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RSA 2020 Philadelphia Calls for Papers
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This blog is for CfPs for sessions in all disciplines to be held at RSA 2020 Philadelphia. Members may post CfPs here: sign in to RSA and select "add new post" to do so. Your post should include a title, and the CfP itself should be no longer than 250 words. Adding tags (key words) to your post will help others find your CfP. Make sure the CfP includes the organizer's name, email address or mail-to link for email address, and a deadline for proposals. Non-members may email to post a CfP. Please use the email address of the session organizer posted in the CfP to submit a paper proposal. CfPs are posted in order of receipt, with the newest postings appearing at the top of the blog. Members may subscribe to the blog to be notified when new CfPs are posted: click on the word Subscribe next to the green checkmark above.


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Top tags: art history  material culture  Literature  Early modern Europe  women  Global Renaissance  early modern art  gender  intellectual history  book history  historiography  Italian art  Religious Studies  print culture  early modern literature  Materiality  Interdisciplinary Studies  Renaissance  Baroque  Counter-Reformation  digital humanities  philosophy  poetry  Renaissance art  17th Century Spain  asia  Global Art  history of scholarship  History of Science  Italian literature 

Overlooked Makers and Hidden Histories in Arts and Material Culture of Northern Europe

Posted By Nicole E. Cook, 3 hours ago
Updated: 2 hours ago

Panel Organizers: Elisabeth Berry Drago, Ph.D., Director of Research and Content Development, Please Touch Museum

Nicole Elizabeth Cook, Ph.D., Coordinator for Academic Partnerships, Philadelphia Museum of Art

Archives and other historical records allude to a multiplicity of people involved in art and artisanal production in Northern Europe during the early modern era. Artistic guilds were grounded in, and tended to ingrain, a general bias toward relatively expensive artworks made by formally educated, well-established white men working under patronage or for the professional market. In practice, studios depended on the artistic labor and contributions of wives, sons and daughters, and employed, apprenticed, indentured, or enslaved assistants and servants. Meanwhile, fluid boundaries between concepts of “professional” vs. “amateur” artists allowed women and other societally disadvantaged individuals to study, make, and circulate art and decorative arts along alternate nodes and networks, even if their names are now lost or unfamiliar. In our modern era, favoritism toward famous artists and canonized masterworks lingers in the academy and in the museum. This panel seeks scholars working to surface overlooked makers and hidden histories of art from Northern Europe, ca. 1400-1750, broadly conceived. Some examples of topics might include (but are in no way limited to):

  • Women artists and artisans of professional, amateur, or otherwise defined (or ill-defined) status
  • Artists and artisans of color of professional, amateur, or otherwise defined (or ill-defined) status
  • Artists and artisans working under Northern European colonial control
  • Arts production by members of religious minority groups
  • Economically disadvantaged/marginal artists, artisans, and other makers involved in proto-factory levels of production, and/or the working conditions of these makers
  • Historiographies and reception histories of marginalization, such as the deattribution and/or reattribution of work by women artists, or the continuing disparity between the art market value and consequent research support for “master artists” compared with that for works traditionally associated with disadvantaged and overlooked artists and artisans

To propose a paper, please send a paper title (15-word maximum), an abstract (150-word maximum), curriculum vitae (no longer than 5 pages; please include date of PhD expected or completed), and full name, current affiliation, and email address by Friday August 2 to: (and)

Tags:  Art History  Attribution  Early Modern Art  Gender  Interdisciplinary Studies  Labor  Material Culture  Race  Women 


