Call for Papers | The Art of the Dealer: Selling Antique Ceramics

Posted in Calls for Papers by Editor on February 10, 2020

John Dixon Piper, Old Curiosity Shop, Bury St Edmunds, ca. 1860
(Los Angeles: The J. Paul Getty Museum, digital image courtesy of the Getty’s Open Content Program)

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From the Call for Papers:

The Art of the Dealer: Selling Antique Ceramics
Masterpiece Fair, London, 26 June 2020

Proposals due by 1 March 2020

The French Porcelain Society is proud to announce its second study morning at the prestigious Masterpiece Fair to be held on Friday, 26th June 2020. It will focus on the pivotal role played by dealers trading in antique and second-hand ceramics in Europe and America from the 1880s to the present day in the formation of both private and public collections, in influencing taste, and furthering knowledge and scholarship. Confirmed speakers include Dr Charlotte Vignon (shortly to take up her position as director of the Cité de la céramique Sèvres), who will speak on Duveen Brothers, and John Whitehead, who will speak on the Antique Porcelain Company. The morning will conclude with a round-table discussion between leading dealers, curators, and collectors. Tickets will include entrance to the fair and participants will have the opportunity to join a tour of the ceramics stands after the study morning. Details of the programme and booking information will be announced on the society’s website.

We invite submissions for 20-minute illustrated papers on any aspect of selling antique ceramics, from the 1880s to the present. Possible topics include:
• case studies of notable dealers and the collectors they served
• the market for specific types of ceramics including Sèvres, maiolica, blue and white, Wedgwood, and oriental porcelain
• trans-national trading networks
• the role of the auction house, provenance, and price trends
• scholar dealers and the retailing of ceramics
• the role of the dealer in helping to establish museum collections
• the evolution of art and antique fairs and dealer exhibitions
• buying back Sèvres for the French Nation

Please send your submission, of no more than 300 words, together with a brief CV to: patricia.ferguson@earthlink.net; C.McCaffrey-Howarth@leeds.ac.uk; and diana_davis@hotmail.co.uk by 1 March 2020.

Call for Papers | Cultivating Science in the Early Modern Garden

Posted in Calls for Papers by Editor on February 3, 2020

From the Call for Papers:

Cultivating Science in the Early Modern Garden, 16th–18th Centuries
National Library of Portugal, Lisbon, 20–21 July 2020

Organized by Denis Ribouillault and Ana Duarte Rodrigues

Proposals due by 30 April 2020

“[The knowledge of the Royal Society derived ] not onely by the hands of the Learned and profess’d philosophers; but from the Shops of Mechanicks; from the Voyages of Merchants; from the ploughs of Husbandmen; from the Sports, the Fishponds, the Parks, the Gardens of the Gentlemen.”
–Thomas Sprat, History of the Royal Society (London: J. Martyn and J. Allestry, 1667), p. 72.

Although the history of early modern gardens has benefited in recent decades from an increasingly wide range of methodologies, the role played by these spaces in the development of science has been the subject of a relatively small number of inquiries. A majority of them concentrates on botanical gardens and the history of botany (Baldassari 2017), though it is now recognized that mathematics, pneumatics or astronomy found in gardens a priviledge ground for experimentation and display (Fischer et al. 2016; Ferdinand 2016).

A primary aim of this workshop is to interrogate and document what we could call (anachronistically) ‘scientific practice’ in early modern European gardens. How were gardens used to advance scientific knowledge? Examples range from the growing of medicinal plants, astronomical observation, physical experiments and so forth. Gardens were also privileged places for teaching and for debates and discussion pertaining to the various branches of natural philosophy. Furthermore, we encourage scholars to pay attention to how this function of gardens as ‘academies’, as platforms for the production and display of knowledge, as stages of scientific sociability and as pedagogical tools, affected the gardens from a formal, artistic, iconographic and hermeneutic point of view. It is not just a matter of documenting and reconstructing what happened in gardens. More precisely, it is a question of showing how what happened in gardens can lead us to a renewed understanding of the physical appearance (at a given moment) of the gardens themselves. This calls for a fruitful—yet difficult-to-achieve—intermingling of the methodologies of the history of science and of the history of art under the aegis of garden history.

