Online lecture: The Lonely Mountain: The Emergence of a ‘Hagiorite’ Identity on Medieval Mount Athos; by Zachary Chitwood, 24 January 2023, 12-1.30pm EST

The Mary Jaharis Center is pleased to announce its first lecture of 2023: The Lonely Mountain: The Emergence of a ‘Hagiorite’ Identity on Medieval Mount Athos. In this lecture, Dr. Zachary Chitwood, Johannes Gutenberg University of Mainz, will discuss the emergence of a unique “Athonite” or “Hagiorite” identity on Mount Athos over the course of the Middle Ages.

In Late Antiquity most Byzantine authors identified sacred mountains through the lens of biblical history, especially the mountains associated with the life of Jesus (Mount of Olives, Mount Tabor) or the Prophet Moses (Mount Nebo, Mount Sinai). By the time of the emergence of communal monasticism on Mount Athos in the middle of the tenth century, Athos could be counted as one of several “Holy Mountains” that housed monastic confederations within the Byzantine Empire, most of which were in western Asia Minor. Yet by the end of the medieval period, the term “Holy Mountain” had strong associations with Athos.  

The rich documentation of medieval Mount Athos allows the mapping of the development of a “Hagiorite” identity in a variety of different contexts. In this lecture, three strands of Athonite identity will be explored: 1) in a legal sense, with Mount Athos as a circumscribed monastic space with specific rights and privileges; 2) as a literary construct, as a place of longing and desire; 3) as a landmark within the sacred geography of the Orthodox world. 

This lecture will take place live on Zoom, followed by a question and answer period. Please register here to receive the Zoom link.

Zachary Chitwood is a Lecturer in Byzantine Studies at the Johannes Gutenberg University of Mainz and Principal Investigator of the ERC Starting Grant MAMEMS “Mount Athos in Medieval Eastern Mediterranean Society: Contextualizing the History of a Monastic Republic, ca. 850-1550”. He has published on various aspects of Byzantine culture, including law, monasticism and interactions with the wider medieval world.

CFP: ‘Rituals of Gender Staging and Performance in the Middle Ages’, University of Bamburg, 3-4 May 2023, Deadline: 15 January 2023

The Network for Medieval Arts & Rituals (NetMAR), an international, interdisciplinary network investigating the intersections between medieval arts and rituals, invites proposals for 20-minute papers that address the role of rituals in the staging and performance of medieval gender roles. The conference, which will include scholars of different career stages, will be held at the premises of the University of Bamberg between the 3rd and 4th of May 2023.

The Middle Ages are generally regarded as an era in which symbolic communication played an important and extensive role in almost all areas of life. Medieval rituals are, as Gerhard Althoff has defined them, “longer sequences of actions whose processes are committed to patterns and create a performative impact; they cause what they show” (Rules and Rituals in Medieval Power Games, 2020: 9). Rituals serve the medieval need for producing religious, legal, power-consolidating, and magical acts in symbolic ways. They can be understood, according to Hannah Vollrath, as forms of multi-sensory communication that addresses the senses and feelings of participants. In short, rituals become perceptible through the senses that render them meaningful and powerful.

Medieval ritual research has so far focused on the role of rituals in the contexts of religion and power relations. It is obvious, however, that in the patriarchally organised and male dominated societies of the Middle Ages, rituals also played a significant role in the staging and performance of gender roles. Sharon T. Strocchia comes to the same conclusion when she observes “that ritual and gender offer valuable new ways to study power and systems of social relations,” while at the same time noting that the interactions of gender and ritual have so far remained “largely unexplored” (Funerals and the Politics of Gender, 1991: 155). Taking this into account, a closer examination of ritual as a possible form of solidification and confirmation of gender roles seems worthwhile.