Ill-Behaved Women in the Italian Renaissance

Posted By Victoria G. Fanti, 8 hours ago
Updated: 7 hours ago
"Well-behaved women seldom make history:" so goes the popular saying, first penned by the historian Laurel Thatcher Ulrich in the 1970s. Although Ulrich has more recently argued that well-behaved women should make history, rule-breaking women retain a powerful allure in history and modernity alike.
This panel proposes an exploration of ill-behaved women in the Italian Renaissance, crossing disciplines like literature, art, the history of medicine and science, law, and beyond. Potential avenues of inquiry might include (but are not limited to): 
- How did rule-breaking women present themselves (or, self-fashion) through literature, art, etc.? 
- How were representations of such women--historical or fictional--crafted, and how were they received? 
- What conditions fostered praise or condemnation? 
- What justifications were provided for their rule-breaking?  
- How did medicine, science, and legal processes discuss women's deviant behavior? 
- How did depictions of women's bad behavior intersect with factors like nationality, race, rank, or age?
Please submit (1) a 150-word abstract with a paper title (15 words max.), (2) up to 4 possible key words, and (3) a CV with Ph.D. completion date to by Aug 1, 2019.

This post has not been tagged.


(Mis)Reading the Past: Medieval and Renaissance Political Terms and their Modern Meaning

Posted By Andrea Polegato, 9 hours ago
Updated: 9 hours ago

Political terms such as democracy, freedom, government, liberty, people, power, prudence, state, sovereignty, virtue, etc. have a long history and, for this reason, look quite familiar to the modern eye.  

However, when we turn our attention to Medieval and Renaissance sources, the use of these terms appears to be different from how they are used today. Indeed, one of the greatest challenges for a scholar is to be able to accurately describe these terms employed in a premodern context without projecting on them the modern meaning they have assumed. How much does this difference affect our ability to understand those sources and establish a productive dialogue with them?   

This panel is therefore open to any contribution that presents concrete examples of such a challenge and difference. In particular, we welcome contributions that analyze: 

  1. The use of a political term in a Medieval or Renaissance source compared with its usage today; 

  2. Examples of a misreading of a premodern source or author caused by the projection of modern political terms on a premodern context; 

  3. The evolution and change in meaning of a specific political term from the Middle Ages and/or Renaissance to today;  

  4. The originality in the use of a particular political term in a premodern author compared with his/her contemporaries.  

While contributions must be in English, they can focus on any literary genre (e.g., political treatises, comedy, poetry, letters, etc.), any field (political science, literature, philosophy, art, etc.), and any Medieval or Renaissance source and author from any part of Europe. Contributions on the Italian Middle Ages and Renaissance are particularly welcome. 

Please send a proposal and following info to Dr. Andrea Polegato, by August 11th, 2019: 

i) paper title (15-word maximum) 

ii) abstract text (150-word maximum) 

iii) curriculum vitae (.pdf or .doc upload) 

iv) PhD completion date (past or expected) 

v) full name, current affiliation, and email address

vi) a/v requests

* All submissions to the RSA Annual Meeting must consist of new material that has not been published or presented in alternative venues or formats. 

**Applicants will hear whether their paper proposal fits in this panel by August 14th. The proposed session will be then evaluated for final approval by the RSA Program Committee.

Tags:  Art History  British literature  Early modern Europe  early modern Spain  French literature  German literature  Italy  literature  philosophy  political thought  Renaissance painting 


Né buone, né finte o false: Fakes, Fabrication and Imitation in Early Modern Dress

Posted By Michele N. Robinson, 13 hours ago

Traditionally, historians of dress have argued that those at the lower end of the social hierarchy did not independently engage in fashion, but rather sought to imitate the clothing and style of the elite.

And there was indeed the appropriation of fabrics, garments, trims and accessories normally ascribed to the wealthy by the lower social orders, hence part of the need for sumptuary laws. But people were not just looking up for fashion inspiration; they also looked across social groups, cities, regions and even to distant continents where they found new fibres, textiles, colours, production methods and styles of garments. Goods from afar were imported into different European cities for local consumption, but there were also attempts to replicate or imitate foreign materials, fabrics and finishes. These attempts often resulted in new and novel products, which spurred revisions to sumptuary laws and the need to stipulate that some items, regardless of whether they were 'good or feigned or fake', were intended to be off limits to all but a few.

