Tag Archives: medieval

Job: Lectureship in Medieval History, UCL

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UCL History is seeking to appoint an exceptional candidate to the post of  ‘Lectureship in Medieval History’. We welcome applications from scholars doing research of the highest quality and able to teach successfully at both undergraduate and taught graduate levels, and in due course to attract doctoral students. You will be expected to teach modules of your own devising, that relate to your area of specialism; in addition you will contribute to a ‘team taught’ first year undergraduate core course. You will convene the module ‘Manuscripts and Documents’ (MA Medieval and Renaissance Studies) as well as developing an MA module which relates to your own field of research.

We welcome applications from historians working on any aspect of medieval history (from c. 1100 on), in order to complement existing areas of strength within the department. The department seeks to build on its considerable strength in the field of medieval history, in terms of both range and depth. We are looking for demonstrable strength in palaeography and diplomatic, as well as strong working knowledge not just of medieval Latin but also of the key scholarly languages in the field, including French and German.
Click here for more information
Deadline: 7 Sep 2018 at 23:59
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Call for Papers: ‘Light and darkness in pre-modern visual cultures’, Courtauld Institute of Art, London, Friday 23rd November 2018

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Courtauld Institute of Art, London
Deadline: 15 September 2018

Organisers: Stefania Gerevini and Tom Nickson

The staged lighting of modern galleries, heritage sites and publications has significantly altered understanding of the roles of light and darkness in the design and reception of pre-modern objects and spaces. Despite sophisticated systems to manage artificial and natural light, pre-modern experiences of the visual were shaped greatly by daily and seasonal rituals and contingencies. In turn, those experiences informed, and were informed by, diverse theories about vision, light and illumination.

This one-day workshop of lightning talks offers participants opportunities to explore their own encounters with issues of light and darkness in pre-modern cultures, and set them within broader scholarly frameworks. How did pre-modern cultures conceptualise, respond to, and manipulate light and darkness and their interactions in urban, domestic and religious settings? How were natural and artificial light managed? What role did they play in the design of individual artworks, architectural spaces, ephemera and rituals, and to what extent did different light levels affect perceptions of objects and spaces? What vocabulary was used to think about light and darkness, and how was this language transformed by the advent of new technologies of illumination? How did pre-modern cultures deploy light/dark, day/night, to cogitate on God and the cosmos, and to visualise them?

Lightning talks should be no more than 5 minutes and 5 slides, and will be ‘curated’ for maximum variety and visual interest. They may relate to any region or culture, and ‘pre-modern’ is here very broadly defined as the period before the adoption of gas or electric lighting. Papers might focus on single objects, rituals or spaces, or on groups thereof. All disciplinary perspectives are welcome, provided they focus predominantly on visual culture.

Papers might consider:

  • The language of light and darkness: science, theology, literature and daily life
  • Light, darkness and the senses
  • Rituals, objects and spaces by night
  • Science, technologies and visual culture
  • Theologies of light/darkness
  • Daily/annual cycles of light and dark
  • Street life and the experience of urban spaces and architectures by day and night
  • Natural ‘spotlights’ on objects or buildings
  • Provision for lighting of various kinds
  • The agency of patrons or creators in shaping lighting conditions
  • Reconstructions of original lighting conditions
  • Restaging of medieval objects in early modern contexts
  • Deliberate darkness or blinding light
  • Refraction and reflection
  • Materiality and immateriality

Abstracts of 200 words should be sent to lightanddarkness2311@gmail.com together with 100-word participant biographies. The deadline is Saturday 15th September 2018. Please note that given the brevity of papers and large number of participants, The Courtauld cannot cover travel or accommodation costs (though lunch, refreshments and a subsidised supper will be provided).

Organised by:

Stefania Gerevini (Bocconi University, Milan)

Tom Nickson (Courtauld Institute of Art, London)

Call for Papers: ‘Moving Images: the Badge in Medieval Christendom’, ICMS 2019 (Deadline: 15 September 2018)

collection.54th International Congress on Medieval Studies
Kalamazoo, MI, May 9 – 12, 2019
Deadline: Sep 15, 2018

Organisers: Lloyd de Beer and Amy Jeffs

The phrase “moving images” invites applicants to apply ideas of motion and mobility to the medieval badge. These insignia helped define communities: they marked and traversed territorial boundaries; they were worn by religious devotees, military retainers and groups that shared the same jokes and stories. What do badges reveal about medieval visual culture? What is the impact of scale, variety and proliferation on our understanding of these emblems’ multifarious purposes?

