Call for Articles | The Eighteenth-Century Bird in Literature
Edited Volume | The Eighteenth-Century Bird in Literature, 1660–1830
Proposals due by 1 July 2014
A great deal of scholarly effort has been made over the years to gather together, analyze, and anthologize eighteenth-century bird poetry, paintings, and other material cultures that describe and represent birds in this period. Very few publications, however, have attempted to bring together the wide range of different approaches that scholars have adopted. This new project, The Eighteenth-Century Bird in Literature, 1660–1830, accordingly aims to further extend the discussion of the eighteenth-century bird and bring incisive, new critical approaches to the topic of birds and the representations of birds in eighteenth-century literature and cultural life. The editors are particularly interested in ways in which a deeper understanding of the bird in eighteenth-century cultural life shapes our twenty-first century notions of birds, our behaviors towards birds, and towards the environments that birds inhabit.
Chapters may include (but are not limited to) engagement with additional perspectives on eighteenth-century birds. These are just a few suggested topics:
• The eighteenth-century bird in the visual arts of the period
• Natural histories and the eighteenth-century bird
• Print cultures and the eighteenth-century bird
• Animal welfare and animal rights discourses around eighteenth-century birds
• Figurative birds
• The languages of eighteenth-century birds
• The exotic, the local, and the eighteenth-century bird
• The eighteenth-century bird as pet
• Ecocriticism and the eighteenth-century bird
• Science, culture, and the eighteenth-century bird
• Animal studies and the eighteenth-century bird
• Co-evolutions: the eighteenth-century bird and other animals (human and non-human)
• Eighteenth-century bird habitats, land-use transformations, and cultures
• Migrations, diasporas, and the eighteenth-century bird
We ask that anyone interested in contributing to this volume submit a one page CV (including previous publications) and an abstract of no more than 500 words by July 1, 2014 in docx or pdf format. Please send abstracts and direct any questions to the volume editors: Anne Milne (anne.milne@utoronto.ca), Brycchan Carey (brycchan@brycchancarey.com) and Sayre Greenfield (sng6@pitt.edu).
Online Course | Conservation of Globes
From the Hornemann Institute in Hildesheim:
Online Course | Patricia Engel and Michael Højlund Rasmussen, Conservation of Globes
Through the Hornemann Institute, 31 March — 1 June 2014
Historic globes exist all over Europe, in public collections and libraries, but also as private property. While older celestial globes were made of metals, since Behaim’s Erdapfel from 1492, globes have been made of paper, papier-mâché, wood, and parchment. In contrast to this omnipresence of globes, there is a sort of vacuum in conservation expertise concerning globe conservation. Today there are only a few conservators working in different European countries, who, due to their individual careers, are able to deal with the conservation of globes. Isolated articles in various journals have so far been the only competent publications in the field of globe conservation.
Course Structure
The first chapter of the course gives a description of the cultural and historical background of the topic and describes the history of the globes from 3000 BC to the 20th century. This is followed by helpful suggestions for the documentation of a globes material and an overview of damages. The latter provides pictures of typical damages on the globes along with case-by-case explanations. It will enable conservators to identify damages – even rare ones – and help the laymen to deal with their problems. The main chapters deal with specific suggestions for conservators concerning concrete practical conservation requests including the preparation of some materials and the techniques of surface cleaning on globes. The last chapter explains the practical storage problems, the climatic conditions and the correct packing and transportation of globes. Fee: 198€ (20% reduction for students).
Instructors: Based on her broad experiences in globe conservation Dr. Patricia Engel (European Research Centres for Book and Paper Conservation-Restoration in Horn, Austria) developed an e-learning course with the most up-to-date technical possibilities. Michael Højlund Rasmussen (Conservation Centre Vejle, Dänemark) cooperated in this project. For further information ask: hentschel@hornemann-institut.de
If you also want to deepen practically your new knowledge, please contact directly the author Dr. Patricia Engel, who offers regularly workshops for the conservation of globes in the European Research Centre for Book and Paper Conservation-Restoration in Horn, Austria. Further information can be found here.
New Book | Art, Theatre, and Opera in Paris, 1750–1850
Due out from Ashgate in April:
Sarah Hibberd and Richard Wrigley, eds., Art, Theatre, and Opera in Paris, 1750–1850: Exchanges and Tensions (Aldershot: Ashgate, 2014), 288 pages, ISBN: 978-1409439479, £65.
Art, Theatre, and Opera in Paris, 1750–1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny.
Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eugène-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the ‘Bleeding Nun’ from Lewis’s The Monk, the Comédie-Française and Etienne-Jean Delécluze.
Sarah Hibberd is Associate Professor in the Department of Music at the University of Nottingham, UK. Richard Wrigley is Professor of Art History at the University of Nottingham, UK.
C O N T E N T S
Sarah Hibberd and Richard Wrigley, Introduction
David Charlton, Hearing through the eye in eighteenth-century French opera
Mark Darlow, Nihil per saltum: Chiaroscuro in eighteenth-century lyric theatre
Mark Ledbury, Musical mutualism: David, Degotti, and operatic painting
Thomas Grey, Music, theatre, and the Gothic imaginary: Visualising the ‘Bleeding Nun’
Sarah Hibberd, Belshazzar’s Feast and the operatic imagination
Olivia Voisin, Romantic painters as costumiers: The stage as pictorial battlefield
Stephen Bann, Delaroche off stage
Patricia Smyth, Performers and spectators: Viewing Delaroche
Beth S. Wright, Delaroche and the drama of history: Gesture and impassivity from The Children of Edward IV to Marie-Antoinette at the Tribunal
Céline Frigau Manning, Playing with excess: Maria Malibran as Clari at the Théâtre Italien
Richard Wrigley, All mixed up: Etienne-Jean Delécluze and the théâtral in art and criticism
Bibliography
Index
Enfilade 
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