Tag Archives: Paris

New Illuminated Manuscript Digitisation Project with British Library & BnF: Polonsky Foundation

The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200

A new project is underway to open up further the unparalleled collections of illuminated manuscripts held by the British Library and the Bibliothèque nationale de France. In a ground-breaking new collaborative project the national libraries of Britain and France will work together to create two innovative new websites that will make 800 manuscripts decorated before the year 1200 available freely. The Bibliothèque nationale de France will create a new bilingual website that will allow side-by-side comparison of 400 manuscripts from each collection, selected for their beauty and interest. The British Library will create a bilingual website intended for a general audience that will feature highlights from the most important of these manuscripts and articles commissioned by leading experts in the field. Both websites will be online by November 2018.

Before the introduction of printing to Europe, all books were written by hand as manuscripts. The most luxurious of these were illuminated, literally ‘lit up’ by decorations and pictures in brightly coloured pigments and burnished gold leaf. All manuscripts — whether they are luxurious biblical or liturgical manuscripts, copies of classical literature or patristic, theological, historical or scientific texts — are valuable historical documents that can deepen and expand our understanding of the political, social and cultural life of the eras in which they were made. Their research value is inestimable.

The British Library and the Bibliothèque nationale de France have two of the largest collections of medieval manuscripts in the world. As a result of France and England being so closely entwined through periods of war, conquest and alliance and, in the medieval period, both nations claiming territory in France at times, both libraries have particularly strong holdings of French manuscripts produced in France or in Britain (but written in French or Latin).

tours

Decorated initial ‘I’(nitium) from western France, perhaps Brittany or Tours, 9th century (British Library Egerton MS 609, f. 46r).

 

This new project will add to the growing numbers of manuscript material available in full online as part of wider programmes to make these cultural treasures available to everyone around the world. At the British Library, over 8,000 items are currently available on our Digitised Manuscripts website. Similarly, thousands of items are available from the Bibliothèque nationale de France collections on its website, Gallica.

This exciting project is made possible by a generous grant from The Polonsky Foundation. Dr Leonard Polonsky remarks that ‘our Foundation is privileged to be supporting these two leading institutions in preserving the riches of the world’s cultural heritage and making them available in innovative and creative ways, both to scholars and to a wider public’.

The Polonsky Foundation is a UK-registered charity which primarily supports cultural heritage, scholarship in the humanities and social sciences, and innovation in higher education and the arts. Its principal activities include the digitisation of significant collections at leading libraries (the British Library; the Bibliothèque nationale de France; the Bodleian Library, Oxford; Cambridge University Library; the New York Public Library; the Library of Congress; the Vatican Apostolic Library); support for Theatre for a New Audience at the Polonsky Shakespeare Center in Brooklyn, New York; and post-doctoral fellowships at The Polonsky Academy for the Advanced Study of the Humanities and Social Sciences at the Van Leer Jerusalem Institute. Its founder and chairman, Dr Leonard S. Polonsky, was named a Commander of the British Empire (CBE) for charitable services in 2013.

The focus on the digitisation project will be on manuscripts produced on either side of the English Channel between 700 and 1200. The manuscripts from this period open up a window on a time of close cultural and political exchange during which scribes moved and worked in what is now France, Normandy and England. Decorated manuscripts containing literary, historical, biblical and theological texts will be included, representing the mutual strengths of the British Library and the Bibliothèque nationale de France. Online access to these manuscripts will support new research into how manuscripts — and people — travelled around Europe in this period. New connections will be made possible by studying the two collections side by side.

For example, the manuscripts selected will include a number of illuminated Gospel-books, providing a witness to the changing tastes, influences and borrowings reflected in the books’ design and script. So a 9th-century, a 10th-century and a late 12th-century Gospel-book all have colourful illuminated initials with geometric patterns, floral decoration or animals heads, yet their execution is very different. The script, colours, style and subjects of the illumination all provide clues to the time and place of their composition. With the digitisation of manuscripts all these features may be studied and enjoyed in detail.

As well as making 800 manuscripts freely available online, the project will be part of a wider programme of activities aimed at researchers and the general public. A number of the manuscripts digitised will be displayed in a major international exhibition on Anglo-Saxon England to be held at the British Library from October 2018 to February 2019, which will highlight connections between Anglo-Saxon England and the Continent.

