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CFP: Picturing Death 1200-1600 (Edited Volume)

Deadline: 1 September 2016

Picturing Death 1200-1600
Proposals sought for chapters in a peer-reviewed edited volume

The glut of pictures of and for death has long been associated with the Middle Ages in the popular imagination. In reality, however, these images thrived in Europe in a much more concentrated period of time that straddles the Middle Ages and the Renaissance, as conventionally defined. Macabre artifacts ranging from monumental transi tombs to memento mori baubles, gory depictions of the death and torment of sacred figure as well as of the souls of the lay, gruesome medical and pharmacological illustrations, all proliferate in tandem with less unsettling (and far more widespread) works such as supplicant donor portraits and lavishly endowed chantry chapels, with the shared purpose of mitigating the horrors of death and the post-mortem state. The period in question, 1200-1600, is bracketed by two major moments in European cultural history. At its end is the aftermath of the Protestant Reformation, which altered Europeans’ approach to their own mortality and subsequently also aspects of the visual culture facilitating their practices. The beginning, 1200, is marked by the culmination of a conceptual shift that in a 1981 book Jacques le Goff termed the spatialization, or more famously, birth of Purgatory.

Le Goff observed that in the second half of the twelfth century a hitherto somewhat vague and changing idea about a third place for the dead—neither heaven nor hell—coalesced into a notion of a concrete locale for posthumous penance and spiritual cleansing. Crucially, this fixed “third place”—Purgatory—was subject to the influence of the living. The ability to alleviate purgatorial sentences and torments by prayer, Le Goff observed, profoundly altered the relationship between the living and the dead in Europe, spawning a complex economy of Salvation, which, as most social systems, greatly favored the rich and powerful. While some of his evidence has been called into question, Le Goff undoubtedly traced an accurate trend. First embraced in a 1254 letter by Pope Innocent IV, belief in the efficacy of prayer in addressing the plight of the souls in Purgatory became official Church doctrine at the Council of Lyons in 1274, and was subsequently affirmed, repeatedly, through the Council of Trent (1545-1563). The influence of the Salvation economy on image making is unmistakable. It has been discussed in numerous studies dedicated to various aspects of this phenomenon that have appeared since Erwin Panofsky’s 1964 field-defining work on tomb sculpture, especially in recent decades, as part of a broader surge in visual culture studies.

The purpose of the present volume is to further probe the many open questions still surrounding the logic and purpose of Salvation-industry imagery, and especially to explore connections hitherto obscured by artificial modern divides of periodization, national school, and perceived aesthetic merit. Those include parallels between picturing death north and south of the Alps, continuities between such seemingly disparate objects as the Royaumont Abbey tombs and Early Modern anatomy treatises, and, crucially, the oft-underemphasized connection between macabre and mainstream pictures of and for death. In bringing together essays on death-related artifacts from a broad temporal and geographic scope and purposefully cogitating the macabre and non-macabre novelty imagery, we seek to ultimately raise an ambitious question: Was the new sense of agency in the face of death a major driving force behind the phenomenon now known as the Renaissance?

A great number of images—and image types—from the period 1200-1600 are directly related to this newfound economy of Salvation, likely accounting for a substantial portion of the era’s dramatic quantitative expansion in artistic production across Europe. The qualitative change that followed, from heighted interest in realism to an obsession with affective engagement, likewise seems curiously entwined with that economy. Furthermore, recent studies problematize the popular notion that macabre imagery emerged in response to the plague that ravaged Europe in the mid-fourteenth century; in reality, pictures of decomposing human corpses appear much earlier in the context of medical illustrations, and thus form part of a broader, essentially rational inquiry into human transience. Along with the settling recognition that so many famous Renaissance artifacts were created primarily to mitigate mortality it greatly complicates the (already rather fraught) grand narrative of the disenchantment of the image.