This panel seeks studies of the use and function of fakes, fabrications and imitation in dress and fashion in the early modern world (c. 1500-1700). Papers that consider non-elite dress practices are especially encouraged, as are those by late-stage PhD students and early career researchers. Submissions may consider some of the following questions:

·      What role did imitation and/or appropriation play in terms of how, where, when and by whom trends were circulated throughout and beyond neighbourhoods, cities, rural areas, regions and continents in the early modern world?

·      What were the social, cultural, financial and/or political motivations behind mimicking the dress of others, whether from different social groups, cities or regions?

·      How did the desire to reproduce the look and feel of imported textiles/dyes/materials or to replicate the results of foreign production practices shape local dress and fashion?

·    What new and novel products, techniques or dress concepts emerged through attempts to imitate or make substitutions for more costly or difficult to obtain goods?

·      How did sumptuary laws, guild regulations and other types of rules and legislation encourage or deter fakes and imitations in relation to the production of textiles, garments and accessories?

·     What were the social perceptions of 'fakes' (i.e. precious metals, gems, luxury textiles, colorants) and how did these perceptions inform their use in clothing and accessories?

·      How can replicas and reconstructions of early modern textiles, dyes, garments, trims and other components of dress support academic research?

If you wish to apply, please send the following items to Michele Robinson ( by 9 August 2019:

·      Paper title (15-word maximum)

·      Abstract (150-word maximum)

·      Curriculum vitae (.pdf or .doc upload, no longer than 5 pages)

·      Phd completion date (past or expected)

·      Full name, current affiliation, and email address

Tags:  Art History  dress  Early Modern Europe  early-modern fashion  fabrication  fakes  gender  imitation  material culture  reconstruction  social history  sumptuary law 

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Classical Origins of Renaissance Aesthetics

Posted By Caroline G. Stark, 15 hours ago

Classical Origins of Renaissance Aesthetics

As an Associate Organization of the Renaissance Society of America, the Society for Early Modern Classical Reception (SEMCR) welcomes proposals for papers to be delivered at the 2020 meeting of the Renaissance Society of America in Philadelphia, PA. For one of its panels, SEMCR invites abstracts on the reception of classical theories of poetics and aesthetic experience in Renaissance art and music.

Plato’s and Aristotle’s theories of mimesis, Horace’s Ars Poetica, and “Longinus”’s sublime have long dominated discussions of early modern aesthetics. Scholars have also sought to trace the influence of other, less explicitly didactic texts in defining the origin and value of art and the aesthetic experience in the Renaissance. Paul Barolsky, for example, has argued that Ovid's Metamorphoses lies at the heart of Renaissance aesthetics, whether in the story of Pygmalion bringing art to life or, conversely, Medusa's petrifaction of the living as competing metaphors for sculpture. Barolsky likewise sees Ovidian transformation behind Michelangelo’s “non finito” and in the depiction of Botticelli’s Chloris becoming Flora in the Primavera. Wendy Heller has explored the ways in which Monteverdi and Busenello’s groundbreaking opera L’incoronazione di Poppea draws upon and challenges Tacitus’ methods of historiography. More recently, Sarah Blake McHam has argued for the pervasive influence of Pliny’s Natural History and its emphasis on life-like “naturalism” from Petrarch to Caravaggio and Poussin.

Building on these and other studies that move beyond questions of classical influence on the subject matter of Renaissance texts, this panel seeks papers that explore the strategies through which visual artists and musicians draw on classical aesthetics and the extent to which these hidden roots underlie Renaissance theory and practice.

The Society is committed to creating a congenial and collaborative forum for the infusion of new ideas into classics and early modern studies, and hence welcomes abstracts that are exploratory in nature as well as abstracts of latter-stage research.

Abstracts of no more than 150 words and a short CV of no more than 300 words should be sent as separate email attachments to (see the RSA's abstract guidelines and CV guidelines and models). The abstracts will be judged anonymously: please do not identify yourself in any way on the abstract page. Proposals must be received by August 1, 2019.

