From the DIA press release (19 January 2017). . .
Two Busts of John Barnard by John Michael Rysbrack
Detroit Institute of Arts, January 2017 — Summer 2018
The Detroit Institute of Arts welcomes two new ‘guests of honor’: a terracotta model and a marble bust of a young boy, John Barnard, by John Michael Rysbrack. The model is on loan from a private collector and the bust is on loan from The Metropolitan Museum of Art, New York. Shown together for the first time, these immaculately preserved portraits provide a rare glimpse of Rysbrack’s creative process. The sculptures, both of which the artist signed and dated, showcase both Rysbrack’s mastery of modeling terracotta and his exceptional skill as a marble carver. They will be on view through summer 2018.
Born and trained in Antwerp, Rysbrack moved to London in 1720 and quickly became one of the leading sculptors working in 18th-century England. Along with his fellow expatriate sculptor Louis François Roubiliac, whose arresting bust of the architect Isaac Ware stands as a major highlight of the DIA’s British portrait collection, Rysbrack was instrumental in elevating the popularity of the sculpted portrait bust above that of more conventional painted portraits in England.
While Rysbrack was highly sought after for his psychologically dynamic portraits, only a handful of his surviving works represent children. On the back of the marble bust, Rysbrack inscribed the name of his young sitter, John Barnard, the son of a British clergyman. The boy is fashionably outfitted in a Hussar’s costume, the uniform of a Hungarian cavalryman. Deriving from England’s sympathy for Hungary and Vienna during the War of the Austrian Succession (1740–48), the fad for the Hussar’s uniform appeared often throughout the 1740s in portraits of children and adults alike.
The livelier expression on the boy’s face in the hand-modeled terracotta contrasts with his graver yet youthful appearance in the marble, suggesting that the portrait was intended as a posthumous tribute to a child who died at a young age. Viewing the Metropolitan Museum’s marble bust alongside its corresponding terracotta model presents a unique opportunity to appreciate Rysbrack’s ability to transform keen observation of youthful vitality into an enduring memorial portrait. The two works are on display in the third floor British portrait gallery.
Pierre Henri de Valenciennes, View of the Roman Campagna near Subiaco, ca.1782
(Stockholm: Nationalmuseum, 7359)
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Press release (January 2017) from Sweden’s Nationalmuseum:
Sweden’s Nationalmuseum has acquired three landscape studies from Italy in oil by Pierre Henri de Valenciennes and Simon Denis. Views of Rome and the surrounding countryside have a distinguished pedigree. For a long time, they remained true to the 17th-century landscape ideal and were painted in the studio. Valenciennes and Denis broke new ground by making sketches in oil, often on paper, on location. The light and weather conditions were as important as the subject, so the works were produced quickly. Despite being preparatory studies, these oil sketches laid the foundations for much of the 19th-century’s plein air painting.
Pierre Henri de Valenciennes (1750–1819) is considered a pioneer who had a major influence on French art as both a theorist and a teacher. He was elected to the academy of fine arts in Paris in 1787, and served as professor of perspective theory from 1812 onward. Élémens de perspective pratique à l’usage des artistes (1800), his treatise on practical landscape painting with a focus on perspective, was particularly significant. Eventually his efforts led the academy to establish a dedicated prize for historical landscape painting. The recently acquired View of the Roman Campagna near Subiaco shows Valenciennes’s skill in capturing the lighting conditions and cloud shadows through brushwork that is both sensitive and vivid. The painting depicts the movement of the wind and its effects rather more than the landscape itself. Oil sketches of this kind, painted on location, differ radically from the works Valenciennes created in his studio. The latter portray an idealised version of nature, with scenes from classical mythology, but thanks to the introduction of oil sketches to the process, the lighting and colouring are markedly different from those seen in 17th-century landscape painting.
Simon Denis (1755–1813), a native of Antwerp, travelled via Paris to Italy, where he stayed for the rest of his life. Long overlooked, Denis was rediscovered in 1992 when a large number of his oil sketches were put up for sale. These had been passed down through generations of the artist’s descendants, so had stayed out of the public eye. His technique is reminiscent of Valenciennes, with similarly economical brushwork and a focus on the lighting and weather conditions. Unlike the idealised landscapes, the oil sketches portray nature as changeable, which the recently acquired pieces exemplify superbly. The view of the Roman Campagna, in particular, shows Denis’s skill in capturing atmospheric phenomena with great simplicity. The results are magnificent and the effect almost illusory. The smaller oil sketch depicts Neptune’s Grotto at Tivoli. With masterful simplicity, Denis captures the play of light in the waterfall and the foliage in the foreground contrasted with the dark cliff. The work appears to have been painted in haste, with thinly applied colours that dried rapidly, allowing the artist to move on to the next layer. A crouching figure at lower right serves to illustrate the scale of the subject.
