Tag Archives: call for papers

CFP: Medieval and Early Modern Spaces and Places: Experiencing the Court,Trinity Laban Conservatoire, London, April 3 – 04, 2019

mem20poster_experiencing20the20courtDeadline: Nov 15, 2018

Medieval and Early Modern Spaces and Places: Experiencing the Court, 2019

The early modern court adopted and developed exemplary cultural practices where objects and spaces became central to propagating power as well as places for exchange with other powers. This combination of images, objects, and sounds confronted the senses, making a powerful and distinctive impression of the resident family and the region they represented: flickering candlelight on glass and gold vessels adorned credenze (sideboards); musical instruments announced royal entries or provided entertainment; brightly coloured tapestries covered the palace walls along with paintings of biblical or mythological stories; cabinets displayed antiquities or rarities; perfume burners permeated the air; while the smells and tastes of rare delicacies at the centre of dining tables made for a multi-sensory spectacle.

This year the Open University’s Spaces & Places conference will address the theme of ‘Experiencing the Court’ by exploring the senses and the lived experiences of courtly life, whether based in a particular residence or defined by the travels of an itinerant ruler. This annual conference is fundamentally interdisciplinary: literary, musical, architectural, artistic and religious spaces will be the subjects of enquiry, not as discrete or separate entities, but ones which overlapped, came into contact with one another, and at times were in conflict.

The conference will examine life at court and will consider the following questions:

–    How can approaching the court in terms of the senses provide new methodologies for understanding each institution?
–    How were medieval and early modern courtly spaces adapted and transformed through the movement of material and immaterial things?
–    Which particular aspects of political, social and economic infrastructures enabled the exchange of objects and ideas?

Papers that address new methodologies, the digital humanities, object-centred enquiries, cross-cultural comparisons, or new theoretical perspectives are particularly welcome.

Please send a 150 word abstract along with a short biography to Leah Clark (leah.clark@open.ac.uk) and Helen Coffey (Helen.coffey@open.ac.uk) by 15 November 2018.

The conference will take place at the Open University’s partner institution Trinity Laban Conservatoire on 3 and 4 April 2019.  As Trinity Laban’s King Charles Court was once the site of Greenwich Palace, it is a fitting venue for a conference exploring court life.

For updated information visit our website: http://www.open.ac.uk/arts/research/medieval-and-early-modern-research/spaces-places

Advertisements

CFP: The Saint Enshrined: European Tabernacle-altarpieces, c.1150-1400, Valladolid, June 7–8, 2019

unspecified

 Tabernacle-shrine from Mule,
Iceland, now in the Nationalmuseet
in Conpenhagen; c.1250.
Photo: Justin Kroesen

Almost every Medieval church had one or more sculptures of saints, many of which were placed on altars, in wall niches or in so-called tabernacle-altarpieces. This last category refers to three-dimensional, canopied structures, embellished with bright colours and equipped with movable wings that housed cult images of the Virgin and Child or saints. This early type of altarpiece became widespread in Europe between c.1150 and 1400. Nowadays, examples are scarce and often fragmented, overpainted and reconstructed. Most of them come from the geographical periphery of Europe and almost all of them are now without their original context, as they hang on museum walls or in churches as isolated relics.

The purpose of this international symposium is to explore and discuss early tabernacle-altarpieces in different regions of Europe: their provenance, patronage, function, and role in popular piety. We invite speakers to submit proposals for 15-minute papers to be presented during the symposium. Proposals should go beyond case studies and look at such topics as the use and re-use of tabernacle-altarpieces, media involved in their creation, regional differences, etc.

How to Submit: Proposals of c.300 words should be submitted to Fernando Gutiérrez Baños, fbanos@fyl.uva.es.

Deadline: Friday 18th of January 2019.

All proposals will be examined by the Scientific Committee. It is hoped that an edited volume of the symposium proceedings will be published. Successful candidates will be offered free registration.

SCIENTIFIC COMMITTEE: Fernando Gutiérrez Baños, Universidad de Valladolid; Justin Kroesen, Universitetsmuseet i Bergen; Elisabeth Andersen, Norsk institutt for kulturminneforskning.

KEYNOTE SPEAKERS: These will include members of the Scientific Committee; Stephan Kemperdick, Staatliche Museen zu Berlin, Gemäldegalerie; Teresa Laguna Paúl, Universidad de Sevilla; Cristiana Pasqualetti, Università degli Studi dell’Aquila; and Alberto Velasco Gonzàlez, Museu de Lleida: diocesà i comarcal.

PROGRAM (PROVISIONAL): Friday 7th  of June, session held in the Universidad de Valladolid (Facultad de Filosofía y Letras, Sala de Juntas); Saturday 8th  of June, field trip to sites in the Diocese of Vitoria.