Please include in the body of the email:

• your name, affiliation, email address
• your paper title (15-word maximum)
• relevant keywords

Tags:  aesthetics  classical reception  Metamorphoses  Ovid  poetics 

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Homer in the Renaissance

Posted By Caroline G. Stark, 16 hours ago
Updated: 16 hours ago

Homer in the Renaissance

As an Associate Organization of the Renaissance Society of America, the Society for Early Modern Classical Reception (SEMCR) invites proposals for papers to be delivered at the 2020 meeting of the Renaissance Society of America in Philadelphia, PA. For one of its panels, SEMCR invites abstracts on the reception of Homer in all its manifestations in the early modern world.

The last fifteen years have seen an explosion in studies of the scholarly and creative reception of Homer in the Renaissance. Work by scholars including Marc Bizer, Tania Demetriou, Philip Ford, Filippomaria Pontani, and Jessica Wolfe--to name but a few--has illuminated the manuscript and print transmission of the Homeric texts and revealed the enormous range of contexts in which Homer was put to use and the immense variety of artistic, cultural, political, philosophical, and theological issues the Homeric poems were used to explore. Today it is possible to investigate questions in Homeric reception that would have been difficult to ask, let alone answer, fifteen years ago.

Proposals may address (but are not limited to) the transmission, translation, or book history of the Homeric texts; the commentary tradition; artistic, literary, or musical responses to Homer; political, philosophical, or scientific uses of Homer. We welcome the consideration of topics including the perspectives Homeric reception provides on Renaissance philology, knowledge of Greek or of oral composition, or the reconfiguration of literary or cultural histories; the discovery of Homer as a source of innovation or inspiration in a wide range of genres and media, or as an alternative to the authority of Latin poets or Roman culture; the geographical, political, or religious factors that influenced Homeric reception in different areas or communities, and the myriad uses to which the Homeric poems were put to explore those factors; the ways in which digital technologies might influence our understanding of Homer’s Renaissance reception.

The Society is committed to creating a congenial and collaborative forum for the infusion of new ideas into classics and early modern studies, and hence welcome abstracts that are exploratory in nature as well as abstracts of latter-stage research. Above all, we aim to show how the field of early modern classical reception can bear on a wide range of literary and cultural study, and to dispel the notion of an intimidating barrier to entry.

Abstracts of no more than 150 words and a short CV of no more than 300 words should be sent as an email attachment to (see the RSA's abstract guidelines). The abstracts will be judged anonymously: please do not identify yourself in any way on the abstract page. Proposals must be received by August 1, 2019.

Please include in the body of the email:
• your name, affiliation, email address
• your paper title (15-word maximum)
• relevant keywords


Tags:  classical reception  Homer  Iliad  Odyssey 

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Kinetic Images in the Early Modern World

Posted By Morgan Ng, Sunday, July 14, 2019

With great ingenuity, early modern artists and craftsmen contrived images that could swing and slide and spin, or that closed and opened up to stimulate a range of sensory and affective responses. They delighted in such artworks, which derived meaning and visual power from their dynamic operations and physical reconfigurations. Among such objects were figurative panels on furnishings or architectonic devices such as doors; moving altarpieces and reliquaries; interactive elements in books and manuscripts; pictures and sculptures set into motion by complex machinery; visual instruments manipulated in artists’ workshops; even games and toys.

 This session invites papers that consider such kinetic artworks, executed in any medium between roughly 1300 and 1600, from across Europe and its wider colonial networks. Contributions may draw upon archival and literary sources, or recent restorations that shed new light on the mechanisms underlying these objects’ movements. They may even make use of animated visualizations that display these artworks in action.