When Nationalmuseum reopens after renovations, these three new acquisitions will enable the museum to better chart the beginnings of plein air painting. This would not have been possible without the generous support of the Wiros Fund, the Sophia Giesecke Fund, and the Hedda and N D Qvist Memorial Fund. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft.
My standard for publishing posts with advocacy ambitions is relatively high: namely I need to be convinced that the matter at hand will potentially inflict significant blows to the work of academics and museum professionals as related to the eighteenth century, or that some important material inheritance related to the eighteenth century is endangered. Threats to the NEH and the NEA are hardly new, but given the now entirely extraordinary context of American politics, such threats could be realized. As the National Humanities Alliance notes, there’s nothing inherently partisan about this issue, and coalitions of Republicans and Democrats care deeply about these organizations. Now is the time to vocalize how important we believe the NEH and NEA to be for the common good of the United States. –Craig Hanson
From the NHA (19 January 2017). . .
News broke this morning that the in-coming Trump Administration has a budget blueprint that proposes the elimination of NEH, along with other cultural agencies, and a major downsizing of others. This news has elicited great concern from the humanities community, and it is undoubtedly time to rally support for the National Endowment for the Humanities. That said, this blueprint is not an official proposal. The Trump Administration will be shaping its budget request over the coming months with broad input and we look forward to an opportunity to demonstrate the value of federal funding for NEH.
We are also heartened by Republican support in Congress, which has been strong over the past few years. Indeed, Republican-controlled appropriations committees have supported increases for both NEA and NEH for the past two fiscal years. More broadly, many Republicans have opposed far more minor cuts to the agency.
Consistently, Members of Congress have been compelled by advocacy that points out that:
• Through a rigorous peer-review process, NEH funds cutting-edge research, museum exhibits that reach all parts of the country, and cultural preservation of local heritage that would otherwise be lost.
• NEH’s Standing Together initiative funds reading groups for veterans that help them process their experiences through discussions on the literature of war; writing programs for veterans suffering from PTSD; and training for Veterans Affairs staff to help them better serve veterans.
• NEH grants catalyze private investment. Small organizations leverage NEH grants to attract additional private, local support. NEH’s Challenge Grant program has leveraged federal funds at a 3:1 ratio to enable organizations to raise more than $3 billion in private support. State Humanities Councils, meanwhile, leverage $5 for every dollar of federal investment. Grants through the Public Programs division have leveraged more than $16 billion in non-federal support, an 8:1 ratio.
We ask you now to send a message to your Members of Congress and the President-Elect to make clear that you, as a constituent, value the humanities.
Going forward, we will call on you again as the Congressional appropriations process for FY 2018 begins. We also encourage you to join us for our Annual Meeting and Humanities Advocacy Day on March 13th and 14th. Our goal is for constituents to visit Members of Congress from all 50 states to ensure that Congress serves as a stopgap to any efforts to defund NEH. Finally, we encourage you to spread word on social media. The more advocates receiving our alerts, the stronger our collective impact!
Note (added 20 January, 7am EST) — Jennifer Germann usefully notes this petition related to upcoming NEA funding.
The north facade and back gardens of Tudor Place, Washington, D.C. (Georgetown). The house was built in 1816–17 by Thomas and Martha Parke Custis Peter with William Thornton (Photo: Wikimedia Commons, December 2011).
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Leslie Buhler, ed., with photography by Bruce White, Tudor Place: America’s Story Lives Here (Washington, D.C., The White House Historical Association, 2016), 304 pages, ISBN: 978 1931 917568 $50.
