Enfilade

Library Research Grants from the Getty

Posted in fellowships by Editor on September 21, 2013

Getty Research Institute Library Research Grants
Applications due by 15 October 2013

The Getty Research Institute invites applications for its Library Research Grants. Getty Library Research Grants provide partial, short-term support for costs relating to travel and living expenses to scholars whose research requires use of specific collections housed in the Getty Research Institute.

Eligibility
Library Research Grants are intended for scholars of all nationalities and at any level who demonstrate a compelling need to use materials housed in the Research Library, and whose place of residence is more than eighty miles from the Getty Center. Projects must relate to specific items in the library collection.

Terms
Library Research Grants are intended to provide partial support for costs relating to travel and living expenses. Grants range from $500 to $2,500, depending on the distance traveled. The research period may range from several days to a maximum of three months, but must take place between February 15, 2014, and January 15, 2015. These terms apply as of June 2012 and are subject to future changes.

Application Availability and Deadline
Complete application materials are now accepted through an online application process only. The next deadline for these grants is 6:00 p.m. PDT, October 15, 2013.

Further information and application forms are available here»

Conference | The Hurt(ful) Body before Diderot: Pain and Suffering

Posted in conferences (to attend) by Editor on September 21, 2013

From the conference website:

The Hurt(ful) Body before Diderot: Pain and Suffering
in Early Modern Performance and the Visual Arts, c. 1600–1790
Royal Flemish Academy of Belgium for Science and the Arts, Brusssels, 21–22 November 2013

On the occasion of Diderot’s three-hundredth birthday, the present conference invites papers by historians of both visual arts and performance arts, to address the hurt and hurt-causing body in early modern and eighteenth-century visual culture. The point is better to address spectacles of pain and suffering before Diderot, whereby before is to be understood both physically and chronologically, in terms of images he saw and those that belong to a wider Ancien Régime visual and performance culture.

Seventeenth- and eighteenth-century medicine, philosophy and works of fiction treated pain and suffering as contents of consciousness. Hurt and grief fixed the self in a state of disaffection and refusal, as opposed to the appetites or ‘sociable’ affects of love or admiration. During this time, the hurt body found itself at the apex of art theory (from Lomazzo to Le Brun), informing academic aesthetics, while the genre of tragedy, climaxing in the plays of Racine, was shaping the image of the actor’s craft. Images of saintly suffering were a fixture of post-Trentian Catholic life, but after 1600 they were incrementally visible in both civic theatre and popular imagery as well as aristocratic collecting. All of this culminates in the writings of Diderot, who was an assiduous admirer of spectacles of grief, pest scenes and other sujets de fracas. Such affinities, as present in his criticism as his commentaries on the tableau and the self-possessed actor, seem now more difficult to place, in part because so little is known of the rationale of the spectacle of hurt in the 150 years that preceded him, especially in relation to its socio-historical and performative context. Moreover, accounts of the period tend to segregate semiotic or iconographical developments (explaining continued interest for the Le Brun’s Traité de Passions and its plates) from historical clues that speak to the peculiar positionality of bodies in and of hurt. The disjunctive image of pain and suffering is today too often regarded as simply ‘emotive’, an expression like any other for artists and actors to master.

Through the impact of scholars like Jonathan Sawday, Erika Fischer-Lichte and Amelia Jones, present-day historians are familiar with problems of performativity and ephemerality, of body presence and the spectator’s participative witnessing and intervention. The hurt body can accommodate new diverse and perceptive approaches of the early modern body, as a body in withdrawal, a ‘communicative’ body in flux, or a body split in its desire to escape alterity and a corporeal ‘prison’. Time seems ripe for a self-standing history of the hurt(ful) body, illustrated through staging practices as well as material images (paintings, sculptures, prints), and addressing practices of making, acting and viewing; censorship and divulgation; collecting, directing and interpreting. The conference invites papers that revisit historical forms, practices and pressures of the hurt body, from the staging of blood and the representations of Hercules’ self-immolation to distressed audiences. Maintaining an interdisciplinary focus, speakers might address imaginaries of the hurt body recovered through stage praxis, visual representation and dramatic text. It welcomes papers exploring archival sources documenting (theatrical) communication between audiences and ‘hurt bodies’, or exploring public and elite spaces of performance, urban events and exhibition sites where Diderot and Ancien Régime audiences experienced such encounters.

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T H U R S D A Y ,  2 1  N O V E M B E R  2 0 1 3

9.30   Registration and coffee/tea

10:00  Welcome and introduction by Karel Vanhaesebrouck (Université Libre de Bruxelles, Vrije Universiteit Brussel), Tomas Macsotay (Universitat Autònoma de Barcelona) and Kornee van der Haven (Ghent University)

10:30 Keynote Lecture by Jonathan Sawday (Saint Louis University), Three forms of Renaissance Pain: Michel de Montaigne, John Donne, and Robert Burton

11:30  Coffee/tea break

12:00  Session 1: Discourses of Pain I
Jürgen Pieters (Ghent University), Hurtful Hamlet: The tragedy of consolation
Christel Stalpaert (Ghent University), We don’t even know what the hurt(ful) body is capable of: Some reflections on Spinoza and the corporeal turn

13:30  Lunch

14:30  Session 2: Discourses of Pain II
Frans-Willem Korsten (Leiden University), How Injustice Hurts: Physical Pain, Immaterial Grounds and the Cause of Justice
Inger Leemans (VU Amsterdam), Clashing Bodies: The physicality of the Amsterdam Stock Exchange, 1650–1750

16:00  Coffee/tea break

16:30  Session 3: Acting the Victim
Stijn Bussels (Leiden University), ‘No knife, no sting is sharper, than this feeling that cuts through the heart’: Performing Pathos in Vondel’s Brethren (1641)
Charlotte Bouteille-Meister (Paris X-Nanterre), “Flamme qui m’est un doux zéphire, / Parmi l’ardeur de mon martyre” (Céciliade, 1606): Does the martyr’s ambiguous suffering allow any pathetic response?
Bram Van Oostveldt (University of Amsterdam), Flying, diving and dying bodies: Corneille’s pièces à machines between the marvelous and the sublime

F R I D A Y ,  2 2  N O V E M B E R  2 0 1 3

10:00  Keynote Lecture by Christian Biet (Paris X-Nanterre), Bloody suffering, performed suffering and recited suffering in the French 17th and 18th centuries: Spectacle and text

11:00  Coffee/tea break

11:30  Session 4: The Visual Culture of Hurt
Koen Jonckheere (Ghent University), The meaning of the pose: Hurting the divine body in an age of Iconoclasm
Jetze Touber (Ghent University), Engineering empathy: Inventions of martyrology in the Confessional Age

13:00  Lunch

14:00  Roundtable Discussion: Early Modern Theatricality and the Hurt Body

15:00  Coffee/tea break

16:00  Session 5: Enlightenment Purifications
Aris Sarafianos (University of Ioannina), Unable to bear the light: Sore eyes, sensory deprivation, multi-media shows and extraordinary cures in late eighteenth-century Britain
Tomas Macsotay (Universitat Autònoma de Barcelona), A technology of audience response: Sightlessness, disorientation and corporeal Pathos in the Paris Academy, 1700–1760

17:30  Concluding remarks