Tag Archives: The Courtauld Institute of Art

CFP: ‘Working Materials and Materials at Work in Medieval Art and Architecture’, 25th Annual Medieval Postgraduate Colloquium, The Courtauld Institute of Art, 7 February 2020

RP-P-OB-963 detail

Master of Balaam, Saint Eligius in his Workshop (detail), c. 1440-1460. Engraving, 11.5 x 18.5 cm. Rijksmuseum, Amsterdam (RP-P-OB-963)

Call for papers: The Courtauld Institute of Art’s 25th Annual Medieval Postgraduate Colloquium: Working Materials and Materials at Work in Medieval Art and ArchitectureThe Courtauld Institute of Art, 7 February 2020

Deadline: 22 November 2017

Materials mattered in the Middle Ages. Only with the right materials could artists produce works of art of the highest quality, from jewel-encrusted crosses, gilded and enamelled chalices and ivory plaques to large-scale tapestries, wooden stave churches and stone cathedrals. This conference seeks to explore the qualities and properties of materials for the people who sourced, crafted and used them.

A critical examination of the physical aspect of materials, including stone, wood, metal, jewels, and textiles, can lead art historians to a deeper understanding of objects and their context. Medieval materials did not function as frictionless vehicles for immaterial meaning: materials, their sourcing, trade and manufacture all contributed to the reception and value of the object. In the vein of scholars like Michael Baxandall (The Limewood Sculptors of Renaissance Germany, 1980) and more recently Paul Binski (Gothic Sculpture, 2019), this conference asks participants to ground their papers in the messy realities of crafting materials, and to situate the object and its materials within a network of social, political and economic factors.

The Courtauld Institute of Art’s 25th Annual Medieval Postgraduate Colloquium invites speakers to build out from the object and consider the ways in which physical materials were used, manipulated and interpreted by craftspeople, patrons and audiences throughout the medieval world (understood in its broadest geographical and chronological terms). The colloquium encourages contributions from a range of backgrounds including but not limited to the art historical, technical, scientific and economic. Speakers are invited to consider the following and related questions:

Sourcing and Trade

  • What economic factors determined the value of medieval materials?
  • How did geography and trade impact the availability and use of materials?
  • How and in what quantities were materials sourced and did that affect the form and function of the art object?
  • How was the quality of materials determined and controlled?
  • Was trade in certain materials restricted to certain classes or groups of people?

Crafting and Making

  • How did the physical and technical requirements of working with different media shape objects for artists and how attuned were viewers to those requirements?
  • What technical virtuosity and experience did different materials demand and how did craftspeople learn and pass on these skills?
  • Did technical virtuosity affect the value of the object?
  • What do we know of the tools craftspeople used? Were the same tools used in different places and in different periods? What effect does this have on the use and shape of materials?
  • Medieval craftsmen occasionally manipulated certain materials to resemble others. Was this process of imitation always obvious to medieval viewers and how did they interpret this?

Function and Manipulation

  • How did the spaces or locations for which objects were intended shape the choice of materials?
  • Did the function of an object determine the materials of which it was made?
  • Were certain materials more attractive to certain patrons than others and why?
  • Do some medieval objects reveal deliberate references to their facture?
  • How did different materials cater to each of the senses?
  • Did materials always matter – is there a competitive/contested relationship between material reality and immaterial imagination?

The colloquium offers an opportunity for research students at all levels from universities across the United Kingdom and abroad to present, discuss and promote their research. To apply, please send a proposal of up to 250 words for a twenty-minute paper, together with a CV, to Harry.Prance@courtauld.ac.uk, Nicholas.Flory@courtauld.ac.uk and Charlotte.Wytema@courtauld.ac.uk no later than 22 November 2019.

23rd Annual Medieval Postgraduate Student Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2018

23rd Annual Medieval Postgraduate Student Colloquium: Collecting (in) the Middle Ages, The Courtauld Institute of Art, 16 February 2018

Free, booking required

The Courtauld Institute of Art’s 23rd Annual Medieval Postgraduate Colloquium invites speakers to consider the nature of medieval collections, the context of their creation and fruition, and their legacy – or disappearance – in the present.