Speakers of all medievalist disciplines are invited to use various textual and/or visual sources to explore the complicated intersections of sex, body and gender through the lens of medieval ritual. Of interest are topics such as the following:

  • gender-specific initiation rituals
  • ritualistic consolidations of male and female family roles
  • rituals of male- and female-dominated professions
  • male and female power relations
  • gender-specific burial practices
  • the role of women in religious and magical rituals
  • female agency and ritual art
  • ritual and gender transgression in iconography and beyond
  • rituals and pregnancy.

The language of the conference is English. Please send an abstract (max. 300 words) and a brief biographical note to michaela.poelzl@uni-bamberg.de by no later than 15 January 2023. Notifications of acceptance will be sent by February 2023.

NetMAR is funded by the European Union’s Horizon 2020 research and innovation programme under grant agreement No. 951875. Learn more about the network at https://netmar.cy.

Hybrid Seminar: ‘The Education of a Christian Woman (1523) in the Construction of the Image of Female Power of Queen Mary I of England’, 24-25 January 2023, London & Zoom

Sponsored by Arte, Poder y Género Research Group, BritishSpanish Society, Instituto Cervantes and University College London, this international seminar takes place 24-25 January 2023, and celebrates the 500-year anniversary of the first publication of The Education of a Christian Woman. It will focus on its patron, author, and dedicatee as well as address its impact on the construction of the image of female power in Tudor England.

In 1523, De institutione feminae Christianae, the book’s first title, was published. The author was Spanish Humanist Juan Luis Vives (1493-1540) who at the time was also a Lecturer at Corpus Christi Col- lege in Oxford. The book was commissioned by his ‘only patron’, the Queen of England, Catherine of Spain, commonly known as Catherine of Aragon (1485-1536). It was written in Latin, the language of the New Learning movement it belongs to, and it focused on the three stages in which Vives divided a woman’s life: as a maiden, as a married woman and a matron, and as a widow. It was dedicated to Princess Mary Tudor future Queen Mary I (1516-1558). It was part of a wider curriculum that Queen Catherine designed for her daughter’s formal training as first ‘heiress apparent’ to receive a formal Renaissance education in England.

The book was an instant success throughout Europe with many reprints, and it became the most influential work of its kind in the Modern Age. The Education of a Christian Woman had an impact in the way that Mary I constructed her image of power as the first Queen Regnant in English history. Despite this, Queen Catherine’s role as intellectual and financial patron is often overlooked and the connections between the manual and Mary I’s trailblazing propaganda as the first woman to be educated to rule have yet to be explored.

This international seminar will focus both on visual arts and documentary evidence that deals with this important void in queenship historiography. Leading specialists in several fields will address topics like the Christian education of the daughters of Queen Isabella of Castile and the ties between the Spanish alliance and the construction of the image of female power in Tudor portraiture. Other important subjects will speak to Queen Mary I’s use of female recourses present in Vives’ work in the representations of the monarch as Queen Regnant, as ‘Mother of England’, and as married woman and queen consort of King Philip of Habsburg (1527-1598). Other experts will talk about Mary I’s role as first woman to exercise power and how this was translated after her reign. Another crucial topic that will be discussed is the growing historiographical trend that is bringing into the light Queen Mary I’s outstanding contributions in female rulership in Renaissance Europe.

To register for this free in-person / Zoom seminar, please send an email to artepoderygenero@um.es

Programme

24 January.

Location: Instituto Cervantes. 15-19 Devereux Ct, Temple, London.

5.00 pm – 5.45 pm (GMT)

Las mujeres cristianas en los intercambios de retratos entre la Monarquía Hispánica y la dinastía Tudor. Emma Luisa Cahill Marrón. BritishSpanish Society Scholar.

(Presentada por Noelia García Pérez).

5.45 pm – 6.30 pm (GMT)

Mary I & the Art of Queenship.

Peter Stiffell. Doctoral Candidate at the University of Kent.

(Presented by Alexander Samson).

6.30 pm – 7.30 pm (GMT) ROUNDTABLE.

Educating the Eye: Gender, Power, and Representation in the Visual Arts in the Reign of Mary I.

