Tag Archives: Call for Paper

CFP: Enclosures: Women’s Religious Art and the Boundaries of Method (International Medieval Congress, Leeds 2020, September 10, 2019)

This panel seeks to explore new methodologies for studying the art of women’s religious communities in global and cross-cultural perspective from about 500 to 1525 CE. 

In the last few decades years, art historians have put women back on the map of European medieval art history. Harnessing the second-wave feminism, scholars, such as Caroline Walker Bynum and Madeline H. Caviness, paved the way for this radical shift. The generation that followed, most influentially Jeffrey Hamburger, has consolidated the study of the art and architecture of female monasticism, as manifested in the landmark exhibition of Crown and Veil (Essen and Bonn, 2005). In the process, art historians expanded our knowledge of the role of religious women as makers, commissioners, and recipients of art. The corpus of works of art has exponentially enlarged, fully encompassing the range of media engaged in women’s religious life, including objects previously relegated to margins of art history as crafts. To do so, art historians have employed a variety of methodologies, using interdisciplinary approaches. 

Now, it is time to refresh the methodological foundations and broaden the scope of inquiry of this field. To this end, we invite speakers working on topics of the art of religious women and communities in any cultural, religious, and geographic context. In particular, we encourage the submission of papers that examines the methodological challenges and/or engage in innovative approaches in the field. 

Potential questions may include, but are not limited to: 

  • New insights into the role women’s religious communities played in the production and commission of art.
  • Is the art of female monasticism a productive category of inquiry? If so, what can we learn from examining medieval art through this lens and what are its boundaries? If not, what are the other venues for studying the art of religious women?
  • What new venues do interdisciplinary collaborations open up for the study of female monastic art?
  • Do we need to reassess gender-specific approaches to the art of women’s religious communities in light of recent scholarship on gender?
  • What lessons might be learned from examining other cultural and religious traditions? What methods have proven productive in examining non-Christian/non-Western cultural and religious communities?
  • Case studies of inter-religious and/or inter-cultural exchange, interchange, influences, and entanglement among women’s religious communities
  • Are there media specific to or preferred by female audience? Are there any of these universal?
  • New technological/digital approaches to studying the art of women’s religious communities 

The session seeks to provide a forum for scholars at different career stages, across different art historical geographies. This session, we hope, will foster a dialogue across regions and religions of women’s religious communities, providing a fertile ground for discussion 

We invite interested applicants to submit a 250 word abstract and a short c.v. to Kristina Potuckova (kristina.potuckova@yale.edu) and Orsolya Mednyánszky (omednyanszky@jhu.edu) by September 10, 2019. 

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CFP: Prologues in Learned Texts of Medieval Magic, Research Group on Manuscript Evidence (Kalamazoo 2020, Deadline 15th September 2019)

1.  Prologues in Learned Texts of Medieval Magic

Deadline for abstracts: 15 Sept 2019

Although the prologues of learned books of magic could take many forms, nearly all share at least one common characteristic: the claim to transmit a secret and pristine branch of knowledge. Such claims are frequently couched in the form of a narrative describing how this secret knowledge was originally revealed. Many employ the same actors (Hermes Trismegistus, King Solomon, Aristotle), the same objects (a tablet or disk made of precious material and inscribed with divine wisdom), and the same locations (a hidden cavern or lost pagan temple). These narratives helped to establish the authority of their texts, broadcast their affiliation with specific discourses, and signal how they should be read. Moreover, the prologues served to highlight the erudition of their authors through the use of classical and biblical references and often sophisticated word-play.

The aim of this session is to explore these still largely understudied prologues which testify to the variety of medieval approaches to “magic”. What do these prologues have to tell us about the institutional, cultural, and political milieux in which they were produced? How do certain recurring mythemes found in these prologues stand in relation to the various magical and divinatory arts, specifically those classified as natural or demonic? And to which philosophical, mystical, or religious beliefs do they appeal in order to justify the magical practices that they introduce?

Other potential topics relating to magical prologues include, but are not limited to

— the rhetoric of authority and the relation between power and secret knowledge

— the intersection of diverse intellectual traditions

— the continuity and reception of the Classical Tradition

— the appropriation of Jewish and Arabic traditions

— the relation between the tropes and mythemes found in magical prologues and those in other literary genres, such as prophecies and romances

— the assimilation of philosophical and medical texts

— the use of the Bible and biblical traditions

— philological and text-critical studies of magical prologues.

Please send your proposals to vajra.regan@mail.utoronto.ca by 15 September 2019.

