Medieval Art Research

Expert Meeting: The Digital Medieval Manuscript, School of Art History, University of St Andrews, 8 October 2021, 15:00-19:00 (BST)

This expert meeting will take place 8 October 2021, from 15:00-19:00 BST. It is hosted by Prof. Kathryn Rudy and Suzette van Haaren, School of Art History, University of St Andrews (Scotland). Panel discussions will centre on pre-recorded and pre-circulated talks.

In a single click, a tap or swipe, the medieval manuscript appears on our screens: thousands of pixels light up and the ancient book lies open before us, in our office rather than in the reading room. The digital images emulate the book-like object in a two page-spread, or even animate it with graphics that turn its pages. We move through a digital facsimile that is reminiscent of its physical counterpart, and simultaneously is strange and new. What we see is familiar: age-stained parchment, neat script, colourful miniatures and gilded details. But we do not feel the subtle flexibility and soft skin of the parchment between our fingers as we turn the page — instead we feel the hard plastic of our mouse or trackpad, or the glass of our screens. The digital manuscript facsimile is not a medieval manuscript. Yet, the digital is fundamentally connected to parchment pages inscribed, decorated and bound in the Middle Ages.

The digital medieval manuscript has become exceedingly important for how medieval parchment codices are handled, studied and preserved. Libraries, museums and rare book collections are increasingly digitising their material, making objects more accessible to a larger public. Medieval manuscripts are being handled much more in digital environments than they are in reading rooms. Critically examining the effects of digitisation is fundamental to understand how medieval manuscripts move through the world today. The digital environment poses new affordances and constraints, bringing up many practical and ontological questions and ideas surrounding the medieval manuscript and its digital counterpart.

We have invited experts in the field ranging from academics to digitisation specialists (and all overlaps imaginable) to talk about the digitsation of medieval manuscripts. The panel members have sent in videos. These will be available online from 1 October 2021 for everyone to watch.

During the expert meeting itself the panel members will engage in discussions surrounding their specific video topics. Audience members are encouraged to ask questions that contribute to the discussions.

Important details:
Papers will be uploaded on 1 October 2021 (website forthcoming)
The expert meeting is on 8 October 2021 from 15:00 to 19:00
Tickets are free, but reservations are compulsory

If there are any questions, please don’t hesitate to email Suzette van Haaren at svh@st-andrews.ac.uk

Regsiter for your place here.

Online Conference: ‘Macrocosms and Microcosms from Late Antiquity to the Middle Ages’, University of Cambridge, 24-26 September 2021

Papers and discussion will focus on the ways in which ancient modes and traditions of representation were transformed and retooled as the rise of Christianity necessitated new ways of conceptualising and visualising the place of man in the universe. It will consider the complex semiotic relationships between the macrocosm and the various microcosms into which the space of the cosmos was compressed and transmuted – spanning metaphorical descriptions, schematic representations, narrative cosmographies, and beyond. Our speakers come from a range of disciplines and continents. We aim to facilitate collaborative thinking about the origins, afterlives, and intersections of different cosmic imaginaries, and critical discussion about the nature of cosmographic representation itself.

New Publication: Santa Maria Antiqua: The Sistine Chapel of the Early Middle Ages

Lavishly illustrated and containing the most recent images and research on this unique church, this is an essential resource for early medieval historians and archeologists working on Rome, the medieval West and Byzantium.

The Santa Maria Antiqua Complex in the Forum in Rome was probably established at the foot of the Palatine Hill in the 6th century. Over the following 600 years it was decorated with a unique series of frescoes bearing evidence of imperial, papal and monastic influences. Abandoned in the 9th century, limited use probably continued up to the 11th century. By the 17th century the complex was completely buried under the rising floor of the Forum. Excavations in 1900 exposed a largely intact complex containing hundreds of 6th – 11th century frescoes, in some places over four layers deep and a unique Chapel of Medical Saints which suggests this was also an incubation site. The English Press hailed the site as the ‘Sistine Chapel of the Ninth century’.

Lavish illustrations of these frescoes, following recent restoration, make this book an indispensible resource, not only for those working on the church but also for those interested in contemporaneous material in medieval sites especially in Rome, Europe and Byzantium.

This monograph contains the proceedings of an International Conference held at the British School at Rome on 4-6 December, 2013. It reports results of the major project of preservation and research led by the Soprintendenza and carried out over the last 12 years on the fabric of the church, its frescoes, floor, wall and ceiling mosaics, its drainage and infrastructure. Much of the restoration was funded by the World Monuments Fund.The conference also marked the 75th anniversary of the death of Gordon Rushforth, the first Director of the British School at Rome and the author of one of the earliest key papers on the S. Maria Antiqua site.

