Enfilade

From the British Society for Eighteenth-Century Studies:

2013 BSECS Conference — Credit, Money and the Market
St Hugh’s College, Oxford, 3-5 January 2013

Proposals due by 30 September 2012

The annual meeting of the British Society for Eighteenth-Century Studies is Europe’s largest and most prestigious annual conference dealing with all aspects of the history, literature, and culture of the long eighteenth century. We invite proposals for papers and sessions dealing with any aspect of the long eighteenth century, not only in Britain, but also throughout Europe, North America, and the wider world. Proposals are invited for fully comprised panels of three or four papers, for roundtable sessions of up to five speakers, for individual papers, and for ‘alternative format’ sessions of your devising.

While proposals on all and any eighteenth-century topics are very welcome, this year the conference theme will be Credit, Money and the Market. We would thus particularly welcome proposals for panels and papers that address eighteenth-century understandings of Credit, Money and the Market, and their workings and effects, broadly conceived, throughout the long eighteenth century, at all levels of society, and in any part of the world. These might include, but will not be confined to: the meanings and significance given to Credit, Money and the Market in all fields from history, politics and religion, to the arts, literature, and philosophy; the way money is represented in the theatre, literature, philosophy and the arts; credit and reputation; debt and debtors; ‘capitalism’; ‘speculation’; financial ‘bubbles’; trade and business; ‘new money’; banks and financiers; ‘The Exchange’; investment; ‘moral economy’; and ‘the black economy’.

All enquiries regarding the academic programme of the conference should be addressed to the academic programme co-ordinator, Dr Corinna Wagner academic@bsecs.org.uk. To submit a proposal, please click here.

Keynote Speakers

Robert D. Hume — The Value of Money: Prices, Incomes, and Buying Power in Eighteenth-Century England

Julian Hopitt — Scottish Oeconomy and English Debts

Fourth Anglo-Italian Conference on Eighteenth-Century Studies
University of Tuscia, Viterbo, 5-7 September 2013

Proposals due by 30 December 2012

Following the success of the first three Anglo-Italian Conferences, in York in 2006 and 2011 and in Capri, Italy in 2009 the Italian Society for Eighteenth-Century Studies and the British Society for Eighteenth-Century Studies are proud to announce the fourth in this series of conferences. The focus of the 2013 Conference will be “Comparing Eighteenth-Century British and Italian Narratives.” Possible topics may include, but are not strictly limited to:
• origins of the novel
• functions of historiographies
• narrative/s of history and narrative/s of fiction
• ideologies and cultural systems
• poetics and forms
• printers, readers and book dissemination
• translations and cultural transfers

Proposals are invited for 20-minute papers. Abstracts of no more than 200 words should be sent by email to all the following: Frank O’Gorman fog17@btinternet.com, Rosamaria Loretelli loretell@unina.it, and Francesca Saggini fsaggini@unitus.it. Papers are acceptable in either Italian or English. Please include your position, name of your home institution and a working email address for contacts. The costs of the conference, including lunches, coffee break, etc. are expected to be in the region of €40. A fee waiver may be arranged for early career research scholars (e.g. self-financing Ph.D. students). The deadline for abstracts is 30 December 2012. Acceptance will be communicated by 31 January 2013. Delegates not offering papers will be warmly welcome to attend the conference.

Accommodation
Viterbo is an enchanting medieval town about 60 km north of Rome. There is plentiful accommodation in Viterbo and the surrounding areas at all levels and prices from spa resorts, to 4-star hotels, to quaint medieval B&Bs. Consequently, delegates will be expected to provide their own accommodation. However, advice and listings may be provided by Francesca Saggini fsaggini@unitus.it or by the Conference Graduate Staff, Adriana Micheli adriana.84@hotmail.it or adriana_micheli@alice.it and Fabio Ciambella fv762006@yahoo.it

Transport
The nearest airports are Leonardo da Vinci Airport in Fiumicino (all flights, including international) and Giovanni Battista Pastine Airport in Ciampino (mostly low-cost companies, including Ryanair). Both of these airports are located just outside Rome. Viterbo is a town north of Rome, easily accessible by train from most train stations in Rome as well as by coach. Alternatively, Viterbo can be reached by trains stopping at Orte station (about 25 km from Viterbo). Thence transfers can be arranged either by local train or even by taxi (this latter solution is favourable in case of taxi sharing). Delegates can contact Francesca Saggini or the Conference Graduate Staff for further information. By car, the nearest exit is ORTE, on the A1 Milan-Naples Motorway.

For further information, contact Frank O’Gorman fog17@btinternet.com or Francesca Saggini fsaggini@unitus.it.