• Fabrizio Baldassarri and Oana Matei, eds., Gardens as Laboratories: A History of Botanical Sciences, Journal of Early Modern Studies 6.1 (Spring 2017).
• Juliette Ferdinand, From Art to Science: Experiencing Nature in the European Garden, 1500–1700 (Treviso: Zel Edizioni, 2016).
• Hubertus Fischer, Volker R. Remmert, and Joachim Wolschke-Bulmahn, eds., Gardens, Knowledge and the Sciences in the Early Modern Period (Basel, Birkhäuser, 2016).

Papers should be about 25 minutes long. Q&A and intensive discussion will follow each presentation. We intend to publish the proceedings of the workshop. Contributors’ travel and accommodation costs will be covered. Please send a proposal of 550 words max. with a title and a short bio to denis.ribouillault@umontreal.ca before April 30, 2020.

This event is sponsored by the research project led by Denis Ribouillault, Before the ‘Great Divide’: The Shared Language(s) of Art and Science in the Early Modern Period, funded by a SSHRC (Social Sciences and Humanities Research Council of Canada) Insight Grant (2019–2024) and the Centro Interuniversitário de História das Ciências e Tecnologia, University of Lisbon. The workshop will take place during the exhibition at the National Library Jardins Históricos em Portugal, organized by the Associação de Jardins Históricos and the landscape architect Teresa Andersen, with the collaboration of Ana Duarte Rodrigues, as part of the programme Lisboa Verde 2020. Visits of the exhibition and of relevant gardens and monuments are planned for the workshop participants.

Organizers : Denis Ribouillault (University of Montréal, Department of Art History) and Ana Duarte Rodrigues (University of Lisbon, Centro Interuniversitário de História das Ciências e Tecnologia).

Call for Papers | Manufacturing the Past

Posted in Calls for Papers by Editor on January 31, 2020

From ArtHist.net:

Manufacturing the Past
European University at St. Petersburg, 8–10 October 2020

Proposals due by 20 April 2020

In 2018 the international conference History and Its Images, organized by the Department of Art History of the European University at St. Petersburg, was dedicated to Francis Haskell’s seminal book of the same title, which greatly influenced the study of the visualization of the past. In 2020 we will host a second conference on the representation of the past in the arts and visual culture. Among the questions to be discussed are: how the visual arts and visual culture produce images of the past, how these images were perceived by the different communities and how they were transformed by the national context of their production.

Current study of the visualization of history, the manufacturing of a collective past, rarely deals with the Islamic world, which, during over the last fifty years has been undergoing dramatic social change as new identities are constructed and the past reconsidered. We plan to have a special panel dealing with the issues of visual presentation of history in art in Islamic countries and with the role of art and architecture in this process. The conference will focus on the following interrelated panels:

Visualizing history and ideology
Propaganda and representation of history
The role of the visual arts in the invention of history
Visual art, history and the construction of national / identity

Visualizing history in the context of the historical culture
The function of historical knowledge in the artistic context
The influence of historical studies on the production of works of art
The role of works of art in the historical teaching
Images of the past and society’s conceptions of the past
Visualizing history and the question of evidence
Visualizing history and the issue of historical memory

Visualizing history in the art of Islamic countries

Visualizing history and Orientalism

We are happy to consider proposals on other themes and subjects remain relevant to the main topic of the conference.

The proposals for twenty minutes presentation should include the following information:
1. Information about participant (full name and academic status)
2. Contact information
3. Proposal (400 words)
Proposals should be sent to: visualizinghistory2020@gmail.com by 20 April 2020.

Working languages of the conference: Russian and English

Organizing committee: Ilia Dorontchenkov, Natalia Mazur, Vladimir Lapin, Anna Korndorf, Evgeniy Anisimov, Jean-Frédéric Schaub, Maria Chukcheeva

Please note that travel and accommodation expenses of the participants of the conference organizing committee are not able to cover. We are however able to give visas support for foreign participants (invitation letter).

