Deadline: 21 September 2018
MOVING MATERIALS: Medium, Meanings, and Technique in Transit, Leeds International Medieval Congress (thematic strand: Materialities), University of Leeds, Leeds, United Kingdom, 1-4 July 2019
Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by D. Esther Kim (Toronto), Maggie Crosland (Courtauld), and Xin Yue (Sylvia) Wang (Toronto)
The materials of the medieval artist, artisan, and architect were constantly on the move, travelling from one part of the globe to another through trade, gifting, looting, or theft. Likewise, the localized techniques of working with materials and media could travel near and far, through the movement of artists and objects, as well as written and visual descriptions such as artist manuals and travel guides.
While on the move, travelling materials such as stone and marble, metals, fur, textiles, coral, ivory, and pigment—and techniques of working with these materials—might retain their original meanings and function; or they could be integrated with local media, refined, or even significantly transformed to something drastically different, to suit the ideologies and ambitions of their destination.
This panel aims to engage with materials and techniques in transit, as well as the (trans)regionality of their meanings and significations, by asking: are we still able to trace the ‘origin’ and ‘originality’ of certain materials, techniques, and their meanings? How then would the fluidity and transformation of techniques affect our understanding when we are trying to ascribe a certain technique to a particular culture or region? How are old, new, and combined meanings assessed and understood in the Middle Ages and in scholarship today?
Possible topics of discussion include, but are not limited to: global movements and dissemination of artists and/or their materials and techniques; modes of transmission; regional/transregional meaning and significance of materials and techniques; reuse and repurposing of existing materials and/or artworks; reasons for shifts in meaning and function of materials within and outside particular regions; the integration of materials and medium, and intermediality; trans-temporal/ trans-regional use of spolia, among others.
How to apply: We welcome submissions for 20-minute papers from graduate student ICMA members, and encourage interdisciplinary submissions from students researching all parts of the globe from c.400-c.1500. To propose a paper, please send a title, abstract of up to 250 words, and CV to the organizers (firstname.lastname@example.org, email@example.com, firstname.lastname@example.org) by 21 September, 2018.
The International Center for Medieval Art Student Committee involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.
Looking at the Trecento through the lens of current global paradigms and concerns in historical and art historical studies might seem hazardous, or even paradoxical and provocative at best. Very few other labels have the power to evoke both the glories, achievements and limitations of traditional ‘Western’, and namely Eurocentric, art history. As a matter of fact, using the Italian word Trecento to mean the ‘Fourteenth Century’ in the visual arts, music and potentially any area of human endeavour adumbrates a clear hierarchy–with Italy at its top. It is meaningful, and perhaps no coincidence, that the term Trecento came into use in English in the same years that mark the tumultuous expansion of the new discipline of art history in the late nineteenth and early twentieth centuries and its usage has grown exponentially ever since. While much has been done in recent decades to broaden our understanding of the period both geographically and philosophically, the Trecento remains primarily the century of Giotto and of the great Tuscan painters and sculptors. At this time of building national ‘walls’, it seems particularly appropriate to think that the seminal and transformative character of the Trecento owes much to artistic and cultural exchanges, movement of artists and patrons, circulation of models and ideas across Italy, Europe, the Mediterranean and beyond. Our aim is to bring into conversation recent research on these issues.
The Corpus of Romanesque Sculpture in Britain and Ireland will be running its first conference session this year at the Leeds International Medieval Congress.
Session 703 – Tuesday 4 July 2017 – 14.15 to 15.45
The following papers will be delivered:
Ron Baxter (Corpus of Romanesque Sculpture in Britain & Ireland, London) – The Corpus of Romanesque Sculpture and the Medieval Workshop (paper 703-a);
James King (The Corpus of Romanesque Sculpture in Britain & Ireland, London) – The Romanesque Sculpture of Dunfermline Abbey and Its Influence: Evidence and Some Questions (paper 703-b);
Agata Gomółka (Department of Art History & World Art Studies, University of East Anglia) – Carving Romanesque Bodies (paper 703-a).
Call for Papers: Special thematic strand: ‘Otherness,’ International Medieval Congress, University of Leeds, 3–6 July 2017
Deadline for paper proposals: 31 August 2016.