As noted at The Society for Court Studies:

The Centre de Recherche du Château de Versailles is organizing a series of three workshops on Courtisans étrangers à la cour des Bourbons, 1594-1789 (Foreign courtiers at the Bourbon court, 1594-1789), coordinated by Jean-François Dubost, professor at the Université Paris-Est Créteil. The deadline for the first study day on Identités étrangères à la cour de France au temps des Bourbons was July 1, but there’s still time to apply for the second and third days.

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From the Centre de Recherche du Château de Versailles:

Courtisans étrangers à la cour des Bourbons, 1594-1789
Le Centre de recher­­­che du châ­­­teau de Versailles, 14 December 2012, 12 April 2013, and Fall 2013

Proposals due, respectively, by 1 July 2012, 1 December 2012, and 5 April 2013

Le pavillon de Jussieu dans le domaine de Trianon, lieu de travail de l’équipe du Centre de recherche. © Château de Versailles / Christian Milet

Le Centre de recher­­­che du châ­­­teau de Versailles a lancé un pro­­­gramme de recher­­­che inti­­tulé « Les étrangers à la cour de France au temps des Bourbons (1594-1789). Intégration, apports, sus­­­pi­­­cions », coor­donné sur le plan scien­ti­fi­que par Jean-François Dubost, pro­­fes­­seur à l’uni­­ver­­sité Paris-Est Créteil Val de Marne, et conduit en col­la­bo­ra­tion avec les parte­­nai­­­res du Centre.

Ce pro­gramme a pour objec­tif d’appré­hen­der les dif­fé­ren­tes for­mes de la pré­sence étrangère à la cour de France et, ce fai­sant, de cons­truire un objet d’étude trans­ver­sal – puis­que la notion même d’étranger intro­duit une caté­go­ri­sa­tion bipo­laire des indi­vi­dus tra­ver­sant tous les sta­tuts sociaux, entre ceux qui sont sujets du roi de France et les autres, propre à met­tre en évidence des phé­no­mè­nes que l’adop­tion d’un point de vue stric­te­ment franco-fran­çais ne révèle pas néces­sai­re­ment.

Organisé autour de deux axes thé­ma­ti­ques prin­ci­paux, le pro­gramme s’atta­che, dans son pre­mier axe consa­cré aux « Courtisans étrangers », à l’étude de tous les étrangers qui, à un moment donné de leur car­rière curiale, ont joui d’une posi­tion défi­nie à la cour de France, soit par inté­gra­tion dans les Maisons roya­les et prin­ciè­res fran­çai­ses, soit par l’obten­tion du sta­tut de « pen­sion­naire du roi », soit encore en étant, à la cour de France, au ser­vice de prin­ces ou d’États étrangers.

L’étude de ces cour­ti­sans étrangers à la cour des Bourbons sera décli­née autour de trois thé­ma­ti­ques qui font cha­cune l’objet d’un appel à contri­bu­tions, appels des­ti­nés à pré­pa­rer l’orga­ni­sa­tion de trois jour­nées d’études conçues comme ate­liers de recher­che fer­més, orga­ni­sées au Centre de recher­che du châ­teau de Versailles, et fai­sant inter­ve­nir cha­cune de 6 à 7 contri­bu­teurs.

Les contri­bu­tions rete­nues feront l’objet d’une publi­ca­tion, soit dans le Bulletin du Centre, soit dans les volu­mes imprimés qui pré­sen­te­ront la syn­thèse des tra­vaux conduits dans le cadre du pro­gramme « Les étrangers à la cour de France au temps des Bourbons (1594-1789). Intégration, apports, sus­pi­cions ». . . . (more…)

INTER-CULTURE 1400–1850: Art, Artists, and Migration
Liverpool Hope University (Creative Campus), 5-6 April 2013

Panel Proposals due by 1 October 2012

While major exhibitions, such as Migrations (January–August 2012) at Tate Britain, address the impact of migration on the cultural heritage and artistic production in a particular country, the conference seeks to investigate further this exciting topic by discussing thematically the latest research of international scholars. Instead of focusing on the 20th and 21st centuries and the strong consequences migration caused in modern and postmodern societies, we intend to look back and explore the effects of migration on art and artists in Europe and beyond before, during and shortly after the Industrial Revolution.

Why have artists left their comfort zone, travelled to faraway places and adapted to new living conditions when only very few had a noteworthy impact on local artistic production, such as Hans Holbein the Younger at Henry VIII’s court or El Greco, who is the prime example for intercultural artistic exchange in early modern times? How important was national identity for the artists and also for the reception of their work? What are the differences and parallels between pre- and post-Industrial Revolution migration of artists?

