Manual
2012
20112011
SUMMER
Newsletter
Historians of British Art
Table of Contents
Letter from the President 3
HBA GRANTS 7
Publication Grant
Travel Grant
HBA at CAA 2013 8
New York
HBA member news 9
HBA membership 10
HBA Membership Inquiries
HBA Online and Facebook!
HBA Board 11
Officers
Board Members At-Large
Ex-Officio Board Members
Reviews of recent publications, exhibitions and symposia
Canterbury Cathedral Priory in the Age
of Becket reviewed by Sara James 14
John Brett: Pre-Raphaelite Landscape Painter reviewed by Richard Schindler 16
The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination and The Kelmscott Chaucer: A Census reviewed by Peter Stansky 18
Lucian Freud Portraits exhibition
reviewed by Antoine Capet 21
Philip de László: His Life and Art
reviewed by Samuel Shaw 24
Treasures of the Collection in Context:
The Pre-Raphaelite Brotherhood symposium reviewed by Emily Talbot 26
Announcements and calls for conferences, fellowships and publications 30
Exhibitions 77
HBA calls for reviews 83
Keep in touch 84
Letter from the President
Dear Fellow HBA Members,
I hope that 2012 is treating you well so far, and that summer will offer many opportunities to recharge your physical and intellectual batteries.
As many of you know, it has already been a busy 2012 for Historians of British Art. At the College Art Association conference in Los Angeles in February, we gathered three times. First, 15 of us took a guided tour of the Central Library building, which contains—among other standout features—a mural cycle painted by Dean Cornwell, who studied with Frank Brangwyn in England. We then visited Emma Roberts, the Library’s Subject Specialist for Art & Music/Rare Books, who showed us British highlights from the Library’s little-known collection, including its Casey Collection of British and French fashion plates. We adjourned to the roof of the nearby Standard Hotel, where we got to know each better under a blue Angeleno sky. The next day I chaired HBA’s session, Future Directions in the History of British Art, which marked our organization’s 20th anniversary by presenting five emerging scholars: Roberto Ferrari, Cristina Martinez, Corey Piper, Irene Sunwoo, and Amy von Lintel. Our discussant (and former HBA president) Kim Rhodes offered a very helpful analysis of what we had just heard. Finally, First Vice President Colette Crossman coordinated an excellent business meeting, which featured papers by two additional emerging scholars, Abbie Sprague and Lyrica Taylor.
At the business meeting, Treasurer & Membership Officer Jongwoo Jeremy Kim reported that HBA is in good fiscal health. The organization’s visibility at CAA was enhanced by our bestowal of the annual book prizes. Chaired by Elizabeth Honig, our hard-working committee chose three books published last year by Yale University Press: these were Celina Fox’s The Arts of Industry in the Age of Enlightenment (in the category of single-author book on a pre-1800 subject) and HBA board member Morna O'Neill’s Walter Crane: The Arts and Crafts, Painting, and Politics, 1875-1890 (single-author book on a post-1800 subject). In the category of edited/multi-author book on a subject of any period, the prize went to Thomas Lawrence: Regency Power & Brilliance, edited by Cassandra Albinson, Peter Funnell, and Lucy Peltz. We congratulate all of the winners and we warmly encourage our members and colleagues to acquire these superb titles for their own libraries.
HBA returned to California in May, when 22 of us took a customized tour of the California Palace of the Legion of Honor’s magnificent exhibition, The Cult of Beauty: The Victorian Avant-Garde, 1860-1900, with curators Lynn Federle Orr and Melissa Buron. After lunch and an exploration of the museum’s permanent collection, we headed to the home of HBA member Prof. Peter Stansky for a
delightful reception and a look at his fascinating collection of (mostly British) art. The next day, HBA member Prof. Tim Barringer and I presented public lectures at the Legion on Victorian art’s links with music and theater (respectively).
Just two weeks later, Tim and I met up again in New York, this time accompanied by HBA member (and former board member) Prof. Jason Rosenfeld. This was the first of HBA’s collaborations with the English-Speaking Union of the United States, at which 50 attendees enjoyed a lively presentation by Tim and Jason of the exhibition they are co-curating with Dr. Alison Smith at Tate Britain this fall, Pre-Raphaelites: Victorian Avant-Garde. As you probably know, this exhibition will travel to the National Gallery of Art in Washington (opening February 12), so please get in touch with me if you are interested in attending HBA events that we will organize around that exciting project.
Finally, our board members had a very stimulating annual meeting in late April. Lots of good ideas were generated, and we look forward to reporting back to you via email and in future issues of the newsletter. Most urgently, award committee chair Renate Dohmen notes that the application deadline for HBA’s generous $750 travel grant (which helps a student to attend a conference anywhere in the world) has been changed to September 15, 2012. Please be sure to notify your students and colleagues of this change, which will allow the winner to receive our commitment by October 15, well before he or she actually needs to travel in calendar year 2013. Full details appear on our website.
Regarding events for HBA members in autumn 2012 and spring 2013, our dance card is open, so please contact me if you have suggestions of opportunities for us to be together, and also to engage with graduate students in art history, whether or not they have already chosen to specialize in British art. As mentioned above, we will definitely do something in Washington around the Pre-Raphaelites show, and also something in celebration with the Yale Center for British Art’s much-anticipated exhibition, Edwardian Opulence.
In the meantime, please keep the good ideas coming. At the latest, see you in New York at CAA (February 2013). Full details of HBA activities at that conference will appear in our next newsletter, and of course at .
Kind regards,
Peter Trippi
President
ptrippi@
[pic]
HBA members at Los Angeles Central Library, February 2012
[pic]
Two of the books that won HBA prizes, on display in the exhibit hall at CAA 2012, Los Angeles, February 2012
[pic]
Tim Barringer and Jason Rosenfeld present their forthcoming exhibition, Pre-Raphaelites: Victorian Avant-Garde, at the English-Speaking Union of the United States, New York, May 2012
HBA GRANTS
HBA Publication Grant
HBA invites applications for its publication grant, a sum of $600 to offset publication costs of, or to support additional research for, a book manuscript in the field of British art or visual culture that has been accepted by a publisher. Applicants must be current members of HBA.
To apply, send a 500-word project description, publication information (name of press and projected publication date), budget, and CV to Committee Chair Renate Dohmen at brd4231@louisiana.edu.
The deadline is January 15, 2013.
HBA Travel Grant
HBA’s travel grant is designated for a graduate student member of HBA who will be presenting a paper on British visual culture at an academic conference. The award of $750 (intended to offset travel costs) will be announced for use during the upcoming calendar year. To apply, send a letter of request, a copy of the letter of acceptance from the organizer of the conference session, an abstract of the paper to be presented, a budget of estimated expenses (noting what items may be covered by other resources), and a CV to Committee Chair Renate Dohmen, at brd4231@louisiana.edu.
The deadline is September 15, 2012, with notification to the winner by October 15, 2012.
HBA at CAA 2013
New York
HBA’s major (2.5 hour long) session will be chaired by Prof. Julie Codell (Arizona State University).
HBA’s minor (1.5 hour long) session will be chaired by Dr. Eleanor Hughes (Yale Center for British Art).
Scheduling of HBA’s annual business meeting for members, and of its off-site visit to a New York area collection of British art, is underway now.
HBA will keep members updated on these events, including their exact dates and times.
HBA Member News
Jongwoo Jeremy Kim’s book, Painted Men in Britain, 1868-1918: Royal Academicians and Masculinities, is being published by Ashgate and will be available September 2012. Jongwoo is an Assistant Professor of Art History, University of Louisville.
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Robert Tittler has compiled a database of all painters (limners, painter-stainers, picture-makers, etc.) who worked in England between 1500 and 1640. He reports that there are currently over 1,800 names in the database. Approximately two thirds worked in the London area and a third, provincially. Only about one third have been identified in published literature. The database records names, dates of activity, place of residence and of origin (about twenty percent are foreign born), names of masters and apprentices, major attributed works, biographical notes, and documentary sources (most of which are archival rather than published). An agreement has been reached in principle as of this writing to convert this into a fully searchable and freely available website, though the conversion of what is currently an Excel spread sheet to such a website awaits funding and final approval. In the meantime, Robert he is happy to respond to questions about specific painters, e.g., to suggest what full names correspond with monogram 'signatures', to suggest which painters worked in which English locations at which time, etc. Please send queries to Tittler@vax2.concordia.ca. In addition, Robert’s book, Portraits, Painters and Publics in Provincial England, 1500-1640, is now available by Oxford University Press. Robert is a Distinguished Professor of History Emeritus at Concordia University, Montreal, and Adjunct Professor of Art History School for the Study of Art and Culture, Carleton University, Ottawa.
Leon Wainwright received a Publications Grant from the HBA in 2010 for his monograph Timed Out: Art and the Transnational Caribbean. The book is now available through Manchester University Press and in the US through Macmillan. Leon is a Lecturer in Art History at The Open University, Milton Keynes and Principal Investigator of Creativity and Innovation in a World of Movement, (CIM), Humanities in the European Research Area (HERA, European Science Foundation), 2010-2012.
Please send items about your activity to
Jongwoo Jeremy Kim, Assistant Professor of Art History
Hite Art Institute at the University of Louisville
Department of Fine Arts
Lutz Hall, Room 147
Louisville, KY 40292
Office: 502.852.0444 jongwoo.kim@louisville.edu
HBA Membership
For inquiries about HBA Membership, Renewals, Address Changes, or Emails, please contact:
Jongwoo Jeremy Kim, Assistant Professor of Art History
Hite Art Institute at the University of Louisville
Department of Fine Arts
Lutz Hall, Room 147
Louisville, KY 40292
Office: 502.852.0444
jongwoo.kim@louisville.edu
HBA online and facebook
HBA online
Website
User name member name
Password London
Facebook!
Join our Facebook group by searching Historians of British Art or find us at group.php?gid=59663381317
HBA Officers
July 2011-July 2013
President
Peter Trippi
Editor, Fine Art Connoisseur Magazine (and)
President, Projects in 19th-Century Art, Inc.
780 Riverside Drive, Suite 10F
New York, NY 10032
Mobile 917.968.4476
ptrippi@
First Vice-President
Colette Crossman
Curator of Exhibitions
Blanton Museum of Art
The University of Texas at Austin
MLK at Congress
Austin, TX 78701
Office: 512.471.7175
colettecrossman@
Second Vice-President
Craig Hanson
Associate Professor of Art History
Calvin College
3201 Burton Street SE
Grand Rapids, MI 49546
Office: 616.526.7544
chanson@calvin.edu
Treasurer/Membership Chair
Jongwoo Jeremy Kim
Assistant Professor of Art History
Hite Art Institute at the University of Louisville
Department of Fine Arts
Lutz Hall, Room 147
Louisville, KY 40292
Office: 502.852.0444
jongwoo.kim@louisville.edu
HBA Board Members At-Large
July 2011-July 2013
Juilee Decker
Associate Professor of Art History
Chair, Art Department
Georgetown College
Georgetown, KY
Renate Dohmen
Chair, Travel & Publication Grants Committee
Assistant Professor in Art History Visual Arts Department
University of Louisiana at Lafayette
Lafayette, LA
Margaretta Frederick
Past President (2009-2011)
Chief Curator & Curator, Bancroft Collection
Delaware Art Museum
Wilmington, DE
Elizabeth Honig
Chair, Book Prize Committee
Associate Professor, European Art, 1400-1700
History of Art Department
University of California, Berkeley
Berkeley, CA
Dianne Sachko MacLeod
Professor of Art History Emerita
University of California-Davis
Oakland, CA
Morna O’Neill
Assistant Professor of Art History
Wake Forest University
Winston-Salem, NC
Gayle Seymour
Professor of Art History
Associate Dean, College of Fine Arts and Communication
University of Central Arkansas
Conway, AR
Emily M. Talbot
PhD Candidate
University of Michigan
Ann Arbor, MI
Jennifer Way
Newsletter Editor
Associate Professor of Art History
College of Visual Arts and Design
University of North Texas
P.O. Box 305100
Denton, TX 76203-5100
jway@unt.edu
HBA Ex-Officio Board Members
July 2011-July 2013
Association of Art Historians Representative
Evelyn Welch
Professor of Renaissance Studies
Queen Mary, University of London
London
Student Representative
Brittany Hudak
Case Western Reserve University
brittanyhudak@
Paul Mellon Centre Representative
Martin Postle
Assistant Director for Academic Activities
The Paul Mellon Centre for Studies in British Art
London
Yale Centre for British Art Representative
Lisa Ford
Associate Head of Research
Yale Center for British Art
New Haven, CT
Reviews of recent publications, exhibitions and symposia
Canterbury Cathedral Priory in the Age of Becket by Peter Fergusson. New Haven and London: Yale University Press, November 2011. 288 p., 50 color + 100 b/w illus. ISBN: 9780300175691.
Reviewed by Sara James
Of all the English cathedrals I have visited, and I have visited many, Canterbury probably fascinates me most. However, to be the first and prime cathedral in England, a building with a long, complex, and sometimes sensational history, surprisingly little concise architectural history and scholarly analysis exists on the building complex; even less accessible material has been available on the monastic structures. With thorough research and compelling narrative, Peter Fergusson traces the extensive building program that took place from 1153 to 1167 at Canterbury Cathedral Priory, during part of which time Thomas Becket served as archbishop of Canterbury. Fergusson, who has devoted a distinguished career to English medieval architecture, is Professor Emeritus at Wellesley College.
Fergusson’s study of Canterbury Cathedral Priory extends beyond architecture as well as beyond Becket; in fact, Becket is a relatively minor player. The author treats the buildings in the context of the social, political, and cultural milieu surrounding the optimistic and later clouded reign of Angevin king Henry II and his heiress queen Eleanor of Aquitaine. Above all, Fergusson brings to light the remarkably innovative achievements of the brilliant but under-sung Prior Wilbert, who is the focus of much of the book. When Wilbert was born or when he entered Canterbury priory as a Benedictine monk cannot be determined.
Documents place him at Canterbury in the position of sub-prior from 1148 and prior c.1153-1167. During his time as prior, Wilbert oversaw the construction of several buildings, which transformed the manner of living at Canterbury Priory. He renovated other buildings, including parts of the cathedral, and, in one of the most innovative engineering feats of the English Middle Ages, he masterminded the amazing water system for the priory, or Benedictine monastery, situated to the north of Canterbury Cathedral (rather than to the more usual south). His projects and documentary evidence indicate several driving forces: the desire for a clean and plentiful water supply; hospitality for pilgrims and other visitors; care of the aged and infirm; revival of Roman-based jurisprudence; and enhancements to the cathedral building. Wilbert himself is a fascinating individual: forward thinking, intellectually curious, eclectic in his tastes, widely traveled, and utterly captivated by with every aspect of technology.
Focusing especially on what Wilbert built, Fergusson draws some remarkable conclusions. Besides the buildings themselves, or remnants thereof, the three architectural drawings (perhaps more accurately entitled engineering drawings) in the contemporary Eadwine Psalter, presumably by the scribe Eadwine, serve as an equally important documentary support. Whereas traditionally these drawings are primarily praised as a record of the remarkable pressure-driven waterworks at Canterbury, Fergusson gives them a broader context: he also considers the buildings the waterworks served. He demonstrates that these buildings reflect significant changes in Benedictine monasticism, the administration of canon law, and liturgical practice. Moreover, regarding the Benedictine mission of hospitality, he shows how the buildings served the visitors according to social standing and that the hospitality buildings reflect contemporary practices of hygiene and the care of the sick. Subthemes include Canterbury as a mirror of Jerusalem. For example, Fergusson demonstrates how the Treasury that Wilbert oversaw, reflects the function and placement of buildings in the biblical description of King Solomon’s temple of complex.
Fergusson divides the book into nine chapters and three appendices. The first two chapters focus on Prior Wilbert and his works. Chapter three addresses the architectural drawings of the precinct in the Eadwine Psalter. Chapter four discusses the Great Cloister and the monastic life. Chapters five through seven move away from the area close to the cathedral where the monks lived to the areas north of the cathedral designated for judicial matters, hospitality, and care of the sick and elderly. Chapters eight and nine give the broader context of the cathedral and monastery. The book is enhanced by the plentiful fine drawings, diagrams, and beautiful photographs, many of which are either the author’s or those of Stuart Harrison, a British archaeologist with whom Fergusson collaborated in the award winning Rievaulx Abbey: Community, Architecture, Memory (Yale University Press, 2001). Both Fergusson and Harrison are Fellows of the Society of Antiquaries of London.
The three appendices add useful information to the text. The first gives Prior Wilbert’s obituary, transcribed and translated by Mary Pedley. This document includes some of Wilbert’s gifts and building projects. The second appendix lists the contemporary Archbishops of Canterbury and the Priors of Christ Church Cathedral, Canterbury. The final appendix is actually a short article entitled “Canterbury Cathedral’s Mystery “Marble’: A Double Imposture Unmasked,” by Christopher Wilson, a professor emeritus of architectural history at University College London. Wilson demystifies the origins of the disputed building material. The debated material, according to Wilson’s thorough analysis, is calc-sinter, a calcite built-up that occurred as spring water flowed over the stones of Roman aqueducts. As the aqueducts fell into disrepair on the centuries following the fall of the Roman Empire, some of the stones were reused in medieval construction, often recut and polished to showcase the beautiful calc-sinter grain patterns.
