Call for Papers: Conques at the Crossroads of Histories Interdisciplinary Perspectives, International Conference (11-13 October 2023), Centre Européen, Conques-en-Rouergue, Due by 15 February 2023

Call for Papers

Conques at the Crossroads of Histories Interdisciplinary Perspectives

International conference

October 11–13, 2023 at the Centre Européen, Conques-en-Rouergue

Due by: 15 February 2023

The aim of this conference is to collectively rethink the cultural, material, and performative history of Conques-en-Rouergue. Despite being a site of major importance with a millennium of accumulated history, premodern Conques has often been the object of sectorial studies: specialists in architecture have been interested in the abbey church, historians of visual culture in the sculpted tympanum, historians of material culture in the goldsmith’s objects or in the treasure, and historians in the practical documents or in the hagiography. Musicologists have studied associated songs and liturgical performances. Philologists or literary historians have studied the famous Liber miraculorum sancte Fidis, the Cançon de santa Fe, and other texts related to the cult of the saint in Conques.

Beyond the premodern, the history of Conques in the nineteenth and twentieth centuries has been an object of study only for divergent fields: religious history, history of heritage and conservation, and histories of the construction of a national or European narrative. Fields such as environmental sciences, topography, or historical geography have yet to be integrated in a more organic way into the history of this site. Additionally, research concerning Conques has often been produced either in a French-speaking environment or at the international level. These various approaches have too rarely interacted, leaving comprehensive knowledge of this site incomplete and marred by a web of disconnected historiographies.

With this call for papers, we would like to rectify this disciplinary divide by inviting researchers to Conques to rethink the site together, through a living, organic debate that goes beyond linguistic and national borders. We welcome speakers from all disciplines but ask that their contributions be conceived in such a way that they can be understood and integrated by researchers from divergent backgrounds, which may require explication of disciplinary givens. Multi-voiced papers prepared by researchers from different disciplinary and linguistic backgrounds are particularly welcome. The expected disciplines are not limited to those mentioned above, on the contrary, participants specialized in environmental science, biology, archaeogenetics, or other disciplines are warmly invited.

The symposium will be held at the Centre Européen of Conques from October 11 to 13, 2023. The organization will cover the costs of accommodation and meals, and at least part of the travel expenses (depending on actual costs). This conference is conducted within the framework of the MSCA-RISE project Conques in the Global World (https:// conques.eu/).

Researchers wishing to contribute are invited to send their proposals, including a title, an abstract (about 200 words) and a short biography, to adrien.palladino@phil.muni.cz before February 15, 2023.

Call for Papers: Early European Puppetry Studies Conference (12-15 October 2023), Yale University, Due by 1 May 2023

Call for Papers

Early European Puppetry Studies Conference

Yale University - October 12-15, 2023

Due BY: 1 May 2023

From moving statues to artificial animals to marionette performances, puppetry seems to have appeared in every sector of medieval and early modern European society. Jointed religious figures illustrated the liturgy, while dragon effigies processed through cities on feast days, and popular and courtly audiences enjoyed puppet shows of legendary and historical events. Despite the ubiquity of medieval and early modern puppets in Europe, scholarly consideration of these performing objects is often limited to case studies. Consideration of “puppetry” as a particular form with its own norms and commonalities is also uncommon, due in part to the marginal position of puppetry in Western culture. However, considering the variety and complexity of medieval and early modern European puppetry provides an opportunity to reassess the role of figural objects and performance in Western culture. As objects used in performance, puppets enrich expanding scholarship on the inter- and multimedial dimensions of medieval and early modern theater, liturgy, and entertainment. As imitative objects, puppets inform discussions about representation in medieval and early modern Europe. And as objects unsettling boundaries between animate and inanimate, puppets nuance conversations about object agency, object-oriented ontology, and the so-called “material turn” happening across the humanities.

This conference aims to bring together scholars from art history, history, European literary and language studies, theater, and other fields to formally establish early European puppetry studies as a cross-disciplinary field and scholarly community. To that end, sessions will provide an opportunity for collecting and sharing resources as well as sites for setting the terms and questions that structure early European puppetry studies. We intend to build on the conference’s presentations to produce the first edited volume in early European puppetry studies in the following year.

Considering a wide range of objects and practices under the rubric of puppetry, the conference is interested in what defines a puppet. How might movement, interaction, animation, liveliness, or spectatorship, matter? How do the contexts of puppet performance (professional, amateur, civic, courtly) or its sites (church, stage, fairground, street) affect its possibilities? How did puppetry operate as a site of cross-cultural encounter that allowed swift exchanges across the continent? In what ways does the materiality of a puppet shape its modes of embodiment as it plays characters ranging from human and animal to divine? How does actual puppetry practice complicate or resist prevailing cultural metaphors of puppetry in relation to power and aesthetics?

We invite work on all manner of performing objects that can usefully be examined or theorized in terms of puppetry. We welcome proposals from scholars already working explicitly on puppetry as well as those newly imagining their work in relation to puppetry. In particular, we are interested in papers that resist dominant cultural discourses that limit puppetry to “popular” or “folkloric” spaces, seeking instead to locate fruitful avenues for using puppetry as a framework to analyze art, literature, culture, and performance traditions in medieval and early modern Europe. In other words, we hope to expand the field of inquiry from puppetry as metaphor to puppetry as praxis.

The conference will be held at Yale University (New Haven, CT) from October 12-15, 2023.

To propose a paper, please submit a 300-word abstract to Michelle Oing and Nicole Sheriko at earlyeuropeanpuppetrystudies@gmail.com by May 1, 2023.

For more information: https://www.earlyeuropeanpuppetrystudies.com/

ICMA 2023 FORSYTH LECTURE IN OKLAHOMA, ARKANSAS, AND MISSOURI: DIRTY DIGITAL BOOKS, Professor Kathryn Rudy, 7-13 February 2023

2023 ICMA FORSYTH LECTURES

DIRTY DIGITAL BOOKS

DR. KATHRYN RUDY
PROFESSOR, SCHOOL OF ART HISTORY, UNIVERSITY OF ST. ANDREWS

Join us for a dynamic lecture exploring the intersections of technology and medieval book history. Esteemed manuscript scholar Dr. Rudy will discuss new research related to her project, “Dirty Books,” which uses technology to understand how Books of Hours were read and handled in the late Late Middle Ages. The most used sections became darkened with fingerprints, which she has analyzed with a machine called a densitometer. Her new project makes use of digital resources in addition to hands-on study, benefiting from recent initiatives to digitize manuscripts and make them available online.

The lecture will be given at three locations:

• Oklahoma State University (Stillwater), Tuesday 7 February, 4:30 PM

  Helmerich Reading Room, OSU Library

  Contact: Jennifer Borland, jennifer.borland@okstate.edu

• University of Arkansas (Fayetteville), Thursday 9 February, 5:15 PM

  Gearhart 26

  Contact: Mary Beth Long, marylong@uark.edu

• University of Missouri-Kansas City, Monday 13 February, 3:30 PM

  Miller Nichols Library Room 451

  Contact: Virginia Blanton, blantonv@umkc.edu

An internationally-recognized scholar of the reception and function of medieval manuscripts, Kathryn Rudy (Kate) is Bishop Wardlaw Professor of Art History at the University of St Andrews, a member of the St Andrews Institute of Medieval Studies, and the Director of the Centre for the Study of Medieval Manuscripts and Technology. She is also an Excellence Professor at Radboud University in Nijmegen, Netherlands.