Existing approaches to the subject help to understand the formation, dispersal, and reassembly of groupings of objects. However, broadening the scope of what a medieval collection is can open new paths of exploration. From immense palace networks to single-volume manuscripts, a wide range of objects can pose complex and exciting questions regarding how physical and conceptual similarity and proximity shaped making and meaning in the Middle Ages.

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 Costanza Beltrami (The Courtauld Institute of Art / The Auckland Project) and Maggie Crosland (The Courtauld Institute of Art) with the generous support of The Sackler Research Forum.

Programme

09.30 – 10.00:  Registration

10.00 – 10.10:  Welcome

Session 1: Assembled Objects — chaired by Teresa Lane

10.10 – 10.30: Gesner Las Casas Brito Filho (University of Leeds): Níðwundor’, terrible wonder: The Beowulf Manuscript as a compilation about the ‘East’ (Nowell Codex part in British Library Cotton Vitellius A.xv)

10.50 – 11.10: Krisztina Ilko (University of Cambridge): Collecting Miracles: Visualising the Early Saints’ Cult of the Augustinian Friars

11.10 – 11.30: Elizabeth Mattison (University of Toronto/ KIK-IRPA): The Collection as History: Collecting with and on the Reliquary Bust of Saint Lambert in Liège

11.10 – 11.30: Discussion

11:30 – 12:00: TEA / COFFEE BREAK – Seminar Rooms 1 & 2

Session 2: Strategies of Collecting — chaired by Charlotte Wytema 

12.00 – 12.20: Noah Smith (University of Kent): The Courtrai Chest: A Matter of Personal Collection

12.20 – 12.40: Oliver Mitchell (The Courtauld Institute of Art): Collecting relics, curating an image: regicide, martyrdom, and the sacrificial kingship of Louis IX in the Sainte Chapelle

12.40 – 13.00: Maria Lopez-Monis (The Courtauld Institute of Art): Collecting the profane: Conversion of earthly objects into reliquaries

13.00 – 13.20: Discussion

13.20 – 14.30: LUNCH (provided for speakers only in Seminar Room 1)

Session 3: Collaborating across media — chaired by Nicholas Flory

14.30 – 14.50: Maria Harvey (University of Cambridge): Across time and space: Byzantin(ising) objects in the hands of the Del Balzo Orsini

14.50 – 15.10: Sophia Ong (Rutgers University/INHA): Autres petiz Joyaulx et Reliquiaires pendans: Pendants and the Collecting of Jewelry in the Valois Courts

15.10 – 15.30: Adriana Concin (The Courtauld Institute of Art): Collecting medieval likenesses: Archduke Ferdinand II and his Genealogy of Tyrolian Landesfürsten

15.30 – 15.50: Discussion

15.50 – 16.20: TEA / COFFEE BREAK – Seminar Rooms 1 & 2

Session 4: Spaces of Display — chaired by Harry Prance

16.20 – 16.40: Lesley Milner (The Courtauld Institute of Art): From Medieval treasure room to Renaissance wunderkammer: Sir William Sharrington’s strong room at Lacock Abbey

16.40 – 17.00: Sarah Randeraad (University of Amsterdam): Medii Aevii, Medio Evo, Tempi di Mezzo: ‘Amorphous’ Middle Ages in 19th century Florentine private and public display

17.00 – 17.30: Discussion

17.30 – 17.45: Closing remarks: Joanna Cannon (The Courtauld Institute of Art)

17.45: RECEPTION (Front Hall)

With special thanks to Michael Carter for his contribution and support for the colloquium.

The Courtauld Institute of Art Third Year PhD Symposium: Showcasing New Research 2016

The Coupg-symp-2016-imagertauld Institute of Art Third Year PhD Symposium: Showcasing New
Research
The Courtauld Institute of Art, London
March 10-11, 2016

The Symposium is a platform for third year PhD students to present their
research and to initiate critical discussion about their materials,
media and approaches with a broad scholarly audience. The papers tabled
cover artefacts and images as diverse as medieval bronze tombs and
messages encrypted in digital images, and they deploy methodologies
that are attentive to questions of authorship, materiality,
performance, reception and interpretation. The Postgraduate Symposium
aims to debate and diesseminate the new research of its research
students and to promote intellectual exchange at all levels of the
degree programmes.

