Online Lecture: The King, His Hall and a Scandal: Accounts of Eadwig in the Tenth Century, Katherine Weikert, (SAHGB Seminar) 23 July 2020 17:00-18:00

Thursday, 23 July 2020, 5:00pm  – 6:00 pm

In 955, King Eadwig came to the West Saxon throne in a time of internal strife between delegates for the crown. Only fifteen at the time, his short-lived reign became synonymous with lechery, debouchery and ill-council. This paper will examine one of the stories that made this reputation: at his coronation feast, Eadwig left the celebrations in order to cavort with his consort, Ælfgifu (and, in some texts, her mother.) The sexual elements of this story are to some degree typical of medieval defamation, and doubly so as as the tale partly survives in a selection of saints’ vitae. However, beyond the stereotype of a lecherous king, the narrative has particular meaning for elite buildings in the tenth century. Not only was this episode used to indicate a weak king, but the terms used to name particular rooms in this story were specifically chosen to condemn the political power of Eadwig and Ælfgifu. This paper will examine these accounts with comparatives of contemporary elite halls to demonstrate how a clever combination of place and text were were used to damn the king and his wife.

For the foreseeable future the SAHGB Seminars will be virtual events via Zoom. We will circulate joining instructions via email the morning of the scheduled event. Please complete the form to register.

Register here.

New Publication: Seeking Transparency: Rock Crystals Across the Medieval Mediterranean, Edited by Cynthia Hahn and Avinoam Shalem

Like the sea, and the watery medium with which rock crystal is identified in the Middle Ages, the history of its production during the Middle Ages ebbs and flows. From Late Antiquity to the age of the great Portuguese expansion, specific knowledge about carving the hard material, was kept a closely guarded secret in just a few centers of production.

All the while, royal courts and wealthy churches were eager patrons for the luxurious objects given that rock crystal was valued as one of the most desirable and precious of all materials, ascribed mysterious origins and powers, and renowned for both rarity and clarity. This collection of essays reveals the global and cross-cultural histories of rock-crystal production in and even beyond the lands of the Mediterranean Sea. It investigates many objects and varied aspects of rock crystal such as: the physical nature and legendary as well as actual origins of the material; its manufacturing techniques and affiliations to other luxurious objects, such as cut glass and carved precious stones; legends and traditions associated with its aesthetic qualities; as well as issues concerning its varied functions and historiography. 

The editors:

  • Cynthia Hahn is Professor in Art History at Hunter College, CUNY.
  • Avinoam Shalem is Riggio Professor of the History of the Arts of Islam at Columbia University, New York.

With contributions from:

Zainab Bahrani, Isabelle Bardiès, Farid Benfeghoul, Brigitte Buettner, Patrick R. Crowley, Beate Fricke, Marisa Galvez, Stefania Gerevini, Cynthia Hahn, Jeremy Johns, Genevra Kornbluth, Jens Kröger, Ingeborg Krueger, Elise Morero, Bissera V. Pentcheva, Marcus Pilz, Stéphane Pradines, Venetia Porter, Hara Procopiou, Avinoam Shalem, Gia Toussaint, Roberto Vargiolu und Hassan Zahouani.

Order the book here.

Online Course: How Images Mean: An Introduction to Iconographic Theory, 27-31 July 2020

Course tutor: Paul Taylor (Curator, Warburg Institute Photographic Collection) 

Ever since Gombrich’s Art and Illusion and Goodman’s Languages of Art, the theory of images has been a lively and growing subject. And yet in all the many publications in the field, only a handful mention an approach which has been important in art history for centuries – iconography, ‘that branch of the history of art which concerns itself with the subject matter or meaning of works of art’, as Erwin Panofsky put it. There are good reasons for this: much recent work has been devoted to theories of resemblance, rather than what images can be taken to mean. And at the same time, iconography has seemed like a limited phenomenon. Panofsky, whose ‘Iconography and Iconology’ is still the most widely read statement of iconographic theory, argued that landscapes, still lifes and genre paintings did not have iconographical meanings. For him, iconography was a matter of decoding the attributes, stories and allegories of traditional art. So to those interested in images per se rather than high art, iconography has looked like a topic they can afford to ignore.

