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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  Italian Renaissance Art  History  Italian Literature  Book History  Women and Gender  English Literature  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 

Adapting Torquato Tasso: the legacy of La Gerusalemme liberata in visual arts, music, and theater

Posted By Luca Zipoli, 17 hours ago
Updated: 4 hours ago

“Adapting Torquato Tasso: the legacy of La Gerusalemme liberata in visual arts, music, and theater”

Organizer: Luca Zipoli (Scuola Normale Superiore), luca.zipoli@sns.it

Chair: Laura Benedetti (Georgetown University)

ABSTRACT:

Torquato Tasso encountered an extraordinary fortune between the end of the 16th and the beginning of the 18th thanks to his epic masterpiece, La Gerusalemme liberata (Jerusalem delivered). During the Renaissance and then the Baroque era, the poem was read, appreciated, and commented upon, but it also enjoyed many forms of adaptations through a vast range of visual arts and media, from illustrated printed editions to operas, from paintings and frescoes to theatrical plays. This panel aims to investigate, through a multidisciplinary and trans-cultural approach, this multidimensional phenomenon by examining some of the newly discovered and most relevant case studies of the legacy of La Gerusalemme liberata, from the Cinquecento up to c. 1700. The theoretical framework of this panel will be rooted in the up-to-date paradigms of the “adaptation studies” (e.g. Thomas Leitch et alii 2020, Linda Hutcheon 2013, Julie Sanders 2005), and we will seek to respond to some of these questions: which features made Tasso’s poem such a rich source for creative re-elaborations? What do the multifaceted appropriations of La Gerusalemme tell us about the Baroque aesthetics and the various cultures that inspired them? How can the studies on Tasso’s reception contribute to the general field of adaptation studies? The aim of this panel is to present scarcely known or neglected cases within the long tradition of adaptations from Tasso, while shedding a new light on more frequent themes through cutting-edge interpretations and a new theoretical benchmark.

This panel invites paper proposals which may include but are in no way limited to:

-          illustrated printed editions of La Gerusalemme liberata (e.g. the editions Castello 1590, 1604, and 1617, Ruffinelli 1607, and Tozzi 1628);

-          paintings, drawings, and artworks inspired by the epic poem (e.g. the cases of Annibale Carracci, Nicolas Poussin, and Antoon van Dyck);

-          theatrical, music, and operatic adaptations of Tasso’s masterpiece (e.g. the works by Giaches de Wert, Claudio Monteverdi, and Giulio Rospigliosi);

Please send paper proposals to Luca Zipoli (luca.zipoli@sns.it) by 10 August 2020. The submissions must include:

  • paper title (15-word maximum);
  • abstract (150-word maximum);
  • curriculum vitae (.pdf or .doc, no longer than 5 pages);
  • PhD completion date (past or expected; as per the RSA guidelines, PhD students must be ABD);
  • full name, current affiliation, and email address.

 Attached Files:

Tags:  Art and Architecture  Book History  Italian Literature  Music  Performing Arts and Theater  Print  Tasso  Visual Studies 

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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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Reframing the Paragone: New Approaches to a Comparative Method of Artistic Analysis

Posted By Stefano Colombo, Thursday, July 9, 2020
Updated: Thursday, July 9, 2020

Scholars have dealt at great length with the notion of paragone from the early modern period onwards. In art criticism, paragone is a technical jargon generally used to refer to the similarity between two things (for example artistic media) through the act of comparison. Because it involves the analogy between one thing and another, paragone invokes a comparative meter through which artistic practice is judged or recognized. Significantly, art historians have often resorted to paragone to refer to the competition of the arts, most notably painting and sculpture or poetry and painting. Although this interpretation of paragone is not unsubstantiated, recent scholarship has clarified that the actual meaning of paragone is much broader (Dempsey 2009; van Gastel et al. 2014; Nygren 2017). Going beyond the quarrel over the nobility of the arts, paragone implies the dialogic mode of reasoning typical of a debate, where both sides of an argument are discussed by means of a disputation (Dempsey 2009). This interpretation, which traces its roots in classical rhetoric and was revived in the Renaissance, has reshaped the notion of paragone as the basis of formal academic debate which is fundamental to all the arts and sciences. 