Organised by Professor Katie Scott and Dr Jocelyn Anderson
Open to all, free admission

Programme:
Thursday 10 March (DAY 1)

11.30 – 11.45 Welcome and Introductory Remarks

11.45 – 13.10 SESSION 1: Reconstruction and Restoration (Chair:
Jonathan Vernon)

Maeve O’Donnell, The Case of the Missing Stairs: Fernando III’s royal chapel in Seville’s cathedral-mosque

Chiara Pasian, Performance of grouts with reduced water content

Matilde Grimaldi, Recreating the lost Romanesque cathedral of Tortosa
(Spain): 1148-1703

13.10 – 14.00    BREAK FOR LUNCH (not provided)

14.00 – 14.55 SESSION 2: Artists’ Circles (Chair: Catherine Howe)

Will Atkin, The Alchemical Legend of the Surrealist Object, c.1929-1934

Judith Lee, The Chemical Characterisation of Water Sensitive Oil Paint

14.55 – 15.50    SESSION 3: Painting Places (Chair: Thomas Hughes)

Samuel Raybone, Gustave Caillebotte’s Philatelic Impressionism:
Collecting Stamps and Painting Paris, c. 1876-1877

Camilla Pietrabissa, Painting for painters: the landscapes of
Jean-Baptiste Forest (1636-1712) and artists’ collections in Paris

15.50 – 16.10 TEA/COFFEE BREAK (provided in the Lecture Theatre)

16.10 – 17.15 SESSION 4: Artists’ Travels (Chair: Albert Godycki)

Austeja Mackelaite, The Ancient Object in the Drawn Oeuvre of Hendrick
Goltzius (1558-1617)

Bryony Bartlett-Rawlings, ‘Giving Voice to Sculpture: Nicoletto da
Modena’s Apollo and Mercury’

Friday 11 March (DAY 2)

12.30 – 13.25 SESSION 5: Places of Commemoration (Chair: Imogen Tedbury)

Ann Adams, Materiality and Allegiances: Four Copper-Alloy Tombs of
Knights of the Golden Fleece

Emma Capron, New Evidence on Simone Martini’s Work & Network in Avignon

13.25 – 14.20 SESSION 6: Spaces of Performance (Chair: Julia Secklehner)

Lydia Hansell, Witnessing the Nativity: Commemoration of a Cardinal

Sarah Hegenbart, Via Intolleranza II: Can Luigi Nono’s notion of azione
scenica safeguard Christoph Schlingensief’s Opera Village Africa
against postcolonialist attack?

14.20 – 14.50 TEA/COFFEE BREAK (provided in the Lecture Theatre)

14.50 – 15.45 SESSION 7: Art Spaces and the State (Chair: Massoumeh
Assemi)

Jenna Lundin Aral, Information as Spectacle: Exhibitions by the MoI

Jessie Robertson, Don’t Feed the Network: Encrypted Aesthetics in the
Post-Snowden Age

15.45 – 16.05 Comfort break

16.05 – 17.00 SESSION 8: Negotiating Spaces (Chair: Theodore Gordon)

Svitlana Biedarieva, Moscow 1980: the City and the Void

Kristina Rapacki, ‘The skin of our teeth’: vandalism and civilisation
in Asger Jorn’s Situationist production

17.00 – 18.00 KEYNOTE: Dr Mechthild Fend (UCL)

18.00 RECEPTION (Front Hall)

Medieval conference double bill at The Courtauld (19-20 Feb 2016)

Many of our readers will be interested in this double bill of conferences at The Courtauld Institute of Art next month: the annual colloquium, followed by a conference in honour of the late Richard K. Morris.

The annual postgraduate colloquium is in its 21st year, and allows current research students both at The Courtauld and beyond to present their research. This year’s conference on Friday 19th February investigates the theme of viewership. Entry is free, but please register your place and read more at the official webpage.

