Tag Archives: Middle Ages

CFP: [IN]MATERIALITY IN MEDIEVAL ART, Universidad Complutense de Madrid, November 12–13, 2020

1594-2020-01-11-cartel20congreso61CALL FOR PAPERS:
[IN]MATERIALITY IN MEDIEVAL ART
Universidad Complutense de Madrid, November 12 – 13, 2020

Deadline: Apr 3, 2020

Ovid’s aphorism «Materiam superabat opus», evoked throughout the Middle Ages and beyond, reveals the special consideration given to skill, technique and craft in the artistic creation processes. Thus, ingenuity and mastery have been privileged qualities in our approach to works of art, according to a restricted vision assumed by Art History as a discipline. However, both the aesthetic reflections and the documents related to artistic commissions in the Middle Ages show the great importance given to the material and sensory aspects of artefacts and monuments. In line with this perception, once again valued in light of the «material turn» of the discipline in the last decades, the 14th Jornadas Complutenses de Arte Medieval propose to focus on materiality as an essential factor in the artistic production, as well as on the poetics of immateriality and the intangible condition of the aesthetic experience.

Beyond the technical analyses, which in recent decades have allowed us to reconsider common places in the study of the medieval artistic production, this congress aims to establish transversal debates in order to open up new perspectives. In this sense, the material conditions of artistic production (properties, supply, cost, transport or technology, among others), as well as their reflection in the written sources –from technical treatises to documentary and literary references– will be discussed. On the other hand, the congress will address issues related to the sensorial features of the medieval works of art and their relationship with intangible aspects, such as the material and chromatic qualities, the incidence of light, the acoustic and olfactory effects, and the impact of the natural environment. The poetics of the materials, their meaningful uses, and the symbolic values of the immaterial will have room in the debates. Likewise, it will be of interest to consider new interpretative concepts, such as «transmateriality» and «transmediality», which may include the morphological transformation of elements across different materials, the transfer and circulation of ornamental patterns, or the physical traces of mental, invisible or transient phenomena. Contributions that address non-hegemonic and / or under-treated practices and media in historiography are especially welcomed.

Proposed topics include (but are not limited to):

– Material conditions of artistic creation.
– Underrated practices and media.
– Poetics and semantic uses of the material and the intangible.
– Cultural history of materials.
– Sensoriality and immateriality.
– «Transmateriality» and «transmediality».

Confirmed keynote speakers: Miquel Àngel Capellà Galmés (Universitat de les Illes Balears), Vincent Debiais (CRH – Centre national de la recherche scientifique), Beate Fricke (Universität Bern), Ruggero Longo (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), María Teresa López de Guereño Sanz (Universidad Autónona de Madrid), José Miguel Puerta Vílchez (Universidad de Granada), Laura Rodríguez Peinado (Universidad Complutense de Madrid), Elisabetta Scirocco (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte), Noelia Silva Santa-Cruz (Universidad Complutense de Madrid), Ana Suárez González (Universidade de Santiago de Compostela), Jorge Tomás García (Universidad Autónoma de Madrid).

Call for papers:

Researchers interested in submitting a 20-minute paper on any of the topics listed above are invited to send their proposals in Spanish, English, French, Italian and Portuguese, including the following information:

– Title of the paper proposal.

– Name and surname of the author and email address.

– Abstract of about 500 words.

– Brief academic and research CV of about 300 words.

The proposals should be sent to the email address inmaterial@ucm.es by 3 April 2020. Authors will be notified of the outcome by 8 May 2020. Selected papers will be published later in a collective volume after peer review.

More info: https://www.ucm.es/historiadelarte/14thjornadasmedieval

CFP: Travelling Objects, Travelling People: Art and Artists of Late Medieval and Renaissance Iberia and Beyond, c. 1400–1550, The Courtauld Institute of Art, 28–29 May 2020

CALL FOR PAPERS – deadline tomorrow

 

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Travelling Objects, Travelling People aims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France and the Low Countries, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference will reconsider the dynamics of artistic influence in late medieval Iberia, and place European exchanges in a global context, from Madeira to Santo Domingo. Bringing together international scholars working on Spain, Portugal and a range of related geographies, it seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and issues of migration and non-linear transfers of materials, techniques and iconographies.

