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RSA Dublin 2021 Calls for Papers
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This blog is a space for RSA members to post calls for papers and lightning talks for sessions in all disciplines to be held at RSA Dublin 2021. Papers could be solicited for a traditional panel or a seminar session which will have pre-circulated papers.

To post a CfP, log in to your RSA and select "Add New Post" at the top of this page. Make sure to include the organizer's name, email address, and a deadline for proposals. The session organizer is responsible for uploading the finalized proposal to the RSA Dublin 2021 submission site.

The general submission deadline for RSA Dublin 2021 is 15 August 2020. For more details on the submission process, see the Submission Guidelines page.

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 and Architecture  Art History  History  Italian Renaissance Art  Book History  Italian Literature  English Literature  Women and Gender  Comparative Literature  Medicine and Science  Visual Studies  Classical Tradition  Philosophy  Performing Arts and Theater  Humanism  Material Culture  Neo-Latin Literature  Religious Studies  Digital Humanities  Legal and Political Thought  Literature  Rhetoric  Religion  Associate Organizations  French Literature  Hispanic Literature  history of science  Italy  Jesuits  Material Studies 

‘Caught in the act’: the representation of action in early modern portraiture

Posted By Marije Osnabrugge, 16 minutes ago

Early modern portraiture, far from being a clearly defined and static genre, is characterized by a progressive departure from strictly descriptive modes of representation. The portrait comes to life through the person’s dress, posture, and facial expression and by the setting and objects that surround them, as well as by its use, agency and performative qualities. As such, the depicted person’s action(s) and ‘acting’ (visual performance) are not limited to physical movement, but might imply a variety of other elements as well.

The increased significance of action is reflected in theoretical writings and humanist inquiries about the notion of self. From the fifteenth century onwards, the parameters that define persona, behavior and appearance underwent continuous scrutiny and were the object of fierce debate. The human self came to be understood as a versatile being, assuming different roles according to the specific context of performance. Looking at action in portraiture – whether drawn, painted, engraved, sculpted or written - allows us to grasp both the apparent as well as underlying structures of the early modern concept of selfhood.

In this panel, we would like to explore the notion of ‘action’ with regard to early modern portraiture in Europe. What does action mean and how does it affect the visual representation, the artistic practice of artists working in this genre, and the portrait’s reception?

Possible subjects include, but are not limited to:

  • the representation of a person's actions
  • the role of the background of portraits for action and narrative
  • the relation between materiality of the artwork and the suggestion of movement
  • hybridity of genres and/or subject-matters (portrait historié, allegorical portrait, tournament or masquerade portraits etc.) 
  • examples of the agency of portraits 
  • parallels between visual and literary portraits 
  • the interaction between word and image (emblematic portraiture and impresa), and how it generates movement and action in portraiture
  • engravings, paintings and sculpture of illustrious men, group portraits (guilds, military group etc.) as representing 'men and women of action'
  • the concept of motion and immobility in early modern portraiture
    practical guidelines

Please submit proposals to Angela Benza (angela.benza@unige.ch), Nicolas Bock (Nicolas.Bock@unil.ch) and Marije Osnabrugge (marije.osnabrugge@unige.ch ) by 10 August 2020.

They should include:
- a paper title (max. 15 words)
- an abstract (max. 150 words)
- relevant keywords
- a brief CV (max. one page, including your full name, affiliation, email address, and degree completion date, past or expected)

 Attached Files:

Tags:  Art History  French art  Italian Renaissance Art  Netherlandish art  portraiture  Spanish art 

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Rubrics and Rubrication in Medieval and Early Modern Book Cultures

Posted By Jane F. Raisch, 18 hours ago

Despite the fact that rubrication is one of the most visible textual components on printed and manuscript pages - from ancient Egypt to the Islamic world - it remains one of the most undertheorized. Scholarly attention in recent decades has focussed on the many ways in which paratexts organize and convey information, especially how the margins afford a space in which the authority of the text is displaced and decentred. But current theories of authorship and of book history find it difficult to account for the textual power of rubrication, frequently seen as the sole-purview of medieval manuscripts. This panel will seek to correct this oversight by inviting papers on questions of rubrication and rubrics across late medieval and early modern books. Unlike the paratext, the rubric is often situated prominently within the body of the text, and yet clearly remains distinct from it. Standing apart from such authoriality, the rubric nonetheless profoundly inflects the reader’s encounter with the text in ways that have yet to be fully understood. This panel aims to deepen our understanding through an interdisciplinary and cross-disciplinary exploration of rubrication from diverse cultural traditions.