Medieval-image[1]Programme:
09.30 – 10.00 Registration
10.00 – 10.10 Welcome
Session 1: Viewership: More than ‘seeing’
10.10 – 10.30 Miguel Ayres de Campos (The Courtauld Institute of Art): Seen / unseen: on the
mirabilis as visual object
10.30 – 10.50 Laura Stefanescu (University of Sheffield): Heavenly Music in the Garden of Love: Sound, Emotion and Devotional Practice
10.50 – 11.10 Sophie Kelly (University of Kent): ‘Seeing’ the Trinity Through the Late Medieval
Illuminated Book
11.10 – 11.30 Discussion
11.30 – 12.00 TEA / COFFEE BREAK (provided in Seminar room 1)
Session 2: Whence the Viewer?
12.00 – 12.20 Anna Konya (Central European University, Budapest): Decorating the Sanctuary. The Iconography, Function and Reception of Eucharistic Imagery in the Late Gothic Wall
Paintings of Transylvania
12.20 – 12.40 Lydia Hansell (The Courtauld Institute of Art): Witnessing the Nativity
12.40 – 13.00 Krisztina Ilko (University of Cambridge): Desire to see: the medieval viewer and the hagioscope
13.00 – 13.20 Discussion
13.20 – 14.30 LUNCH (not provided)
Session 3: The Many Medieval Viewers
14.30 – 14.50 Anya Burgon (University of Cambridge): Viewing the Mill in Medieval Art c.1100-1250
14.50 – 15.10 Emily Savage (University of St Andrews): Apocalyptic Heroines and Villainesses:
Expanding Traditional Visual Narratives for the Medieval Female Viewer
15.10 – 15.30 Petr Jan Vinš & Lucie Kodišová (Charles University, Prague): Portable Altar From a Status Symbol to a Forgotten Curiosity
15.30 – 15.50 Discussion
15.50 – 16.20 BREAK (the student café will be available for those who wish to buy tea/coffee, cakes)
Session 4: Viewing the Past: Medieval vs Modern Perspectives
16.20 – 16.40 Ann Adams (The Courtauld Institute of Art): An assertion of honour, but to whom? The cenotaph of Philippe Pot, Chevalier de l’Ordre de la Toison d’Or et de Saint-Michel
16.40 – 17.00 Stephanie A. Azzarello (University of Cambridge): Music of the Spheres: Seeing and Hearing the Choir Books of San Michele and San Mattia on Murano
17.00 – 17.20 Imogen Tedbury (The Courtauld Institute of Art): (Re)constructing the medieval fresco: Lorenzetti chapter house fresco fragments from Siena to London
17.20 – 17.50 Discussion
17.50 – 18.00 Closing remarks: Joanna Cannon (The Courtauld Institute of Art)
18.00 RECEPTION

Richard-K.-Morris-at-Kenilworth-Castle-655x1024[1]The next day, Saturday 20th February, the same lecture theatre will host a memorial conference for Richard “Mouldings” Morris, who died last year. The programme features Morris’ colleagues and students, as well as early-career researchers influenced by his methods. The conference is organised by the British Archaeological Association along with the The Ancient Monuments Society, and tickets are £16 (£11 concessions), and are available on The Courtauld’s site. The BAA also has a number of free places available for students, please contact Richard Plant for more information.

Programme:
09.15 – 09.45 REGISTRATION
09.45 – 10.00 Welcome
SESSION I: Introduction and Approaches to Reconstruction
10.00 – 10.30 Nicola Coldstream (Independent scholar): Richard Morris and the rescue of Decorated
10.30 – 11.00 Linda Monckton (Historic England): Fact and fiction and the late medieval shrine of St Amphibalus
11.00 -11.30 Miriam Gill (Leicester University): The painted scheme of the Warwick Chapel,
Tewkesbury Abbey
11.30 – 12.00 TEA/COFFEE BREAK (provided)
SESSION II: Conception
12.00 – 12.30 James Alexander Cameron (The Courtauld Institute of Art): Modes of modo et forma in the fourteenth-century English parish church
12.30 – 13.00 James Hillson (University of York): St. Stephen’s Chapel, Westminster and St
Augustine’s Abbey, Bristol: iterative design, prolonged construction and innovation
during the 1290s-1340s
13.00 – 13.30 Peter Draper (Birkbeck College): The Bhojpur Line Drawings: some medieval Indian plans, elevations and moulding profiles from the 11th century
13.30 – 14.30 LUNCH (provided for the speakers only)
SESSION III: Workshops and the Archaeology of Buildings
14.30 – 15.00 Lucy Wrapson (Hamilton Kerr Institute): Workshop identities and moulding profiles on East Anglian rood screens
15.00 – 15.30 Jenny Alexander (Warwick University): Ciphers on walls: are these marks apotropaic?
15.30 – 16.00 Jackie Hall (cathedral archaeologist, Peterborough): Building an icon: the west front of Peterborough Cathedral
16.00 – 16.30 TEA/COFFEE BREAK (provided)
SESSION IV: Commemoration
16.30 – 17.00 Andrew Budge (Birkbeck College): St Mary’s Warwick: a visual record of family
history?
17.00 – 17.30 Richard Marks (Cambridge University): Wills and windows: documenting fenestration in late medieval England
17.30 – 17.40 Appreciation
17.40 – 18.00 Concluding remarks
18.30 RECEPTION

All are welcome, and we hope to see you at as many papers as possible.

