Enfilade

From the Call for Papers

Gender and Otherness in the Humanities: Drama, Literature, and Visual Culture
3rd Annual GOTH Symposium
The Open University, Milton Keynes, 18–20 May 2023

Proposals due by 30 November 2022

The annual GOTH Symposium welcomes scholars from within and outside The Open University for three days of productive interdisciplinary discussion and debate. The program committee invites proposals for 20-minute papers focusing on the following aspects of gender and otherness in drama, literature, and visual culture:

1. Gender and/or otherness in pre-1800 images of drama and literature, with topics including but not limited to:
• images by or relating to William Hogarth, and especially to his early career and book illustrations
• the anti-hero: Don Quixote and Hudibras illustrations at Littlecote House and elsewhere
• any aspect of the Littlecote House murals

2. Gender and/or otherness in modern performance receptions of ancient Greek drama, possibly addressing topics including but not limited to:
• new versions of rarely staged or fragmentary texts
• innovative or non-traditional modes of performance
• productions engaging with intersecting identities

3. Race, disability, and/or otherness in early modern theatre, with topics including but not limited to:
• depictions of otherness in dramatic writing and staging practices
• historical receptions of race and disability
• the significance of gender in representations of race and disability

4. ‘Collectible Otherness’, 1500–1800, with topics including but not limited to:
• dwarfs, conjoined twins, the abnormally hirsute
• genre: visual culture, drama, and literature
• contextualizing agency and Intersectionality of otherness: court, theatre, fairground, curiosity cabinet (Wunderkammer)

Please submit your proposal (300 words max) and academic bio (150 words max) on or before 30 November 2022, to m.a.katritzky@open.ac.uk and FASS-GOTH-Admin@open.ac.uk. Presenters will be provided with one night of accommodation. A limited number of travel bursaries will be awarded; if you wish to be considered please include a brief statement explaining what sum is required and why. Inquiries on any aspect of the symposium can be emailed to FASS-GOTH-Admin@open.ac.uk. Further information will be posted on the GOTH website as it becomes available.

GOTH Committee
• M. A. Katritzky – GOTH director / Barbara Wilkes Research Fellow in Theatre Studies
• Christine Plastow – GOTH web and media manager / Lecturer in Classical Studies
• Molly Ziegler – Lecturer in Drama and Performance Studies

Guest Co-Organizer
• Birgit Ulrike Münch, Rheinische Friedrich-Wilhelms-Universität Bonn

I’ve highlighted here a selection of panels related to the eighteenth century; but please consult CAA’s full listing for additional possibilities. –CH

111th Annual Conference of the College Art Association
New York Midtown Hilton, 15–18 February 2023

Proposal due by 31 August 2022

CAA’s 111th Annual Conference will be held 15–18 February 2023 at the New York Midtown Hilton. Most sessions will be held in person, and some will be convened virtually (Zoom). The full conference schedule will be posted on 1 October 2022.

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Accessorizing the Medieval and Early Modern World
Chairs: Kristin M. O’Rourke and Jane Carroll (Dartmouth College), kristin.o’rourke@dartmouth.edu and jane.l.carroll@dartmouth.edu

Queen Elizabeth I would not hold an audience without her ropes of pearls, nor would a nineteenth-century dandy stroll the boulevards without his top hat and cane. This session hopes to go beyond the fabric of fashion to explore how carefully chosen accessories of dress allow subjects to add successive layers of signification to their costume. How accessories were worn or handled also carried meaning, as we see reflected in art. We seek papers that explore through case studies, theoretical, or historical discussions how items such as lace, buttons, ribbons, jewelry, umbrellas, gloves, fans, shoes, wigs, and so forth, transformed basic costumes into successive, diverse self-presentations.

Did accessories retain stable meanings over time and place? What forces influenced change and rupture? Beyond the elite consumer, can we trace a history of accessories, like aprons or caps? What is the gendered history of particular objects and were those lines ever transgressed? Additionally, we encourage work that explores how global trade or colonialism impacted material and fashion history over time. This panel sits at the intersection of art history, material culture, fashion history, cultural anthropology, among other disciplines. We hope to tease out the visual and iconic meanings of accessories over the centuries.

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Atlantic/Pacific: American Art Between Ocean Worlds (AHAA)
Chairs: Caitlin Meehye Beach and Katherine Fein (Columbia University), cbeach1@fordham.edu and katherine.fein@columbia.edu

The Americas have long been traversed by circuits of cultural and commercial exchange linking both ocean worlds, including long-distance Indigenous trade routes in the pre- and extra-colonial world, the Manilla Galleon Trade (1565–1815), the transcontinental railroad (completed 1869), and the Panama Canal (opened 1914). While studies frequently highlight the interconnectedness of the Americas in relation to land, this panel asks what happens when we orient the study of ‘American art’—broadly conceived—around not continental landmasses but bodies of water: namely, the Atlantic and Pacific Oceans. As Paul Gilroy, Tiffany Lethabo King, Robbie Shilliam, and others suggest, watery spaces— oceans, littorals, shoals, archipelagos—can open onto innovative and essential ways of thinking about cultural production and critique.

This panel invites contributions that foreground the role of visual and material culture in forging, revealing, and/or problematizing the interconnectedness of the Atlantic and Pacific worlds. How were these spaces linked through the movement of people, materials, objects, and ideas in the wake and apart from slavery, colonialism, forced migration, and exclusion? How might recent scholarship about the fraught connections across these spaces reframe narratives of American art history? What might the methods and objects of American art offer to broader investigations of oceanic networks? And finally, how can we find ways to think about trans- and inter-oceanic exchanges that acknowledge their interrelation while also holding space for local specificity? We welcome research-in-progress, curatorial projects, and artistic interventions that engage these and other questions as they position American art at the confluence of ocean worlds.

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Drawing as an Art: Invention and Innovation in Britain (HBA)
Chair: Laurel Peterson (Yale Center for British Art), laurel.peterson@yale.edu

In 1715, the artist and art theorist Jonathan Richardson described the practice of drawing as “the very spirit, and quintessence of art.” Drawing’s accessibility and speed primes it for innovation. Artists such as Thomas Gainsborough, J.M.W. Turner, Elizabeth Siddal, and Sonia Boyce have turned to drawing as a site of experimentation. Indeed, the utility, accessibility, and ease of drawing mean that it is practiced by painters, printmakers, sculptors, architects, scientists, administrators, and craftspeople alike. Despite its importance to the history of British art and architecture, rarely is drawing satisfactorily integrated into canonical histories, whether on its own terms or as a key link between mediums. This panel invites papers that identify drawings as sites of innovation and invention, produced across time, throughout Britain and its former empire. Panelists might consider the role played by drawings in the development of artistic composition, as a means of knowledge production, as studied and practiced within academic contexts, or as an end in itself. Papers might also consider the role played by collections of drawings and their impact on art making in Britain.