Papers might explore:


  • The ways in which rubrics transition between manuscript and print

  • The rubric as title, and its role in attributing the text to a particular author

  • The changes in rubrication across multiple copies of the same text

  • Editing rubrics (in or from medieval/early modern texts)

  • Writing rubrics, and authorial rubrication

  • Reading rubrics, and the role of the reader

  • Rubrication and religious texts/confessional identities and rubrication

  • Sacred texts and the uses of red

  • Technical processes of rubrication across manuscript and print; scribal practices in the age of print; methods and processes of printing in red

  • How ornamental rubrication inflects the printed text 

  • Rubricated marginalia 

  • Rubrication and epigraphy/ rubrication and philology/ rubrication and scholarly practice 

Please email a 300-word proposals and a short CV to Dr Jane Raisch (jane.raisch@york.ac.uk) and Dr K P Clarke (kp.clarke@york.ac.uk) by August 12, 2020.

Tags:  Antiquarianism  Art History  Book History  Classical Tradition  Collecting  Comparative Literature  Education  English Literature  European literature  History of Technology  Material Culture  Materials and Materiality  pedagogy 

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Witchcraft and Demonology in the Art of Early Modern Europe

Posted By Hannah Segrave, Sunday, July 12, 2020

The visual language of witchcraft, developing in conjunction with the witch hunts in early modern Europe, has been considerably studied in the past three decades. As scholars have often noted, these images speak simultaneously to the artistic and the demonological. These works of art not only were inspired by or responded to cultural and legal notions but also served to shape understandings of both magical and artistic practices and practitioners. Not unlike the heterogeneity of witchcraft beliefs themselves, the images were varied and aimed for diverse purposes, from didactic and moral functions to entertainment and pure expressions of artistic fantasia


This panel invites papers that investigate how artists tackled ideas relating to witchcraft and demonology ca. 1400–1700, and what meanings viewers might have gleaned from these images. We aim to bring together scholars to discuss the role and signification of these images in order to delve into the range of the rhetorical power, artistic experimentation, and complex iconographies of this captivating subject matter.


Possible topics include, but are certainly not limited to:

- The role of artworks of witchcraft in artists’ careers 

- Visual language of witchcraft and its transmission throughout Europe

- Representations of unspecified or literary witches (mythology, the Bible, epic poems, etc.)

- Witchcraft imagery and demonology

- The devilish, the monstrous, and the fantastic 

- Patronage and collecting of witchcraft artworks

- Social, historical, cultural, artistic, and intellectual contexts of an image of witchcraft


Proposals must include:

- Paper title (15-word max) 

- Abstract (150-word max)

- Full name, current affiliation, and contact details

-  C.V. (up to 5 pages) 


Please submit proposals to Hannah Segrave (hsegrave@udel.edu) and Guy Tal (guy1tal1@hotmail.com) by August 10.


Tags:  Art and Architecture  Art History  Demonology  Magic  Witchcraft 

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Renaissance Bergamo: At the Edge of the Venetian Terraferma

Posted By Emanuela Vai, Friday, July 10, 2020

Present day Bergamo is bifurcated into an  upper and lower portion of the city by the Venetian walls, built in 1561-1623 to discourage Milanese northward expansion, as well as to limit contraband trade. Bergamo was one of the most important of the strong points fortified by the Venetian state in the sixteenth century, through its position at the end of the chain in acting as the true shield of all the other cities, as one of its officials described. Resting among the foothills of the Bergamasque Alps, it lies a mere twenty-five miles northeast of the Spanish duchy of Milan. Under Venetian rule, Bergamo was the westernmost fortress town of the Venetian Republic’s terraferma empire. In addition to the Milan/Venice border, Bergamo sat at an important crossroads between the Venetian Republic, German lands north of the Alps, and other Italian city states. This begs the question, why is a location such as Bergamo, crucial as both an interregional communication point between the Venetian Republic and other parts of the Italian peninsula, largely side-lined in Renaissance and Early Modern studies?