For consideration, please submit a proposal by Friday, August 9 to Antonella Chiodo (, Sophia D'Addio (, and Morgan Ng ( with:

  • Your paper title (15 words max) and abstract (150 words max)
  • Your current affiliation and Ph.D. completion date (past or expected)
  • A brief c.v. (300 words max, in list rather than narrative form)
  • A list of key words (8 max)

Tags:  games  History of Technology  material culture  Materiality  Renaissance art  technical art history 


Rethinking the Italian South within the Spanish World

Posted By Francesco Freddolini, Friday, July 12, 2019

The arts, as well as the visual and material culture of the southern Italian Peninsula and the islands of Sardinia and Sicily were strongly tied to the Spanish Empire, being those regions under Spanish rule for two centuries. Traditional art historiography has frequently limited its scope to the Mediterranean when addressing the mobility of artists and objects, and the migration of typologies and stylistic features. Consequently, the main interpretive discourses have privileged exchanges with Spain, or have often adopted a center-periphery narrative in relation to major centers of Italy. More recently, new research initiatives, such as Michael Cole’s and Alessandra Russo’s “Spanish Italy and the Iberian Americas,” have opened new avenues for interpreting the complex visual geography of the Spanish World.

This session aims to discuss Southern Italy within a more entangled network of global exchanges, in particular within the context of the global Spanish Empire. Decorative patterns, visual vocabularies, iconographies, stylistic choices, as well as materials adopted, especially during the long 17th century, were often in dialogue with or responding to the Spanish World’s artistic production and material culture.

We seek papers that explore case studies or propose theoretical approaches to the multifold dialogues between art in Southern Italy and the Spanish territories on a global scale. We are particularly interested in papers that analyze cities and regions of the Italian Viceroyalties beyond Naples. We believe that especially smaller—and less-studied—centers hold great potential to develop productive historiographical approaches: How does a re-thinking of these areas along the lines of global circulations within the Spanish Empire helps us develop new conceptual frameworks and appropriate vocabularies to describe objects outside an outdated pattern of center-periphery? Which dialogues, as well conflicts, can emerge from the comparison of Southern Italian identities and those of other Spanish territories across the globe? How does such a methodological approach help us better explore Southern Italy within a context of global connections, circulations, and exchanges? By shifting the focus from Italy and Spain (as a geographical entities) to the Spanish Empire, we aim to re-think geo-political networks of interaction beyond the early modern Italian peninsula and the Mediterranean basin, discussing Southern Italian art as part and parcel of a connective cultural tissue traversing the entire Spanish Empire.


Please send a 150-word abstract, a title (15 words max.), and a one-page CV to Fernando Loffredo ( and Francesco Freddolini ( by August 2, 2019.

Tags:  Art History  Global Connections  Sardinia  Sicily  Souther Italy  Spanish Empire 

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Contradictions, Double-Speak, (Mis)Representation, and Backtracking: Navigating Authorial Incongruity in Early Modern Literature

Posted By Ani Govjian, Thursday, July 11, 2019

Contradictions, uncertainties, and multiplicities in thinking arise often in communication, but they can be problematic for some readings and interpretations of texts by scholars and early modern interlocutors. They may also be sites of contemporary and early modern conflict and debate. Additionally, apparent contradictions can take the form of misrepresentations, word play, misunderstandings, or other confusions. But how does one distinguish between these instances? How did early modern thinkers themselves perceive contradictory thinking? What bearing do approaches to contradiction have on the work we produce?

This panel seeks papers engaging in the following questions: To what extent are authorial inconsistencies and contradictions evidence of cognitive dissonance? Slippage in terms? Lacunae in thought or text? Contextual distinctions? Examples of these abound in discussions of natural philosophy, poetics, political polemic, and antitheatricality, as well as in works from post-reformation writers to writers parodizing or satirizing accepted thought. How should scholars approach these apparent discrepancies? Are there temporal and editorial considerations -- as in changes across multiple reprints or editions -- in play? Speaking of play, when is a contradiction intentional? When is a contradiction indicative of a shift in thinking rather than a lapse? In what ways might it add to the work in question? Can an eye towards material culture help parse seeming conflict? Are there particular characteristics in these discrepancies that can illuminate features of early modern thinking more broadly?