Call for Papers | Jewish Topographies

Posted in Calls for Papers by Editor on January 28, 2020

From ArtHist.net:

Jewish Topographies: 5th International Congress on Jewish Architecture
Technische Universität Braunschweig, 21–23 September 2020

Proposals due by 27 February 2020

Bet Tfila—Research Unit for Jewish Architecture in Europe will organize the conference Jewish Topographies: 5th International Congress on Jewish Architecture at the Technische Universität Braunschweig. The conference will focus on the meaning of the term ‘Jewish topography’ (jüdische Topographie) and also on how historical phenomena can be categorized both socially and culturally. Jewish residential areas and settlements, facilities of Jewish communities (such as synagogues, cemeteries, schools, or hospitals), or locations of companies and shops can form significant topographical networks in cities and landscapes. Jewish topographies stand in a spatial and social context with corresponding places of the non-Jewish population, in which different cultural, religious, or ethnic groups find their own spaces. Conflicts and cooperations, exclusions and limitations emerge in the spatial relationships between these locations and their respective urban and architectural design reflect the possibilities and expectations of the respective and related groups.

The conference aims at examining different levels of Jewish topographies: the spectrum of possible contributions ranges from macro studies to cross-region networks of Jewish communities or Jewish institutions and people (e. g., commercial networks, Verbandsfriedhöfe (association cemeteries)), to locations and facilities of the individual communities (e. g., Judengassen (Jews Lanes), eruv, DP-Camps), to micro studies of residential areas or individual facilities and buildings. Topographies of forced housing (such as ghettos, concentration camps, and Judenhäuser (Jewish houses) may also be discussed. Religious and profane places and objects will be viewed; synchronous and diachronic perspectives will also be welcomed. The focus of the conference is on developments after the Middle Ages. However, comparative studies on earlier epochs are as welcome as general theoretical and systematic studies, e. g., on symbolic, religious, and literary topographies. Ideas on how Jewish topographies can be appropriately researched, represented, and later conveyed may also be further subjects of discussion. The conference will be held in English.

Please send your abstract (max. 2400 characters) and your CV (max. 1200 characters) including your academic affiliation by 27 February 2020, to Dipl.-Ing. Mirko Przystawik (m.przystawik@tu-bs.de).

The academic board and the organizers will decide on acceptance by 12 March 2020. The publication of selected articles in the Bet Tfila’s Series of Publications is planned. The organizers endeavor to cover travel and accommodation costs for the speakers; this depends, however, on the approval of corresponding funding applications.

For any questions, please contact
Dipl.-Ing. Mirko Przystawik, m.przystawik@tu-bs.de
Dr.-Ing. Ulrich Knufinke, u-j.knufinke@tu-bs.de

Call for Papers | Museum Networks and Museum History

Posted in Calls for Papers by Editor on January 26, 2020

From the Museums and Galleries History Group:

Museum Networks and Museum History
Royal Botanic Gardens, Kew, 16–17 July 2020

Proposals due by 6 March 2020

Networks have become an increasingly important part of the analytical toolkit used by historians of museums and collections. As scholars have moved away from narrative institutional histories, they have embraced the study of social and material networks as approaches which expand understandings of museums. In Chris Gosden and Frances Larson’s words, museums can then be seen as “innumerable sets of connections between people and objects …[which] extend over time and through space.” Such approaches have themselves been fuelled by the growth of similar ideas such as Actor Network Theory and object biographies.

These new approaches have been especially useful in recovering forms of agency beyond those of powerful institutional actors, especially curators, and have highlighted the contributions of, for example, object creators and mediators, informants and collecting assistants, as well as, sometimes, of objects themselves. They have drawn attention to the formation of new social identities and forms of expertise; have shown the extent of material flows around the world in relation to museums; revealed the role of affect and the relational in museum history; and encouraged closer attention to the different physical properties of things. There have, though, been some differences of emphasis on whether networks in museum history are a useful metaphor, a set of statistical analyses, or a theoretical model.