 

Recent studies in Renaissance geopolitics have highlighted the important strategic role of liminal cities and their function in wider socio-political landscapes. To this end, this CFP invites paper proposals for a series of interdisciplinary panels from scholars working in musicology, art history, cultural history, book history and material and visual culture studies looking at Bergamo at the dawn of the early modern period. The aim is to rethink and reassess critical perspectives within Venetian Studies from the analysis of the Venetian state’s borders, with a view to an edited collection on the subject.

 

Topics could include/address, but are not limited to:

 

-   Architectural languages

-   Codicology

-   Confraternity studies

-   Education studies

-   Mediation and circulation of music

-   New technologies and historical research

-   Practices of patronage, collecting and selling art

-   Regionalism, mobility and cultural exchanges

-   War history

-   Women’s studies

 

As per RSA guidelines, proposals should be submitted in English and should include:

 

-   Paper title (15-word max)

-   Full name, current affiliation, and email address

-   Keywords (4 max)

-   Abstract (150-word max)

-   Short bio (150 words)

-   Short CV (2-page max)

 

Please send your proposal to Emanuela Vai (Worcester College, Oxford) and Jason Rosenholtz-Witt (Northwestern University, Chicago) by Wednesday, 5 August 2020:

emanuela.vai@worc.ox.ac.uk  

jasonkrw@gmail.com


Tags:  Art and Architecture  Art History  Book History  Italian Renaissance Art  Italy  lay brotherhoods  lay sisterhoods  Music  Religious Studies  Renaissance Architecture  Urban Studies  Veneto  Visual Studies 

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Experiencing Death in Early Modern Italy

Posted By Ariana Ellis, Thursday, July 9, 2020
Updated: Thursday, July 9, 2020

Death saturates early modern Italian culture, from Dance of Death artwork and religious scripture to elaborate execution processions and the scaffold literature they inspired. But what did it mean to experience death? How did it look, sound, and feel? Where did the boundaries between life and death truly lie?

 

This panel is seeking papers that explore what it meant to experience death in Italy at any point during the early modern period. Analytical perspectives including: the senses, the emotions, philosophy, memorial culture, death culture, and art history are all welcome.

 

Please send proposals to the organizer (ariana.ellis@mail.utoronto.ca) by July 27th. Paper proposals must include:

 

·      Abstract (150 word maximum)

·      Paper title (15 word maximum)

·      Full name, current affiliation, and email address

·      CV (.pdf or .doc; 5 page maximum)

·      Date of PhD or terminal degree completion

       (past or expected)

 

Selected applicants will be notified as soon as possible. Please note- you must renew or activate an RSA membership to participate in the conference.

Tags:  Art and Architecture  Art History  death and gender  Death studies  Digital Humanities  emotional history  Florence  Italian Literature  Italian Renaissance Art  Italy  Memory Studies  Performing Arts and Theater  Philosophy  Sensory history  Sound studies  Urban Studies  Venice 

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Early Modern Privacy?

Posted By Mette B. Bruun, Wednesday, July 8, 2020
Updated: Wednesday, July 8, 2020

Organizer: Centre for Privacy Studies, University of Copenhagen (www.teol.ku.dk/privacy)

 

Privacy is hardly a hallmark of Early Modern life. Rooms are crammed; beds are shared; doors are open; letters are copied; gossip runs wild; church and state survey the movements and mores of their subjects. Nonetheless, thresholds and boundaries do exist – be they material or immaterial ­– and they delineate spaces with regulated access, thus creating spaces with a particular potential for solitude, intimacy or a life without civic obligations.

In this panel, we will explore the terminologies, characteristics and ambience that pertain to Early Modern spaces of privacy. Perhaps such spaces are associated with terms related to ‘privacy’ or ‘the private’, and then it becomes a question how to identify the historical meaning of such terms. Perhaps such spaces are associated with emotions, activities or statuses that we think of as private or related to privacy, and it becomes a question how to avoid anachronism when dealing with them.

This panel is dedicated to spaces of privacy that are admired in poetry, explored in fiction, defined in legislation, identified in architectural plans, qualified in devotional treatises, represented in artworks, moulded in sermons or indicated in political theory. We are interested in spaces of privacy as they are built, furnished, adorned, portrayed, used, imagined, cultivated, restricted, protected, accessed, feared or lauded in the Early Modern period, and we are looking forward to learning more about scholarly approaches that enable us to grasp the complexities and historical particularities of such spaces.