This lecture course will argue that images of all sorts, including photographs, can be said to have meanings, and that Panofsky was wrong to limit the scope of iconography. It will also try to show that the ways in which images acquire meanings vary, and require the careful analysis that linguists and philosophers are used to applying to language. Rather than confining itself to traditional attributes, stories and allegories, it will be concerned with works from around the world, including ancestor figures from Africa and Oceania, idols from Mesopotamia and Mesoamerica, European altarpieces and histories, and modern photographs and advertisements.

The course will be taught across five x two hour classes. After an introductory lecture devoted to basic terms, the course will go on to examine four principal kinds of ‘iconographic device’, the mechanism by which meaning comes to be attached to images: stipulation, attributes, narrative and illusion. Each session will have time for discussion.

Reading lists will be made available to registered students.

SCHEDULE: 
Mon-Fri 27-31 July 2020, 15:00-17:00

Registration and payment: 

Standard: £100 
Warburg staff & fellows/external students/unwaged: £90 
SAS/LAHP students: £80 
Warburg students: £50


If you are interested in booking a place but are unable to pay the fee, please contact warburg@sas.ac.uk

Find out more here.

Dissertation Prize: Association for Art History Dissertation Prizes 2020, deadline 1 October 2020 & 1 December 2020

Call for Undergraduate Dissertation Prize nominations

Have you written or marked a brilliant dissertation this year? If so why not consider nominating it for our Dissertation Prize.

This prize is for undergraduate and postgraduate dissertations in art history or visual culture.

The Association for Art History Dissertation Prize is awarded each year. There are two awards: one for undergraduate dissertations and one for postgraduate (Master’s-level) dissertations. The 2020 prize is for dissertations written during the 2019-20 academic year. The authors of the winning entry will receive:
• £50 worth of book tokens
• Association for Art History student membership for one year
• Complimentary ticket to the 2021 Annual Conference in Birmingham
• Publication of a 300-word abstract of the winning entry online and in newsletter
• Your prize will be formally awarded at the Annual Conference

We support a broad and inclusive art history, and therefore particularly welcome submissions from Fine Art and Design students, as well as students undertaking degrees in Museums and Gallery Studies or Curating.

You can download the guidelines and entry forms below (if you have already submitted using the previous forms that’s fine, you do not need to resubmit).

Dissertation Prize 2020  entry form
Dissertation Prize 2020 nomination form
Dissertation Prize 2020 guidelines

Call for Postgraduate Dissertation Prize applications

If you would like to apply or nominate a student, the details for this year’s application periods please email us your completed forms by the deadlines shown below.

Undergraduate submission deadline: 1 October 2020
Postgraduate submission deadline: 1 December 2020
Dissertation Prizes are assessed and shortlisted by our Doctoral and Early Career Research (DECR) committee. The shortlisted and winning essays will be announced in February 2021.

See here for more information.

Postdoctoral Job: Postdoctoral Research Associate, School of English, University of Kent, deadline 16 August 2020

Fixed Term – 36 Months

Closing Date: 23.59 hours BST on Sunday 16 August 2020  (unless otherwise stated)

Salary: £34,804 to £40,322 per annum (Grade 7). Appointment is likely to be made at £34,804 pa due to funding restrictions.

Do you have a PhD or equivalent and experience in late medieval literary studies? Are you looking for research role that will put to use your knowledge, experience and interest in this area?

The University of Kent and Queen’s University Belfast are embarking upon a three-year project funded by the Leverhulme Trust to investigate the theory that London citizens created new programmes of religious education for both the City’s clergy and for literate lay communities that have hitherto gone largely unnoticed by scholarship. Led by Dr Ryan Perry (Kent) and Dr Stephen Kelly (Queen’s), the project aims to radically complicate understanding of fifteenth-century literary culture in the capital and beyond, and the team is now looking to appoint two Research Associates to join them, one based at each University.

These roles will see you completing codicological assessments of the project’s manuscript corpus, preparing textual transcriptions for the research anthology, utilising a range of digital humanities tools and data, preparing your analysis for publication and disseminating findings in conference presentations. You will therefore need to demonstrate experience in codicological analysis and palaeographical skills in a range of C14-C15 book hands, as well as a keen desire to contribute to the research and intellectual culture of the relevant university.