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Eighteenth-Century Atmospheres: Science, Politics, Aesthetics (ASECS)
Chairs: Cigdem Talu (McGill University) and Dimitra Vogiatzaki (Harvard University), merve.talu@mail.mcgill.ca and vogiatzaki@g.harvard.edu

First used in English in Rev. John Wilkins’s Discovery of New World (1638) as a climatic term, the word atmosphere came to gradually yield its literal meaning to a figurative one over the course of the eighteenth century; by 1817 we find it in Coleridge’s Biographia Literaria denoting a ‘moral environment.’ Drawing from twentieth-century phenomenology, new aesthetics, and affect studies, contemporary theories of the atmospheric seem to oscillate between the two approaches in an attempt to map it in conceptual, aesthetic and philosophical terms, whether defining it as the intangible space that opens up ‘in-between’ the individual and the collective, or as a space that is increasingly conceived in its comprehensive ecological, racial, and gendered dimensions.

This session seeks to retrace the origins of an ideologically tense atmosphere by exploring how scientists, philosophers, artists, and architects—among others—began to envision and visualize the world ‘in-between’ in the Age of Reason. From the materialist contig/nuities of Diderot’s rêve to Mesmeric utopianism; from Bernulli’s Hydrodynamica to the urban response to the threat of miasma; and from Montesquieu’s political theory of climates to the climactic articulation of sensational interiors: what were the figurative, conceptual, and even material means mobilized to grasp the shifting notion of atmospheres in the eighteenth century? What was the role of non-Western perspectives and the agency of marginalized individuals or groups in its shaping? We particularly invite proposals that foreground the ideological repercussions of this atmospheric awareness in the arts and sciences of the time.

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Environmental Crises and Their Impact on the Arts and Architecture of the Eighteenth-Century Atlantic World (HECAA)
Chairs: Luis J. Gordo Peláez and C. C. Barteet (The University of Western Ontario), luisgordopelaez@csufresno.edu and cbarteet@uwo.ca

Over the past decades, our global society has begun to document the undeniable impact of global warming. Extreme weather patterns are bringing about more severe flooding, fires, droughts, epidemics, and so on that at times coincide with volcanic eruptions and earthquakes that exacerbate already dire situations. As we are also recognizing the roots of our increasingly desperate global condition has its roots in the rise of Christian European colonialism that spread across the earth; an enterprise based on conquest and an extraction economy and the exploitation of resources and peoples. By the eighteenth century, signs of environmental crises were appearing across the Atlantic world, as peoples responded to severe droughts, deforestation, floods, hurricanes, epidemics, and other natural disasters and the challenges they posed for colonial and early independent societies. Not unexpectedly art and architecture responded to these events. Through art and architecture peoples explored new forms of engineering, building, religiosity, environmental studies, and etc. In this panel we seek to explore the impact of environmental crises on the art and architecture of the eighteenth-century Atlantic world. Papers that explore new technologies, architectural and engineering projects, artistic representations, and the like are welcomed.

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Ethics and Social Justice in Early Modern Iberian Global Art, 1492–1811 (virtual session)
Chair: Lisandra Estevez, estevezl@wssu.edu

The dual paradigms of ethics and social justice in early modern global Iberian art (1492 to 1811) are the foci of this session. The bracketed date is significant as it opens it up with the hallmark year of transatlantic Spanish colonization and concludes with the year that Spain officially banned slavery on the peninsula and in its colonies (although the practice remained in territories such as Cuba). The geographic scope of this panel includes Iberia (both Spain and Portugal), Mexico, the Caribbean, Central America, South America, the Philippines, and Goa.

Many of the artists whom we esteem and study as the ‘greats’ of the Spanish Golden Age enslaved Africans or had praxes that necessitated exploitative labor and social hierarchies, with Velázquez as the best-known example. Papers that focus on the writing of art histories that reevaluate the ethics entailed in canon formation as well on the art and agency of Afro-Iberian and Indigenous/First Nations artists in view of social justice methods are especially welcome. The role played by specific subjects, art genres, art practices, and institutions such as portraiture, still-life paintings, collecting, and the Holy Office of the Inquisition as arbiters of cultural control add layers of complexity to the reappraisal of ethics and social justice in the arts of the early modern Iberian world. Ethics and social justice are jointly considered to reevaluate both visual and art historical praxes as manifested in diverse art media that include architecture, books, drawing, manuscripts, painting, printmaking, and sculpture.

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Iberian Art in a Global Context: A Tribute to Jonathan Brown (Society for Iberian Global Art)
Chair: Edward J. Sullivan, edward.sullivan@nyu.edu

This panel honors the legacy of Jonathan Brown (1939–2022), one of the founding members of the American Society for Hispanic Art Historical Studies, the predecessor of the Society for Iberian Global Art (SIGA). Though perhaps best known for his scholarship on Diego Velázquez and Spain’s Golden Age, Brown’s extensive bibliography also encompasses the history of collecting; the critical fortunes of seventeenth-century Spanish art in the modern world; and viceregal painting, which he explored during the latter part of his career. Papers that touch on any aspect of Jonathan Brown’s wide-ranging interests, including those that reflect on his impact on the study of global Iberian art in the United States, are welcome. Topics could include:
• Patronage studies across imperial Spain
• Art and architecture at the early modern European court
• European sources of the painting of New Spain
• Transnational collecting in the early modern world
• The meaning of Las Meninas
• Interactions between conservation studies and art history
• Intersections of memoir and scholarship

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Illustrated Albums as Sites for Knowledge Production, Commercial Mediation, and Technological Investigation
Chair: Paulina Banas (University of Alabama at Birmingham), pbanas@uab.edu

Illustrated albums, from small travel publications to larger encyclopedias, while often consulted by scholars and the larger public for their appealing illustrations, textual information, or the scientific or artistic value of images, have a largely forgotten and complex history of production that requires further investigation. Since many of these books included illustrations executed on various media and reproduced through diverse traditional and modern printmaking techniques, these books often relied on greater financial investments and a higher number of contributors than many other non-illustrated publications. Additionally, the production of multi-volume books with hundreds of expensive plates, such as the Dutch collector Albertus Seba’s Thesaurus (1734–65), or La Description de l’Égypte (1809–22), written by the French scholars who accompanied Napoleon to Egypt, could take decades and involve temporary suspensions of the publication process, sometimes affected by the death of the author(s) or the change of direction in the publishing process. Finally, the production of illustrated albums could also call for well-measured marketing strategies (for instance, commercial prospectuses), and the preparation of various editions with differentiated formats and quality of prints thus responding to the changing public demand.