This greater framework begets a host of other questions. Potential topics may include, but are not limited to:
-The inherent tension in luxury artifacts evoking the “memento mori”
theme
-Parallels and disjuncture between literary and pictorial works on death
-Novelty funerary practices, from the embalming of the body to
increasingly lavish ceremonies
-The messages, intended or inadvertent, that viewers received from
images of the afterlife
-The effects of the religious turmoil of the sixteenth century on
earlier imagery and customs

Please send a 500-word abstract and a short CV by September 1, 2016 to
the editors:
Stephen Perkinson sperkins@bowdoin.edu
Noa Turel nturel@uab.edu

Chapter deadline: December 1, 2016
Chapter length: c. 4,000 words
Publication, in Brill’s Studies on Art, Art History, and Intellectual
History series (edited by Walter S. Melion), is projected for late 2017

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CFP: COMITATUS: A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES (Deadline: 1st Feb 2016)

FINAL REMINDER:

COMITATUS: A JOURNAL OF MEDIEVAL AND RENAISSANCE STUDIES, published annually under the auspices of the UCLA Center for Medieval and Renaissance Studies, invites the submission of articles by graduate students and recent PhDs in any field of medieval and Renaissance studies.

SUBMISSION DEADLINE FOR VOLUME 47 (2016): 1 FEBRUARY 2016.

The Comitatus editorial board will make its final selections by early May 2016. Please send submissions as email attachments to Dr. Blair Sullivan, sullivan@humnet.ucla.edu.

Grants: Italian Art Society (deadline 10th January 2016)

IAS-logoNEW! The IAS is pleased to announce a new IAS Dissertation Research Grant to be awarded to graduate students engaged in doctoral dissertation research – on any area of Italian art and architecture from prehistory to the present – to subsidize research travel and other expenses.

Send applications and proposals to Dr Janis Elliott at awards@italianartsociety.org

Deadline for proposals:  10 January 2016.  See more at  http://italianartsociety.org/grants-opportunities/ias-research-and-publication-grants/

_______________________________________

NEW! Beginning in 2016, the IAS Research and Publication Grant will be awarded only to scholars holding the Ph.D. to subsidize a research trip or a publication (i.e., for purchasing image rights or as a publication subvention). Research may be on any area of Italian art and architecture from prehistory to the present.   Send applications and proposals to Dr Janis Elliott at awards@italianartsociety.org

Deadline for proposals: 10 January 2016.   See more at http://italianartsociety.org/grants-opportunities/ias-research-and-publication-grants/

_______________________________________

NEW!  Fogliano/Lester Research Grant! Thanks to the generosity of one of our patron members, Mr. Peter Fogliano, beginning in January 2016 the IAS will be able to offer two new additional research and publication grants of up to $1000.00 each. One will be for graduate students and the other for holders of the Ph.D. whose projects concern art and architecture in Italy between ca. 1250 and ca. 1600. These grants are named in honor of Peter Fogliano and Hal Lester.

The Fogliano/Lester Research grants will be reviewed and selected from the pool of IAS Dissertation and IAS Research and Publication Grants. No special application necessary.

Send applications and proposals to Dr Janis Elliott at:  awards@italianartsociety.org

Deadline for proposals: 10 January 2016.   See more at http://italianartsociety.org/grants-opportunities/ias-research-and-publication-grants/

Publication: Predella, No. 35 – The Survival of the Trecento in the Fifteenth Century

Sano_di_pietro,_polittico_dell'assunta,_1479

Announcing that No. 35 of PREDELLA is online at 

http://www.predella.it/index.php/current-issue/index.html

EDITORIALE / EDITORIAL
Gerardo de Simone, Emanuele Pellegrini2001-2015: Odissea di distruzione

MONOGRAFIA / MONOGRAPH
The Survival of the Trecento in the Fifteenth Century

Louise Bourdua
Introduction

Zuleika Murat
Trecento Receptions in Early Renaissance Paduan Art. The Ovetari Chapel and its Models: Revival or Persistence?

