Call for Articles | French Porcelain, 1789–1918
Makers, Markets, and Museums: French Porcelain in the Long Nineteenth Century, 1789–1918
The French Porcelain Society Journal 7 (2018)
Proposals due by 7 April 2017
The French Porcelain Society Journal is the leading academic English-language journal on European ceramics and their histories, illustrated throughout in full colour. The society is pleased to announce the publication of Volume 6, Céramiques sans Frontières: The Transfer of Ceramic Designs and Technologies across Europe. Based on the society’s 2015 symposium, fourteen articles investigate the impact of French ceramic design on makers elsewhere in Europe and in Britain in the eighteenth and nineteenth centuries. These range from an analysis of the transfer of the Istoriato maiolica tradition from Italy to France in the late sixteenth century and an account by J.V.G. Mallet of the travels of Walther Ehrenfried von Tschirnhaus to an investigation of the links between Sèvres and Minton porcelain in the nineteenth century. For a full list of contents or to order, please consult the society’s website.
The editors now invite submissions for volume 7 of the journal, Makers, Markets, and Museums: French Porcelain in the Long Nineteenth Century, 1789–1918, to be published in 2018. From the dispersal of Sèvres porcelain from royal palaces and aristocratic collections after the French Revolution to the founding of outstanding collections of French porcelain in Britain and the United States and the establishment of new museums for the decorative arts, the nineteenth century was undoubtedly one of seismic change. It witnessed the growth of a flourishing London art market and new departures in collecting French eighteenth-century decorative art, all encouraged by the rise of the dealer. Innovation in design and manufacture was documented in a plethora of printed specialist publications, pattern books and popular journals. It is hoped that this volume will enlarge our understanding of this under-researched but important aspect of ceramic history.
The journal will include an article based on the 2016 Geoffrey de Bellaigue lecture given to the society by Dr Tom Stammers (Durham University) on “Baron Jean-Charles Davillier: A Paragon and Historian of Taste in Nineteenth-Century France.” Topics for consideration could include:
• Nineteenth-century French ceramics or those of other factories influenced by them
• Nineteenth-century collectors
• Methods of display in the nineteenth-century interior
• The role of new museums, exhibitions, and publications in advancing the study and collecting of French ceramics
• The dealer, the auction, and the art market
• New technical advances in ceramic production
• Connoisseurship
Submissions in the first instance should be a summary of no more than 750 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Please include a brief CV. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles which will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA, John Whitehead, FSA, Patricia Ferguson, Errol Manners, FSA, Diana Davis and Caroline McCaffrey-Howarth (University of Leeds). Articles should be no more than 6,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted. Please send abstracts as an e-mail attachment to: diana_davis@hotmail.co.uk by 7 April 2017. If your abstract is accepted, articles and images will be due by 29 September 2017.
Call for Papers | Jacques-François Blondel
From the appel à communications:
Jacques-François Blondel et l’enseignement de l’architecture
La dernière leçon de l’architecture « à la française »
Cité de l’architecture et du patrimoine, Paris, 14 December 2017
Proposals due by 31 March 2017
Gabriel de Saint-Aubin, Blondel démontrant des machines dans l’académie d’architecture, 1770, Recueil de poésies de Sedaine, 1770 (Chantilly, musée Condé).
La Cité de l’architecture et du patrimoine et la Ville de Metz se sont associées pour organiser une journée d’étude sur l’architecte Jacques-François Blondel (1708/9–1774). L’objectif de cette journée est d’interroger le rôle de cette gure majeure du siècle des Lumières dans l’enseignement de l’architecture. Cette rencontre annonce l’exposition monographique Blondel, architecte des Lumières, qui sera présentée à Metz en 2018, et l’exposition-dossier qui lui sera consacrée à la Cité de l’architecture et du patrimoine la même année.
