated violence, there have been many institutional responses to raise awareness of race and racism in the U.S. and beyond.

This webinar focused on pedagogy and concrete strategies for teaching race and racism in their medieval forms and as they appear in medieval studies. Participants discussed what they do in the classroom and library to approach this complex topic with the goal of engendering ideas and texts that can be put in place as soon as the Fall 2020 academic term.

The webinar was recorded and can be viewed on the Academy’s website here.

The Medieval Academy of America, founded in 1925, is the largest organization in the United States promoting excellence in the field of medieval studies. The Academy publishes the quarterly journal Speculum; awards prizes, grants, and fellowships; and supports research, publication, and teaching in medieval art, archaeology, history, law, literature, music, philosophy, religion, science, social and economic institutions, and all other aspects of the Middle Ages.

Host Conference Institution: 21st Annual Vagantes Conference 2022, deadline 27 September 2020

The Vagantes Conference on Medieval Studies is now accepting applications for our 2022 host institution. The conference is an interdisciplinary graduate student conference focusing on the Middle Ages. It is entirely organized and run by graduate students. Vagantes is a unique opportunity to showcase the Medieval Studies community at your institution, as well as to gain valuable professional development experience in planning and organizing the event, and to meet and interact with top medievalist graduate students.

Applications will be accepted until Sunday, September 27th 2020 and will be reviewed by the Vagantes Board of Directors.

Applications will be discussed at the Annual International Congress on Medieval Studies in Kalamazoo, MI, at which point the Board may have additional questions for the applicants before reaching a decision.

E-mail submissions are required.

Find out more information here.

To apply to host the 21st Vagantes Conference on Medieval Studies, fill out the form below and send it to the Vagantes Board of Directors (vagantesboard@gmail.com). A digital copy of this form is accessible here.

  1. Name of university (may be a joint application with more than one university).
  2. Name of departments, institutes, and student organizations to be involved.
  3. Statement of interest that addresses the following questions:
    1. Why would your school be a good place to host Vagantes?
    2. What resources does your school have available (student interest, funding possibilities, museums, libraries, special collections, etc.)?
    3. Why would your school be a good venue for an international conference (accessibility, accommodations, transportation options, etc.)?
  4. The costs associated with hosting Vagantes have varied over the years, but on average have required an investment of about $10,000. How does your institution plan to raise this sum? Please name the chief source of funding you plan to rely upon to pay for the conference.
  5. Names and institutional affiliations of five graduate students who, by signing, will undertake the serious commitment of time to organize the conference. Please indicate and provide the email address for one of the students who would become the official host representative and immediately take up a three-year position on the Vagantes Board of Directors. You may appoint two students to this post if desired.
  6. Name of a faculty advisor who has agreed to be involved with Vagantes.
  7. Certify that you agree to the conditions listed below.

Applicants must agree to the following conditions:

  1. The conference will be free and registration will be open to the general public.
  2. The conference will run from a Thursday-Saturday in or around March.
  3. The conference will include a keynote by a faculty member from your school on the opening day and a final keynote by a faculty member from the future host school.
  4. The conference will conclude with a final banquet.
  5. Your school will send a faculty member to serve as a keynote at the current host school. You will provide the current host school organizers with the speaker’s name and contact information no later than November 15.
  6. Three graduate students from your school must agree to serve as abstract submission readers in November in the year the conference is hosted and in the following year. The abstract submission review committee is comprised of members from the past host institution, current host, and future host institution.
  7. The host institution representative from your school must agree to serve a three-year term on the Vagantes Board of Directors.
    1. Year 1: the position of Future Host Institution Representative on the Vagantes Board of Directors begins as soon as the new host institution is named (c. June). Conference preparations begin.
    2. Year 2: the position becomes Current Host Institution Representative in May and continues for one year. Conference preparations continue; hosting the event occurs in or around March.
    3. Year 3: in May the Current Host Institution Representative becomes the new Chair of the Vagantes Board of Directors and serves in that capacity until the following May. The Chair is primarily an advisory role. The Chair ensures a smooth transition to the new host institution and supervises the operations of the Vagantes Conference on Medieval Studies and its governing body.
  8. The host school will feature the Vagantes Conference on Medieval Studies seal logo on the conference program and other print and electronic marketing materials.

