Tag Archives: call for contributions

CFP FOR AN EDITED COLLECTION: Architectural Representation in the European Middle Ages

ramsey censerCFP FOR AN EDITED COLLECTION: Architectural Representation in the European Middle Ages, edited by Hannah Bailey, Karl Kinsella, and Daniel Thomas

Deadline: 1 November 2017

The architectural remnants of the Middle Ages—from castles and cathedrals to village churches—provide many people’s first point of contact with the medieval period and its culture. Such concrete survivals provide a direct link to the material experience of medieval people. At the same time, exploring the ways in which architecture was conceptualized and depicted can contribute to our understanding of the ideological and imaginative worldview of the period.

This volume seeks to investigate all aspects of architectural representation in the medieval period, encompassing actual, symbolic, or imaginary architectural features, whether still standing today, observable in the archaeological record, or surviving only through depiction in literature or art. Topics of interest might include (but are not limited to) the social and symbolic value of architecture, architectural metaphor or imagery, architecture in visual representations, architecture in the depiction of other spaces, memory and architecture, and architectural style.

The volume is interdisciplinary in outlook and we welcome contributions from across the spectrum of academic disciplines, including literature, history, art, theology, and archaeology.

Please send abstracts of no more than 250 words, with a brief biographical blurb, to the editors at: architecturalrepresentations@gmail.com by 1st November, 2017.


CFP: Defense(less) city – Revista de Historia da Arte next issue

Revista de Historia da ArteDeadline: Apr 30, 2017

DEFENSE(LESS) CITY will be the special subject of next issue of the Revista de História da Arte from IHA-FCSH-NOVA.

The city is, by definition, alterity, difference. It is the human accomplishment par excellence, standing out from nature, isolating itself from it. The presumption of defense is inherent to the very idea of the urban. The rite of the city’s birth implies first tracing its symbolic defense precincts, followed by the effective building of its walls. In the Middle Ages, the very definition of a city requires a wall. But it is in Early Modernity that speculation about the city’s defenses reaches its zenith. Defenses are theorized in treatises and tested in fortifications. Throughout the Early Modern period, war becomes an exercise of extreme defense, of siege resistance. Until the time comes for the absolute inoperability of any kind of city walls. The Contemporary city stands literally fuori mura. And yet, cosmopolitan urbanity, supposedly open, is also potentially closed.

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Call for Contributions: Set Me as a Seal upon Thy Heart: Constructions of Female Sanctity in the Middle Ages (edited volume)

screen-shot-2017-01-20-at-9-19-20-amHoly women were represented on a variety of media, starting with manuscript illuminations, ending with frescoes, or textually-constructed and re-constructed in order to fit religious and/or political purposes, according to time and space(s). They imprinted their imagery on the social-cultural milieu of the Middle Ages as brides of Christ, virgin martyrs, or penitents, suggesting that medieval female sanctity is a multifaceted phenomenon. This volume intends to develop these concepts further in order to reconsider and redefine female holiness from a transdisciplinary perspective.

We welcome papers for the volume to be titled “Set Me as a Seal Upon Thy Heart.” Constructions of Female Sanctity in the Middle Ages.
Aiming to reflect recent research on the construction(s) of female holiness, we call for original manuscripts focusing on (but not limited to) the following topics:

  • Textual sources; text circulation and manipulation
  • Image-text relationship
  • Arts/visual culture and architecture
  • Thematic connections
  • Donors and audience
  • Cultural/religious constructions

Submission Guidelines:

Papers should be written following the template and guidelines found at http://www.trivent-publishing.eu and should have between minimum 7 and maximum 20 pages.

Dates and deadlines
Manuscript Submission March 20, 2017
Decision Notification May 8, 2017
Final Manuscript Submission June 12, 2017
Estimated Publication Date September 2017

* We kindly ask all prospective authors to send their intent of submitting a paper for this volume to publishing@trivent-publishing.eu by February 1st, 2017

The volume will be published open access. It will be listed in CEEOL, Directory of Open Access Scholarly Resources, SSOAR, DOI, and will be sent for evaluation in the Book Citation Index of Thomson Reuters.