Parmi les architectes ayant publié des traités ou des « cours » sur l’exercice de leur art, Jacques-Francois Blondel se distingue par la qualité de ses ouvrages. Auteur majeur de la théorie architecturale, ce collaborateur de l’Encyclopédie de Diderot et d’Alembert a su, au cœur des Lumières, redonner une actualité à l’architecture classique, en s’opposant à l’art rocaille qui domine alors. Pour J.-F. Blondel, l’architecture possède une dimension encyclopédique — elle mobilise à la fois les savoirs techniques et les di érents arts — mais aussi sociale. Les écrits de J.-F. Blondel sont par ailleurs indissociables de son action pédagogique : avec la fondation de son École des Arts (1740), qui se propose de centraliser la diversité des compétences, il opère une véritable révolution pédagogique. Cette révolution, le professeur la mène jusque dans les salles de l’Académie royale d’architecture, où il est agréé académicien en 1755, puis nommé professeur o ciel en 1762. Au cours de sa longue carrière, il a l’occasion de former plusieurs générations d’architectes français et étranger, ainsi que d’in uencer des artisans, des amateurs, des commanditaires, des hommes de lettres… En ce qui concerne la pratique, J.-F. Blondel est surtout connu pour avoir aménagé le secteur de la cathédrale de Metz. On ne saurait cependant ignorer ses projets, rééls ou pédagogiques, tels l’aménagement du centre de Strasbourg, ou ses propositions d’architecture religieuse inspirées par les structures du gothique, mais respectant le répertoire classique des formes.
Les propositions devront s’intégrer dans les thèmatiques suivantes :
1. Blondel et les institutions : de son école privée à l’école de l’Académie
Par la volonté du marquis de Marigny, directeur général des bâtiments du roi, J.-F. Blondel, après avoir fondé l’école privée d’architecture (1740), est appelé à poursuivre son enseignement dans les salles du Louvre (1762), secondé par son ancien élève, Julien-David Le Roy. Ce premier axe entend explorer la manière dont le système royal des beaux-arts fut mis en place et le rôle que J.-F. Blondel et d’autres personnages-clés, furent amenés à y jouer. Cette thématique voudrait également interroger les résultats de cette politique.
2. Enseigner l’architecture aux XVIIIe et XIXe siècles : de l’atelier à l’école de l’Académie, quelle fortune pour Jacques-François Blondel ?
Avant que J.-F. Blondel ne fonde l’École des Arts en 1740, chaque élève se formait à son futur métier en atelier, en agence, auprès de di érents professionnels (architecte, dessinateur, charpentier…). J.-F. Blondel révolutionne l’enseignement de l’architecture : il rassemble les cours dispensés par plusieurs professeurs dans de mêmes locaux. En 1747, lors de la réorganisation de son école, c’est encore J.-F. Blondel qui est sollicité pour enseigner l’architecture aux élèves de l’École des ponts et chaussées. Au-delà de cette méthode d’enseignement, comment les professeurs qui succèdent à J.-F. Blondel cherchent-ils à l’imiter ou à se démarquer de lui ? Quels liens ou ruptures peut-on établir avec l’enseignement dispensé au XIXe siècle, que ce soit à Paris ou ailleurs ?
La langue du colloque est de préférence le français. L’anglais est cependant accepté. Les propositions et les communications sont acceptées dans ces deux langues. Les propositions de communication sont à envoyer sous forme d’un résumé (entre 1500 et 2000 signes) accompa- gnées d’un titre et d’une notice biographique à l’adresse suivante : blondel@citechaillot.fr. Date limite d’envoi des propositions : 31 mars 2017 Les réponses seront communiquées début mai. La durée de chaque communication est de 20 mn. Les communications feront l’objet d’une captation video ; elles seront mises en ligne sur le site internet de la Ville de Metz et celui de la Cité de l’architecture et du patrimoine.