Paolo di Simone
«Gente di ferro e di valore armata».Postille al tema degli Uomini Illustri, e qualche riflessione marginale sulla pittura profana tra Medioevo e Rinascimento

Fabio Massaccesi
Giovanni da Modena and the Relaunch of the Vita-panel in the Quattrocento

Joanne Anderson
Mary Magdalen and the Imagery of Redemption: Reception and Revival in Fifteenth-Century Tyrol

Gerardo de Simone
The use of Trecento sources in Antoniazzo Romano and Lorenzo da Viterbo

Gabriele Fattorini
Sano di Pietro: un’ennesima replica dell’Assunta di Camollia di Simone Martini

MISCELLANEA / MISCELLANY
FIGURE / FIGURES
Andrea Pinotti
El Greco at the Ophthalmologist’s

David Carrier
The Blind Spots of Art History: How Wild Art Came to Be – and Be Ignored

Johannis Tsoumas
Books, Windows and Walls: exploring the Pre-Raphaelite Movement second phase influence on Frederick James Shields’ decorative works

Cecilia Riva
La collezione Layard ?nel catalogo dattiloscritto 1896

Michele Fucich
«Un’immane critica delle confuse perifrasi». Introduzione a Carl Einstein critico d’arte (Parte II)

CORNICE / FRAME
Paolo Coen
The level of our defeat:? the Italian Memorial at Auschwitz and the history of art

Eliana Carrara
De-tutela, idee e pareri? sui beni culturali e la loro difesa nell’Italia del Verybello

Stella Bottai
Per conoscere Marisa Volpi

CUSPIDE /CUSP
Neville Rowley
Il Pollaiolo bruciato.? La Madonna col Bambino di Piero? del Pollaiolo nel Musée des Beaux-Arts di Strasburgo

Gigetta Dalli Regoli
Teste. Un’aggiunta ai disegni dall’antico: il ruolo di Lorenzo di Credi

Paolo di Simone
L’ambiguità del significante.? A proposito di alcune recenti letture della Tempesta, e di una possibile “fonte visiva” di Giorgione

Maria Barbara Guerrieri Borsoi
Nuovi documenti su Pietro da Cortona e il rinnovamento della cappella della Santissima Concezione?in San Lorenzo in Damaso

Elisa Tagliaferri
L’attività di Giacinto Fabbroni nel contado fiorentino: l’Impruneta e dintorni

IN MOSTRA / EXHIBITIONS
Gigetta Dalli Regoli
Antonio e Piero del Pollaiolo. “Nell’argento e nell’oro, in pittura e nel bronzo…”

Alessandro Grassi
Carlo Dolci (1616-1686)

IN LIBRERIA / BOOKS
Michele Cuppone
I Petrignani di Amelia.?Fasti, committenze, collezioni tra Roma e l’Umbria

Annamaria Ducci
Vers une Europe Latine. Acteurs et enjeux des échanges culturels entre la France et l’Italie fasciste

Call for Contributions: Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture (Edited Volume)

Call for Contributions: 
Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture
ed. by Yasser Elhariry (Dartmouth College) & Edwige Tamalet Talbayev (Tulane University)
Deadline: 15 December 2014

This is a call for contributors for Critically Mediterranean: Aesthetics, Theory, Hermeneutics, Culture, a peer-reviewed edited volume co-edited by Yasser Elhariry (Dartmouth College) & Edwige Tamalet Talbayev (Tulane University).