A conference at the British Library will coincide with the Anglo-Saxon exhibition (December 2018), and a project conference will be held at the Bibliothèque nationale de France. An illustrated book showcasing beautiful and significant manuscripts from the collections will also be produced. Another output will be a film on the digitisation project that, together with the other aspects of the public programme, will open up new paths into collections for a variety of audiences.

The original version of this blog post in the British Library Medieval Manuscripts Blog can be found here.

Adapted for Medieval Art Research blog by Amy Jeffs

Original text by Tuija Ainonen

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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: 14th International Medieval Society Symposium: ‘Evil,’ Paris, June 29– July 1, 2016

ambrogio_lorenzetti_008Call for Papers: 14th International Medieval Society Symposium: ‘Evil,’ Paris, June 29– July 1, 2016
Deadline:
November 5, 2016

For its 14th Annual Symposium, the International Medieval Society invites abstracts on the theme of Evil in the Middle Ages. The concept of evil, and the tensions it reveals about the relationship between internal and external identities, fits well into recent trends in scholarship that have focused attention on medieval bodies, boundaries, and otherness. Medieval bodies frequently blur the distinctions between moral and non-moral evil. External, monstrous appearances are often seen as testament to internal dispositions, and illnesses might be seen as a reflection of a person’s evil nature. More generally, evil may stand in for an entire, contrasting ideological viewpoint, as much as for a particular kind of behaviour, action, or being. It may appear in the world through intentional acts, as well as through accidental occurrences, through demonic intervention as much as through human weakness and sin. It may be rooted in anger, spread through violence, or thrive on ignorance, emerging from either the natural world or from mankind.

Alongside those working on bodies and monstrosity, the question of evil has also preoccupied scholars working to understand the limits of moral responsibility and the links between destiny and decision as shown in medieval literary, artistic and historical productions. The 14th Annual IMS Symposium on Evil aims to focus on the many facets of medieval evil, analysing the intersections between evil as concept and form, as well as taking into account medieval responses to evil and its potential effects.

This Symposium will thus explore (but is not limited to) three broad themes:

1)    Concepts of evil: discourse on morality and moral understandings of evil; reflections on the relationship between good and evil; heresy and heretical beliefs, teachings, writings; evil and sin; evil and conscience; associations with hell, the devil; types of evil behaviour or evil thoughts; categories of evil; evil as disorder/chaos; evil as corruption; evil and mankind

2)    Embodied evil/being evil/evil beings: monstrosity; the demonic; perceptions of deformity and disfigurement; evil transformations and metamorphoses; magic and the supernatural; outward expressions of evil (e.g. through clothing, material possessions); evil objects

3)    Responses to evil: punishments; the purging and/or exorcism of evil; inquisition; evil speech; warnings about evil (textual, visual, musical); ways to avoid evil or to protect oneself (talismans etc.); the temptation of evil; emotional responses to evil; social exclusion as a response to evil.

Through these broad themes, we aim to encourage the participation of researchers with varying backgrounds and fields of expertise: historians, art historians, musicologists, philologists, literary specialists, and specialists in the auxiliary sciences (palaeographers, epigraphists, codicologists, numismatists). While we focus on medieval France, compelling submissions focused on other geographical areas that also fit the conference theme are welcome and encouraged. By bringing together a wide variety of papers that both survey and explore this field, the IMS Symposium intends to bring a fresh perspective to the notion of evil in medieval culture.

How to submit: Proposals of no more than 300 words (in English or French) for a 20-minute paper should be e-mailed to communications.ims.paris@gmail.com by November 5th 2016. Each should be accompanied by full contact information, a CV, and a list of the audio-visual equipment that you require.

Please be aware that the IMS-Paris submissions review process is highly competitive and is carried out on a strictly anonymous basis. The selection committee will email applicants in late-November to notify them of its decision. Titles of accepted papers will be made available on the IMS-Paris website. Authors of accepted papers will be responsible for their own travel costs and conference registration fee (35 euros, reduced for students, free for IMS-Paris members).