Find out more about the book here.

The Editors:

Since completing her MA at the Courtauld Institute of Art in 2004, Eileen Rubery has worked on the frescoes at S. Maria Antiqua, especially interpreting the mid-7th Century frescoes on the apsidal arch, identified by Rushforth as linked to the Lateran Synod that Pope Martin I had presided over in Rome in 649 before being martyred for treason by Emperor Constans II. She has drawn attention to the roles played of the ‘Greek’ monks, John Moschus, Sophronius of Jerusalem and Maximus Confessor in events surrounding the martyrdom of Pope Martin I for treason by Emperor Constans II. Images of the healing saints Cyrus and John, whose miracles were recorded in a panegyric by Sophronius of Jerusalem, figure prominently amongst the medical saints depicted in this church, linking it to Cyril of Alexandria who championed these saints. She teaches at Cambridge and Oxford Universities, Birkbeck and the Courtauld Institute within London University and the Victoria and Albert Museum and has led many tours to Early Christian Rome.

Giulia Bordi teaches Medieval Art History at the Roma Tre University. Her research interests lie in the field of medieval wall painting and the interaction between architecture, liturgical furnishings and wall painting in the churches of Rome and Byzantium (4th-13th centuries AD). Since 2003 she has been a member of the project: “Medieval painting in Rome, 312-1431. Corpus e Atlante”, edited by M. Andaloro and S. Romano, publishing numerous papers therein. She began to work at S. Maria Antiqua in 2000. Exploring its intriguing and complex stratigraphy of painted plaster layers, she is systematicaly mapping them and proposing a new chronology of the church’s decorative campaigns from the 6th to the 11th centuries.

John Osborne is a medievalist and cultural historian, with a special focus on the art and archaeology of the cities of Rome and Venice in the period between the fifth and thirteenth centuries. His publications cover topics as varied as the Roman catacombs, the fragmentary mural paintings from excavated churches such as San Clemente and S. Maria Antiqua, the decorative program of the church of San Marco in Venice, 17th-century antiquarian drawings of medieval monuments, and the medieval understanding and use of Rome’s heritage of ancient buildings and statuary. He is also interested in problems of cultural transmission between Western Europe and Byzantium. After the completion of his graduate studies at the University of London’s Courtauld Institute of Art (Ph.D. 1979), he has held faculty and administrative positions at the University of Victoria (1979-2001), Queen’s University (2001-2005), and between 2005 and 2015 served as Dean of the Faculty of Arts and Social Sciences at Carleton University in Ottawa, where he retains a faculty posiiton. Promoted to the rank of full professor in 1989, he has held visiting fellowships at Corpus Christi College, Cambridge; the Istituto Ellenico di Studi Bizantini, Venice; and the Dumbarton Oaks Center for Byzantine Studies, Washington. In 2006 he was elected as an Honorary Fellow of the British School at Rome, and in 2011 invested as a Knight of the Order of Merit of the Italian Republic.

HISTORIOGRAPHY
Oscar Mei, 1702: The discovery of Santa Maria Antiqua

T.P. Wiseman, Gordon McNeil Rushforth and Santa Maria Antiqua

Andrea Paribeni, ‘With Boni in the Forum’. The relationship between Gordon McNeil Rushforth and Giacomo Boni according to archival documentation

Ernesto Monaco, Measuring Santa Maria Antiqua: from Petrignani to the present

Giovanni Gasbarri, ‘Ce monument est avant tout un témoin’: Wladimir de Grüneisen and the multicultural context of Santa Maria Antiqua

John Osborne, Per Jonas Nordhagen, Santa Maria Antiqua, and the study of early medieval painting in Rome

TOPOGRAPHY
Henry Hurst, The early church of Santa Maria Antiqua

David Knipp, Richard Delbrück and the reconstruction of a ’ceremonial route’ in Domitian’s palace vestibule

Robert Coates-Stephens, The ‘Oratory of the Forty Martyrs’

CONSERVATION
Giuseppe Morganti, “Per meglio provvedere alla conservazione dei dipinti …”.
1984–2014: Santa Maria Antiqua 30 Years Later