For information and queries on the scientific content of the volume, please contact the editor of the volume, Andrea-Bianka Znorovszky, znorovszky_a@auca.kg

For information on the publication, please contact publishing@trivent-publishing.eu or see Trivent Publishing’s website here: http://www.trivent-publishing.eu

Call for Contributions: Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture (Edited Volume)

Call for Contributions: 
Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture
ed. by Yasser Elhariry (Dartmouth College) & Edwige Tamalet Talbayev (Tulane University)
Deadline: 15 December 2014

This is a call for contributors for Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture, a peer-reviewed edited volume co-edited by Yasser Elhariry (Dartmouth College) & Edwige Tamalet Talbayev (Tulane University).

satelliteMeditPointing to the crux of much debate and scholarship in Mediterranean Studies, W. V. Harris has defined Mediterraneanism as “the doctrine that there are distinctive characteristics which the cultures of the Mediterranean have, or have had, in common” (1).  A pervasive approach to the region in the disciplines of history and anthropology, the concept has fruitfully brought to light the presence of “common denominators” underlying the region’s past that warrant a comparative reading of local history across broad spans of time and space. Based on excavating millennia-old histories of ever-shifting interactions at the micro-level (Horden and Purcell’s “connectivity”), this approach has striven to move the focus away from the myriad local histories unfolding across the Mediterranean’s coastlands to bring the space of the sea as a principle of integration into relief. Highlighting wide-ranging forms of mobility, interconnectedness, and analytical fluidity in their adjustable Mediterranean model, these conceptions have emphasized the material flows running across the sea and its shore-lands, and the human activities that they have supported. As Peregrine Horden observes in his and Sharon Kinoshita’s Companion to Mediterranean History, “There seems to be no limit to the ways in which the Mediterranean region may be reimagined, as a sea, as an area involving physical movements, maritime spaces, territorial arrangements, and political processes that seek to transcend national boundaries and enmities” (5).

Moving the chronology and critical purviews of the field forward, this volume seeks to interrogate how theories and methodologies of Mediterranean Studies may bear on the modern period. Beyond the dominant mapping of the region in ancient, medieval and early modern contexts, there are important questions to be answered about our critical understandings of the modern Mediterranean and its arts and cultures that have a direct bearing on our understanding of the modern/contemporary world. This volume probes the critical cut of the Mediterranean as a theoretical entity, as an aesthetic, theoretical, and hermeneutic category for the interpretation and analysis of culture, and as a space of artistic and linguistic density and coterminous symbolic geographies. We propose to examine its critical potential in the age of nationalistic projects, global capitalism, colonial modernity, and postmodernism.

With these guiding principles in mind, we encourage contributions that explore material, visual, literary and linguistic cultures of “the Mediterranean as a spatial constellation undergoing recurring formation and dissolution,” in order to “make the notion of a modern Mediterranean plausible and reveal its structural similarities and connections with the sea’s previous lives” (Ben-Yehoyada 107). Teetering between the unenviable status of romantic delusion and the nefarious influence of residual (self)orientalizing dynamics, the Mediterranean as a conceptual tool first needs to liquidate its fraught exoticist heritage. With the advent of European imperialism in the Mediterranean in the 19th century, dealing with the legacy of globalization also requires attending to the fractures, inequalities, and forms of disenfranchisement that the new world order has engendered (what Ian Morris has dubbed “winners and losers” in relation to Mediterraneization). Alongside Iain Chamber’s “interrupted” paradigm, concepts of critical/ alternative modernities anchored in the sea are relevant to scrutinizing the fruitfulness of the Mediterranean construct to these theorizations.

We are thus seeking contributions that (1) present readings of an original, modern Mediterranean archive or corpus, and (2) rigorously, even polemically, argue what constitutes the archive/corpus’ Mediterraneanism.