The Future Host Institution Representative or his/her designee should plan to attend the Board of Directors Meeting at the University of Wisconsin–Madison in 2021 (a virtual meeting is possible). Students from the future host institution will be strongly encouraged to present papers at the 2021 conference at the University of Wisconsin–Madison.

Future Host
TBD, March TBD, 2022

Online Lecture: The Lost Archive: Traces of a Caliphate in a Cairo Synagogue (Wednesday, 9 September, 2020, 12:30pm EST)

Tune in on Wednesday, 9 September at 12:30pm EST for a new lecture is the series Islam in Africa: Material Histories, sponsored by Silsila at New York University. Marina Rustow (Princeton University) will present The Lost Archive: Traces of a Caliphate in a Cairo Synagogue.

The lost archive of the Fatimid caliphate (909–1171) survived in an unexpected place: the storage room, or geniza, of a synagogue in Cairo, recycled as scrap paper and deposited there by medieval Jews. Neglected in favor of Hebrew-script texts from the Cairo Geniza, the hundreds of Fatimid state fragments invite us to reconsider the longstanding but mistaken consensus that before 1500 the dynasties of the Islamic Middle East produced few documents, and preserved even fewer. 

This lecture will consider the life cycle of Fatimid decrees and how they made their way from chancery officials to ordinary scribes—a trajectory that provides a window onto preindustrial archiving practices and documentary ecologies.

Registration for the lecture is required. Please register here.


Marina Rustow is Professor of Near Eastern Studies and Professor of History at Princeton University, where she holds the Khedouri A. Zilkha Chair in Jewish Civilization in the Near East and directs the Princeton Geniza Lab, which brings students and specialists together to decipher and digitize medieval documentary sources in Hebrew and Arabic script. She is the author of Heresy and the Politics of Community: The Jews of the Fatimid Caliphate (Cornell UP, 2008), and of The Lost Archive: Traces of a Caliphate in a Cairo Synagogue (Princeton UP, 2020). Her current research interests include the Indian Ocean trade, the material culture of medieval Cairo, and taxation and fiscality in Fatimid Egypt.

Silsila: Center for Material Histories is an NYU center dedicated to material histories of the Islamicate world. Each semester we hold a thematic series of lectures and workshops, which are open to the public. Details of the Center can be found here.

Above image credit: From Zakarīyā b. Muḥammad al-Qazwīnī, ʿAjāʾib al-makhlūqāt wa-gharāʾib al-mawjūdāt (The wonders of creation and the marvels of existence), Wāsiṭ, 1280 CE. (Munich, Bayerische Staatsbibliothek, Cod.arab. 464, fol. 36r).

Online Lecture: The Ringsaker Altarpiece, 21 September 2020, 9:15-16:15 (GMT+2), register by 14 September 2020

The Ringsaker Altarpiece – a masterpiece from Antwerpen 

On September 21, 2020, NIKU welcomes you to a webinar on the altarpiece in Ringsaker, Norway. This is the only known Antwerp altarpiece in Norway.

The altarpiece has been in Ringsaker church since around year 1530, and is still there today. Even though different Antwerp altarpieces have many similarities, the one in Ringsaker has many unique aspects worth exploring.

Program

The full day webinar will include presentations by concervators and art historians from Norway, Denmark, Belgium and The United States, that all have worked on the Ringsaker altarpiece or other Antwerp altarpieces.

A preliminary program can be found here.

Organizers

The webinar is a collaboration between The Norwegian Institute for Cultural Heritage Research and The Department of Archaeology, Conservation and History, University of Oslo. The organizers are paintings conservator Tone Olstad, and art historian Ragnhild M. Bø, which have led the project «Image, Imitation, Indulgence: Netherlandish Altarpieces and Devotional Practices in Denmark-Norway, c.1480-1550»

Register for the webinar here by September 14.

Exhibition: Precious and Rare: Islamic Metalwork from The Courtauld Gallery, Multiple UK Venues 2020-2021

The Courtauld announces rescheduled dates for its UK tour of Islamic metalwork

The Courtauld Gallery is pleased to announce rescheduled dates for its Precious and Rare touring exhibition of ten remarkable pieces of Islamic metalwork dating from the 13th to the 16th centuries.

