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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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The “Musical” Language of Painting

Posted By Barbara Swanson, Monday, June 1, 2020
Updated: Wednesday, June 3, 2020

In recent years, both art historians and musicologists have intensified their consideration of relations between Early Modern painting and music from a variety of perspectives. With respect to painting, these perspectives encompass the artist’s embodied practice, from the demonstration of virtuosity to that of improvisation; the character of the artist’s mark-making at the moment of execution and as a trace that lingers on the image after that; aspects of compositional structure and iconography that represent musical harmony, whether literally or figuratively, among other musical themes; and the codification of all these possibilities in contemporary treatises and related texts. Even so, scholars have devoted relatively little attention to the details of language embedded in the textual discourse through which these relations were articulated during the period.

This session will explore how musically informed discourse, and especially key words and phrases, are evocatively marshalled to animate, clarify, and capture the act and essence of painting. Which words and phrases are commonly—or uncommonly—employed to evoke painterly practice? Under what circumstances are they invoked and/or invented? What constitutes their critical fortune during the Early Modern period?

Proposals for papers taking up these questions, ideally with a key word or phrase at the centre of a trenchant analysis, are warmly welcomed. Please email your proposal, including abstract (maximum 150 words), CV (per RSA guidelines), and note indicating audio-visual equipment requirements, to Leslie Korrick (korrick@yorku.ca) and Barbara Swanson (bswanson@dal.ca) by July 24, 2020.

This session is sponsored by the Centre for Reformation and Renaissance Studies (CRRS) at Victoria University in the University of Toronto.

Tags:  Art and Architecture  Art History  Music 

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Call for Submissions: The Renaissance Uncanny

Posted By Sherry C. Lindquist, Sunday, May 31, 2020
Updated: Wednesday, June 3, 2020

The theory of the “uncanny,” first proposed in the early twentieth century by Ernst Jentsch and Sigmund Freud, identifies the unsettling feeling that arises when one suspects something that appears to be knowable and familiar is instead unnatural, mysterious, supernatural. Jacques Lacan noted that something is labeled "uncanny," because it confuses "bad from good, pleasure from displeasure," and arouses anxiety. More recently the “uncanny” has become the basis for ongoing studies in robotics, CGI (Computer Generated Imagery), and neuroscience, which indicate that simulated humans seeming at once too real and not real enough fall into the “uncanny valley,” prompting a neurological reaction of revulsion or horror.

This session proposes that Renaissance artists intuitively exploited the uncanny in works that address phenomena considered almost human, non-human, not-quite-human, and suprahuman, such the soul, dolls and animate forms, primates, disembodied body parts (disconnected pars toto), monsters, angels, ghosts, and the dead. Supernatural topics call for non-naturalistic strategies, which are often neglected, because they do not conform to an art historical narrative that prioritizes Renaissance humanism and naturalism. We particularly welcome papers that explore the intersection between the uncanny and sexism, racism, and classism.  

Interested participants should send an abstract (200 words) and CV to Sherry C.M. Lindquist (s-lindquist@wiu.edu); and Diane Wolfthal (Dianewolfthal@Yahoo.com)


Tags:  Art and Architecture  Digital Humanities 

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Strong Women in Early Modern Iberian Art

Posted By Julia M. Vázquez, Wednesday, May 27, 2020
Updated: Wednesday, May 27, 2020

Thanks to recent exhibitions, publications, and museum acquisitions, women have come roaring back into view in the history of early modern art. This panel seeks to focus this renewed attention onto women from across the Iberian world—that is, the areas under the control of the Spanish Hapsburgs, stretching beyond the Iberian Peninsula to include viceregal regions like the Kingdom of Naples, New Spain, and Peru.

The early modern Iberian world featured women artists of extraordinary accomplishment, including Artemisia Gentileschi, Sofonisba Anguissola, Luisa Roldán, Josefa de Óbidos, and Isabel de Cisneros. Strong women also acted on the history of art as its patronesses. Eleanor of Toledo and Queen Mariana of Austria are among the noblewomen whose power was visible in their portraits and in their substantial commissions from contemporary artists. Religious institutions also produced female figures who were memorialized in several different media. These include Sor Juana Iñez de la Cruz in New Spain; St. Rose of Lima in Peru; and St. Teresa of Ávila in Spain, who in addition founded the Convent of Las Descalzas Reales in Madrid, now a major museum. On the European continent and in the New World, women were thus present in early modern art as its creators, benefactors, and subjects.

This panel invites papers addressing the role of women in and their contribution to the history of art across the Iberian world from any one of a number of viewpoints. These could include, among others, artforms usually commissioned by and for women or otherwise coded as feminine, such as escudos de monja; the way that women artists and patronesses are narrativized in vite and other forms of art writing; and categories of inclusion and exclusion, such as the amateur.

Interested participants should send a paper title and abstract (200 words) and a CV to Julia Vázquez (jmv2153@columbia.edu) by August 1, 2020.

Tags:  Art and Architecture  Art History  Women and Gender 

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