THESE EVENTS HAVE BEEN SUPPORTED BY THE INTERNATIONAL CENTER OF MEDIEVAL ART’S FORSYTH LECTURE FUND AS WELL AS OKLAHOMA STATE UNIVERSITY, UNIVERSITY OF ARKANSAS, AND UNIVERSITY OF MISSOURI-KANSAS CITY.

For a flyer of this event, click here.

ANNOUNCING THE 2022 ICMA ANNUAL BOOK PRIZE RECIPIENT

ICMA ANNUAL BOOK PRIZE

We are delighted to announce the recipient of the 2022 ICMA Annual Book Prize:

SHIRIN FOZI

ROMANESQUE TOMB EFFIGIES: DEATH AND REDEMPTION IN MEDIEVAL EUROPE, 1000–1200

The Pennsylvania State University Press, 2021.
Click here for the Penn State University Press site.

The straightforward title of Shirin Fozi’s Romanesque Tomb Effigies both offers homage to the classic iconographic studies to which it is heir and belies the important ways in which this volume disrupts traditional approaches to the analysis of sculptural tombs dating to the late eleventh through twelfth centuries in northern Europe. In this compelling, rigorously researched and elegantly written book, the author investigates the phenomenon of figural tomb sculpture in its earliest medieval period of emergence, setting aside the anachronistic narrative that has long framed these works simply as precursors to the great flowering of figural tombs in the thirteenth through fifteenth centuries. Instead, close analysis of the archeological, textual, epigraphic, and social context of a series of works mostly from northern Germany and France allows Fozi to account for them in their own settings. At the center of the book lies the argument that these early effigy tombs consistently mark communal interventions into troubled histories of loss and failure, serving to recuperate, reframe, and reorient the pasts of living communities through the represented bodies of the dead. This is a mature work of scholarship that speaks of longstanding and intimate acquaintance with the works under consideration, some of which, such as the Plantagenet funerary monuments at Fontevrault with which the book concludes, are well known, but others of which have received less attention than they deserve, especially in English-language scholarship. Engaged with current discourses about the cultural construction of space, memory, body, and material, the study ultimately centers the objects themselves as the protagonists in the narrative, resulting in a book that will serve as a model and departure point for future scholarship, and one that is eminently readable for audiences ranging from interested amateurs, to undergraduates, to professional medievalists in a variety of fields.
 
We thank the ICMA Book Prize Jury:
Alexa Sand (chair), Heather Badamo, Péter Bokody, Dorothy Glass, and Eric Ramirez-Weaver

YOU ARE INVITED! THE ICMA ANNUAL MEETING - IN PERSON - ON FRIDAY 17 FEBRUARY 2023. RSVP TODAY!

YOU ARE INVITED!

ICMA ANNUAL MEETING
IN PERSON, NEW YORK CITY

FRIDAY, 17 FEBRUARY 2023
7:30PM - 9:30PM

THE RAINES LAW ROOM AT THE WILLIAM
24 EAST 39TH STREET (BETWEEN PARK AND MADISON)
NEW YORK, NEW YORK    10016

RSVP HERE

Royal Reception in a Landscape, left folio from the double frontispiece of a Shahnama (Book of Kings) of Firdausi (Persian, about 940–1019 or 1025), 1444. Iran, Shiraz, Timurid period (1370-1501). Opaque watercolor, ink, gold and silver on paper Recto Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.); Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.). John L. Severance Fund 1956.10, Cleveland Museum of Art.

The ICMA Annual Meeting is open to all members and their guests. It is a social event with about 20 minutes of speeches, announcements, and thank-yous to colleagues for their service to the organization. We especially have reasons to celebrate — a return to the feasibility of in-person gatherings and an opportunity to toast President Nina Rowe’s term at the helm of the ICMA. The rest of the time will be an opportunity for ICMA members to reconnect. Hope to see you there!

The venue is an indoor/outdoor space (with heating lamps), so you'll be able to pick an area that best suits your comfort zone.

RSVP HERE

---

We would like to celebrate the triumphs of colleagues over the past few years! We will put together a rotating PowerPoint, showcasing the professional achievements of ICMA members from 2020 to 2023. Whether you plan to attend the gathering or not, please let us know if you have published a book, been tenured or promoted, gotten a new job, taken on a new administrative role, retired, or otherwise reached a milestone worthy of a toast!

Upload text and pics (of yourself, book covers, or whatever is relevant) HERE by Friday 10 February 2023, 9am.

Call for Papers: International Conference/Journée d’étude internationale, Le ridicule en question à l’époque médiévale (27 March 2023), Bordeaux Université, Deadline BEFORE 20 February 2023

Call for Papers:

International ConferEnce/Journée d’étude internationale

Le ridicule en question à l’époque médiévale

27 March 2023/27 mars 2023

Bordeaux Université, Bordeaux Montaigne, UR 24142 Plurielles

Deadline: Before 20 February 2023/Avant le 20 février 2023

Manuscrit Paris, BnF, fr. 2810

Cette manifestation scientifique propose d’aborder la question du ridicule dans l’art et la littérature du Moyen Âge, en se fondant sur différents types de récits et d’œuvres, afin d’explorer sa fabrication, ses mises en scène, ses objets, ses visées, ses rejets et ses effets. Il s’agira aussi d’analyser le rapport que ces œuvres ou passages ridiculisants entretiennent, d’une part, avec le monde, d’autre part, avec l’art lui-même. Si les notions voisines de comique et de grotesque ont été étudiées de longue date dans l’art médiéval, notamment par le biais du rire – grâce à l’historien Jacques le Goff, par exemple – ou du comique, en relation étroite avec le tragique et le sérieux – ainsi que l’ont montré les travaux d’Élisabeth Lalou[1] –, la question du ridicule quant à elle demeure peu travaillée.

La plupart des travaux sur le sujet ne touchent pas la sphère francophone. En outre, les études parues à ce jour s’inscrivent avant tout dans les domaines sociologique, politique, philosophique et ont trait à des époques antérieures ou postérieures au Moyen Âge. Par exemple, Michael Billig, dans Laughter and Ridicule. Towards a Social Critique of Humour (2005)[2], étudie en diachronie le rapport de la notion de ridicule avec la norme sociale. Un peu plus tard, dans Rhetoric of ridicule[3], Greg Grewell reprend la distinction établie par Renate Lachmann entre force centripète et force centrifuge dans l’humour carnavalesque[4]. Il différencie dans sa théorie deux manières de construire le ridicule : un discours monologique et un discours dialogique. Le premier discours, de type centripète, tend à conformer l’individu à une norme sociale et le second, de type centrifuge, dans un mouvement inverse, amène ce même individu à faire voler en éclat les représentations normées de l’objet ou du sujet ridiculisé. Ce dernier modèle de discours permet alors l’invention de nouveaux codes et donc un décentrement par rapport aux normes préétablies, voire une désacralisation de ces dernières. Nous pouvons sans doute envisager le ridicule dans les œuvres littéraires et artistiques selon cette double dynamique. Au niveau littéraire, les études ont été plutôt ponctuelles, elles concernent des auteurs en particulier, comme Molière ou Scarron[5], ou encore des genres spécifiques comme la comédie[6]. Toutefois, la notion de ridicule dépasse le simple cadre des genres comiques, nombreux et identifiés au Moyen Âge (farce, fabliau, fatrasie, sottie, théâtre) et relie des genres d’aspect très divers si bien qu’elle conduit à les mettre en perspective.