The conference seeks to encourage an inter-disciplinary dialogue and also invites papers from adjacent subjects that have a strong connection to the topic. Early career scholars are particularly invited to submit a proposal. Proposals can, but do not have to, relate to one of the following suggested themes:

•Perceptions of the artist (old and new society)
• New environments and influences on artistic practice
• Cultural confrontations
• Self-chosen emigration/immigration
• Forced emigration/immigration
• The returned artist

Conference papers will be presented within thematic units and shall not exceed 20 minutes, followed by a 10 minute discussion. All speakers will get free accommodation on the campus of Liverpool Hope University. Please send your proposal of no more than 500 words (with name, institution, address, phone number and email address) to:

Dr Kathrin Wagner
Liverpool Hope University, Creative Campus
The Cornerstone
17 Shaw Street
Liverpool L6 1HP — U.K.
inter-culture@hope.ac.uk

102nd Annual Conference of the College Art Association
Chicago, 12-15 February 2014

Panel Proposals due by 3 September 2012

The 102nd Annual Conference will take place February 12–15, 2014, in Chicago, Illinois. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology.

The submission process for 2014 proposals is now open. In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below. Deadline: September 3, 2012; no late applications will be accepted. (more…)

In addition to the regular session chaired by Julie Codell on ‘Parallel Lines Converging: Art, Design, and Fashion Histories’, the Historians of British Art is sponsoring a 90-minute session on ‘British Visual Culture and the Levant’ at the annual meeting of the College Art Association in New York, 13-16 February 2013. Whereas the deadline for proposals for regular sessions was May 4, the due date for this panel is not until September 1. Moreover, as an additional, short session, not subject to the regular CAA purview, neither CAA membership nor CAA conference registration is required for speakers or for those attending the panel. All participants are, however, required to be members of HBA. Please direct any questions to the chairs, Eleanor Hughes and Christine Riding. -CH

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CAA 2013 | HBA Affiliate Session: British Visual Culture and the Levant, 1600-1830
New York, 13-16 February 2013

Proposals due by 1 September 2012

This panel aims to address a variety of ways in which interactions between Britain and the Levant were reflected in contemporary visual and material culture during the two centuries before professional artists such as John Frederick Lewis and David Roberts began traveling to Egypt and the Holy Land in search of subject matter. The Levant is here defined as the countries of the eastern Mediterranean–roughly corresponding to present-day Greece, Turkey, Syria, Lebanon, Iraq, Israel, Jordan, Egypt, and Libya–which for much of the period fell under the control of the Ottoman Empire. We welcome papers addressing a wide range of topics, including illustrated travel accounts, the exchange of commodities and customs, scholarly expeditions and the rediscovery of classical and biblical sites, the reception and use of middle-eastern imagery by British artists, and the geo-political importance of the region as mediated in visual representations, as well as those that might address broader questions relating to imperialism and orientalism.

Please submit a CV and a 250-word abstract to Eleanor Hughes (eleanor.hughes@yale.edu) and Christine Riding (criding@nmm.ac.uk).

As noted at L’ApAhAu (my apologies for the short notice) . . .

Diderot – Le Génie des Lumières: Nature, Normes, Transgressions
Halle, 27-29 June 2013

Proposal due by 15 July 2012

Colloque international à l’occasion du 300e anniversaire de Denis Diderot
Comité d’organisation: Konstanze Baron, Robert Fajen, Heinz Thoma

A l’élaboration de la notion de génie moderne, Diderot a sans doute apporté une contribution décisive: d’un côté, il semble reconnaître la pluralité et la valeur relative des « génies » dont il cherche à déterminer l’origine physiologique et l’application pratique; d’un autre côté – et la plupart du temps –  le génie, chez lui, fait figure d’exception: c’est un « ressort de la nature » qui permet aux individus d’exception de créer des oeuvres hors norme. En soulignant soit la sensibilité, soit le sang-froid de l’esprit observateur, Diderot insiste sur le don de la nature qui met le génie en état de transcender les conventions humaines en créant ses propres lois. En liant le génie à l’enthousiasme et aux « grandes passions », il en fait une force tout à fait ambiguë, non exempte de qualités diaboliques: l’homme (ou bien la femme) de génie est capable d’exceller dans le bien aussi bien que dans le mal.