As Postdoctoral Research Associate (PDRA) for this project you will:

  • plan and manage research activity and undertake research for the project
  • produce publishable research
  • communicate closely with the other PDRA and present progress reports
  • disseminate and publicise research findings and co-organise a conference

The PDRA based at the University of Kent will work with Dr Ryan Perry on the codicological assessment of the project’s corpus with a view to identifying codices the project team believe were either produced or copied from exemplars originally held at the London Guildhall Library.

The PDRA based at Queen’s University Belfast will be responsible for producing diplomatic transcriptions of the project’s textual corpus and undertake preparatory work on the anthology.

To be successful in either role you will need:

  • a PhD (or be near to completing one), or equivalent, in a relevant are of late medieval literary studies (eg. late medieval English Studies, late medieval English religious History, medieval Book History)
  • experience of undertaking codicological analysis
  • knowledge of fourteenth and fifteenth century English religious literature and culture
  • experience in writing and publishing in high quality academic publications

To apply for the University of Kent post, click on ‘Apply Online’ below. Further details about the Centre for Medieval and Early Modern Studies and working at Kent can be found in the Additional Information document also available below. For further information regarding the application process, contact The Resourcing Team at jobs@kent.ac.uk 

For more information on the post based at Queen’s University Belfast, please email Dr Stephen Kelly. A link for applications to that post will be posted here shortly.

Please note – Applications must be made via the University’s online application system. CVs or details sent directly to the department or via email cannot be considered.

The University of Kent values diversity and promotes equality at all levels

Due to the current COVID-19 outbreak, all interviews will take place remotely. Our processes will evolve as the Government advice is updated.

More information can be found here.

Online Lecture: The Maius Masterclass with Dr Caroline Dodds Pennock, 24 July 2020 1.30pm

In our next event, on Friday 24 July at 1.30pm, we will welcome Dr Caroline Dodds Pennock (University of Sheffield). Caroline is the only Aztec historian in the UK, and her research focuses on indigenous and Spanish American history and the Atlantic world, with a particular interest in issues of gender, violence, and cultural exchange.

Please click here to register for the Zoom Webinar.

The series is kindly supported by a Hispanex Grant from the Spanish Ministry of Culture and SPAIN Arts & Culture/Embassy of Spain in London.

New Publication: Dislocations: Maps, Classical Tradition, and Spatial Play in the European Middle Ages, by A. Hiatt

In Europe, during the Middle Ages, classical Greek and Roman geography continued to provide the fundamental structure for knowing the world’s places and peoples. From encyclopedic compendia such as the Natural History of Pliny the Elder and its redaction in Julius Solinus’s Polyhistor to the works of canonical Roman poets such as Virgil, Ovid, and Lucan, the geographical content of antique texts invited study and explication.

Yet medieval authors well knew that classical spatial order, itself full of lacunae, only infrequently corresponded to their own reality. Dislocations: Maps, Classical Tradition, and Spatial Play in the European Middle Ages considers the ways in which medieval and, later, humanist geography absorbed and reinvented classical spatial models in order to address key questions of historical change, migration, and emerging national, regional, and linguistic identities.

Drawing on a wide range of literary texts, maps, and geographical descriptions – and utilising the ancient but now largely discarded scholarly genre of the dialogue – Dislocations argues that medieval spatial representation was complex and richly textured, whether in the form of a careful gloss in a manuscript of Lucan’s Civil War, or as the exuberant sexualized allegories of the fourteenth-century papal notary Opicinus de Canistris.

The book also explores a further kind of dislocation: the surprising connections between medieval geographical thought and twentieth- and twenty-first-century visual arts, including Dadaism and the remarkable Mappamundi Suite of the Gujarati artist Gulammohammed Sheikh. While past spatial orders may be relegated to obscurity, they just as often linger – in archives, memories, and ruins – to be retrieved and reanimated in revealing ways.