Aussi, dans une approche interdisciplinaire et transgénérique, nous souhaiterions confronter et comparer, dans leurs différences, les genres, les supports et les approches scientifiques afin d’enrichir une réflexion autour d’une notion très présente dans la production médiévale. Ridiculiser vise avant tout à faire rire, mais tourner en ridicule c’est aussi déprécier, porter un jugement de valeur, c’est enfin faire ressortir l’absurdité, le non-sens d’un être, d’une chose ou d’une situation et se placer ainsi sur le terrain du sens, en particulier du bon sens. Ridiculiser permet autant d’écarter que de souligner, de faire rire que de susciter de la compassion. Semblent se nouer des rapports aux normes, au pouvoir, au sens, à un ordre et à des effets variés, qui, tous, contribuent à installer la richesse registrale et interprétative de l’art médiéval, quel qu’il soit. Le ridicule semble être ainsi le lieu de l’évidence autant que de l’ambiguïté.

Axes de recherche
 
Fabliaux, récits de voyage, chansons de geste, poésies, nouvelles, enluminures, statues, etc. : nombreux sont les supports qui accueillent et fabriquent le ridicule au Moyen Âge. Le corpus est immense. Nous souhaitons travailler selon différents axes afin de cerner progressivement la notion et ses fonctions tout autant que la variété de ses apparitions.

-     Axe 1. Les différents sujets et objets de ridicule 

Il s’agira d’observer les thèmes et les sujets du ridicule afin d’installer l’étude : quelles sont les récurrences et les irrégularités en la matière ? La ridiculisation du clergé et de la scolastique est fréquente dans l’art profane et les genres comiques ; en est-il de même dans d’autres domaines ? Quelles sont les figures ridiculisées et de quoi sont-elles la cible ? L’homme, l’étranger, la femme, le vilain, le chevalier sont autant de personnages typiques fréquemment caricaturés, moqués. Quelle est ainsi la visée de ces peintures grotesques, qui tournent en ridicule leur objet ? 

-     Axe 2. Ridiculiser : mode d’emploi et style(s)

L’examen des différentes manières de ridiculiser, des plus évidentes aux plus subtiles, retiendra l’attention. Le ridicule se limite-il à la parodie ? Quels effets ou quelles figures sont mobilisées pour construire le ridicule ? Les procédés de grossissement, de rétrécissement, de déplacement, d’ironie sont-ils préférentiellement employés dans un genre ou chez un auteur ? Produisent-ils des effets identiques ? 

-     Axe 3. La déconstruction ou le renforcement d’une norme

Interroger le rapport à la norme de manière plus générale en explorant les visées des auteurs permettra de voir s’il s’agit de ridiculiser pour dénoncer, rire, défaire ou refaire un modèle, de manière à comprendre quelles postures sont adoptées et quelles valeurs sont déconstruites. Qu’en est-il par ailleurs du rapport aux genres et aux normes génériques ?
 
-     Axe 4. Non-sens ou bon sens ? 

La question du langage, littéraire ou artistique, pourrait aussi nourrir la réflexion autour du sens. Si le ridiculum dictum chez Plaute peut renvoyer à l’idée de bon mot, peut-on envisager le recours au ridicule comme simple jeu sur le sens ? Le jeu de pouvoir se nouant autour du ridicule amène-t-il à la construction d’un bon sens, autant qu’il permet de révéler les absurdités d’un code ou d’une norme ? 
 
D’autres réflexions pourront bien sûr venir étayer cette étude.

Modalités de participation

Les propositions de communication accompagnées d’un argumentaire d’une dizaine de lignes et d’un bref curriculum vitae sont à envoyer aux organisatrices avant le 20 février 2023.

Raphaëlle LABARRIÈRE, r.labarriere@hotmail.fr

Priscilla MOURGUES, priscilla.mourgues@gmail.com

Le logement et le repas du midi seront financés par l’organisation, les frais de transport seront laissés à la charge des équipes de recherche des participantes.


 
[1] E. Lalou, « Le théâtre médiéval, le tragique et le comique : réflexions sur la définition des genres », dans Tragique et comique liés, dans le théâtre, de l’Antiquité à nos jours (du texte à la mise en scène), Rouen, Publications numériques du CÉRÉdl, 2012, disponible en ligne, URL : <http://ceredi.labos.univ-rouen.fr/public/?le-theatre-medieval-le-tragique-et.html>.
[2] M. Billig, Laughter and Ridicule : Towards a Social Critique of Humour, Londres, Thousand Oaks, New Dehli, SAGE, 2005.
[3] G. Grewell, Rhetoric of ridicule, ProQuest Dissertations Publishing, 2013, disponible en ligne, URL : <https://www.proquest.com/docview/1500846086?parentSessionId=safon260V7ZDX4wQheTQckcsZWknSQf5LZdtVH3L5Z8%3D&pq-origsite=primo&accountid=9671>.
[4] R. Lachmann, Bakhtin and Carnival : Culture as Counter-culture, Center for Humanistic Studies, College of Liberal Arts, University of Minnesota, 1987.
[5] P. Dandrey, Molière Ou L'esthétique Du Ridicule, Paris, Klincksieck, 1992.
[6] On peut par exemple citer P. Lerat, Le ridicule et son expression dans les comédies françaises de Scarron à Molière (thèse dir. R. Lathuillère, Lille, ANRT, 1980, URL : https://excerpts.numilog.com/books/9782307481843.pdf)) et E. Pinon, « Perdican et "la fleur nommée héliotrope" : ridicule et sacré du classicisme au romantisme » (Toulouse, Littératures, 2009, p. 75-86, URL : https://doi.org/10.4000/litteratures.2030))

For a PDF of the call for papers, click here.

For more information: https://plurielles.u-bordeaux-montaigne.fr/manifestation/le-ridicule-a-l-epoque-medievale

Exhibition Closing: Alabaster, Museum Leuven, 14 October 2022 - 26 February 2023

Alabaster

Museum Leuven, Leuven, Belgium

14 October 2022 - 26 February 2023

The Virgin Annunciate, ca. 1340-1360, photo ©2007 RMN musée du Louvre (RMN)/René-Gabriel Ojéda

Alabaster, more luxurious than gold and soft as velvet, was a very popular material in European sculpture. M and the Louvre Museum have teamed to try to show examples of all aspects of the material by using masterpieces from the 14th to the 17th century. Stroll past Gothic retable fragments, Baroque altars, unusual collectibles and gigantic tombstones and be amazed by the possibilities that this unique material offers. 

Both the material and immaterial aspects of alabaster are explained in M’s exhibition. Find out more about the characteristics that made this material so popular, the techniques used and come face-to-face with around 130 masterpieces of alabaster made by the best alabaster artists from the 14th to the 17th century: André Beauneveu, Jean Mone and Conrad Meit (Southern Netherlands), Tilman Riemenschneider (Germany), Jean de Cambrai and Germain Pilon (France), Diego de Siloe and Damien Forment (Spain).