The UK tour opened at Royal Truro Museum, Cornwall, in autumn 2019 and then travelled to Cartwright Hall Art Gallery, Bradford earlier this year before being temporarily closed in March due to the coronavirus pandemic.

Precious and Rare: Islamic Metalwork from The Courtauld Gallery is due to reopen in Bradford on 28 August and will then travel to the History of Science Museum, Oxford, in October 2020. The final date of the tour will be at the Holburne Museum, Bath, in January 2021, where the objects will be displayed as part of a small, stand-alone exhibition. This national tour is in partnership with the Specialist Subject Network for Islamic Art and Material Culture and supported by Art Fund.

The Courtauld’s Islamic metalwork collection includes some of the finest examples of this intricate craft from modern-day Iraq, Iran, Syria, Egypt and Turkey. The temporary closure of The Courtauld Gallery for a major transformation project has created the opportunity for The Courtauld to share these precious pieces from its collection with museums around the country. The tour also complements The Courtauld’s National Partners Programme which provides unique opportunities for audiences across the UK to engage with The Courtauld’s collection – including in Belfast, Braintree, Coventry, Hull, Preston and Wolverhampton. The Gallery is scheduled to reopen in Somerset House, central London, in 2021.

The Courtauld Gallery’s small but renowned collection of Islamic metalwork was formed by one of the great Victorian art collectors, Thomas Gambier Parry (1816- 1888), to complement his collection of precious medieval and early Renaissance paintings and decorative arts, with which they are normally displayed. Many of the best pieces in the collection have been on permanent display in The Courtauld Gallery since their bequest in 1966, and only a few pieces have ever been on loan before. The metalwork has been cleaned and conserved for the first time since the bequest was made, over fifty years ago.

The most spectacular piece in the collection is the Courtauld Bag, made in Mosul, present-day northern Iraq, for a noble lady of the Persian-Mongol court, around 1300 – 1330. It is recognised as one of the finest pieces of Islamic inlaid metalwork in existence, and is the only surviving object of its kind.

Led by Dr Alexandra Gerstein, The Courtauld Gallery’s curator of sculpture and decorative arts, the touring exhibition will allow museum partners the opportunity to both study and showcase the stories behind these rare works. Dr Gerstein said: “We are thrilled to continue working with our three remaining partners on the Precious and Rare touring exhibition, and that The Courtauld has partnered with such a range of notable organisations. The exhibition provides an opportunity for people across the country to experience and enjoy some of the most treasured art works from The Courtauld’s collection, and to find out more about their fascinating history.”

This important and little-known area of The Courtauld Gallery’s collection offers an opportunity for visitors around the country to learn more about a fascinating area of the arts of Islam. To support this, Dr Sussan Babaie, Reader in the Arts of Iran and Islam at The Courtauld, best known for her extensive research on Persian and Islamic art and architecture of the early modern period, is working with each tour partner to deliver a talk or event for local audiences. Sensory Experience in Islamic Arts, delivered virtually in collaboration with Cartwright Hall Art Gallery in June can still be viewed online.

The Courtauld Research Forum will also host a symposium event in partnership with The Oxford Research Centre for the Humanities (TORCH) in November. More details to be announced soon.

Tour Dates:

More information can be found here.

Webinar: Medieval Freelancing 101, Resources for Independent Scholars

The Medieval Academy of America announces a new webinar series that provides advice for independent scholars and those considering or in the process of pivoting to career paths beyond traditional academe. The series is sponsored jointly by the MAA Committee for Professional Development and CARA (Committee on Center and Regional Associations).

Medievalists employed beyond the professoriate have much to bring to the discussion. Some have built careers in para-academic activities as professional proofreaders, indexers, editors, and translators, while others have gone further afield to work in online publishing, tourism, or publicly oriented scholarship. This two-webinar series will turn to our colleagues to empower fellow medievalists to seek out new employment opportunities using the skills we all share. Both webinars will run for 90 minutes and will include time for questions from the audience.