This panel seeks papers that bring light to the structural aspects of the book market and the production of illustrated albums across time and location. It particularly welcomes researchers who examine the process of production of illustrated books as dependent on technical and commercial aspects associated with publication and printmaking, that could affect the conceptualization of these books and the knowledge emerging from these products.

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Implicit Lessons: The Sociality of Instructional Texts from 1793 to 1993
Chairs: Colleen M. Stockmann (Gustavus Adolphus College) and Aleisha Elizabeth Barton (University of Minnesota), cstockmann@gustavus.edu and barto392@umn.edu

Artists and amateurs have long absorbed the lessons of art-making through the distribution of printed instruction, from the first American type foundry to the invention of the portable document format (PDF). This session examines technical manuals as objects of study in their own right, specifically in the context of the United States. With a focus on praxis and pedagogy as sites of social transformation, we seek to center the under-examined arena of creative instruction. As recent studies within American art and material culture suggest, process manuals and design guides can be interrogated as an archive of the social, political, and aesthetic philosophies of making. Scholarship such as Elizabeth Bacon Eager’s work on nineteenth-century technical drawing and Kristina Wilson’s study of racialized midcentury design directives suggest the implicit politics present within instructive texts that often remain undetected in discussions of completed works and compositions. Panelists may consider a wide range of materials, including: pattern book templates, photography manuals, advice columns for interior design, papermaking guides, and drawing manuals. This session seeks papers that, for example: theorize notions of directional versus didactic, dissect the interplay of handwork and vocational training, and/or provide a critical interpretation of instructional messaging. We invite elaborations on the theme that center the imaginative potential of instructive texts via experimentation and improvisation. Papers that tell the stories of unexpected interpretations of manuals and technical lessons are encouraged, especially as they pertain to marginalized makers and mediums underrepresented in the archives.

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Liquidities: Seascapes as Subject and Method
Chair: Kelly Presutti, kelly.presutti@gmail.com

When Joseph Vernet painted France’s ports in an array of grand canvases in the eighteenth century, the result was so effective that it countered the nation’s actual naval shortcomings—Louis XV declared, “there can be no navy other than that of Vernet.” When the sea is vast, unknown, and elsewhere, representation takes on an expanded capacity to stand in for, and alter, the real. As such, seascapes offer unique insight into commerce, conflict, and ways of controlling distant lands; oriented outward, they exemplify a tension between here and elsewhere; their subject demands a fluid response at odds with any fixed interpretation. Further, from early modern trade to contemporary flows of capital, water permeates the history of art. In an age when we look increasingly to both transcend national and disciplinary limitations and to contend with the global impact of rising tides, the time is ripe to revisit the seascape.

This panel calls for new approaches to studying the sea in art. Beyond the potential for metaphor, how have artists historically addressed liquidity? In what ways has the sea been rendered, claimed, and marked by visual representation? How have seascapes contended with the sweeping expanse of the world’s oceans, and what lessons might they impart for making distant waters more palpably present today? Open to a wide geographical and chronological scope, we seek novel ideas for situating seascapes in a global perspective, illuminating environmental issues related to waterways, and tracing fluidity as a potential methodological model.

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The Art of Sleeping in Early Modern and Modern Western World
Chairs: Guy Tal and Gal Ventura, guy1tal1@hotmail.com and galventura1@gmail.com

Both the historical and art-historical dimensions of human sleep were largely disregarded until the end of the twentieth century. Indeed, as a foremost physiological necessity, sleep was initially regarded as a ‘non-social’ experience: a natural rather than a culturally dictated event. Nonetheless, sociologist Marcel Mauss argues in a well-known essay that our movements, gestures, and the other ways in which we use our bodies are in themselves a product of socio-cultural learning processes. The meanings, methods, motives, and management of sleep thus vary culturally, socially, and historically. One should therefore distinguish between the biological notion of ‘being asleep’ and the cultural and historical implications of sleeping, or what sociologist Brian Taylor calls ‘doing sleeping’, referring to the techniques, rituals, and regulations forming our social conception of sleep.

In addressing this understudied topic, this session seeks to explore perspectives on sleep and sleeplessness through visual representations and artifacts ranging from the cultural, societal, medical, and psychological in the early modern and modern Western world (from 1500 to the present). This session includes studies on sleeping environments, sleeping postures, clothing, beds, and daily objects designated to produce or facilitate sleep, the psychology of sleep manifested in toys and transitional objects, and occurrences when sleep is obstructed by dreams and nightmares. How, for example, do images echo theories and common beliefs concerning sleep, dreams, and nightmares? And what can be learned from artifacts—whether real or representational—regarding sleep?

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The Art of the Periodical
Chair: Max Koss (Leuphana University Lüneburg), maxkoss@uchicago.edu

The recent effervescence of periodical studies has led to a renewed interest in the role of periodicals in the history of art, not only as platforms for the dissemination of text and image but as objects with artistic qualities in and of themselves. This panel seeks to address this ontological duality of periodicals by soliciting papers dealing with the material nature of periodicals, their design, their production, and the circumstances of their reception, as they relate to the periodicals’ dimension as artworks.

As a quintessentially modern medium, periodicals occupy a liminal position in many humanities disciplines but are at the same time only graspable in their totality with the application of a multi-perspectival methodology that takes into account their multimodal nature as a medium combining text with image in potentially endless variations.

This panel, however, wants to approach periodicals with an art historical eye, a hitherto neglected angle from which to describe and analyze this form of printed matter. A particular focus is the ‘facture’ of periodicals, specifically the sources and origins of their materials, not least paper, and their relative expense or cheapness, as well as the economy of reproductive technologies used to print and illustrate periodicals.

The panel welcomes contributions that address any kind of periodical or group of periodicals from the late eighteenth century onwards. The panel particularly welcomes proposals on periodicals produced and distributed in the global South, as well as those produced by marginalized groups, including, but not limited to women, BPoC, and LGBTQIA.