But the story of alabaster does not end with the 17th century. That is why M is also showing contemporary works by the Belgian artist Sofie Muller (b. 1974). Alabaster’s materiality is central in her practice with the roughness of the newly quarried tuber of alabaster contrasting the velvety softness and beauty of the polished end product. Making use of this contradiction, Muller chisels away at a story about the fragility of human psychology.

The final piece of the exhibition comes from M’s collection. It is the 6.5 metre tall St Anne's table, made in 1610 by Robert de Nole for the Celestine convent in Heverlee. There is a multimedia display to help you discover this monumental masterpiece's story.

The collaboration between M and the Louvre is both unique and logical: M has an internationally renowned collection of medieval sculpture and is appreciated far beyond its borders for the expertise it has built up in this field. The Low Countries were of course also an important and leading centre for alabaster sculpture. The sculpture department at the Louvre is, in collaboration with the Laboratoire des Monuments Historiques and Bureau des Recherches Géologiques et Minières carrying out extensive research into the origin of alabaster using isotope analysis.

Curators: Marjan Debaene (M Leuven) and Sophie Jugie (Louvre Museum)

This exhibition is made possible by Louvre Museum and Bank Delen.

For more information: https://www.mleuven.be/en/programme/alabaster

Exhibition Closing: ISLAM IN EUROPE. 1000–1250, Dommuseum Hildesheim, 7 September 2022 - 12 February 2023

ISLAM IN EUROPE. 1000–1250

Dommuseum Hildesheim, Hildesheim, Germany

7 September 2022 - 12 Feburary 2023

Kästchen mit Elfenbeinschnitzereien aus Cuenca, 1026. Burgos, Museo de Burgos, Inv. Nr. 198. © Museo de Burgos

The treasuries of European churches, including the Hildesheim Cathedral Treasury (a UNESCO World Heritage Site), preserve numerous artefacts from regions where the Islamic faith exercised a formative influence. Based on these objects, the grand special exhibition at the Hildesheim Cathedral Museum sheds light on shared achievements and cultural entanglements. With outstanding works on loan from international lenders, including pieces from Florence, London, Paris, and Vienna, it offers visitors a unique opportunity to explore a history that has direct bearing on contemporary concerns.

Córdoba, Palermo, Cairo, and Constantinople were gleaming metropolises where business and trade, the sciences and the arts flourished. Precious rock crystal vessels, silken fabrics, carved ivories, and translations of scientific literature reached Central Europe from areas where Islam was the dominant faith. This migration of objects and transmission of knowledge and technology resulted in an interweaving of cultures. It forged connections across boundaries of creed and language and vast geographical distances, from today’s Iraq and Iran through North Africa and Spain all the way to Central Europe. Preserved in church treasuries, the objects bear witness to how much these diverse cultures had in common in the era between 1000 and 1250.

Contemporary Laboratory

In light of this shared history, the ‘Contemporary Laboratory’ invites visitors to grapple with questions of today’s society and culture. Materials in a range of media, including literature, music, and films, provide in-depth information and encourage playful exploration and reflection. The laboratory also hosts presentations of school projects as well as workshops and special events.

Art education program

Guided tours of the exhibition are offered in Arabic, German, and Turkish. Special art education formats and workshops cater to children and teenagers. The diverse program of special events highlights selected thematic aspects.

Exhibition catalogue

A richly illustrated catalogue (in German) with contributions by renowned scholars written for a general readership will be released by Verlag Schnell & Steiner in conjunction with the exhibition.

For more information: https://www.dommuseum-hildesheim.de/en/content/islam-europe-1000%E2%80%931250

INCIDENT AT HAMLINE UNIVERSITY, FALL 2022 - WINTER 2023 • RELEVANT LINKS COMPILED BY THE ICMA

THE INTERNATIONAL CENTER OF MEDIEVAL ART OFFERS RESOURCES PERTINENT TO THE INCIDENT AT HAMLINE UNIVERSITY, FALL 2022 - WINTER 2023

In fall 2022, a classroom incident at Hamline University became a major topic of discussion in academic circles and the press. The ICMA has compiled a collection of links pertaining to the situation, its aftermath, and its relevance to larger debate.

This can be accessed under the Professional Concerns section of the Resources page or at: https://www.medievalart.org/hamline

Call for Papers: Cultures of Skin: Skin in Literature and Culture, Past, Present, Future (7-8 July 2023, University of Surrey), Due 2 February 2023

Call for Papers

Cultures of Skin: Skin in Literature and Culture, Past, Present, Future

International conference

University of Surrey, UK

7-8 July 2023

Papers Due by 2 February 2023

This conference brings together scholars working on literary and cultural representations of skin, across historical periods and transnational contexts, to create new dialogues on the cultural meanings of skin from the past through to the present day, and consider the current and future state of the field(s) of skin studies.

Building on an earlier set of enquiries that initiated skin studies in the early 2000s – with key works including Claudia Benthien’s Skin: On the Cultural Border Between Self and the World (1999); Sara Ahmed and Jackie Stacey’s Thinking through the Skin (2001); and Steven Connor’s The Book of Skin (2004) – in recent years there has been renewed interest in examining the cultural representations of skin within a variety of cultural texts and media. Scholars have worked across historical and contemporary time periods, engaging with key concepts around identity and embodiment, agency and performativity, temporality and spatiality, and in relation to discourses including of race, class, gender, and sexuality, health and illness. Literary and cultural scholarship has been instrumental in advancing theoretical and methodological approaches to the skin as historically variable and culturally constituted, building up a rich picture of “cultures of skin” from the past to the present day. This represents an exciting moment to consider the state of skin studies now, and to anticipate future directions for the field.

In this conference we seek to establish international dialogue among scholars working on a range of contexts and concepts around the skin, to consider thematic and conceptual avenues as well as methodological and theoretical approaches to the skin. We invite scholars working on literary and cultural representations of skin, from any historical period or national/cultural perspective, to submit abstracts on themes including but by no means limited to:

• skin as text, texts as skin

• skin and/as the self, skin and identity,

• skin texture, porosity, permeability

• skin colour and race

• skin as thing/material object and in relation to the material world

• animal/nonhuman skins

• skin care and cosmetics throughout history

• technologies of the skin, future skin

• skin as a medium of artistic representation/performance

• skin damage and modification – wounding, scarring, tattoos

• skin in relation to health and illness

• the geographies of skin moving through space

• methodological and theoretical approaches to studying and working on skin

• state of the field reflections, the future of skin studies

Abstracts of 250-300 words should be submitted by 2nd February 2023 by emailing culturalskinstudies@gmail.com Decisions will be communicated by early March.

The conference is being planned on a hybrid basis, with in-person attendance at the University of Surrey (Guildford, UK) accompanied by virtual attendance options. We gratefully acknowledge funding support from the British Academy.

For a PDF of the call for papers, click here.

Mary Jaharis Center Lecture: Responding Icons and Miraculous Images? Is There a Theology for Mosaics?, 9 February 2023, 12:00 PM ET

Mary Jaharis Center for Byzantine Art and Culture

Responding Icons and Miraculous Images? Is There a Theology for Mosaics?