This series will take place in September. Both webinars are free and open to the public, but pre-registration is required. Click the links below to register. The webinars will be recorded and posted to the MAA YouTube channel.

Session 1: Para-academic Work, September 8, 1–2:30 EDT

Moderator:

Kavita Mudan Finn (PhD Literature, 2010) Independent Scholar; Senior Editor, The Public Medievalist

Register for Session 1

Session 2: Working Beyond Academia, September 22, 1–2:30 EDT

Moderator:

Sarah Celentano (PhD Art History, 2016), Museum Administration (Development and Fundraising)

Register for Session 2

About the Medieval Academy of America

The Medieval Academy of America, founded in 1925, is the largest organization in the United States promoting excellence in the field of medieval studies. The Academy publishes the quarterly journal Speculum; awards prizes, grants, and fellowships; and supports research, publication, and teaching in medieval art, archaeology, history, law, literature, music, philosophy, religion, science, social and economic institutions, and all other aspects of the Middle Ages.

New Publication: ‘”Illuminating the Middle Ages”: Tributes to Prof. John Lowden from his Students, Friends and Colleagues’, edited by Laura Cleaver, Alixe Bovey, and Lucy Donkin

The twenty-eight essays in this collection showcase cutting-edge research in manuscript studies, encompassing material from late antiquity to the Renaissance. The volume celebrates the exceptional contribution of John Lowden to the study of medieval books. The authors explore some of the themes and questions raised in John’s work, tackling issues of meaning, making, patronage, the book as an object, relationships between text and image, and the transmission of ideas. They combine John’s commitment to the close scrutiny of manuscripts with an interrogation of what the books meant in their own time and what they mean to us now.

More information can be found here.

Table of Contents

Were Early Medieval Picture Cycles Recycled from Late Antiquity? New Evidence for a Lost Archetype of the Apollonius Pictus-An Illustrated Classic, Michelle P. Brown

Milanese Early Medieval Psalters: Models and Influences from West and East, Francesca Demarchi

Noli me tangere in the Codex Egberti (Reichenau, c. 977-93) and in the Gospel Book of Otto iii (Reichenau, 998-1000): Visual Exegesis in Context, Barbara Baert

The Green Tinted Souls of Dives and Lazarus in the Codex Aureus of Echternach, Maria R. Grasso

Portraits of Terence, the African, Beatrice Radden Keefe

Manuscripts Face to Face: León and the Holy Roman Empire in the Mid-eleventh Century, Rose Walker

The Two Pictures Cycles in Early Manuscripts of St Anselm’s Prayers, T.A. Heslop

Early Cistercian Manuscripts from Clairvaux, Kathleen Doyle

The Imagery of Noah’s Ark in the Mosaic Decoration of Monreale Cathedral, Mika Takiguchi

Some Observations on the Artists of the Leiden Psalter (Leiden, University Library MS B.P.L. 76A) and Their Working Practices, Emma Luker

A Portrait of Abraham Ibn Ezra (Paris, Bibliothèque de l’Arsenal MS 1186), Patricia Stirnemann and Judith Kogel

The Virgin and Child in the Map Psalter (London, British Library Additional MS 28681), Sally Dormer

Seeing and Reading the Matthew Paris Saints’ Lives, Martin Kauffmann

Extended Shelf-life: Manuscript Consolidation in an English Monastic Library, Kathryn Gerry

Domesday in Disguise, Jessica Berenbeim

From Warwickshire to New York via Canterbury: The Travels and Tribulations of the Bible of Richard of Sholdon, Frederica Law-Turner

Virgin, Devil, Bishop, King: Nicola Pisano’s Pulpit in Siena and Alfonso x’s Cantigas de Santa Maria, Deirdre Jackson

Of Venerable Teachers and Boisterous Students: Maistre Brunetto and the Arabic Aristotle, Hanna Wimmer

Lost and Found in the Meditationes Vitae Christi, Oxford, Corpus Christi College MS 410, Renana Bartal

Ivory Booklets, Devotion in Cologne, Sarah M. Guérin

Gothic Ivories Unhinged, Catherine Yvard

Monks and Ants in the Presence of Death: A Re-reading of Pliny the Elder in Quattrocento Illumination, Christian Heck