The IMS-Paris is an interdisciplinary, bilingual (French/English) organisation that fosters exchanges between French and foreign scholars. For the past ten years, the IMS has served as a centre for medievalists who travel to France to conduct research, work, or study. For more information about the IMS-Paris and past symposia programmes, please visit our website: www.ims-paris.org.

IMS-Paris Graduate Student Prize:

The IMS-Paris is pleased to offer one prize for the best paper proposal by a graduate student. Applications should consist of:

1) a symposium paper abstract

2) an outline of a current research project (PhD. dissertation research)

3) the names and contact information of two academic referees

The prize-winner will be selected by the board and a committee of honorary members, and will be notified upon acceptance to the Symposium. An award of 350 euros to support international travel/accommodation (within France, 150 euros) will be paid at the Symposium.

Conference cycle: Visibility and presence of the iamge in the ecclesiastical space: Byzantium and the Western Middle Ages. Paris, 18 February – 16 June 2016

Institut National d’Histoire de l’Art, salle Vasari, 2 rue Vivienne,
75002 Paris, February 18, 2016, February 18 – June 16, 2016

Cycle de conférences

Visibilité et présence de l’image dans l’espace ecclésial. Byzance et
Moyen Age occidental

Les jeudis 18 février, 24 mars, 19 mai et 16 juin 2016
INHA, salle Vasari (salle Jullian le 16 juin 2016)
2, rue Vivienne 75002 Paris

En quatre demi-journées, des spécialistes de l’Orient byzantin et de
l’Occident latin dialogueront autour de thématiques qui prolongeront la réflexion menée lors de la journée d’étude introductive du 25 septembre 2015.

Ce cycle s’inscrit dans le programme de recherche IMAGO-EIK?N. Regards croisés sur l’image médiévale entre Orient et Occident (Labex RESMED et HiCSA), dans une action collaborative avec le domaine médiéval de l’INHA, porté par Isabelle Marchesin.

Responsables scientifiques
Sulamith Brodbeck : sulamith.brodbeck@univ-paris1.fr,
Anne-Orange Poilpré : anne-orange.poilpre@univ-paris1.fr

PROGRAMME DU CYCLE

Première rencontre : jeudi 18 février 2016, 14h30-17h30, salle Vasari
Thème : L’image dans l’espace sacré : enjeux historiographiques et
perspectives

Introduction du cycle : Sulamith Brodbeck et Anne-Orange Poilpré (Paris
1 Panthéon Sorbonne)

Sharon Gerstel (University of California, Los Angeles) : Images in
Churches in Late Byzantium: Reflections and Directions
Jean-Pierre Caillet (université Paris Ouest) : L’image dans l’édifice
en Occident médiéval : le potentiel des ouvertures après un siècle de
réflexions
Répondant : Ioanna Rapti (EPHE)

Deuxième rencontre : jeudi 24 mars 2016, 14h30-17h30, salle Vasari
Thème : Lumière et éclairage de l’espace cultuel : perception et
réception des images

Lioba Theis (Universität Wien) : The Orchestration of Enlightenment:
Light in Sacred Space
Nicolas Reveyron (université Lumière Lyon II) : Image et lumière :
performance et polychronie
Répondant : Andréas Nicolaïdès (université Aix-Marseille)

Troisième rencontre : jeudi 19 mai 2016, 14h30-17h30, salle Vasari
Thème : Images monumentales et jeux d’échelle : les dynamiques
spatiales du lieu de culte

Isabelle Marchesin (INHA) : La mise en réseau des hommes et des
artefacts dans l’église Saint-Michel d’Hildesheim
Annemarie Weyl Carr (Southern Methodist University, Dallas) : Across a
Crowded Room: Paths of Perception in Cyprus’ Painted Churches
Répondant : Daniel Russo (université de Bourgogne)

Quatrième rencontre : jeudi 16 juin 2016, 14h30-17h30, salle Jullian
Thème : Visibilité et lisibilité du dialogue entre images et
inscriptions dans l’espace cultuel

Vincent Debiais (CNRS – CESCM Poitiers) : Absence/silence des
inscriptions en contexte liturgique : quelques exemples hispaniques
Catherine Jolivet-Lévy (EPHE) : Inscriptions et images dans quelques
églises byzantines de Cappadoce : visibilité/lisibilité, interactions
et fonctions
Répondant : François Bougard (IRHT)