The theme of ‘travellers’—artists who reached or departed the region, at times more than once in their lives, but also objects and concepts imported and exported—will expand and inflect traditional narratives of late medieval and Renaissance art, underscoring the complexity of global interactions and exchanges which connected the Iberian peninsula to Europe and beyond. Bringing together international scholars working on Iberia and a range of related geographies, the conference seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to expand the field of analysis beyond Europe to encompass relationships with newly acquired dominions, from Madeira to Santo Domingo.

Topics for papers may include, but are not limited to:

  • Iberian artists employed abroad, from the master mason Guillelm Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse de Champmol
  • The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
  • ‘Iberian’ objects produced elsewhere, for example Christian ivory carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican ‘feather-work’ adopting the vocabulary of northern European late Gothic painting
  • Works made for a non-Iberian audience but purchased and displayed by local patrons.

By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100-word biography to Costanza.Beltrami@courtauld.ac.uk and Sylvia.Alvares-Correa@history.ox.ac.uk by Friday 10 January 2020.

Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.

Please click here for more information.

CFP: Travelling Objects, Travelling People: Art and Artists of Late Medieval and Renaissance Iberia and Beyond, c. 1400–1550, The Courtauld Institute of Art, 28–29 May 2020

CALL FOR PAPERS

Deadline – Friday 10 January 2020

Anonymous Portuguese cartographer, Cantino Planisphere (detail), ca. 1502. Map on parchment, 220 x 105 cm. Biblioteca Estense Universitaria, Modena, Italy. Source: Wikimedia Commons.

Travelling Objects, Travelling People aims to nuance our understanding of the exchanges and influences that shaped the artistic landscape of Medieval and Renaissance Iberia. Traditional narratives hold that late fifteenth-century Iberian art and architecture were transformed by the arrival of artists, objects and ideas from France and the Low Countries, while 1492 marked a chronological rupture and the beginning of global encounters. Challenging these perceptions, this conference will reconsider the dynamics of artistic influence in late medieval Iberia, and place European exchanges in a global context, from Madeira to Santo Domingo. Bringing together international scholars working on Spain, Portugal and a range of related geographies, it seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and issues of migration and non-linear transfers of materials, techniques and iconographies.

The theme of ‘travellers’—artists who reached or departed the region, at times more than once in their lives, but also objects and concepts imported and exported—will expand and inflect traditional narratives of late medieval and Renaissance art, underscoring the complexity of global interactions and exchanges which connected the Iberian peninsula to Europe and beyond. Bringing together international scholars working on Iberia and a range of related geographies, the conference seeks to address the impact of ‘itinerant’ artworks, artists and ideas, and to expand the field of analysis beyond Europe to encompass relationships with newly acquired dominions, from Madeira to Santo Domingo.

Topics for papers may include, but are not limited to:

  • Iberian artists employed abroad, from the master mason Guillelm Sagrera in Naples, to the sculptor Juan de la Huerta at the Chartreuse de Champmol
  • The close imitation of northern artists in such works as the Portuguese copies of Quentin Metsys’s The Angel Appearing to Saints Clara, Colette and Agnes (early 16th century, Museu de Setúbal / Convento de Jesus, Portugal)
  • ‘Iberian’ objects produced elsewhere, for example Christian ivory carvings made in Goa or Kongo, Afro-Portuguese spoons, and Mexican ‘feather-work’ adopting the vocabulary of northern European late Gothic painting
  • Works made for a non-Iberian audience but purchased and displayed by local patrons.

By encouraging conversations across such seemingly disparate topics and geographies, the conference aims to position the Iberian artistic landscape within the networks of artistic exchange that spanned the medieval and Renaissance worlds, challenging the significance of 1492 as a moment of rupture between the Middle Ages and Early Modern periods.

Proposals are welcome from postgraduate, early-career and established researchers working in all relevant disciplines. Please send a title and an abstract of no more than 300 words together with a short CV and 100-word biography to Costanza.Beltrami@courtauld.ac.uk and Sylvia.Alvares-Correa@history.ox.ac.uk by Friday 10 January 2020.