Liz James, University of Sussex

Thursday, February 9, 2023 | 12:00 PM EST | Zoom

Mosaic, Church of the Nativity, Bethlehem. Photo: Liz James

The ‘theology of icons’ is well-discussed in Byzantine Studies: the role that religious images played in Byzantine life; the relationships between the icon, the worshipper and the divine; debates about the representation of the divine. How do these ideas play out with mosaics however, which are not easy to understand as live lines of communication with the divine in the same way that icons (when understood as panel paintings) are? How can we think about mosaics as icons, or is this the wrong question?

Liz James is a Professor of Art History at the University of Sussex.

Advance registration required at https://maryjahariscenter.org/events/responding-icons-and-miraculous-images

This lecture is co-sponsored by the Harvard University Standing Committee on Medieval Studies.

Contact Brandie Ratliff (mjcbac@hchc.edu), Director, Mary Jaharis Center for Byzantine Art and Culture with any questions.

Call for Papers, Sessions, and Business Proposals:XI INTERNATIONAL MEDIEVAL MEETING LLEIDA 2023 (26-28 June 2023), Due 31 March 2023

Call for Papers, Sessions, and Business Proposals

XI INTERNATIONAL MEDIEVAL MEETING LLEIDA 2023

26-28 June 2023

Lleida, Spain

Applications Due: 31 March 2023

The 11th International Medieval Meeting Lleida will take place in Lleida from 26th to 28th June 2023. There you will find strands focused in leading aspects of Medieval Studies and the special strand: "Medieval roots of Europe". The Organizing Team of IMMLleida invites you to participate in this new edition.

The International Medieval Meeting Lleida (IMMLleida) is organised and administered by the Consolidated Medieval Studies Research Group. It takes place in Lleida during the last week in June. The participants can present sessions and individual papers on different aspects of research in the history of the Middle Ages or sessions dedicated to the promotion and management of research, the application of new technologies in the Humanities and the promotion of historical heritage. Furthermore, there will be important presentations concerning the publication and dissemination of research in medieval history. These events will take place in the University of Lleida, located in the medieval city of Lleida, where you will be able to enjoy a wide range of cultural and leisure activitites. 

The conference will take place in the Rectorat building of Lleida University. All sessions will be held on the second floor of this building.

SPECIAL STRAND: Medieval roots of Europe

+  18 strands focused in leading aspects of Medieval Studies: 

Archaeology - Art - Borders, Wars and Crusades - Church - Daily Life - Historiography -  Institutions, Law and Government - Islam - Judaism - Literature and Drama-Theatre - Medieval Music - Medievalism - Palaeography and Documentation - Philosophy, Theology and Thought - Political History - Science and Medicine - Social and Economic History - Woman and Gender Studies

Submit your paper, session or business proposal until 31st March 2023

The official programme of the event will appear on the website on April.

We inform you that all sessions will be scheduled during the following times:

Monday 26th June  9:00h - 14:00h

Tuesday 27th June 9:00h - 14:00h

Wednesday 28th 9:00h - 13:00h

Additional activities:

On Monday 26th we will offfer an excursion by coach to an ancient winery. 

On Tuesday 27th we will visit the Museu de Lleida: diocesà i comarcal.

Keynote speakers:      

• Jean-Marie Moeglin (Université Paris-Sorbonne Paris IV), Title to be confirmed                                       

• Diego Quaglioni (Università degli Studi di Trento), Title to be confirmed

For more information: https://www.internationalmedievalmeetinglleida.udl.cat/en/

Colloquium: Imagining the Medieval Society, London Medieval Society, 25 February 2023, 10:00-15:15 GMT/5:00-10:15 ET, Online

London Medieval Society

Imagining the Medieval Society

Saturday 25th February 2023

10:00-15:15 GMT OR 5:00-10:15 ET

VIa Zoom

British Library Add MS 42130, f. 164v

Join the London Medieval Society as we explore cities in the Middle Ages. You can register for this free event via Eventbrite here. The programme of the day is as follows:

10:10 GMT/5:10 ET Virtual Meeting Room Opens

10.20 GMT/5:10 ET Welcome and Introduction

10.30 GMT/5:30 ET Catherine Clarke (IHR) 'Bishop Ralph Baldock Visits Swansea: Creative Microhistory and the Medieval City'

11:15 GMT/6:15 ET Break

11:30 GMT/6:30 ET Keith Lilley (Queen's University Belfast) 'Founding a City, Founding a World: Imagining and Imaging 'New Towns' of the Middle Ages'

12:15 GMT/7:15 ET Lunch

13:15 GMT/8:15 ET Pietro Mocchi (Kent) 'From Gate to Gate: City Life in Late-Medieval Milan and Public History'

14:00 GMT/9:00 ET Christian Liddy (Durham) 'Bayard of Walsall and his Thousand Colts: an English town goes European'

14:45 GMT/9:45 ET Round Table

15:15 GMT/10:15 ET End of Event

Please note you will be sent an email with the Zoom link on the morning of the event.

For more information, www.londonmedievalsociety.com.

Call for Applications: AGBU Artsakh Research Grants, Due 1 March 2023, & AGBU Helen C. Evans Scholarship, Due 1 May 2023

Armenian General Benevolent Union

AGBU Artsakh Research Grants

Deadline 1 March 2023

&

AGBU Helen C. Evans Scholarship

Deadline 1 May 2023

AGBU Artsakh Research Grants

Due to the recent developments in the Armenian reality, promoting the voice of Artsakh and the Armenian people has become a critical and timely issue. We are faced with the urgency to delve deep into the study of Artsakh to widen and increase our collective understanding of the region and its history, and accurately document current events and developments. The goal of these grants is to develop reliable knowledge on the history, culture, and current affairs of Artsakh, by supporting research in fields specializing in, but not limited to, the social sciences and humanities. 

The main objectives include:

• To support significant and innovative research in social, cultural, psychological, economic, technological, humanitarian, and environmental issues of the region’s past, present and future for publication of scholarly or mainstream media articles in a variety of possible venues, and/or production of high-quality videos and podcasts

• To build knowledge and understanding from disciplinary, interdisciplinary and/or cross-sector perspectives

• To increase dissemination and readership of original content by expanding mainstream and scholarly access to a larger pool of primary resources and accurate accountings

• To transfer knowledge with the potential for societal benefit and impact

Projects can be in the form of scholarly or mainstream media articles and/or high-quality videos and podcasts.

Applicants should click HERE to learn more and to apply. Applications are due March 1, 2023.

AGBU Helen C. Evans Scholarship

The AGBU Helen C. Evans Scholarship is intended to honor Helen C. Evans, the Mary and Michael Jaharis Curator of Byzantine Art at The Metropolitan Museum of Art. It was established to recognize exceptional students from around the world pursuing studies in the areas of Armenian art, art history, architecture, and/or early Christianity. Helen C. Evans Scholars are to demonstrate a strong interest in pursuing world-leading research, teaching, dissemination of future work that will help develop the areas of Armenian art, art history, architecture, and/or early Christianity, and related fields. Applicants must be enrolled in full-time graduate degree programs and this scholarship is available for a maximum of three (3) years toward college/university education expenses. This scholarship is open to students of both Armenian and non-Armenian descent.

Applicants should visit the AGBU Scholarship website to learn more and to submit a Pre-Screening Form before being invited to apply.  Applications are due May 1, 2023.

