Call for Essays | The Enlightened Nightscape, 1700–1830

Posted in Calls for Papers by Editor on October 26, 2019

From the Call for Proposals:

The Enlightened Nightscape, 1700–1830
Edited by Pamela Phillips

Proposals due by 20 December 2019; completed essays due by 30 June 2020

Traditional timelines divide the past into the ‘Dark Ages’ and the ‘Enlightenment’, with their corresponding associations with ignorance, the irrational, and superstition in opposition to light, clarity, and reason. In recent years numerous academic disciplines have challenged this black and white view, converging in and on the night to study the many dimensions of the other half of our daily twenty-four-hour cycle. The emerging field of Night Studies has examined the evolution of the meaning of night since the Middle Ages, its representation in different national literatures and art, and the impact of street illumination in the creation of nightlife, especially in urban centers, among other topics. This line of research is particularly relevant to eighteenth-century studies, as the Enlightenment’s embrace of light and reasoned knowledge makes it easy to overlook that night and darkness held both physical and metaphorical importance. The invention of lighting technology and economic growth, along with the rise of social infrastructures like cafés and the fascination with graveyards and other dark spaces, brought life and light to the eighteenth-century nightscape. The night became a source of inspiration for many writers and artists, and philosophers explored its hidden meanings.

The objective of this edited collection is to present a cross-disciplinary discussion on the thinking about the concept of night through examples from the global and long eighteenth century. The Enlightened Nightscape 1700–1830 seeks to bring together case studies that address how the night became visible in the eighteenth century through different mediums and in different geographical contexts. The proposed study of the representation, treatment, and meaning of the night in the long and global eighteenth century also contributes to an on-going exercise that questions the accepted definitions of the Enlightenment. By bringing Eighteenth-Century Studies into dialogue with Night Studies, The Enlightened Nightscape 1700–1830 enriches the critical conversation on both lines of research.

Contributions may consider, but are not limited to, the following topics:
• Night, dusk, and dawn as periods and spaces of the daily cycle
• Darkness and the (in)visible world
• Nocturnal landscapes and architecture (cemeteries, forests, etc.)
• The unknown, uncertainty, and obscurity
• Urban and rural night culture
• Blindness and sight
• Public spaces and sociability
• Gender and mobility
• Astrology and astronomy
• Shadows in art and life
• Chiaroscuro and nocturne painting
• Sleep and dreams
• Nighttime animals (wolves, bats, etc.)
• Evening customs (witchcraft, storytelling, crime, etc.)
• Literary and artistic representations

In its embrace of the global turn in eighteenth-century studies, The Enlightened Nightscape 1700–1830 welcomes multidisciplinary topics, analysis of literary, visual, aural, and material texts, and considerations of nightscapes that extend beyond the traditional European canon.

Please submit a 300-word abstract and an abbreviated CV to Pamela Phillips (phillips.pamela@gmail.com) by December 20, 2019. Authors will be notified by January 31, 2020. Complete, original, and not previously published essays of 6,000–8,000 words will be due by June 30, 2020.

The editors of the Routledge Studies in Eighteenth-Century Cultures and Societies series have expressed an initial interest in the collection and a full proposal will be submitted to the publisher once the abstracts have been selected. Please send all proposals and inquiries to Pamela Phillips: phillips.pamela@gmail.com.

Pamela Phillips, PhD
Department of Hispanic Studies
University of Puerto Rico, Río Piedras

Symposium | London Art Week: Conversations on Collecting

Posted in conferences (to attend) by Editor on October 26, 2019

In conjunction with London Art Week:

London Art Week Symposium: Conversations on Collecting
Sainsbury Wing Theatre, The National Gallery, London, 2 December 2019

This December, London Art Week (1–6 December) launches the inaugural LAW Winter Symposium to foster debate and learning among the public, international collectors, members of the art trade, and museum professionals. Held in collaboration with our partner museum, The National Gallery, the 2019 Symposium will consist of three panel discussions, with our eminent speakers discussing different aspects of collecting. Attendance is free, but places must be registered and booked in advance.


2.30  Introduction and welcome by Gabriele Finaldi (Director, The National Gallery)

2.35  Returning Home: The Significance and Challenges of Exhibitions that Reunite Historic Collections in Their Original Settings
Moderator: Tom Stammers (Assistant Professor of Modern European Cultural History, Durham University)
• Toto Bergamo Rossi (Curator, Domus Grimani; Director, Venetian Heritage Foundation)
• Silvia Davoli (Curator, Lost Treasures of Strawberry Hill; Paul Mellon Research Curator, Strawberry Hill House; Associate Researcher, University of Oxford)
• Thierry Morel (Curator, Houghton Revisited; Director and Curator at Large, Hermitage Museum Foundation USA; and Trustee of the Sir John Soane’s Museum, London)

3.30  Collecting Today: What Motivates Private Collectors and How Do They Envisage the Future of Their Collections
Moderator: Justin Raccanello (Specialist dealer in Italian ceramics)
• Katrin Bellinger (Collector and Founder, Tavolozza Foundation)
• Claudio Gulli (Curator, Valsecchi Collection at Palazzo Butera, Palermo)
• Keir McGuinness (Collector)

4.30  Changing Questions: The Role of Museums in 2020 and How They Can Better Engage with the Public
Moderator: Martin Bailey (The Art Newspaper)
• Ketty Gottardo (Martin Halusa Curator of Drawings, The Courtauld Gallery)
• Luke Syson (Director and Marlay Curator, Fitzwilliam Museum, University of Cambridge)
• Nicholas Thomas (Director, Museum of Archaeology and Anthropology, and a Fellow of Trinity College, Cambridge)

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