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The Dutch Americas (HNA)
Chairs: Stephanie C. Porras (Tulane University) and Aaron M. Hyman (Johns Hopkins University), sporras@tulane.edu and ahyman6@jhu.edu

Porcelain, lacquerware, carved ivory, sea shells, aromatic spices: even just a list of goods portered from the East to the Dutch Republic evokes a multi-faceted and multi-sensorial history. The last thirty years have seen a staggering amount of work on the material culture and artistic production enabled by the long-distance trade of the Dutch East India Company (VOC). With a few notable exceptions, far less art historical attention has been paid to the activities of the Dutch West Indian Company, the WIC. With footholds in North America, the Caribbean, South America, and the west coast of Africa, the company played a vital role in the shaping of the Americas and the transatlantic traffic of raw materials (tobacco, pearls, sugar, gold), refined artistic products, and people (both willing settlers and enslaved laborers).

This session aims to begin the process of assembling and reassessing the visual and material corpus related to Dutch trading companies in the Americas and is part of a larger, multi-year project that aims to redress this historiographic imbalance between east and west. Papers are welcome that treat any facet of Dutch artistic culture as it was inspired by the Americas or took shape in these geographies. Potential topics include: botanical expeditions and illustrations, plantation architecture, the material culture of slavery, mapping and navigation (particularly of complex waterways), engineering projects, inter-imperial artistic influence (critical to zones of contact and piracy like the Caribbean), the collection of Americana in the Netherlands, the mobilization of artistic resources (pearls, shells, pigment, etc.).

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Note (added 4 August 2022) — The original posting did not include information for Accessorizing the Medieval and Early Modern World. But certainly should have!

From the Call for Papers:

Boiseries: Decoration and Migration from the Eighteenth Century to the Present
Camden Place, Chislehurst (Kent), 12–13 January 2023

Organized by Lindsay Macnaughton and Laura Jenkins 

Proposals due by 9 September 2022

This conference investigates the cultural and commercial migrations of French eighteenth-century boiseries from their places of production in Paris and the Bâtiments du Roi to the drawing rooms of Britain and the United States.

From an historical perspective boiseries have always, in a sense, been mobile. In the eighteenth century, Paris joiners and carvers travelled to locations outside the city to install panelling, and entire decorative schemes were sent abroad to Germany, Spain, and Latin America. Accompanied by mirrors and tapestries from royal manufactories, these panels disseminated French style in accordance with the diplomacy of the monarch and the desires of foreign courts. Boiseries executed for particular sites but not installed were also sometimes reused elsewhere: failed deliveries and changes in taste during the period from commission to installation occasioned opportunities for buyers, and sets of panelling conceived as complete ensembles were broken up and dispersed for use in multiple locations, or disused altogether. Shifting fashions and continual reallocations of appartements at Versailles set into motion near-ceaseless rotations of décors, including boiseries. And, notwithstanding the legal categorisations of panels, once fixed, as immeubles, removals were negotiated by tenants during their lease of, and on their departure from, urban hôtels.

In the nineteenth century, the pace and directionality of movement changed, as elements of interior decoration began to be acquired for their own merit and eighteenth-century boiseries became the relics of a physically and culturally disappearing French national history as well as the trophies of an international collecting elite. Elements of woodwork, disassembled from demolished châteaux or reproduced in survey drawings and plaster casts, made their way into rooms in Britain and the United States, their proportions and ornament amplified and metamorphosed—to borrow terms used by John Harris and Bruno Pons—to match the pitch of the French Second Empire and later living.

Professional interior decorators and commercial dealers in decorative arts were largely to credit, providing channels by which goods could easily be transported from place to place. However, boiseries also emigrated, as it were, with exiles of the Republic, extending the presence of French style to less-cosmopolitan regions and adding geopolitical to social and architectural concerns.

Camden Place, where the conference will be held, is an English country house whose history and interiors have been shaped by the migration of people and decoration for over 300 years. Home to Chislehurst Golf Club, the Grade II* listed building features architectural elements by the British architects George Dance the Younger (1741–1825) and James ‘Athenian’ Stuart (1713–1788), and played host to the French Imperial court after the fall of the Empire in 1870. French chimney pieces, boiseries from the eighteenth-century Château de Bercy (demolished in 1862), and heavily carved oak panelling are among the elements that make up the house’s many layers, testifying both to the eclectic tastes of its nineteenth-century occupants and to the multifaceted, and multinational, histories of many English country houses.

This conference provides a unique opportunity for cultural historians of France, art and architectural historians, historians of collecting, curators, and heritage professionals to meet in a room reassembled following the landmark Château de Bercy sale (1860) and to meditate on the finer points of its significance in the dispersal of French cultural patrimony.

The organisers invite abstracts for 20-minute papers on topics engaging with, but not limited to:
• The relative mobility (meubles/immeubles) of boiseries in the 18th century
• Collecting, architectural salvage, and markets for boiseries in the 19th and 20th centuries
• Exchanges of taste and culture as a result of political displacement, in particular the influence of French émigrés
• Memory and the material traces of Empire
• Documentary and curatorial challenges posed by collections of boiseries
• The management of architectural heritage in private and commercial spaces today

Confirmed speakers include Dr Lee Prosser (Historic Royal Palaces), Frédéric Dassas (Musée du Louvre), Dr Ulrich Leben (German Ambassador’s residence, Paris), Dr Mathieu Deldicque (Musée Condé, Château de Chantilly), and Dr Tom Stammers (University of Durham).

Some funds will be available to support travel and accommodation for speakers. The conference is generously supported by the University of Buckingham, The Chislehurst Society, and Chislehurst Golf Club as part of a programme of events marking the 150th anniversary of the death of Napoleon III at Camden Place.

Submissions for 20-minute papers (300 words) should be sent to lindsay.macnaughton@buckingham.ac.uk and laura.jenkins@courtauld.ac.uk by Friday, 2 September 2022. We look forward to receiving your abstracts.

For more information, please visit: boiseriescamdenplace.wordpress.com (coming soon).

With thanks from the organisers: Dr Lindsay Macnaughton (University of Buckingham) and Laura C. Jenkins (The Courtauld Institute of Art).

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Note (added 31 August 2022) — The posting was updated with the new due date, extended from the original deadline of 2 September 2022.

From ArtHist.net:

Terms of Art: Design, Description, and Discovery in Cataloging
Online, The Hood Museum of Art and Dartmouth Research Computing, Hanover, NH, 22–24 February 2023

Proposals due by 31 August 2022

An unusually tagged bronze statue, found in museum storage, “Brought in By Campus Police Oct. 1966” (Photo courtesy Beth Mattison).