For more information about the Armenian General Benevolent Union: https://agbu.org/

Conference: 2023 Multidisciplinary Graduate Student Conference, Newberry Library, 17-20 January 2023 (Online) and 26-28 January 2023 (In-Person)

2023 Multidisciplinary Graduate Student Conference #NLGrad23

Virtual conference programs: January 17-20, 2023

In-person conference programs: January 26-28, 2023

At the Newberry Library

60 West Walton Street, Chicago, Illinois 60610

Hans Förster, [A part of a sheet of playing cards, printed from a wood block. Vienna: 16th c.(?) (Case Wing ZX 547 .F775)

Our annual graduate student conference is a premier opportunity for emerging scholars to present papers, participate in discussions, and develop collaborations across all fields of medieval, Renaissance, and early modern studies.

Click here to see the full conference schedule, abstracts, and bios for all participants.

ALL-VIRTUAL PRE-CONFERENCE (JANUARY 17-20)

Tuesday, January 17

12:00-1:00pm CST - Virtual Coffee Hour and “Ask Me Anything” with CRS staff (via Zoom)

Featuring: Staff member TBD

Wednesday, January 18

12:00-1:30pm CST - Virtual Workshop : Affect, Agency, Alterity (via Zoom)

Leaders:

Moinak Choudhury (University of Minnesota)

Cassidy Short (University of Illinois, Urbana-Champaign)

Participants:

Hamza Aziz, University of Aberdeen, "Physical and Mental Disturbances: Arabic Influences on Medieval Understanding of Excessive Emotions & Illness "

Stephanie Beauval, University of Illinois, Chicago, "Impression and authority in the treatise of Pierre Nicole"

Jessica Charest, University of Nevada, Reno, "Supernatural Vengeance: Lavinia and Tamora's Transformative Power in Titus Andronicus"

Delanie Dummit, University of California, Davis, "'This Thing of Darkness I Acknowledge Mine': Disability and Labor in Shakespeare's The Tempest"

Matt Farley, Miami University, "Characterizing Doubt Surrounding Death and Dying in Relation to Conceptions of Self in John Donne’s Holy Sonnets and Margaret Edson’s Wit"

Christina Kolias, Claremont Graduate University, "‘Mother of science’ : Reimagining Milton's Eve as an Ecofeminist"

Xuying Liu, University of California, Davis, "Westernizing Confucius: The Jesuits Imagination, Needs and Misconceptions"

Shiva Mainaly, University of Louisville, "Triangulation of Enlightenment, Self-Justification, and Argumentation in Maria Edgeworth’s 'An Essay on the Noble Science of Self-Justification'"

Victoria Myhand, University of Nottingham, "Journey to the Italianate Englishman: How the Italian Language Impacted English Culture in the Early Modern Period"

Guillermo Pupo Pernet, University of Arkansas, "Remapping Orinoco: Joseph Gumilla and Noticia del principio y progresos del establecimiento de las missiones de gentiles (1750)"

Chiara Visentin, Cornell University, "Nations outside the homeland: theorizing an 'external' perspective on medieval ethnic identification"

Thursday, January 19

12:00-1:00pm CST - Virtual Coffee Hour and “Ask Me Anything” with CRS staff (via Zoom)

Featuring: Staff member TBD

Friday, January 20

12:00-1:00pm CST - Virtual Coffee Hour and “Ask Me Anything” with CRS staff (via Zoom)

Featuring: Staff member TBD

REGULAR CONFERENCE SESSIONS (JANUARY 26-28, 2023)

Thursday, January 26

10:00-11:00am - Organizers’ Meeting - Baskes Boardroom

11:00am - Check-in/Registration opens - Ruggles Hall

12:00-1:30pm - Panels 1 and 2

Panel 1: Defining Selves and Others (in person - Baskes Boardroom)

Chair: Juan Fernando León, Northwestern University

Presenters:

Rebeca Ponce Ochoa, University of Kentucky, "Between jurisdictions: bodies, discourses, and female lives in the Viceroyalty of Peru"

Hannah Chambers, Emory University, "Shakespeare’s Dido: Race, Gender, and Absence on the Early Modern Stage"

Rebecca Lowery, University of Pittsburgh, "Artemisia Gentileschi’s La Pittura: A Statement of Self as Court Artist"

Panel 2: Spectacle and Violence (in person - Rettinger Hall)

Chair: Andrea Yang, University of California, Davis

Presenters:

Joshua Gomez-Ortega, University of Illinois, Chicago, "Rebel Rumors and Racial Violence in 17th century Mexico"

Rachel Kathman, University of Wisconsin-Milwaukee, "Punishing the Authors of Their Suffering : Painless Torture and Readers as Spectators in Ooronoko and The Disenchantments of Love"

Melina Rodriguez, University of California, Davis, "Sycorax and Spillers’ Captive Body: Flesh, Blazon, and Dismemberment in The Tempest"

1:30-2:45pm - Interactive Book Session with Newberry collection materials (in person - ITW Seminar Room)

2:45-3:00 - Break/informal mingle

3:00-4:00pm - Meet a Newberrian professional development session (in person - Ruggles Hall)

Featuring: David Weimer, Curator of Maps and Director of the Smith Center for the History of Cartography

4:00-4:30 - Break/informal mingle

4:30-5:30pm - Keynote Conversation (in person; to be recorded for virtual-only participants - Location TBD)

Featuring:

Yasmine Hachimi, Newberry Public Humanities Postdoctoral Fellow

Molly G. Yarn, Newberry Long-Term Fellow

Moderator:

Rebecca L. Fall (Newberry Library)

5:30-7:00pm - Opening Reception (in person - Ruggles Hall)

Friday, January 27

9:00-9:30am - Coffee and light breakfast - Ruggles Hall

9:30-11:00am - Panels 3 and 4

Panel 3: Matters of Emotion (virtual via Zoom - in-person audience may attend in Baskes Boardroom)

Chair: Andrea Yang, University of California, Davis

Presenters:

Nawel Cotez, University of Pittsburgh, "Navigating the Waters in the Carte de Tendre"

Grace LaFrentz, Vanderbilt University, "Spectral Ventriloquists in Shakespeare's Othello"

Angelica Verduci, Case Western Reserve University, "Reading Mors Triumphans as An Allegory of Plague"

Panel 4: Law, Nation, Sovereignty (in person - Rettinger Hall)

Chair: Megan E. Fox, University of Wisconsin-Madison

Presenters:

Eero Arum, UC Berkeley, "Machiavelli Against Sovereignty: The Case of the Decemvirate"

Michael Ray Taylor, University of Aberdeen, "'Ancient Natives': The Liberal Jacobite Defence of Indigenous Society"

Zoë Townsend, University of Arkansas, “'Allosemitism' and Replacement Theology in Spenser’s 'The Faerie Queen'"

11:00-11:30am - Break

11:30am-1:00pm - Panels 5 and 6

Panel 5: Sound and Song (in person - Baskes Boardroom)

Chair: Yibing Bai, Claremont Graduate University

Presenters:

Hillary Loomis, Southern Illinois University, "Waulking the Tweed: Sensory Analysis of Cloth Fulling in 18th Century Scotland"

R.L. Spencer, University of Texas at Austin, "Sounding Death in Marlowe’s Edward II"

Alvise Stefani, Indiana University Bloomington, "Tuning Laughter: The Relationship Between Music and Mockery in Folengo’s Baldus"