More information here: http://manuscriptevidence.org/wpme/2020-international-congress-on-medieval-studies-call-for-papers/

Contact: Vajra Regan: vajra.regan@mail.utoronto.ca

CFP: ‘Cave Architecture and Art in the Middle Ages’ at the International Congress on Medieval Studies, Western Michigan University Kalamazoo, May 7-10 2020 

55th International Congress on Medieval Studies, Western Michigan University Kalamazoo, May 7-10 2020 

Cave churches, monasteries and dwellings can be admired throughout the Mediterranean, where they often appear next to and even intertwined with the built environment. And yet, with the exception of southern Italy and Cappadocia, they are rarely included in studies of the art and architecture in the Mediterranean (broadly understood). This session seeks to explore the role of cave architecture and art in the urban topography of Eurasia and Africa. 

With the exception of Ethiopia and Cappadocia, caves structures are often dismissed because of their small size and simplicity. However, caves and other underground spaces played essential roles in medieval cultures, as demonstrated by their mural decorations and how they appear in hagiographies, pilgrimage accounts and other genres of literature. We are looking for multi-disciplinary papers that argue for the integration of cave architectures within our understanding of the broader Mediterranean during the medieval period. Papers from all disciplines are encouraged. 

Please send paper proposals of 300 words to the session organsier, Maria Harvey (mariajlharvey@gmail.com), by 15 September 2019, together with a short C.V. and a completed Participant Information form. 

Please include your name, title, and affiliation on the abstract. 

All abstracts not accepted for the session will be forwarded to Congress administrators for consideration in general sessions, as per Congress regulations. 

CFP: International Meeting of the European Architectural History Network in Edinburgh in June 2020

Genius Loci: The Politics of Pre-Modern Architectural Style Session, International Meeting of the European Architectural History Network, Edinburgh, 10–13 June 2020

Frequently encountered in the historiography of pre-modern architecture is the theme of genius loci – a paradigm in which factors such as climate, local resources, and local traditions are understood as determinative for the building practices of a given region, country, or nation.

Writing on Gothic architecture is a striking case in point. The style was a pan-European phenomenon. Yet, almost from the beginning, it was interpreted in patently ethnic, regional, or national terms. Late medieval observers in northern Europe saw it as French (opus francigenum). Early modern observers in southern Europe saw it as German (maniera tedesca). And antiquarians, archaeologists, and architectural historians active during the era of the formation of modern nation states, in an effort to advance competing domestic claims to Gothic, coined a series of stylistic labels – ‘Perpendicular’ for England, ‘Flamboyant’ for France, ‘Sondergotik’ for Germany – that continue to be employed into the present day.

Thus have medieval architectural historians struggled to examine the buildings of smaller regions with more heterogeneous architectural traditions. Scotland – a land whose medieval edifices have been characterised as ‘dour’, ’embattled’, and even a ‘fag-end’ – is exemplary in this regard. Smaller buildings less sympathetic to foreign fashions have typically been viewed as crude. Larger buildings more sympathetic to foreign fashions have typically been viewed as mannered, wilful, or downright bizarre (cf. Roslin Chapel). Such interpretations not only uphold a simplistic centre-versus-periphery model of historical explanation but also assume that national styles are real ontic categories.

Raising the stakes for a re-evaluation of issues of place, space, and identity is the politically febrile atmosphere in which we now live and work. Indeed, nativism draws on the idea that countries have distinctive (if not inviolable) cultures, and architecture plays a dual role in such discourse in that old buildings can be used as evidence for certain values and new buildings can be used as vehicles for certain ideologies. Consequently, this panel seeks to interrogate the relationship between architecture and regional or national identities in the pre-modern period, with an emphasis on the buildings of medieval Scotland. Possible topics for papers include:

– Definitions of nationalism

– Investigations of ‘schools’, ‘groups’, and/or ‘styles’

– Attributions of buildings to various regional or national idioms

– Explorations of social networks that supported or subverted the exchange of architectural ideas

Please submit a proposal in English of no more than 300 words by 20 September 2019 to Zachary Stewart (zstewart@arch.tamu.edu) and Lizzie Swarbrick (Lizzie.Swarbrick@ed.ac.uk) with the following information:

– The title of the paper

– Your name

– Your professional affiliation

– A short curriculum vitae (maximum of two pages)

– A mailing address, email address and telephone number

Please note: papers may not have been previously published, nor presented in public. Only one submission per author will be accepted by EAHN 2020. Each speaker is expected to fund his or her own registration, travel and expenses to Edinburgh.