Submissions should consider approaches to deciding how to read such variation, what criteria to use when privileging certain information, or how best to allow contradictory information to co-exist within their arguments.

Papers should be 20 minutes in length.

Please submit a short abstract (200 words at most), CV (1 page) including your academic status and affiliation, and any A/V requirements to Ani Govjian ( and Morgan Souza ( by Friday, August 9. Subject line: “RSA – Navigating Authorial Incongruity.”

Tags:  books  Early modern England  Early modern Europe  early modern literature  intellectual history  Literature  print culture  Renaissance 

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Imagining Social Virtues in Medieval and Early Modern England (Sponsored Session)

Posted By Lindsey Larre, Thursday, July 11, 2019
Updated: Thursday, July 11, 2019

Sponsored by the Center for Medieval and Renaissance Studies at Duke University, this session aims to explore both transformations and continuities in conceptions of human virtue across the divide of the English Reformation. In recent years, scholarly works examining a diverse array of topics—such as tensions between Christian and Pagan conceptions of “the good,” shifting artistic representations of virtues and vices from charity to hypocrisy, and historical studies of models of virtue disseminated through (for example) the conduct literature tradition in England—reveal renewed critical interest in tracing the transformation or survival of communal virtues in medieval and Early Modern contexts. Building off this interdisciplinary work, this panel is interested in looking closely at social virtues, broadly defined, in sacred and secular contexts; through a variety of disciplinary lenses and theoretical modes; and with an eye toward virtues understood not only as individual or personal qualities, but as communal, active, iterative, and inherently relational. 


In addition to examining closely the cross-Reformational trajectory of conceptions of various virtues in both the popular and the learned imagination, we welcome panelists to consider the following strands of inquiry: What makes a virtue social and communal, and how does this shape who counts as “virtuous”? How might we think about gaps between virtues in theory and in practice—the nebulous space between imagining goodness and actually living well—in the medieval and early modern world? What happens to traditional conceptions of virtues in a doctrinal context in which faith alone, and not works, is given precedence? How might shifting political realities and ideologies manifest in representations and discussions of what constitutes individual “goodness” and social goods? How did medieval and early modern English people understand the relationship between virtue and hypocrisy? Between personal virtue and communal practice? Between classical and Christian conceptions of virtue?


We welcome submissions that think broadly about these questions in a variety of disciplines and in both medieval and early modern contexts; we are especially interested in papers that work across the disciplinary boundary between medieval and early modern studies.  

Potential topics that might be addressed include (but are not limited to):

  -  Explorations of individual virtues in literature, drama, art, etc.

  -  Theological and/or philosophical treatments of virtue

  -  Gender and virtue

  -  Historical studies of virtues (such as charity) as social policy

  -  Continental influences on and interactions with English models of virtue

  -  Exemplary figures and exemplarity

  - Virtue and/as social status

  -  Resistance to models of virtue, or “anti-virtues”


To submit a proposal, please e-mail a paper title, 150-word abstract, a brief C.V., any A/V needs, and current contact information to Lindsey Larre ( and Grace Hamman ( no later than AUGUST 07, 2019. Please note that as per RSA guidelines, potential presenters must be members in good standing with the RSA at the time of the conference, and (doctoral students) must be within two years of defending the dissertation. We sincerely thank all applicants for their submissions. 