The Ridware Cartulary and the Great Seal of England, Julian Luxford

Sin and Salvation in the Hours of Jean de Dunois, Richard Gameson

Harreteau and His Unfinished Book of Hours, Rowan Watson

Looking Beneath the Surface: Subterranean Space in the Kutná Hora Cantional, Lucy Donkin

A Manuscript of Giovanni Boccaccio’s De Mulieribus Claris from the Library of the Benedictine Convent of San Maurizio al Monastero Maggiore in Milan?, Anne-Marie Eze

Bloodlines: Medicine and Cosmology in France, China, and Mexico, Jack Hartnell

Online Workshop: A Fractured Inheritance: The Problems, Challenges, and Opportunities of Collecting Manuscript Fragments, Rare Book School, 15 September 2020, 5–6:30 p.m (ET)

A 75-minute panel discussion followed by 15 minutes of Q&A scheduled for Tuesday, 15 September 2020, 5–6:30 p.m. ET, via Zoom.

Due to Zoom’s restrictions, this event is limited to the first 300 people who register. The event will be recorded and made available for viewing on the RBS YouTube channel.

“Fragmentology” has emerged as one of the dominant subjects in the broader manuscript studies field as digital technologies have facilitated the identification, location, and reaggregation of widely dispersed individual folios originally from the same common manuscript. The reconstruction of broken manuscripts addresses questions across the spectrum of medieval book studies, including codicology, paleography, art historical and textual research, historical provenance, modern consumerism, and the contested and shifting value of manuscript fragments as either objects of connoisseurship or scholarship. Collecting fragments is a highly contentious topic, and this session will address it from institutional, private, commercial, and scholarly perspectives.

This event’s panelists are Tom Bredehoft, Lisa Fagin Davis, Rose A. McCandless, Yael Rice, and Jim Sims. Eric J. Johnson is moderating.

Everyone is welcome to attend. To ensure the security of the event, advance registration is required; to register, click hereRegistration closes at 8 a.m. ET the day of the event.

Your registration will be automatically accepted. You will receive an email reminder the day before the event. The day of the event, we will send you the Zoom URL and password. Please direct any questions to RBS Programs at (rbs-events@virginia.edu).

Follow the conversation on social media using hashtags #RBSOnline and #RBSFragmentology.

Panelists

Tom Bredehoft taught English literature at the University of Northern Colorado and at West Virginia University for 18 years; his last academic book was The Visible Text: Textual Production and Reproduction from Beowulf to Maus. Since he left academic employment in 2012, he has focused his fascination with the material text on his business, Chancery Hill Books and Antiques, where he tries to find good homes for oddball items, including manuscript fragments from the European Middle Ages, as well as printed fragments and later materials. He sees himself as a collector, dealer, and former academic.

Lisa Fagin Davis  received her Ph.D. in Medieval Studies from Yale University in 1993. She has catalogued medieval manuscript collections at Yale University, the University of Pennsylvania, the Walters Art Museum, Wellesley College, the Museum of Fine Arts Boston, the Boston Public Library, and several private collections. Her publications include the Catalogue of Medieval and Renaissance Manuscripts in the Beinecke Rare Book and Manuscript Library, Yale University, Vol. IV (with R. G. Babcock and P. Rusche, Tempe, 2004); The Gottschalk Antiphonary (Cambridge University Press, 2000); numerous articles in the fields of manuscript studies, codicology, and fragmentology; and the monograph, La Chronique Anonyme Universelle: Reading and Writing History in Fifteenth-Century France (a translation, critical edition, and detailed study of a fifteenth-century French world chronicle) (Brepols Publishers, 2015). With Melissa Conway, Davis is co-author of the Directory of Pre-1600 Manuscripts in the United States and Canada, published online by the Bibliographical Society of America. She teaches Latin Paleography at Yale University and Manuscript Studies at the Simmons University School of Library and Information Science. With her Simmons students, she has digitally reconstructed several dismembered medieval manuscripts using the Fragmentarium interface. Dr. Davis has served as Executive Director of the Medieval Academy of America since 2013.