 

This panel invites to reflect on paragone as a comparative method of visual analysis in the early modern period (ca. 1300-1700). In what ways does the flexible meaning of paragone help us reconsider the sources that laid the foundations of paragone itself, such as Benedetto Varchi or Leonardo da Vinci? Is paragone a fabrication of historiography, or was it already in effect in the Renaissance? Especially welcomed are papers that address paragone during Mannerism and the Baroque period. This is the moment when paragone entered the artistic debate of accademie, the learned societies whose members were erudite of various disciplines encompassing the visual arts, literature, law and philosophy. How did paragone influence artistic discourse in the accademie? And how did the exchange of ideas among members of these accademie inform on the production and reception of different art forms?Topics of interest might include but are not limited to: interaction among different media, in particular, sculpture, architecture and literature; ekphrasis and visual rhetoric; the extent to which artists (and their patrons) relied on technical, scientific or theological formulations and how these influenced the making and reception of artworks; or the analysis of the dialogic mode of paragone through the analogy between the liberal arts and other branches of knowledge, such as the natural sciences, medicine or theology.  

 

Please send an abstract (150-word maximum), a paper title (15-word maximum), 3-5 keywords, academic affiliation, PhD completion date (past or expected), a brief curriculum vitae, and any audio/visual requirements to Stefano Colombo (stefano.colombo.365@gmail.com) by August 1, 2020.

 

 

 

 

Tags:  Accademie  Art and Architecture  Art Theory  Classical Tradition  Ekphrasis  Italian Literature  Italian Renaissance Art  Literature  Paragone  Philosophy  Renaissance Architecture  Rhetoric  Sculpture  Transmediality 

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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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Comparative Antiquarianism: Europe-China

Posted By Clare E. Guest, Friday, July 3, 2020

Comparative Antiquarianism: Europe-China

This session opens the question of comparative study of collecting practices and antiquarian scholarship in Europe and China, two civilizations which shared a veneration of antiquity. The session seeks to explore lines of similarity in such areas as epigraphy, the collecting and significant display of antiquities, the contexts of antiquarian activity, from court ceremonial to scholarly retreat or conspicuous consumption and the relationship with other humanistic disciplines concerned with the study of literature, history, ethics and ancient customs and religion.

These similarities are underpinned by profound differences in political thought, modelling of temporality and conceptions of form in European and Chinese civilisation. Exploration of the similarities in the light of the differences can illuminate preconceptions both in the systems of thought which shaped European classical antiquarianism and in our methods of studying it. In this way, we can enhance awareness of Humanist cultures beyond Europe without losing depth and detail.

Papers are invited in areas such as (for example) the early Jesuit missions in Asia, antiquities and religious practices, temporal modelling in antiquarianism, the contexts of antiquarian display and discussion, the role of international trade, the relationship between missionary work, pilgrimage and antiquarianism, the collecting of Chinese and East Asian artefacts in Early Modern Europe, the Humanist study of oriental languages and civilisations, Confucianism and Classical European Humanism.

Interested panellists should send an abstract (150 words) and CV to Clare Guest (celapraikg@gmail.com) by July 31, 2020.

Tags:  Antiquarianism  Art and Architecture  Asia  China  Classical Tradition  Collecting  Humanism 

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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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Illusion and Early Modern Simulacra

Posted By Grace T. Harpster, Thursday, June 25, 2020

Illusion and Early Modern Simulacra

The concept of the simulacrum is most often associated with semiotic and postmodern critique, where it offers critical insight into the autonomous status and value of the signifier. Within this framework, the simulation, or copy, not only constructs its own “more real” version of reality but also displaces the original model. Such formulations of the simulacrum as a subversive and negative concept have a long history: they can be traced back to Plato’s deep mistrust of the phantasmic image, and later in the Middle Ages, to the use of the term to classify false images as idols. And yet, the notion of “simulacra” and the practices associated with it did not always carry negative connotations of falsity, sophistry, and empty likeness -- as they did in ancient and medieval discourse. In the early modern period, we can observe a critical shift in theories of imitation that underscored the positive value of the artistic fiction. Art theorists, humanists, poets, and theologians at once expressed concerns about the potential of simulacra to replicate, supercede, or distort truth, and also generated a rich range of discourses on the use and function of simulacra. The period witnessed a rise in illusionistic games such as trompe l’oeil, anamorphosis, and perspective boxes, the global dissemination of artistic copies of miraculous images and acheiropoieta, as well as debates concerning the relationship between the image and its divine prototype.