CFP: ICMA-sponsored session at 54th ICMS (Kalamazoo, 9-12 May, 2019)

The Other Half of Heaven: Visualizing Female Sanctity in East and West (c. 1200-1500) I-II

An ICMA-sponsored session at the 54th ICMS (International Congress of Medieval Studies) Kalamazoo, 9-12 May 2019

If, according to the well-known Chinese proverb, women hold half the sky, did medieval female saints hold half of heaven? In her book of 1998, Forgetful of their Sex: Female Sanctity and Society, ca. 500-1100, Jane Schulenburg calculated that of over 2200 female and male saints examined, only one in seven (or 15%) were women. Although documentation on medieval women is notably scarce, this gender-based asymmetry in the celestial realm clearly reflected the values and hierarchy of earthly society.

Female saints were exceptional women who gained social status, popular recognition and enhanced visibility through sainthood. Medieval female sanctity is a multi-faceted phenomenon, which has been mainly explored through words. Historians and literary scholars have fruitfully mined historical and hagiographical texts not only to draw ‘facts’ about the lives of female saints but also to elucidate social mentalities and highlight gender issues. Holy women, however, were also represented on a variety of media, most notably on icons, frescoes, manuscript illuminations and other artworks. Nevertheless, despite the wealth of historical and hagiographical scholarship on female saints, their visual representations have been exploited almost exclusively in stylistic or iconographic terms.

The aim of this session is to consider female sanctity in visual terms both in Western Europe and the Byzantine East. By exploring representations of women saints and their changing iconography, it aspires to shed light on their status and experience in late medieval society. It will examine images of holy women as embodiments of cultural models and explore the social and religious environment that shaped their visual constructions. In the highly symbolic world of the Middle Ages, representations of female saints can become a vehicle for multiple interpretations, including social status, gender, identity, ethnicity and collective memory.

Some of the issues to be addressed include but are not restricted to:

  • Visual narratives and iconographic attributes defining female sanctity
  • The corporeality of female saints and the representation of the holy body
  • The iconography of transvestite holy women
  • Out of sight, out of mind: forgotten saints and newcomers
  • The relation between female holy images and text in illuminated manuscripts
  • The influence of mendicant literature on picturing female sanctity
  • One saint, many images: changes in iconography and meaning
  • Iconographic variations of the Virgin in East and West

 

Participants in ICMA-sponsored sessions are eligible to receive travel funds, generously provided by the Samuel H. Kress Foundation. The Kress funds are allocated for travel and hotel only. Speakers will be refunded only after the conference, against travel receipts.

Please send paper proposals of 300 words to the Chair of the ICMA Programs Committee, Beth Williamson (beth.williamson@bristol.ac.uk) by September 1, 2018, together with a completed Participant Information Form, to be found at the following address: https://wmich.edu/medievalcongress/submissions#papers 

Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to the Congress administration for consideration in general sessions, as per Congress regulations.

CFP: Intersectional Medievalisms (54th International Congress on Medieval Studies, 9-12 May 2019)

Intersectional Medievalisms

54th International Congress on Medieval Studies, Kalamazoo, MI, May 9 to 12, 2019

Organizers: Bryan C. Keene (The J. Paul Getty Museum) and Benjamin C. Tilghman (Washington College)

Sponsored by The J. Paul Getty Museum

The close ties between medieval revivalism and the construction of cultural identities have long been recognized. The appropriation of the medieval past by white supremacist and nationalist groups has especially attracted comment over the past two years, and many scholars of medieval studies have traced those appropriations and highlighted the myths and misconceptions upon which they are built. The association of medievalism with the construction of normative (white, heterosexual, cisgender, Christian) identity has come to be so strong that it is often assumed that those who fall outside such identity groups would (or even should) have little or no interest in the Middle Ages. That this belief, which can troublingly be found in in the scholarly community just as much as the general public, is patently false could readily be seen at The Metropolitan Museum of Art’s 2018 “Heavenly Bodies” Gala. But similar to the invocation of the medieval past by such artists as Kehinde Wiley and Ron Athey, the medievalism of the Met Gala was treated somewhat superficially, with more concern for the glamor of the event than the complex coding of the fashion and its wearers. These sessions will consider the important, if often unmentioned, intersectional practice of medievalism in contemporary culture through papers and discussion about the use of medieval motifs and themes in contemporary works in any media by writers, performers, musicians, and artists of color and by queer and trans-identifying creators. As such, these sessions seek to be a first step towards a fuller consideration of medievalisms that range outside the customary assumptions about to whom the Middle Ages presents a usable past.