The Pregnant Female Body in Early Modern English Royal and Elite Portraiture.
Karen Hearn. 
Honorary Professor at Department of English Language and Literature in the University College London / Previously Curator of 16th & 17th Century British Art at the Tate Galleries.

Happily (N)Ever After: The Posthumous Role of Mary I and Philip II’s Marriage in Visual Remembrances of Mary’s Reign.
Johanna Strong. University of Winchester / Royal Studies Network. Like Mother, Like Daughter? Continuity and Innovation in the Crafting of Image of Mary I.

Aoife Stables. Master of Arts in Art History. Courtauld Institute of Art. 

Participants
Patricia Manzano Rodríguez. Doctoral Candidate at the University of Durham / The Maius Workshop.

Irini Picolou. Doctoral Candidate at the University of Durham / Zurbaran Centre for Spanish and Latin American Art.

25 January.

Location: Common Ground, South Wing, University College London.

9.30 am – 10.15 am (GMT)

Before Vives. The Christian Education of the Daughters of Queen Isabella of Castile.
Melania Soler Moratón.
Margarita Salas Postdoctoral Researcher at the University of Valladolid / University of Murcia / Arte, Poder y Género Research Group / MEFER Project.

10.15 am – 11.00 pm (GMT)

Juan Luis Vives’ ‘Patronae Unicae’: Queen Catherine of Aragon and the Construction of the Image of Female Power in Tudor England.
Emma Luisa Cahill Marrón. BritishSpanish Society Scholar / Arte, Poder y Género Research Group / MEFER Project.

11.00 am – 11.45 am (GMT)

Early Modern Women and the Archive.
Alexander Samson.
Professor of Early Modern Studies at the University College London.

11.45 pm – 1.45 pm (GMT) LUNCH

1.45 pm – 2.30 pm (GMT)

The Continued Instruction of Christian Women: Reprints of Vives.
Valerie Schutte.
Independent scholar.

2.30pm – 3.15 pm (GMT)

The Power of Networks and The Networks of Power: The Development and Cultivation of Female Friendship by Mary I, for both Personal Solace, and Political Capital.
Melita Thomas.
Doctoral Candidate at the University College London.

3.15 pm – 3.30 pm (GMT) COFFEE BREAK

3.30 pm – 4.30 pm (GMT) ROUNDTABLE

‘The Education of a Christian Woman’ in the Context of Queenly Education.
Elena (Ellie) Woodacre.
Reader in Renaissance History at the University of Winchester / Royal Studies Network.

Job: Lecturer in Art History, Ernest G. Welch School of Art & Design, Georgia State University, Deadline: 9 January 2023

The Welch School of Art & Design seeks a full-time, benefits-eligible, non-tenure-track Lecturer in the art of the ancient and/or medieval world. Appointment date: August 2023.

This position entails teaching surveys of Western art and upper-level courses that incorporate at least two of the following: ancient Egypt, ancient Greece, ancient Rome, and the European Middle Ages. The successful candidate must value working with diverse student populations and cultural perspectives. The successful candidate will join an established Art History area within the Welch School of Art & Design’s growing faculty. They will play a significant role in the College of the Arts’ contribution to Georgia State University’s strategic goals of highlighting the arts and media as vital to the quality of all major cities, demonstrating that students from all backgrounds can achieve academic and career success at high rates.

Opportunities for growth and support in this position include university-level teaching fellowships and grants through the Center for Excellence in Teaching, Learning and Online Education, leadership in instructional innovation through our active learning classroom program, and successive promotion to the ranks of Senior Lecturer and Principal Senior Lecturer.