Tags:  art history  England  Humanism  interdiscplinary  Literature  medieval  philosophy  religion  social history  theater  theology 


Early Modern Iberian Subjectivities

Posted By Loreto Romero, Thursday, July 11, 2019
Updated: 2 hours ago

The codification of subjectivity has traditionally been attributed to René Descartes and, thereby, connected to modernity, denying the possibility of a pre-Cartesian subject. Nevertheless, the Cartesian articulation of subjectivity has been relentlessly questioned and undermined by thinkers from Nietzsche to postmodern theorists, who opened the path to approach premodern and early modern subjectivity from a variety of perspectives that call the attention to the mutable, embodied, gendered and discursive nature of human subjects. Subjectivity, pointed George Mariscal in his groundbreaking Contradictory Subjects, ‘denotes a complex an unresolved problematic that has alerted us to the limitations of traditional concepts of the “individual” or “self” even as it reminds us that any attempt to revise the idea of the “subject” will produce a number of contradictory meanings according to the disciplinary frame being used; in some significant contemporary discourses its very existence has been denied’ (2). In Hispanic studies since Mariscal, the problematic around the constitution of the self and individual identity has been discussed in a varied number of works that deal with the inner struggles of early modern Spanish subjects. 

This panel aims to further explore the encoding of subjectivity in sixteenth and seventeenth-century Iberian texts. We look for papers that discuss the numerous, diffused, oscillating and, sometimes, conflicted voices inscribed in the different layers of meaning discernable in early modern Iberian written works. Proposed papers may also interrogate the ways in which a reconceptualization of the subject challenges our inherited notion of modernity, the connection between subjectivity and the reception of texts in early modernity or the shape and sharpening of the self in literary texts against a historical background in which social groups and discourses compete with each other.

Please send your proposals to Loreto Romero ( by 12 August 2019. Proposals must include a title (15-word max), an abstract (150-word max), keywords (8 max) and a brief CV. 

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Sidney Circle at the RSA (2000)

Posted By Robert E. Stillman, Wednesday, July 10, 2019

CFP: Sidney Circle at the RSA (Philadelphia, 2020)

(Deadline: 1 August 2019)

The International Sidney Association plans to sponsor four sessions at the 66th Annual Meeting of the Renaissance Society of America in Philadelphia. We invite papers on any and all topics related to Philip Sidney, Mary Sidney Herbert, Lady Mary Wroth, the Sidney Family or the Sidney Circle generally.  That Circle is conceived broadly, and hence we would welcome papers not only about Fulke Greville, Samuel Daniel, and William Herbert,  but also papers about Alberico Gentili,  Veronica Franco, Vittoria Colonna, George Buchanan, Philippe Duplessis-Mornay, Giordano Bruno, Justus Lipsius, and any number of figures in the Circle’s large cosmopolitan network.

We would be particularly happy to receive paper proposals on (but not limited to) the following topics:

--The Sidneys and Modes/Genres of Fiction

--The Sidneys and the Psalms

-- Women Writers of the Sidney Circle

--Sidney Studies and Literary Studies in the Apocalypse, or the Humanities-in-Crisis (Again)

Proposals should include an abstract (no longer than 150 words), a brief academic C.V. (not longer than 300 words), and a series of key-words that suit the presentation.  Indicate too whether you will require A.V. equipment for the presentation.

Please email your proposals to Robert Stillman ( by 1 August 2019.


Tags:  gender  genre  psalms  Sidney  women writers  Wroth 

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Sequestration and the City: Confinement, Exclusion, Enclosure

Posted By Jessica A. Stevenson Stewart, Tuesday, July 9, 2019
Updated: Wednesday, July 10, 2019

Netherlandish cities were places of connectivity, and yet these cosmopolitan capitals also celebrated their fortified enclosures, established foreign-merchant enclaves, and imprisoned suspect strangers. While scholarship in the wake of mobility studies and entangled histories has significantly complicated our understanding of the global flow of people, goods, and ideas, it has often overlooked the social and spatial barriers that constrained movement within early modern cities. For even though cities functioned as networks, they also instituted division, separation, and exclusion.

Focusing on Northern Europe, this session explores the spatial and representational means by which certain persons and groups were separated from the urban life around them, either voluntarily or involuntarily. We ask how the city constructed zones or sites of separation, and how the immobility of some interacted with the mobility of others. Such spaces may have been constructed by and for an individual, by civic authorities, or by groups formed with the intent of exclusivity. The confinement may be a form of punishment, as in the prisoner, heretic, or exile, a means of quarantine, as in the leper or plague victim, a welcome and self-imposed withdrawal, as in the individual in a “closet” or study, or an ethical detachment, as in religious retreat behind walls or within cloisters. In some cases, urban configurations hid the excluded and isolated; in others, their presence was known and even advertised. We welcome papers that consider these issues from a comparative perspective, examining significant connections between Netherlandish cities and other metropolises.