To apply:

Please upload an abstract (150 words), a CV (3-5 pp) and, if relevant, a request for a travel bursary via this formhttps://teol.ku.dk/privacy/join-us/call-for-publications/panel-for-the-renaissance-society-of-america-conference-in-dublin-2021/panel/

Deadline 10 August

 

If you have questions, please contact Mette Birkedal Bruun, Professor of Church History at the University of Copenhagen and director of the Centre for Privacy Studies: mbb@teol.ku.dk

The speakers whose proposal are accepted will be expected to engage in a dialogue to enhance the cohesion of the panel.

 

Please note: Speakers must become RSA members by 1 November

Tags:  Art and Architecture  Art History  Book History  Closet Drama  Daily Life  Diaries  English Literature  Gardens  Italian Literature  Legal and Political Thought  Neo-Latin Literature  piety  poetics  Renaissance Architecture  sexuality  social history  Visual Studies  Women and Gender 

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Theatres of Knowledge: On the Theatricalisation of Scientific Practices

Posted By Oscar Seip, Tuesday, July 7, 2020

Studying the intertwined history of the theatre and the sciences is crucial to understand the development of different styles and strategies that developed during the Early Modern Period for the discovery and presentation of knowledge. Indeed, previous scholarship has studied the importance of the locality of the theatre to understand how scientific practitioners acquired and disseminated knowledge. While this has focused on the anatomy theatre, its impact beyond the field of medicine has received relatively little consideration. In this panel, we explore the anatomy theatre in relation to a broader vision of the world as a theatre.

Bringing together case studies from various contexts allows us to explore our main question of how the anatomy theatre relates to a hypothesised radical shift towards the theatricalisation of scientific practices. Did it lead to a new genre of printed works? Was it a new tool and practice of observing the world? Were these observations recorded and transmitted in a new and unique way?  How is the theatre different from contemporary metaphors such as the mirror and the book of nature? How does the theatre relate to the concepts of performance and spectacle? In other words, is there a distinctly theatrical style and strategy for the discovery and presentation of knowledge?

Our aim is to compare case studies of the theatre’s use across different periods (from the Early Modern period to the Enlightenment), fields of science or subjects (e.g. geography, medicine, architecture, mathematics), and different kinds of knowledge (practical or theoretical) and the different styles and strategies that they employ to represent this knowledge (figural/pictorial or abstract and textual). Particular attention will be given in this to the translation from the (imaginative) mental and physical space of the theatre to the space of the page.

We invite speakers (including junior scholars) from literary studies as well as intellectual history and history of science to submit papers. Proposals for 20-minute papers (no more than 150 words), together with a short CV should be sent to seip@biblhertz.it by 31 July 2020. Please do not hesitate to get in touch with any questions.

 

Tags:  Art and Architecture  Art History  Book History  Digital Humanities  Dissection  English Literature  European literature  History  History of Medicine  History of Science  Humanism  Italian Literature  Italian Renaissance Art  Material Culture  Medicine and Science  Neo-Latin Literature  Performing Arts and Theater  Renaissance  Visual Studies 

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Transmedial Techniques

Posted By Michael J. Waters, Monday, July 6, 2020
This session seeks to explore the historical significance of techniques of design and facture that crossed media and materials. It aims to develop a new interpretative framework for the study of Renaissance art and architecture that challenges the conceptual boundaries between building/object and image/representation; hierarchies of minor versus high art and original versus copy; and oppositions of structure and ornament. We invite object-based studies that consider how certain techniques, such as (im)printing, inscription, and engraving, enabled or modeled effects of transformation that engaged simultaneously form and material. We also invite theoretical considerations of the potentially discursive or self-reflexive nature of such techniques. The session ultimately aims to consider how the study of techniques—from specific physical operations and craft practices to broadly defined cultural techniques—may provide an understanding of transmediality as a conceptual model for related acts of transfer and translation that cross linguistic, cultural, and geographic boundaries. In other words, can a theory of transmedial techniques move beyond traditional disciplinary categories to offer new interpretations of Renaissance artisanal, artistic, and architectural culture?

Please submit proposals to Michael J. Waters (mw3114@columbia.edu) and Kathryn B. Moore (kathryn.moore@uconn.edu) by August 10th.  All proposals must include a paper title, abstract (150-word maximum), and curriculum vitae (no longer than 5 pages).