Intersectional Medievalisms I: Creators of Color

Even as medievalists have become much more attuned to the presence of people of color in medieval Europe, they have yet to fully consider the presence of the Middle Ages in the art, poetry, music, and other cultural expressions of contemporary people of color. While the references to medieval (and early modern) culture in such works as Kehinde Wiley’s paintings and Jay-Z’s Magna Carta… Holy Grail have been widely recognized, the arguably more complex reworkings of medieval culture by Rashaad Newsome, RAMMΣLLZΣΣ, and Derrick Austin have thus far gained little notice. What is the medieval in the work of these artists? A contested source of oppression? A tool for cultural renegotiation and redefinition? A seductive space of myth and beauty? Must their use of the medieval past be understood necessarily as a pointed appropriation, or can it be seen as the mining of just another source of raw cultural material? Speakers are encouraged to consider not only the stakes of medievalism in this particular cultural moment, but also other aspects of these creators’ intellectual projects, such as the explorations of semiotics, phenomenology, intermedia creation, ornament and surface, and temporality that run through many of these works.

Intersectional Medievalisms II: Queering the Medieval

The scholarly approach of “queering” the past has revealed otherwise invisible, erased, or censored facets of medieval identity and relationships. This methodology also disrupts the cisgender and heteronormative binaries that all-too-often remain pervasive in the academy and in the popularly imagined Middle Ages. LGBTQ+ artists have also addressed these issues, at times turning to broadly-conceived medievalisms. Ron Athey, Gabriel Garcia Roman, and others evoke the cult of saints in their work, a poignant commentary about acceptance by the Catholic (and broader Christian) community. The relationship between medieval chant and the vocal performances of Meredith Monk and Oblivia deserves greater attention, as does the architectural and advertising medievalism of queer clubs, lounges, and Pride events (a project begun by the late Michael Camille). By focusing on the relationship between a creators’ identity and their conception of the medieval, we encourage speakers to consider how medievalism is practiced in contemporary culture and how to open the academy or museum as spaces of greater inclusion and dialogue.

While the two sessions will be split to allow for a sharper focus on the role of race and of gender and sexual identity in contemporary creative medievalism, the aim of these sessions is for all the work presented to be resolutely intersectional, looking to trace and illuminate connections rather than delineating borders.

To propose a paper, please send a one-page abstract and a completed Participant Information Form (available via the Congress website) by September 15 to Bryan C.Keene (BKeene@getty.edu) and Benjamin C. Tilghman (btilghman2@washcoll.edu). More information about the Congress can be found here: https://wmich.edu/medievalcongress

CFP: Fuerstbischoefliche representation (Passau, 5-6 Oct 18)

Oberhausmuseum Passau, 05. – 06.10.2018
Deadline: May 25, 2018

Call for Papers
Fürstbischöfliche Repräsentation im Spätmittelalter und der Frühen Neuzeit

Die oberhalb Passaus gelegene fürstbischöfliche Veste Oberhaus wird erstmals 1219 schriftlich fassbar. Zum 800jährigen Jubiläum wird 2019 im Oberhausmuseum Passau die Entwicklung der Burganlage zur Residenz- und Festungsanlage in einer Sonderausstellung thematisiert. Ergänzend werden in einer Multimediainstallation im Observationsturm der Festung die neuesten Forschungsergebnisse des EU-Projekts ViSIT zur Bau- und Burggeschichte der Veste Oberhaus präsentiert. Begleitet wird das Vorhaben von einer Tagung zum Thema “Fürstbischöfliche Repräsentation im Spätmittelalter und der Frühen Neuzeit”, die am 5./6. Oktober 2018 in Passau stattfindet. Der Fokus liegt auf der Untersuchung der Repräsentations- und Inszenierungsstrategien geistlicher Herrscher in der profanen Architektur.

Auf der Tagung soll die Funktions- und Nutzungsgeschichte von Burganlagen, die zu Residenzen und/oder Festungsanlagen ausgebaut worden sind, untersucht werden. Hierbei spielt auch die mitunter wechselvolle Beziehung zwischen Burg und Stadt sowie dem Umland eine wichtige Rolle. Ebenso gilt es, das Wechselverhältnis der Burganlagen zu anderen fürstbischöflichen Residenzen, Jagd- und Lustschlössern vergleichend in den Blick zu nehmen. Welche Möglichkeiten hatten die Fürstbischöfe ihr Herrschaftsamt in der Architektur zu visualisieren? Inwiefern orientierten sie sich architektonisch an den weltlichen Herrschern? In welchem funktionalen Verhältnis stehen Burgen, Residenzen, Jagd- und Lustschlösser hinsichtlich ihrer Nutzung zueinander und bilden dadurch eine Residenzenlandschaft aus? Welche architektonische Infrastruktur (Treppen, Kapellen, Repräsentationsräume und Raumfolgen, Gärten, Lustgartenarchitekturen, Theater etc.) benötigte ein geistlicher Fürst? Wie und in welcher Form mussten die Burganlagen verändert und angepasst werden, um als repräsentativer Wohnsitz weiter genutzt und den wechselnden Bedürfnissen des Fürstbischofs gerecht zu werden?