Responsibilities include:

  • Teaching four courses per semester
  • service to the area, school, college, university, community and/or profession
  • serving on MA/MFA thesis committees
  • advising undergraduate Art History majors

Necessary qualifications:

  • PhD in Art History by the time of the appointment
  • strong teaching skills
  • excellent oral and written communication skills
  • command of computer-mediated technologies related to the discipline

Salary range: $45,000-50,000

To Apply

Submit a PDF for this job application to wsadrecruiting@gsu.edu either through email or through direct download (such as WeTransfer). Complete applications will include PDF documents in this order:

  • A cover letter including past and/or potential contributions to diversity, equity, and inclusion through teaching and service
  • Curriculum Vitae
  • statement of teaching interest
  • Names, email addresses, telephone numbers, and titles of at least three professional references

Review of applications will begin immediately and continue until the position is filled. To ensure consideration, submit all materials by January 9, 2023. Questions about the position can be directed to the search committee chair at wsadrecruiting@gsu.edu. Should you be recommended for a position, an offer of employment will be conditional on background verification.

For more information, visit here.

Funding: Polonsky Postdoctoral Fellowships, Van Leer Jerusalem Institute, Deadline for applications 5 January 2023

The Polonsky Academy at the Van Leer Jerusalem Institute in Jerusalem will award up to seven Fellowships in the humanities or social sciences for up to four years (with a possible fifth year in exceptional circumstances), beginning October 1, 2023.

The fellowship offers an annual stipend of $40,000 and $2,000 for research and related expenses.

Fellows are expected to be physically present at the Institute for consecutive years during the period of the award. Applications will be considered from those awarded a Ph.D. on or after October 1, 2018.

Online applications should include the following documents in English, in separate files: statement of research plans (3-5 pages, with title); summary of previous research (3 pages); one single-authored published article or equivalent unpublished work; curriculum vitae, including list of publications; complete contact information, including phone numbers, for three referees.

Outstanding candidates will be invited for interviews on March 28-29 either in person or by video conference. The Polonsky Academy strives to promote diversity and encourages applicants from all backgrounds to apply.

The deadline for submission is 5 January 2023.

Candidates can apply online here.

The Polonsky Academy is committed to providing an environment for research excellence. Fellows work under the best possible conditions for innovative research, including professional autonomy, a scholarly community, and a highly efficient network dedicated to supporting fellows in pursuit of their academic goals. They are provided with state-of-the-art services, including individual offices, a library, advanced IT, a lecture hall, and multiple meeting spaces in the award-winning facility in which they are housed.

CFP: ‘Perspective: actualité en histoire de l’art’, 2024 – 1 issue. Deadline for proposals 16 January 2023

The journal Perspective : actualité en histoire de l’art will explore, in its 2024 – 1 issue, the question of autonomy in art.

 The notion of autonomy has been key to understanding the work of art, at least since the development of aesthetic philosophy in the eighteenth century. If it is disputed, it is because of the different meanings it evokes in the various branches of the human and social sciences. It can relate to art or aesthetics (with respect to the political, social, moral, or even religious fields), the artworks themselves (their referentiality and, more broadly, their own life—in this sense, it also concerns their reception), the artist (whose history should be considered within the context of the advent of the individual or, for example, from its later Romantic definition), and finally, art history (as an autonomous discipline) all periods and geographical areas combined. 

In addition to contributions focusing on the nineteenth and twentieth centuries, which seem to be the periods most concerned, the journal in this issue coordinated with Maxime Boidy (Université Gustave Eiffel) would like specialists in the history of modern art, the Renaissance, Middle Ages, and Antiquity, to explore the prehistory of this notion, anywhere the political order, religious structures, and cultural and social dynamics have shaped or anticipated its contemporary definitions.

The editors invite contributors to rethink autonomy within the context of the shifts in the academic landscape that have happened in recent decades, focusing on non-Western as well as European contexts, following five main lines of thought from which contribution proposals can be formulated:

1. First, there is the question of considering the current conditions of autonomy as applied in art history, beginning from questions that initially appeared in the field of institutional theory. In producing a criticism of this notion, Andrea Fraser, for example, has underlined the centrality that autonomy maintains in contemporary art, as independence of the visual works “from rationalization with respect to specific use or function, whether moral, economic, political, social, material or emotional” (in Alberro 2005, p. 56). To what extent has this need to conceptualize become generalized or not? What new disciplinary definitions, what situated notions of autonomy have emerged, and via what channels?