Tags:  Art History  Art Theory  Facture  Materiality  Media  Transmediality 

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The Sixteenth- and Seventeenth-Century Courtier and the Formation of Modern Identity

Posted By Armando Maggi, Sunday, July 5, 2020
Updated: Sunday, July 5, 2020

The literature on the concept of 'courtier' in early-modern Europe is vast but also conventional. This session aims at revisiting this key concept by analyzing it diachronically, that is by bringing to the fore the essential elements that deviated from its hypothetical perfection. This session welcomes papers from French, Italian, Portuguese, and Spanish colleagues whose work may enlighten our understanding of the 'courtier' as a quintessential reflection of the dynamic reflection on the nature of self-understanding vis-à-vis its social, external challenges and interactions. Papers on classic authors such as Baltasar Gracián, Castiglione or Torquato Accetto are welcome, but contributions on much less familiar texts such as the Portuguese Corte na aldeia are especially welcome. Analyses of visual representations are welcome as well.

Interested panelists must send the following material: title, abstract (150 words) and updated C.V. to Prof. Armando Maggi (amaggi@uchicago.edu) no later than AUGUST 10.

Tags:  Art History  Baltasar Gracián  Baroque culture  Castiglione  French Literature  Italian literature  Italian Renaissance Art  Portuguese Literature  Spanish literature  the courtier  Torquato Accetto 

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PLAGUES IN EARLY-MODERN EUROPE

Posted By Armando Maggi, Sunday, July 5, 2020
Updated: Sunday, July 5, 2020

This session investigates the concept/phenomenon of 'plague' in early-modern Europe also to enlighten our contemporary experience of Covid-19. Its scope is intentionally broad. We don't merely aim to collect a series of visual representations or descriptive analyses of fictional narratives concerning plagues (Decameron, etc.). Our interest lies also, and primarily, in papers that investigate the cultural, artistic, and social repercussions brought about by plagues, and also the medical reflections specifically dedicated to the symptoms and treatments of this infectious disease. How did European culture see and theorize the phenomenon of the plague in its multiple manifestations? What did 'infection' mean? What role did the plague play in the European consciousness? How did medical treatises describe the evolution of the disease in its most devastating and visible effects? Did the plagues play any role in shaping the early-modern philosophical consciousness? How did the plagues affect early-modern religious sensibility?

Interested panelists must send the following material: title, abstract (150 words) and updated C.V. no later than AUGUST 10 to Prof. Armando Maggi (amaggi@uchicago.edu).

 Attached Thumbnails:

Tags:  art history  Baroque  bubonic plague  European history  European literature  Religious Studies  renaissance medicine 

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Materials of the Body – Materials of the Painting

Posted By Maria F. Hansen, Thursday, July 2, 2020

Ideas of correspondences between the substances of the human body, the materials of the earth and cosmos can be traced back to ancient philosophy. In the early modern period, these affinities blurred the lines between doctors, alchemists and artists, who shared a capacity to expose, transform or improve matter. These parallels contributed to numerous analogical representations within the visual arts, where the practices and materials of the artist were associated with living matter and the creative forces of nature and life.

This panel addresses this exchange as it took place before modern scientific distinctions between objective explanations and artistic interpretations of the world and its materials. This also entails a collapse of any sharp distinction between organic and inorganic matter, which we instead invite to be seen as perceptually entangled. Recent developments in the understanding of the human body, matter and its embeddedness in the world strengthens the relevance of exploring these themes in the early modern period.

We welcome papers that explore the interpretations of materials and their consequence within visual culture. What were the intersections between representations used by artists and scientists? How did the exchange between alchemy, medical science and art take place? Can a historical perspective on art and science and a critical focus on the exchange between the disciplines shed new light on singular artworks or artists? Topics might include alchemical or scientific imagery; intersections between cosmetics and painting; alchemical and artistic practices; history and the understanding of paint and pigments; medical illustrations; artistic materials’ association with the body and its organs; artist’s handling of stone (painted marble, artificial grottoes, decorative art, etc).

Interested participants should send a paper title, abstract (150 words max), a short CV, and A/V requirements to the session organizers Maria Fabricius Hansen at mfhansen@hum.ku.dk, Signe Havsteen at signehavsteen@hum.ku.dk, and Lejla Mrgan at lejla@hum.ku.dk. All presenters must register for the Annual Renaissance Society of America Meeting. The deadline for submission of materials to this panel is July 29, 2020.