We especially encourage proposals that address a combination of the following possible lines of inquiry:

  • Origins and genealogies. Sharon Kinoshita has aptly suggested that “Mediterranean studies is less a way of defining or delimiting a geographic space (as in the famous formulation of the Mediterranean as the region of the olive and the vine) than a heuristic device for remapping traditional disciplinary divides” (602). What are the material, visual, literary and linguistic limits to our grasping of the Mediterranean? What are the needs and natures of disciplinary, cross-disciplinary, and interdisciplinary work? What is the role of competing genealogies within field formation? In turn, how may the births and beginnings of disciplines inform our critical understandings of the modern Mediterranean and its arts and cultures?
  • Mediterranean representations. How do cultural formations, historical processes, and elements of style develop? How do considerations of genre and intertextuality inform their emergence? What artistic and intellectual tropes and turns (for example: nostalgia, cosmopolitanism, religion and mysticism) inflect the Mediterranean as a rhetorical tool or figure within their respective genealogies?
  • Mediterranean translations. What roles does language perform in the modern Mediterranean? What and where are the untreatable, untranslatable dimensions of Mediterranean expression? How do linguistic codes intersect with the visual, the sonic, and the (inter)medial? What are the specificities of—or relationships between—literature, visual culture, cinema, music, media and intermediality?
  • Philosophy, phenomenology and the poetics of space and time. Edgar Morin reports that it is in the 16th century that the Mediterranean was given its name, which meant sea-at-the-center-of-the-lands (33), but what if the Mediterranean in fact decenters and disorients? How do modern representations of the Mediterranean treat the nature of the sea? Beyond dialectics of change and permanence, how does the incursion of the Mediterranean into time evoke discrepant temporalities (plural, unpredictable, ephemeral, internally experienced, immanent or dormant)?
  • (Bio)politics. Chakrabarty has pointed how the Mediterranean “environment […] had an agentive presence in Braudel’s pages” (205). Does the modern Mediterranean still play “an agentive presence” in contemporary politics? In an era where “the Marxist critique of capitalism” and “Marxist internationalism undermined the idea of the nation” (Morin 38-39), what is the Mediterranean’s relationship to la raison d’état, or the nation-state as a heuristic core of critical practice? What becomes of the relationship between nation-states and languages, between identities and affiliations? How does it call into question national literary languages? How would (bio)political questions concerning revolution, democracy, migration, transnationalism, and minority and second-generation human rights be articulated and addressed within these discourses?
  • Mediterranean identities and self-identification. How do we key in the elaboration of local identity and community formation? What are the attendant regional politics and polemics? What are the dialectical relations to forms of being in the world ensconced in the discreteness of micro-localities? How may identity markers be uniquely declined beyond the dominant rhetoric of the right to difference? How may this entail the emergence of a transnational consciousness or of a specific ethos? How may we think beyond subjective experiences of the Mediterranean?
  • The Mediterranean/Mediterraneans. How do we balance the focus on the micro with the need for the macro (Abulafia, 2006) and the relation to other sea-centered logics? What are the geographical limits of the modern Mediterranean? What is the place of the critical Mediterranean within reflections on “new thalassology” (Horden and Purcell, 2006) and “thalassocracies” (Abulafia, 2014)? Should the model be applied beyond the region? What is its intellectual currency across geographical divides?

Detailed abstracts (500 words) are due by December 1, 2014 to Edwige Tamalet Talbayev (etamalet@tulane.edu) and Yasser Elhariry (yasser.elhariry@dartmouth.edu). Contributors will be notified of acceptance by December 15, 2014. Completed manuscripts (6,000 words) are due byJune 1, 2015. Manuscripts will be rigorously edited prior to submission to the press. Although final placement of the volume will be contingent on the outcome of the press’ peer-review process, Brian Catlos and Sharon Kinoshita, the editors of Palgrave Macmillan’s new Mediterranean Studies series, have expressed interest in the volume.