Ainsi, la réflexion de Diderot sur le génie ne se limite pas au seul domaine esthétique. Elle fait, tout au contraire, partie intégrante de l’oeuvre philosophique et littéraire de Diderot dans la mesure où celle-ci se préoccupe du rapport entre l’art et la nature, l’individu et la norme, la règle et sa transgression. En tant que telle, la notion de génie participe aux ambivalences et aux tournures dialectiques qui donnent à la pensée de Diderot son caractère distinct. Ce qui intéresse, par exemple, Diderot moraliste, c’est le rapport du génie aux règles et aux conventions de la société. Dans Le Neveu de Rameau, Diderot entame une réflexion sur le génie où l’art et la morale, la dimension éthique et artistique de la vie des « grands hommes » entrent en opposition fondamentale. L’ambiguïté morale du génie ne cesse d’ailleurs de hanter Diderot qui se dit fasciné par la « méchanceté sublime ». Dans la philosophie de la nature, par contre, il met l’accent sur les conditions subjectives de l’investigation scientifique et expérimentale. Dans les Pensées sur l’Interprétation de la Nature, la nature (soi-disant objective) trouve son complément théorique dans l’expérience subjective du philosophe. En même temps, Diderot admet l’importance des dispositions objectives (talent, intuition, esprit de divination etc.) du philosophe. Dans Jacques le Fataliste et son maître, cette même dialectique entre la nature et son interprétation est portée à son comble lorsque l’ingéniosité du narrateur (voire des narrateurs) se trouve en compétition directe avec celle – non moins romanesque – de la nature-même.

En mettant en relief la notion de « génie », la conférence se propose d’explorer une notion-clé de l’oeuvre de Diderot qui permettra en même temps de cerner des tendances générales, voire typiques de la pensée de Diderot ainsi que des Lumières. Il s’agira donc de caractériser la pensée de Diderot : quel est le rapport entre la disposition naturelle, l’héritage physiologique et même génétique d’un côté et la liberté créatrice de l’autre? Comment Diderot conçoit-il le rapport entre l’art et la nature, les facultés innées et la possibilité du changement, voire de l’innovation? Le génie confirme-t-il ou met-il en question le déterminisme matérialiste ? Quel est le rapport entre l’originalité et la norme dans la pensée de Diderot ? de situer cette pensée dans son contexte tant bien historique que contemporain: Quelle est l’influence de la pensée antique et classique dans la pensée de Diderot ? Quel rôle a joué pour Diderot la conception anglaise (Shaftesbury) ou espagnole (Gracián) du génie / de l’ingenium ? Quelle est la réception de la pensée de Diderot en Allemagne, p.ex. auprès des auteurs du Sturm und Drang ? Dans le contexte français et européen, la pensée de Diderot incarne-t-elle la norme ou plutôt l’exception ? Qu’en est-il, en d’autres termes, de la représentativité de Diderot ? Tout ceci s’effectuera en vue d’un troisième objectif, à savoir  de tenter une réflexion nouvelle sur la notion des Lumières : la philosophie des Lumières est-elle dominée par la norme, ou admet-elle l’exception ? Quel est le rôle de l’originalité dans la pensée des Lumières? En quoi les théories (esthétiques) du dix-huitième siècle sont-elles vraiment créatrices, en quoi ne font-elles que prolonger des débats plus anciens?Sujets d’investigation possibles:

• Caractère(s) de Diderot : le grand homme, l’homme sans caractère, etc.
• La théorie esthétique des Lumières: entre « imitation » et « inspiration »
• Enthousiasme, énergie, intuition: au-delà du déterminisme mécaniste
• L’exception et la norme : le statut de l’individu / du bizarre / de l’original
• L’art et la nature de l’invention (technique)
• Figures mythiques, interprétations modernes de l’ingenium / du démon
• Morale et esthétique : l’ingénieux n’est pas l’ingénu…

Veuillez envoyer votre proposition de communication (min. 300 mots) jusqu’au 15 juillet 2012 à l’adresse suivante : konstanze.baron@izea.uni-halle.de

From AAH:

39th Annual Association of Art Historians Conference
University of Reading, 11-13 April 2013

Proposals due by 12 November 2012

AAH2013 will represent the interests of an expansive art-
historical community by covering all branches of its discipline/s and the range of its visual cultures. Academic sessions will reflect a broad chronological range, as well as a wide geographical one. We will address topics of methodological, historiographical, and interdisciplinary interest as well as ones that open up debates
about the future of the discipline/s.

Keynote Speakers: Adrian Forty (Professor of Architectural History, The Bartlett, University College London) and Okwui Enwezor (Curator and Director of Haus der Kunst, Munich)

If you would like to propose a paper for one of the sessions listed below, please follow the proposal guidelines outlined on the paper proposal form.