CFP: In Sickness and in Health: Pestilence, Disease, and Healing in Medieval and Early Modern Art (12 January 2021), deadline 1 September 2020

14th Annual Imago Conference, University of Haifa

In light of the global turmoil caused by the COVID-19 epidemic, the 14th AnnuaI Imago conference will examine the cultural and artistic impact of epidemics, diseases and healing in the art of the Middle Ages and the Early Modern Period. We hope this examination will not only shed new light on the artistic, social, and political mechanisms of both of these periods, but will also produce fresh insights into cultural and artistic responses to the current global health crisis.

Disease is an inevitable part of the human experience. Whether in times of acute crisis, the most familiar of which is the Black Death of the mid-14th century, or as a constant threat at all other times, diseases evoked varied responses, from theological formulations to the transmission of medicinal knowledge; and, not least, to artistic depictions.

We invite papers from broad and diverse points of view: case studies of iconographies dealing with disease or healings, studies of the artistic responses to specific epidemics, and comparative studies between East and West, the Christian and the Islamic worlds, etc. Interdisciplinary studies and those engaging with the production, reception, and interpretation of art concerned with disease and healing are of particular interest.

Suggest topics may include, but are not limited to:

  • Artistic expressions of medicinal practices
  • Visual components in medical manuscripts
  • Artistic responses to the Black Death and other epidemics
  • Physical and spiritual health – Medieval and Early Modern expressions
  • Diseases and otherness – xenophobic, racist, and anti-Semitic polemical visual expressions
  • Disease and healing between East and West – artistic expressions
  • Disease – theological and moral conceptions
  • Gendered aspects of disease and healing

Abstracts of no more than 250 words should be sent to Dr. Gil Fishhof (gfishhof@staff.haifa.ac.il) no later than September 1st 2020.

Job: Postdoctoral Researcher in Medieval Manuscript Studies, Radboud University Nijmegen, deadline 20 August 2020

Radboud University Nijmegen is advertising a position for a Postdoctoral Researcher in Medieval Manuscript Studies (0.8FTE) to be part of the research team of the ERC-funded project Patristic Sermons in the Middle Ages. The dissemination, manipulation and interpretation of Late-Antique sermons in the Medieval Latin West (PASSIM). The Postdoctoral Researcher will study the dynamic between the transmission and popularity of patristic sermons and sermon collections in medieval contexts, mainly the period prior to the 13th century. This investigation will also address questions regarding the construction of authority and compilation techniques.

Location: Radboud University Nijmegen, The Netherlands 
Duration: 2 years
Starting date: 1 January 2021 (negotiable)
Deadline for the application: 20 August 2020
Interviews:10 September 2020
Contact: Dr. Shari Boodts (PI)

Full details of the job offer can be found here: https://www.ru.nl/werken-bij/vacature/details-vacature/?recid=1113954&doel=embed&taal=nl

More information can be found here: https://applejack.science.ru.nl/passimproject/?page=contact

Online Talk: Lucy Worsley meets faces from the Tower, 23 July 2020, 7 pm

Historic Royal Palaces’ Joint Chief Curator Lucy Worsley is joined by not one, but two colleagues from the Tower of London, as they delve into the past and present of the iconic fortress.

In this 1 hour talk online, Lucy will go behind the scenes to explore daily life at the Tower today, in the company of Ravenmaster and Yeoman Warder Christopher Skaife. Tower of London curator Sally Dixon-Smith will be on hand too, sharing insights into the Tower’s past – from ravens to royal executions. Over the centuries, the Tower has been a symbol of both awe and fear, and our experts will explore its rich history as a royal palace, prison, Royal Mint, zoo, and the home of the world famous Crown Jewels.

Register now for the event.

This event is free to join, but we ask you to consider making a donation of £10 or whatever you can afford.  

The six palaces under the care of Historic Royal Palaces are currently closed as part of the national effort to defeat the coronavirus. As a self-funding charity, we – like many of you – are facing unprecedented financial challenges resulting from the Coronavirus. We have begun the phased re-opening of some of our sites, and would love you to show support for us by visiting. We have restricted the number of people allowed on site each day, so you will have the chance of seeing these wonderful places up close, without the usual crowds.

We look forward to you joining our online event. 

Find out more here.