Released to mark the bicentennial of Tudor Place, this new title is the first comprehensive record of this important National Historic Landmark in the Georgetown neighborhood of Washington, D.C. Two grand houses were under construction in the young Federal City in 1816: one the President’s House, reconstructed after it was burned by the British in 1814, and the other Tudor Place, an elegant mansion rising on the heights above Georgetown. The connection between these two houses is more than temporal, as they were connected through lineage and politics for generations. The builders of Tudor Place were Thomas and Martha Parke Custis Peter, Martha Washington’s granddaughter. In the 1790s George Washington had been a frequent guest at the Peters’ townhouse when he was in the nascent Federal City, attending to its planning and selecting sites for the U.S. Capitol and the President’s House. In 1817, when President James Monroe moved back into the reconstructed President’s House following the fire of 1814, the Peters were completing their own grand home, Tudor Place, designed in concert with their friend, Dr. William Thornton, architect for the first U.S. Capitol Building. The White House and Tudor Place each represent the spirit and aspirations of the early Republic. Little more than two miles apart, each survives as a national architectural landmark. While the White House is perhaps the most well known building in the world, Tudor Place remained a family home until 1983 and very private, although the Peters welcomed some of the nation’s foremost leaders as their guests and were themselves guests at the White House.
Now a historic house and garden museum (open to the public since 1988), the house remains as the Peters lived in it, preserving spaces and belongings of many eras while adapting their home and landscape to contemporary fashion and functions. This year, as Tudor Place turns 200, this lavishly illustrated book—the first definitive history of the house and its collection—takes us into the house to explore its rooms, gardens, archival collections, and such rare artifacts as one of only three surviving letters from George to Martha Washington.
Leslie L. Buhler served as Executive Director of Tudor Place for 15 years, retiring in 2015.
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C O N T E N T S
• Joseph Ellis, Introduction
• Leslie Buhler, The Custis-Peter Family of Georgetown
• William C. Allen, An Architectural History of Tudor Place
• Patricia Marie O’Donnell, The Landscape of Tudor Place
• Erin Kuykenall and Leslie Buhler, Living at Tudor Place
From Georgetown UP:
Kathleen Menzie Lesko, Valerie Babb, and Carroll R. Gibbs, Black Georgetown Remembered: A History of Its Black Community from the Founding of ‘The Town of George’ in 1751 to the Present Day (Washington, D.C.: Georgetown University Press, 2016), 232 pages, ISBN: 978 1626 163263, $28.
First published in 1991, Black Georgetown Remembered chronicles and celebrates the rich but little-known history of the Georgetown black community from the colonial period to the present. Drawing on primary sources, including oral interviews with past and current residents and extensive research in church and historical society archives, the authors record the hopes, dreams, disappointments, and successes of a vibrant neighborhood as it persevered through slavery and segregation, war and peace, prosperity and depression.
This 25th anniversary edition of Black Georgetown Remembered—with a new introduction by Kathleen Menzie Lesko and a foreword by Maurice Jackson—is completely redesigned and features high-quality scans of more than two hundred illustrations, including portraits of prominent community leaders, sketches, maps, and nineteenth-century and contemporary photographs. Kathleen Menzie Lesko’s new introduction describes the impact of this book.
Black Georgetown Remembered is a compelling and inspiring journey through more than two hundred years of history. It invites readers to share in the lives, dreams, aspirations, struggles, and triumphs of real people, to join them in their churches, at home, and on the street, and to consider how the unique heritage of this neighborhood intersects and contributes to broader themes in African American and Washington, DC, history and urban studies.
Kathleen Menzie Lesko is a former scholar-in-residence at the Folger Shakespeare Library and current research scholar at the Huntington Library in San Marino, California.
Valerie Babb is the Franklin Professor of English and director of the Institute for African American Studies at the University of Georgia.
Carroll R. Gibbs is a professional historian, lecturer, and author of numerous works on African American history.
This collection of essays grows out of the conference 2014, Workshops and Manufactures in the Years between the French Revolution and the Napoleonic Empire, 1789–1815. From PUM:
Natacha Coquery, Jörg Ebeling, Anne Perrin Khelissa, Philippe Sénéchal, eds., «Les progrès de l’industrie perfectionnée»: Luxe, arts décoratifs et innovation de la Révolution française au Premier Empire (Toulouse: Presses Universitaires du Midi, 2017), 200 pages, ISBN: 978 28107 04835, 22€.
À la charnière entre les XVIIIe et XIXe siècles, entre la réunion des États généraux et la fin du Premier Empire, vingt-cinq ans s’écoulent pendant lesquels bouleversements politiques, économiques, sociaux et culturels créent un contexte d’instabilité pour le secteur du luxe et du demi-luxe français. Les ateliers et les manufactures sont confrontés à des conditions matérielles et organisationnelles difficiles. Le manque de matières premières, la détérioration des finances et la diminution du personnel en raison du départ des jeunes hommes aux armées ont un impact négatif sur la production artisanale. L’incertitude générale que représente cette période d’instabilité politique et de conflits armés n’empêche pourtant pas l’émergence de modes. De nouveaux marchés s’ouvrent et offrent de riches opportunités aux artistes et artisans pour diversifier et élargir leurs créations.