In spite of a title that indicates a narrow focus, the breadth of material inside makes this book an informative and fascinating read for scholars of many disciplines. The book is beautiful as well as a scholarly masterpiece. However, Fergusson distills this complex information in a readable and understandable way, which broadens the readership. Canterbury Cathedral Priory in the Age of Becket would greatly enhance any library concerned with early British studies.
Sara James is Professor of Art History at Mary Baldwin College. Primarily a scholar of Italian Renaissance art history, she has published Signorelli and Fra Angelico at Orvieto: Liturgy, Poetry, and a Vision of the End-time (Ashgate, 2003). Since 2002, she has taught a survey course in early British art, 600-1600, in conjunction with the college’s M.Litt. and MFA program in Shakespeare and Renaissance Literature in Performance.
John Brett: Pre-Raphaelite Landscape Painter by Christiana Payne. Paul Mellon Centre for Studies in British Art. New Haven, CT: Yale University Press, 2010. 256 p., 120 color + 150 b/2 illus. ISBN: 9780300165753.
Reviewed by Richard Schindler
The unfolding saga of the Pre-Raphaelite Brotherhood as it has emerged in the past fifty years carries with it a built-in hierarchy. The founders, especially Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt, have been the subjects of numerous biographies, monographs, exhibition catalogues, and learned articles that serve to re-evaluate their historical relevance and provoke a reassessment of the validity of the movement to nineteenth-century studies. As part of this reassessment the life and work of such fellow-travelers as Ford Madox Brown, Arthur Hughes, and Frederick Sandys have come under academic scrutiny. Still other artists, John Brett, for example, have been given the equivalent of a walk-on role, most often seen as influenced by Pre-Raphaelite stylistic values but not inherently and perhaps not cohesively part of the original movement.
Fortunately, Christiana Payne has written a much needed art historical reevaluation of this underrated Pre-Raphaelite artist. Brett is usually included in general histories of the Pre-Raphaelite movement, but, as she notes, these inclusions are rarely attentive to the landscape artist's career after 1870. The focus on Brett's contribution to the Victorian period resides on such paintings as The Stonebreaker (1857-58), Val d'Aosta (1858), and, occasionally, The Hedger (1859), all works done in the detailed style and painstaking technique of Pre-Raphaelite realism. At the start of his career Brett is by religious inclination a devout Nonconformist, a devotee of nature as a source for deep emotional and spiritual sustenance, and an ardent proponent of Ruskinian aesthetics. This association with Ruskin led to Brett being perceived by Victorian critics as a wholehearted participant in the radicalism of the Pre-Raphaelite style, a perception that lasted well after the artist had moved on to a more nuanced scientific approach to landscape painting.
Payne introduces us to a more complex depiction of both the artist and the man, seeking to uncover a life of whole cloth rather than reiterate the bits and pieces of received wisdom. With access to letters, journals, and unpublished drawings, she fleshes out not only the life of John Brett but also that of his sister Rosa. Moreover, she presents a life as panoramic as Brett's later landscape paintings. At the beginning of his career Brett is literally and figuratively a nonconformist, somewhat in thrall to Ruskinian aesthetics but progressively dissatisfied with the sage’s counsel as the young artist matured. The early link to Ruskin had an unfortunate effect on Brett’s career as a number of critics labeled him a disciple of Ruskin’s long after he developed a more distinctive landscape style that investigated contemporary scientific studies of geology, optics, and oceanography. His interest in the science of light, especially atmospheric effects on different marine surfaces, extended into full-fledged participation in the contemporary scientific debates; he was also elected as a Fellow of the Royal Astronomical Society in 1871.
His life, of course, was not always the sunniness and light he depicted in his panoramic landscapes. Possessed of an obdurate personality and a gift for creating enemies through intemperate verbal attacks and pugnacious writings his later life was a see-saw of triumphant successes and lacerating defeats. Payne's highly recommended study combines a thoroughly documented biography with a cogently argued analysis of Brett's significant pictorial and theoretical contributions to the development of Victorian art in the second half of the nineteenth century.
Richard A. Schindler is the current Chair of the Art Department at Allegheny College. He teaches courses on modern and contemporary art, the history of graphic design and illustration, and comic book culture. He has a B.A. from Gettysburg College, an M.A. from UMass-Amherst, and a Ph.D. in art history from Brown University. His interests include Pre-Raphaelite painting and illustration, comic book art and the graphic novel, fantasy and SF illustration, punk culture, and anarchist history and political theory.
The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination. by Fiona MacCarthy. Cambridge: Harvard University Press, 2012. 656 p. 24 color + 47 b/w illus. ISBN 9780674065796.
The Kelmscott Chaucer: A Census by William S. Peterson & Sylvia Holton Peterson. New Castle: Oak Knoll Press, 2011. 280 p. ISBN 978159456-2894.
Reviewed by Peter Stansky
The interest in Edward Burne-Jones is quite intense at the moment, a far cry from 1940—admittedly during wartime-- when his painting, Love and the Pilgrim which had sold for £5,775 in 1898 was bought in at auction for £21. Now with the triumphant The Cult of Beauty exhibition at the V & A and then at the Legion of Honor in San Francisco, his reputation is extremely high. Many regard him as the most important British painter of the 19th century with the exception of Turner and possibly Constable. Fiona MacCarthy’s splendid biography adds to his luster and provides a thorough story of his life. Although there is a full discussion of his work in its many dimensions, this is a biography rather than an intense analysis of his art.
Born in modest circumstances in Birmingham, the son of a frame maker, with good schooling and encouragement, he went on to Exeter College, Oxford. There Jones, as he then was, met William Morris. This encounter is a well-known one and has been told comparatively recently in what might be regarded as MacCarthy’s companion volume to this, her magnificent biography of William Morris, published in 1994. Morris and Jones became best friends for life. Religion attracted them at first but then, ironically, after a tour of the cathedrals of northern France, they decided to dedicate themselves to art, as a way of removing “shoddy” from the world. Her life of Morris is a somewhat stronger study. She writes with greater perception on the crafts than on the fine arts—that division that Morris and Burne-Jones so wanted to eliminate. The two friends became, so to speak, the two sides of Morris’s famous aphorism: “Have nothing in your houses that you do not know to be useful, or believe to be beautiful.” Not sufficient attention is paid to that “or;” the object needn’t be both. Morris more than Burne-Jones combined beauty and use. Burne-Jones devoted himself to beauty. Is there a tension between the two? Although Morris is present to some degree in The Cult of Beauty exhibition there is nevertheless, I believe, a certain tension, perhaps even antagonism, between the Aesthetic Movement and the Arts & Crafts. Despite being so involved with Morris through their intense friendship—they met almost every Sunday—and through Burne-Jones doing the designs for innumerable stained glass windows and quite a few tapestries and illustrations for the Kelmscott Press, he is nevertheless more part of the Aesthetic Movement than the Arts & Crafts. His greatest achievements are his paintings, ethereal yet at the same time strong men and women. They seemed determined to fly away from the heavy Victorian world or to be awakened into a better world by a kiss as in the Sleeping Beauty story in The Briar Rose. Beginning his career as a Pre-Raphaelite under the influence of Rossetti, he was regarded as a member of the avant-garde and was far from conventional in the world of art—he was in revolt from Victorianism although he did not agree with Morris’s radical politics. He had a vexed relation with the Royal Academy and was the most important star of the Grosvenor Gallery. He was very close to John Ruskin travelling with him and at his expense in France and Italy and heavily influenced by his ideas. There is a splendid sense in this book of his early days, living in sets of rooms in London, particularly those on Great Russell Street, spending time at Morris’s Red House which never became the envisioned commune. Swinburne was also a great friend and they enjoyed exchanging letters laced with obscenities. It was a bohemian life to an extent but with servants and somehow a bedrock of respectability.
The role that class plays in these questions is frequently underemphasized. Morris as a rich man could afford to pay less attention to class. Burne-Jones was more upwardly mobile. His infatuation with fashionable girls may have had in part a class dimension as well as driven by his sexual interests and perhaps influenced by the death of his mother a few days after his birth. There is a tension between craft and art in the story of his marriage to Georgiana Macdonald. Daughter of a Methodist minister, she and three of her sisters made extraordinary marriages: to Burne-Jones, Lockwood Kipling, Edward Poynter and Alfred Baldwin, father of the Prime Minister Stanley Baldwin. Most of the cousins were very close, and Burne-Jones was very fond of his nephew, Rudyard Kipling, although he disagreed with his politics. His own son, Philip, became a minor painter and a somewhat sad figure. His daughter , Margaret, was a stronger person, married to J.W. Mackail, a scholar and Morris’s first biographer. Their daughter was the well-known writer, Angela Thirkell. It was not an easy marriage with Georgiana. She managed his life while her husband sought solace with young women such as Frances Graham, daughter of a devoted patron, and Mary Gladstone, daughter of the Prime Minister. He was in despair when these women presumed to get married. He depicted many of these ladies in his great painting, The Golden Stairs if 1880 which MacCarthy calls “the defining painting of the Aesthetic Movement.” (p. 285). The friendships, though intense with many meetings and letters, were nevertheless extremely unlikely to have been consummated with one exception. That was his affair with Maria Zambaco, a beautiful member of the wealthy and artistic London Greek community. It almost ended with their running off together or her suicide in the Regent’s Canal. Burne-Jones craved and needed these relationships as a contrast to his marriage. He was a wry, whimsical and witty man, not characteristics shared by his wife. These aspects are captured in the caricatures he did of Morris as well of himself as a rather bedraggled man with a wispy bead. His lady friends were somewhat free spirits yet at the same time, particularly those who were members of the bright, rich, and fashionable group known as the Souls, they were at the center of English society. A paradox at the heart of much English life was this combination of the comparatively free behavior combined with total respectability. It is the English curse and blessing. This wonderful study ends with triumphs, his great stained window in Birmingham and the completion of his magnificent painting, The Sleep of Arthur in Avalon (which recently returned to London to Tate Britain for an extended visit from its home in Puerto Rico). And what one might regard as the culmination of his great friendship with Morris, the Kelmscott Chaucer, completed just before Morris’s death, devastating Burne-Jones, at the comparatively young age of 62. Burne-Jones marked the moment with a charming cartoon of Chaucer blessing the two old friends.
The Kelmscott Chaucer was the culminating masterpiece of the Press. It had 87 illustrations by Burne-Jones, borders and other decorations by Morris and his especially designed type. In their youth Burne-Jones and Morris had toured and been heavily influenced by the cathedrals of Northern France. Now at the end of Morris’s life they produced what Burne-Jones correctly called a “pocket cathedral.” It was also a commercial enterprise. Morris was a Socialist and businessman (and much else), a man “rather in the style of a Victorian Steve Jobs.” p. xi (!)
The Kelmscott Chaucer has been gloriously celebrated by the Petersons in this wonderful book. The official number of copies issued was 425 in paper and 13 on vellum, though those numbers are not exact particularly as there seem to be 15 vellum copies. 281 of the paper copies have been located and no doubt others will show up. (By a lovely coincidence I was able to tell the Petersons about an unrecorded copy a few months ago. It came to light as it was recently displayed at the Stanford Art Museum. This information, as well as other “breaking” news can be found at ) Census is generally a rather dry word. This study belies that; it has such a fabulous sense not only of the book itself that is being recorded but also the innumerable individuals involved in the ownership of the copies. Among other material, we are provided with a list of the approximately 249 unlocated copies, biographical information about those who bound the copies, citations of the 795 book seller and auction catalogues in which the Chaucers are listed, a group of splendid illustrations, and excerpts from correspondence and diaries about the book mostly by Morris and Sydney Cockerell, the Secretary of the Press and deeply involved with the book throughout his long life.
But the heart here is the listing of the rich story of each of the known copies. 20 are in private collections whose owners have declined to go public but even for most of those there is frequently much information about previous owners, perhaps the most notable being T.E. Lawrence. This is the heart of the book, descriptions of the particular copy and any other material that may be with it. Then the fascinating part: the sketches of the present and previous owners. The amount of research the Petersons have done is prodigious. They have recovered so much about a glorious group of collectors. Not surprisingly, the majority are cultivated very well-off businessmen who became serious book collectors. They had the money to buy as the copies became more and more expensive. (The original price was £20.) Of course in many cases after one or more owner, the book is generously given to an educational institution. At that point the book’s travels stop. Certain institutions such as Yale, Harvard, Princeton, the Morgan Library, Southern Methodist University, the University of California at Berkeley, have multiple copies. One wonders rather subversively whether multiple copies are in fact necessary for study purposes. Perhaps some of the duplicates should be sold to other educational institutions unfortunate enough not to have a copy. But that would cause profound irritation to donors or their heirs and of course some of the further copies have important associations. Not surprisingly the greatest concentration is found in and around Boston, New York, London and the San Francisco Bay Area. Quite a few are in Japan and I was struck that one is in the William Morris Gallery in South Korea. What this superb book makes abundantly clear is that books have owners and who they were and are can be fascinating. Through this appropriately splendidly designed book, these people live on. The psyche of collectors can be complicated and obviously there are elements of acquisitiveness. But in the last analysis these individuals and institutions are preserving the Kelmscott Chaucer, a masterpiece created by William Morris and Edward Burne-Jones.
Peter Stansky is the Frances and Charles Field Professor of History Emeritus at Stanford University. He is the co-author of the just published Julian Bell: From Bloomsbury to the Spanish Civil War as well as Redesigning the World: William Morris, the 1880s, and the Arts and Crafts and From William Morris to Sergeant Pepper.
Lucian Freud Portraits, exhibition. London: National Portrait Gallery. 9 February - 27 May 2012.
Reviewed by Antoine Capet
Because of the ‘difficult’ nature of many of Lucian Freud’s portraits, and the not insignificant admission charges, I expected the rooms to be half-empty—just like a concert hall when atonal music is given. The introductory sentence in the free booklet distributed to visitors, ‘Lucian Freud (1922–2011) was one of the twentieth century’s most important painters, a modern master of figuration’ did not seem enough to attract a wide public. So I was greatly surprised to see the crowds—as usual in mid-week largely composed of middle-class senior citizens. I suppose that on a Saturday, with the young ‘active’ population joining in, it would have been impossible to approach the canvasses, and even more so the wall texts, which I found too small for my aging sense of vision. In fact, the success is such that the National Portrait Gallery has decided to introduce late Saturday closing for the remaining weeks of the exhibition.
Now, I wondered when looking at this unabashed display of vulvas (e.g. Naked Portrait II, 1980–1) and penises (e.g. Leigh Bowery (Seated), 1990), which I suppose would be considered as pornographic in many quarters, what attraction can these respectable old ladies find in Freud’s painting? The answer, I would argue, is that most visitors come from the teaching profession and other circles with a cultural background largely shaped by the difficulty of being tentatively explained by Lucian’s grandfather[1] or expressed in literature by Franz Kafka. What we see here is man-without-God, man-without-hope, man-as-part-of-the world-of-the-absurd, as described by Sartre and Camus. Twentieth-century man, in fact. Most people in Freud’s painting are ugly, their bodies inspire revulsion rather than desire—sometimes horribly so, as in the case of the Benefits Supervisor Sleeping (1995).[2]
All the Western canons of beauty derived from ancient Greek civilization are deliberately twisted, distorted, ridiculed, annihilated. The catalogue [3] tells us that in 1987 Freud had selected Velasquez’s Rokeby Venus (1647–51) for an exhibition in The Artist’s Eye series at the National Gallery—but then of course nothing could be further removed from Velasquez’s idealized representation of the perfect female body than Freud’s women. The duality in men so well expressed in Dr Jekyll and Mr Hyde is—deliberately or not—immediately apparent if we think of Lucian Freud, ‘L’homme qui aimait les femmes’, to take up the title of one of Truffaut’s best films (Freud was a great ‘womanizer’, collecting lovers all his life), and Lucian Freud the painter of women, who after his early period (e.g. Girl in a Dark Jacket, 1947 or Girl with Beret, 1951–2) managed to render even the most attractive woman ugly (Woman Smiling, 1958–9).
The ancestral Judeo-Christian deprecation of the flesh is everywhere in evidence in his nudes, male or female, from the late 1950s: in the poses (Nude with Leg Up, 1992), in the environment (After Cézanne, 2000 or Freddy Standing, 2000–1), in the ‘props’ (Naked Man with Rat, 1977–8), in the technique (strong shadows showing every fold [Naked Girl, 1966], grayish / bluish colors for the skin [Flora with Blue Toenails, 2000–1], or exaggerated pinks / reds [Lying by the Rags, 1989–90]). The irony of course is that ‘The Sixties’ are popularly associated with a liberation from these old religious prescriptions and proscriptions: one is on earth to enjoy oneself, including in sexual matters. Well, the models / characters in Freud’s paintings and drawings do not enjoy themselves—even in bed (And the Bridegroom, 1993 or Two Women, 1992—probably a Lesbian scene). Their faces reflect the fact that they feel the full weight of the Original Sin which they have to carry, or (for twentieth-century and twenty-first-century mortals who have killed God and only remain with an atrocious vacuum) the full effects of the mental torture of human existence. For the viewer / voyeur their flesh is evidently dirty—and with it, evidently, all human flesh. His nude self-portrait of 1993, Painter Working, Reflection,[4] is far more than an example of ‘warts-and-all’ portraiture: it is obviously an exercise in self-deprecation—the ugly failed painter only reflects the ugly failed man, and thereby the inevitable hopelessness and helplessness of the human condition. A comparison with his magnificent head-and-shoulders self-portrait of 1985, Reflection (Self-Portrait),[5] stark though it already was, shows how he was gradually and increasingly sinking into a world of doom and gloom.