Deadline for session proposals: 30 September 2016.
The IMC provides an interdisciplinary forum for the discussion of all aspects of Medieval Studies. Paper and session proposals on any topic related to the Middle Ages are welcome.
However, every year, the IMC chooses a special thematic strand which – for 2017 – is ‘Otherness’. This focus has been chosen for its wide application across all centuries and regions and its impact on all disciplines devoted to this epoch.
‘Others’ can be found everywhere: outside one’s own community (from foreigners to non-human monsters) and inside it (for example, religious and social minorities, or individual newcomers in towns, villages, or at court).
One could encounter the ‘Others’ while travelling, in writing, reading and thinking about them, by assessing and judging them, by ‘feelings’ ranging from curiosity to contempt, and behaviour towards them which, in turn, can lead to integration or exclusion, friendship or hostility, and support or persecution.
The demarcation of the ‘Self’ from ‘Others’ applies to all areas of life, to concepts of thinking and mentalité as well as to social ‘reality’, social intercourse and transmission of knowledge and opinions. Forms and concepts of the ‘Other’, and attitudes towards ‘Others’, imply and reveal concepts of ‘Self’, self-awareness and identity, whether expressed explicitly or implicitly. There is no ‘Other’ without ‘Self’. A classification as ‘Others’ results from a comparison with oneself and one’s own identity groups.
Thus, attitudes towards ‘Others’ oscillate between admiring and detesting, and invite questioning into when the ‘Other’ becomes the ‘Strange’.
The aim of the IMC is to cover the entire spectrum of ‘Otherness’ through multi-disciplinary approaches, on a geographical, ethnic, political, social, legal, intellectual and even personal level, to analyse sources from all genres, areas, and regions.
Possible entities to research for ‘Otherness’ could include (but are not limited to):
• Peoples, kingdoms, languages, towns, villages, migrants, refugees, bishoprics, trades, guilds, or seigneurial systems
- Faiths and religions, religious groups (including deviation from the ‘true’ faith) and religious orders
• Different social classes, minorities, or marginal groups
• The spectrum from ‘Strange’ to ‘Familiar’.
• Individuals or ‘strangers’ of any kind, newcomers as well as people exhibiting strange behaviour
• Otherness related to art, musics, liturgical practices, or forms of worship
• Any further specific determinations of ‘alterity’
Methodologies and Approaches to ‘Otherness’ (not necessarily distinct, but overlapping) could include:
• Definitions, concepts, and constructions of ‘Otherness’
• Indicators of, criteria and reasons for demarcation
• Relation(s) between ‘Otherness’ and concepts of ‘Self’
• Communication, encounters, and social intercourse with ‘Others’ (in embassies, travels, writings, quarrels, conflicts, and persecution)
- Knowledge, perception, and assessment of the ‘Others’
• Attitudes and behaviour towards ‘Others’
• Deviation from any ‘norms’ of life and thought (from the superficial to the fundamental)
• Gender and transgender perspectives
• Co-existence and segregation
• Methodological problems when inquiring into ‘Otherness’
• The Middle Ages as the ‘Other’ compared with contemporary times (‘Othering’ the Middle Ages).
How to Submit: The IMC online proposal form is now available.
Proposals should be submitted online at: www.leeds.ac.uk/ims/imc/imc2017_call.html
The IMC welcomes session and paper proposals submitted in all major European languages.
Session 1135, Wednesday 9 July 2014: 11.15-12.45
Local Heroes: New Approaches to the Study of Minor Saints and Their Cults
Organizer: Anne E. Bailey, Harris Manchester College, University of Oxford
Chair: Rodney M. Thomson, School of History & Classics, University of Tasmania
One of the Hagiography Society sessions at Leeds this year has had a speaker pull out and is in need of a replacement. The session topic is on minor saints’ cults, and the session is intended to be interdisciplinary, so there is plenty of room for art-historical work. Although Leeds is a medieval conference, the Hagiography Society is expanding its reach to include a broader historical and geographical range, so papers outside of the strictly interpreted realm of medieval studies would also be welcome. If you are interested in contributing a paper, please email Anne Bailey (email@example.com); or, if you know someone who might be interested, please forward this information.