Tags:  Art and Architecture  Art History  Bodies  Cosmetics and Painting  Dissection  History of Science  Italian Renaissance Art  Magic  Materials and Materiality  Medicine and Science  Philosophy 

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Landscape and Italian Renaissance Books of Poetry

Posted By Jakub Koguciuk, Wednesday, July 1, 2020

This panel aims to bring a rarely considered set of material to the study of landscape : Renaissance books of poetry. The rise of independent landscape painting is a classic subject in the study of Renaissance art. The development of pictorial naturalism and single-point perspective, among others, led to vivid evocations of the visual world. In contrast, historians of the book such as Sachiko Kusukawa explore how books of the period engage with knowledge of nature in innovative ways. Italian poets of the period created new literary forms of conceptualizing nature: from experiments in the dolce stil novo to the revival of ancient pastoral. All of these forms of literature were presented to readers in the form of books.

This panel invites scholars working at the intersection of book history, literary studies and the history of art. Examples of “landscapes” featured in Renaissance books include but are not limited to full-page images such as frontispieces, designs in the margins, maps, city views, emblematic images and other figural representations of nature. We are also interested in how potential and imagined landscapes interact with the materiality of the book. Potential papers may focus on manuscripts as well as printed books within the long period of 1300 to 1600. We welcome all approaches to landscape, from studies rooted in the visual, the verbal and the codicological, as well as considerations rooted in environmental humanities and ecocriticism.

Interested participants should send a title, abstract of 250 words (with relevant images) and a CV to Zoe Langer, NEH Postdoctoral Fellow - The Digital Piranesi, Irvin Department of Rare Books and Special Collections, University of South Carolina (zlanger@mailbox.sc.edu) and Jakub Koguciuk (jakub.koguciuk@aya.yale.edu) by July 21st, 2020.

Tags:  Art and Architecture  Art History  Book History  Comparative Literature  Italian Literature  Italian Renaissance Art  Italy  Visual Studies 

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Women Worth Remembering: Female Models from Antiquity in the Visual Arts, c. 1350-c. 1650

Posted By Claudia Daniotti, Wednesday, July 1, 2020

Renaissance Society of America Annual Meeting

Dublin, 7-10 April 2021

Antiquity has long offered a repository of exemplary models to look at, stories of notable figures whose lives and deeds provided examples of good or bad moral behaviour, and therefore guidance as to what emulate or avoid. This is particularly true in the late medieval to the Renaissance and early modern period, when attention was first drawn to Famous Women – rather than to Illustrious Men alone – and a flourishing visual tradition established around them, stemming from Boccaccio’s De mulieribus claris and Christine de Pizan’s Livre de la Cité des Dames. Figures as different as Penthesilea, Cleopatra, Lucretia, and Judith, among others, came to play particularly potent roles in European art from the mid-14th to the mid-17th century; their stories featured in a vast and varied corpus of paintings, manuscript and book illustrations, sculptures, tapestries, and a number of decorative objects in domestic interiors such as marriage chests and maiolica.

This panel seeks to explore the impact that these models from antiquity had on the developing notion of female identity between the late Middle Ages and the early modern period. It also aims to investigate more extensively the related iconographic tradition which, despite several recent scholarly publications and exhibitions, remains unevenly explored.

Proposals are invited to discuss examples of the visual reception of Famous Women in European art from c. 1350 to c. 1650, and to assess the kind of contribution these figures made to the formation of female identity in the period. While the panel focuses chiefly on figures from Greco-Roman myth and history, contributions on Famous Women from the Hebrew and Christian tradition (e.g., Biblical heroines and saints and martyrs) are also welcome. Paper topics might include but are not limited to: the visual tradition connected to collections of lives of women and educational treatises (e.g., Boccaccio, Christine de Pizan, Eustache Deschamps, Jacopo Filippo Foresti); case studies of medieval and Renaissance appropriations of Famous Women; the querelle des femmes; virtues and vices exemplified by representations of Famous Women.

Please submit proposals to Claudia Daniotti (Claudia.Daniotti@warwick.ac.uk) by 2 August 2020. They should include a paper title (max. 15 words), an abstract (max. 150 words), relevant keywords, a brief CV (max. one page, including your full name, affiliation, email address, and degree completion date, past or expected), and an indication of any audio/visual requirements you may have.