This is conceivably what induces these nice old ladies to gaze at length at this surfeit of flaccid and repulsive male (and female) attributes: they have received a serious training in art appreciation and they know that the will to shock the bourgeois generally conceals something more profound—in Lucian Freud’s case an impossible tension between his unrealized craving for a world of carnal enjoyment and the harsh reality of life on earth. Optimists would not enjoy this Exhibition, with almost unrelieved gloom from end to end—the exception which confirms the rule being almost cheerful portraits of two of his friends, the art critic Martin Gayford (Man in a Blue Scarf, 2004)[6] and David Hockney (David Hockney, 2002)[7]—and they had better stay at home. But others are encouraged to go and form an opinion for themselves, and one thing is for sure: one could not agree more with the words of the Curator of the Exhibition, Sarah Howgate (Curator of Contemporary Portraits at the National Portrait Gallery), in the Press Release, ‘Lucian Freud Portraits is a life represented in paint rather than a biographical retrospective’.
Antoine Capet is a Professor of British Studies at the University of Rouen. In addition to his other publications, including that he is the 'Britain since 1914' Section Editor of the Royal Historical Society Bibliography and sits on the Editorial Committee of Twentieth Century British History, he has written many reviews for the Historians of British Art Newsletter and he publishes reviews regularly in Cercles and for both the H-Museum and H-Albion sections of H-Net. antoine.capet@univ-rouen.fr
Philip de László: His Life and Art by Duff Hart-Davis. Yale University Press, 2010. 448 p., 45 color + 100 b/w illus. ISBN: 9780300137163.
Reviewed by Samuel Shaw
Despite, or perhaps because of his popularity with popes, kings and presidents, the Anglo-Hungarian portraitist Philip de László (1869-1937) has always had a slightly shaky reputation. Even at the height of his popularity in 1907, critics were keen to point out that, for all his merits, he wasn’t quite John Singer Sargent. This comparison haunted him throughout his career (though to his credit he never held it against Sargent, of whom of he was a great fan) and continues to force him towards the margins of British art. It would that seem that de László’s constant suspicion of modern art, his unalloyed social ambitions, and his dedication to the relatively unpopular genre of society portraiture, make him the perfect model for the sort of reverse snobbery prevalent in the academic community today. For all this, there has been something of a de László revival in recent years, starting with the 2004 exhibition A Brush with Grandeur, and culminating in two significant projects: Duff Hart-Davis’s biography, Philip de László: His Life and Art (Yale, 2010) and an catalogue raisonné, spearheaded by Sandra de László, wife of the artist’s grandson. The latter is an on-going work, large portions of which have been published online at (as things stand, roughly 650 out of 3,400 works have been catalogued). Whether either project will succeed in bringing de László back into the frame on a long-term basis remains to be seen; at the very least, they set a firm foundation for future research into this fascinating figure.
Hart-Davis’s biography is the second of its type – the first was published in 1939 – and draws on a range of unpublished archival material. Despite this, there remains a distinct lack of reliable sources relating to his upbringing and gradual rise to fame in Hungary, which is unfortunate, all the more so since the better documented periods cover less intriguing moments in his career. As it is, the endless commissions and sittings from wealthy patrons, while interesting in them, tend to blur into one another after a while. Like many an ambitious workaholic, de László made things hard for his biographer, his life often playing out as a long list of jobs; a ceaseless stream of paintings, with little obvious progression. De László sometimes struggles to emerge from this stream as a distinct personality, becoming nothing more than the figure demanded by his profession: charming, well-mannered and (in the words of one sitter) ‘understanding’. Out of the public eye, his tendency to overwork comes out in fits of hot temper directed at his Irish wife and sons. Thankfully his depressions were never as great as those suffered by other famous portraitists, notably the alcoholic William Orpen. The flip side of this is that, despite Hart-Davis’s best efforts, de László’s life rarely leaps off the page – although it picks up, inevitably, during crisis moments, most obviously de László’s arrest in London during the First World War (after an inadvertent mistake regarding the sending of money overseas). Ultimately, though, this is as good a biography as one might expect of its subject: meticulously well-researched, entertainingly written and generously illustrated. A little more could have said on how de László fits into the wider picture of British portraiture – or the art-world in general – but these are perhaps unfair criticisms to make of a biography of such a neglected figure. Hart-Davis has established the groundwork; it is up to other writers to make broader connections.
The most frustrating aspect of most artists’ biographies is that the art itself is pushed to the sidelines. In this case, help is readily at hand to the restless reader in the shape of an online catalogue raisonné. Here we are free to pursue a large selection of de László’s works at our leisure, with or without the generous scholarly entries with which each painting or drawing is accompanied. In book form, de László’s catalogue would be a weighty and, no doubt, expensive tome, unlikely to reach a large audience. The online version is free to anyone who registers, and is blissfully easy to navigate (not a given in sites of this kind). You can sort works according to a wide range of options: among them subject, genre, and year. The quality of the images is high; so too the text that comes with them, which contains all the usual aspects of the form: exhibition history, further reading, and detailed notes on the commission. Several scholars have collaborated to bring this project to fruition, and the results deserve the highest praise.
The project also points to a bright online future for relatively unfashionable artists such as Philip de László. Simeon Solomon is another example of an artist who is profiting from web-savvy researchers. The Simeon Solomon Research Archive at is well on the way to becoming a vital resource on this fascinating late nineteenth-century figure, following in the wake of the well-established Rossetti Archive () and more recent Swinburne Project (). The Tate Gallery, meanwhile, hope to break new ground with their new Camden Town Group Online Research Project (forthcoming), which promises to set a new standard for academic resources online.
As things stand such sites form useful pendants, rather than forceful rivals, to the printed literature, offering an array of alternative experiences for the eager researcher. This is certainly the case with Philip de László, who is at present well served by both Hart-Davis’s biography and the online catalogue raisonné: projects that at present perfectly complement each other. Whether these enterprises will serve to establish de László as a leading figure in the art world of his time is another story; for now we can at least say that they have given him a fighting chance.
Samuel Shaw is currently Research Associate at the University of York and Visiting Lecturer at the University of Warwick. He is writing a book on the artist William Rothenstein.
Treasures of the Collection in Context: The Pre-Raphaelite Brotherhood, symposium. Museo de Arte de Ponce, Puerto Rico. 4 February 2012.
Reported on by Emily Talbot
On February 4, 2012, scholars in the field of Victorian culture from Puerto Rico and abroad gathered at the Museo de Arte de Ponce in Ponce, Puerto Rico for their third international symposium “Treasures of the Collection in Context: The Pre-Raphaelite Brotherhood.” One of the largest academic events to be held at the museum, the symposium aimed to highlight and contextualize the museum’s impressive holdings in Pre-Raphaelite painting, which includes John Everett Millais’s The Escape of a Heretic, 1559 (1857), Dante Gabriel Rossetti’s Roman Widow (Dîs Manibus) (1874), and Edward Burne-Jones’ vast canvas The Sleep of King Arthur in Avalon (1881-98), among many others. By focusing on artists and pictures in the museum’s collection, symposium speakers provided an audience of of Ponce locals and specialists in the field with a broad overview of the thematic, stylistic and historical concerns of the Pre-Raphaelites.
The symposium was sponsored by the National Endowment for the Arts and the Samuel H. Kress Foundation, and brought together a far-flung panel of speakers to discuss their own work on the Pre-Raphaelite Brotherhood. The participants were Tim Barringer (Yale University), Sally-Anne Huxtable (Northumbria University), Franny Moyle (author and producer, BBC), Jason Rosenfeld (Marymount Manhattan College), Alison Smith (Tate Britain) and Madeleine Vala (University of Puerto Rico, Rio Piedras), as well as the museum’s Chief Curator, Cheryl Hartup. Travel fellowships were also provided to four graduate students working on topics related to the Pre-Raphaelites, of which I was one, giving some indication of the ways that the Museo de Arte de Ponce is seeking to connect with scholars outside of the immediate vicinity of Puerto Rico.
Cheryl Hartup introduced the symposium by providing a brief history of the museum and its collection of sixty-six works by British artists (forty of which are by members of the Pre-Raphaelite Brotherhood). As Hartup explained, the founding collection of European art was acquired and donated by Luis A. Ferré, future governor of Puerto Rico. By detailing the relationship between Ferré and his primary art advisor, Julius Held, and the circumstances that allowed the pair to acquire a large number of works by British artists in the mid-twentieth century, Hartup provided a sense of Ferré’s somewhat unusual collecting strategy: he targeted works by lesser-known artists, or those with uncertain attributions, basing his judgment primarily on the aesthetic appeal of the object itself. Moreover, Ferré rarely acquired more than one work by any artist, preferring to collect for the purposes of breadth rather than depth. Hartup’s talk emphasized the ways that Ferré’s idiosyncrasies as a collector have shaped the identity of the museum, while offering insight into the fluctuating market value for Pre-Raphaelite art over the course of the twentieth century.
Following this background to the Victorian art collection at Ponce, Jason Rosenfeld pinpointed a specific artist and set of questions in his paper “John Everett Millais and the Old Masters.” Here Rosenfeld argued that while Millais was certainly exposed to and influenced by painters such Lorenzo Monaco, Velázquez and Titian, his borrowings tended to be indirect and are less easy to identify. Examining Ponce’s own Millais, The Escape of a Heretic, 1559, Rosenfeld outlined the possible historical sources for the work—all of which were available to the artist without leaving England—while demonstrating how Millais’s “layered” references are more akin to transformations than imitations of his predecessors. Providing close analysis of individual pictures, and identifying an impressive array of historical sources for Millais’s compositions (including the artist’s collaboration with his wife for costume construction), Rosenfeld’s paper offered a counter-narrative to that of painters like Edouard Manet, who has traditionally been considered the dominant appropriation artist of the nineteenth century.
In contrast to Millais’s identifiable use of local resources, in his talk “Ford Madox Brown: ‘the real first P.R.B.’?” Tim Barringer pointed out that Madox Brown’s continental training and exposure to art outside of the United Kingdom makes it less easy to pinpoint the sources for his rigorous experimentation. Tracing the artist’s career from his training in Belgium to his proposed historical paintings for Westminster, Barringer suggested that although Madox Brown was not technically a member of the P.R.B., his work in the 1840s prefigured much of Pre-Raphaelitism. Rather than idealizing his models, for example, he adhered to an (at times) unflattering realism, in what might be seen as a rejection of Academic principles. Barringer’s talk provided context for the development of the Pre-Raphaelites’ brand of realism while gently prodding at the notion of artistic originality. The Pre-Raphaelites might therefore be understood as part of a wider network of artists working in England who shared their aesthetic and theoretical principles.
Sally-Anne Huxtable’s paper “The Romance of the Rose: The Small Briar Rose Series and Edward Burne-Jones’s Quest for Perfect Love” similarly focused on the oeuvre of a single artist. Using Burne-Jones’ Small Briar Rose Series as a starting point, Huxtable expanded upon the various resonances of the rose in Burne-Jones’ work and the personal mythology. Huxtable presented Burne-Jones as an artist at the crossroads of numerous stylistic influences, including Symbolism, Aestheticism and Pre-Raphaelitism, arguing that the rose functioned as a metaphor for the heroic journey. She extended this metaphor to the shared goal of both the Pre-Raphaelites and Aesthetes to reconcile the material and spiritual realms, engaging with Burne-Jones’ own artistic philosophies to illuminate the intellectual process behind his painterly choices.
Continuing this thematic approach to the cultural world surrounding Pre-Raphaelitism, Franny Moyle, author of the book Desperate Romantics, considered the role that women played in the life and art of the Pre-Raphaelites. Discussing models, mistresses and wives such as Jane Burden, Fanny Cornforth, Maria Zambaco, Annie Miller and Lizzie Siddal, Moyle mixed biographical details with an analysis of the ways the Pre-Raphaelites used the representation of women to explore social and political themes ranging from prostitution and mental illness to gender inequality and spiritual transcendence. The Pre-Raphaelites depicted subjects that highlighted the exploitation of women, yet because many of them married their models Moyle suggested that we might interpret both their art and personal lives as a critique of contemporary society.
Approaching the Pre-Raphaelites from the discipline of English literature, Madeleine Vala examined the relationship between literary and painterly approaches to description in her paper “Christina Rossetti’s Goblin Market: The Pre-Raphaelites’ Literary Success.” By analyzing Rossetti’s critically acclaimed poem Goblin Market, Vala suggested possible parallels between the author’s literary techniques and the paintings of her contemporaries, aligning Rossetti’s repetition of similes, her description of visual imagery and the profusion of details in her poem with the bold use of color and excessive realism of Pre-Raphaelite painting. Her talk provided a valuable interdisciplinary component to the symposium and emphasized the productive cross-pollination between art and literature for the Pre-Raphaelites themselves.
The closing presentation, given by Alison Smith, Lead Curator for Nineteenth-Century British Art at the Tate Britain, considered exhibitions dedicated to Pre-Raphaelite art that preceded the one she is curating in collaboration with Tim Barringer and Jason Rosenfeld. Smith focused on the Tate’s 1984 The Pre-Raphaelites exhibition and provided a critical analysis of its strengths and weaknesses, contrasting its minimalist, biographically-structured presentation with the thematic approach that she, Barringer and Rosenfeld are taking to The Pre-Raphaelites: Victorian Avant-Garde (opening on September 12, 2012). Although the Tate’s upcoming exhibition will not include any loans from the Ponce collection, Smith’s presence at the symposium reflects a series of recent collaborations between the two museums. The Museo de Arte de Ponce sent many of its Pre-Raphaelite paintings to London during its 2007-2010 renovation, and the Tate reciprocated by contributing to a project to fully research and catalogue Ponce’s collection of British art.
“Treasures of the Collection in Context: The Pre-Raphaelite Brotherhood” was widely attended by both locals and visitors and provided an opportunity for attendees to view the recent reinstallation of the Pre-Raphaelite collection in its own separate gallery. For specialists of nineteenth-century British art, and European art more generally, Ponce’s collection is familiar—and frequently published—but less regularly visited as a result of its unlikely location for Victorian art. The symposium was not intended to be groundbreaking in terms of scholarship, but instead served to highlight its significant Pre-Raphaelite holdings while building relationships with academics in the field. “Treasures of the Collection in Context” raised awareness of the resources available to art historians in Ponce, and, along with the forthcoming catalogue raisonné of the British collection, formed one part of an ongoing, international conversation that will benefit both the museum and historians of the Pre-Raphaelites.
Emily Talbot is a Ph.D. student at the University of Michigan where her prospective dissertation topic concerns the relationship between composite photography and painting practices in the mid-nineteenth century. She has published essays in the Museum of Modern Art’s compendium Modern Women: Women Artists at The Museum of Modern Art (2010) and in the Courtauld Institute of Art’s postgraduate research journal immediations.
Announcements and calls for conferences, fellowships and publications
Compiled by Jessica Ingle
Proposals due June 25, 2012 Ireland and Adaptation
The ACIS West conference organizers welcome you to join us at Park City, Utah (home of the Sundance Film Festival) for the twenty-eighth annual meeting of Irish studies scholars and artists. This interdisciplinary conference features a range of lectures, readings, performances, and thematically related local festivities. We welcome papers on any and all aspects of Irish studies, including literature, theatre, film, dance, history, economics, sociology, music, religion, politics, language, culture, diaspora, as well as the material and visual arts. We particularly encourage papers that explore the broad theme of Ireland and Adaptation.
This may include:
▪ studies of how Irish history and literature have been adapted for film and theatre
▪ considerations of cultural adaptation in relation to diaspora
▪ explorations of how the concept of adaptation relates to ideas regarding appropriation, transformation, adoption, and memory
▪ aesthetic evaluations of how a particular social theme or cultural phenomenon has been adapted to suit differing contexts
▪ discussions of how particular forms of adaptation mediate both continuity and change.
The keynote speaker is Andrew Murphy, Professor of English and Head of the School of English at the University of St Andrews, Scotland. He has published extensively both in the field of Irish literature and culture and in Shakespeare Studies. His Irish work includes Seamus Heaney (2nd edition, 2000) and But the Irish Sea Betwixt Us: Ireland, Colonialism, and Renaissance Literature (1999). His work on Shakespeare includes Shakespeare in Print: A History and Chronology of Shakespeare Publishing (2003) and Shakespeare for the People: Working-class Readers, 1800-1900. He is currently working on a study of cultural nationalism in Ireland in the period 1880-1930.
