Tag Archives: call for papers

CFP: ‘Medieval Liturgy: Text and Performance,’ 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan

bean20ms120-20folio2080l20-20liturgy20of20the20deadCall for Papers: ‘Medieval Liturgy: Text and Performance,’ 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan
Deadline: 15 September 2017
The Interdisciplinary Graduate Medieval Colloquium at the University of Virginia invites graduate students, faculty, and independent scholars to submit papers for a session entitled “Medieval Liturgy: Text and Performance” at the 53nd International Congress on Medieval Studies (May 10-13, 2018) in Kalamazoo, Michigan.

Abstracts of up to 250 words for a 15-20-minute paper should be submitted on or before September 15, 2017 via Google Forms (visit http://bit.ly/liturgyform). All entries will undergo blinded peer review. Applicants will be notified of the committee’s decisions via email by Friday, September 22.

Medieval Liturgy: Text and Performance

This panel turns on a rather simple (or simplistic) question: is liturgy a text or a performance? The howls of dissent rise up – Who would ask such a thing? The answer is both, of course! In response, this panel invites graduate students, affiliated faculty, and independent scholars to respond to the dichotomy of text/performance even as they replace it with their own set of questions to guide the future study of liturgy as text, music, and/or drama. Among other concerns, how are the textual and bodily experiences of liturgy coeval, or even co-constitutive, in the Middle Ages? In what ways do liturgical texts both organize and find their roots in ritual reenactments that involve procession, genuflection, and acts of proskynesis? What episodes and anecdotes from the Middle Ages reveal how liturgical text is entangled with the environment in which it is read, sung, translated, or performed?

The panel aims to create a conversation that goes beyond the traditional practice of liturgical exegesis to a more active, embodied study of the liturgy in Catholic, Orthodox, and Jewish traditions. Since unpacking the meaning of a somatic study of liturgy is the prime goal of the session, participants may use movement, travel, and the kineticism of objects as organizing principles for their work or ask how scholars actually perform or participate in the liturgies they study. Interesting avenues include discussions of the materiality of liturgy, from enduring forms to ephemera, via a close look at manuscripts, printed books, sacred instruments, vestments, relics, urban layouts, decorations for processions, and the architecture of churches, chapels, and tombs. We particularly invite work that pushes the boundary of what is currently considered the purview of “liturgy and ritual studies,” explores some aspect of space and sound, and pertains to the smell, touch, and taste of the liturgy in North Africa, Europe, Asia Minor, the Middle East, Russia, and the Byzantine world.

Session co-chairs:
Justin Greenlee (jgg3mb@virginia.edu) and DeVan Ard (dda8xx@virginia.edu)

CfP: Gender & Medieval Studies Conference 2018, University of Oxford

GENDER AND MEDIEVAL STUDIES CONFERENCE 2018GENDER, IDENTITY, ICONOGRAPHY:

CALL FOR PAPERS

Corpus Christi College, University of Oxford

8th-10th January 2018

The glittering beauty of the Alfred Jewel, the rich illustration of the Lindisfarne Gospels, the dominating Great West Window of York Minster, the intricate embroidery of the Bayeux Tapestry, the luminous Maestà of Duccio, the opulent Oseberg ship burial, and the sophisticated imagery of the Ruthwell cross are all testament to the centrality of the visual to our understanding of a range of medieval cultures.

Constructed at and across the intersections of race, disability, sexual orientation, religion, national identity, age, social class, and economic status, gendered medieval identities are multiple, mobile, and multivalent. Iconography – both religious and secular – plays a key role in the representation of such multifaceted identities. But visual symbols do not merely represent personhood. Across the range of medieval media, visual symbolism is used actively to produce, inscribe, and express the gendered identities of both individuals and groups.

The 2018 Gender and Medieval Studies Conference welcomes papers on all aspects of gender, identity and iconography from those working on medieval subjects in any discipline.

Papers may address, but are not limited to:

· Sight and Blindness

· Visible and Invisible Identities

· Visual Languages

· Colour and Shade

· Icons and Iconoclasm

· Light and Darkness

· Collective and Individual Identities

· Orthodox and Heretical imagery

· Aesthetics

· Subject and Motif

· Convention and Innovation

We invite proposals for 20-minute papers. Please email proposals of approx. 200 words to gmsconference2018@gmail.com by Monday 4 September 2017. We will also consider proposals for alternative kinds of presentation, including full panel proposals, performance and art; please contact the organisers to discuss.