The term “medieval badge” is ambiguous. Is it a pewter token worn on clothing, such as a livery badge or a pilgrim souvenir? Does it not also describe the prestigious Dunstable Swan Jewel at the British Museum or the image of the white hart worn by the figures of the Wilton Diptych? Likewise, it can mean an emblematic image, in any medium. These often appear in manuscripts, paintings, architecture, sculpture, and a host of more fragile objects, such as embroidered banners. Larger works of art could become miniature signs, such as the depiction of St Thomas Becket’s head reliquary reproduced on Canterbury pilgrim souvenirs. Inversely, emblematic metal badges appear as trompe-l’oeil in virtuosic paintings. Their geographical and material flexibility calls out for scholarly exploration.

This session invites proposals which will consider the medieval badge in its widest theoretical contexts, using ideas of motion and mobility as a starting point. Session participants will give a 20 minute paper discussing the “moving image” as it is manifest in the badges of medieval Christendom.

Please send a 250-word abstract and a completed Participant Information Form (available via the Congress Submissions website: https://wmich.edu/medievalcongress/submissions) by September 15 to Lloyd de Beer (ldebeer@britishmuseum.org) and Amy Jeffs (aj383@cam.ac.uk). More information about the Congress can be found here: https://wmich.edu/medievalcongress.

Job: Lecturer in Medieval Art and Architecture, History of Art, University of York (UK), deadline 23rd July 2018

Department: History of Art
Based at University of York – Heslington Campus
Hours of work: Full-time
Contract status:  Open
Salary £38,832 – £41,212 a year
Apply by 23/07/2018

The Department of History of Art at York is one of the largest and most dynamic communities of art historians in the UK with an international reputation for research and teaching over a chronological span from late antiquity to the present. Particular strengths include Architectural History and Theory, British Art, Medieval Art, Sculpture, and Stained Glass. We now wish to appoint a Lecturer in Medieval Art and Architecture, and invite applications from those working on Europe (East or West), or the Byzantine, Islamic, Judaic, or Russian worlds.

You will have a strong research profile in this area, complementing existing areas of staff expertise and bringing new perspectives to the Department’s medieval coverage. You will contribute to the department’s profile through high-quality publications, by seeking external research funding, and by demonstrating the impact of your research. You will develop and maintain relationships with museums, galleries, and other organisations involved in medieval art and architecture at local, regional, national, and international levels. You will contribute to the department’s teaching at undergraduate and postgraduate levels, including specialist, research-led teaching and supervision of MA and PhD students. You will undertake an appropriate share of administrative responsibilities.

You will have a PhD in History of Art or relevant area, and appropriate academic professional and teaching qualifications or a willingness to complete the Postgraduate Certificate in Academic Practice.

You will have knowledge of a range of research techniques and methodologies and a range of teaching techniques to enthuse and engage students. You will possess advanced and relevant IT knowledge and research expertise in an area that will complement and enhance the department’s research strategy and goals.

You will be expected to demonstrate your ability to contribute to high quality research which has been publicly evidenced, for example, by the presentation of papers at conferences and workshops; participation in public engagement events to disseminate research; the publishing of chapters in text books; the publishing of papers; articles or reviews in academic journals or elsewhere. You will be expected to show evidence of successful course planning, design and delivery across a range of modules, with exemplification of teaching materials.

You will have the ability to develop research objectives, projects and proposals, highly developed oral and written communication skills, including the ability to write and/or contribute to publications and/or to disseminate research findings using other appropriate media; to deliver presentations at conferences or exhibit work at other appropriate events internally and externally; to extend, transform, and apply knowledge from scholarship; to design teaching material and deliver either across a range of modules or within a subject area; and to supervise the work of others, for example in research teams or projects or as an MA, PhD or postdoctoral supervisor.

Enquiries to Professor Michael White (michael.white@york.ac.uk), telephone 01904 322978.