Comité scientifique
Présidence:
• Corinne Bélier, directrice du musée des Monuments français, Cité de l’architecture et du patrimoine
• Aurélien Davrius, maître-assistant à l’École nationale supérieure d’architecture de Paris-Malaquais
• Joseph Abram, professeur honoraire à l’École nationale supérieure d’architecture de Nancy
• Pierre Caye, directeur de recherche au CNRS
• Lorenzo Diez, directeur de l’École nationale supérieure d’architecture de Nancy
• Guillaume Fonkenell, conservateur du patrimoine, musée national de la Renaissance, Écouen
• Jean-Marc Hofman, attaché de conservation, Cité de l’architecture et du patrimoine
• Olga Medvedkova, directrice de recherche au CNRS
• Stéphanie Quantin, conservateur du patrimoine, Cité de l’architecture et du patrimoine
• Hélène Rousteau-Chambon, professeur d’histoire de l’art moderne, Université de Nantes
Call for Papers | Beyond Reproductive Printmaking, 1500–1810
From H-ArtHist:
Beyond Reproductive Printmaking: Prints and the Canon of European Painting, ca. 1500–1810
Diesseits und jenseits von Reproduktion: Druckgrafik und der Kanon der europäischen Malerei
Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, 18–19 September 2017
Proposals due by 15 February 2017
Conference for Ph.D. students, postgraduates and researchers at museums and universities in the Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs) of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) in collaboration with the TU Dresden Institute of Art and Music, Dresden, 18–19 September 2017.
Are paintings reproduced because they are famous, or have they become famous because they have been reproduced over and over again in the past centuries? The aim of this conference is to throw light on the status of reproductive prints in the process of the formation of (an) artistic canon(s). It aims at exploring artistic and technical aspects of the creative and innovative making process, including the printmakers’ ability to translate the original work into a new pictorial language and to the history of both reception and transmission of works of art.
The conference will cover the period running from the early 16th century to the introduction of the first lithographic press in the early 19th century. Geographically, the focus is on Europe. No restrictions are imposed concerning printing techniques—on the contrary, the characteristics of each technique as well as its ability and uses for reproducing original paintings constitute an important topic. We invite submissions of papers drawing from current research on specific prints or series of prints as well as on new theoretical approaches and methodologically promising developments in the study of interpretative prints, also exploring their potential as a source and as a subject matter of art history.
In particular we welcome submissions in (but not limited to) the following areas:
• Yet again: The original and its graphic interpretation(s): How are collaboration and competition amongst the printmakers themselves, and between the engravers and the painters represented in the prints? To what extent did the engravers take liberties with the paintings’ details? Did printmakers even perhaps hide critical or satirical messages in their interpretations?
• Questions of style: How is the painterly style of the original expressed in the graphic medium? What is the relationship between the printmaker’s technique and the pictorial style or the genre of the original? Is there experimental ground for innovations in new printmaking techniques? What role do special printmaking techniques—e.g. outline etching, aquatint, or colour(ed) print—play in the processes of translation and interpretation?
• Reception: How were differences in style and in composition between the original and its reproduction perceived by the contemporary viewer? Is it possible to identify links between prints and theoretical writings on certain paintings or painting in general? Which influence do captions have in the process of reception?
• Reproductive prints as a source for new approaches in scholarship: What potential do reproductive prints have as a source for the study of canon formation and for (art) historical network research? How can the pictorial and textual information contained in those prints be gathered, and how can this be made accessible for practical use?
An important objective of the conference is to encourage networking between academic researchers and museum professionals. Proposals by both doctoral candidates in art history and aesthetics as well as students aiming at a Ph.D. in the field of the graphic arts are welcome. We also invite applications from curators and postgraduate researchers at museums and other research institutions, and we are pleased to receive papers from colleagues working in media studies, philosophy, and history.
Please submit your proposal in the form of a 400-word abstract and a short CV and send it in English or German as a PDF file to beyond-reproduction-2017@gmx.de by 15 February 2017. Please indicate in your proposal those prints that you wish to discuss in the original; we will be happy to check if they are available in the Kupferstich-Kabinett.
