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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 account and select the "Add New Post" link further down 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  English Literature  Women and Gender  Book History  Italian Literature  Medicine and Science  Visual Studies  Classical Tradition  Comparative Literature  Philosophy  Humanism  Material Culture  Religious Studies  Literature  Performing Arts and Theater  Religion  Rhetoric  Legal and Political Thought  Neo-Latin Literature  Digital Humanities  Hispanic Literature  Associate Organizations  French Literature  history of science  interdiscplinary  Italy  Renaissance Architecture 

Sensory Experiences and Early Modern Objects

Posted By Leah R. Clark, Friday, July 17, 2020

Sensory Experiences and Early Modern Objects

Interest in sensory experiences of the past has grown in recent years, with scholars engaging with both interdisciplinary and anthropological approaches in order to better understand historical lived experiences. This panel aims to connect such scholarly sensorial approaches with early modern artefacts, and to consider the extent to which we can understand past human experiences of these artefacts today. By using a particular object or type of object/ material as a starting point, papers in this panel will explore how these items were experienced by those who encountered or made use of them, in local or cross-cultural contexts. They will consider how individuals’ engagement with an artefact involved the visual, auditory, tactile, gustatory or olfactory senses, as well as the broader cultural, economic and social factors that may have shaped these sensory experiences. The panel welcomes all disciplinary and sensorial approaches to the exploration of early modern artefacts. The object(s) at the focus of each paper may be those clearly connected with the creation of a sensory experience (e.g. incense burners, musical instruments or books, goblets or tableware) or items not yet explored from a sensory perspective. Papers may focus on extant, lost or conceptual objects and take either a multisensory or single sensory approach.

Topics to be considered might include, but are by no means limited to, the following:

  • How sensory experiences were shaped by and in turn shaped cultural, social and economic conditions.
  • Sensory experiences of the same objects in different environments (considering, for example, transcultural exchange or experiences of objects in different architectural spaces and/or geographical locations).
  • How sensory experiences of the same objects varied according to gender or social class.
  • What tangible objects/materials can reveal about intended and real sensory experiences in particular places or contexts.
  • Contemporary perceptions of the senses in relation to objects/materials.

Papers are invited from scholars working in any discipline, including musicology, art history, cultural and/or social history or book history.

As per the RSA requirements, please send proposals of no more than 150 words, including your paper title (15 words maximum), full name, current affiliation (if applicable), email address and a brief CV to Leah Clark (leah.clark@open.ac.uk) and Helen Coffey (helen.coffey@open.ac.uk) by 7 August 2020.

Presenters will need to be members of the RSA by the time of the conference.

Tags:  Art History  Materiality  Music  objects  senses  Transmediality 

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

Posted By Luca Zipoli, Monday, July 13, 2020
Updated: Tuesday, July 14, 2020

“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  Reception Theory  Tasso  Visual Studies 

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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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Contagium: Exploring the Nexus Between Confraternity, Pandemic and Renaissance Society

Posted By Samantha J. Hughes-Johnson, Friday, June 19, 2020

CALL FOR PAPERS

(Deadline: 1 August 2020)

 

The Society for Confraternity Studies will sponsor a number of sessions at the 67thAnnual Meeting of the Renaissance Society of America (7- 10 April 2021) in Dublin. Accordingly, it invites proposals for papers on the following theme:

 

Contagium: Exploring the Nexus Between Confraternity, Pandemic and Renaissance Society

 

 

Since global communities are currently experiencing the liminal stage of withdrawing from varying degrees of quarantine and social isolation, the Society for Confraternity Studies is keen to scrutinize how Renaissance lay charitable institutions and sodalities grappled with the corporeal, emotional and fiscal injuries caused by society’s exposure to pandemics and epidemics and how their various actions can inform our own social, economic and psychological recuperation. Accordingly, we invite papers that explore the breadth and impact of lay sodalities operating in affected geographical areas between 1300 and 1700. Papers might focus on, but are not limited to the following topics:

·     The impact of pandemics on the restrictions of goods and humans and how quarantines, social distancing and limitations on travel affected regular confraternity operations and in turn, touched recipients of charity.