Please submit your proposal by June 25, 2012 to aciswest2012@. Individual paper and panel submissions (3-4 participants) are welcome, as are proposals for live performances, roundtables, dramatic readings, poster presentations, or exhibits. Proposals should be 250-500 words in length and include a brief bio of the submitter (50 words). In the case of panel proposals, live performances, dramatic readings, posters, or exhibits, please submit a rationale (250-500 words), as well as bios for each of the presenters. Send questions to Prof. Brandie Siegfried, Brigham Young University at the conference email address: aciswest2012@.
The conference venue is the award-winning Stein Eriksen Lodge in Park City, Utah. The lodge is within driving distance of the Sundance resort, Salt Lake City, Bear Lake Park, Deer Creek Reservoir & Recreation Area, Zion’s National Park, Arches National Park, the Grand Canyon, and other landmarks of interest. Park City’s restaurants, art shops, Olympic park, cycling and hiking trails, and casual atmosphere make it an ideal spot for an extended stay. The Lodge has agreed to offer rooms at the rate of $149.00/night during the conference. Additionally, these rates will apply for up to two nights before and two nights after the conference. Although October will be too early in the year to enjoy the local ski resorts, the chair lifts will be open for taking in the spectacular views. For more information check out their website at
Contact Brandie Siegfried
4036 JFSB, English Department, BYU
Provo, Utah 84602
aciswest2012@
Registration for conference by June 29, 2012
Making and Remaking Saints in Nineteenth-century Britain
Making and Remaking Saints in Nineteenth-century Britain
Magdalene College, Cambridge
13 July 2012 - 14 July 2012
Protestants have always struggled with saints. Relics, shrines and images were swept away by the reformers, and their insistence on the priesthood (and sainthood) of all believers cut against the idea that the Church could single individuals out for special treatment. Yet if the mechanisms of canonization had disappeared, the need for spiritual patterns was just as pressing. British Protestants not only continued to engage with the saints of the past but continued to make saints in all but name, surrounding them with the trappings of sanctity: hagiographies, iconography, relics.
In the nineteenth century rapid political and religious change forced Protestants and Catholics alike to think about history in new ways. The Reformation was refought in bitter debates about the past and past personalities. Through examining how saints were made and remade in nineteenth-century Britain, this colloquium will examine the part they played in a period of rapid religious change.
In doing so, it aims to pose questions not just about what specific ‘saints’ were used for, but about sanctity and its significance in a vibrant religious marketplace. In an age that fetishized heroes and celebrities, were saints seen as different? What happened when asceticism or mysticism confronted nineteenth-century gender ideals? At a time of migration and imperial expansion, did saints reinforce a sense of national belonging or transcend it? And given the impact of cheap print, how did the media and the manner of representation affect what ‘saints’ stood for? Statues, monuments and stained glass windows serve as a warning against dividing Protestant textuality and Catholic materiality too neatly, but they also raise questions about collective as well as individual representation. How were textual or artistic ‘pantheons’ used to shape sectarian identities? How were they interpreted, curated, revised?
By bringing together nineteenth-century specialists with scholars working on earlier periods, this colloquium will examine how ‘saintliness’ was filtered and fashioned for new needs and audiences, in ways that still shape perceptions today.
The event is sponsored by the British Academy.
To register please e-mail Dr. Gareth Atkins at ga240@cam.ac.uk. Attendance costs £20, which includes refreshments and lunch on both days. Details will be given for credit card payment.
Abstracts due June 30, 2012
The Authenticity of Emotions: Skeptical and Sympathetic Sociability in the Eighteenth- Century British Public Sphere
This interdisciplinary Collaboratory will discuss the public sphere and emotional change in eighteenth-century Britain from the perspective of literature, philosophical ideas, political and religious debate, print culture and literary sociability. We are especially interested in: literary and political controversies; the rise and development of the novel; satire; contemporary ideas about sentiment and the passions; and the shared culture of sensibility, sociability and politeness. The principal aim of the meeting is to consider the 'emotionalization' of eighteenth-century print culture and its larger influence on contemporary public affairs via the formation of communities – either public or self-selecting – of sympathetic or sceptical readers. Indeed sympathy and the communication of ideas and sentiments among the reading public(s) are central to our interests.
The period under discussion is the ‘long eighteenth century’ (from the late 1600s to the early 1800s) wherein changes of psychological expression occurred alongside the development of wider and deeper print cultures. Various social and artistic media served to channel and contain fissile emotions while also providing scripts for creating and communicating the sentiments. The Collaboratory is designed to encourage a more general discussion about the cultural and intellectual context of the eighteenth-century British public sphere by looking more broadly at the growth of a print culture which seems to exemplify Hume’s (and other thinkers’ and writers’) emphasis on sympathy and emotional communication. Among other things it will be important to consider how - and how far - communities were united by humorous but biting criticism, as well as positive sympathy, and whether the balance between these emotions can be seen to change over time. This is not to suggest that there was no emotion in public discourse before 1700, but rather to argue that the coincidence of burgeoning print culture and an emphasis on feeling as the key to ‘authentic’ humanity may have had an unprecedented impact on the style of public debates, especially among a middle class readership.
The Organisers: David Lemmings, History, University of Adelaide, and ARC Centre for the History of Emotions; Heather Kerr, English, University of Adelaide, and ARC Centre for the History of Emotions; Robert Phiddian, English, Flinders University, and ARC Centre for the History of Emotions
We would welcome submissions from a range of disciplines which relate to the following subjects:
▪ Humanitarianism and charity
▪ Pity and compassion
▪ Friendship
▪ Suffering
▪ Slavery
▪ Patriotism and public spirit
▪ Delicacy
▪ Common sense
Please submit your abstract (maximum 350 words) by 30 June, 2012 to Janet Hart
Janet Hart
ARC Centre for the History of Emotions
School of History and Politics
University of Adelaide
+ 61 (0)8 8313 2421
Email: janet.hart@adelaide.edu.au
Visit the website at
Abstracts due June 30, 2012 Defiant Acts: Questioning Authority in the History of Art and Architecture
Graduate Student Symposium
October 12-13, 2012, Brown University
Keynote Address: Dr. Robin Greeley, University of Connecticut
History is filled with instances in which artists, architects and other practitioners involved in the arts have questioned reigning systems of authority or belief. These individuals and groups adopted a number of strategies, ranging from attempts to collapse entire hegemonic structures to plans for reforming them from within—but they were all motivated by a desire for change. This graduate symposium seeks to explore the different means of questioning authority in art and architecture. We welcome papers that focus not only on the actions of artists and architects but also those of critics, curators, historians, and theoreticians.
For a more detailed CFP and further updates see our website . Please submit a brief CV and 300-word abstract for a 20 minute presentation by June 30th, 2012 to: defiantacts@
Abstracts due June 30, 2012
The International Society for the Study of Time, Fifteenth Triennial Conference
Time and Trace
June 30 - July 6, 2013
Orthodox Academy of Crete
The International Society for the Study of Time (ISST) seeks proposals for presentations at its 2013 conference on the island of Crete, on the theme of Time and Trace. The ISST, renowned for its interdisciplinary scope, welcomes contributions from all scholarly, creative, or professional perspectives. Our format features plenary presentations delivered over several days, creating a sustained, interdisciplinary engagement among participants.
If time is a river, it etches its courses through many substrates: physical, biological, social, cognitive. Although we are sensible of the more obvious tracks in our histories, contexts and lives, many of the traces of these are subtle or brief, but no less profound in their making and influence. Etymologically, Trace is tractus (L) (and perhaps tragen (G)), ‘drawn’, ‘pulled’ or ‘carried’, whence ‘traction’ and ‘attraction’. It is also trait (F), ‘line’, ‘outline’, ‘feature’ and ri-tratto (I), ‘por-trait’; Trace is what happens when a point becomes, in time, a line; and therefore is graphein (Gr.), to trace or draw. It is also traccia (I), ‘spoor’, ‘trail’ or ‘track’. Tractare (L) is ‘to treat’ any subject narratively, as in a ‘tract’ or ‘tractate’. Works of literature were also called "brush traces" (hisseki) in Japanese.
We invite scholars, artists and educators to contribute to and co-create an interdisciplinary exploration of ‘Time and Trace,’ a theme that may stimulate reflection from many fields of inquiry, including (but certainly not limited to): physics & cosmology, geology, chemistry, music, drawing & painting, literature theory, the biological and cognitive sciences, archeology & paleontology, anthropology, engineering, philosophy.
Possible topics:
▪ The trace of social, political, demographic, economic, and historical trends
▪ Traces left by the causes of observed natural events
▪ Tracing the future: from mantic to futurology
▪ Temporal traces, trajectories and forms in narrative
▪ The trace in philosophy
▪ Imprints recorded/archived/reconstructed/anticipated
▪ Psychoanalysis and the temporal trace
▪ Trajectories and orbits in dynamical systems theory
▪ Traces of light, matter, and time in cosmology
▪ Archeological or paleontological traces of life
▪ Changing concepts of how time is measured and traced
▪ Evolution, extinction, and artifacts of change
▪ Chemical or biological traces that evolve over time
▪ Medical traces that are molecular, electrochemical, or topological
▪ Forensic traces in a documentary, financial, or biological sense
▪ vestigia Dei -medieval/early modern perception of the creator’s ‘footprints’
▪ The ideal of "not leaving traces" - from Buddhism to Environmentalism
▪ A trace or a blaze in its figurative sense as a symbol in ritual or sacrament
▪ The trace as a visible sign of spiritual grace
▪ Artistic and literary orchestrations of traces left or lost
Guidelines and Timeline for Proposals: Proposals will be for 20 – 30 minute presentations in diverse formats: scholarly paper, debate, performance, overview of creative work, installation, workshop. Proposals for interdisciplinary panels are especially welcome (each paper for a panel must be approved by the selection committee). In this latter case, three speakers might present divergent points of view around a central topic, and be responded to by a moderator. All work will be presented in English, and should strike a balance between expertise in an area of specialization and accessibility to a general intellectual audience.
Proposals, approximately 300 words in length, are submitted electronically. The author’s name(s) should not appear in the proposal, as the ISST does blind reviewing in selecting papers for its conferences. The deadline for submission is June 30th, 2012, with acceptances communicated by November 1, 2012. The Society also seeks session chairs, whose names will be included on the printed conference program.
To submit proposals, go to
Abstracts due June 30, 2012
Radical Voices, Radical Ways: Articulating and Spreading Radical Ideas in the British Isles (17th-18th centuries)
An International Interdisciplinary Conference, Université de Haute Alsace, Mulhouse (France) – 11-13 April 2013, with the support of ILLE (Institut de Recherche en Langues et Littératures Européennes, EA 4363).
This conference is premised on the rejection of the "nominalist" approach to "radicalism" - radicalism did not exist until it was named - and makes a case for embracing a wider view of the issue. Although we are aware that the latter approach also has its inherent limitations we hope to offer general perspectives based on an exploration of varied sources produced in a variety of contexts. What is meant by "radicalism" here is any political doctrine or theory that challenges existing political, religious, economic and social norms and offers alternatives to them. This is the first of two conferences on radicalism, the second of which will concentrate on more recent times. Papers considering the modes of writing and transmission of radical ideas will be welcome. Diverse sources can be used such as written texts (whether manuscripts or printed documents), oral sources or visual documents: pamphlets, sermons, newspapers, petitions, correspondence, fiction, music, songs, toasts raised in company, conversations, images and illustrations, cartoons, visual arts, etc.
These can be discussed in a variety of ways, including but by no means limited to:
▪ Relation of these modes of writing and transmission of ideas to the political, religious, economic and social context of the British Isles in the period under study;
▪ Presentation of the media used to promote radical ideas in terms of their users, whether they were networks (political parties, societies, lobbies, etc.) or individuals; profile of their users, i.e. their authors and those at the receiving end (gender, social background, geography);
▪ What made these media relevant to the cause they were used for; how they interacted and intersected; how their users interacted; what impact they had;
▪ Nature of radical discourse: is it context-based or can transhistorical continuities be traced? Peculiarities and recurrent motifs? Is there any such thing as a "radical style"?
▪ Recycling of radical ideas and/or material from one generation to another or from one place, region, or country to another (through translations, for example).
▪ This conference should contribute to a reappraisal of the concept of “radicalism” with reference to its modes of writing and transmission, thus making it possible for place or time continuities to emerge between various sources or, conversely, distinguishing features or specific identities to be isolated. Papers discussing the issue from a European perspective will be welcome.
We will favour papers in English. A selection of these will be considered for publication. Please submit proposals for papers (250 words max.), with a short bio-bibliographical note, to Laurent Curelly (laurent.curelly@uha.fr ) by 30th June 2012.
Notification of acceptance: 15th September 2012.
Applications due June 30, 2012 PhD Studentship: Maritime Sculpture and its Contexts
Maritime Sculpture and its Contexts
Faculty of Arts and Social Sciences, University of Hull
October 1, 2012 - September 30, 2015
Application deadline: Jun 30, 2012
A 3-year, full-time PhD studentship is available to work on the project ‘Maritime Sculpture and its Contexts’ from 1 October 2012. This award has been funded by generous donations by graduates of the University of Hull.
This project would address any aspect of maritime history and sculpture in the period c.1700-1900, and welcomes applicants with research interests in the following areas: ship sculpture and the decoration of sea-going vessels; maritime woodcarving and its traditions; the sculpture of coastal towns and cities; and sculptors of maritime subject matter in both the Royal and Merchant Navies.
Applicants should normally have a Masters qualification in a relevant humanities discipline and at least a 2i degree in a cognate subject at undergraduate level.
The awards include full fees (at Home/EU rate) and an annual maintenance grant of £14,440 plus an additional £3000 annual budget for travel and research expenses. The applicant must be a UK or EU national, and satisfy UK residency requirements.
Informal enquiries may be addressed to Professor Alison Yarrington, Dean of the Faculty of Arts and Social Sciences a.yarrington@ hull.ac.uk. To apply, please complete a University of Hull Postgraduate Studies application form by 30 June, available at:
. hull.ac.uk/ fass/pdf/ Postgrad% 20Application% 20form3.pdf
Papers due June 30, 2012 Recalling War: The Literature and Language of the Two World Wars in Britain
We would like to announce that the 5th issue of Zeszyty Naukowe Instytutu Neofilologii i Komunikacji Spo³ecznej (Journal of Literary and Linguistic Studies published by the Institute of English, German and Communication Studies, Koszalin University of Technology, Poland) is currently being prepared for publication in 2012. The title of the present issue is Recalling War: The Literature and Language of the Two World Wars in Britain. The 2012 issue will concentrate on literary and linguistic aspects of the two world wars in Britain. Papers are invited to discuss a wide range of issues concerning the wars, either in poetry, novels, autobiographical works, media, official language, slang, etc.
Email: wojciech.klepuszewski@tu.koszalin.pl
Visit the website at
Abstracts due July 1, 2012
Art and Its Afterlives
Fourth Early Modern Symposium: Art and Its Afterlives
17 November 2012
The Courtauld Institute of Art
Art and Its Afterlives aims to address the ways in which the work of art continues to resonate after its creation. While much art history takes as its focus the initial facture of the work of art, this one-day symposium explores what happens to early modern art after the moment of its making. How did early modern works continue to be created in their display, preservation, and reception from the moment of their creation on? Papers will examine how art is shaped by its afterlives – whether these collect, curate, cut up, cut out, copy or correct it – and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation. Material, technical and social histories as well as theoretical approaches drawn from the discipline of art history and other fields of the humanities are welcome. Accounts from curatorial practice and the field of museology are also encouraged.
The question of afterlife is an pertinent topic for art history in general, where the work of art is uniquely tied to a particular assemblage of materials which inevitably change with time, rendering fraught questions of preservation, the presence or possibility of copies, the idea of original state, and how a work of art is staged for a viewer. Less material but no less concrete, the interactions between the work and the viewer, and between the work and its assumed referent are not stable but open to change. The question of afterlife is particularly relevant for the early modern period, when emergent art markets and cultures of collection allowed not only the circulation of artworks, but also their appropriation and adaptation. Taking as its point of departure Bourdieu’s encouragement to investigate ‘not only the material production of the work but also the production of the value of the work’, this symposium privileges the afterlives of art and the alternative histories they present.
Topics for discussion may include, but are not limited to:
▪ Histories of collection and display - acquisition and the accrual of value; assignment of category or genre; travel and re-contextualization; political appropriation and/or subversion
▪ Conservation and technical art history - preservation vs. restoration of past state; hidden layers and the discovery of the underneath; changing material support
▪ Reception and criticism - boundary between art and reception; development of art historical practice; shifting contexts of viewership and viewer negotiation
▪ Copy and imitation - changing perceptions of a master’s hand vs. workshop; forging and faking; serial reproduction; changing conceptions of emulation and originality; contemporary uses of early modern works and spaces
▪ Destruction and embellishment - iconoclasm and the religious image; revolution and vandalism; disassembly and remaking; framing and re-framing
Art and Its Afterlives is the fourth symposium of The Courtauld’s Early Modern Department. We invite proposals from scholars and postgraduates for papers that explore the theme of art and its afterlives in all forms of visual and material culture from the early modern period (c.1560-1848) including painting, sculpture, architecture, decorative arts, performance, print media, graphic arts, and the intersections between them.