Souvent considérée comme un temps de rupture, en particulier dans le domaine du luxe dont elle remet en cause les fondements, la Révolution française apparaît au contraire comme le ferment d’une évolution vers l’innovation et l’industrialisation. Pluridisciplinaire, croisant l’histoire de l’art, l’histoire sociale, l’histoire économique, l’histoire culturelle et l’histoire des techniques, le présent ouvrage explore les conditions du changement et offre une approche plurielle des arts du décor.
T A B L E D E S M A T I È R E S
Introduction générale, Jean-François Belhoste, Philippe Bordes, Natacha Coquery, Jörg Ebeling, Anne Perrin Khelissa et Philippe Sénéchal
Partie I | L’État: Rôle et intervention
• Thomas Le Roux, La chimie, support du développement de l’industrie perfectionnée sous la Révolution et l’Empire
• Christiane Demeulenaere-Douyère, Le luxe sous l’Empire, ou la question des matières premières « indigènes »
• Camilla Murgia, The Crafty Link: Fine Arts and Industrial Exhibitions under the Consulate and the Empire
• Justin Beaugrand-Fortunel, Le mobilier de campagne de Napoléon ier: L’artisanat au service de l’Empereur
Partie II | Les secteurs de production: Organisation et fonctionnement
• Marie-Agnès Dequidt, L’horlogerie parisienne pendant la Révolution et l’Empire: Continuer à tourner dans un monde en bouleversement
• Élodie Voillot, Des canons aux statuettes: Les fabricants de bronze parisiens au début du xixe siècle
• David Celetti, Filer le luxe. Travail domestique, manufactures et usines dans la France révolutionnaire
• Stéphane Piques, L’organisation de la production dans l’industrie céramique sous la Révolution et l’Empire: La nébuleuse faïencière de Martres-Tolosane (Haute-Garonne)
Partie III | Les œuvres et les décors: Création et aménagement
• Bernard Jacqué, Des décors de luxe en papier peint pendant la Révolution française
• Valeria Mirra, Labor omnia vincit: La manufacture Piranesi de vases et ornements en terre cuite de Mortefontaine
• Iris Moon, Immutable Décor: Post-Revolutionary Luxury in the Platinum Cabinet at Aranjuez
• Ludmila Budrina, Lapidaires parisiens au service de Nicolas Demidoff: La collection d’objets en bronze doré et malachite avec mosaïques en relief de pierres dures réalisés par Thomire (d’après des documents inédits et les collections européennes)
• Hans Ottomeyer, Innovation by Design as Strategy for Luxury Goods
Présentation des auteurs
Matthew Darly, The Flower Garden, etching and engraving with watercolor, London, 1 May 1777 (New York: The Metropolitan Museum of Art); and wool sampler embroidered with silk, by Elizabeth Hawkins, Miss Powell’s Boarding School, Plymouth, England, 1797 (London: V&A).
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From the conference website:
Moving Beyond Paris and London: Influences, Circulation, and Rivalries
in Fashion and Textiles between France and England, 1700–1914
Au-delà de Paris – Londres: influences, circulations, rivalités
dans la mode et le textile. France-Angleterre, 1700–1914
Paris, 13–14 October 2017
Proposals due by 28 February 2017
The Séminaire Histoire de la mode (IHTP/CNRS) and the LARCA (Université Paris Diderot) are organizing a joint international conference in Paris, 13–14 October 2017: Moving Beyond Paris-London: Circulation and Exchange in Fashion and Textiles between France and England, 1700–1914. This conference is the latest in a series on cultural exchanges in fashion, which have included Haute Couture: Fashion and Consumption, France and England, 1947–1957 (11 April 2014), Franco-American Exchanges in Fashion (15 April 2016), and Franco-German Exchanges in Fashion (10–12 October 2016).
By looking closely at the relationship—at times friendly, at times not—between France and England through fashion and textiles between 1700 and 1914, this conference will touch on a number of topics, including: the circulation (lawful or illicit) of knowledge, individuals, and objects; the diffusion—and cross-fertilization—of design models between the two countries via press, engravings, or fashion dolls; the importation of textiles and clothing; the phenomena of copying, espionage, and counterfeits; the pursuit of protectionist policies which aimed to limit imports from the rival nation. Particular attention will be given to the different temporalities of industrialization of the two countries as a way to understand innovation and the progressive organization of professions in each. The comparison between the evolution of the two countries will also take into account examples of transfers across them such as with Charles Frederick Worth, the British designer who came to France in 1858 to open a couture house that rapidly became the symbol of haute couture in Paris.