Institutions such as museums, libraries, and archives have a mission to preserve, interpret, and disseminate cultural heritage. In addition to new acquisitions for their collections, these institutions must also update the tools with which researchers access and study these holdings, objects, and works of art. Increasingly, stakeholders like academics, educators, and the public treat a collection’s digital representation—its metadata records—as an entry point for discovery. Paradoxically, these web-based experiences meant to expose collections to broad audiences often assume users have specialized knowledge of the terms and processes GLAM (Galleries, Libraries, and Art Museums) institutions use to describe their own work, making them inaccessible to the majority of visitors. Additionally, variation and evolution of language often outpaces or does not align with public understanding. For example, someone interested in 17th-century Dutch art might not know that the phrase “Dutch Golden Age” has colonialist implications and has been removed from many museums’ internal databases. The search language isn’t wrong, it’s just outmoded.

The Hood Museum of Art and Dartmouth Research Computing are organizing a virtual symposium to bring together museums, libraries, and archives to discuss issues of access and ethical vocabularies in cultural heritage. The aim of the virtual conference is to develop the debate about how the language we use to describe collections impacts the communities that create and seek out art. The organizers hope to prompt dialogue on the issues curators and researchers face in trying to maintain equitable and anti-racist progress and research. Additionally, this symposium will emphasize the role of technologists who specialize in user-centered design as critical to promoting equity in information systems. In combining subject-matter specialists and user-centered design technologists, we aim to bridge the communication gap between institutions and the publics they serve, allowing each to educate the other about how they describe collections.

This virtual conference will feature panels, workshops, and roundtables from different institutions around the world. Speakers will be compensated at the rate of $250 per person.

Types of Panels
• Papers, posters, or case studies: 20-minute presentation with 10-minute Q&A
• Roundtables or panel discussions: 45- or 50-minute presentation with 10-minute Q&A
• Extended discussions and workshops: 90-minute participatory session with a 5- or 10-minute break for ideation, brainstorming, cross-pollination
• Other: a session you would like to submit that doesn’t fit the above criteria (prototyping, hackathon/datathon)

Organizers
• Meredith Steinfels, Assistant Director, Digital Platforms, Media, and Archives
• John Bell, Program Director, Data Experiences and Visualizations Studio
• Ashley Offill, Associate Curator of Collections
• Elizabeth Rice Mattison, Andrew W. Mellon Associate Curator of Academic Programming

Application requirements and submission details are available here»

Deadlines
Session submission: 31 August 2022
Approval and feedback: 3–7 October 2022

This conference is made possible by the generous support of the Leslie Center for the Humanities.

From the Call for Papers:

Seminars in the History of Collecting, 2023
The Wallace Collection, London, last Monday of the Month

Proposals due by 30 September 2022

The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. We are keen to encourage contributions covering all aspects of the history of collecting, including:
• Formation and dispersal of collections
• Dealers, auctioneers, and the art market
• Collectors
• Museums
• Inventory work
• Research resources

The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists, and all those with an interest in the subject. Papers should generally be about 45–60 minutes long. Seminars take place between 5.30 and 7pm. The seminars will take place at the Wallace Collection in 2023.

If interested, please send a short text (500–750 words), a brief CV, and indicate any months when you would not be available to speak, by Friday 30 September 2022. For more information and to submit a proposal, please contact:
collection@wallacecollection.org.

Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses to present their papers at the Wallace Collection on submission of receipts:
• Speakers within the UK – £100
• Speakers from Continental Europe – £180
• Speakers from outside Europe – £300

From ArtHist.net:

Wastework
Bibliotheca Hertziana – Max Planck Institute for Art History, Rome, 15–17 March 2023

Proposals due by 15 September 2022

Art students today know the rules: no solvents in the trash, no clay down the drain, and don’t forget to cure that resin before you toss it! Early modern craftsmen had their own rituals of disposal, too—albeit ones driven more by economies of thrift than by environmental regulation or fire safety. This international, interdisciplinary conference invites papers on the materiality, spatiality, and processing of waste in the early modern workshop, broadly conceived. It proposes to examine acts of disposal, displacement, removal, and abeyance—in short, the getting rid of unwanted things—and the consequences these carry for the study of early modern material culture.

Marble dust, scrap metal, broken glass, dried oil… How did the apparent formlessness of this discarded matter—the residues, the shavings, the piles—generate new ideas for forms or find new life through changes in state engendered by slaking, burning, distilling or casting? Who were the actors trading in workshop waste, and how can we map their networks, both local and global? How were materials stored and recycled between artistic acts? What disposal flows led household waste—egg shells, stale bread, stove ash—to enter the space of the studio as artistic material or cleaning product? How did the presence, accumulation and containment of waste—its conduits and repositories—condition the environment and location of the workshop? In research today, how can waste pits be used as sources for both the footprints and layouts of workshops and for the information they provide on technological and stylistic change? More broadly, how is waste archived, and are all archives just waste heaps of history?

We welcome papers that respond to these questions with historical case studies, wider-reaching theorisations, or methodological reflections. While our focus is on practices and spaces of art-making, we also seek contributions from beyond the history of art. Building on the home-economics framework of Simon Werrett’s Thrifty Science (2019); the emerging field of Discard Studies; and histories of pre-industrial recycling by Reinhold Reith and of medieval waste by Susan S. Morrison, this conference will serve as a forum for generating new narratives of waste, thrift, and re-use in the early modern arts that go beyond the well-researched category of spoliation. We foreground waste as the material expression of practices of ordering and classification by which people adjudicated between collection and disposal, wanted and unwanted, salvation and loss. In reimagining the discarded past we intend to test the usefulness of contemporary formulations—secondary product cycles, material fatigue, metabolic flows, sustainability, recycling—while also proposing new typologies and categories. A series of pre-conference visits to local workshops and heritage collections will launch the event. Travel and accommodation costs will be covered for speakers.

This conference is organized by Dr. Ruth Ezra and Dr. Francesca Borgo within the framework of the Lise Meitner Research Group Decay, Loss, and Conservation in Art History at the Bibliotheca Hertziana – Max Planck Institute for Art History. For more information see our webpage. Please send your CV (including current position and affiliation), a 250-word abstract, and paper title to john.rattray@biblhertz.it by 15 September 2022. Proposals will be considered for inclusion in a planned special journal issue on waste in the early modern workshop.