Conclusion du cycle : Sulamith Brodbeck et Anne-Orange Poilpré
(université Paris 1 Panthéon Sorbonne)

Chaque rencontre sera suivie d’un cocktail servi en salle Warburg à
17h30

Call for Papers: British Archaeological Association 2016 Annual Conference: Archaeology, Architecture and the Arts in Paris c.500-c.1500: The Powers that Shape a City

KONICA MINOLTA DIGITAL CAMERAThe British Archaeological Association annual conference for 2016 will be held in Paris. The city boasts a very rich archaeological history that is becoming increasingly well-known due to the ongoing work of the Commission du Vieux Paris, French based university teams focusing on the city’s material history, and scholars worldwide. Paris offers an embarrassment of riches to the archaeologist and art historian, and to set some limit on the possibilities, this conference will address the theme of ‘The Powers that shaped the City’ over the millennium between the end of the Roman Imperium and the Renaissance. Several powers converged and conflicted in the shaping of the city – royal power; the power of the secular and the monastic church; the power of the mendicant friars, the schools and colleges of the University of Paris; and the power and wealth of a vibrant urban patriciate. The conference will take place from Saturday 16th July 2016 to Wednesday 20th July 2016. Lectures will be held in the Institut National de l’Histoire de l’Art (INHA), at Rue Vivienne. The convenors for the conference are Professor Meredith Cohen (UCLA), Professor Lindy Grant (University of Reading) and Professor Dany Sandron (INHA). We welcome papers addressing any aspect of material culture in Paris (archaeology, architecture, painting, decorative arts) that reflects on the theme of the powers that shape the city. Most papers will be 30 minutes long; some will be 20 minutes. The language of the conference will be English. If you would like to give a paper, please send a proposal of 500-1000 words to Professor Meredith Cohen (mcohen@humnet.ucla.edu) or Professor Lindy Grant (l.m.grant@reading.ac.uk). Paper proposal deadline: 1 July 2015.

Conference review: Microarchitecture and Miniaturized Representation of Buildings (INHA, Paris 8-10 Dec 2014)

Search for “microarchitecture conference” on Google, and you will mostly be returned results concerning gatherings of computer programmers. This would doubtless make the concept of a conference on medieval microarchitecture entertaining to many. Even ignoring this parallel nomenclature, the sort of microarchitecture art historians are interested in is not an easy concept to explain, and perhaps one of the primary goals of the conference held at the Institut Nationale d’Historie d’Art in Paris was to actually work out what we had all come together for. I doubt wasn’t the only one who wondered whether my own material actually qualified.

Professor Timmermann with his pocket cathedral

Professor Timmermann with his pocket cathedral

Achim Timmermann (University of Michigan), a man who could indeed be dubbed “Mr. Microarchitecture”, gave an exciting overview of the concept in Early, High and Late Middle Ages, so epic in its scope of fantastic structures that the screen ought to have expanded into Imax proportions. His account demonstrated how microarchitecture transformed from the idea of a “pocket cathedral” into such an isolated ontological sphere that it crossed into convolute monstrosity with its self-mimesis by the late fifteenth century. An alternative and quite staggeringly rich oration, based on his new book Gothic Wonder, was given by Paul Binski among the medieval statuary in the ancient Roman baths of the Museé de Cluny. For Paul, the medieval intellectual aesthetic condensed great and small, magnificent and minificent, into an idea characterised by a single playfulness of embellishing surface with ornament. A more formal account, jointly delivered by Javier ibàñez Fernandez (Universidad de Zaragozza) and Arturo Zaragozá Catalán (Universidad de Valencia), introduced a 7-part taxonomy of microarchitecture in Spain: from functional maquettes to decorative miniaturisation of large-scale forms.