This panel invites submissions that explore the notion of simulacra in art, literature, music, optics, architecture, and other fields in relation to early modern paradigms of imitation. Among other questions, the panel seeks to interrogate the complex relationships articulated between the simulacrum and the real, and to uncover alternative modes of knowledge that simulacra might have offered viewers and readers. One of our aims will be to explore the concern with illusion and simulation outside the common trope of artistic virtuosity in Renaissance and Baroque art. We invite contributions from all disciplines and geographic regions.

The deadline for submission is August 5, 2020.

Proposals should be for 20-minute papers, and must include a title (15-word maximum), 150-word abstract, relevant keywords, and a short CV (300-word maximum) with your full name, current affiliation, email address, and degree completion date (past or expected). Please submit your proposal to both organizers: Grace Harpster (Georgia State University) and Marsha Libina (American University of Paris) at gharpster@gsu.edu and mlibina@aup.edu.

Tags:  Art and Architecture  copy  fiction  idol  illusionism  imitation  media  reproduction  simulacrum 

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Fresh Ink: New Perspectives on Early Modern Print

Posted By Rachel M. Carlisle, Tuesday, June 23, 2020
Updated: Tuesday, June 23, 2020

The aim of this session is to highlight the current scholarship of PhD candidates and recent PhDs of early modern print. Papers engaging with new methodologies or objects of inquiry are especially encouraged. Our intention is to provide PhD candidates and recent PhDs an opportunity to share their fresh perspectives on the study of early modern print and receive constructive feedback from an international audience.

Per RSA guidelines, advanced graduate students submitting proposals for this panel must be within one or two years of defending their dissertations and should present dissertation-related research.

Proposals must include:

  • paper title (15-word maximum)
  • abstract (150-word maximum)
  • curriculum vitae (.pdf, no longer than 5 pages)
  • PhD completion date (past or expected)
  • full name, current affiliation, and email address

Interested participants are invited to send their proposals to co-organizers Rachel M. Carlisle (rcarlisle@fsu.edu) and Lacy Gillette (lgillette@fsu.edu) by Wednesday, 15 July 2020. Decisions regarding acceptance will be provided at least one week prior to the 15 August deadline for RSA Dublin 2021 general submissions.

 Attached Files:

Tags:  Art and Architecture  Art History  Book History  Emerging Scholars  Print 

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Sequestration and the City: Confinement, Exclusion, and Enclosure

Posted By Jessica A. Stevenson Stewart, Monday, June 22, 2020

Although cities are fundamentally sites of connectivity, the pandemic-induced isolation of 2020 has renewed our awareness of the strain and tension that seclusion brings, especially in densely urbanized areas. This session draws on our recent experiences of the Covid19 crisis and revisits the history of urban disconnection and disconnectedness. Rather than focusing strictly on epidemics, we want to take a broader view of seclusion and sequestration as marked forms of social exclusion. While scholarship in the wake of mobility studies has expanded our understanding of the global flow of people, goods, and ideas, it has often overlooked social and spatial barriers that constrained movement, particularly within cities. For even though urban centers functioned as networks, they also instituted and perpetuated division, separation, and exclusion.

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 zones or sites of separation were established within the city, 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 in question may have been a form of punishment (e.g., the prisoner, heretic, or exile), a means of quarantine (e.g., the leper or plague victim), a welcome and self-imposed withdrawal, (e.g., the individual in a “closet” or study), or an ethical detachment, (e.g., religious retreat behind walls or within cloisters). We ask whether urban configurations hid the excluded and isolated, or if their presence was known and even advertised.

What architecture, rituals, and representations kept the excluded bodies present and acknowledged in the urban psyche? How did the exclusion of some mark civic identity for others? How did the interior and exterior architecture of particular buildings 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? When were seclusion and sequestration valued? What historical philosophies informed early modern conceptualizations of exclusion, seclusion, isolation, and confinement? What contemporary theories provide frameworks for understanding the psychological, social, and geographical valences of these experiences?

Please send abstracts (150-word length) with title (15-word maximum), keywords, and a brief curriculum vitae by August 1 to Elizabeth Honig at elizahonig@yahoo.com and Jessica Stewart at sinopia@gmail.com

Session Keywords: Urban History, Immobility, Exclusion

Tags:  Art and Architecture  Art History  History  Legal and Political Thought  Literature  Material Studies  Religious Studies  Urban Studies  Visual Studies 

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