This conference seeks to take critical stock of the role of networks in understanding the history of museums and collections. It welcomes proposals which use networks of various sorts as tools of analysis, or which engage with the methodological/theoretical issues raised by networks and/or the rejection of network approaches. It is keen to see proposals which interrogate approaches from other disciplines. Contributions may respond to (but are not limited to):
• Networks of museum donors and makers
• Networks and empire; networks and power
• Professional networks and modern identities
• Global and transnational networks
• Networks and the role of indigenous knowledge
• Affect and the role of materiality
• Actor Network Theory and museum/collection history
• Networks of museums, collections, people, objects
• Museum practice and museum networks
• The limits of networks as analytical tools

Submissions may be for individual papers, panels of three papers, or posters. Paper proposals should be for papers of twenty minutes’ length. Proposals should be 250 words maximum and include a title as well as the name, contact details and affiliation (if applicable) of the speaker. Panel proposals should consist of a panel title, proposals for three papers, along with a rationale for the panel theme, and contact details and affiliations (if applicable) of all participants. Please indicate whether you will provide a chair for your session or not (it does not matter which). Poster proposals are also welcomed. Please follow proposal guidelines for papers while indicating clearly that a poster is proposed. All the above proposals should be sent to contact@mghg.info by 6 March 2020. Please note all speakers and poster presenters will be expected to pay the conference registration fee, but we aim to keep the fee as low as possible.

Call for Articles | Special Issue of ‘Quart’ on Travelling and Art

Posted in Calls for Papers by Editor on January 24, 2020

From ArtHist.net:

Travelling and Art in Europe in the 17th and 18th Centuries
Quart, The Quarterly of the Institute of Art History at the University of Wrocław 56 (June 2020)

Articles due by 1 March 2020

Europe in the 17th and 18th century was an area without sealed national borders and passports, which facilitated free movement of people, transfers of works of art, and the exchange of artistic ideas. Travellers were artists and art lovers, military and clerical, merchants and pilgrims; various works of art were transported across the borders, and thanks to the medium of printmaking, the latest trends and artistic novelties quickly spread across Europe. This dynamic circulation in the 17th and 18th centuries caused so many interesting artistic phenomena to take place in this area, which can today be of interest to researchers. Issue 56 of Quart—guest edited by Andrzej Kozieł—will therefore focus on art-related aspects of travel. Proposed topics of interest include:
• migrations and educational journeys of artists
• transfers of works of art and artistic ideas
• pilgrimage and art
• works of art in travellers’ accounts
• media disseminating works of art

Papersfrom 20,000 to 40,000 characters, in Polish or English, with up to 7 illustrationsshould be submitted in format specified in the guidelines to quart@uwr.edu.pl by 1 March 2020. The editors reserve the right to select given papers. All the submitted papers will be subject to a double-blind review, in line with COPE guidelines. Quart is a regularly published quarterly journal by the Institute of Art History of the University of Wroclaw. It is indexed in ERIH+, CEJSH and BazHum databases. It was awarded a grant under the ‘Support for 500 Scientific Journals’ Programme of the Ministry of Science and Higher Education. It is included in the list of scientific journals of the Ministry of Science and Higher Education as of 31.07.2019 with 20 points. The current number can be purchased in EMPiK chain stores. Archival issues are available in libraries and in a digitalized form at the Polona website.

Call for Papers | The Prospect of Improvement

Posted in Calls for Papers by Editor on January 24, 2020

From ArtHist.net:

The Prospect of Improvement: A Bluestocking Landscape
Hagley Hall, Worcester, 8–9 September 2020

Proposals due by 14 February 2020

A two-day conference at Hagley Hall, Worcestershire including a tour of the house and grounds supported by Elizabeth Montagu Correspondence Online [EMCO] and Paul Mellon Centre for Studies in British Art.

The Prospect of Improvement: A Bluestocking Landscape puts centre stage the patriotism and patronage of George Lyttelton first baron Lyttelton (1709–1773), a strangely shadowy figure yet a fascinating eminence grise behind the art and politics of his age. We will discuss the motivation behind his extensive remodelling of his grounds and the commissioning of local architect Sanderson Miller (1716–1780) in designing a new Hagley Hall. How can the ideas of other architects and landscape reformers from the midlands such as Sir Roger Newdigate (1719–1806), Sir Uvedale Price (1747-1829), and William Shenstone (1714-1763) be brought into dialogue with Miller’s project?