2. This issue also seeks to interrogate the aesthetic dimension of this concept and to work on establishing an inventory of formalist art criticism’s legacy. How have artistic forms supported or reshaped the idea of autonomy, from the modernist painting defended by Greenberg to minimalist sculpture, and extending to contemporary photography? And what remains of the utopia of the modernist autonomous aesthetic, understood as a driver of the spectator’s emancipation?

3. From the perspective of the history of the discipline, it is a question of thinking about art history’s autonomy, but also of archeology, photographic and film studies, and so on, as independent, specialized disciplinary spheres, especially in light of recent transformations in their areas of research (recurrent calls for interdisciplinarity, the importation of Anglo-American studies, new methods and approaches, etc.).

4. In parallel, an axis will be dedicated to the political dimension of autonomy as applied to art. At several moments in history, artistic movements, artists, architects, even art historians, have appropriated the forms and/or discourses of certain ideological or political currents, weaving links with them: consider the example of the theorists bound to Italian Marxist workerism, beginning in the 1960s (Galimberti 2022). However, is the history of political autonomy in art limited to these defined and already claimed uses? Can we consider the landmarks of its history in a more comprehensive perspective?

5. Finally, we would like to reflect, from the perspective of the new forms of imagery autonomy induced by current technologies, on the technical dimension of this question (artistic expertise, status of the artwork, auctoriality, etc.). Quite early, filmmaker Harun Farocki underlined this with his concept of “operational image”: the visible has become a terrain which machines organize for themselves. This “invisible visual culture” can be a starting point to investigate, in retrospect, a longer history of the autonomy of artwork and images (Paglen 2016).

Authors should take into account the reciprocity between objects and ideas: what does an image, a work, a form, teach us about the definitions of autonomy that they invoke? What does autonomy teach us about other elements of the artistic vocabulary (interactivity, immersion, and so on), the political (emancipation, self-determination, etc.), or the academic (including heteronomy and criticism)? No matter the proposed subject, contributions must be in line with the editorial guidelines of Perspective, which publishes overviews and historiographic essays on substantive issues underpinning and/or relevant to the discipline’s latest developments within the proposed theme. Case studies are only acceptable in so far as they provide the opportunity to address critical questions of a more general nature concerning the approaches, orientations, and stakes of the discipline of art history.

Perspective : actualité en histoire de l’art
Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to bring out the diversity of current research in art history through a constantly evolving approach that is explicitly aware of itself and its own historicity and articulations. It bears witness to the historiographical debates within the field, while remaining in continuous relation with the images and works of art themselves, updating their interpretations, and thus fostering global, intra- and interdisciplinary reflection. The journal publishes scholarly texts which offer innovative perspectives on a given theme. These may be situated within a wide range, yet without ever losing sight of their larger objective: going beyond any given case study in order to interrogate the discipline, its methods, history and limitations, while relating these questions to topical issues from art history and neighboring disciplines that speak to each of us as citizens.

Please submit your proposal (2,000-3,000-character / 350 to 500-word summary, with a provisional title, a short bibliography on the topic, and a 2-3 line biography) to the editorial contact (revue-perspective@inha.fr) by January 16th, 2023 at the latest. 

Authors of selected proposals will be informed of the committee’s decision by the end of February 2023. Full texts of accepted contributions will need to be sent by May 1st, 2023. These will be definitively accepted after the journal’s anonymous peer-review process.

CFP: Fragmentology, online/Lugano, 3-4 March 2023, Deadline 7 February 2023

The Research Centre for European Philological Tradition organises a conference dedicated to Fragmentology, in hybrid mode, in presence in Lugano and via Zoom. New studies and research will be presented concerning liturgical-musical fragments, reused fragments, disiecta membra of codices of which the parent manuscript can be reconstructed.