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The following selections might be relevant for dixhuitièmistes. A full list of panels along with descriptions is available here (as a PDF file).

• (In)formal Networks and the Professionalisation of Art and Design History: Conversations with art and design historians
Liz Bruchet (Voices in Art History) and Joanne Gooding (Design History Society)

• Painted Gladiatrices: Women, art and the 18th-century social arena
Heather Carroll and Lauren Puzier (Sotheby’s)

• Landscape and Economy
Kevin Chua (Texas Tech University) and Ross Barrett (University of North Carolina)

• Poster Session
Susan Grange (Independent) and Lawrence Buttigieg (Independent)

• The Art History of the Animal
Alastair Harden (University of Reading)

• Ceremonial and the City
Caroline Arscott (Courtauld Institute of Art) and Pat Hardy (Museum of London)

• Rhythm in Art and Life
Michelle Ying-Ling Huang (Hong Kong Baptist University) and Charlotte de Mille (Courtauld Institute of Art)

• ‘Action Painting’: The theatrical and the dramatic in narrative art
Mark Ledbury (University of Sydney) and Andrei Pop (University of Basel)

• Shut your Eyes! Iconophobia in the modern era
Sarah Lippert (University of Michigan-Flint)

• The Permanence of the Transient: Precariousness in art
Camila Maroja (Duke University) and Caroline Menezes (University of the Arts – UAL)

• The Knowing Gaze: The shifting role of the connoisseur and connoisseurship in art and its histories
Jordan Mearns (University of Edinburgh Jordan) and Tom Denman (University of Reading)

• Into the Light: The changing significance of light in art, design and architecture
Melissa Miles (Monash University)

• The Imaginary Drinker: Bodies and beverages in art and society
Frédérique Desbuissons (Institut national d’histoire de l’art) and Edward Payne (Courtauld Institute of Art)

• From Utopian Teleologies to Sporadic Historiographies: ‘Interfaces’ of art and cybernetics
Maia Toteva (Montana State University) and Jennifer Way (University of North Texas)

• Twitchers: Birds and art
Tracey Warr (Oxford Brookes University), Paul Kilsby (Oxford Brookes University), and Clair Chinnery (Oxford Brookes University)

• Photography and the Histories of Sculpture: What role has photography played in forming sculpture’s place in art history?
Lisa Le Feuvre (Henry Moore Institute) and Jon Wood (Henry Moore Institute)

• Student Session: Collaboration
Sibyl Fisher (University of Leeds)

• Visualising Architecture: Fictive buildings c.1300 – c.1750
Amanda Lillie (University of York)

• Sculpture and the Sea: Figureheads and ship sculpture
Alison Yarrington (University of Hull), Douglas Hamilton (University of Hull and Maritime Historical Studies Centre), and Julia Kelly (University of Hull)

• Museums & Exhibitions Session: Curating the Book: Exhibiting books, archives and manuscripts
Layla Bloom (Stanley & Audrey Burton Gallery, University of Leeds) and Ben Thomas (University of Kent)

2013 American Society for Eighteenth-Century Studies Conference
Cleveland, 4-7 April 2013

Proposals due by 15 September 2012

The 2013 ASECS conference takes place in Cleveland, 4-7 April. Along with our annual luncheon and business meeting, HECAA will be represented by two panels chaired by Christopher Johns and Heather McPherson. In addition to these, a wide selection of sessions that might be relevant for HECAA members are also included below. A full list of panels is available here.

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Anne Schroder New Scholar’s Session (Historians of Eighteenth-Century Art and Architecture)

Christopher M.S. Johns, 1112 Wildwind Ct., Nashville, TN 37209; Tel: (615) 516 9337; Christopher.Johns@vanderbilt.edu

Named in honor of the late Anne Schroder, this seminar will feature outstanding new research by emerging scholars.

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Interiors as Space and Image (Historians of Eighteenth-Century Art and Architecture)

Heather McPherson, Dept. of Art and Art History, 113 HUM , 900 13th St. South, U. of Alabama at Birmingham, Birmingham, AL 35294; Tel: (205) 934-4942, Fax: (205)-996-6986; hmcphers@uab.edu

In recent years scholars have reconsidered the significance of the eighteenth-century interior as a complex site of social interaction and nexus of display associated with daily life, exhibition practices, and conspicuous consumption. This session invites papers on eighteenth-century interiors as actual spaces experienced in multiple ways (socially, aesthetically, temporally, etc.) OR as represented in paintings, prints, or other art forms. Topics might include functions of different types of interior spaces, furnishings, decorative arts, display of artworks or other objects, etc. in any geographical area during the long eighteenth century.

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