In diesem Kontext können auch die unterschiedlichen fürstbischöflichen Repräsentations- und Inszenierungsstrategien in der Architektur und Innenausstattung behandelt werden. Welche Optionen hatten die geistlichen Herrscher ihre weltliche Macht ohne Rückverweis auf die Dynastie und Aussicht auf Etablierung einer Erbfolge zu unterstreichen? Wie trägt hierbei beispielsweise die Inszenierung und Präsentation von Kunstsammlung, Harnischkammer, Zeughaus, Silberkammer oder Porträtsammlung zur Herrschaftslegitimation der geistlichen Fürsten bei?

Auf der Tagung sollen die genannten Aspekte für die geistlichen Fürsten im Heiligen Römischen Reich deutscher Nation mit Schwerpunkt auf den süddeutschen Raum im Spätmittelalter und der Frühen Neuzeit eruiert werden.

Die Veröffentlichung der Tagungsbeiträge wird gemeinsam mit den Forschungsergebnissen des EU-Projekts ViSIT im Ausstellungskatalog zur Sonderausstellung geplant. Da der Band zur Ausstellungseröffnung am 1. Juni 2019 vorliegen soll, müssen die Beiträge bereits vier Wochen (5. November 2018) nach der Tagung vorliegen.

Der Call for Papers richtet sich explizit auch an NachwuchswissenschaftlerInnen (DoktorandInnen und PostdoktorandInnen), die ihr Forschungsthema in einem 20minütigen Vortrag präsentieren möchten. Angesprochen sind WissenschaftlerInnen aus der Kunstgeschichte und der Geschichtswissenschaft sowie aus verwandten Fachbereichen. Interessierte senden bitte ein kurzes Abstract von maximal 2000 Zeichen und einem kurzen Lebenslauf sowie Kontaktdaten per E-Mail bis zum 25. Mai 2018 an Marina Beck (marina.beck@passau.de)

Dr. Marina Beck (Oberhausmuseum Passau, EU-Projekt ViSIT – Virtuelle Verbundsysteme und Informationstechnologien für die touristische Erschließung von kulturellem Erbe)

CFP: Misericordia International Colloquium 2018: Choir Stalls & Their Patrons, Rijeka (Croatia), 13-16 September 2018

cdi16-32-15Call for Papers: Misericordia International Colloquium 2018: Choir Stalls & Their Patrons, Rijeka (Croatia), 13-16 September 2018
Deadline: Feb 15, 2018
Notification of  paper acceptance: March 15, 2018

Misericordia International is an internationally active multidisciplinary network dedicated to the study of choir stalls and their relation to other artistic manifestations during the Middle Ages and to the dissemination of results. The intensive exchange with researchers from neighboring disciplines reveals interfaces between disciplines and subjects of research and provides new impulses for the study of choir stalls. The platform for scholarly exchange is the international conference organized  every two years.

The next colloquium will be held in Rijeka (Croatia) in September 2018. The conference seeks to explore and discuss the relation between choir stalls and their patrons. It aims to present original research in this field as well as to establish productive dialogue between scholars with a particular research interest in choir stalls. Artworks and their patrons have raised and continue to raise many research questions. While choir stalls have been studied extensively for the misericords with profane carvings, less research has been done on the commissions for this type of church furniture. In recent years the focus of choir stall research has moved toward makers and patrons, hence  the previous colloquium’s topic was dedicated to the craftsmen and their workshops. The 2018 conference will focus on problems of ecclesiastical and secular patrons and questions such as who were the patrons of choir stalls and to what extent were they responsible for the final result, or are there differences or similarities between choir stalls considering different patrons – members of chapters, parishes, female and male monastic communities, confraternities and private persons.

We welcome academic papers that will approach this subject in an interdisciplinary and methodologically diverse way.

Acceptable topics may include, but are not limited to, the following:
– collaboration between patrons and craftsmen (carpenters, sculptors and painters)
– results of the archival research;
– inscriptions and used typography on choir stalls;
– migrations of craftsmen and migrations of stylistic features;
– center versus periphery;
– depiction of patrons on choir stalls.

Following the conference, a two-day excursion – visit to selected choir stalls of the region – is planned.
The conference language is English. A publication of the proceedings of this conference is forseen.
Papers should not exceed anticipated maximum time of 20 minutes and will be followed by a 10-minute discussion.

A paper proposal should contain the title and abstract (500 words maximum). Each proposal should be accompanied by full contact information (home and office mailing addresses, e-mail address, and phone number) and a short CV.

Paper proposals should be submitted electronically to: choir_stalls2018@uniri.hr

There is NO registration fee. Administration and organizational costs, working materials, lunch and
coffee breaks during conference are covered by the organizers. Travel expenses and accomodation ARE NOT COVERED.