These questions seek to examine the myriad ways in which fashion and textiles strengthened or frayed the political, economic, commercial, industrial, and cultural ties between the two countries. The conference also aims to shed new light on the geography of fashion by looking at capitals and production centers (Paris-London / Manchester-Rouen/ Lyon-Spitalfields), as well as by considering the more global context at a time of intense colonial rivalry between the two countries. Please send your paper proposals (200 words and a short biography) before February 28, 2017 to FrancoBritishFashion@gmail.com.
Scientific Committee / Comité Scientifique
Dr. Maude Bass-Krueger (Associated Researcher, IHTP/CNRS)
Dr. Ariane Fennetaux (MCF, LARCA [UMR 8225], Université Paris Diderot)
Dr. Sophie Kurkdjian (Associated Researcher, IHTP/CNRS)
Images: Matthew Darly, The Flower Garden, etching and engraving with watercolor, London, 1 May 1777 (New York: The Metropolitan Museum of Art); and wool sampler embroidered with silk, by Elizabeth Hawkins, Miss Powell’s Boarding School, Plymouth, England, 1797 (London: V&A).
As Enfilade’s readership continues to grow, I receive more and more items to post. I wouldn’t want it any other way (and please keep the news coming), but it does mean that interns have become an increasingly helpful part of managing the site. I’ve therefore been most grateful for all Rebecca Woodruff has done to keep the ship afloat over the past six months! Rebecca is one of my students, and I had the good fortune of getting to know her better during a May interim course based in Stockholm, looking particularly at country houses and palaces (it was with Rebecca and a handful of other students I first visited Gustav III’s Museum of Antiquities, one of the really extraordinary museum spaces of the eighteenth century). As an aside, I’m also pleased to report that Rebecca will be presenting a paper for the undergraduate panel at the meeting of this year’s Midwest Art History Society (in April, at Cleveland and Oberlin)! She’s done a fabulous job as an intern.
Many thanks, Becca!
Early Modern Viewers and Buildings in Motion
St. John’s College, University of Cambridge, 25 February 2017
Registration due by 12 February 2017
Movement, both literal and metaphorical, lies at the heart of early modern European architectural theory, design and experience. Architectural authors invoked the notion of progress as temporal motion, structured their books as tours of buildings, and followed the ancient Roman Vitruvius in explaining how to manipulate the motions of winds through building design. Simultaneously, poets led their readers on tours of house and estate, and Aristotelian as well as mechanistic philosophers averred that motion was inherent to human perception from particle vibrations in one’s senses to neural vibrations in one’s brain. Across a range of scales in actual lived experience, moreover, viewers and buildings were frequently in motion; people walked through built spaces, interiors contained portable furnishings, and travellers and prints circulated ideas of buildings internationally.
This conference seeks to examine the range of scales, media, and theoretical discussions which foreground early modern intersections of architecture and motion. In so doing, it both puts into motion the usually static viewer and building of historical narratives and merges often independent yet overlapping strands of analysis—for instance, the ‘mobile viewer’ studied by art historians Michael Baxandall and Svetlana Alpers and the tensions surrounding early modern globalization discussed by cultural historians. These and other strands of inquiry are brought together by an international, interdisciplinary group of speakers examining case studies encompassing England, France, Italy, German-speaking areas, and the New World during the fourteenth through nineteenth centuries.
Supported by St. John’s College, University of Cambridge and by the Institute of Advanced Study, the Institute of Medieval and Early Modern Studies, and the School of Modern Languages and Cultures, Durham University.