Rose A. McCandless is a fourth-year undergraduate at Ohio State University studying History and Medieval & Renaissance Studies. She studies the changing nature of the Bible in the thirteenth century, as well as the various ways in which medieval manuscripts have entered the modern era. A native of Cleveland, Ohio, Rose is particularly interested in the recent history of biblioclasm in northeast Ohio and its legacy in medieval studies today. Rose has worked extensively on the Josephinum Bible, a fragmentary manuscript owned by the Pontifical College Josephinum in Columbus, Ohio, reconstructing both its story and the current whereabouts of its leaves. In addition to her studies, she is currently working for the National Museum of Scotland and Maggs Bros. Ltd., and is applying to graduate programs in Medieval Studies.

Yael Rice is Assistant Professor of art history at Amherst College. She specializes in the art and architecture of South Asia, Central Asia, and Iran, with a particular focus on manuscripts and other portable arts of the fifteenth through eighteenth centuries. She is also a member of the Andrew W. Mellon Society of Fellows in Critical Bibliography and, between 2013–15, was a Rare Book School Mellon Fellow in Critical Bibliography.

Jim Sims is a graduate of the Rochester Institute of Technology’s Imaging and Photographic Technology Program. He worked for NASA for seven years as Imaging Specialist and most recently, for the past 22 years, in the field of scientific imaging for Biologists. He is currently Product Manager for Research Cameras for Hamamatsu Corporation. Jim bought his first rare book starting at the age of twelve and is a private collector of leaves and fragments with an interest in the history of script and the written word in general.

Moderator

Dr. Eric J. Johnson is Associate Professor and Curator of Thompson Library Special Collections & Rare Books & Manuscripts at The Ohio State University, where he teaches widely across the University’s interdisciplinary humanities curriculum, with particular emphasis on manuscript studies, fragmentology, and book history. He holds an M.A. and Ph.D. in Medieval Studies from the Centre for Medieval Studies at the University of York (UK), as well as an M.L.I.S. from Rutgers University. His research interests extend widely across the fields of medieval and Renaissance studies, codicology and bibliography, book history, the pedagogical uses of primary source materials in K-12 and university classrooms, and the digital humanities.

More information can be found here.

CFP: The Print in the Codex ca. 1500 to 1900, deadline 16 September 2020

The Bibliographical Society of America is sponsoring a panel session for the the College Art Association annual conference (10-13 February, 2021).

The Print in the Codex ca. 1500-1900 will consider bound volumes created or transformed through the incorporation of independently printed images. Inspired by recent scholarship that addresses the popularity of modifying, enhancing, or creating books in this manner, this session will focus on the production and reception of such books between the widespread adoption of the printing press in Europe, circa 1500, and the nineteenth-century rise of public museums and libraries, with their increasingly standardized and discrete organizational systems. Papers may address any books into which independently printed images have been incorporated, whether these books include text and whether they are analyzed as unique items or as products of broader creative or curatorial practices. This session seeks papers that consider both the material and the conceptual aspects of these complex volumes. Themes may include the agendas of specific creators; the codex as a structure and ways in which prints were designed for, or adapted to it; or how these works inform histories of reading, book and print production, or book and print collection. Papers may also address how these books relate to those of earlier centuries. Themes addressing subsequent reception are also welcome. Such themes include interpretive and practical challenges that the books present, and opportunities they offer, to the evolving institutional and media landscapes of the twenty-first century. 

Please send proposals, including title, abstract (250 words) and CV by Wednesday 16 September 2020 to: Jeanne-Marie Musto, Program Committee, Bibliographical Society of America, at musto.jeannemarie@gmail.com.

NB: CAA membership is not required to submit a paper proposal, but is required once proposals are accepted. For more information concerning participation in the CAA 2021 conference, see: http://www.collegeart.org/programs/conference/proposals.

Online Conference: Image and Ascent: Mountain Terrains in the History of Art, The Warburg Institute, 14 – 17 September 2020

Organised by Dr Joanne W. Anderson (University of Aberdeen) and Dr Carla Benzan (The Open University)

That artworks are closely tied to the landscape in which they are produced is often taken for granted, and yet the recent ecological turn in the humanities has only begun to critically intervene in the methodology of writing art’s histories. Image and Ascent: Mountain Terrains in the History of Art brings recent interest in mountains across the humanities into dialogue with the history of images, offering a forum for new research concerning images of, and images produced in, mountainous terrains. Seeking an alternative to the hierarchical opposition between the base and the summit, we emphasise the notion of the terrain to raise the way in which human agents – artists, patrons, beholders, and scholars – must accommodate and respond to their natural environment. 