From ArtHist.net, which includes the German version:

Portraiture and the Construction of Identity / Identitätskonstruktion im Porträt
Rheinische Friedrich-Wilhelms-Universität Bonn, Kunsthistorisches Institut, 30 March — 1 April 2023

Organized by Helen Boeßenecker

Proposals due by 15 August 2022

Since the 1990s, cultural scholars and theoreticians of postcolonial studies such as Stuart Hall and Homi K. Bhabha have increasingly shaped an understanding of cultural identity that no longer sees identity primarily as something existent and stable, but rather, especially in diasporic contexts, as the (fluid) production of negotiation processes. Processuality, transformation, hybridity thus come into view as important factors of identity formation. As is well known, the cultural construction character of identity has also been emphasized, albeit under different premises, by gender studies. Thus, approaches of feminist theory or gender studies argued that gender identity and gender difference should not be understood as something ‘naturally’ given, but rather emphasized their social construction and performative production—a perspective that was also reflected by gender studies in art history and discussed with regard to the productivity of images.

The planned conference takes the concept of construction in the context of identity as a starting point to newly engage in portraiture and its historical and situational contexts. Although identity has always been an important question in art historical portrait research, the extent to which portraits contribute to the identity constitution of the self and to which identity is not only reproduced but constructed in and through portrait practices has not been sufficiently illuminated so far. More often, the focus has been on questions of individuality, identification, likeness (similitudo), or liveliness, and thus on the relationship of the image to the model and strategies of vivid representation. Following on from more recent contributions, which increasingly ask about the use of portraits within social and cultural practices or are dedicated to strategies of self-fashioning in (self-)portraits, the conference will focus on the question of the construction of cultural and gender identities in portraiture and would like to adopt a decidedly transcultural and transdisciplinary perspective.

The tension between the ‘self’ and the ‘other’ will be investigated on the basis of portraits and the question will be pursued as to what role the confrontation with the foreign other plays for one’s own identity construction: Which pictorial means, and staging strategies are used in portraits to show cultural origin and roots, but also cultural difference? How is the relationship between the image of the self and the image of the other expressed in portraits, and what strategies of self-assertion and -staging can be identified? When and where, on the other hand, do assimilations, cultural appropriations, transcultural encounters, spaces in between and hybrid portrait cultures reveal themselves? The question of the construction of cultural identities and the aesthetic means, visual ‘codes’, subversive transformation processes as well as imaginations and projections used in this context will be examined. In addition to body discourses (including the semantics of skin color, tattoos, makeup) and the identity-forming significance of material culture (e.g., textiles, jewelry, armor, weapons), the artistic materials, media, and techniques used also prove relevant, as well as the attributions and practices associated with them, for example with regard to ‘exotic’ materials or the adaptation of ‘foreign’ artistic techniques or styles.

In addition, by exploring portraits and their historical, political, and performative contexts as well as practices of collection and display we want to gain insights into the structures and dynamics of identity formation and -construction: What consciousness do portraits reflect in terms of individuality, collective identities and national affiliations? Do identification and community formation with ‘compatriots’ take place primarily through the nation, region or even city? Are these homogeneous entities, or can plural notions of identity and competing groups rather be identified? What is the relationship between religious confession and identity and to what extent do the dynamics of European identities shift in a global context? Does the mobility of individuals and associated experiences of foreignness or assimilation processes, for example in relation to artists’ journeys, migration and exile experiences, pilgrimage, global expansion, and mission, find expression in portrait practices, so that—to speak with Paul Gilroy—not only roots but routes are inscribed in the portrait?

Furthermore, gender perspectives are to be included in these questions. To what extent do portrait practices produce, stabilize, or undermine gender roles and attributions? In what way can portraits and portrait series express different facets of female, male or queer identities and thus the mutability of gender identities? The conference would like to encourage us not to discuss these questions in isolation, but to link them to questions of cultural identity and ethnicity, taking up perspectives from gender and postcolonial studies. Thus, following on from previous profound research contributions on portraiture from the perspective of gender studies, the interplay of race, class and gender in portraiture will be examined to an even greater extent in order to question power relations and heteronormative, Eurocentric views.

The conference would like to shed light on these research questions across time periods and cultures and thus to adopt a cross-epochal, transcultural or comparative cultural perspective, whereby portraits in all artistic genres and media (painting, sculpture, prints, photography, digital image cultures) can be considered on the basis of case studies. Also, with the aim of promoting methodological reflection, the conference seeks to stimulate an exchange between different disciplines (especially art history, archaeology, African, Asian, and Islamic studies, ethnology).

Please send your abstract (maximum of 800 words) for a 25-minute presentation in German or English together with a short CV to Helen Boeßenecker (h.boessenecker@uni-bonn.de) by 15 August 2022.

From the Call for Papers:

Croisements, Métissages, Trajectoires: Vivre la Révolution des Colonies, 1774–1804
Musée de la Révolution Française, Vizille, 27–29 September 2023

Proposals due by 30 September 2022

L’histoire récente des espaces coloniaux et de leur intégration à la dynamique révolutionnaire a reçu une attention méritée et soutenue ces dernières années. Il n’est désormais plus possible d’écrire l’histoire des Révolutions de la fin du XVIIIe siècle sans intégrer l’héritage colonial de l’Ancien régime et sans comprendre les événements propres à ces espaces qui influencent plus que les métropoles, les grands équilibres géopolitiques de la planète encore prise dans le duel franco- britannique pour l’hégémonie mondiale dans un jeu d’alliances des plus complexes.

Ces travaux roboratifs et nécessaires, refondant une histoire de la mondialité, ont induit des formes d’appréhension du réel, où les êtres se trouvaient pris dans des logiques de groupes qui les dépassaient ou les entrainaient. Bien souvent leurs positions pouvaient être définies par leur appartenance à un groupe social précis, à une fonction professionnelle acquise ou bien aussi par la couleur de leur peau, autant d’éléments déterminants du statut des individus au sein de conflits mêlant émancipation, lutte de classes, conquête politique.

Le colloque proposé tente une autre approche. Celle des individus, celles des personnes dans leur intégrité propre, dans leurs témoignages d’actrices et d’acteurs d’une période qui voient des bouleversements majeurs transformer leur vie. Il s’agit de retrouver les personnes dans leur complexité et dans leur individualité et tenter d’approcher au plus près leur expérience vécue des révolutions successives qui les surplombent mais dans lesquelles elles se trouvent pleinement intégrées. Comment les personnes accueillent, perçoivent, vivent les formes de catégorisation qui leur sont imposées ou qu’elles reçoivent, ou qu’elles conquièrent ? Que sont les statuts sociaux, les couleurs, les fonctions, les genres, les âges de la vie, les transferts. Comment marquent-ils les existences ?