Papers should not exceed 20 minutes in length. Successful candidates will be notified by 17 February. In the first instance, applicants are encouraged to apply to their home institution for travel and accommodation funding. The organisers hope to provide financial support for travel and accommodation to speakers who require it. This conference is made possible by the kind generosity of Sam Fogg.

Please click here for more information.

Conference: Scaling the Middle Ages: Size and Scale in Medieval Art, The Courtauld Institute, London, 8 February 2019

image-1024x745The Courtauld Institute of Art 24th Annual Medieval Postgraduate Student Colloquium 

Scaling the Middle Ages: Size and scale in medieval art 

10:00–18:00 Friday 8 February 2019 (with registration from 9:30) 

Lecture Theatre 1, The Courtauld Institute of Art, Vernon Square, Penton Rise, London WC1X 9EW 

Size mattered in medieval art. Whether building a grand gothic cathedral or carving a minute boxwood prayer bead, precisely how big to make it was a principal concern for medieval artists, their patrons, and audiences. 

Examples of simple one-upmanship between the castles and palaces of lords and kings and the churches and cathedrals of abbots and bishops are numerous. How big to make it was a principal concern for both patrons and makers of medieval art. 

Scale could be manipulated to dramatic effect in the manufacture of manuscripts and the relative disposition of elements within their decorative programmes. Divine proportions – of the Temple of Solomon or the Church of the Holy Sepulchre – were evoked in the specific measurements and configuration of contemporary buildings and decisions were made based on concern with numbers and number sequences. 

Left: North elevation (detail), Sainte Chapelle, Paris (1239-1248). Right: Reliquary of Saints Maxien, Lucien, and Julien (Paris, 1261-1262) Musée nationale du Moyen Âge, Paris. 

In our age of viewing through digital surrogates, the Courtauld Institute of Art’s 24th Annual Medieval Postgraduate Student Colloquium invites its speakers to consider new approaches to issues of size and relative scale in relation to the making, meanings, and study of medieval art. 

The Medieval Postgraduate Colloquium offers the opportunity for research students at all levels from universities across the UK and abroad to present and promote their research. 

Organised by Teresa Lane (The Courtauld Institute of Art) and Oliver Mitchell (The Courtauld Institute of Art) with the generous support of Michael Carter and the Consortium for Arts and Humanities in South-East England.

Programme: Scaling the Middle Ages: Size and scale in medieval art 

9:30-10:00 Registration – Front hall 

10:00-10:10 Welcome – Teresa Lane & Oliver Mitchell (The Courtauld Institute of Art) 

SESSION 1: ARCHITECTURAL MINIATURES Chaired by Giosue Fabiano (The Courtauld Institute of Art) 

10:10-10:30 Sylvia Alvares-Correa (University of Oxford): The use of architecture in a 15th century panorama of the Passion of Christ in Jerusalem: structuring composition or ideology? 

10:30-10:50 Niko Munz (University of York): Architectural ventriloquism in pre-Eyckian panel painting 

10:50-11:10 Antonella Ventura (Independent scholar) Playing with scales: Relationships between monumental architectures and reliquary structures in Umbria and Apulia in the fourteenth century 

11:10-11:30 Discussion 

11:30-12:00 Tea & coffee break (Research Forum Seminar Room, Floor 2) 

SESSION 2: SCALE MODELS Chaired by Bella Radenovic (The Courtauld Institute of Art) 

12:00-12:20 Angela Websdale (University of Kent): Replication and Reproduction: Evoking the Cult of St Edward the Confessor and the Visual Culture of Westminster Abbey and Palace at St Mary’s Church, Faversham 

12:20-12:40 Francesco Capitummino (Independent scholar): The ambo of the Capella Palatina in Palermo, a reduced scale of the Cefalù prototype 

12:40-13:00 Discussion 

13:00-14:00 Lunch (provided for speakers and chairs – Seminar Room 9, Floor 2) 

SESSION 3: THE SCALE OF DEVOTION Chaired by Chloe Kellow (The Courtauld Institute of Art) 