Please send proposals of no more than 250 words by 1 July 2012 to laura.sanders@courtauld.ac.uk and francesca.whitlum-cooper@courtauld.ac.uk.
For more information visit: ResearchForumEvents@courtauld.ac.uk
Abstracts due July 1, 2012
New Perspectives on Industrialization
New Perspectives on Industrialization
17 - 19 September 2012
Senate House, London
The Institute of Historical Research and the PKU (Beijing) are joining together next September to host a conference on the recent historiography of British industrialization. The second major collaboration between the two institutions, the conference will showcase the recent research on the British industrial revolution as well as new Chinese research on the subject and seek to place British industrialization within a global and comparative perspective. Over a dozen Chinese universities will be involved, and the conference will feature a junior researchers' session. Confirmed UK speakers and discussants include Roderick Floud, Julian Hoppit, Pat Hudson, Patrick O'Brien, Deborah Oxley, James Taylor and Nuala Zahedieh.
Proposals are invited from graduate students and early career researchers for the junior sessions on the conference. Please send a 250-word abstract and brief CV to the Director of the IHR by 1 July 2012.
Manjeet K Sambi
manjeet.sambi@sas.ac.uk
Contact phone: 0207 862 8756
Conference to attend on July 9 - 10, 2012 Dickens and the Visual Imagination
An international two-day conference to celebrate the bicentenary of Charles Dickens in 2012
9-10 July 2012
This conference, hosted by the Paul Mellon Centre in London and the University of Surrey in Guildford, will explore the interfaces between art history and textual scholarship through the work of Charles Dickens. Dickens is renowned for the richness of his visual imagination and his publications encouraged readers to interpret his words with and through their accompanying illustrations. Not only was Dickens deeply engaged with ideas of the visual in his writing, but his work has also provoked responses from artists across multiple disciplines within the Victorian period and beyond. The conference seeks to build on recent interdisciplinary work (such as that of Kate Flint and Isobel Armstrong) that illuminates nineteenth-century understandings of visual culture. By focusing the conference through a writer whose work is embedded in the visual imagination, Dickens will provide a test case for examining and theorising the connection between text and image across two hundred years of cultural history.
Please email any enquiries to: g.tate@surrey.ac.uk
The conference programme will also feature a reception at the Watts Gallery in nearby Compton, Surrey, to coincide with the gallery's exhibition Dickens and Art. See below for details:
Dickens and Art will explore the significant connection between Charles Dickens and visual art. A remarkably visual writer, Dickens grew out of a tradition where illustration formed a significant part of both serial and book. He admired artists, probably more than his fellow writers, and had long and close friendships with several, including Clarkson Stanfield, Daniel Maclise, Frank Stone and William Powell Frith. His own taste in art and his views on art are manifest not only in his novels, but in his magazine Household Words where he publicly attacked Millais’ painting of Christ in the House of His Parents and the developments of the National Gallery. Dickens was interested in both contemporary artists and the art of the Old Masters which he viewed and commented on in his tours of Europe. The influence of Dickens was widespread and many artists chose to depict scenes from his novels as well as being influenced by the subjects and characterization in his work.
Conference to attend on July 11 - 13, 2012
The Northern Ireland Troubles in Britain: Impacts, Engagements, Legacies and Memories
The Centre for Research in Memory, Narrative and Histories at the University of Brighton, the Department of Politics and International Relations at the University of Leicester, and the Tim Parry Johnathan Ball Foundation for Peace are organising an inter-disciplinary conference which will consider the impact and lasting effects of the Northern Ireland ‘Troubles’ in Britain, and responses to the conflict from Britain. Little research exists on the legacies and memories of the Irish Troubles in Britain, and initiatives here towards post-conflict remembering, critical and empathic understanding, and peace-building have been piecemeal. This is in sharp contrast to the situation in Northern Ireland, where since the peace process began in 1993-94, the academy, civil society organisations, community groups and other stakeholders have been engaged in wide-ranging debates about the social, cultural and psychological legacies of violence; the importance of memory, storytelling and commemoration in acknowledging, understanding and transforming these legacies in the context of peace-building; societal responsibilities and strategies for 'dealing with the past'; and profound questions of representation, truth-recovery, justice, healing, and reconciliation.
This conference aims to examine the impact of the Troubles since 1968 upon individual lives, social relationships, communities and culture in Britain; to investigate the history of responses to, engagements with, and memories of the Irish conflict in Britain; to explore absences and weaknesses in peace-building and conflict transformation related to the Troubles in Britain; and to contribute to wider academic and public debate about Britain as a post-conflict culture and what can be learned from the Northern Irish experience about peace-building and 'dealing with the past'.
Abstracts due July 13, 2012 Going Underground: Travel beneath the Metropolis 1863-2013
Going Underground: Travel Beneath the Metropolis 1863-2013 - A Conference to Mark the 150th Anniversary of the London Underground
17 January 2013 - 18 January 2013
Senate House, London
10 January 2013 will mark the 150th Anniversary of the public opening of the Metropolitan Railway in London. It was the world’s first urban rapid transport system to run partly in subterranean sections. As the precursor of today’s London Underground, it was not only a pioneer of technological and engineering advances, but also instigated new spatial, political, cultural and social realms that are now considered to be synonymous with London and modern urban experiences across the globe.
The Centre for Metropolitan History, Institute of Historical Research, is marking the anniversary by organising a two-day conference dedicated to the history and use of the London Underground.
Taking the construction and opening of the Metropolitan Railway as a departure point, this conference seeks to explore the past, present and future of the London Underground from a variety of perspectives that investigate its histories, geographies, cultures, politics and social characteristics.
The conference organisers invite proposals for papers of 15-20 minutes in length. Submissions are welcome on any subject related to the general theme, but may benefit from connecting with one or more of the following sub-themes.
Underground Histories
▪ Micro-narratives and marginalised perspectives: individual or oppressed stories from the Underground
▪ Counter or unrealised histories: unofficial accounts or unfulfilled plans
▪ Underground Geographies
The relationship between the Underground, city and nation
▪ Subterranean places and cultural landscapes
▪ Private and public spaces
▪ Cultures of the Underground
Representations in literature, music, film, photography and art
▪ Heritage, identity and memory
▪ Enthusiasts, collectors, explorers, popular pursuits and pastimes
▪ The Politics of the Underground
Power and contestation: the Underground as a site of protest, control and propaganda
▪ The politics of transport planning policy
▪ The Underground as a platform for strikes and political manifestos
▪ The Social Underground
Security, surveillance and crime
▪ Mobility and technology
▪ Everyday life and experiences
While the focus of the conference is on the London Underground, we encourage papers that provide an international comparative perspective.
Please send abstracts and an author biography (including institutional affiliation) each of no more than 250 words by Friday 13 July 2012 by email to the Centre for Metropolitan History at ihrcmh@sas.ac.uk
Abstracts due July 15, 2012 (Wo)Manning Up: Performing Gender in Irish Culture
(Wo)Manning Up: Performing Gender in Irish Culture
Oct. 5-6, 2012, Daemen College, Amherst, New York.
From mythical representations of Mother Ireland and warrior culture to postcolonial and “New Irish” studies of Irishness, renderings of male and female figures have played a key role in determining political and religious conflict, social rituals, literary production, and historical transformations. We invite papers from these and other perspectives in any genre that engage with and interrogate the performance of gender in Ireland throughout history. As usual, strong papers on other topics will be considered as well.
Topics may include, but are not limited to, the following:
▪ Gender and religious conflict
▪ Models of the maternal and paternal
▪ Traditional and non-traditional marriage
▪ Gender and childhood acculturation
▪ Gender and sex scandal
▪ Gender and crime
▪ Gender in film and other visual media
▪ Representations of LGBT experience
▪ Hypermasculinity/Hyperfemininity
▪ Gender and colonialism/postcolonialism
▪ Gender and ecocriticism
▪ Gender and architecture
▪ Gender and economics
We are pleased to announce that Dr. Joseph Valente, Professor of English and Disability Studies, SUNY-Buffalo, and Dublin novelist Mary Rose Callaghan have agreed to serve as keynote speakers during the conference. Please send 250-word abstracts by July 15 to: Dr. Shirley Peterson
Contact Shirley Peterson
4380 Main St.
Amherst, NY 14226
speterso@daemen.edu
Articles due July 15, 2012 Gender, Ireland, Latin America and the Caribbean
Call for Contributions
Volume 8, Number 2, December, 2012
“Gender, Ireland, Latin America and the Caribbean”
The editors of Irish Migration Studies in Latin America invite submissions for a special issue on Gender (Volume 8, Number 2, December, 2012). Articles discussing women and men from a gender perspective, and within an Irish-Latin American/Caribbean context will be considered. Emigration/Immigration, Feminism, Domestic Violence, Religion, Education, Activism, Human Rights, Race, Homosexuality, Masculinity, Literature, Cinema, Theatre, Art, Sports, and Health are possible areas of focus. Articles using a comparative approach (examining a particular theme in Ireland and Latin America/Caribbean), and complementary articles by different authors on a similar theme, one article based in Ireland the other in Latin America/Caribbean, will also be considered. Articles may be placed in a historical or contemporary setting.
Articles should be submitted to the Editor in Chief by 15 July 2012. Articles related to the general theme of this journal will also be considered. Scholarly articles should be between two and five thousand words. The editors also welcome book, film and website reviews, edited discussions of primary documents, photo essays, and short biographies related to the topic of the special issue, and to the general theme of the journal. All contributions must conform to the Contributors' Guidelines of this journal: before they will be considered. All papers will undergo editorial screening and peer review.
Editor-in-Chief, Dr. Clíona Murphy, History Department, California State University, Bakersfield, CA 93311.
Email: gender@
Visit the website at
Abstracts due July 31, 2012
Royal Loss: Untimely deaths, public and private mourning, and the monarchs who never were
10 November 2012
Humanities Research Centre, University of York
November 6th 2012 marks the 400th anniversary of the death of Henry, Prince of Wales, son and heir of James I & VI. Describing the death of the 18 year old prince, Roy Strong remarked that ‘the sense of tragic loss at the time was such that he was to remain for long an ideal monarch England never had’. The anniversary of his death will be marked by an exhibition this winter at the National Portrait Gallery in London, ‘The Lost Prince: The Life and Death of Henry Stuart’. Significantly there is a current display at the NPG which focuses on the life and death of another heir to the throne of England who predeceased their father, Princess Charlotte of Wales. ‘Queens in Waiting: Charlotte and Victoria’, details the life of George IV’s daughter, and the public shock and outpouring of grief at her death in childbirth at the age of 21. It also conveys the dynastic crisis that ensued, as well as the impact of the dead Princess’s legacy upon her eventual successor, Victoria. As the deaths of Prince Henry and Princess Charlotte, as well as that of Princess Diana in modern times, demonstrate, untimely royal deaths have held both political and cultural significance in this country. In fact Royal deaths throughout history in England and elsewhere have resonated on both public and private levels both for contemporaries and succeeding generations. This one-day interdisciplinary conference will explore the rich and diverse topic of Royal death, loss and commemoration, and is open to applications discussing monarchies of any period and cultural and geographical background.
Suggested topics may include but are by no means limited to;
▪ Royal Funerals
▪ Royal mourning and mourners – public and private royal grief
▪ Royal memorials (structural, musical artistic or literary) and Funeral monuments
▪ Epitaphs and Biographies in response to a royal death
▪ The death of royal infants and children
▪ The death of an heir to the throne
▪ Sudden, unexpected royal death – responses to, and fear of death from acute royal illness
▪ Progress and responses to long drawn out royal illness and death
▪ Responses to royal assassination
▪ Responses to royal execution
▪ Feelings of lost hope or potential and ‘what if’ myths of Royal lives that were cut short
▪ Royal widows and widowers
▪ Commemoration ceremonies - sermons, music, rituals etc.
▪ Apportioning blame for a royal death
▪ Dynastic and succession crises, precipitated by royal death
▪ Perceptions of Royal afterlife – for example apotheosis painting or literature, myths and ghosts, personal and public preparation of a royal individual for an afterlife
▪ Portrayals of royal deaths in popular culture and later popular history
▪ Forgotten Royal deaths
Proposals of 300-500 words should be sent to Sarah Betts at royallossyork2012@ by 31st July 2012
Abstracts due July 31, 2012
Traveling Traditions: Pilgrimage across Time and Cultures
First Annual Symposium Sponsored by the Institute of Pilgrimage Studies and the International Consortium for Pilgrimage Studies
October 12-14, 2012 College of William and Mary, Williamsburg, VA
We encourage submission of papers involving research and creative activity on journey to a sacred center or travel for transformation from a broad range of disciplines and perspectives, including art and art history. Presentations will last 15 minutes, with time for discussion between papers.
Abstracts of 500 words can be submitted at wm.edu/pilgrimage/abstracts. Faculty and independent researchers should submit a short c.v. with their abstract; graduate and undergraduate students should also submit a recommendation from a faculty mentor. Students can either propose to present papers or participate in a poster session.
Questions? See wm.edu/pilgrimage/symposium or contact Brennan Harris (mbharr@wm.edu).
Abstracts due August 1, 2012 Agents of Change: Art as Activism
Academic Symposium
Agents of Change: Art as Activism
Montserrat College of Art, Massachusetts
Friday October 26-Saturday October 27, 2012
Art has long been a vehicle of protest and an agent for social change. Montserrat College of Art invites proposals on topics related to art that is socially engaged including culturejammers, community artists, social and political graphics, activist printmaking, street art, murals, documentary film, environmentalist art, radical performance art and much more. Diverse perspectives are welcomed and can include art history, studio art, visual studies and contemporary issues within artistic practice.
Proposal Formats: Auditorium: 20‐minute individual illustrated presentations or panel: Propose a 90-minute session of up to 3 speakers with a moderator. Submission: A one‐page outline of proposal plus CVs for each participant should be sent to leonie.bradbury@montserrat.edu
Proposals for book chapters due August 1, 2012 Edited Collection: Childhood and Youth in Pre-industrial Scotland
Children and youth play a vital role in any society. The wellbeing and future direction of religion, politics, the economy, individual communities, and social and cultural reproduction, as well as the legacy of individual families, all rest in the training and upbringing of the young. Despite this importance, research on medieval and early modern Scottish children and youth has been limited. This collection seeks to build on some of the work in Finding the Family in Medieval and Early Modern Scotland (2008) and to address the gap in the literature by providing a greater context and more holistic understanding of the human experience within the pre-industrial Scottish past. To this end, the editors invite essay proposals for an edited collection on childhood and youth in medieval and early modern Scotland. We particularly welcome proposals from a breadth of disciplinary and interdisciplinary perspectives, as well as papers that examine a diversity of childhood experiences, representations, and expressions.
Proposals of 500 words that explore any aspect of Scottish childhood and youth in the pre-modern period will be considered. All essays will be subject to blind refereeing.
Editors for the project are Elizabeth Ewan (University of Guelph) and Janay Nugent (University of Lethbridge). Proposals are due by August 1, 2012, with decisions to be announced September 1, 2012. Final essays will be due February 28, 2013. Please note that this collection will not be published before the next REF. Please send copies of your proposal to both eewan@uoguelph.ca and nugejb00@uleth.ca .
Janay Nugent
Department of History
University of Lethbridge
4401 University Dr. W.
Lethbridge, Alberta, Canada
T1K 3M4
Email: nugejb00@uleth.ca
Abstracts due August 3, 2012 New England ACIS Regional Meeting
Conference theme is The West. The Plenary Speaker will be Dr. Eamonn Wall, Smurfit-Stone Professor of Irish Studies and Professor of English, University of Missouri-St. Louis. Also, the John Whelan Band will perform Friday evening. Brenda Ní Shúilleabháin will present and discuss some of her latest documentaries on women and men of the west.
Papers: Presenters are encouraged to think about a paper on some aspect of the conference theme, but all papers in the multi-disciplinary field of Irish Studies will be considered. Send paper proposals of 250 words to Dr. John Roney, Department of History, Sacred Heart University, at roneyj@sacredheart.edu, by the submission deadline: August 3, 2012. Earlier submissions are appreciated, and proposals for entire sessions are most welcome. Papers should not exceed 20 minutes in length.
Contact John Roney
Department of History, Sacred Heart University
Fairfield, CT 06825
roneyj@sacredheart.edu
sacredheart.edu/ACIS.cfm
Abstracts due August 13, 2012
The 20th METU British Novelists Conference: Salman Rushdie and His Work
13-14 December 2012 at Middle East Technical University Ankara, Turkey
Organizing Committee:
Prof. Dr. Meral ÇileliAssist, Prof. Dr. Margaret J-M SönmezAssist, Prof. Dr. Dürrin Alpakın Martinez-CaroAssist, Prof. Dr. Nurten BirlikAssist, Prof. Dr. Hülya YıldızAssist, and Prof. Dr. Elif Öztabak-Avcı
We invite you to send your 250-word abstracts for 20-minute papers to bnc2012@metu.edu.tr
Deadline for abstracts submission: 13 August 2012
For queries and further information contact Elif Öztabak Avcı at elifo@metu.edu.tr
For registration forms visit
Abstracts due August 15, 2012
(In)appropriated Bodies
Cornell University Annual History of Art Graduate Student Symposium
Keynote Speaker: Amelia Jones, Art History & Communication Studies, McGill University
November 16-17, 2012
Ithaca, New York
This symposium aims to address how bodies have been appropriated in seemingly inappropriate ways. We are interested in improper, incorrect, perverse and unsuitable uses of bodies that figure as unexpectedly apt creative strategies, political interventions and alternative forms of inquiry or representation that encourage new ways of seeing and speaking about bodies.