Werner Schmid, Diary of a long conservation campaign

The palimpsests of Santa Maria Antiqua
Maria Andaloro, The Project

Giulia Bordi, The three Christological cycles in the sanctuary of Santa Maria Antiqua

Paola Pogliani, Claudia Pelosi, Giorgia Agresti, Palimpsests and pictorial phases in the light of studies of the techniques of execution and the materials employed

ICONOGRAPHY
Per Olav Folgerø, Expression of Dogma: Text and imagery in the triumphal arch decoration

Manuela Gianandrea, The fresco with the Three Mothers and the paintings of the right aisle in the Church of Santa Maria Antiqua

Maria Grafova, The decorations in the left aisle of Santa Maria Antiqua within the context of the political history of the Iconoclastic era

Marios Costambeys, Pope Hadrian I and Santa Maria Antiqua: Liturgy and patronage in the late eighth century

RE-READING THE DECORATIVE PROGRAMME
Giulia Bordi, The apse wall of Santa Maria Antiqua (IV–IX centuries)

Eileen Rubery, Monks, Miracles and Healing. Doctrinal Belief and Miraculous Interventions: Saints Abbacyrus and John at Santa Maria Antiqua and related Roman Churches between the sixth and the twelfth centuries

Richard Price, The frescoes in Santa Maria Antiqua, the Lateran Synod of 649, and pope Vitalian

Beat Brenk, A new chronology of the worship of images in Santa Maria Antiqua

AFTERWORD
Maria Andaloro, The icon of Santa Maria Nova after Santa Maria Antiqua

Online Course: ‘Warfare in Muslim Material Cultures: From Egypt to Bilad al-Sham’, 22-29 November 2021, The Aga Khan University

Military architecture through recent archaeological excavations and arms and armour in the Royal Armouries Collections.

The course presents Muslim material cultures in a very specific context: warfare in the Middle East and Egypt during the Medieval and Modern Ages. War played a very important role in Muslim cultures and through the study of military architecture and arms and amour, the course will explore art and architecture in a war context to explain identity and changes in Muslim societies from the Arab conquest to the eve of the colonial period. Most of the arms and armour which will be presented during the course are from the Royal Armouries’ collections, from some of its most well-known treasures to objects rarely made available for public view.

This course links Muslim and Christian cultures through war and peace, diplomacy and social changes. All aspects of Muslim societies will be studied through the lens of military architecture, arms, and armour. Following this short course, participants will be able to:

Read and download course structure.

Learning Outcomes

Differentiate between the role of warfare in Muslim societies in the Middle and Modern Ages;
Learn about the importance of cultural exchanges between the East and West;
Study the impact of the past to understand the relations between Muslims and Christians in today’s society;
Receive a methodological background on archaeology, history and art history;
Recognise the different types of Muslim fortifications by geographical area and period;
Distinguish between different types of Muslim arms and armour by geographical area and period.

Course Convenors

Stephane Pradines is an archaeologist, Professor of Islamic art and architecture at the Aga Khan University’s Institute for the Study of Muslim Civilisations in London. He is a specialist of trade and Islamisation in the Indian Ocean, from the Swahili coast to the Maldives. He is also a specialist of warfare in medieval Africa. He was the director of the excavations of the Walls of Cairo in Egypt from 2000 to 2016. He is now in charge of the excavations of the fort of Lahore in Pakistan. From 2008 to 2015, Stephane Pradines, Abbes Zouache and Mathieu Eychenne were co-directors of an international research programme on War in the Medieval Middle East organised by the French Institute of Archaeology in Cairo (IFAO) and the French Institute in Near East, Beirut-Damascus (IFPO). Professor Pradines has published many articles and books on military architecture, fortifications, arms and armour from the Fatimid to the late Ottoman period.

Natasha Bennett is the Curator of Oriental Collections at the Royal Armouries, UK. Natasha read History at Durham University (2004 – 2007). She joined the Royal Armouries in 2011 as a Curatorial Assistant and was confirmed as Curator in 2017. The Royal Armouries holds the UK’s national collection of arms and armour. Natasha works with the Asian and African collections. Her remit includes an enormous spread of arms and armour mostly between the 14th and 20th centuries, so her areas of research and publication are necessarily wide-ranging. She is the author of Chinese Arms and Armour (Leeds: Royal Armouries, 2018). She has also published work on the accumulation and interpretation of South Asian arms and armour at the Armouries during the 19th century, Asian matchlock guns, the Royal Armouries’ Sudanese collection and Japanese armour.