Anyone interested in participating as a speaker is requested to send a short abstract (20 lines) with their CV to info(at)receptio.eu by 7 February.

–––––––––––––––––––

BANDO DI PARTECIPAZIONE

Il Research Centre for European Philological Tradition organizza un convegno dedicato alla Frammentologia, in modalità ibrida, in presenza a Lugano e a distanza via Zoom. Verranno presentati nuovi studi e ricerche concernenti frammenti liturgico-musicali sciolti, frammenti di riuso, disiecta membra di codici dei quali è possibile ricostruire il manoscritto madre. Chiunque fosse interessato a partecipare in veste di relatore, è pregato di inviare un breve abstract (20 righe), corredato dal proprio CV all’indirizzo info(at)receptio.eu entro il 7 febbraio.

Image: Johnson papyrus, fragment of an illustrated herbal showing a plant, possibly symphytum officinale (comfrey). Wellcome L0015764

Online conference: The Art Museum in the Digital Age, online/Vienna 16-20 January 2023

The Belvedere Research Center is continuing its conference series on the digital transformation of art museums with its fifth event on the topic. While the 2022 conference challenged binary concepts such as analog/ digital, this year’s event critically examines the imagined cultural metaverse. In four thematic sessions and an on-site workshop, the lectures deal with the immersive experiences of virtuality and reality, cultural heritage data, value discourse surrounding the metaverse and NFTs, and self-perception and the social role of museums.


Programm | Program

Mo | Mon, 16.01.2023

17:00
Begrüßung & Einführung | Welcome & Introduction
Stella Rollig; Christian Huemer; Anna-Marie Kroupova (Belvedere, Wien | Vienna)

Panel 1: NFTs & Blockchain
Moderation: Johanna Aufreiter (Belvedere, Wien | Vienna)

7:20
Remonopolisation or Protection of Cultural Heritage? The Moral Capital of the “Institution in the Service of Society” Between Open Access, Protection of Cultural Heritage, and NFTs 
Grischka Petri (FIZ Karlsruhe – Leibniz-Institut für Informationsinfrastruktur | Leibnitz Institute for Information Infrastructure; Universität | University of Tübingen)

17:45
What Museums May Have Learned from NFTs
Amalyah Keshet (Naomi Korn Associates, London)

18:10
NFTs as a Social Practice. Exploring Tokenisation at National Museums Liverpool
Frances Liddell (University of Manchester)

19:00
Keynote Lecture
Moderation: Christian Huemer (Belvedere, Wien | Vienna)
The Virtual Muse(um): Authenticity, Immersion, and New Forms of Delusion
Johanna Drucker (University of California, Los Angeles)

Di | Tue, 17.01.2023

Panel 2: Meta-Spaces
Moderation: Sonja Gasser (Stiftung für Kunst, Kultur und Geschichte, Winterthur)

17:00 
Designing Art Metaverse Portal. Converging, Creating, Experimenting with, and Minting Crypto Arts 
Natalia Grincheva (LASALLE College of the Arts, Singapur | Singapore; University of Melbourne)

17:25 
Die Dichotomie des Metaverse. Dezentrale oder zentrale Gateways: Was braucht das Metaverse in Kunst und Kultur?
Johannes von Hülsen (METRUM, München | Munich); Annabell Vacano (Cultatio, München | Munich)

17:50 
DFC Francisco Carolinum. Ein Museum im Metaverse 
Markus Reindl (OÖ Landes-Kultur GmbH, Linz)

18:15 
Vier Jahre VRlab am Deutschen Museum. Implikationen für die Einbindung virtueller Technologien in Museen 
Andrea Geipel (Deutsches Museum, München | Munich)

18:40
Framing Future. Das Dresdner Damaskuszimmer in VR und in Zukunft
Jacob Franke (Staatliche Kunstsammlungen Dresden | Dresden State Art Collections)