A conference for everyone

Corpus Christi College’s auditorium is fully wheelchair accessible, has accessible toilets, and features a hearing loop for those using hearing aids. Please contact us if you have specific accessibility needs you would like to discuss. We plan to provide a private lactation space.

It is hoped that the Kate Westoby Fund will be able to offer a modest contribution towards (but not the full costs of) as many postgraduate student travel expenses as possible. We are exploring other avenues to make the conference financially feasible for postgraduates and early career scholars to attend.

CfP: Memory and Lineage in Medieval Romance, Leeds IMC 2018

The 25th Leeds International Medieval Congress has a special thematic strand of ‘memory’. Medieval romance lends itself to thinking about memory, in many ways, and not least because of its preoccupation with lineage. We invite proposals for 20-minute papers on any aspect of memory and/or lineage in medieval romance. The brief is deliberately broad, so please feel free to interpret according to your interest. Some thematic and theoretical approaches to consider may be: 

– inheritance / heritage / legacy

– remembering and recognition

– family histories and family politics

– textual lineage.

Please email proposals (250 words max.) to Kirsty Bolton (University of Southampton) and Grace Timperley (University of Manchester) at lineageinromance@gmail.com by 25 August 2017. 

CfP, Louvre Study Day: Collecting Medieval Sculpture, 23rd – 24th Nov 2017

Musée du Louvre, Paris, November 23 – 24, 2017
Deadline: Aug 15, 2017

Ards Study Day 2017
Collecting Medieval Sculpture

Ards, M-Museum Leuven (B) is launching a Call for papers for the 4th
annual colloquium ‘Current research in medieval and renaissance
sculpture’, which will be held in the Musée du Louvre in Paris (FR) on
November 24th  2017.

During the colloquium we will be having keynote speakers on the topic
and a selection of submitted papers in plenum. One day before, on
November 23rd, we will have the opportunity to visit the magnificent
collection of medieval sculpture in the Arts décoratifs Muséum in Paris
as well as other suggested excursions.

This year we are inviting all researchers and curators working
specifically on and with specific sculpture collections or collectors
to submit papers. Firstly, we want to take a look at collecting
medieval sculpture. How did or do medieval sculpture collections get
formed? How has medieval sculpture been collected in the past
(including in the middle ages and renaissance period) and how is this
evolving right now?
We know the prices on the art market are slowly rising as medieval
sculpture is becoming increasingly more interesting as an investment.
Can we take a closer look at what’s happening in that area? In december
2014 the Getty Museum acquired a rare medieval alabaster sculpture of
Saint Philip by the Master of the Rimini Altarpiece at Sotheby’s for no
less than 542,500 GBP. If a small statuette by an anonymous master can
generate this kind of money at a sale, this must mean the ‘market’ for
medieval sculpture is shifting thoroughly.
Moreover, does the exhibition or publication of medieval sculpture
influence this trend? It is a fact that the more we know about an art
piece or artist, the more interesting it becomes to buy or exhibit
them. What are the motifs or instigating factors for museums and
private collectors to collect this intrinsiquely religiously inspired
and therefore (?) ‘less attractive’ discipline. Links can be drawn to
the abolition of churchly instances at the end of the 19th century and
the gothic revival in the 19th century, the export of mainland
patrimony to the United Kingdom.

Would you like to submit a paper for this conference? Your proposal can
be of an art-historical, historical as well as a technical or
scientific nature. Multidisciplinarity is encouraged.

Priority will be given to speakers presenting new findings and
contributions relevant to the specific conference theme. The conference
committee, consisting of sculpture curators from M – Museum Leuven will
select papers for the conference. Submissions that are not selected for
presentation in plenum, can still be taken into consideration for
(digital) poster presentation.There are no fees, nor retribution of
transport and/or lodging costs for the selected papers. After the
conference, presentations will be shared online with the Ards-network
on the website, so please make sure your pictures are copyright cleared.

How to submit your proposal?
– Write in English or French. Presentations are given in English or
French.
– Include a short CV.
– Max. 500 words for abstracts
(excl. authors name(s) and contact details).
– E-mail to marjan.debaene@leuven.be.
– Deadline: 31.08.17.
Successful applicants will receive a notification by 15.09.17.
For more info, visit www.ards.be

CfP: Painted on the wall:  the wall as a visual panel in the Middle Ages

The 11th Complutese Congress on Medieval Art aims to think about the visual function of medieval painted walls, taking into account that they were probably the best mass media in their context.