satelliteMeditPointing to the crux of much debate and scholarship in Mediterranean Studies, W. V. Harris has defined Mediterraneanism as “the doctrine that there are distinctive characteristics which the cultures of the Mediterranean have, or have had, in common” (1).  A pervasive approach to the region in the disciplines of history and anthropology, the concept has fruitfully brought to light the presence of “common denominators” underlying the region’s past that warrant a comparative reading of local history across broad spans of time and space. Based on excavating millennia-old histories of ever-shifting interactions at the micro-level (Horden and Purcell’s “connectivity”), this approach has striven to move the focus away from the myriad local histories unfolding across the Mediterranean’s coastlands to bring the space of the sea as a principle of integration into relief. Highlighting wide-ranging forms of mobility, interconnectedness, and analytical fluidity in their adjustable Mediterranean model, these conceptions have emphasized the material flows running across the sea and its shore-lands, and the human activities that they have supported. As Peregrine Horden observes in his and Sharon Kinoshita’s Companion to Mediterranean History, “There seems to be no limit to the ways in which the Mediterranean region may be reimagined, as a sea, as an area involving physical movements, maritime spaces, territorial arrangements, and political processes that seek to transcend national boundaries and enmities” (5).

Moving the chronology and critical purviews of the field forward, this volume seeks to interrogate how theories and methodologies of Mediterranean Studies may bear on the modern period. Beyond the dominant mapping of the region in ancient, medieval and early modern contexts, there are important questions to be answered about our critical understandings of the modern Mediterranean and its arts and cultures that have a direct bearing on our understanding of the modern/contemporary world. This volume probes the critical cut of the Mediterranean as a theoretical entity, as an aesthetic, theoretical, and hermeneutic category for the interpretation and analysis of culture, and as a space of artistic and linguistic density and coterminous symbolic geographies. We propose to examine its critical potential in the age of nationalistic projects, global capitalism, colonial modernity, and postmodernism.

With these guiding principles in mind, we encourage contributions that explore material, visual, literary and linguistic cultures of “the Mediterranean as a spatial constellation undergoing recurring formation and dissolution,” in order to “make the notion of a modern Mediterranean plausible and reveal its structural similarities and connections with the sea’s previous lives” (Ben-Yehoyada 107). Teetering between the unenviable status of romantic delusion and the nefarious influence of residual (self)orientalizing dynamics, the Mediterranean as a conceptual tool first needs to liquidate its fraught exoticist heritage. With the advent of European imperialism in the Mediterranean in the 19th century, dealing with the legacy of globalization also requires attending to the fractures, inequalities, and forms of disenfranchisement that the new world order has engendered (what Ian Morris has dubbed “winners and losers” in relation to Mediterraneization). Alongside Iain Chamber’s “interrupted” paradigm, concepts of critical/ alternative modernities anchored in the sea are relevant to scrutinizing the fruitfulness of the Mediterranean construct to these theorizations.

We are thus seeking contributions that (1) present readings of an original, modern Mediterranean archive or corpus, and (2) rigorously, even polemically, argue what constitutes the archive/corpus’ Mediterraneanism.

We especially encourage proposals that address a combination of the following possible lines of inquiry:

  • Origins and genealogies. Sharon Kinoshita has aptly suggested that “Mediterranean studies is less a way of defining or delimiting a geographic space (as in the famous formulation of the Mediterranean as the region of the olive and the vine) than a heuristic device for remapping traditional disciplinary divides” (602). What are the material, visual, literary and linguistic limits to our grasping of the Mediterranean? What are the needs and natures of disciplinary, cross-disciplinary, and interdisciplinary work? What is the role of competing genealogies within field formation? In turn, how may the births and beginnings of disciplines inform our critical understandings of the modern Mediterranean and its arts and cultures?
  • Mediterranean representations. How do cultural formations, historical processes, and elements of style develop? How do considerations of genre and intertextuality inform their emergence? What artistic and intellectual tropes and turns (for example: nostalgia, cosmopolitanism, religion and mysticism) inflect the Mediterranean as a rhetorical tool or figure within their respective genealogies?
  • Mediterranean translations. What roles does language perform in the modern Mediterranean? What and where are the untreatable, untranslatable dimensions of Mediterranean expression? How do linguistic codes intersect with the visual, the sonic, and the (inter)medial? What are the specificities of—or relationships between—literature, visual culture, cinema, music, media and intermediality?
  • Philosophy, phenomenology and the poetics of space and time. Edgar Morin reports that it is in the 16th century that the Mediterranean was given its name, which meant sea-at-the-center-of-the-lands (33), but what if the Mediterranean in fact decenters and disorients? How do modern representations of the Mediterranean treat the nature of the sea? Beyond dialectics of change and permanence, how does the incursion of the Mediterranean into time evoke discrepant temporalities (plural, unpredictable, ephemeral, internally experienced, immanent or dormant)?
  • (Bio)politics. Chakrabarty has pointed how the Mediterranean “environment […] had an agentive presence in Braudel’s pages” (205). Does the modern Mediterranean still play “an agentive presence” in contemporary politics? In an era where “the Marxist critique of capitalism” and “Marxist internationalism undermined the idea of the nation” (Morin 38-39), what is the Mediterranean’s relationship to la raison d’état, or the nation-state as a heuristic core of critical practice? What becomes of the relationship between nation-states and languages, between identities and affiliations? How does it call into question national literary languages? How would (bio)political questions concerning revolution, democracy, migration, transnationalism, and minority and second-generation human rights be articulated and addressed within these discourses?
  • Mediterranean identities and self-identification. How do we key in the elaboration of local identity and community formation? What are the attendant regional politics and polemics? What are the dialectical relations to forms of being in the world ensconced in the discreteness of micro-localities? How may identity markers be uniquely declined beyond the dominant rhetoric of the right to difference? How may this entail the emergence of a transnational consciousness or of a specific ethos? How may we think beyond subjective experiences of the Mediterranean?
  • The Mediterranean/Mediterraneans. How do we balance the focus on the micro with the need for the macro (Abulafia, 2006) and the relation to other sea-centered logics? What are the geographical limits of the modern Mediterranean? What is the place of the critical Mediterranean within reflections on “new thalassology” (Horden and Purcell, 2006) and “thalassocracies” (Abulafia, 2014)? Should the model be applied beyond the region? What is its intellectual currency across geographical divides?

Detailed abstracts (500 words) are due by December 1, 2014 to Edwige Tamalet Talbayev (etamalet@tulane.edu) and Yasser Elhariry (yasser.elhariry@dartmouth.edu). Contributors will be notified of acceptance by December 15, 2014. Completed manuscripts (6,000 words) are due byJune 1, 2015. Manuscripts will be rigorously edited prior to submission to the press. Although final placement of the volume will be contingent on the outcome of the press’ peer-review process, Brian Catlos and Sharon Kinoshita, the editors of Palgrave Macmillan’s new Mediterranean Studies series, have expressed interest in the volume.

References
Abulafia, David. “Mediterraneans.” Rethinking the Mediterranean. Ed. W. V. Harris. Oxford: Oxford UP, 2006. 64-93.
———. “Thalassocracies.” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 139-153.
Ben-Yehoyada, Naor “Mediterranean Modernity?” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 107-121.
Chakrabarty, Dipesh. “The Climate of History: Four Theses.” Critical Inquiry 35 (2009): 197-222.
Chambers, Iain. Mediterranean Crossings: The Politics of an Interrupted Modernity. Durham: Duke UP, 2008.
Harris, W. V., ed. Rethinking the Mediterranean. Oxford: Oxford UP, 2006.
Horden, Peregrine. “Introduction.” A Companion to Mediterranean History. Ed. Peregrine Horden and Sharon Kinoshita. Oxford: Wiley Blackwell, 2014. 1-7.
Horden, Peregrine and Nicholas Purcell. The Corrupting Sea: A Study of Mediterranean History. Oxford: Wiley Blackwell, 2000.
———. “The Mediterranean and ‘the New Thalassology.’” The American Historical Review 111.3 (2006): 722-740.
Kinoshita, Sharon. “Medieval Mediterranean Literature.” PMLA 124.2 (2009): 600-608.
Morin, Edgar. “Penser la Méditerranée et méditerranéiser la pensée.” Confluences Méditerranée 28 (2009): 33-47.
Morris, Ian. “Mediterraneanization.” Mediterranean Historical Review 18.2 (2003): 30-55.