Call for Papers | The Art of Revolutions
From H-ArtHist:
The Art of Revolutions
Philadelphia, 19–21 October 2017
Proposals due by 15 March 2017
The tumult and transformations resulting from the Age of Revolutions (1770s–1840s) created a trans-Atlantic body of art and material culture that reflected and inspired new ideas and actions. Inspired by the American Philosophical Society’s 2017 exhibition on the legacy of the patriot portraitist Charles Willson Peale and his artistic family from the eighteenth century until the middle of the nineteenth, and the Philadelphia Museum of Art (PMA)’s forthcoming publication of The Art of the Peales: Adaptations and Innovations, along with a series of other Peale-centric events happening in Philadelphia, the APS and PMA will co-sponsor a scholarly conference, 19–21 October 2017, that explores the role of imagery in influencing and giving meaning to the political revolutions that defined the late eighteenth and early nineteenth centuries. The conference is especially interested in papers covering the American Revolution, the French Revolution, the Circum-Caribbean Revolutions, and the Revolutions of 1848.
Potential topics include
• the work of individual artists or artistic movements
• the role and influence of those who reproduced artwork for the public, such as printers or engravers
• the ways in which works were received by audiences
• the function of art in shaping public perceptions both at the time of revolutionary events and through historic memory
We hope the chronological scope and transatlantic breadth of the conference will stimulate an interdisciplinary dialogue that crosses traditional geographic barriers and transcends the limitations of strict periodization.
Applicants should submit a title and 250-word proposal along with a CV by March 15, 2017 to conferences@amphilsoc.org. Decisions will be made by the summer of 2017. All presenters will receive travel subsidies and hotel accommodations. Accepted papers will be due a month before the conference and pre-circulated to registered attendees. Papers should be no longer than 15-double spaced pages. Presenters may also have the opportunity to publish revised papers in the APS’s Proceedings, one of the longest running scholarly journals in America.
Call for Proposals | Companion to 18th-Century Literary Illustration
A Companion to Eighteenth-Century Literary Illustration, Volume I: Approaches
Edited by Leigh G. Dillard and Christina Ionescu
Proposals due by 20 January 2017
Proposals are invited for the first installment in a multi-volume collection, titled A Companion to Eighteenth-Century Literary Illustration. The first volume is designed for students and established researchers seeking an introduction to approaches in this field; it can also be used for book illustration scholars seeking to extend their theoretical and methodological tool kit. Contributions should provide an introduction to pertinent theoretical terms and concepts, a practical demonstration, and suggestions for further reading. When possible, examples should be chosen from more than one national tradition. We invite proposals on the following topics to fill gaps in our existing commitments:
• Book illustration and consumer culture
• Book illustration and fashion studies/costume studies
• Book illustration and visual rhetoric
Please send 300–500 word proposals to Christina Ionescu (cionescu@mta.ca) and Leigh Dillard (leigh.dillard@ung.edu) by January 20, 2017. The deadline for the submission of completed chapters will be December 15, 2017.
Call for Papers | Design and Displacement: Graduate Student Symposium
From H-ArtHist:
Design and Displacement
26th Annual Parsons/Cooper Hewitt Graduate Student Symposium on the History of Design
Cooper Hewitt, Smithsonian Design Museum, New York, 7–8 April 2017
Proposals due by 23 January 2017
The challenges faced by vast numbers of migrants and refugees worldwide—uprooted by war, persecution, or ecological crises or relocating in search of economic opportunity—are giving rise to innovative design solutions. Although often urgent, these crises are unfortunately rarely new. This symposium attempts to take a broader historical view of the relationship of design and decorative arts to the displacement and movement of people and populations since the Renaissance. From French Huguenot artisans emigrating to England in the early 18th century to artisans exiled in the wake of the 1848 revolutions to the Bauhaus’s re-establishment after its dissolution by the fascists to designers’ migrations all over the world, the movement of populations has spurred great change in the cultural landscape, including the creation of opportunities for new cross-cultural synthesis. Migrations also inspire architectural solutions, such as temporary housing for displaced persons during wartime or natural disasters or more substantial interventions into the landscape, such as buildings erected to accommodate the exponential growth of cities like Lagos or Rio de Janeiro. Papers might consider historical or contemporary designers or whole populations. The symposium also seeks to address issues of national and transnational identity as well as anti-immigrant sentiment.