Mi | Wed, 18.01.2023

Panel 3: Linked Open Data 
Moderation: Harald Klinke (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich)

17:00 
Digital Strategies for Cultural Heritage Institutions. Generating Visibility and Engagement Béatrice Gauvain (Universität | University of Basel)

17:25 
Linked Open Data for Horizontal Integration of Exhibition Information
Thibault Usel; Nicola Carboni; Béatrice Joyeux-Prunel (Universität Genf | University of Geneva)

17:50 
Ingest, Enrich and Index. Building a Cross-Collection Search Service for Durham’s New Cultural Heritage Site
Paul Clough (TPXimpact, United Kingdom | Vereinigtes Königreich; University of Sheffield)

18:15 
The Potential of Metaverse in Liberating the Narrations of the Displaced Objects 
Mingshi Cui (University of Leicester)

18:40
Sacred Geographic Superimpositions. Reimagining African American Public Art as Enshrined Spaces through Augmented Reality 
Synatra Smith (Philadelphia Museum of Art)

Do | Thu, 19.01.2023

Panel 4: Participation & Gamification 
Moderation: Anna-Marie Kroupova (Belvedere, Wien | Vienna)

17:00 
From Metamuseum to Metaverse. Exploring Institutional and Individual Art Curation Practice in Digital Gaming Experience 
Han Jiang (University of Leicester); Xiaozhou Li (University of Sussex)

17:25
The Museum as a Video Game. The Phenomenology of the Virtual Audience 
Melanie Wilmink (Yonsei University, Seoul)

17:50 
Experience Design Insights for Mixed Reality Museum Exhibits. Learnings from Professional Curators, Designers, Artists, and Researchers 
Abhinav Mishra (Northumbria University, Newcastle upon Tyne)

18:15
Creative Exhibitions. Partizipativ Ausstellungserlebnisse in Augmented Reality gestalten
Silke Hockmann; Christiane Lindner (Badisches Landesmuseum | Baden State Museum, Karlsruhe)

18:40
The Playable Museum. Gamification und Kunstvermittlung im digitalen Raum
Chantal Eschenfelder (Städel Museum, Frankfurt am Main)

Fr | Fri, 20.01.2023

14:00
Workshops (Round Tables)*
Die Workshops werden in deutscher Sprache abgehalten und finden vor Ort im Belvedere 21, Wien, statt. Anmeldung zur Veranstaltung ist erforderlich.
The workshops are held in German and take place on site at Belvedere 21, Vienna. Registration for the event is required.

Begrüßung | Welcome: Christian Huemer (Belvedere, Wien | Vienna) 
Florian Wiencek (Musealisten, Wien | Vienna)
Martina Fröschl; Michael Bachhofer (Universität für angewandte Kunst Wien | University of Applied Arts Vienna)
Fabian Müller-Nittel (Museen | Museums of Miltenberg)
Doris Fuschlberger (Digitalisierungsoffensive der Salzburger Landesmuseen | Digital Transformation Initiative of the Salzburg State Museums)
U.a.

17:00
Podiumsdiskussion | Panel Discussion*
Die Podiumsdiskussion findet vor Ort im Blicke Kino, Belvedere 21, Wien, und in deutscher Sprache statt. Aus Platzgründen wird um Anmeldung gebeten. Die Veranstaltung inklusive Simultanübersetzung wird auch über Zoom gestreamt.

The panel discussion takes place on site in the Blickle Kino, Belvedere 21, Vienna, and is held in German. Registration is requested due to space limitations. The event, which includes simultaneous translation into English, is also streamed on Zoom.