CFP: Movement in Medieval Art and Architecture (London, 7 February 2015)

Call for Papers:
Movement in Medieval Art and Architecture
20th Annual Medieval Postgraduate Student Colloquium 
London, The Courtauld Institute of Art, 7 February 2015

imagePilgrimage, wars and trade are key components of the Middle Ages and all embody movement. This colloquium aims at exploring the importance of movement in the creative processes of medieval art and architecture. Participants are invited to interpret the notion of movement especially in relation to itinerant artists and workshops, the circulation of artworks and the transmission of ideas. Movement will be questioned as a transformative and creative agent in art, in theory as well as in practice. This theme can be expanded to include both local and trans-cultural outcomes of exchanges, ranging from adoption to compromise and rejection. All these encounters show that movement was essential in the creation of art and architecture, whether in Europe, in the Byzantine Empire or beyond, coinciding with the emergence of new artistic trends and reciprocal influences.

Possible topics may include, but are not limited to:

• the circulation of artifacts via diplomatic relations and trade routes
• the spread of new technologies
• the diffusion of iconographical themes
• the dissemination of architectonic vocabulary
• the role played by drawings in the transmission of art and architecture

The Medieval Colloquium offers the opportunity for Research Students at all levels from universities across the UK and abroad to present and promote their research. Unfortunately funding for speakers is not available therefore students from outside London are encouraged to apply to their institutions for subsidies to attend the colloquium.

Please send proposals for 15 to 20-minute papers of no more than 250 words and a CV to mariaalessia.rossi@courtauld.ac.uksophie.dentzer@courtauld.ac.ukmatilde.grimaldi@courtauld.ac.uk no later than Friday 21 November 2014.

Applicants will be notified by the beginning of December.

Call For Papers: Sister Act: Female Monasticism and the Arts across Europe ca. 1250 -1550 (London, 13-14 March 2015)

Call for Papers:
Sister Act: Female Monasticism and the Arts across Europe ca. 1250 – 1550
London, The Courtauld Institute of Art, 13 – 14 March 2015
Deadline: 10 December 2014
UPDATE: PROGRAMME NOW PUBLISHED

Keynote speaker: Professor Dr. Carola Jäggi, University of Zürich (CH)

sano_detail_1This conference seeks to compare, contrast and juxtapose scholarly approaches to the art of Medieval and Renaissance religious women that have emerged in recent decades. Seeking to initiate a broader conversation, which is long overdue, we invite papers that examine female monastic art in terms of patronage, space, devotional practice, spiritual identity or material history, spanning all of Europe and bridging the gap between the Middle Ages and the Renaissance.

Over the last three decades, within a broader scholarly effort to recover women’s history, art historians have explored the role of gender in the form, function and patronage of monastic art and architecture. It has become evident that the institutionalisation of late medieval and renaissance religious women developed under very different conditions from that of their male counterparts. Monastic foundations for women are repeatedly revealed as having been idiosyncratic, rarely adhering to a set of norms. There are many examples of stable and flourishing institutions performing functions of dynastic memoria for wealthy, aristocratic or royal families. Equally, female convents could be fluid and metamorphic during the course of their history: many instances demonstrate shifting ecclesiastical allegiances, mutable types of monastic life, movement between patrons, and even communities changing order. Such varied historical circumstances shaped the architecture for female religious communities, ranging from large complexes erected in the most fashionable styles of their time, to basic dwellings within converted secular buildings. Diversity can also be observed in the commissioning and use of works of art, from second-hand or adapted paintings to specially commissioned, lavish monuments and vast cycles of wall paintings. In short, artworks in the female religious context escape generalisation.