Sebastian Fitzner and some extraordinary medieval tile ovens

Sebastian Fitzner and some extraordinary medieval tile ovens

In this framework of ideas of categorisation, many new genres of object were introduced to the conference room. The present writer, of course, had packed a selection of sedilia, which by now I am certain always prove novel to continental audiences. But we also had stone tile ovens like traceried office blocks from Sebastian Fitzner (LudwigMaximilians-Universität München), Orthodox chivots for Eucharist reservation that mimic the forms of their parent building from Anita Paolicchi (Università di Pisa) and Renaissance elevation drawings that were originally intended to be folded and constructed into paper models from Giovanni Santucci (Università di Pisa).
These models are sort of things we would love to have more evidence for in the Middle Ages to explain the transmission of ideas, but alas, even presentation drawings and plans are difficult to come by. The miniaturisation of large forms into the decorative or representational was covered in papers by Sabine Berger (Sorbonne) on votive churches in the hands of donor statues and Peter Kurmann (ETH, Zurich) on relationship of tabernacle canopies to the geometry and form of great chevets.

Matthew Sillence with cardinals' seals

Matthew Sillence with cardinals’ seals

P1940231

Final panel with Alexander Collins, Julian Gardner (chair), Sophie Cloart-Pawlak and Sarah Guérin

There was also consideration of the desirability of microarchitecture and its meaning beyond the artists’ play with novel forms. Matt Ethan Kalaver’s (University of Toronto) account of the earliest transmission of classical forms into the Netherlands by the high nobility on their tombs was reflected in the earlier centuries considered by Julian Gardner (University of Warwick) and Matthew Sillence (University of East Anglia). Their papers both focused on how influential medieval prelates and cardinals were for spreading new forms on their seals, which, quite thankfully, was a big part of my paper where also bishops seem the first to stick pointy gables over sedilia in chantry chapels they have endowed.
Perhaps one drawback about the novelty of much of the material is that it is only in retrospect to draw many of these parallels across sessions. One panel however that held together very well that at the end of the final day, between Sophie Cloart-Pawlak (IRHiS, Lille), Alexander Collins (University of Edinburgh) and Sarah Guérin (University of Montréal) who all explored the function and symbolism of microarchitecture on the spectator.
This was my first international conference, and it was a highly convivial experience with high-quality papers throughout. There was a healthy mix of postgraduates, early career researchers, established scholars and some legendary old hands. It is planned that the proceedings will be published, and therefore it should provide a much-needed general framework for the minificent microcosm of the fiddliest bits of the decorative arts.

The international conference Micro-architecture et figures du bâti au Moyen-Âge: l’échelle à l’épreuve de la matière was at the Institut Nationale d’Historie d’Art from the 8-10 Dec 2015. Here is our original post of the call for papers, the full programme and the INHA’s official page.

We also had a bit of fun tweeting the conference because we’re so Web 3.0.

Conference: VIIe rencontres internationales des doctorants en études byzantines (Paris, 3-4 October 2014)

Conference:
VIIe rencontres internationales des doctorants en études byzantines
Paris – INHA, 3-4 October 2014

Organisées sur deux jours, ces Rencontres internationales ont pour but de rassembler des étudiants de troisième cycle, français et étrangers, travaillant sur la civilisation byzantine. Quels que soient le champ de recherche et le domaine de spécialisation (histoire, histoire de l’art, archéologie, philologie, etc.), il s’agit de partager les recherches des doctorants en études byzantines ou de disciplines proches (Moyen Âge occidental, monde islamique, peuples des steppes, etc.), les interactions étant toujours fructueuses. Pluridisciplinaires et dynamiques, ces Rencontres souhaitent favoriser les discussions scientifiques et méthodologiques autour des sujets de recherche présentés, afin de développer davantage les échanges d’expériences, de conseil et de points de vue entre les jeunes chercheurs, intervenants et auditeurs.

Orthodox-Fresco-573895
PROGRAM

Vendredi 3 octobre (salle Walter Benjamin)

9h Accueil

Économie et commerce à Byzance à l’époque tardo-antique

9h30
MARANI Flavia (EPHE et Université de Pise)
La circulation monétaire dans le Latium méridional du royaume ostrogoth à la reconquête byzantine

10h
DRAPELOVA Pavla (Université d’Athènes)
Coins as a Source of Information on a Provincial City : the Case of Antioch (518-565)

10h30
REY Sylvain (Université Paris I Panthéon-Sorbonne)
Le commerce tardo-romain dans l’océan Indien : le rôle de l’Arabie (IIIème-VIIème siècles)