Proposals are welcome from graduate students at any level in fields such as art history, history of design, design studies, fashion studies, history of the decorative arts, urban studies, cultural anthropology, history of architecture, consumer studies, design and technology, media studies, museum studies, food studies.
The symposium’s Catherine Hoover Voorsanger Keynote speaker will be Jeremy Aynsley, professor of design history at the University of Brighton (UK) and chair of the Design History Society. Professor Aynsley’s research interests concern late-19th- and 20th-century design in Europe and the United States, with a particular focus on design in modern Germany, which he has explored in major exhibitions and academic publications including Nationalism and Internationalism in Design in the 20th Century (1994), Graphic Design in Germany 1890–1945 (2000), and Designing Modern Germany (2009). He is especially interested in the phenomenon of the migration of Modernism and is currently working on a project about German graphic designers in the United States on the eve of World War II. The keynote address will be given on Friday evening, April 7, 2017, and the symposium sessions will be held in the morning and afternoon of Saturday, April 8.
To submit a proposal, send a two-page abstract, one-page bibliography, and a CV to Ethan Robey, Associate Director, MA Program in the History of Design and Curatorial Studies, robeye@newschool.edu.
The symposium is sponsored by the MA History of Design and Curatorial Studies program, offered jointly by Cooper Hewitt, Smithsonian Design Museum and Parsons School of Design.
Call for Papers | Visual and Material Culture Exchange across the Baltic
From H-ArtHist:
Visual and Material Culture Exchange across the Baltic Sea Region, 1772–1918
Greifswald University, 15–18 June 2017
Proposals due by 15 December 2016
Although the Baltic Sea has been one of the world’s greatest cultural crossroads, scholars often have overlooked cultural exchange in favor of exploring national and regional identities. Since the 1990s, the concept of a Baltic Sea Region encompassing the sea and its surrounding land has fostered transnational thinking about the region, transcending Cold War binaries of ‘East’ and ‘West’ in an effort to view the area more holistically. Still, common terminology such as ‘Scandinavia’ and ‘the Baltic States’, suggests these cultures are mutually exclusive, or, as the case with ‘Central and Eastern Europe’, ambiguously monolithic.
While historians have been examining the Baltic Sea Region—present-day Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Poland, Russia, and Sweden—as an important center of cross-cultural interaction, the area’s visual and material culture, one of the most important avenues of exchange, is often reduced to illustrative examples of historical phenomena. Art historical narratives continue to be tethered to national and ethnocentric approaches, a bias this conference seeks to complicate.
This project—two conferences (in Greifswald and Tallinn) and an anticipated edited volume—emerges from these twin desires: to study the Baltic Sea Region as a cultural crossroads and to depart from isolated, national/regional narratives. By foregrounding visual and material exchanges and the ideological or pragmatic factors that motivated them, we seek to establish common ground for viewing the Baltic Sea as a nexus of intertwined, fluctuating individuals and cultures always in conversation. We invite papers that engage material/visual culture as conceptual lenses through which to reevaluate the history, meaning, and significance of the Baltic Sea Region.
Proposals for this conference must include (in English):
a) an abstract of maximum 150 words summarizing your argument
b) academic resume
c) full contact information including e-mail
Papers will be 20 minutes in length and will be followed by discussion. The language of the conference is English. Contributions should be sent to Michelle Facos (mfacos@indiana.edu) and Bart Pushaw (bcpushaw@gmail.com) by 15 December 2016. Notification of acceptance will be by 15 January. This conference will be co-sponsored by the Baltic Borderlands Program of Greifswald University and the Alfried Krupp Wissenschaftskolleg, Greifswald.