Idiosyncrasies are found not only when investigating the female monastic complex and its art, but also in the scholarship itself, which has primarily focused on chronologically and geographically specific material, often without engaging in dialogue with adjacent fields.

North of the Alps, scholars tend to gravitate towards the rich Cistercian and Dominican material, and to concentrate on the interplay between visual culture and devotional practice. The 2005 exhibition ‘Krone und Schleier: Kunst aus mittelalterlichen Frauenklöstern’, and the accompanying conference, bore witness to the vibrant wealth of artworks preserved in the German-speaking areas of Europe, and should foster scholarly exchange with other European regions.

On the Italian peninsula, the patchy archival record and damage to physical convent spaces has led to a proliferation of case studies. Renaissance and early modern scholarship has also focused on biographies of individual nuns or specific convent chronicles as means of investigating nunneries within the urban fabric of the Italian city-states from a socio-economic perspective.

Meanwhile, the abundance of surviving artistic material in Spain, Portugal, Scandinavia and Eastern Europe has recently started to receive attention. The art of women who lived in a semi-religious context, such as tertiaries, widows, anchoresses and beguines, has also been brought to the fore. This abundance of recent work now invites comparison and wider interpretation.

We welcome proposals for 20-minute papers exploring material across the stated time span, in all artistic media and throughout Europe, that deal with either case studies or broader methodological questions. Papers, which take a comparative approach, breaking the traditional regional or chronological boundaries, are particularly welcome. We intend to arrange the papers into panels that present contrasting approaches and/or differing time periods or places, to stimulate comparative discussion.

Topics may include, but are not limited to:

– The topography of female religious settlements (e.g. within a city or a region)
– Female monastic architectural space (social aspects, interaction, hierarchies etc.)
– The commemorative function of art and architecture in female religious communities
– The relationship between lay patrons and female religious communities
– Artworks and liturgical/devotional practice
– Religious women as artistic practitioners
– Second-hand or relocated artworks
– The importance of written sources (chronicles, regulations, etc.) for understanding the artistic choices of religious women
– Comparisons between the art of female and male communities
– Artworks for female tertiaries and other semi-monastic groups, comparisons with the art of their second order counterparts
– Patronage networks between individual patrons and/or female religious communities
– Representing collective and individual identity
– The influence of female monastic art beyond the nunnery

Please send your abstracts of 250 – 300 words and a short biography of 100 words to Laura Llewellyn (laura.llewellyn@courtauld.ac.uk) and Michaela Zöschg (michaela.zoschg@courtauld.ac.uk) by 10 December 2014 at the latest.

Unfortunately, we cannot offer travel subsidies. Applicants from outside London are therefore encouraged to apply to other funding bodies for travel bursaries to attend the conference.

Organised by Laura Llewellyn and Michaela Zöschg (The Courtauld Institute of Art)

Postdoctoral Fellowship: Andrew W Mellon Foundation/Research Forum Postdoctoral Fellowship (Mellon MA) (London, The Courtauld Institute of Art)

Postdoctoral Fellowship:
Andrew W Mellon Foundation/Research Forum Postdoctoral Fellowship (Mellon MA)
London, The Courtauld Institute of Art, 1 September 2015 to 31 August 2016
Deadline: 2 October 2014

courtauld-institute1

The Courtauld Institute of Art Research Forum, with the support of the Andrew W. Mellon Foundation, is offering a fellowship to an early career researcher in the art of the Italian Renaissance. An interest in the relationship between art and literature is desirable.  This fellowship will give the Fellow the opportunity to pursue a research project while gaining teaching experience in a research environment and participating in the launch of an interdisciplinary M.A. course.  In addition to undertaking research and playing an active role in the Research Forum, the Fellow is expected to teach one B.A. course and to act as an affiliate to the Research Forum/Mellon Foundation M.A. course being offered for the first time in 2015-2016 (From Dante to Michelangelo: Rhetoric, Representation and Identity in Italian Art and Literature, c. 1300-1550) by Dr Scott Nethersole in collaboration with the Mellon Visiting Professor, Dr Frederica Pich (Lecturer in Italian, University of Leeds), a specialist in Italian literature, especially the relationship between poetry and portraiture.

Applicants must be at an early stage of their career, not currently holding or having held a permanent university post and having received a doctorate within the three years prior to the start date of the post (and no later than December 2014).

For more information and to apply, see here.