·     Legacies and donations awarded to confraternities in light of the plague. Including comparative studies of bequests during times of epidemic and good fortune and those that juxtapose geographically disparate data for the purpose of analysis.

·     The orientation of medical science and spiritual doctrine during epidemics and lay charitable institutions’ roles in this co-ordination.

·     Artistic commissions of confraternities and other lay charitable institutions and how these reflected the various injuries caused to society by outbreaks of pestilence. 

·     The impact of post-plague art, architecture, drama, music and ephemera commissioned by confraternities on public spaces and/or the popular conscience.

·     The actual and notional value of prophylactic measures designed to protect the body and soul during outbreaks and to what extent these were taken up by lay brotherhoods.

·      Confraternity membership and how this was affected by one or more of the following: fear of mass burial; church and oratory closure; fear of the afterlife; concerns regarding spiritual conduct in the face of imminent death. 

·     The personal toll of plague on those lay brothers and sisters entrusted with public service, healthcare and the custody of people or objects.

·     The influence of pestilence on public and private confraternal ritual. 

 

Papers should concentrate on confraternal activities between 1300 and 1700. We are however, also particularly interested in proposals that discuss the value of emerging confraternity studies focusing on historical pandemics and how their findings can inform our own twenty-first century recuperation following our recent encounter with Covid 19. 

Proposals should include the presenter’s name, academic affiliation, email, the paper title (no longer than 15 words), the abstract of the paper (no longer than 150 words), a short academic C.V. (between one and five pages), and a series of key-words that suit the presentation. Please be sure all seven (7) categories of information are clearly provided. 

Please submit your proposal to Dr Samantha J.C. Hughes-Johnson at samanthajanecaroline@yahoo.co.uk by [1 August 2020].

Tags:  art  black death  charity  confraternity  economic history  epidemic  History of Medicine  hospitals  lay brotherhoods  lay sisterhoods  music  pandemic  Performing Arts and Theater  piety  ritual  social history  theology 

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Patronage and innovation: how patronage shaped textual culture in the early modern world

Posted By Annet den Haan, Wednesday, June 10, 2020

Studying patronage is crucial for understanding the early modern world. Indeed, recent scholarship on patronage covers the fifteenth to the eighteenth centuries, it studies countries as diverse as Italy and the Dutch Republic, and it focuses on artifacts ranging from scientific theses to funerary poems, from paintings to coins. Although scholars of patronage occasionally cross borders between countries, genres, or time periods, we believe we can bring scholarship a step further by comparing contexts systematically to uncover underlying mechanisms. In this panel, we focus on textual patronage, by which we mean patronage of clients (authors, editors, printers) who produce texts of any kind.

Bringing together case studies from various contexts allows us to explore our main question of how textual patronage relates to the client’s intellectual and artistic freedom, and hence to originality and innovation. In which cases are authors free to create something new? Does economic or social success lead to more autonomy? Is patronage a stimulus for innovation, or does it prevent authors from being innovative? In other words, is patronage limiting or liberating? The question of what causes innovation is one of the points of focus within the interdisciplinary field of the history of knowledge, and several tentative explanations have been suggested. By focusing on patronage relations, we add another perspective to this debate.

Our aim is to compare case studies of patronage across regions, periods, communities, ideologies, and genres, in order to draw tentative conclusions about patronage in relation to intellectual and artistic freedom. We invite speakers from literary studies as well as intellectual history and history of science to submit papers. We intend to make the panel a collaborative effort and would like to discuss in advance with all presenters which specific questions we will all answer, in order to systematically study the mechanisms of innovation in textual products of patronage.

Submission guidelines

Interested participants are invited to submit the following:

  • a 400-word abstract as well as a 150-word short version
  • a curriculum vitae, including full name, affiliation, and email address; max. 5 pages
  • paper keywords.

Please send all materials to Annet den Haan (a.denhaan@uu.nl) and to Nina Geerdink (n.geerdink@uu.nl). 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 not that RSA rules allow a participant to present only one paper.

Tags:  Book History  Comparative Literature  English Literature  French Literature  Germanic Literature  Hispanic Literature  History  Humanism  Italian Literature  Medicine and Science  Music  Neo-Latin Literature  Performing Arts and Theater  Philosophy  Women and Gender 

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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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