Call for Papers | Travelling Objects: Italy and the Habsburgs
From H-ArtHist:
Travelling Objects: Ambassadors of Cultural Transfer between Italy and the Habsburg Monarchy
Botschafter des Kulturtransfers zwischen Italien und dem Habsburgerreich
Ambasciatori dello scambio culturale tra l’italia e il regno asburgico
Rome, 19–20 May 2017
Proposals due by 15 January 2017
The international conference Travelling Objects will focus on the material aspects of cultural transfers: the exchange of paintings, designs/drawings, sculptures, or books. Our specific interest is in the movement of these inherently ambassadorial objects between Italy and the Habsburg Monarchy during the 17th and 18th centuries and their reception and role in the transmission of information and ideas between the North and the South. Special attention will be given to the agents who promoted, organized, or mediated the exchange.
Collecting without Borders
The extensive art collections of the nobility in the Habsburg lands—Liechtenstein, for instance, or Czernin, or Savoyen—as well as the imperial picture gallery were products of a massive importation of artworks from Italy during the 17th and 18th centuries. Diplomatic missions and the Grand Tour gave collectors direct access to the Italian art market. At the same time, ambassadors and envoys from Italy took advantage of their sojourns at the Imperial court to acquire and mediate works of art for their home courts.
The Art of Gift-Giving
The exchange of representative gifts was a fundamental aspect of early modern diplomacy. The act of gift-giving was a form of symbolic communication that articulated political interests, claims, or demonstrations of fidelity. Furthermore, certain gifts—notably portraits, medals, or paintings—served as signs of friendship as well as devices for the self-promotion of artists. Transnational gift-giving is also a testament of cultural exchange: regional luxury goods not only conveyed prestige and fashion trends but also transmitted technical know-how.
Traveling Objects is organized by Silvia Tammaro and Gernot Mayer (University of Vienna) and aims to link established scholars with young researchers. Scheduled to take place in Rome, 19–20 May 2017, this event is a cooperation between the Austrian Historical Institute in Rome (ÖHI) and the University of Vienna. The conference languages are Italian, German, and English. Please send your proposal (1–2 pages) and a short CV to silvia.tammaro@univie.ac.at and gernot.mayer@univie.ac.at by 15 January 2017. A partial reimbursement of travel costs will be offered.
Call for Articles | Spring 2018 Issue of J18: Coordinates
From J18:
Journal18, Issue #5 (Spring 2018) — Coordinates
Digital Mapping & 18th-Century Visual, Material, and Built Cultures
Proposals due by 1 April 2017; finished articles will be due by 1 November 2017
Art history’s digital turn has been stimulated by the possibilities of spatial research. Spurred by the collection, preservation, and distribution of art historical data in digital space—practices that have both collapsed and expanded our own discursive geographies—scholars have exploited the potential of geospatial analysis for art historical study. These new methods are particularly promising for the study of the early modern world, which has been fruitfully understood through the prisms of connections and exchanges that crossed world regions and defied the boundaries drawn on static maps. Digital mapping platforms and applications like CartoDB, Neatline, ArcGIS, Leaflet, and MapBox have made it possible, for example, to visualize the movement of people, such as artists, through temporal and geographic space, thus allowing us to reimagine personal and material contacts in tangible ways. Moreover, the dynamic lives of mobile and fungible objects can be displayed in extended and often circuitous trajectories, thus encouraging the kind of nonlinear visual analysis that is foundational to the practice of art history. Georectification tools have further facilitated the reconciliation of historical figurations of space with contemporary visualizations, which allows competing spatial narratives to coexist productively in a digital realm, while also challenging the magisterial view offered by modern cartography.