The fee, which includes lunch and refreshments, is £15. More information is available here»
P R O G R A M M E
10.00 Welcome | Frank Salmon (University of Cambridge) and Kimberley Skelton (Durham University)
10.05 Session 1 | Chair: Kimberley Skelton (Durham University)
• Allison Stielau (University College London), The Censer as Mobile Mini-Building, Swung Structure, and Producer of Olfactory Space
• Andrew Chen (University of Cambridge), Fourteenth-century Ascetic Imagery in a Staircase at Santa Maria della Scala, Siena
• Donal Cooper (University of Cambridge), Fleeting Visions: Occluded Altarpieces and Mobile Eyes in the Italian Renaissance Church Interior
12.00 Session 2 | Chair: Frank Salmon (University of Cambridge)
• Stefano Cracolici (Durham University), The Poliphilo Syndrome
• Kimberley Skelton (Durham University), Sensory Vibrations and Social Reform at San Michele a Ripa in Rome
• Bram Van Oostveldt (University of Amsterdam/Leiden University), Frantic Memories and Excessive Objects: Monicart’s Versailles immortalisé ou les merveilles parlantes de Versailles (1720)
2.30 Session 3 | Chair: Donal Cooper (University of Cambridge)
• Caroline van Eck (University of Cambridge), Moving through Space and Time: Immersive Spaces at the Hôtel de Beauharnais in Paris
• Edmund Thomas (Durham University), Movement Through Ruins: Re-experiencing the Antique in Eighteenth-Century Travelogues
• Rebecca Tropp (University of Cambridge), Movement and the Central Core: Design Principles in the Country Houses of John Nash
4.30 Session 4 | Chair: Stefano Cracolici (Durham University)
• Daniel Jütte (New York University/University of Cambridge), Entering the Early Modern City: Gates as Sites of Passage
• James Campbell (University of Cambridge), Libraries in Motion
• Emily Mann (University of Kent), From Ship to Shore: The Architecture of Early Modern Trading Companies
6.00 Wine Reception
From the conference website:
The Street and the City: Thresholds
University of Lisbon, 5–7 April 2017
The Street and the City: Thresholds is the second of a series of multidisciplinary conferences with special emphasis on cities and the life that has evolved around them through time. Although English studies play a central role in this conference series from both cultural and geographical points of view, other fields of study relating to the conference theme are welcome. The first International Conference The Street and the City: Awakenings drew participants from a wide array of disciplines, such as literature, architecture, sociology, tourism or gender studies, to name but a few. This second conference aims for a comprehensive view of the street and the city focusing on its streets and people as well as on its less known spaces and hidden gems.
Throughout the centuries cities have been hubs of cultural experience and exchange, bringing people together time and again. The streets have been the public space where peoples and individuals both merge in a web and are isolated in the crowd. Cities have also channelled the voices of unsatisfied or rebellious citizens in periods of crises, or become a platform for gathering collective support in dire moments. In times of such conflicts, cities open up spaces for hope and multicultural dialogue. Such dynamics and challenges of an urban milieu constantly pose new questions to researchers concerning, for example, aspects of aesthetic and political representation, and the ways they are interpreted and experienced. Thus, studies of such currents and challenges have become highly diversified, promoting a variety of perspectives of the space we identify ourselves with.
Lisbon is the 2017 Ibero-American Capital of Culture, in the words of the City Council, an “event [which] will be the catalyst for a year of artistic innovation, in which there will be recognition of the historical processes and exchanges of ideas that underpin the relationships between European and American cities, and an acknowledgement of current artistic production, which is unique and intrinsically diverse.” In this sense, we wish to welcome everyone to share this urban atmosphere, which goes beyond the boundaries of Europe and connects the city in a global way.
The Second International Conference The Street and the City: Thresholds will take place at the School of Arts and Humanities, University of Lisbon, and at the Estoril Higher Institute for Tourism and Hotel Studies from 5 to 7 April 2017.
This scholarly meeting keeps its primary goal of fostering an interdisciplinary debate within English studies and of serving as a productive space for disseminating the most recent academic research alongside the studies of culture, urban studies and other fields of interest in relation to cities, their spaces and cultures. While encouraging the interchange of different academic perspectives, the Organising Committee also aims to promote informal networking gatherings among its participants. As such, topics and themes of interest—related to the Street and/or the City—include, but are not restricted to, the following:
• Aesthetic Representations of the City
• Cities as Havens of Hope or Despair
• Streets and Cities as Hives of Negotiation
• Gendered Urban Spaces
• Imagined Cities
• Literary Cities
• Mobility in the City and Urban Flows
• Streets, Consumerism and Fashion
• Sustainable Cities
• The City and Community Expressions
• The City and the Commons
• The Street and the Senses
• The Political Street
• The Tourist and the Flâneur
• Urban Cultural Heritage
• Urban Rhythms
We welcome suggestions for papers, pre-organised panels, and roundtables (20 minutes per speaker) by 28th February 2017, to be submitted on the conference webpage. Abstracts of 300 words for individual papers of twenty-minute duration. Please include the full title of your paper, name, institutional affiliation, contact information (postal address and e-mail address) and a bionote (max. 100 words).