As EMCO is editing the correspondence of Lord Lyttelton’s friend and literary collaborator, critic Elizabeth Montagu (1718–1800), we will equally focus on eighteenth-century women’s management of estates, commissioning of art and architecture and writing associating rural retirement with moral improvement.

Plenary speakers
• Stephen Bending (University of Southampton), author of Green Retreats: Women, Gardens, and Eighteenth-Century Culture (2013)
• Markman Ellis (Queen Mary, University of London), author of The Coffee House: A Cultural History (2005)
• Joe Hawkins (Head of Landscape at Hagley)
• Steve Hindle (Huntington Library, California), W. M. Keck Foundation Director of Research

We invite delegates to participate in three panels on the following themes:
• Concepts of reform and improvement in architecture and rural life
• Female management of the country estate
• The symbolism of the garden in eighteenth-century art and literature

We also welcome papers on:
• Whig perceptions of the country and the city
• Portraiture, representations of the country house, and landscape painting
• Domesticating the picturesque: creating the grotto, the wilderness, and the waterfall
• Bluestocking crafts and collecting
• Botany, gardening, and girls’ education
• Agricultural reform and the rural poor
• The Lunar Society, provincial salons, and correspondence networks
• The politics of patronage
• Philanthropy and the religious revival

A selection of delegates will be invited to extend their papers into scholarly articles for a book-length special issue of the journal Eighteenth-Century Life, to be edited by Professor Markman Ellis.

Please send proposals for papers (no longer than 350 words) and requests for bursary application forms by 14th February 2020 to Jack Orchard by email: j.t.g.orchard@swansea.ac.uk or by post to: Dr. Jack Orchard, Department of English Literature and Creative Writing, Swansea University, Singleton Park, Swansea, SA2 8PP.


Conference Registration with Accommodation: £130
Conference Registration: £70
Accommodation will be arranged by EMCO at a local hotel, and both registration fees include two lunches at the conference and the conference banquet.

We reach out especially to early career researchers by offering six bursaries funded by the Paul Mellon Centre for British Art to doctoral students and unwaged ECRs with promising proposals for papers relevant to the conference theme. Each bursary holder is invited to review two panel sessions for a report on the conference to be published online at Elizabeth Montagu Letters and the Bluestocking Circle. Bursaries covering the conference fee and accommodation are available to six postgraduate students and unwaged early career researchers, who have papers accepted for presentation at the conference. ‘Unwaged’ scholars may be retired, unemployed, or unable to access institutional support for conference attendance. They are invited to make a personal statement in support of their application. Students’ bursary application forms must be accompanied by a statement from a supervisor which is signed on university headed paper and accompanied by the university stamp. The bursary award will be paid as a refund following attendance at the conference.

Call for Papers | Props: Staging Objects on the ‘Stage of Art’

Posted in Calls for Papers by Editor on January 17, 2020

From the posting at ArtHist.net, which includes the German version:

Props: Staging Objects on the ‘Stage of Art’
Requisiten: Die Inszenierung von Objekten auf der ‚Bühne der Kunst‘
Goethe-Universität, Frankfurt am Main, 9–10 October 2020

Organized by Joanna Olchawa and Julia Saviello

Proposals due by 29 February 2020

Not every object used on a stage is a prop. In his acclaimed study The Stage Life of Props of 2003 Andrew Sofer includes under this term only independent, physical and inanimate objects that are visibly manipulated by an actress or actor over the course of a performance. In this stricter definition of the concept of props the moment of movement plays a central role: objects themselves are not equipped with the potential to move, but they become props as soon as they are integrated into intentional and meaningful representative actions. This definition not only highlights the specific nature of props, but also and above all the way in which props are handled by human actors, which is in turn determined by the connotations and specific construction (functional or otherwise) of each object.

The conference is dedicated to the props that have been used on the various ‘stages’ of the visual arts from the Middle Ages to the present. Not only used in the theatre, objects have been staged in the most diverse ways and semantically enriched in Christian liturgy, military triumphal processions and court ceremonies, to name but a few examples. By describing the picture as a window opening on a ‘historia’, i.e. a scene composed of several figures in different postures and movements, Leon Battista Alberti has assimilated the image space to a stage area, thereby stressing for the first time the parallels between pictorial representations and performances in theatre. Following this, a widening of the view from real to fictional space seems appropriate, in which significant objects can also become props.