We invite graduate students of all disciplines to present papers on (in)appropriations of bodies by artists, curators or scholars. Presentations should 20 minutes in length. For those interested, please email a 200-300 word abstract and cv by August 15, 2012 to cornellgradsymposium@.
Abstracts due August 27, 2012
FSU 30th Annual Art History Graduate Symposium
The Art History faculty and graduate students of The Florida State University invite students working toward an MA or a PhD to submit abstracts of papers for presentation at the Thirtieth Annual Art History Graduate Student Symposium. Paper sessions will begin on Friday afternoon, October 5, and continue through Saturday, October 6, with each paper followed by critical discussion. Symposium papers may come from any area of art and architecture. Papers will then be considered for inclusion in Athanor, a nationally-distributed journal published by the Department of Art History and the FSU College of Visual Arts, Theatre & Dance.
The deadline for receipt of abstracts (maximum 500 words) is August 27, 2012. Please include the title of the talk, graduate level, and whether the subject originated in thesis or dissertation research.
Send the abstract by email to:
lajones@fsu.edu
Dr Lynn Jones,
Symposium Coordinator
Department of Art History
Abstracts due August 31, 2012
Extreme(ly) Shakespeare(an)
The 36th Annual Ohio Valley Shakespeare Conference 2012
Marietta College
October 18-20, 2012
The planning committee of the Ohio Valley Shakespeare Conference seeks proposals for papers or panels from across today's theoretical and methodological landscape that engage some facet of the amalgam "Extreme(ly) Shakespeare(an)." "Extreme Shakespeare" alludes to the wide variety of extremities that can be found in Shakespeare's work. It brings to mind those occasions where the playwright demonstrates either a lack of regard for or a lack of control over the principles of proportionality and balance, to the degree either of those principles were prioritized by dramatists of the early modern period. Of course, extremity is an inherently relative value, which leads to a second facet of the amalgam open to conferees. "Extremely Shakespearean" refers to the fundamental characteristics of Shakespeare's art, craft, thought, philosophy, etc. How might we best operationalize the term "Shakespearean"? What quality or qualities should we identify as the quintessence of Shakespeare's work? Conversely, where do we observe Shakespeare at his least Shakespearean? Have we in the past, do we now, and/or might we ever share a persuasive understanding of what constitutes the most significant attributes of Shakespeare? Is the pursuit a noble quest, or a fool's errand?
The OVSC publishes a volume of selected papers each year and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prize.
Featured conference events will include a site-specific production of Hamlet staged by the Marietta College Theatre Department as well as an Esbenshade Series concert with a Shakespearean theme. Other conference events will include a night owl screening of a recent film adaptation, an evening reception at a local establishment, our annual luncheon, coffee, tea & snack breaks that will have you stuffing your pockets "for later," and all the October foliage your eyes can possibly take in.
Abstracts and panel proposals are due by June 8th for an early decision. The final deadline is August 31st. All submissions and inquiries should be directed to Joseph Sullivan at joe.sullivan@marietta.edu .
Conference updates will be posted on our webpage as they become available.
Abstracts due August 31, 2012 Ireland and Cinema: Culture and Contexts
Film Studies at University College Cork invites the submission of abstracts for a major conference titled “Ireland and Cinema: Culture and Contexts”. The three-day international conference will take place from Thursday April 18 to Saturday April 20, occurring during Ireland’s 2013 presidency of the EU.
The conference will facilitate discussions, presentations and debates across a wide spectrum of subjects in the broadest definition of the field of “Ireland and Cinema”. The programme hopes to schedule one keynote presentation and one specialist panel each day; the latter comprising an expert in a given field who will make a presentation and then lead a discussion among delegates.
Specialists who have already agreed to give keynote addresses include:
Dr. Ruth Barton (TCD) and Prof. Brian McIlroy (UBC)
Further details of participants will be confirmed in a renewed call for papers on Tuesday May 1.
Abstracts of approximately 250 words are invited on or before Thursday August 31, and confirmation of acceptance will be posted on Thursday November 1.
Submitted abstracts should be accompanied by a brief biography, details of institutional affiliation, as well as email and other relevant contact information.
Topics on which presentations are invited (but to which they need not be restricted) include:
▪ Filmmakers & Performers
▪ The Irish Language
▪ Genres
▪ Film & History: representations and archives
▪ Characterisation: class, creed, gender, ethnicity
▪ Places & Spaces, Home & Abroad
▪ Shorts & Animations
▪ Documentaries
Broad topics for specialists’ panels are likely to include:
▪ Distribution & Exhibition: national and international
▪ The Irish Film Board: the present state of Irish cinema
▪ Censorship & Classification: then and now
For further information, please contact Barry Monahan, Film Studies, UCC: b.monahan@ucc.ie or on +353 (0)21 4902515
Conference to attend on August 31 - September 1, 2012
Tudor and Stuart Ireland Conference
The second Tudor and Stuart Ireland Conference will take place in University College Dublin on Friday, 31 August and Saturday, 1 September 2012.
We have received a large number of proposals, covering a wide variety of topics from the late fifteenth to the early eighteenth centuries. The conference programme and registration details will be available here in the coming weeks.
We are also delighted to announce that the conference plenary address will be delivered by Prof. John Patrick Montaño (University of Delaware), author of The Roots of English Colonialism in Ireland (Cambridge University Press, 2011).
For more information please visit the conference website at
Registration for conference to attend by August 31, 2012
New Directions in Global History
University of Oxford Centre for Global History Presents:
“New Directions in Global History”
St. Antony's College, Oxford University
27 - 29 September 2012
Plenary speakers include: Nicholas Purcell, Arjun Appadurai, Kenneth Pomeranz, John McNeill, Maxine Berg, Ian Morris, Linda Colley, Bob Moore, Kevin O'Rourke, Jürgen Osterhammel, Francis Robinson, Chris Wickham, James Belich.
Global history has established itself over the last ten years as a powerful and dynamic sector in historical research with wide appeal to an informed lay readership outside the academy. Now is the time to take stock. This is partly to ask what have been the most fruitful lines of inquiry and the most productive approaches. But it is also to speculate on which new directions global history is likely to follow and what we should see as the most urgent or important new lines of inquiry.
For its Founding Conference, Oxford's new Centre for Global History will engage with these questions across the whole chronological range from Ancient to Late Modern History. We have invited some of the foremost practitioners in the field to debate these issues. We expect that among the major themes to emerge will be how global history can connect with - and serve - different kinds of history, how it can benefit from a dialogue across chronological periods and from cross-disciplinary research, and whether conceptual innovation should be a major priority.
To register visit history.ox.ac.uk/global or email global@history.ox.ac.uk. Places are limited.
Abstracts due September 1, 2012 Gender and Punishment: Gender and Medieval Studies Conference 2012
11th - 13th January 2012, The University of Manchester
Keynote Speakers: Professor Dawn Hadley (University of Sheffield) and Professor Karen Pratt (King's College, London)
Submissions are now being accepted for 20 minute papers. Punishment is intrinsically related to the way in which authorities (such as the church, monarchy and state) seek to control, enforce and legislate the behavior of individuals, communities and nations, and accordingly it plays an integral role in regulating bodies, spaces, spirituality and relationships. Representations of punishment - whether threatened, enacted, depicted or performed - are regularly encountered by medievalists working across the disciplines of literature, history, art and archaeology. This conference seeks to explore functions and manifestations of punishment in the Middle Ages and to consider to what extent these are determined by, or aim to determine, gender identity. How is punishment gendered? How does gender intersect with punishment?
Topics to consider may include but are not limited to:
▪ Punishment in the beginning; the medieval understanding of the Fall.
▪ Punishment, pedagogy and gender: the use of punishment in teaching.
▪ Christianity, gender and punishment; treatment of the sinful body.
▪ Punishment of Jewish, Saracen and heretical men and women.
▪ Personal identity and self-inflicted acts of punishment.
▪ The (gendered) use of space as punishment.
▪ Regal punishments; punishments enacted upon or by medieval rulers.
▪ Punishment and the regulation of perceived sexual deviance.
▪ Punishment and spectacle; performance of punishment on and off the stage.
▪ Gender relations in specific acts of punishment.
▪ Confession and penance (as punishment): gendered role of confessor; issues relating to differences between female and male confession and penance.
▪ Hell, the diabolic, and representations of gender.
We welcome scholars from a range of disciplines, including history, literature, art history and archaeology. A travel fund is available for postgraduate students who would otherwise be unable to attend. Please e-mail proposals of no more than 300 words to organizer Daisy Black at gms.manchester.2012@ by 1 September 2012. All queries should also be directed to this address. Please also include biographical information, detailing your name, research area, institution and level of study if applicable.
Abstracts due September 1, 2012
International Conference of Labour and Social History
Towards a Global History of Domestic Workers and Caregivers
The conference focuses on the global history of domestic workers in private homes, a labour market that over time has included, in addition to physical labour, care for infants, children, and the elderly (“emotional labour”).
Work done outside of homes in (small) business or caregiving institutions (hospitals, old people’s nursing homes) will be the topic of a later conference. Domestic work, now usually designated as “domestic and caregiving” work, has also been assigned to men in the racializations that (colonial but also postcolonial) societies imposed on men of colours-of-skin other than white. Work in households other than one’s own is not only a global phenomenon with area-specific variations and regimes, it is also one with a history extending over centuries and changing over the ages, e.g. the shift extended families – nuclear families – dual-income families. Migration of women to such service positions is not as new as some observers claim. Nevertheless, the social sciences have failed to develop analyses with both long-term historical and global perspectives. The recent ILO Convention „Decent Work for Domestic Workers“(2011) is the first international agreement in which domestic workers had a voice.
In the last decade research, esp. feminist research, has increasingly paid attention to the global history of domestic employees (“servants“) and to caregiving in private homes. These workers, the vast majority of whom have been women, have always been especially exposed to employer arbitrariness and have had a particularly weak negotiating position. Their working conditions were and are usually hidden behind the walls of the “private sphere.” Conditions and positions vary depending on societal structures for example between Latin America, China, and Europe. The history of domestic workers is and always has been a history of migration. While the migrant status has often been used to explain the neglect of these women in the history of the labour movement, working in the households of strangers and migration for household labour has, in fact, a far longer history than the industrial labour movement. Research needs to include free and unfree workers, live-in domestics and service personnel with their own accommodation, men and women, adults and children, but not apprentices in workshops that are housed in masters’ homes. “Towards a Global History of Domestic Workers and Caregivers” in long-term perspective aims at developing an analysis that, by bringing this neglected category of working women and men into focus, will contribute to a new, comprehensive history of labour. What are the similarities and differences both between the world’s regions and over time from the early modern to the modern period? What transfers occur? Present-day domestic work will form the core of the analyses but a historical approach is indispensable. Presenters from across the globe will help avoid a Eurocentric focus.
Dates:
Submission of proposals: 1 Sept. 2012
Notification of acceptance: 1 Oct. 2012
Deadline for full papers: 1 Aug. 2013.
A publication of selected conference papers is planned, final manuscripts due 1 April 2014
Silke Neunsinger
Arbetarrörelsens arkiv och bibliotek
Box 1124
S-11181 Stockholm
+46-(0)8-4123927
+46-(0)73-0250809
arbark.se
Email: silke.neunsinger@arbark.se
Visit the website at
Abstracts due September 3, 2012
Religion and Greater Ireland
3 - 4 December 2012
Newcastle City Hall, Newcastle, Australia
The new visibility of religion in world affairs has encouraged historians to reassess the role of religion in the age of empires and in post-colonial times. The Irish are an important focus for this revisionist debate about the imperial past. In the course of the nineteenth century, economic, political and religious forces combined to transform the Irish into a global people who actively participated in British imperial expansion and colonial nation building in Australia, Canada, India, South Africa, South America, New Zealand and the United States.
The religious impact of the Irish on the English-speaking world has long been obvious, not least in religious terms: think of St. Patrick’s Cathedral in New York, but also in Melbourne, Auckland, Grahamstown, and Thunder Bay, Ontario. It has also largely been considered a Roman Catholic phenomenon. Although this is to a great extent true, it is not the whole story: all of the Irish denominations, Anglicans, Catholics, Jews, Methodists, Moravians, Quakers, Presbyterians, and others engaged with, settled, and evangelized the Anglo-World. Together, they created a religious ‘Greater Ireland’ within the British Empire and United States.
Irish men and women – clerics, religious, missionaries, and laity – and Irish churches, missions, and parishes founded institutions from schools to hospitals, and often came to dominate the institutional structures of their respective communions. This was a distinctly transnational phenomenon, with personnel, institutions, and networks that crossed the Anglo-World, and helped form recognizably Irish and British colonial cultures.
‘Religion and Greater Ireland’ will examine this Irish spiritual empire in all its aspects, national and transnational, ecclesiastical, political, educational and social, and with reference to all the Irish denominations in the British Empire and United States from 1788-1922.
For more information visit our website at
Send an abstract of 200 words to one of the two conference conveners:
Hilary Carey
Hilary.Carey@newcastle.edu.au
Contact phone: +61 2 4348 4165
Contact fax: +61 2 4348 4075
Dr. Colin Barr
colin.barr@avemaria.edu
School of Humanities and Social Science
PO Box 127
Ourimbah NSW 2258 Australia
Conference to attend on September 4 - 5, 2012
Britain and the Sea: The Maritime Sphere and the Past, Present and Future of the UK
This conference will examine the relationship between Great Britain and the Sea. It is increasingly said that Britain is in danger of losing its self-identity as a maritime nation at the point when the sea becomes the focus for a new era of economic exploitation, sustainable transportation and inter-state rivalry. How did we arrive at this point, where are we now and where should we go from here to ensure the maritime future of the UK?
The conference will be held 4-5 September 2012 in the Roland Levinsky Building at Plymouth, University, Plymouth, United Kingdom. The full line up and programme for the conference consists of three elements: 1. Keynote speeches; 2. Plenary discussion; 3. Invited papers.
Booking is available at the Plymouth University e-store.
Conference to attend on September 13 - 14, 2012 Space and Place in Middlebrow: 1900-1950
13-14 September 2012
Institute of English Studies, University of London, Senate House
The parameters and interiors of British middlebrow writing and reading have increasingly received scholarly attention in recent years. Middlebrow writing, in fiction in particular, has been identified in terms of a particular kind of novel, produced by a combination of particular conditions: the writer, the market, the reader, the publisher, the critics, the period, the theme, the setting, and the message. Middlebrow is now understood as a highly complex sociological phenomenon, with boundaries that are almost too flexible. It is getting harder to be able to say: 'this, and not this, is middlebrow', since in a certain sense, middlebrow can be demonstrated to permeate all aspects of creative production and consumption from the early twentieth century. While accepting that definitions are useful, it is important to recognise that a precise definition of the boundaries of 'the middlebrow' may in reality be unhelpful for its exploration. By focusing too fixedly on the interfaces between middlebrow and that which is clearly, or not so clearly, not middlebrow, we lose sight of the fluid nature of the middlebrow state of mind, and of the social and literary contributory conditions that enabled such texts to evolve.
This conference aims to investigate the complex relationship between middlebrow writing and categories of space and place. For the exploration of this topic we seek to encourage discussion along two main trajectories: firstly, we would like to invite participants to consider the spaces and places where middlebrow writing was supported. This includes the social geographies of middlebrow as well as the topography and archaeology of middlebrow production and consumption. We are interested in hearing about research on middlebrow culture that encompasses spaces of refuge, spaces of social power, and spaces of industry and production. We want to hear about loci for writing: areas in a country, a county, a town, a village, even of a building. Where did middlebrow happen?
Conference to attend on September 14 - 16, 2012
18th Conference of Irish historians in Britain: Irish Life Stories
Over the past decade the completion of the Dictionary of Irish Biography, the opening up of the Bureau of Military History’s archive of witness statements and the sometimes controversial role of personal testimony in post-Belfast agreement Northern Ireland, have all underlined the significance of life stories and life narratives to Irish history. From nationalist hagiographies to more recent confessional memoirs, the conflation of the individual and the nation has been an oft-noted tendency in Irish autobiography and biography, while the ‘Irishness’ of particular lives remains a preoccupation of historical and literary scholarship.
Taking the theme ‘Irish life stories’, the 18th Conference of Irish historians in Britain will be held at the University of York on 14-16 September, 2012.
Confirmed speakers include:
Catherine Badley (York); Michael Brown (Aberdeen); Enda Delaney (Edinburgh); Erika Hanna (Leicester); Liam Harte (Manchester); Claire Lynch (Brunel); Daithí O Corrain (DCU).