What architecture, rituals, and representations kept the excluded bodies present and acknowledged in the urban psyche? How does the exclusion of some mark civic identity for others? How did the interior and exterior architecture of particular buildings signal belonging and enforce social separation? What forms of material culture accompanied the separated individual and were those objects part of what marked the person as apart from normative civic culture? How were seclusion and sequestration valued? What historical philosophies informed early modern conceptualizations of exclusion, isolation, and confinement, and what contemporary theories provide frameworks for understanding these processes and experiences?

Please send abstracts (150-word length) with title (15-word maximum), keywords, and a brief curriculum vitae by August 1, 2019 to Elizabeth Honig at and Jessica Stewart at

Tags:  Art History  Exclusion  Immobility  Material Culture  Urban History 

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Michelangelo Buonarroti: Intersections in Art and Historiography

Posted By Angeliki Pollali, Tuesday, July 9, 2019

Michelangelo Buonarroti is the Italian Renaissance universal man par excellence: he worked as a painter, sculptor, and architect. Whether we subscribe or not to the historiographical construct of the universal artist, Michelangelo did engage with all three of Vasari’s arti. However, while Michelangelo remains one of the most extensively studied artists of the Italian Renaissance, intersections in his art have comparatively received less attention. Relative scholarship has focused primarily on specific projects, which inherently combine different media, such as the New Sacristy in San Lorenzo. This session proposes to examine in greater depth intersections in Michelangelo’s art across media, including drawing. Papers that include painted and/or drawn architecture, as opposed to only built architecture, are particularly welcome. The session also aims to explore intersections regarding methodological approaches of the different arti. In what ways does the discussion of Michelangelo’s architecture differ from that of painting and/or sculpture? Does the separation of different media simply reflect our modern specializations in the histories of painting, sculpture, and architecture? To what extend does the analysis of different media differ and/or converge and in what ways?

Please submit the following information to Angeliki Pollali, Associate Professor, Deree-The American College of Greece (, by August 3, 2019:

·         Name and affiliation

·         Paper Title (max. 15 words)

·         Abstract (max. 150 words)

·         CV (max. 2 pages)

NOTE: Presenters must (per RSA rules) be within two years of completing their PhD (and present on their dissertation) or have a completed PhD. Speakers must be or become RSA members by November 1st to speak at the conference.

Tags:  artistic media  historiography  history of architecture  history of art  Michelangelo 

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Early Modern Resilience and Resistance (Guaranteed Session)

Posted By Christina M. Squitieri, Monday, July 8, 2019

Early Modern Resilience and Resistance: Deadline July 29th, 2019

How does early modern literature, art, or historical documents portray the resilience of women, religious minorities, queer people, or other marginalized groups in times of crisis? What strength or power is found in resilience? Is resilience similar to #resist, the experience of domestic or sexual violence, or #metoo? How can we understand resilience within feminist criticism, critical race theory, post-colonialism, queer theory, or other methodologies? How does resilience change our reading (or performance) of a text, and can we begin to theorize the way resilience functions in the early modern world? All texts from the early modern world and all methodologies welcome, while research from outside England is especially encouraged.

This session is sponsored by the NYU Renaissance Group, and is a guaranteed session.

Please submit 150-word abstracts, a CV of no more than 5 pages, and your PhD completion date (past or expected) to by Friday, July 29th, 2019.

As a reminder, graduate students must be within a year or two of completing their PhD in order to meet RSA eligibility requirements

Tags:  art  drama  early modern  literature  minorities  religion  renaissance  resilience  resistance  women 

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