Panel 6: (Re)Situating Texts (in person - Rettinger Hall)

Chair: Thelma Trujillo, University of Iowa

Presenters:

Justin Fragalà, Western Michigan University, "La Vie de Saint Brice: Cultural and Societal Adaption of a Saint in Medieval France"

Michael Vaclav, University of Texas at Austin, "Middleton’s Wayward Witches: Macbeth and the Specter of the Overbury Scandal"

Lenora Wannier, Claremont Graduate University, "The Textual Mobility of Cervantes' Don Quixote: A Journey Towards Goethe's Weltliteratur"

1:00-2:00pm - Lunch (in person - Ruggles Hall)

2:00-3:00pm - Meet a Newberrian (in person - Ruggles Hall)

Featuring: Keelin Burke, Director of Fellowships and Academic Programs

3:00-3:30pm - Break

3:30-5:00pm - Panels 7 and 8

Panel 7: Transnational Islam (in person - Baskes Boardroom)

Chair: Juan Fernando León, Northwestern University

Presenters:

Zehra Ilhan, University of California, Davis, "Pre-16th Century Discourse on Muslim Women and Female Youth In Epic Stories of Old Anatolian Turkish"

Joshua Keown, University of Louisville, "Unwelcome Neighbors: Byzantine, Norman, and Muslim Relations in Medieval Sicily"

Rafael David Nieto Bello, The University of Texas at Austin, "Specters of Islam in the Caribbean Gentes Alborotadas: Archival traces of Muslimness in the Spanish Conquest"

Panel 8: Material Cultures (in person - Rettinger Hall)

Chair: Megan E. Fox, University of Wisconsin-Madison

Presenters:

Kristina Kummerer, University of Notre Dame, "Franciscan Liturgy and Book Production in Late Medieval Italy: Dublin, Chester Beatty Library, W211, 213, & 216"

Rose Prendergast, Kent State University, "The Stationers’ Company: Censorship, Copyright, and England’s Transition to the Early Modern Period"

Lucien Sun, University of Chicago, "A Print in Flux: Rethinking the Print of Guan Yu from Khara-Khoto"

Saturday, January 28

9:45-10:15am - Coffee and light breakfast - Ruggles Hall

10:15-11:45am - Panels 9 and 10

Panel 9: Medievalism Weaponized (in person - Baskes Boardroom)

Chair: Thelma Trujillo, University of Iowa

Presenters:

Maggie Hawkins, University of Texas at Austin, "The Perverted Angelcynn: From Alfred’s England to White Nationalism"

Spencer Kunz, University of Chicago, "Medievalism, Historical Misappropriation, and the "Crusader Persona" in 21st Century Christian Nationalism"

Chad White, University of Louisville, "Medieval History in the Military Imagination"

Panel 10: Nature and Mutability (in person - Rettinger Hall)

Chair: Claire Ptaschinski, University of Pittsburgh

Presenters:

Daniel Gettings, University of Warwick, "‘That water is esteemed to bee the best’: The production and impact of drinking water typologies in early modern England"

Summer Lizer, Claremont Graduate University, "'A Pernicious Highth': Verticality and Distortion in Paradise Lost"

Sarah Olson, University of Wisconsin-Madison, “'Spirits to Enforce, Art to Enchant': Ariel as Living Prosthesis in The Tempest"

12:00-1:30pm - Panels 11 and 12

Panel 11: Symbolisms (in person - Baskes Boardroom)

Chair: Anneliese Hardman, University of Illinois, Chicago

Presenters:

Sarah Burt, Saint Louis University, "Transducing, Transforming, and Transposing the Ouroboros in the Middle Ages"

Elisha Hamlin, University of Chicago, “'Eating the Flesh that She Herself Hath Bred': Tamora’s Eucharistic Children in Shakespeare’s Titus Andronicus"

Molly Murphy Adams, Oklahoma State University, "The Pomegranate Entering the Modern Era: From feminine fecundity to projection of royal power"

Panel 12: Sex Unbound (in person - Rettinger Hall)

Chair: Sarah-Gray Lesley, University of Chicago

Presenters:

Sydnee Brown, University of Iowa, "Misremembering Sappho in John Donne’s 'Sappho to Philaenis'”

Siyun Fang, University of Mississippi, "Comparison between Male Writers Writing in A Female Voice in the Tang Dynasty and Medieval Period"

Lauren Van Atta, Miami University, "It’s an Androgyne!: The Unsexed Embryo of Helkiah Crooke’s Mikrokosmographia"

ORGANIZERS

Andrea Yang, University of California-Davis
Sarah-Gray Lesley, University of Chicago
Thelma Trujillo, University of Iowa
Moinak Choudhury, University of Minnesota
Juan Fernando Leon, Northwestern University
Megan E. Fox, University of Wisconsin-Madison
Anneliese Hardman, University of Illinois at Chicago
Claire Ptaschinski, University of Pittsburgh
Yibing Bai, Claremont Graduate University
Cassidy Short, University of Illinois at Urbana-Champaign

REGISTRATION

Registration for the conference is free, but required for all participants and attendees (both virtual and in-person). Some conference sessions are limited to confirmed participants and organizers only.

REGISTER HERE

CFP: Digital Humanities Summer Institute (DHSI) 2023, Conference and Workshop (In-Person and Online), Due 10 February 2023

Call for Papers and Participation

Conference and Workshop

Digital Humanities Summer Institute (DHSI)

A Place for Open Digital Scholarship

5-9 June 2023 (On-Campus) | 12-16 June 2023 (Online)

Deadline: 10 February, 2023

Proposals are now being accepted for presentations at the Digital Humanities Summer Institute (DHSI) 2023 Conference & Colloquium.

Presentations may focus on any topic relating to the digital humanities. Submissions are welcome from all members of the digital humanities community, including faculty, graduate students, undergraduates, early career scholars, independent researchers, librarians and other members of the GLAM community, alt-academics, academic professionals, those in technical programs, and those new to the digital humanities.

The Conference & Colloquium is a relatively informal, collegial venue for sharing work and ideas, and we encourage presenters to think beyond the traditional conference paper format for their presentations and to invite feedback and engagement from the DHSI community.

This year, we are holding this event in a hybrid format, with in-person sessions during the first, in-person week of DHSI (June 5–9) and virtual sessions during the second, online week (June 12–16).

Submissions are welcome in three formats:

Conference Presentations

Presentations should be 10–15 minutes long and will be organized into themed sessions. This format is well suited to presenting research findings, in-depth argumentative papers, or reports on completed research.

Colloquium Lightning Talks

Lightning talks should be up to 5 minutes long and will be organized into themed sessions. This format is well suited to demonstrations of new tools, reporting on in-progress research, announcing new projects and tools, and brief, tightly focused argumentative papers.

Posters

Digital posters will be showcased throughout DHSI in an online exhibit, with an in-person digital poster exhibit for presenters joining us in person. This format is well suited for summarizing research results, showcasing tools and techniques, and sparking further discussion. Multimedia and interactive posters are welcome and encouraged.

Please submit proposals through this online submission form.

The submission form asks for

• the title of the presentation or poster

• whether you would prefer to present your work in-person or online

• the names and emails of all contributors

• a 200–250-word abstract

• a list of 5 keywords describing the presentation or poster

If you are not able to submit your abstract through the form, please email the information listed above to winterc@uvic.ca.