Interviews will be held on 14 September 2018 and the expected start date is 1 January 2019. The post is full time and permanent (salary range £38,832 – £41,212 a year).

Enroll: MOOC Burgos: Deciphering Secrets of Medieval Spain

ds-3-intro-paleography-logoRoger Martinez is pleased to announce the launch of a new Massive Open Online Course (MOOC) that specifically focuses on medieval Spanish paleography training. The course is called Burgos: Deciphering Secrets of Medieval Spain and it will be offered on a monthly basis on coursera.org at https://www.coursera.org/learn/burgos-deciphering-secrets-medieval-spain. The next class begins on 9 April 2018. This six-week course is intensive — it requires, on average, 10-12 hours of your time per week.

This is the first of three new MOOCs that offer intensive paleography training. Three additional MOOCs pertaining to the medieval/early modern history of Toledo, Plasencia, and Granada, will be launched over the next 3 to 9 months. These courses are in addition to an introductory course on medieval Spain titled, Coexistence in Medieval Spain: Jews, Christians, and Muslims, and another titled, Deciphering Secrets: The Illuminated Manuscripts of Medieval Europe. Continue reading

Call for Papers: “Das Mittelalter”, Themenheft: Theorien und Praktiken des Gebets im Mittelalter (Deadline 30/04/2018)

yolandeThemenheft der Zeitschrift “Das Mittelalter. Perspektiven mediävistischer Forschung”:
“Theorien und Praktiken des Gebets im Mittelalter”

Das Gebet ist in nahezu allen sozialen Bereichen, Diskursen und medialen Formationen des Mittelalters präsent. Es organisiert einen wesentlichen Bereich der gesellschaftlichen Kommunikation als Kommunikation mit der jenseitigen Welt, überbrückt die Grenze von Diesseits und Jenseits, trägt zur Medialisierung von Heil und Gnade bei und besetzt eine ebenso zentrale wie voraussetzungsreiche Position innerhalb der religiösen Wirklichkeits- und Ordnungskonstruktionen der Zeit. Die Reichweite des Gebets ergibt sich nicht zuletzt daraus, dass es sich in unterschiedlichste Räume und Praktiken integrieren sowie mit vielfältigen materiellen Medien und Medienverbünden koppeln lässt.

Die historische Bedeutung des Gebets steht dabei in einem auffälligen Missverhältnis zu der geringen Aufmerksamkeit, die es innerhalb der mediävistischen Forschung erhält. Hier setzt das geplante Themenheft an: Es profiliert das Gebet als einen Gegenstand, dessen kulturgeschichtliche Relevanz erst noch zu erschließen ist. Gerade seine Ubiquität in der mittelalterlichen Gesellschaft spricht für ein gewinnbringendes und nur interdisziplinär durchführbares Forschungsprogramm. Ausgehend von theologischen, historischen, medien-, literatur- wie sprachwissenschaftlichen, musikwissenschaftlichen und kunstgeschichtlichen Fallstudien formuliert das geplante Heft Grundfragen und Desiderate einer interdisziplinären Gebetsforschung.

Um fächerübergreifend weiterführende Ansätze zu entwickeln, soll das Gebet im Spannungsfeld historischer Theorien und Praktiken verortet werden. Folgende Leitfragen dienen zur Orientierung:

– Wo liegen Schnittstellen von theologischen Theorien des Betens und gebetspraktischen Medien und Artefakten (z.B. Texten, Bildern, Musik, Gebetsketten) und wo liegen methodische Probleme und Grenzen der Übertragbarkeit?

– Wie unterscheidet sich das öffentlich-liturgische Gebet von der individuellen „Zwiesprache“ mit Gott? In welchen Konkurrenz- oder Komplementärverhältnissen stehen liturgische und private Gebetspraktiken und wie werden diese Verhältnisse theoretisch formuliert?

– Inwiefern reflektieren Gebetsmedien die kommunikativen Bedingungen der Gebetspraxis?

– Welchen Spannungen ist die Gebetspraxis im Kontext institutioneller Formen der Heilsvermittlung ausgesetzt (z. B. Buß- und Ablasswesen)?

– Auf welche Orte und räumlich-architektonischen Kontexte sind das Gebet und die Gebetspraxis bezogen?