Partir de la subjectivité des acteurs et des actrices, lorsque les sources le permettent ne revient nullement à refuser l’ensemble du travail effectué pour comprendre les catégories dans lesquelles ils et elles évoluent, mais permet de reposer les questions différemment, d’une histoire au ras du sol, au plus près des personnes.

Ce sont donc les notions de destins historiques, de parcours individuels, de trajectoires personnelles, dans ce monde largement métissé que l’on souhaite interroger, pour rendre toute leur importance au vécu historique et à sa complexité, que l’on peut nuancer au-delà des oppositions binaires et comprendre dans son inextricable difficulté de société violente aspirant à de nouvelles formes de gouvernance pour chacun.

Le cadre chronologique tend à déplacer quelque peu les approches jusque-là classiques, séparant un avant et un après 1789, en intégrant pleinement la France de l’Ancien Régime, à l’avènement de Louis XVI en 1774, qui précède de peu la guerre d’indépendance américaine devenant une Révolution du Nouveau monde, un événement tout simplement inimaginable, impensable au moment où monte sur le trône le petit fils de Louis XV. Le questionnement se poursuit sur une période de trente ans jusqu’en 1804, date de l’indépendance d’Haïti. Ce sont ainsi trois Révolutions qui sont interrogées, si différentes, avec leur chronologie et leur spécificité et en même temps reliées entre elle par le littoral du vaste espace atlantique. Elle ne sont nullement identique pourtant elles dialoguent, s’observent, par les formes politiques qu’elles peuvent prendre, leur volonté de se conclure par une constitution, leur destin adverse de devoir affronter des guerres extérieures et civiles, et l’influence qu’elles ont eu les unes sur les autres en un jeu de miroir complexe.

En ce temps, la France d’Ancien Régime étend ses possessions au-delà des mers aux Antilles (Saint-Domingue, Guadeloupe, Martinique), en Guyane, aux Mascareignes (Réunion, Île Maurice). Les Révolutions qui secouent les rivages de l’Océan atlantique, provoquent un impact important en déclenchant des phénomènes politiques qui aboutissent à la fondation d’une république esclavagiste aux Etats-Unis mais aussi à la première abolition de l’esclavage le 4 février 1794, lors de la Première République française.

La particularité des sociétés coloniales est d’être formée de blancs ou réputés tels, de libres de couleur et des esclaves. Ces sociétés sont soumises à la servitude, au préjugé de couleur et à une dépendance étroite à l’égard de la métropole qui se manifeste par le système de l’Exclusif. Le vent de la liberté va bouleverser ce monde. Qu’en est-il de chacun et de chacune en particulier? Est-ce une ambition démesurée que d’essayer de retrouver ces vies pour les raconter dans leur transformation ? N’est-il pas temps, au contraire, d’aborder ces existences pour elles-mêmes et de les appréhender dans leur force, leur fragilité, leur humanité pleine et intègre ?

I — Sources et méthodologie

Dans un premier temps il s’agit de s’interroger sur les façons d’approcher ces destins si différents. Des communications pourront être proposées sur les sources utilisées pour écrire l’histoire des personnes dans les colonies en Révolution. Correspondance administrative, actes notariés, journaux personnels, correspondances privées, ouvrages imprimés sont les sources habituellement utilisées. Est-il possible d’en dresser une typologie ? De les repérer dans les fonds publics ou privés? Avec quelles précautions méthodologiques peut-on les employer ? D’en inventer d’autres ? À partir du repérage de ces sources et de leur dépouillement pour retrouver les destins individuels comment faire pour repenser la nature des phénomènes révolutionnaires dans les colonies ? Peut-on parler de révolutions coloniales, de révolutions dans les colonies, de colonies à l’ère des révolutions ? Comment l’étude des personnes et de leurs traces peut-elle aider à mieux concevoir une histoire globale ?

II — Trajectoires

Il s’agira de voir comment la Révolution a été reçue par des femmes et des hommes dans les colonies, mais aussi par les originaires des colonies qui vivaient sur le sol français. Certaines figures comme Julien Raimond et Vincent Ogé sont connues, mais le groupe des libres de couleur est particulièrement actif à Paris de 1789 à 1794 et nécessite encore de nouvelles études. Comment ces femmes et ces hommes mobilisent-ils le langage de la Révolution et notamment le langage des droits ?

Les communications pourront porter sur des trajectoires d’individus ou de groupes en Révolution ou en Contre-révolution. La question des récits de vie, sous la forme de biographie ou de portrait à des moments particuliers d’une existence ou de fragments de vie proposés permettraient de donner corps à l’enquête en croisant des trajectoires croisées, affrontées, adversaires mais aussi alliées, amies également. Un puzzle d’existences juxtaposées peut rendre compte d’une réalité complexe connectée, inter-sectionnelle. Il s’agirait clairement de remettre en valeur la notion de récit de vie dans une logique interprétative large des interactions entre colonies, dans les colonies et dans les métropoles.

III — Représentations

Du législateur célèbre à la plus inconnue des esclaves, l’ambition serait de dresser un ensemble de portraits qui donnerait à voir la chair et le sang de ces histoires incarnées par tant de personnes différentes. Quelle représentation la France a-t-elle de ses colonies ? Des tableaux célèbres comme le portrait de Belley (Girodet), député de Saint-Domingue à la Convention ou de Madeleine (Benoist) représentent des personnes issues des colonies. La Révolution engendre-t-elle une nouvelle représentation des individus ? Cette section peut se diviser en deux sous-parties. Le colloque entend s’ouvrir à des spécialistes de littérature et d’histoire de la littérature ainsi qu’à des historiens de l’art.

A. Littérature
Théâtre, romans… comment la fiction s’empare-t-elle des destinées entre les océans, sur les océans et quelle image façonne-t-elle des personnes dans des métropoles qui perçoivent largement ces espaces soit comme sauvages, soit comme exotiques, soit comme des espaces lucratifs, soit comme des espaces dangereux, autant d’images qu’un Victor Hugo écrivant Bug-Jargal peut véhiculer ou que madame de Duras peut décrire avec tant de finesse dans Ourika.