Call for Essays: Melusine’s Footprint: Tracing the Legacy of a Medieval Myth (edited volume)

Call for Essays:
Melusine’s Footprint: Tracing the Legacy of a Medieval Myth
Deadline: 6 January 2015

Mélusine_allaitant_BnF_Français_24383_fol._30While the late 14th c French prose romance by Jean d’Arras arguably remains the earliest and most-translated version of the story of Melusine—in which he envisions her as a foundress of the powerful Lusignan family—the figure of the fairy woman cursed with a half-human, half-serpent form traveled widely through the legends of medieval and early modern Europe. From Thüring von Ringoltingen’s German iteration of 1456, which gave rise to the popular chapbook, and related folktales that brought Melusine decisively to the European medieval imaginary, Melusine’s variants surface in countries and centuries beyond. One finds her entwined in the ancestry of several noble houses across Europe; a Melisende ruled as Queen of Jerusalem; and the philosopher Paracelsus writes of melusines as water sprites in search of a soul by means of human marriage. Regal serpent women proliferate in carvings and paintings decorating churches, castles, villas, and public buildings throughout Europe, and a cri de Mélusine, in the story the signal of her castle’s changing fortunes, entered the language as a common phrase. Today one finds Melusine in film, novels, comic books, the Starbucks logo, and as a character in the video game Final Fantasy. In short, the figure of Melusine, often compared to ancient goddesses and other fantastic creatures with serpentine forms, was and remains a powerful, multivalent symbol condensing the fears, myths, and cultural fantasies of a historical  period into a potent visual image.

We seek to assemble a volume of essays that examine the impact and legacy of the figure of Melusine in art, history, literature, and fields beyond. We envision a collection that charts the evolution of and investigates the many representative instances of this figure over time and space, with analyses that give consideration, in whole or in part, to the following questions:

  • What particular valence does the figure of the half-serpent Melusine hold for the time, place, and media in which she appears? How has the figure changed over time, and what forces have contributed to these changes?
  • How does the particular venue in which Melusine appears articulate a cultural approach to and embodiment of female power and its exercise?
  • How do the various installations of Melusine deal with the transgressiveness of her hybrid form, and the transformations which are an integral part of her story?
  • What about this figure resonates across time and space, and what meanings herald a particular historical moment?
  • What can Melusine teach us about reading history (or art, or indeed any sort of cultural artifact) and remaining open to the ways in which readers continually recreate meaning each time a  story is retold?

While any and all analyses that focus on Melusine will be given full consideration, essays that approach Melusines outside the work of Jean d’Arras are particularly welcome. We invite methodologies that are historically researched or theoretically grounded as well as descriptive in nature. Please send a proposal, including a short list  of projected sources, of 500-800 words along with a very brief CV to Misty Urban atmru4@cornell.edu by January 6, 2015. Final essays of 6-25 pages will be expected by December 31, 2015.

Call for Chapter Proposals: Singing Death (edited book volume)

Call for Chapter Proposals:
Singing Death (edited volume)
Deadline: 30 September (submission of abstracts)

Chapter proposals are invited for an edited volume entitled ‘Singing Death’. The editors are in preliminary negotiations with Ashgate Press for a collection of essays provisionally entitled ‘Singing Death’ and we would like to invite chapter proposals for this project. ‘Singing Death’ arises out of a day-long symposium and concert combined, generously supported by the Australian Research Council Centre of Excellence for the History of Emotions. This took place at the University of Melbourne, 17th August, 2013: http://www.historyofemotions.org.au/media/89722/singing-death_poster_web.pdf  

The program alRequiem Mass Initialternated academic papers on the music, art and literature of death with performances of some of the music associated with it. The editors would like to extend the work of the symposium with a collection of essays focussing on death and music. We want to offer readers an encounter with music as a distinct discourse of death, another way of speaking death; the collection will be accompanied by a recording of the music involved with each of its chapters. We aim, most of all, to bring into focus how death figures through music for the living and the dying, how it taps into the experience of all those for whom death comes close.