14:00-14:20 Sheridan Zabel Rawlings (University of Manchester): Scale matters: The intentional use of size to depict Christ in John Rylands Library’s Latin MS 344 

14:20-14:40 Matko Marušić (University of Zagreb): Medieval crosses: Scale, typology, materials 

14:40-15:00 Harry Prance (The Courtauld Institute of Art): Miniature materials/ concrete connections: The spaces of Byzantine liturgical objects 

15:00-15:20 Discussion 

15:20-15:50 Tea & coffee break 

SESSION 4: AMPLIFICATION & DISSEMINATION Chaired by Laura Melin (The Courtauld Institute of Art) 

15:50-16:10 Charlotte Wytema (The Courtauld Institute of Art), From abstract idea to scaled-up image: The case of the Virgin with fifteen symbols 

16:10-16:30 Nicolas Flory (The Courtauld Institute of Art), Scaling Patronage in the Duchy of Burgundy: Isabella of Portugal and her Carthusian donations 

16:30-16:50 Discussion 

16:50-17:00 Closing remarks by Professor Joanna Cannon (The Courtauld Institute of Art) 

17:00 Reception With special thanks to Michael Carter for his generous support 

 

CFP: Collecting, Curating, Assembling: New Approaches to the Archive in the Middle Ages, University of Saint Andrews, 13–14 September 2019

cropped-screen-shot-2018-06-07-at-11-47-00

Reliquary diptych, late 14th century, Italian. (Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1917. 17.190.982)

The School of Art History, SAIMS and Special Collections Division at the University of St Andrews are pleased to announce an upcoming two-day conference on the archive in medieval art and thought.

The word archive suggests the acts of taxonomy and conservation, but also interpretation and regulation. Its etymology traces back to the Greek arkheion, thus highlighting the political nature of the physical archive and the act of archiving itself. The medieval world maintained this sense of privileged access. Isidore of Seville connected the Latin word archivium with arca, strongbox, and arcanum, mystery. But the term was malleable, referring to collections of various goods and treasures, not just of parchment records and registers. And yet, Michael Clanchy has argued that the medieval mind did not always distinguish between the library and the archive, as we do today.

The organisers therefore invite proposals on the theme of the expanded medieval archive, as it relates to art and material culture. What can medieval collections, compilations, and assemblages of material things tell us about the accumulation of knowledge and the preservation of memory? How is the archive manipulated to fit political or social agendas, and by whom? What are the limits of the medieval archive? Paper topics and themes may include, though are not limited to:

  • Records or inventories of collections, secular, civic, and ecclesiastical;
  • The archive as a physical object or visual record, including books and manuscripts, buildings, reliquaries, etc.;
  • The accretive nature of written testimony in the form of: chronicles, herbals, visitations, necrologies, inscriptions and tituli;
  • Time, writing history through the material, and collapsing temporalities;
  • The creation and perpetuation of memory, identity, and authority;
  • The accumulation and transmission of cultural or familial knowledge via material culture;
  • The politics of preservation, documentation, and display in the medieval world, and of the medieval in the modern world.

Collecting, Curating, Assembling: New Approaches to the Archive in the Middle Ages will take place 13–14 September 2019 in St Andrews, Scotland. Professor Erik Inglis (Oberlin College) will deliver the keynote. The organisers intend to publish the conference proceedings as an edited volume.

All papers must be no more than 30 minutes maxmimum. Please submit a 250 word abstract and title by 15 February 2019. Prof Julian Luxford, Prof Kathryn Rudy, and Dr Emily Savage, along with Senior Archivist Rachel Hart, warmly welcome all submissions and queries at medievalarchive@st-andrews.ac.uk.

https://medievalarchive2019.wordpress.com/

Conference: Iberian (In)tolerance: Minorities, Cultural Exchanges and Social Exclusion in the Middle Ages and Early Modern Era, London, November 8–9, 2018

slid-charlatanesVenue: Senate House, Bedford Room 37 (8th Nov); Bush House, KCL S2.01 and Instituto Cervantes (9th Nov)