It will pay attention to the following topics: iconography, techniques, forms and expressive resources, socio-cultural context, preservation and the museum exhibition system.

There will be six sessions:

  • Session I: A multidisciplinary approach to medieval wall painting. Invited Conference of Prof. Fernando Gutiérrez Baños (Univ. Valladolid)
  • Session II: Territory and medieval wall painting: centre and periphery. Invited Conferences of Prof. Jerrilynn Dodds (Sarah Lawrence College) and Dr Carmen Rallo (General Office of Museums of the Nation in Spain)
  • Session III: Function and meaning of the wall painting. Invited Conferences of Prof. Simone Piazza (Univ. Paul Valéry, Montpelier III) and Dr José Miguel Lorenzo Arribas (Scholl of Cultural Heritage in Spain)
  • Session IV: Techniques and colors in the preparations of the wall. Invited Conference of Prof. Rafael Ruiz Alonso (Royal Academy of History and Art of Saint Quirce)
  • Session V: Wall as an occasional support of other artistic techniques. Invited Conference of Prof. Roger Rosewell (Society of Antiquaries of London)
  • Session VI: Heritage: conservation, museums and virtualization of medieval wall painting. Invited Conference of Prof. Jordi Camps (MNAC)

For more information: https://www.ucm.es/artemedieval/pintadoenlapared

CfP: CITIZEN CATHEDRALS IN THE MIDDLE AGES; Templa Winter School 2017

Please, see the call for papers of the Templa Winter School, “Citizen Cathedrals in the Middle Ages. Image, institutions, networks” (Girona, December 18th-19th 2017), organized by members of our Research Team (V. Debiais, X. Granero, A. Moreno, G. Boto).

It is addressed mainly to young researchers whose studies are focused on medieval Cathedrals related to their cities, and vice versa.

As with the Templa Summer School 2015 and 2016, the Templa Team will cover the expenses of all researchers whose papers have been accepted.

 

CFP: Following the Paper Trail? Complexities, Implications and Problems in Interpreting Primary Sources for Artistic Production, Renaissance Sociey of America, 22 to 24 March 2018, New Orleans

tumblr_oqexa0oz8t1syzcjgo1_500CFP: Following the Paper Trail? Complexities, Implications and Problems in Interpreting Primary Sources for Artistic Production, Renaissance Society of America, 22 to 24 March 2018, New Orleans

Organised by: Maggie Crosland, Saida Bondini and Costanza Beltrami, PhD Candidates, The Courtauld Institute of Art

As (art) historians we often use documents as evidence. Indeed, what could offer us more direct information about an object, artwork or building than the records of the material used to construct it, or the payments for its labour?

And yet, the mechanisms through which uniquely useful documents such as inventories, contracts and payment accounts are produced are not always transparent. In fact, these are formulaic documents written within tight conventions, for specific economic or legal ends. In this session, we aim to investigate how these records came to be, how they relate to the objects they purportedly explain and how they influence our perception, analysis and conclusions on the past and its relics.

In proposing this session, we are interested in uncovering what documents hide. For example, a contract must often be the final product of a long and multiple discussion. As such, this document reduces the interaction of several people — masters, family members, advisors, apprentices etc. to the legal agreement between just two, effacing all the other voices as well as the temporal dimension of reflection, creation, and changes of mind.

A goal of this session is to provide a platform through which scholars of different media and geographic location can discuss the complexities and implications of relying on and using primary documents. As such, we are interested in paper proposals that engage with such documents from a range of standpoints.

Suggested topics include:

– The temporal and plural vision of the past as hidden or revealed through documents

– Establishing patron-artist networks through primary sources

– Implications of agency and patronage

– The bureaucratic nature of artist contracts and payment accounts

– Missing conversations – how to look beyond the one-to-one relationship suggested by contracts and payment accounts

–  Reconstructing the lost/missing archive

– Early modern and modern historiography on the use of primary sources

– What information remains hidden in the archive, and what is published and promoted instead? What does this tell us about our changing perception and efforts to shape the past?

To be considered for our panel, please email costanza.beltrami@courtauld.ac.uk with:

-The title of your proposed paper (15-word maximum)
– Abstract (150-word maximum)
– 5 keywords
– A very brief curriculum vitae (300-word maximum), formatted to the RSA’s standards.
Please note that the deadline for applications is June 4, 2017.