B. Histoire de l’art
Comment la peinture, le dessin, la sculpture se sont-ils emparés de la représentation des corps et des espaces antillais et tout particulièrement de ceux des métisses ou des noirs, par-delà le portait de Belley devenu plus que célèbre deux cents ans plus tard ! Quelles sont les possibilités de représenter les visages, l’histoire sur les corps ? Ou tout simplement les portraits des protagonistes connus ou moins connus qui ont retenu l’attention des artistes. En somme, ce colloque se propose de replacer l’individu au cours de cette histoire des révolutions des métropoles et des colonies entre 1774 et 1804 et tenter une nouvelle perception et écriture de cette histoire encore en chantier.

Comité d’organisation
Hélène Puig, Alain Chevalier, Frédéric Régent et Pierre Serna
helene.puig@isere.fr, Frederic.Regent@univ-paris1.fr, Pierreserna@wanadoo.fr

Comité Scientifique
Esther Bell, Hélène Cussac, Gusti Gaillard-Pourchet, Bernard Gainot, David Geggus, Olivier Meslay, Marie-Jeanne Rossignol, Jean-Pierre Sainton, Bertrand Van Ruymbeke .

From the Call for Papers:

Revolutionary Speeches, Speeches about Revolutions: A Comparative Study of Revolutionary Eloquence in France and in the United States
Paris Nanterre University, 16–17 March 2023

Organized by Hélène Parent and Augustin Habran

Proposals due by 31 October 2022

“The eulogy for this American hero should be delivered by the most eloquent mouths,” Fontanes affirmed in the funeral oration he gave for George Washington in the temple of Mars on February 9, 1800. The revolutionary American hero and first president of the United States, who died in December 1799, was frequently used as a reference by the orators of the French Revolution from all political camps as a tool for various rhetorical strategies. Indeed, as they looked for founding myths and heroes that would suit the new nation, that was not founded from scratch, French revolutionaries kept convoking models from other times and spaces. The example of Washington perfectly illustrates this outstanding circulation of references. He was first celebrated in the United States as a modern Cincinnatus; and this myth was then reclaimed by French orators who had themselves been educated to classical culture.

It is this dynamic circulation of references and rhetorical and political models between these two spaces (the United States and France) at the time of their respective revolutions that this symposium aims at studying. We will focus more particularly on the representations and the founding myths that allowed for the emergence and definition of concepts including the nation, the political figure (as an ideal orator) and the people in political speeches. Furthermore, the way these two revolutionary events also became myths, symbols or models shall be analyzed through the study of their representations in literature and art more generally (painting, theater, cinema, etc.) from the time they occurred until today. As far as the American Revolution is concerned, we shall focus on the period spanning from the Declaration of Independence in 1776 to the ‘Revolution of 1800’, Thomas Jefferson’s election, that provided the ongoing debate over the very nature of federalism in the early republic with a temporary solution. Regarding the French Revolution, we shall consider the period spanning from the General Estates of 1789 to the suppression of the Tribunat, last deliberative assembly of the Empire, in 1807.

The study of these partly concurrent periods of democratic establishment will be carried out through the prism of the notion of eloquence, being defined here both as whatever has to do with the political speech per se (deliberative eloquence, parliamentary notably) and as the spaces where the latter circulates by means of imitation, repercussion or parody of the rhetorical forms and codes of the oratory genre: newspapers, essays, pamphlets, founding documents, etc.

The committee invites proposals that may address—but not limited to—the following questions:

1. The imaginary figures, symbols and models convoked in political speeches, laws, essays or newspapers of the French and American revolutions may be studied. Particular attention shall be paid to proposals allowing for a comparative perspective that will highlight the circulation of references between the two spaces (how the French Revolution reappropriates specific symbols of the American Revolution for instance) or potential similarities in the apprehension of symbols or models in both spaces. Besides the content, the question of style may also be addressed: What language(s), what style(s), what stylistic device(s) are used to express these imaginaries? What vision(s) of the ideal orator (and of the “political figure”) emerge(s) with the birth of these modern democracies? What is a representative of the people? How is this figure theorized and represented (and therefore, how is the “people” theorized and represented)? All these questions shall be addressed in the light of a striking paradox: How can one affirm inventing something new (a nation, a political regime) while using models and symbols from the past? How were those models adapted and transformed?

2. The question of the multiplicity of eloquence should also be tackled: in contrast with the parliamentary eloquence developed in dominant political spheres, where, how and through which figures does popular and minority eloquence emerge? (the eloquence of the people versus that of the elites; the eloquence of women, of African Americans, of Native Americans, etc.)

3. Ex post representations of public speaking in its plurality and of its diverse practitioners may also be studied: how are the great figures of both revolutionary periods (the Founding Fathers in the United States, the orators of the French Revolution, the figures of popular/minority eloquence, etc.) themselves turned into models or deterrents through their later (positive or negative) representations in literature and art until today? How do revolutions become new myths through the narratives developed around them? Here again, the comparative perspective will be favored.

Proposals in French or English (about 300 words) with a short bio should be sent before 31 October 2022 to Hélène Parent (hparent1404@gmail.com) and Augustin Habran (augustin.habran@gmail.com). Communications may be delivered in both French and English during the symposium.

Organizing Committee
Hélène Parent (Ph.D. in French Literature, CSLF, Paris Nanterre University) and Augustin Habran (Associate Professor of American History, REMELICE, University of Orléans)

Discours des révolutions, discours sur les révolutions: Une étude comparée de l’éloquence révolutionnaire aux États-Unis et en France

Held at Paris Nanterre University, on Thursday, 16 and Friday 17, March 2023, this symposium is part of the Dire / montrer l’éloquence, 1750–1850 project (University Paris Lumière – Paris Nanterre / Paris 8, 2021–2023).

[1] Louis de Fontanes, Éloge funèbre de Washington, prononcé dans le temple de Mars le 20 pluviôse an 8 [9 février 1800], Paris, Henri Agasse et Dupont, an VIII, p. 13.

[2] Voir par exemple Denis Lacorne, « Mémoire et amnésie : les fondateurs de la république américaine, Montesquieu et le modèle politique romain », in Revue française de science politique, N° 42-3, p. 363-374, ou encore Garry Wills, Cincinnatus : George Washington and the Enlightenment, New York, Doubleday, 1984.

[3] Voir Hélène Parent, Modernes Cicéron. La romanité des orateurs d’assemblée de la Révolution française et de l’Empire (1789-1807), thèse de doctorat soutenue à l’Université Paris Nanterre le 12 octobre 2020, 704 p.

[4] Par exemple, la Déclaration d’Indépendance, les constitutions, le Code civil, les journaux révolutionnaires, les Federalist Papers, etc.