Keynote speakers: Prof Trevor Dadson and Dr Alexander Samson

During the Middle Ages and the Renaissance, minorities in the Iberian peninsula experienced both peaceful coexistence and, at times, violent intolerance. But despite restrictions, persecutions, and forced conversions, extensive cultural production and exchange among Jews, Christians and Muslims defined the life in towns and cities across the centuries, particularly in Al-Andalus. In this context of religious (in)tolerance, the question of limpieza de sangre (blood purity) played an important role in preventing newly converted Christians from occupying high social positions. Recent approaches have highlighted how the question of limpieza de sangre was not only a matter of anti-Judaism or hostility towards Jews and Moors, but was also driven by personal enmity, ambition, and political interest. Also relevant are a series of political decisions concerning minorities, such as conversos or moriscos, which appeared in the two first decades of the seventeenth century and deeply affected the social climate of the time. This is reflected in literary works from the period, when a number of prominent pieces dealt directly with the issues raised by the political reforms. While some of the decisions are very well studied, such as the expulsion of the moriscos in 1609 and 1610, others such as the issue of the Pardons, in which the both Duke of Lerma and the Count-Duke of Olivares were involved, are less well known. It is clear that these circumstances affected the lives of many authors, their poetic trajectories and determined their voices and their works.

Click here for a full programme and here to book tickets

Organisers: Roser López Cruz (King’s College London) and Virginia Ghelarducci (School of Advanced Study)

Conference website: https://iberianintolerance.com

Conference: En route pour Compostelle, Montpellier/Saint-Guilhem-le-Desert, September 28-29, 2018

photo20pour20colloque20montpellierEN ROUTE POUR COMPOSTELLE : UN MOYEN ÂGE DE PÈLERINAGES

Colloque international

Dans le cadre des manifestations du 20e anniversaire de l’inscription du bien « chemins de Saint-Jacques-de-Compostelle en France » sur la liste du patrimoine mondial de l’UNESCO

Président d’honneur
Xavier BARRAL I ALTET – Universités Rennes 2 et Ca’ Foscari de Venise

PROGRAMME

VENDREDI 28 SEPTEMBRE
Montpellier – Médiathèque Émile Zola

9h – 9h30
Accueil des participants

9h30 – 9h45
Mot d’accueil
Géraldine MALLET – Université Montpellier 3, CEMM EA 4583
Sophie DUCRET – Université Montpellier 3, CEMM EA 4583
Sylvain DEMARTHE – Université de Bourgogne, UMR 6298 ArTeHis

ÉDIFICES & CULTES
Présidence
Xavier BARRAL I ALTET – Universités Rennes 2 et Ca’ Foscari de Venise

9h45 – 10h05
La crypte de Saint-Gilles-du-Gard : archéologie d’un haut lieu de pèlerinage sur la ‘via Ægidiana’ vers Compostelle
Andreas HARTMANN-VIRNICH – Université d’Aix-Marseille
Heike HANSEN – Université d’Aix-Marseille, UMR LA3M

10h05 – 10h25
Culte des reliques, cadre monumental et prétention communautaire : réflexion sur la collégiale Notre-Dame-du-Port à Clermont
Denis HÉNAULT – Université Clermont Auvergne, MSH

10h25 – 10h45
Pause

10h45 – 11h05
Édifier un sanctuaire de pèlerinages : ambitions monumentales, concurrences et stratégies visuelles à Saint-Léonard-de-Noblat
Éric SPARHUBERT – Université de Limoges

11h05 – 11h25
La construcción como metáfora divina: el modelo de los Santos constructores en el Camino de Santiago
Carles SÁNCHEZ MÁRQUEZ – Université Autonome de Barcelone

11h25 – 11h45
Discussions

12h – 14h
Repas

CULTES
Présidence
Manuel CASTIÑEIRAS – Université Autonome de Barcelone

14h – 14h20
Culto dei santi, medicina e pratiche magico-folkloriche nel pellegrinaggio a Santiago
Marco PAPASIDERO – Université de Messine

14h20 – 14h40
‘Là sont ellez près de la mer /Celles que Dieux voult tant amer’ : calamitare i pellegrini a Saintes-Maries-de-la-Mer
Simone SARI – Université de Barcelone, Centre de documentation Ramon Llull