Date and Time
22 and 29 November, 2021, 13:30 – 16:30 (London Time).
Tickets
£75 professionals | £45 students and AKU alumni, RA members, and AKU and RA staff.
Organisers
The Aga Khan University’s Institute for the Study of Muslim Civilisations and Royal Armouries Museum, UK.
*The course will be delivered via Zoom. Readings and further details will be provided later upon registration.

Find out more here.

Online Conference: Amassing Perspectives: Recent Trends in Syriac Iconography, 17-18 September 2021

Monastery wall paintings in Syria and Egypt, the illuminations of the Rabbula Gospels, and the architecture and decorations of churches in regions as diverse as Turkey and India are just some of the rich visual culture extant from the late antique and medieval Syriac tradition. Though there is a long tradition of studying Syriac visual culture, there have been few monographs dedicated to the topic in recent decades. This conference gathers diverse scholars from across the globe whose research touches on all aspects of Syriac iconography and visual culture in any geographic region from late antiquity throughout the Middle Ages, to roughly 1400 C.E. The conference will sum up the status quaestionis of research into Syriac art and architecture and spell out major desiderata for the field going forward.

The Syriac tradition has been rooted in politically sensitive regions in the world, and its rich material heritage remains vulnerable to destruction and illegal sale on the black market. We hope to draw attention to this area and to provide a means and opportunity for the study of its artistic and architectural legacy. Given the academic significance of such a conference, it is hoped that the conference proceedings will develop into an edited volume, reflecting state-of-the-art research on Syriac visual culture.

The virtual conference will take place on September 17–18, 2021. It is structured around roundtable workshop sessions for pre-circulated papers, disseminated to registered participants approximately one month in advance. The conference is hosted by the Department of Art & Archaeology at Princeton University, with additional support from the Committee for the Study of Late Antiquity (CSLA) and the Center for Collaborative History (CCH).

Advance registration required.

Job Opportunity: Assistant Professor of Medieval European History, Williams College (Deadline 1 October 2021)

Description

The Department of History at Williams College seeks to make a tenure-track appointment in medieval European history, to start July 1, 2022. Specialists in all regions of Europe and all methodological approaches are welcome to apply. Applicants should be able to position their research and teaching with respect to the premodern world at large, whether connectively or comparatively. The teaching load in the department is 2-2 plus a January-term course every other year, and faculty have considerable autonomy in developing the curriculum in their fields.

Qualifications

The candidate should be a dedicated scholar with a Ph.D. in hand or expected by September 2022.

Application Instructions

Please send the following application materials to the department chair, Roger Kittleson, via Interfolio (http://apply.interfolio.com/90316): a letter of application which includes a summary of current and future scholarship, teaching interests and experience, and ability to work effectively with a broadly diverse student population; a curriculum vitae; separate one-paragraph descriptions of proposed courses (please include one survey and two specialized courses); and three letters of recommendation. The deadline for receipt of materials is Friday, October 1, 2021.

New Publication: Tributes to Paul Binski: Medieval Gothic: Art, Architecture & Ideas

Consistently fresh in their scholarship, these essays combine to make an important contribution to medieval art history, reflecting the admiration and affection which Paul Binski inspires in his students and colleagues. This volume is published in honour of Paul Binski, whose scholarship and teaching have done so much to illuminate the material and intellectual worlds of Gothic art and architecture. Remarkable for its material scope and philosophical depth, Paul’s work has had a powerful influence on the current state of the field: this is reflected here in thirty-four essays on buildings, works of art and ideas in a wide range of historical and geographical contexts, from Iberia to Scandinavia and Italy to Ireland. Consistently fresh in their scholarship, these essays combine to make an important contribution to medieval art history.

In doing so they reflect the admiration and affection which Paul inspires in his students and colleagues. With contributions by: Gabriel Byng, Meredith Cohen, Emily Guerry, James Hillson, Ethan Matt Kavaler, Tom Nickson, Zoë Opačić, Claudia Bolgia, Jean-Marie Guillouët, Justin E. A. Kroesen, Julian Luxford, Robert Mills, John Munns, Matthew M. Reeve, Laura Slater, Beth Williamson, Jessica Berenbeim, Spike Bucklow, Marcia Kupfer, Jean-Pascal Pouzet, Miri Rubin, Kathryn M. Rudy, Rocío Sánchez Ameijeiras, Lucy Wrapson, Patrick Zutshi, Mary Carruthers, Jill Caskey, Lucy Donkin, Kate Heard, Robert Maniura, Alexander Marr, M. A. Michael, Conrad Rudolph, Betsy Sears.