CFP: BAA Post-Graduate Conference, Saturday 23rd November 2019 (Deadline: 6th May 2019)

The BAA invites proposals by postgraduates and early career researchers in the field of medieval history of art, architecture, and archaeology.

Papers can be on any aspect of the medieval period, from antiquity to the later Middle Ages, across all geographical regions.

The BAA postgraduate conference offers an opportunity for postgraduate students and early career researchers at all levels from universities across the UK and abroad to present and discuss their research, and exchange ideas.

Proposals of around 250 words for a 20-minute paper, along with a CV, should be sent by 6th May 2019 to postgradconf@thebaa.org

 

BAA call for papers

CFP: BAA, International Romanesque Conference (14-16 April 2020) Deadline: 15 May, 2019

The British Archaeological Association will hold the sixth in its series of biennial International Romanesque conferences in association with the Dommuseum in Hildesheim on 14-16 April, 2020. The theme is Romanesque and the Year 1000, and the aim is to examine transformation in art and architecture in the years to either side of the millennium.

Despite the complex political situation in late-10th-century Europe, a period marked by chaos in some areas and effective authority in others, the last quarter of the century saw an apparent upsurge in artistic production in the Empire, southern Britain, Lombardy and the Mediterranean. The decades after the millennium have left a larger residue of work, notably in France, but were the 1020s artistically more dynamic than the 980s? How might we describe the cultural climate of the Latin West between c.970 and c.1030? Proposals for papers concerned with the above are welcome, as are those that review individual patrons, particularly in establishing workshops and developing expertise. The period sees remarkable developments in iconography and stylistic expression. It sees portable monumental and devotional statues come into being, along with the application of novel, or at least re-understood, architectural forms. Does the interest in architectural ‘articulation’ initiate a new understanding of the expressive potential of architecture? How good is the evidence for monumental wall painting, what is the state of knowledge on scriptoria as centres of artistic production c.1000, what conditions gave rise to the proliferation of ‘First Romanesque’ architecture, how important was Rome, what was the impact of objects from the Carolingian past or Byzantine present, and what are we to make of the apparent disparities between artistically ‘active’ areas and artistically ‘inactive’ areas? The period also sees a boom in the production of three-dimensional objects, with the revival of bronze-casting, the re-emergence of architectural relief sculpture and he production of monumental sculpture. The conference is geographically international, though the date brackets of c.970-c.1030 will be strictly applied.

The Conference will take place at the Dommuseum in Hildesheim from 14-16 April. There will also be an opportunity to stay on for two days of visits to buildings in the surrounding area on the 17 and 18 April.

Proposals for papers of up to 30 minutes in length should be sent to the convenors, John McNeill and Gerhard Lutz, on romanesque2020@thebaa.org by 15 May, 2019.

Papers should be in English.

Decisions on acceptance will be made by 31 May.

CFP: 3 Sessions at ICMS, Kalamazoo 2019 (Deadline 15 September 2018)

The Restoration of the 14th-century Painted Ceiling of the Sala Magna in Palazzo Chiaromonte-Steri in Palermo, 3 linked sessions

Organizers: Licia Buttà (Universitat Rovira I Virgili, Tarragona) Costanza Conti (Università di Palermo) and Antonio Sorce (Università di Palermo)

Sponsored by the Italian Art Society

The restoration of the 14th-century wooden ceiling of the Sala Magna in PalazzoScreen Shot 2018-08-29 at 9.56.39 AM Chiaromonte—known as Steri—began in September 2017. The ceiling was crafted between 1377 and 1380, as attested by the inscription that runs along two sides of the ceiling between beams and lacunars, in which the name of the patron is also mentioned: the powerful and noble ruler of Palermo—Manfredi Chiaromonte (d. November 1391). The surface area of the wooden ceiling measures 23 x 8 meters. The iconography is displayed uninterrupted on the three sides of the 24 beams and on the 100 coffered lacunars. After the fall of the Chiaromonte family, the palace was first occupied by King Martin I, the Humane (29 July 1356 – 31 May 1410), then by the Viceroys of Aragon, and the House of Bourbon. Between 1601 and 1782 it became the Palace of the Inquisition and later the halls of the palace were used as the Court of Appeal. Today the building is home to the rectorate of the University of Palermo. The three linked sessions seek to be a fruitful occasion to study the ceiling of the Sala Magna in Palazzo Chiaromonte-Steri and medieval painted ceilings in the Mediterranean in general, in terms of conservation as well as visual culture through a multidisciplinary perspective.

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