– Welche historischen Semantiken, Typologisierungsansätze und begriffliche Abgrenzungsprobleme – z. B. von oratio und meditatio – sind in lateinischen und volkssprachlichen Gebetsdiskursen verbreitet?

– Wie verhalten sich die rhetorischen Strukturen mittelalterlicher Gebetstexte zu allgemeinen Theorien der Rhetorik und zu Rhetoriken des Gebets (z.B. Wilhelms von Auvergne Rhetorica divina)?

– In welchen intermedialen und transgenerischen Kontexten spielen Gebete eine Rolle?

– Welche historischen Beschreibungsmodelle für Stimme und Klang des Betens lassen sich rekonstruieren, und wie verhält sich psalmodierend oder in liedhafter Form praktiziertes Beten zum gesprochenen Gebet? Welche Aspekte ergeben sich bei mehrstimmig vorgetragenen Texten?

– Welche Appellstrukturen sind in Gebetsmedien angelegt, und wie lässt sich das Verhältnis von Gebetsmedium und Gebetsvollzug präzise beschreiben?

Das geplante Heft trägt dazu bei, den bislang vorwiegend einzeldisziplinär angelegten Zugriff auf das Gebet zu überwinden. Es soll die fächerübergreifenden Diskussionen um die Medialität des Heils im Mittelalter weiterentwickeln und genutzt werden, um geläufige Paradigmen zur spätmittelalterlichen Religiosität (z. B. Quantifizierung des Betens und ‚Gezählte Frömmigkeit‘) neu zu evaluieren. Während sich die historischen Forschungen innerhalb der verschiedenen Disziplinen dem Gebet bisher fast ausschließlich über das spezifische Überlieferungsmedium des Gebetbuchs genähert haben, wird das Heft in übergreifender Absicht Theorie und Praxis des Gebets in den Blick nehmen und neue synchron und diachron angelegte Forschungsperspektiven eröffnen, die auch Anschlussmöglichkeiten für kulturübergreifende Vergleiche herstellen sollen. Interreligiöse Perspektiven und Fallstudien aus dem Bereich der Judaistik, Byzantinistik, Islamwissenschaft und Islamischen Theologie sind besonders erwünscht.

Abstracts im Umfang von max. 4000 Zeichen (inkl. Leerzeichen) werden bis zum 30.4.2018 erbeten. Bitte senden Sie Ihre Vorschläge an Mirko Breitenstein: breitenstein@saw-leipzig.de und Christian Schmidt: christian.schmidt1@uni-goettingen.de.

Vacancy at The Courtauld: Lecturer/Senior Lecturer in Art History c.300-1450. Deadline 20 April 2018

COURTAULD INSTITUTE OF ART

Lecturer/Senior Lecturer in Art History c.300-1450

Courtauld-exterior

The Courtauld Institute of Art is the UK’s leading institution for teaching and research in Art History and the conservation of paintings; it is also home to one of the finest small art museums in the world. The Art History department has an outstanding research and teaching record from Late Antiquity to the Contemporary with an increasingly global outlook, and embraces its diversity of theoretical approaches and methodologies.

The Courtauld wishes to appoint a full-time Lecturer/Senior Lecturer in Art History, to begin on 1 September 2018. The successful candidate will complement the existing teaching strengths of the Department and will have a research focus in any region or period from c.300-1450. We seek an art historian who situates their research in a wider, international context, and who can work across traditional geographic, linguistic and chronological boundaries. An ideal candidate would be able to teach across at least one other field in a way directed by concepts of exchange and interaction, and to build bridges with other areas of art historical investigation. The candidate is expected to be able to situate their work in the theoretical and historiographical debates in their specialised research area and also engage with current issues in global Art History.

The appointee will research and publish to the highest quality and will actively pursue and apply for appropriate research grants; will provide inspiring teaching at both undergraduate and postgraduate levels; and will play an active role in the life and administration of The Courtauld.

PAY:       Grade 6 (£36,644 to £41,958) or

Grade 7 (£43,117 to £49,461), depending on experience

DEADLINE FOR APPLICATIONS:    20 April 2018 23:59 GMT

INTERVIEW DATE:    15 May 2018