Find out more about the book here.

Part One: Gothic Architecture

1. Gabriel Byng — The ‘Great Rebuilding’ of the Late Middle Ages: Revising the longuedurée History of the Gothic Parish Church

2. Meredith Cohen — ‘The Forest through the Trees’: The Pier as a Seed Plan at the Lady Chapel of Saint-Germain des Prés

3. Emily Guerry — A Gothic Throne for the King of Kings: A Re-evaluation of the Design, Date, and Function of the Sainte-Chapelle Tribune

4. James Hillson — Linearity and the Gothic Style: Architectural Conception in England and France, 1200–1400

5. Ethan Matt Kavaler — Diamonds are Forever: Cell Vaults and the Beginnings of History

6. Tom Nickson — Describing Architecture in Thirteenth-Century Spain

7. Zoë Opačić — Cui bono? The Founding and Funding of Medieval Religious Institutions under Charles IV

Part Two: Gothic Sculpture and its Environment

8. Claudia Bolgia — The ‘Tabernacles’ War’ II, c.1400: New Light on the Competition between Icons and Relics in Late Medieval Rome

9. Jean-Marie Guillouët — Epigraphic One-Upmanship: Remarks about Text-Image Relationship in Fifteenth Century Monumental Sculpture

10. Justin E. A. Kroesen — Gotland Wonder: Unique High Medieval Interior Ensembles on a Baltic Island

11. Julian Luxford — John and Johanna Ormond’s Grave

12. Robert Mills — Wild Forms: The Art of East Anglian Wodewoses

13. John Munns — The Thirteenth-Century Pyx Cover at Wells Cathedral

14. Matthew M. Reeve — Fragments from Wisdom’s House: The Lady chapel Juxta Claustrum at Wells Cathedral

15. Laura Slater — Musical Wit and Courtly Connections at Cogges

16. Beth Williamson — The Kilcorban Madonna: Joy and Potential in an Irish Wooden Virgin and Child

Part Three: Gothic Painting, Manuscripts and Poetics

17. Jessica Berenbeim — Recapitulation: A Medieval Table of Contents

18. Spike Bucklow — The Economics of Blue and Gold

19. Marcia Kupfer — A Hill of Foreskins: Circumcision in the Alba Bible

20. Jean-Pascal Pouzet — Notes towards a Poetics of Western Medieval Manuscript Form – with an Application to Illuminated Manuscripts in Cambridge University Library

21. Miri Rubin — Ecclesia and Synagoga in Time

22. Kathryn M. Rudy — The Bolton/Blackburn Hours (York Minster Add. Ms. 2): A New Solution to its Text-Image Disjunctions using a Structural Model

23. Rocío Sánchez Ameijeiras — If the Sea Were Made of Ink: A Word on Medieval Visual Poetry

24. Lucy Wrapson — A Royal Portrait? Uncovering the Identity of Saints on the Latemedieval Screen at North Tuddenham, Norfolk

25. Patrick Zutshi — The Veronica Images Painted by Matteo Giovannetti for Pope Urban V (1369)

Part Four: Gothic Art and Ideas

26. Mary Carruthers — Becoming Like an Angel: The Concept of Sublimis in Monastic Contemplation and in Alchemy

27. Jill Caskey — Treasure, Taxonomy, and Transformation in the Inventories of San Nicola, Bari

28. Lucy Donkin — Mining Mount Tabor: the Schauinsland Window at the Minster of Freiburg im Breisgau

29. Kate Heard — The Ecclesiastical Textiles of Humphrey, Duke of Gloucester

30. Robert Maniura — Why Study Miraculous Images?

31. Alexander Marr — Working by Wit Alone: Aspects of Ingenuity in Dürer

32. M. A. Michael — Inventing Gothic Painting: Creating Fine Art

33. Conrad Rudolph — The Evidence of the Training of Tour Guides in the Middle Ages

34. Betsy Sears — Gothic Logic: Panofsky’s Unwritten Book on ‘The Gothic Style’

Funding Opportunity: BAR Open Access in Archaeology Award 2021 (Deadline 30 September 2021)

Open Access is a relatively new online publishing model where author rather than reader pays. It provides professional publication of your research and then makes it freely available and discoverable online so anyone can benefit from reading and using your work. This has benefits such as improving the reach of your research, enhancing your reputation through increased citations, and improving the quality of research through sharing transparent and reproducible research practices. In many regions, grant funding now requires Open Access publication.