Death is an unanswerable question for humanity, literally the question that always remains unanswered (although so many answers are offered). It is ‘the question of questions’ as Federico García Lorca put it, since it lies beyond human experience. The music of death represents one of the most profound ways in which, nevertheless, we struggle to accommodate death within the scope of the living by giving a voice to death and the dead. We want the book to engage with the profound disturbance that death presents to the living and how music expresses and/or responds to that disturbance.

The field of enquiry is very broad. We welcome proposals from any intellectual discipline that can engage with the nexus of music and death. Musicological expertise is not essential. Music, like poetry, operates in a different way from ordinary discourse; it acts as well as speaks and it can have profound and complex effects for listeners. We want our collection to address the difference that music, vocal and instrumental, makes to all those confronted with death. We also welcome proposals from those practically involved with the question, for instance music therapists involved in palliative care or grief counselling, or those who organise or perform music associated with death in some way.

Below are some possible topics for research. The list is far from exhaustive, nor is it intended to be exclusive. Each topic could also be subdivided many times:

  • music and suicide (some songs have been blamed for causing suicide, some songs commemorate a death by suicide)
  • music and murder
  • music and the dying
  • music and mourning
  • music and spiritualism (some people believe that the dead are communicating with them through music)
  • music and the afterlife
  • music, death and religion
  • music, death and the law
  • music and the revenant (ghosts, vampires, zombies, etc.)
  • death in various musical genres, for instance opera, death metal, folk music.
  • music in palliative care

Proposals should include:

  1. An abstract no longer than 500 words
  2. 3-10 keywords
  3. short CV, no more than 10 lines which can include a link to a website

Please indicate to the editors what music you wish to accompany your contribution and whether you can provide it. Recordings can be of live music or of pre-recorded music (permissions will be required when chapter is submitted). Please send to Helen Dell and Helen Hickey. See email addresses below.

Important dates:

  • 30th September—submission of abstracts
  • 30th October—notification of acceptance or otherwise
  • 30th January—deadline for submission of paper
  • 30th May—notification of acceptance of paper
  • 30th June—submission of revised version

Editors: Dr. Helen Dell and Dr. Helen Hickey, University of Melbourne, Australia, 3052. Y6h

Bios:

Helen Dell:
Helen Dell’s research is in the fields of music and literature, especially when joined together as song. Her PhD thesis, on desire in French medieval song was published in 2008 as Desire by Gender and Genre in Trouvère Song, by Boydell and Brewer. Since then Helen has been conducting research into recent receptions and inventions of medieval music. She has now finished a second book, for Cambria Press, entitled: Music and the Medievalism of Nostalgia: Fantasies of Medieval Music in the English-speaking World, 1945 to 2010. Recent research has centred on the music of death, from which last year’s symposium, ‘Singing Death’ and the current planned collection have sprung. More on Helen’s research can be seen at her website: http://www.helendell.com
Email: helendell@internode.on.net

Helen Hickey:
Helen Hickey completed her PhD thesis on the Everyday in early fifteenth-century English literature. She is interested in the ways history and literature intersect with medicine and materiality. Her most recent publication is an article in an edited collection, Theorising Legal Personhood in Pre-modern England (Brill) on the Inquisitions of Insanity and medieval literature. She is a member of the International Health Humanities Network.
Email: helenhickey@bigpond.com