The deadline for submissions is 10 February, 2023.

After the event, we will invite presenters to contribute papers to a special issue of Interdisciplinary Digital Engagements in Arts & Humanities (IDEAH), a peer-reviewed, online, open-access journal founded to showcase the innovative, engaging scholarship shared annually at DHSI.

For more information, contact the DHSI Conference & Colloquium Chair, Caroline Winter (winterc@uvic.ca).

For more information: https://dhsi.org/on-campus-aligned-conferences-events/

CFP: Materiality of Medieval Manuscripts, A Work-in-Progress Workshop, Trinity College Dublin (29 May 2023), DUE 31 January 2023

Call for Papers

Materiality of Medieval Manuscripts

A Work-in-Progress Workshop

Early Irish Hands: The Development of Writing in Early Ireland

Trinity College Dublin, May 29, 2023

Application Deadline: 31 January 2023

Book of Armagh, IE TCD MS 52

The Early Irish Hands project is inviting applications for the first of three Work-In-Progress Workships. This first workshop will address the theme of materiality. Participants are invited to present ongoing research on the intersection of materiality and regionality, dating palaeography, scribal cultures, or transmission. Comparative and transnational approaches are especially encouraged. Proposals (250 words) for 20-minute presentations, along with a short bio, may be sent to Dr Nicole Volmering at vomern@tcd.ie by January 31st. Notifications of acceptance will be sent out by February 17th.

The keynote speaker is Professor Pádraig Ó Macháin (UCC).

For a PDF of the call for papers, click here.

For more information on the SFI-IRC Pathway project “Early Irish Hands: The Development of Writing in Early Ireland,” click here.

Access to the Index of Medieval Art Database Will Become Free on July 1, 2023!

Free Access to

The Index of Medieval Art Database

Beginning

July 1, 2023!

BL MS. Add. 11695, fol. 86r

The Index of Medieval Art is very pleased to announce that as of July 1, 2023, a paid subscription will no longer be required for access to the Index database. This transition was made possible by a generous grant from the Samuel H. Kress Foundation and the support of the Index’s parent department of Art & Archaeology at Princeton University.

When an online database of Index records was first launched in the 1990s, it was as a subscription service; only those affiliated with a subscribing institution or willing to pay for a subscription of their own could access the full online records. An opportunity to rethink this model arose in 2017, when our shift to a new, non-commercial database platform lowered costs enough that, with careful budget management, the subscription fees could be progressively reduced. In 2023, bridge funding from the Kress Foundation will allow us to eliminate fees entirely, giving researchers at all levels full access to the Index database at no cost, and ensuing support from the Department of Art & Archaeology will allow us to make this transition permanent. We express our deepest thanks to both the Kress Foundation and our department for their support of this initiative.

We look forward to working with the wide range of new researchers who will gain access to our resources, and in the coming months we will offer several online training sessions to introduce the database to those who may be unfamiliar with it. The schedule and signups for these will be publicized on this blog and through the Index social media accounts. Index staff also remain available at all times for researcher questions via our online form at https://ima.princeton.edu/research-inquiries/.

Exhibition: Text and Image in Southern Asia, Cleveland Museum of Art, 26 August 2022 to 05 March 2023

Exhibition

Text and Image in Southern Asia

Friday 26 August 2022 to Sunday 05 March 2023

Gallery 242B, Cleveland Museum of Art

11150 EAST BOULEVARD, CLEVELAND, OH 44106

FREE GENERAL ADMISSION

Transfer of the Embryo (detail), folio 13 recto from a Kalpa-sutra, 1465. Northern India, Uttar Pradesh, Jaunpur. Gum tempera, ink, and gold on paper; sheet: 11.7 x 29.5 cm. The Cleveland Museum of Art, On Loan from the Catherine and Ralph Benkaim Collection, 17.2014.a

The Cleveland Museum of Art is home to a collection of illuminated Buddhist and Jain manuscript pages, many of which were recently identified and dated by Phyllis Granoff, Lex Hixon Professor Emerita of World Religions at Yale University. This exhibition is dedicated to her work for the museum and is in celebration of her recent retirement. On view are palm-leaf manuscript pages reunited after having been separated, many with colophons providing new information about when and for whom they were made. The installation includes Buddhist manuscripts from the 1100s and shows the development of Jain manuscript painting from the 1200s to 1500s, alongside paintings of how they were used and vintage photographs of sites where they were kept. Small-scale sculptures in stone and gold from the same regions and periods are three-dimensional versions of imagery painted in miniature on the manuscript pages. Illuminated with narrative scenes, depictions of monks, donors, celestials, and enlightened or liberated beings, the exquisite works from India, Sri Lanka, Nepal, and Myanmar (Burma) reveal a surprising diversity of literary sources. The exhibition explores the relationship between the images and the content of the text, adding to a broader understanding of medieval South Asian manuscripts.

Artworks included in the exhibit can be seen here.

For more information: https://www.clevelandart.org/exhibitions/text-and-image-in-southern-asia

"Medieval Indian Manuscripts and the Stories They Tell", Phyllis Granoff, THE DR. RANAJIT K. DATTA DISTINGUISHED LECTURE IN INDIAN ART, Cleveland Museum of Art, 29 January 2023 2:00 PM ET

THE DR. RANAJIT K. DATTA DISTINGUISHED LECTURE IN INDIAN ART

Medieval Indian Manuscripts and the Stories They Tell

Phyllis Granoff

Lex Hixon Professor Emerita of Religious Studies at Yale University  

Sunday, January 29, 2023, 2:00 pm ET

Gartner Auditorium, Cleveland Museum of Art

Sudhana and a Parrot: folio 20 (recto) (detail), from a Gandavyuha-sutra (Scripture of the Supreme Array), 1000–1100s. Nepal. Gum tempera and ink on palm leaf; average: 4.2 x 52.4 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1955.49.1.a

The Cleveland Museum of Art has an important collection of Buddhist and Jain manuscripts, some of which are being shown for the first time in the exhibition Text and Image in Southern Asia (August 26, 2022–March 5, 2023). This lecture explores the stories these manuscripts and others like them tell us about the religious, social, and economic worlds of their origin. 

Who had these manuscripts made and why? How and of what were they made? How were they used and stored? How were they valued, as sacred texts to be worshiped or works of art? To study these manuscripts is a continuing process of asking questions, and in this talk Dr. Granoff shares her journey for these answers. 

Phyllis Granoff received her PhD from Harvard University in the Departments of Fine Arts and Sanskrit and Indian Studies. After teaching at McMaster University in Hamilton, Ontario, for many years, she moved to Yale University, where she was the Lex Hixon Professor of World Religions. She has written extensively on premodern Indian art, literature, and philosophy and has translated modern stories from Bengali and Oriya.

The annual Dr. Ranajit K. Datta Lecture brings nationally and internationally recognized experts in the fields of art history and archaeology to discuss new scholarship, museum exhibitions, and archaeological discoveries in Indian art.

The annual Dr. Ranajit K. Datta Lecture is made possible through the Dr. Ranajit K. Datta in Memory of Kiran P. and S. C. Datta Endowment Fund.    

Tickets can be purchased online.

For more information, https://www.clevelandart.org/events/lectures/medieval-indian-manuscripts-and-stories-they-tell