BAR Publishing is celebrating the launch of its Open Access publishing programme with a new Award worth up to a value of £10,000.

The BAR Open Access in Archaeology Award 2021 comprises the free open access publication of the winning entry.

The award is a contract with BAR for the Open Access publication of the proposal chosen by the judging panel. The winning manuscript will be peer-reviewed, copyedited, typeset and proofread. The OA book will be available for free download on the BAR Digital platform, on the BAR website, and on online repositories such as Google Scholar/Google Books, DOAB and OAPEN. A print version will also be available, and authors will receive 10 complimentary print copies of their new book. In addition, any shortlisted manuscripts will receive support in developing their project further.

Find out how to enter and view the judging criteria here.

Read the Terms and Conditions here.

Complete the Entry Form here* and submit to award@barpublishing.com by 30^th September 2021. The winner will be announced on 15th November 2021.

Call for Papers: ‘Performing Death I & II’, ICMS Kalamazoo, 9-14 May 2022, Deadline 15 September 2021

Papers are sought for two sessions:
Performing Death I: Grief and Emotion in the Medieval Mediterranean, and
Performing Death II: Ritual and Remembrance in the Medieval Mediterranean
to be proposed for the 57th International Congress on Medieval Studies (Kalamazoo ONLINE: May 9–14, 2022)

Sponsor: CU Mediterranean Studies Group/Mediterranean Seminar

Dying is inevitable; and, thus, caring for the dead became a defining characteristic of humanity – even predating the emergence of homo sapiens as a species. Yet, there appear to be significant differences across cultures as to how mourning is expressed and ritualized both in terms of physical and symbolic death. The medieval Mediterranean provides an opportunity to analyze such ritualization as expressed in Christianity, Judaism, and Islam within the same broad historical and regional context. Examining various Mediterranean traditions of mourning will help us better understand grief in the Medieval West and today.

Papers are sought that examine the emotional, social, gendered, and cultural contexts of mourning among Christians, Muslims, and Jews across the medieval Mediterranean. The aim is to better understand grief, both in the past and today. How was death understood and ritualized from an emotional point of view? What was the role of religion in establishing appropriate models and rituals? How was the expression of grief, whether in history, literature, or art, shaped by social norms, and expectations and by the emotional communities’ individuals belonged to? Was there an emotional Mediterranean culture of “lamenting” that transcended ethno-religious divisions?

Those interested in submitting a paper proposal to any of the two sessions (Performing Death I and II), please do so before September 15, 2021, using the conference portal: wmich.edu/medievalcongress/call

If you have any questions, do not hesitate to contact the organizer: Nuria Silleras-Fernandez at silleras@colorado.edu

Job Opportunity: Professorship in Mediterranean Archaeology with a Focus on Greek and Roman Archaeology, University of Zurich (Deadline 1 October 2021)

The University of Zurich invites applications for a professorship in Mediterranean archaeology with a focus on Greek and Roman archaeology. The position should be filled by 1 February 2023.

The future holder of the position is expected to represent the field of Mediterranean archaeology with a focus on Greek and Roman archaeology in research and teaching across the board. They should have built an outstanding, internationally visible reputation in cultural analysis of the ancient Mediterranean world. Knowledge and expertise in field research (excavations, surveys) and visual studies (Bildwissenschaften) is expected, in particular with regard to digital methods and techniques (spatial archaeology). The University of Zurich offers manifold possibilities of cooperation in imaging techniques, Big Data science and various forms of participatory research.

In addition, candidates are expected to share responsibility for the various archaeological study programs and to participate in interdisciplinary programs in ancient studies (Altertumswissenschaften) and the ZAZH – Zurich Center for the Study of the Ancient World. Moreover, the Archaeological Collection (museum) is affiliated to the professorship, for which significant impulses are expected in terms of its development and research transfer. Furthermore, participation in disciplinary and interdisciplinary cooperation structures in the national and international context as well as in committees of the University’s self-administration are part of the tasks.

A completed habilitation or comparable excellent scientific achievements and publications in the relevant field are required at the time of application. The language of instruction may be English. Non-German speaking candidates are expected to acquire a working knowledge of German within the first three years of their appointment. In addition, international networking and relevant experience in interdisciplinary research and teaching contexts are expected. Furthermore, didactic aptitude and experience in administration and personnel management are required.

To apply, visit https://www.phil.uzh.ch/de/fakultaet/berufungsverfahren.html