Catriona Kennedy
History Department
University of York
YO10 5DD
(0044)01904 322977
Email: catriona.kennedy@york.ac.uk
Visit the website at
Abstracts due September 15, 2012 The Session! A Conference On Irish And Irish American Music & Entertainment
The Session! A Conference On Irish And Irish American Music & Entertainment Milwaukee, WI October 18-20, 2012
The Ward Irish Music Archives, WIMA, invites proposals for presentations to its inaugural conference, The Session, to be held October 18-20, 2012 in Milwaukee, WI. WIMA welcomes papers & presentations on content relating to Irish and Irish Americans in entertainment. We are looking for presentations in the field of music, dance, film, radio & television. We seek papers and presentations that are informative, display a passion for their subjects, and include compelling audio, visual and video content. Share your special interests with our engaged community of musicians, historians, archivists and all those with a passion for Irish and Irish American entertainment.
Please include your name, address, email, telephone and any institution affiliation in your submission. Include the title of your presentation and an abstract of up to 250 words for review and publication. Presentations will either be in 20 minute or 30 minute time slots. Let us know which you’ll need. Please be concise. Extra time will be allotted for Q & A. Send your presentation to: Archives@ or to the address below for review. Deadline for submissions is September 15, 2012. Review of proposals will begin on August 1, but will continue until Sept. 15 as space on the conference schedule permits.
Ward Irish Music Archives
The Session Conference
1532 Wauwatosa Ave.
Milwaukee, WI 53213
IMPORTANT: Presenters must register for the conference. Presenters grant WIMA the right to record and distribute their conference presentations, unless they specify otherwise in writing. Presenters are encouraged but not required to provide copies of their PowerPoint or other files for distribution with the conference recordings.
Contact Barry Stapleton
1532 Wauwatosa Ave.
Milwaukee, WI 53213
archives@
Conference to attend on September 20 - 23, 2012 Histories of British Art: 1660 –1735 Reconstruction and Transformation
Kings Manor, University of York, UK
Histories of British Art is the third and final conference organised as part of “Court, Country, City: British Art, 1660-1735”, a major research project run by the University of York and Tate Britain, and funded by the Arts and Humanities Research Council. Held at King’s Manor in York, this three-day conference is planned to include a drinks reception at York City Art Gallery and a visit, with dinner, to Beningbrough Hall (built 1716) for a private viewing of the National Portrait Gallery’s collection of over a hundred artworks from the period. Conference spaces are limited and priority will be given to speakers.
Conference to attend on September 20 - 23, 2012 Western Conference on British Studies
Theme: “The Seven Deadly Sins in British Studies”
Join us in ‘Fabulous Las Vegas’ in September 2012 for the next annual meeting of the Western Conference on British Studies. The WBCS will meet at the Springhill Suites, Las Vegas Convention Centre from September 20-23, 2012.
The conference will feature plenary speakers and a keynote address by outgoing president Professor Jamie L. Bronstein (Department of History, New Mexico State University).
For more information visit out website at
Registration for conference to attend by September 23, 2012
Canons’ Cloister, Windsor Castle: A Fourteenth Century Architectural Gem
4 October 2012
The Vicars' Hall, Windsor Castle
A one-day conference to be held at St George’s Chapel, Windsor Castle, at which participants in the current programme of refurbishment of Canons’ Cloister will talk about their work. Some astonishing discoveries have been made: much more of the original timber-framed structure of 1352-4 survives than had hitherto been supposed, including areas of medieval floorboards and evidence for chimneys and staircases. The investigations also revealed important areas of original wall-painting as well as later decorative schemes.
For more information visit:
Contact details:
Megan Sanderson, megan.sanderson@stgeorges-
Clare Rider, clare.rider@stgeorges-
Registration for conference to attend by September 26, 2012
The Hundred Years' War: A Century of Conflict Re-Evaluated
The Hundred Years' War: A Century of Conflict Re-Evaluated
Tower of London
Fought between the rival kingdoms of England and France, the Hundred Years’ War was one of the most significant conflicts of the later middle ages. Rival dynastic and territorial claims to the French crown led to a series of bitter wars fought on land and at sea between 1337 and 1453. The legacy of the wars is manifold, establishing the martial reputations of leading personalities including Edward the Black Prince and Henry V; and the force of English arms was demonstrated through the successful use of the longbow at Crécy, Poitiers and Agincourt. Bringing together some of the principal historians of the period this conference will offer fresh insights into traditional interpretations of the conflict, exploring crucial concepts such as kingship, chivalry, parliament and public opinion, prisoners, land and naval warfare, arms and armour, and technology.
Organiser: Dr. Malcolm Mercer (Royal Armouries)
Please register via James Walker at
Mr. James Walker
Royal Armouries
Armouries Drive
Leeds LS10 1LT
Phone: 0113-220-1888
Fax: 0113-220-1889
Abstracts due September 30, 2012 Engendering the Victorian Female Poet
2013 NeMLA, March 21-24, Boston, MA
There has been a historic tide of scholarship arguing the merits of Victorian poetry written by women. From Aurora Leigh to “Goblin Market,” nineteenth-century female poets created a canon of verse that questioned gender categories and troubled the status quo. While scholars from Oliphant to W.M. Rossetti added valuable interpretations that legitimized the genre, contemporary critics such as Armstrong, Tucker, and Prins have used modern lenses to probe the subtleties inherent in the work of a “poetess.”
This roundtable will discuss the ways gender is mapped onto and inherent in nineteenth-century female poetics. We will probe how the female poet changed/expanded /problematized form, and how poets addressed the sexual, moral and class conventions of their time. What were the cultural responses to these poems, and what were some significant male responses? What was the effect of working-class poems authored by women? How did the concept of boundaries smite or enforce a female poet’s project? We will also discuss the transatlantic implications of publishing and editing, as well as how poets represented the adversity of gender in their verse—what Barrett Browning called a “disheveled strength in agony.”
This roundtable examines the ways gender is mapped onto and inherent in verse of Victorian female poets. Participants should examine through theoretical lenses canonic or non-canonic poems (metapoems, verse-novels, lyric, epic, sonnet, elegy) throughout the long nineteenth-century. 500 word abstract/CV by 9/30 to
blavin@ with subject line “NeMLA VFP”
Sophie Lavin
SUNY Stony Brook
Email: blavin@
Manuscripts due September 30, 2012 Rutgers Art Review, Vol. 30
Rutgers Art Review, a journal of graduate research in art history, hereby invites all current graduate students, as well as pre-professionals who have completed their doctoral degrees within the past year, to submit papers for its 30th edition.
Papers may address the full range of topics and historical periods within the history of art and architecture, material culture, art theory and criticism, aesthetics, film, and photography. Interdisciplinary studies concerning art and architecture written by students in other fields are also welcome. To be considered for publication, submissions must represent original contributions to existing scholarship. We encourage submitters to ask their advisor or other faculty member to review the paper before submission. Visit our website for more information:
Submissions must be postmarked no later than September 30, 2012.
Please observe the following requirements:
▪ An abstract of 250 words or less must accompany all submissions.
▪ Papers must conform to style guidelines established by a standard resource such as the Chicago Manual of Style.
▪ Papers must include full citations and bibliography, as well as necessary or appropriate illustrations. Please keep the image selection to fewer than 15.
▪ Information identifying the author or institution should not appear on the paper. Please submit a separate cover sheet including the author’s name, institutional affiliation, mailing address, and e-mail address.
▪ Paper text should be approximately 15 to 25 typed, double-spaced pages in length, with 1 ¼” margins – and must not exceed 25 pages, without exception.
▪ Chapters of dissertations are acceptable only if sufficiently edited – every submission must read as an independent paper.
Send two copies of your paper and a stamped, self-addressed reply postcard to:
Alexis Jason-Mathews, Heather Cammarata-Seale, Ksenia Yachmetz, Editors
Rutgers Art Review
Department of Art History, Voorhees Hall
Rutgers University
New Brunswick, NJ 08901-1248
Questions may be sent to the same address or e-mailed to rutgersartreview@
Abstracts due October 1, 2012 Exhibitions and Display in Dada and Surrealism
The journal Dada/Surrealism invites submissions for a special issue on exhibitions and display practices. We seek essays that illuminate the relationship of Dada and Surrealism to exhibitionary practices past and present, from studies of early artist-organized events to considerations of recent blockbuster exhibitions and museum installations. Submissions (from any discipline or perspective) that consider other intersections of the concepts “exhibition” or “display” with Dada, Surrealism, their histories, or legacies are also welcome. For the full CFP and submission instructions, visit .
Deadline: Abstracts — October 1, 2012.
Completed essays — March 1, 2013.
Inquiries to: Kathryn Floyd at kmfloyd@auburn.edu.
Dada/Surrealism is a peer-reviewed, open-access electronic journal sponsored by the Association for the Study of Dada and Surrealism and published by the International Dada Archive, University of Iowa Libraries.
Applications due October 1, 2012 Postdoctoral Fellowships in Humanities and Social Sciences 2013-2016
Princeton University Society of Fellows in the Liberal Arts
Postdoctoral Fellowships in Humanities and Social Sciences 2013-2016
Application deadline: October 1, 2012
Princeton Society of Fellows invites applications for three-year postdoctoral fellowships 2013-2016 for recent PhDs (from Jan. 2011) in humanities or allied social sciences. FOUR appointments to pursue research and teach half-time in the following areas: Open discipline; East Asian Studies; Humanistic Studies; Race and/or Ethnicity Studies. Stipend: approx. $78,000. Application deadline: October 1, 2012. For eligibility, fellowship and application details, see website at princeton.edu/sf
Manuscripts due October 1, 2012
The Projector: An Electronic Journal on Film, Media, and Culture
The Projector: An Electronic Journal on Film, Media, and Culture is a peer-reviewed journal published twice a year under the auspices of the Department of Theatre and Film at Bowling Green State University. The Projector is seeking research-based essays for a special double issue on the B feature or “low-budget” film, studio-produced or independently financed, in any genre or country of origin. A range of possible topics or approaches appears below. This proposed special issue will comprise our Spring 2013 and Fall 2013 issues.
▪ Industrial contexts of production, financing models, marketing strategies, exhibition outlets (broadcast or cable television, DVD, Internet)
▪ Historical studies (e.g., Poverty Row, Bryan Foy) or historiographic issues, such as problems of definition
▪ Reception or audience analyses
▪ Aesthetic innovations; impact of digital and new media technologies
▪ Regional production (e.g., Appalshop)
▪ Cultural, social, historical aspects of B production and reception
▪ B cinema and cultural hierarchy; “bad cinema” and taste formation; exploitation (e.g., AIP, Troma, John Waters)
▪ B film labor: the auteur, star, scriptwriter; below-the-line personnel; the producer or financier
▪ Nonstudio sites of production; the industrial, educational, or training film
▪ Mumblecore; student films
▪ The B film/art cinema nexus (e.g., Reichhardt, Bigelow, the Coens, Raimi)
Essays should be sent electronically to both the Guest Editor Heidi Kenaga at kenaga@oakland.edu and General Editor Cynthia Baron at cbaron@bgsu.edu by October 1, 2012. Please send the manuscript in MS Word, using the MLA style of bibliographic citation, with a separate cover sheet containing author and affiliation information. Length: 20-25 pages, excluding cover sheet, Works Cited, and images. Queries should be sent to Heidi Kenaga.
Dr. Cynthia Baron
Department of Theatre & Film
212 Wolfe Center
Bowling Green State University
Bowling Green, OH 43403
Email: cbaron@bgsu.edu
Conference to attend on October 6, 2012 London’s Huguenot Heritage
The Huguenot Society of Great Britain and Ireland Presents:
London’s Huguenot Heritage, A Colloquium in Honour of Robin Gwynn
Saturday 6 October 2012 from 10 o’clock.
The Huguenot Society of Great Britain and Ireland, originally named The Huguenot Society of London, was created in 1885 by the directors of the French Hospital *(founded in 1718) to promote the publication and interchange of knowledge about the history of French Protestant migration, much of which was unknown to many Huguenot descendants. The Society also aims to form a bond of fellowship among those who respect and admire the Huguenots and seek to perpetuate their memory.
Four meetings are held in central London during the year, and the papers read at these meetings are later published in the Society’s annual Proceedings. An optional dinner normally follows each lecture, providing members with an opportunity for discussion and the exchange of ideas. All members receive a programme card, and those who wish to attend a particular event, or who would like their details added to the dinner list, are asked to contact the Hon. Secretary, secretary@.uk .
Lectures are free and open to the public, but names must be registered in advance.
For registration information visit
Conference to attend on October 12 - 14, 2012
The Midwest Conference on British Studies
The Midwest Conference on British Studies is proud to announce that its fifty-ninth annual meeting will be hosted by the University of Toronto in Ontario, Canada, October 12-14th, 2012.
The keynote speaker will be John Gillis, Professor Emeritus, Rutgers University. The plenary address will be given by Ian Gentles, Professor of History, York University at Glendon.
Program Committee: Phil Harling, University of Kentucky; Robin Hermann, University of Louisiana at Lafayette; Isaac Land, Indiana State University; Jennifer McNabb, Western Illinois University; Lia Paradis, Chair, Slippery Rock University of Pennsylvania; Lisa Sigel, Depaul University.
Visit the MWCBS website at
Abstracts due November 1, 2012
2013 International Meeting of the American Conference for Irish Studies, Chicago
The 2013 International Meeting of the American Conference for Irish Studies Ireland Past and Present April 10-13, 2013 Chicago, IL Hosted by DePaul University and Northern Illinois University While all cultures use selective narratives of the past to make sense of the present and chart the future, connections between the past and present seem to loom particularly large in Ireland’s historical and cultural imagination. Along these lines the conference organizers invite scholars to submit paper proposals that examine the past/present dynamic in Irish and/or Irish diaspora history, literature and culture. Along with papers that address the conference theme, we are interested in using the conference to highlight the most exciting recent work in Irish Studies scholarship. With that in mind, we welcome submissions addressing any and all topics or themes relevant to Irish Studies. Both individual paper and panel (3-4) submissions are welcomed, as are proposals for presentations in non-traditional formats (posters, performances, exhibits, etc.). Proposals should be 250-300 words in length, and should include a brief bio (50 words) of the author. Panel proposals should include 250-300 word proposals from each panel submitter, plus bios for each author. Please send proposals or questions to the ACIS 2013 Selection Committee at the conference mail address: acis2013@. The deadline for submission is November 1, 2012.
Applications due November 1, 2012
Mellon Fellowships for Assistant Professors
The School of Historical Studies at the Institute for Advanced Study, with the support of the Andrew Mellon Foundation, has established a program of one year memberships for assistant professors at universities and colleges in the United States and Canada to support promising young scholars who have embarked on professional careers. While at the Institute they will be expected to engage exclusively in scholarly research and writing.
The School anticipates making about three appointments for the academic year 2013-2014. Appointments will be for one full year (July 1 through June 30 with the option of staying through the second summer until August 15) and will carry all the privileges of Membership at the Institute for Advanced Study. The stipend will normally match the combined salary and benefits at the Member's home institution at the time of application, but the amount offered will be adjusted in the event the scholar receives simultaneous support from other sources.
Eligibility:
To be considered, assistant professors must be working on projects in areas represented in the School of Historical Studies, and should preferably have gone beyond revising the dissertation. The School is interested in all fields of historical research, but is concerned principally with the history of Western, Near Eastern and Far Eastern civilizations, with particular emphasis upon Greek and Roman civilization, the history of Europe (medieval, early modern, and modern), the Islamic world, East Asian studies, the history of art, the history of science, and modern international relations.
Scholars must also currently hold the title “Assistant Professor” (not including the title “Visiting Assistant Professor”) at a college or university in the U.S. or Canada and as of the application deadline the scholar must be no more than 6 years beyond the date of the Ph.D. Scholars must also be able to return to their current institution after the fellowship.
Completed applications should be returned to the Administrative Officer by November 1, 2012. As part of the selection process short-listed applicants will be requested to come to the Institute for an Interview in February. Awards will be announced by March 1.
Further information is on the School's web site, hs.ias.edu, or contact the Administrative Officer at mzelazny@ias.edu.
Conference to attend on November 7, 2012
Global Ireland the 19th Australasian Irish Studies conference
The Irish Studies Association of Australia and New Zealand encourages and supports the study of Ireland and of the Irish diaspora in Australia, New Zealand and internationally, by facilitating the exchange of information and ideas among its members.
Information is circulated by regular newsletters to members and through the Australasian Irish Studies conference.
This year’s conference is hosted by the Centre for Irish and Scottish Studies, University of Otago, Dunedin, New Zealand.
Organiser
Professor Angela McCarthy
Email irishconf2012@otago.ac.nz
Conference to attend on November 9 - 11, 2012
North American Conference on British Studies Annual Meeting
Montreal, Quebec
November 9-11, 2012
The NACBS and its Northeastern affiliate, the Northeast Conference on British Studies, seek participation by scholars in all areas of British Studies for the 2012 meeting. We will meet in Montreal, Quebec, from November 9-11 and will have panels on Britain, the British Empire and the British world. Our interests range from the medieval to the modern. We welcome participation by scholars across the humanities and social sciences.