The focus of theatre studies so far has been on existing objects, such as rings, skulls and fans, or artefacts made especially for a theatre production, such as masks, sugar jars or knives with retractable blades. In addition to such objects, which partly have already been the subject of art historical studies, ‘props’ from the above-mentioned contexts, from private collections or artists’ studios and comparable contexts can also be discussed during the conference. In addition to the staging of such objects in real and fictional spaces, the places where they are stored and presented will also be considered (armories, cabinets of wonder and prop rooms). The methodological approaches to the exploration of props in their relevance to art history or art-historical object studies can also be addressed, such as the theory of affordances and the actor-network theory, both of focus on the specific nature of the objects, or gender-theoretical and transcultural approaches from which new impulses for the analysis of the multi-layered interaction of humans and objects have emerged.

We look forward to receiving your proposals in German or English. Please submit an abstract of approximately 300 words and a short biography by 29th February 2020 to olchawa@kunst.uni-frankfurt.de and saviello@kunst.uni-frankfurt.de. You will receive a notification by 15th March 2020. The conference will take place on 9th and 10th October 2020. Travel and accommodation costs will be covered thanks to the generous support of the ‘FONTE Stiftung zur Förderung geisteswissenschaftlichen Nachwuchses’. A publication of the conference proceedings is planned.

Call for Papers | The Animal and the Human in Netherlandish Art

Posted in Calls for Papers by Editor on January 13, 2020

From ArtHist.net:

The Animal and the Human in Netherlandish Art
Nederlands Kunsthistorisch Jaarboek 71 (2021)

Proposals due by 10 February 2020; articles due by 3 August 2020

Art begins with the animal. –Deleuze and Guattari (1991)

If the topic of the animal and the human in Netherlandish art evokes images of aristocratic hunt scenes, lap-dogs or Boschian hybrids, current ecological and ethical concerns reveal persistent questions of why and how artists have engaged with the nonhuman animal as subject and object of depiction. From Bosch to Snyders to Broodthaers to Fabre, Netherlandish artists have probed, and continue to probe, changing understandings of the relations and shifting boundaries between the human and the animal. Yet despite the importance of the visual arts to ‘the question of the animal’, the abundance of Netherlandish imagery of animals and human-animal relations has not received sustained attention. Volume 71 (2021) of the Nederlands Kunsthistorisch Jaarboek invites investigations into the animal and the human in the art and visual culture of the Low Countries and its diasporas in all periods.

In recent decades the field of animal studies has attracted increasing interest as scholars from various disciplines take other animals seriously as subjects. Animal studies pays close attention to the ways in which humans anthropomorphize animals, whilst adopting a post-humanist perspective in recognizing animals as beings-in-themselves, separate from our interests in them. The field has roots in questions about human beings’ co-existence with and use of other animals, extending the possibility of feeling emotion and pain to other sentient creatures. It also arises from cultural and philosophical interest in attempts to define the self and humanity through interactions with and representations of other animals. Giorgio Agamben for example, has examined the ways in which Western thought has produced ‘the human’ as a distinct and superior animal, or as different in kind from ‘the animal’.

The distinction made by René Descartes—who lived in the Netherlands from 1628 until 1639—between a self-aware, thinking human subject and a reflex-driven beast-machine was an important symbolic moment in the separation of ‘the animal’ from ‘the human’. The early modern period witnessed a tendency to depict animals as objects. Here, knowledge of the nature of a specific species of animal was not a matter of symbolic references and emblematic meanings, but of accurate, ‘scientific’ depiction. Depicted ‘ad vivum’ became an advertising slogan—whether the artist had seen the creature with his or her own eyes or not. In the early 18th century, for example, the magnificent printed publications after Maria Sybilla Merian’s drawings were authorized by the claim to be ‘naer het leven’. This claim to lifelikeness went hand in hand with experiments in observation and representation. One could think of the technologies of the microscope, photography and other forms of imaging including the digital. One might also cite interest in insects, animal anatomy, vivisection, comparative anatomy, taxonomy, or in the natural habitat of animals and their reproduction, animal curiosities, wonders, and genetics.