Tags:  Art and Architecture  Art History  Classical Tradition  Humanism  Italian Renaissance Art  Visual Studies  Women and Gender 

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Gardens and Academies in Early Modern Europe

Posted By Denis Ribouillault, Tuesday, June 30, 2020

The objective of this session or series of sessions is to explore the place and role of gardens in early modern academies. Although research on academies has expanded considerably in recent decades (Vagenheim et al., 2008), little has been written about the places where they met, including gardens, with the possible exception of the Bosco Parrasio in Rome (Grant, 2018). How did an academy choose its setting and why? How have literary and scientific activities and debates influenced the architectural, artistic and/or horticultural qualities of the chosen venue? In other words, can the iconography of gardens be linked to academic activities?  What role, for example, did the memory of Plato's Academy and Greek academies in general play in the development of early modern gardens (Ribouillault, 2018)? These questions demand that the garden be considered as a place of performance and require a multidisciplinary and intermedial approach. Articles on the use of gardens in scientific academies are particularly welcome.

Katrina Grant, «The Bosco Parrasio as a Site of Pleasure and of Sadness», Histoire culturelle de l'Europe 3 (2018) ; URL : http://www.unicaen.fr/mrsh/hce/index.php?id=1254

Denis Ribouillault, « Hortus academicus : les académies de la renaissance et le jardin », in Des jardins et des livres, Michael Jakob (ed.), Geneva: Mètis Press, 2018, p. 23-34 ; URL : http://hdl.handle.net/1866/23258

Ginette Vagenheim et al. (eds), Les Académies dans l’Europe humaniste. Idéaux et pratiques, Geneva: Droz, 2008.

Proposals of no more than 300 words with a title and a short bio (300 words max.) should be sent to ginette.vagenheim@univ-rouen.fr and denis.ribouillault@umontreal.ca before July, 31, 2020. Please indicate « RSA 2021 » in the subject line.

 Attached Thumbnails:

Tags:  Art and Architecture  Art History  Gardens  History of Science  History of Technology  Humanism  Italian Renaissance Art  Literature  Renaissance Architecture  social history  Villa 

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Emblem Studies

Posted By Tamar Cholcman, Friday, June 26, 2020

Call for Papers

Discipline of Emblems
Renaissance Society of America 2021
Dublin
7–10 April 2021

The Discipline of Emblem Studies invites papers and panels for its sessions at the annual meeting (which may be on site or virtual). We may submit up to four panels. We invite papers and panels on any subject appropriate to our discipline and especially welcome those that address the following:

  • New perspectives on the origins of emblems
  • The whole is greater than the sum of its parts: Exceptions to the tripartite emblem
  • Emblems of the Unknown: Utopia and the New World
  • Emblems and the Republic of Letters
  • Emblems and Cosmology
  • New perspective on emblem books
  • Practice and theory of emblem digitization.
  • Jesuit emblems (in memory of G. Richard Dimler)

Panels must be organized by a current member of the Renaissance Society of America. Panels should ordinarily include no more than three presenters.

Please submit the following:

  • A session title no longer than 15 words;
  • 150 word abstract for description of the panel;
  • 150 word abstract for each of its papers;
  • 300 word curriculum vitae for each presenter, including full name, affiliation, and email address;
  • any audiovisual requirements;
  • session keywords.

Papers may be submitted by anyone. Graduate students should be doctoral candidates (post prelims).

Please submit the following in a single Word document:

  • 150 word abstract of the paper;
  • 300 word curriculum vitae, including full name, affiliation, and email address;
  • any audiovisual requirements;
  • paper keywords.

Send all materials to Tamar Cholcman (cholcman@tauex.tau.ac.il). The deadline for submissions is 31 July 2020. Decisions on submissions will be sent out at least one week before the RSA submission deadline of 15 August 2020.

All participants in the Dublin conference (on site or virtual) must be members of the Renaissance Society of America.

Please note: RSA rules allow a participant to present only one paper.

Tags:  Art History  Book History  Cultural Networks  Digital Humanities  Discipline Representatives  Emblem  Emblems  Humanism  Jesuits  Literature  Neo-Latin Literature  Print  Visual Studies 

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