14h40 – 15h
Pause

15h – 15h20
L’image du pèlerin dans l’art gothique polonais
Arkadiusz ADAMCZUK – Université catholique de Lublin, Bibliothèque universitaire

15h20 – 15h40
Les reliques de saint Jacques le Majeur à Toulouse : une série d’énigmes
Michelle FOURNIÉ – Université Toulouse Jean-Jaurès

15h40 – 16h
Discussions

17h-18h
Conférence plénière
Saint Jacques et Charlemagne
Adeline RUCQUOI – CNRS, Centre de Recherches Historiques

SAMEDI 29 SEPTEMBRE
Saint-Guilhem-le-Désert – Musée de l’abbaye

ÉDIFICES, CHEMINS & TERRITOIRES
Présidence
Géraldine MALLET – Université Montpellier 3

9h – 9h30
Accueil des participants

9h30 – 9h50
Saint-Jacquème, étape lyonnaise du chemin de Compostelle
Nicolas REVEYRON – Université Lyon 2

9h50 – 10h10
Le passage à Saint-Antoine-en-Viennois : le sanctuaire dauphinois et les pèlerins en route vers Saint-Jacques-de-Compostelle au XVe siècle
Julie DHONDT – Université Lyon 3, UMR Ciham

10h10 – 10h30
San Antón de Castrojeriz (Burgos, Castille-et-León) : une fondation hospitalière antonine sur le chemin de Saint-Jacques
Sylvain DEMARTHE – Université de Bourgogne, UMR ArTeHis

10h30 – 10h50
Pause

10h50 – 11h10
‘Marmora’ verso Santiago: strategie del decoro musivo tra Francia e Italia
Maddalena VACCARO – Université de Salerne

11h10 – 11h30
The Genesis of a Twin-Tower Façade: the West Towers of the Cathedral of Santiago de Compostela
Annette MÜNCHMEYER – Université technique brandebourgeoise de Cottbus

11h30 – 11h50
Plonger le pèlerin dans une expérience sensorielle totale : mise en scène de l’arrivée dans la cathédrale de Saint-Jacques-de-Compostelle
Manuel CASTIÑEIRAS – Université Autonome de Barcelone

11h50 – 12h10
Discussions

12h15 – 13h30
Repas

CHEMINS & TERRITOIRES
Présidence
Philippe MACHETEL – Maire de Saint-Guilhem-le-Désert

14h – 14h20
L’historiographie des églises de pèlerinage en Auvergne
Dominique ALLIOS – Université Rennes 2

14h20 – 14h40
Rêver le réseau compostellan : les chemins de Saint-Jacques dans le temps et l’espace
Robert MAXWELL – Université de New-York

14h40 – 15h
Pause

15h – 15h20
Dans la cour des grands : naissances et relances de pèlerinages en pays de Figeac au Moyen Âge
Benjamin PHILIP – Service du patrimoine de Figeac

15h20 – 15h40
La réactivation moderne des ‘Chemins de Saint-Jacques-de-Compostelle’ : le reflet de leurs origines au Moyen Âge
Manuel SECO LAMAS – Université Toulouse Jean-Jaurès, étudiant de Master 2

15h40 – 16h
Discussions

16h – 17h30
Visite conférence de l’abbaye de Gellone à Saint-Guilhem-le-Désert
Géraldine MALLET – Université Montpellier 3
Sophie DUCRET – Université Montpellier 3, CEMM

17h30 – 17h50
Conclusions
Xavier BARRAL I ALTET – Universités Rennes 2 et Ca’ Foscari de Venise

Concert de clôture (Horaires et lieu à préciser ultérieurement)

« Domine Deu devemps lauder… »
Chansons narratives, épiques et hagiographiques du Xe au XIIe siècle ; extraits de « La Cansò de santa Fides », « La Passion de Clermont », « La vie de saint Léger » et des « Chansons de Croisades »
Brice DUISIT – Voix et vièle à archet

Organisation : Gisèle CLÉMENT – Université Montpellier 3, CEMM EA 4583 & CIMM

How to apply: Ouvert à tous dans la limite des places disponibles. pelerinages.saint-guilhem@gmail.com