A sense of wonder could be evoked by the techniques of representation and the materiality of works of art. For example: Joris Hoefnagel and Otto Marseus van Schrieck famously inserted real insect-wings in their images, like, later, Fabre. This opens up the question to the use of animals in works of art in a broader sense: as a source for pigments and dyes, for glue and for brushes; or as source for parchment and vellum; or as elements of site-specific installations. How were these animal products obtained and processed? How did/does awareness of this affect interpretation of the works they constitute?

This volume invites new work that engages with the humanities beyond the human. Contributions might explore northern European art works that visualise animal mutations, metamorphoses, fables, struggles, fetishizing, speciation, preservation, and the monstrous. They might also engage with artistic critiques of taxonomies, habitats, hybridities, consumption, and the post-human.

The NKJ is dedicated to a particular theme each year and promotes innovative scholarship and articles that employ a diversity of approaches to the study of Netherlandish art in its wider context. More information is available here. Contributions to the NKJ (in Dutch, English, German, or French) are limited to a maximum of 7,500 words, excluding notes and bibliography. Following a peer review process and receipt of the complete text, the editorial board will make final decisions on the acceptance of papers.

Please send a 500-word proposal and short CV by 10 February 2020 to:

Schedule of production
Deadline for submission of proposals: 28 February 2020
Notifications about proposals: by 15 March 2020
Submission of articles for peer review: 3 August 2020

Call for Panels | NEASECS 2020, New York — Traffic

Posted in Calls for Papers by Editor on December 24, 2019

From the Northeast American Society for Eighteenth Century Studies:

NEASECS 2020 — Traffic in the Global Eighteenth Century
Fordham University, Lincoln Center Campus, New York, 25–27 September 2020

Panel and roundtable proposals are due 30 January 2020 (the call for papers will be posted by 15 February 2020, with a March 30 due date).

It would be difficult to imagine New York City without traffic, but traffic should not be understood merely as the polluting congestion of its highly frequented streets and waterways, an issue already present in New Amsterdam. Traffic also underlines the commerce, or the passing through different hands as the Encyclopédie’s “Trafiqué” underlines, both legal and illicit, of goods, bodies, books, artworks, monies, services, and ideas that is as central to New York City today as it was to the global eighteenth century.

For this 43 edition of NEASECS, we invite panels, papers, and other interventions on the topic of traffic in the global eighteenth century: be it book smuggling, human trafficking, drugs & arms smuggling, import/export, transnational and/or colonial exchanges, or money traders and currency converters; the traffic of ideas as well as objects of knowledge and aesthetic beauty (art objects, fashion…); the infrastructure (or lack there of) that facilitated the movements of such a global and local traffic; and/or the effects and affects of traffic/trafficking including the sonic. All disciplines from the history of science, history of the book, history of religion, architecture, art history, music history, and history, to literary studies, anthropology, and sociology are encouraged to participate. Round tables are also highly encouraged.

Of course, in the long tradition of NEASECS, panels on topics different from the theme of the conference are also welcome.

Panels will be 1 hour and 30 minutes. Panels should not have more than 4 presenters and should allow for at least 20 minutes of discussion.

For the very first time, and perhaps inspired by the controlled chaos of traffic itself and the vibrant, diverse democracy of New York City, we will also be hosting an open forum or town hall on human trafficking in the global eighteenth century. Anyone who wishes to participate can, and this can be in lieu of a paper. Although if you wish to participate in this session in addition to a panel or roundtable that is also welcome. The two-hour session will have parliamentary style format with lively free interventions to any individual who stands up to speak. Those with disabilities that prevent them from standing will be given a flag to raise. All you must do is register. All those who register for this event will be listed as participants in the session in the program.

Proposals for panels and roundtables are due 30 January 2020.
The call for papers will be posted by 15 February 2020.
Submission to panels and roundtables (individual contributions) will be due 30 March 2020.
Early registration at a discounted price must be completed by 30 May 2020.
Registration at the full price must be completed by 1 August 2020.
Please submit your proposals directly to neasecs@gmail.com. Thank you.
Click here to register and submit your proposals.