Originally scheduled as a two-day conference for June 2020, Image and Ascent will now take the form of a series of afternoon sessions delivered online via the Zoom platform, and hosted by the Warburg Institute. 

ATTENDANCE FREE. YOU MAY BOOK FOR THE FULL CONFERENCE OR FOR A SPECIFIC DAY.

PLEASE BOOK BY THURSDAY 10 SEPTEMBER 2020.

More information here.

Monday 14 September
3.00-3:55pm: Keynote address
Professor Jason König (University of St. Andrews): “Mountains and Vision in Ancient Literature and Culture” 
Respondent: Veronica della Dora

4.00-5.00pm: Session 1: “Rhythm, Transmission, Travel”
Chair: Martina Mazzotta 
Linda Schädler (ETH Zürich): “Irene Kopelman. In Search Of Glaciological Traces”
Marianne Cailloux (Lille University): “Multimodal Mountain perceptions of the mountain: how artistic workshops convey the idea of the Alps”  
Philipp Meurer (Kiel University): “Deictic Shifts into the Image? – Fictional Aspects in Pieter Bruegel’s Large Landscape Series”

Tuesday 15 September 
3.00-3:40pm: Session 2: “Topography, Peripheries, Power” 
Chair: Opher Mansour 
Barnaby Nygren (Loyola University Maryland): “‘Indian Wonders’: The Landscapes of Early Colonial Mexico”
Elizabeth Griffith (Independent): “Mountain Imagery in Genoese, Ragusan, and Venetian Cityscapes”

3:45-4:45pm: Session 3: “Simulacra, Structures, Recreations”
Chair: Alessandro Scafi 
Shaun Midanik (University of Toronto): “Simulating the Ascent: Jacopo Ligozzi and the Descrizione del Sacro Monte della Verna (1612)”
Henrietta Simson (University of the Arts, London): “Moving a Mountain: The Distance and Presence of the 13th-Century Wilderness Image”
Rhoda Eitel-Porter (Print Quarterly): “Mountainous Terrain: Visualizing Dante in Sixteenth-Century Italy”
4:45-5.00pm: Breakout discussions

Wednesday 16 September
3.00-4.00pm: Session 4: “Mapping, Aesthetics, Epistemology” 
Chair: John Tresch 
Cristóbal F. Barria Bignotti (The Centre for Sensory Studies, Concordia University): “William Morris Davis: Drawing the geomorphology of mountains”
Denise Koller (Princeton University): “Shaping the Lithic Mass: Composition and Geology in Ferdinand Hodler”
Rachel Daphne Weiss (UCLA): “Atlas/Mountains: Jan Hackaert’s Alpine Landscapes in the Atlas Blaeu-van der Hem”

4:05-4:45pm: Session 5: “Performance, Theory, Site” 
Chair: Oliver O’Donnell 
Jonathan Pitches (University of Leeds): “Mountain site related performance: bringing mountain culture into the climate crisis debate”
Jonathan Westaway (University of Central Lancashire): “‘But there is Art and ART’: George Leigh Mallory, positional deixis and the aesthetics of mountaincraft”

4:45-5.00pm: Breakout discussions

Thursday 17 September 
3.00-4.00pm: Session 6: “Disintegration, Environment, Mechanics” 
Chair: Thalia Allington-Wood
Diana Mellon (Columbia University): “Bathing and Descent in De balneis Puteolanis”
James Pilgrim (Johns Hopkins University/CASVA): “Bassano’s Alluvial Painting”
Anna Grasskamp (Hong Kong Baptist University): “Miniature Mountains: Landscape Constructions in German Handstein and Chinese penjing” 

4:05-5.00pm: Keynote Address
Christopher P. Heuer (University of Rochester): “Evaporating Dürer”
Respondent: Rose Marie San Juan

5.00pm: Final summary

More information here.