In this issue of Journal18, we seek to feature current scholarship that relies on the analytical power provided by digital mapping interfaces for the study of visual, material, and built cultures during the long eighteenth century. How do digital humanities methods and tools shape our understanding of space and place in the early modern period? What impact might digital mapping have on our historical investigations of people, objects, and their environments? Submissions may take the form of an article (up to 6000 words) or a project presented through a digital platform that takes full advantage of Journal18’s online format. We also welcome proposals for shorter vignettes (around 2,500 words) that reflect on projects in progress or consider the potential for particular mapping methodologies for eighteenth-century art history.
Issue Editors
Carrie Anderson, Middlebury College
Nancy Um, Binghamton University
Proposals for issue #5 Coordinates are now being accepted. Deadline for proposals: April 1, 2017. To submit a proposal, send an abstract (200 words) and a brief CV to editor@journal18.org and carriea@middlebury.edu. Articles should not exceed 6000 words (including footnotes) and will be due on November 1, 2017. For further details on the submission process, see Information for Authors.
Call for Papers | Early Modern Satire
From H-ArtHist:
Early Modern Satire: Themes, Re-Evaluations, and Practices
University of Gothenburg, Sweden, 2–4 November 2017
Proposals due by 4 January 2017
Early modern satire—broadly from around 1500 to 1800—is a vast but still under-examined field of representation. Although flourishing in certain periods and certain places, satire can be said to be integral to the European project, often challenging the limits of tolerance and evoking hostility but also associated, increasingly in this period, with notions of freedom and enlightenment. This conference, hosted by Gothenburg University, seeks to position satire as a mode of representation throughout early modern Europe and clarify its role in politics, culture, and religion. We seek proposals from scholars in all fields who work on aspects of satire in the period. Especially welcome are contributions that explore satire as a form of representation existing across boundaries—of territories, of genres, and/or periods. We also welcome proposals that situate satire in a wider aesthetic context, including cross-disciplinary work that seeks to address satire as a mode of for example visual representation.
Topics may include, but are not limited to:
The mediation of satire. Described variously as a ‘genre’ and a ‘mode’, satire often transgresses medial and generic boundaries during the early modern period. Is satire more of an ‘intermedial’ phenomenon in certain periods and places?
The gendering of satire. Early modern satire in has been characterized as very much a male enterprise. Are there variations over time and between places, as regards for example female authorship, and in terms of form and theme, how does satire depict aspects of femininity and masculinity?
Satire and censorship. Always having had a complex relationship with authority, satire in the early modern period also saw the rise of the print medium and various attempts at regulating published output. How do censorship and other forms of regulative interventions shape satirical texts (in a wide sense)?
Perspectives on the classical heritage. Although a thoroughly investigated field, the relationship between early modern satire and its classical predecessors is still relevant as a field of inquiry. Just how dependent was early modern satire on its Horatian, Juvenalian and other role models?
Satire and religion. While relating to classical forms and themes, satire also has a complex relation to Christian religion as both a target and a formative system of belief. In what ways do changes in religious institutions and norms affect the production of early modern satire?
Satire and medical discourse. The frequent description of satire as ‘melancholy’, for example, suggests links to humoral theory and other aspects of physiology. To what extent can satire be understood in such terms?
Satire and the canon. While for example literary history has ascribed a central role to satire in the 18th century, scholarly discussions are often based on select examples and relegate others to the margin. What are the social and historical determinants of the ‘lasting appeal’ of certain satirical texts?
Keynote speakers: Howard Weinbrot and Ola Sigurdson
Presentations are strictly limited to 20 minutes in length. A 250-word abstract, a title, and a 50-word biographical statement should be submitted to earlymodernsatire@lir.gu.se by 4 January, 2017. Enquiries may be directed to this address, to Dr. Per Sivefors at per.sivefors@lnu.se or Dr. Rikard Wingård rikard.wingard@lir.gu.se. Additional information is available here.
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