Abulafia, David. “Mediterraneans.” Rethinking the Mediterranean. Ed. W. V. Harris. Oxford: Oxford UP, 2006. 64-93.
———. “Thalassocracies.” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 139-153.
Ben-Yehoyada, Naor “Mediterranean Modernity?” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 107-121.
Chakrabarty, Dipesh. “The Climate of History: Four Theses.” Critical Inquiry 35 (2009): 197-222.
Chambers, Iain. Mediterranean Crossings: The Politics of an Interrupted Modernity. Durham: Duke UP, 2008.
Harris, W. V., ed. Rethinking the Mediterranean. Oxford: Oxford UP, 2006.
Horden, Peregrine. “Introduction.” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 1-7.
Horden, Peregrine and Nicholas Purcell. The Corrupting Sea: A Study of Mediterranean History. Oxford: Wiley Blackwell, 2000.
———. “The Mediterranean and ‘the New Thalassology.’” The American Historical Review 111.3 (2006): 722-740.
Kinoshita, Sharon. “Medieval Mediterranean Literature.” PMLA 124.2 (2009): 600-608.
Morin, Edgar. “Penser la Méditerranée et méditerranéiser la pensée.” Confluences Méditerranée 28 (2009): 33-47.
Morris, Ian. “Mediterraneanization.” Mediterranean Historical Review 18.2 (2003): 30-55.

Call for Essays: Melusine’s Footprint: Tracing the Legacy of a Medieval Myth (edited volume)

Call for Essays:
Melusine’s Footprint: Tracing the Legacy of a Medieval Myth
Deadline: 6 January 2015

Mélusine_allaitant_BnF_Français_24383_fol._30While the late 14th c French prose romance by Jean d’Arras arguably remains the earliest and most-translated version of the story of Melusine—in which he envisions her as a foundress of the powerful Lusignan family—the figure of the fairy woman cursed with a half-human, half-serpent form traveled widely through the legends of medieval and early modern Europe. From Thüring von Ringoltingen’s German iteration of 1456, which gave rise to the popular chapbook, and related folktales that brought Melusine decisively to the European medieval imaginary, Melusine’s variants surface in countries and centuries beyond. One finds her entwined in the ancestry of several noble houses across Europe; a Melisende ruled as Queen of Jerusalem; and the philosopher Paracelsus writes of melusines as water sprites in search of a soul by means of human marriage. Regal serpent women proliferate in carvings and paintings decorating churches, castles, villas, and public buildings throughout Europe, and a cri de Mélusine, in the story the signal of her castle’s changing fortunes, entered the language as a common phrase. Today one finds Melusine in film, novels, comic books, the Starbucks logo, and as a character in the video game Final Fantasy. In short, the figure of Melusine, often compared to ancient goddesses and other fantastic creatures with serpentine forms, was and remains a powerful, multivalent symbol condensing the fears, myths, and cultural fantasies of a historical  period into a potent visual image.

We seek to assemble a volume of essays that examine the impact and legacy of the figure of Melusine in art, history, literature, and fields beyond. We envision a collection that charts the evolution of and investigates the many representative instances of this figure over time and space, with analyses that give consideration, in whole or in part, to the following questions:

  • What particular valence does the figure of the half-serpent Melusine hold for the time, place, and media in which she appears? How has the figure changed over time, and what forces have contributed to these changes?
  • How does the particular venue in which Melusine appears articulate a cultural approach to and embodiment of female power and its exercise?
  • How do the various installations of Melusine deal with the transgressiveness of her hybrid form, and the transformations which are an integral part of her story?
  • What about this figure resonates across time and space, and what meanings herald a particular historical moment?
  • What can Melusine teach us about reading history (or art, or indeed any sort of cultural artifact) and remaining open to the ways in which readers continually recreate meaning each time a  story is retold?

While any and all analyses that focus on Melusine will be given full consideration, essays that approach Melusines outside the work of Jean d’Arras are particularly welcome. We invite methodologies that are historically researched or theoretically grounded as well as descriptive in nature. Please send a proposal, including a short list  of projected sources, of 500-800 words along with a very brief CV to Misty Urban atmru4@cornell.edu by January 6, 2015. Final essays of 6-25 pages will be expected by December 31, 2015.