Moderation: Christian Huemer (Belvedere, Wien | Vienna) 
Claus Pias (Leuphana Universität Lüneburg | University Lüneburg)
Johanna Pirker (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich; Technische Universität Graz | Graz University of Technology)
Christa Sommerer (Kunstuniversität | University of Arts Linz )

Anmeldung / Registration:
https://www.belvedere.at/digitalmuseum2023

Konferenzsprachen / Conference Languages: Deutsch & Englisch / German & English

Konferenz Komitee / Conference Committee: Johanna Aufreiter, Christian Huemer, Anna-Marie Kroupova (Belvedere, Wien | Vienna), Johanna Drucker (University of California, Los Angeles), Sonja Gasser (Stiftung für Kunst, Kultur und Geschichte, Winterthur), Harald Klinke (Ludwig-Maximilians-Universität München | Ludwig Maximilian University of Munich)

Konferenzpartner / Conference partners: Museumsbund Österreich, ICOM Österreich

Hashtag: #digitalmuseum #belvederemuseum

“*` Das Belvedere Research Center behält sich das Recht vor, die Veranstaltungen vor Ort aufgrund der COVID-19-Pandemiesituation gegebenenfalls abzusagen.
The Belvedere Research Center reserves the right to cancel events on site if necessary due to the COVID-19 pandemic situation.

Funding: Medieval Academy of America Inclusivity and Diversity Research Grant, Deadline 31 December 2022

The Medieval Academy of America Inclusivity and Diversity Research Grant of up to $3,000 will be granted annually to a scholar, at any stage in their career, who seeks to pursue innovative research that will broaden the scope of medieval studies. Projects that focus on non-European regions or topics under the Inclusivity and Diversity Committee’s purview such as race, class, disability, gender, religion, or sexuality are particularly welcomed.

The grant prioritizes applicants who are students, ECRs, or non-tenured. For the current round of applications, we encourage proposals that address the challenges of conducting research during the Covid-19 era.

The deadline for applications is December 31st. To be eligible to apply, you must be a member of the Medieval Academy as of 15 November.

CFP: ‘Soundscapes of Naples: From the Medieval to the Early Modern’, 8-9 June 2023, Naples. Deadline 31 January 2023

Musical practices are inherently woven into a city’s urban fabric: as marker of identity, expression of religious devotion, sonic manifestation of power, or form of entertainment, musicking punctuates the salient moments of a city’s culture. In Naples, for centuries a cultural and political capital and among the most densely populated cities in Europe, music making has always occupied a prominent position in the soundscape of public and private, sacred and secular spaces.

The interdisciplinary conference, Soundscapes of Naples: From the Medieval to the Early Modern, aims to map intersections between the performative dimension of music making and the city’s spaces and places. The organizing committee invites proposals that focus on physical venues (churches, monasteries, theaters, aristocratic palaces, schools, the public piazza, and so on, including their visual programs) as they interface with music performance and production.

We welcome proposals on musicking as a cultural practice from musicologists as well as scholars from sister disciplines, including art and architectural history, archaeology, history, literary studies, and anthropology, on themes and approaches such as manuscript and print production, archival studies, music and gender, patronage/matronage, performance practice, history of the senses, acoustics, history of pedagogy, relationships between music and specific works of art, notions of ability/disability, and instrument making.

Proposals should include a curriculum vitae, a brief narrative biography (max. 150 words), and an abstract (max. 350 words), and may be in either Italian or English. The abstract should also indicate the topic’s relevance to the themes outlined above, and whether the proposed contribution could take the form of a presentation on-site at the monument under discussion. Final presentations (20 minutes) may be made in Italian or English. Please combine these materials in a single Word or PDF document with Lastname_Firstname as the title, and send to lacapraia@gmail.com by 31 January 2023. Selected participants will be notified in mid-February 2023.

Soundscapes of Naples: From the Medieval to the Early Modern is coorganized by the Center for the Art and Architectural History of Port Cities “La Capraia” (a partnership between the Edith O’Donnell Institute of Art History at the University of Texas at Dallas and the Museo e Real Bosco di Capodimonte) and the Butler School of Music at the University of Texas at Austin.

Image details: BnF ms. FR 854, fol. 49r, in Gallica Digital Library