11h00
pause café en salle Aby Warburg

11h30
KOROSIS Vassileios (Université d’Athènes)
Les artisans appelés banausoi dans la préfecture d’Illyricum pendant l’Antiquité Tardive (IIIème-VIIème siècle ap. J.C.) selon les données rchéologiques et les sources primaires

12h
LAMESA Anaïs (Université Paris – Sorbonne)
Les monuments rupestres de Cappadoce : de l’étude d’une pratique à la compréhension d’une société

12h30
JUGĂNARU Andra (Central European University, Budapest)
Men, Women, and the Angelic Life :Double Monasteries in Late Antiquity

13h
PEPPA Aikaterini (Université Paris I Panthéon-Sorbonne)
Recherches sur l’économie de la ville de Philippes à la fin de l’Antiquité Tardive

13h30-14h30
repas en salle Aby Warburg

Livre et littérature à l’époque médio-byzantine

14h30
ROUQUETTE Maïeul (Université de Lausanne et Université d’Aix-Marseille)
Les apôtres dans la Souda

15h
RĂDUCAN Ana-Maria (Université de Bucarest)
Le Cantique des Cantiques et le discours mystique de saint Syméon le Nouveau Théologien

15h30
pause café en salle Aby Warburg

16h
VUKAŠINOVIĆ Milan (EHESS et Université de Belgrade)
The Authors and Their Families in Two Early Xth Century Byzantine Texts

16h30
SGANDURRA Mariafrancesca (Università degli Studi di Roma Tor Vergata)
L’histoire d’un livre liturgique de l’Église byzantine : le Pentecostaire

17h30
Assemblée générale de l’Association des étudiants du Monde byzantin
(AEMB)

Samedi 4 Octobre (salle Walter Benjamin)

9h
Accueil

Société byzantine et vie intellectuelle du XIIème au XVème siècle

9h30
JOUETTE Jean-Cyril (Université d’Aix-Marseille)
Les astrologues, les devins, les magiciens et la guerre (IXème-XIIème siècles)

10h
ROSKILLY Jack (Université Paris I Panthéon- Sorbonne et Université de Vienne)
Les correspondants des évêques : du réseau relationnel aux échelles de pouvoir

10h30
TRANCHINA Antonino (Université de Rome – La Sapienza)
Middle-Byzantine Phialai : a Preliminar Survey, from Constantinople to Provincial Areas

11h00
pause café en salle Aby Warburg

11h30
PARLIER Matthieu (Université Lyon 2)
Filiations et continuité de l’État dans les éloges impériaux sous les premiers Paléologues

12h
KOUVARAS Konstantinos (Université d’Athènes)
La contribution catalytique des ascètes hésychastes à la formation du phychisme de la société byzantine au cours de la seconde moitié du XIVème siècle

12h30
JOVANOVIĆ Jelena (Université de Rome – La Sapienza)
Power, Ideology and Identity : Monastic Foundations in the Late XII Century. Examples of Architectural Commission in the Serbian Medieval State

13h-14h30
repas en salle Aby Warburg

L’art à Byzance aux époques tardives

14h30
NESTOROVIĆ Milica (Université de Belgrade)
Secret Places or Side Story Tellers : Visual Narrative of Late Byzantine Parekklesions

15h
NING Ye (Université Blaise Pascal, Clermont-Ferrand)
Les peintures de Novgorod du XIIIème au XVème siècle

15h30
pause café en salle Aby Warburg

Le monde byzantin perçu par l’Occident

16h
ALEXIU Andra-Nicoleta (Université de Bucarest)
The Reception of the Byzantine World in the Writings of Hildegard of Bingen

16h30
KARNACHOV Alexander (Institut d’Histoire de Saint-Pétersbourg)
Latin glosses in Greek Manuscripts of the XIII-XIV Centuries in St. Petersburg : a tribute to the history of Greek studies in the Middle Ages

17h GRASSI Giulia (Université de Rome – La Sapienza)
Byzance à Paris: l’Exposition d’art byzantin au Musée des Arts Décoratifs en 1931

18h00
Bilan des VIIes Rencontres byzantines

For further information, see here.