If you have questions please contact:
Susan D. Amussen
NACBS Program Chair
Professor of History
University of California, Merced
nacbsprogram@
Abstracts due November 12, 2012
39th Annual Association of Art Historians Conference & Bookfair
39th Annual Association of Art Historians Conference & Bookfair
University of Reading, Reading
11 - 13 April 2013
AAH2013 will represent the interests of an expansive art-historical community by covering all branches of its discipline/s and the range of its visual cultures. Academic sessions will reflect a broad chronological range, as well as a wide geographical one. We will address topics of methodological, historiographical, and interdisciplinary interest as well as ones that open up debates about the future of the discipline/s.
AAH2013 will take place over three days at the historic University of Reading, Berkshire. For forthcoming information about the conference and a call for papers visit
Applications due November 15, 2012
Irish-American Research Travel Fellowship
Amount: $2500
Application Deadline: 15 November 2012
Eligibility:
All ASECS members who are resident in North America, and all members of ASECS' Irish sister organization, the Eighteenth-Century Ireland Society, who are resident in the Republic of Ireland or Northern Ireland.
Purpose:
To support documentary scholarship on Ireland in the period between the Treaty of Limerick (1691) and the Act of Union (1800), by enabling North American-based scholars to travel to Ireland and Irish-based scholars to travel to North America for furthering their research.
Restrictions:
None by academic discipline or sub-period of specialization within 18th-century Ireland. The fellowship is restricted to documentary scholars, whose research centers on primary sources from the eighteenth century (printed matter, manuscripts, buildings, works of art, or other artifacts), rather than on the secondary literature already extant.
For application and more information visit:
Abstracts due December 15, 2012
New Voices in Irish Criticism: “Legitimate Ireland”
19th – 21st April 2012
Institute of Irish Studies
Queen’s University, Belfast
From plantations to Grattan’s parliament, poitín distillers to the IMF bailout, the Irish have always had a fraught relationship with institutions of political, social and religious power. This raises questions surrounding the legitimacy of performative and systemic aspects of Irishness, which has been and continues to be in flux both north and south of the border.
From both historical and contemporary perspectives, the concept of legitimacy calls for increasingly interdisciplinary responses. This postgraduate and early career researchers conference aims to interrogate the concept of legitimacy surrounding Ireland and Irishness, the representation of which has always implied experiences on the margins of society and the law.
We invite postgraduate and early career researchers from across the humanities and social sciences to challenge received opinion and interpretative impasses through papers including, but not limited to, the following:
▪ The spaces and places, performances and subversions of Irishness.
▪ Transgression and informing, surveillance and policing.
▪ Biopolitics and the regulation of the body and behaviour.
▪ The representation of gendered and LGBTQ identities.
▪ The challenges of multiculturalism and diaspora.
▪ Economic and political accountability.
▪ The relationship between Church and State.
▪ Challenges to the established canon.
▪ The national question from the Act of Union to postnationalism.
We invite abstracts of 250 words for 20 minute presentations. The deadline for abstracts is December 15th 2011. We also intend to host two workshops, for which we invite proposals for possible topics.
Please email us and see our website for more details.
Megan Minogue
Queen's University Belfast
Belfast, Northern Ireland
Email: newvoices2012@qub.ac.uk
Visit the website at
Papers due December 31, 2012
Women's History Scotland Essay Prize
Women’s History Scotland awards a bi-annual prize of £100 for a new essay in the field of Scottish women's and/or gender history. The prize was established in 2002 to celebrate the work of Leah Leneman, one of the foremost historians of women in Scotland. A trail-blazer for women's history in Scotland, she produced innovative studies on the women's suffrage movement, on women in medicine, and on sexuality and divorce in the early modern and modern periods.
Women’s History Scotland wishes to acknowledge the important work of Leah Leneman and to encourage new women's & gender historians to publish their work and to continue researching and writing in the field of Scottish women's and gender history.
Forms of work that may be submitted include: undergraduate dissertation, postgraduate work (e.g. Masters dissertation or chapter of PhD) or a piece of original research by an independent scholar. Please note the instructions for preparation below.
▪ The essay must be principally focused on some aspect of Scottish women's or gender history but may deal with any time period.
▪ No area of Scottish women’s or gender history is excluded.
▪ The submission should be written in English and in a form suitable for publication.
▪ It should be between 8,000 and 10,000 words in length. Longer or shorter submissions will not be considered.
▪ The essay should not be under consideration for publication elsewhere.
▪ To be eligible to submit an essay to the competition the candidate must not be in permanent academic employment
The essay will be considered by a panel of judges set up by the Steering Committee of Women’s History Scotland and the prize will be presented at one of the Scottish Women's History Network conferences. The winning essay may be put forward to be considered for publication in the Journal of Scottish Historical Studies.
Entry Details
Queries about eligibility of the entrant or essay topic should be addressed to Deborah Simonton (dsimonton@language.sdu.dk), English Studies, University of Southern Denmark, Engstien 1, 6000 Kolding, Denmark.
An electronic copy (PDF) of the completed essay should be sent to Deborah Simonton at the above address by Friday, 21 December 2012. Please include full name and contact details on a separate sheet, and not on the essay itself.
Deborah Simonton
University of Southern Denmark
Engstien 1
6000 Kolding Denmark
0045 6550 1342
Email: dsimonton@language.sdu.dk
Visit the website at
Abstracts due January 1, 2013
The Council of Trent: Reform and Controversy in Europe and Beyond (1545-1700)
Leuven,4 to 6 December 2013
On the 4th of December 2013, it will be 450 years since the Council of Trent (1545-1563) was solemnly brought to a close. This Council had an enormous impact on developments in religion and politics, not only in Europe but also beyond. An international conference, to be held in Leuven on the occasion of this anniversary, from the 4th to the 6th of December 2013, will first shed light on the Tridentine theology and perspective on pastoral care, as the consequence of both the internal struggle to bring about reform within the Catholic Church and the controversy with Protestant Reformation. Along the same lines, attention will be paid to initiatives subsequently taken by Rome in order to interpret and implement the Council, while at the same time giving shape to the Catholic identity, in confrontation with the Protestant confessions. Further, the conference focuses on three key questions: What kind of changes in the local religious life may be considered as the outcome of the Council? To what degree has the Council contributed, on a European level, to political polarization and confessionalisation? And finally, how were the Tridentine reforms implemented on a more global level, through mission and evangelization? In each of the abovementioned questions, special attention is given to the contribution of the religious orders, in addition to the interplay between the Catholic and the Protestant Reformation. It is the explicit aim of the conference to bring together junior and senior researchers from different disciplines and confessional backgrounds.
We invite proposals for contributions that deal with the following topics:
▪ Theology: Scripture and Tradition, the doctrine of original sin and justification, the mass and
▪ the sacraments, the veneration of relics and saints, …
▪ Pastoral care: the bishop as pastor, the seminaries, the episcopal visitations, …
▪ Post-conciliar initiatives: the Tridentine liturgy, music and visual culture, the confession of
▪ faith and the catechism, the reform of the apostolic Inquisition, …
▪ Trent and the local religious life
▪ Religious practices: the veneration of saints, Eucharistic piety, devotions stimulated by
▪ several orders and congregations
▪ Ecclesiastical structures: parishes, appointments of pastors, Episcopal visitations
▪ Education and catechesis: Sunday schools, schools run by orders and congregations
▪ Trent and the confessionalisation of Europe
▪ Religious-political polarization with regard to the promulgation of the Council
▪ Confessionalisation, state formation, and collaboration between Church and State
▪ Rome, European politics, and diplomacy
▪ Globalization of Tridentine Catholicism
▪ Global impact of Trent through missions overseas
▪ The role of the religious orders in evangelization
▪ Mission as a race between Catholics and Protestants
Proposals for presentations of 20-25 minutes that address any of these topics will be evaluated by an interdisciplinary steering committee. The conference languages are English, French and German.
Please send a 250-500 word abstract by January 31, 2013 to wim.francois@theo.kuleuven.be and violet.soen@arts.kuleuven.be, along with information regarding your professional affiliation and a brief C.V. or a reference to your personal website. Acceptance will be confirmed no later than April 30, 2013. Graduate students are especially invited to present their research in PhD-sessions during the conference.
The keynote lectures as well as a selection of the other papers will be published in the Refo500-series edited by Vandenhoeck & Ruprecht (Göttingen).
Applications due January 1, 2013
Aubrey L. Williams Research Travel Fellowship
Amount: $1500
Application Deadline: 1 January 2013
Eligibility: American Society for Eighteenth Century Studies members resident in North America.
Purpose: To support documentary research in eighteenth-century English literature, by American based scholars.
Restrictions: None by academic discipline or subperiod of within eighteenth-century English literature. The fellowship is restricted to doctoral students at work on a dissertation in the field of eighteenth-century English literature.
For application and more information visit ttp://asecs.press.jhu.edu/travelgr.html
Abstracts due March 1, 2013
Gender and Political Culture, 1400-1800
A Joint Conference organised by History and the Centre for Humanities, Music and Performing Arts (HuMPA) at Plymouth University and Umeå Group for Pre-modern Studies
To be held at Plymouth University, 5-7 September 2013
Keynote Speakers: Professor Barbara J. Harris (University of North Carolina, Chapel Hill) and Professor Merry Wiesner-Hanks (University of Wisconsin-Milwaukee)
This conference investigates gender and political culture during the period 1400 to 1800, and the organizers welcome proposals for papers on topics related to the conference theme. The conference aims to create possibilities for comparative research and is therefore looking to attract a broad variety of studies across periods, disciplines and geographical regions. We also wish to attract both senior scholars and doctoral students. During the conference there will be sessions where participants present papers, and a workshop where participants may present work in progress or project ideas.
Proposals are invited for papers that treat the following indicative areas:
• the relationship between gender, power and political authority
• gendered aspects of monarchy; representations of power and authority
• gender, office-holding, policy-making and counsel
• courts, patronage and political influence
• elite culture and political networks
• gender, the public sphere and political participation
• popular politics, protest and petitioning
• manuscript, print, oral, material and visual cultures
• news, intelligence and the spread of information
• political ideas, ideologies and language
• conceptualizations of ‘public’ and ‘private’ spheres and what constituted ‘power’ and ‘politics’
• the family as a ‘political unit’
• the politicization of social activities: marriage-arranging, placing children in other households, gift-giving, hospitality and letter-writing
Proposals for papers or workshops, including titles and abstracts (of no more than 300 words) and a brief author biography should be sent to Professor James Daybell ( james.daybell@plymouth.ac.uk ), Plymouth University or Professor Svante Norrhem ( svante.norrhem@historia.umu.se ), Umeå University before 1 March 2013.
Ongoing Call for Article Submissions
The Eighth Lamp: Ruskin Studies Today
The Eighth Lamp: Ruskin Studies Today (ISSN 2049-3215) invites contributors to submit scholarly papers (8,000-10,000 or 3500-4000 words), ideas for book reviews, exhibition reviews, news and events, titles of publications and projects in progress, and creative work and abstracts related to John Ruskin and related nineteenth century scholarship. Scholarly papers should be submitted at least six to eight months in advance to allow for the refereeing and revisions process. The Eighth Lamp is an online and double blind refereed journal published by Rivendale Press, UK. It is led and managed by Dr. Anuradha Chatterjee (Founding Editor and Co-Editor), Lecturer in History and Theory in Architecture and Design, University of Tasmania, and Dr. Laurence Roussillon-Constanty (Co-Editor), Senior Lecturer in English, Paul Sabatier University, Toulouse, France. The journal is also complemented by a ten strong Editorial Board that provides intellectual and pedagogical support and leadership to the journal. It is part of The Oscholars group of journals () edited by David Charles Rose.
The scope of The Eighth Lamp is multidisciplinary and it welcomes submissions related to art, religion, historiography, social criticism, tourism, economics, philosophy, science, architecture, photography, preservation, cinema, and theatre. The Oscholars site has a monthly audience of over 45,000. The journal is circulated to over 100 scholars and academics internationally. The journal is listed in key Victorian studies and nineteenth century literature, culture, and visual studies forums. Previous issues of The Eighth Lamp can be accessed via the following link: . Please email submissions directly to the editors at theeighthlamp@.
Ongoing scholarship opportunities for British art history
School of Art, Design and Media, Nanyang Technological University, Singapore
Several fully funded research opportunities are available for students who wish to enroll for the degree of PhD in the history of British art (19th and 20th centuries with a possible emphasis on empire) at the School of Art, Design and Media, Nanyang Technological University, Singapore. Interested applicants should contact Michael Walsh, the Associate Chair for Research, directly on mwalsh@ntu.edu.sg
Exhibitions
Compiled by Jessica Ingle
Ashmolean Museum of Art and Archeology
The English Prize: The Capture of the Westmorland, an Episode of the Grand Tour (17 May - 27 August 2012)
Baltic Centre for Contemporary Art
Richard Rigg: Lacuna (18 May - 27 August 2012); Janet Cardiff: The Forty Part Motet (16 June - 14 October 2012); Mark Wallinger: Site (22 June - 14 October 2012)
Barbican Art Gallery
Song Dong: Waste Not (15 February - 12 June 2012); Bauhaus: Art as Life (3 May - 12 August 2012)
Birmingham Museum and Art Gallery
Children's Lives (24 March - 10 June 2012); Style Africa (31 March - 2 September 2012);
Pharaoh: King of Egypt (14 July - 14 October 2012); Love and Death: Victorian Paintings from Tate (8 September - 13 January 2012)
British Museum
The London 2012 Olympic and Paralympic Games medals (8 February - 9 September 2012); Crowns and Ducats: Shakespeare’s Money and Medals (19 April - 25 November 2012); Picasso Prints: The Vollard Suite (3 May - 2 September 2012); Modern Chinese Ink Paintings (3 May - 2 September 2012); North American Landscape: Kew at the British Museum (10 May - 25 November 2012); The Horse: from Arabia to Royal Ascot (24 May - 30 September 2012); Shakespeare: Staging the World (19 July - 25 November 2012)
Courtauld Institute of Art
Mondrian || Nicholson: In Parallel (16 February - 20 May 2012); Mantegna to Matisse: Master Drawings from The Courtauld Gallery (14 June - 9 September 2012); Peter Lely (11 October 2012 - 13 January 2013)
Dulwich Picture Gallery
Andy Warhol: The Portfolios (20 June - 16 September 2012); The Four Seasons (20 June - 16 September 2012)
Fitzwilliam Museum
Sculpture Promenade (6 March 2012 - 27 January 2013); Edgelands - Prints by George Shaw and Michael Landy (27 March - 23 September 2012); Designed to Impress: Highlights from the Print Collection (3 April - 7 October 2012); The Search for Immortality: Tomb Treasures of Han China (5 May - 11 November 2012)
Geffrye Museum
Sitting the Light Fantastic (16 September 2010 - Autumn 2012); At Home with the World (20 March - 9 September 2012)
Henry Moore Institute
Michael Dean: Government (12 April - 17 June 2012); Phyllida Barlow: Bad Copies (12 April - 17 June 2012); Vlassis Caniaris: 'Composition' (1974) (30 May - 2 September 2012); Sarah Lucas: Ordinary Things (19 July - 21 October 2012); Sturtevant: 'Duchamp Bicycle Wheel' (1969-1973) (26 September 2012 - 13 January 2013); 1913: The Shape of Time (22 November 2012 - 17 February 2013)
Hunterian Art Gallery
Rembrandt and the Passion (15 September - 2 December 2012); Hagar and the Angel
(15 September 2012 - 27 January 2013)
Huntington Library Art Collections and Gardens
Al Martinez: Bard of L.A. (17 March - 25 June 2012); French Travelers to the East: Jean de Thévenot and Cultural Exchange in the 16th and 17th Centuries (21 April - 23 July 2012); Visions of Empire: The Quest for a Railroad Across America, 1840–1880 (21 April - 23 July 2012); Roger Medearis: His Regionalism (16 June - 17 September 2012); A Just Cause: Voices of the Civil War Era (22 September 2012 - 14 January 2013); A Strange and Fearful Interest: Death, Mourning, and Memory in the American Civil War (13 October 2012 - 14 January 2013)
Imperial War Museum London
War Story: Serving in Afghanistan (28 October 2011 - 30 November 2012); Build the Truce (24 May - 23 September 2012)
Imperial War Museum North
The Crusader by Gerry Judah (6 November 2010 - March 2015); In the Spotlight: Remembering 9/11 (10 September 2011 - 30 September 2012); In Our Own Words: Soldiers Thoughts from Afghanistan (1 October 2011 - 17 June 2012); Once Upon a Wartime (11 February - 2 September 2012)
Irish Museum of Modern Art
Sidney Nolan: Ned Kelly Series (13 June - 16 September 2012); Leonora Carrington (24 October - 27 January 2013)
Kettle’s Yard, Cambridge
Alfred Wallis: Ships and Boats (7 April - 8 July 2012)
Manchester Art Gallery
Under That Cloud (19 November 2011 - 15 April 2012); In Translation: Women, Migration and Britishness (25 February 2012 - 23 February 2013); A Sleek Dry Yell, 2008 - Haroon Mirza (21 April - 23 September 2012); Focal Points: Art and Photography (17 May - 2 June 2012)
Museum of London
Dickens and London (9 December 2011 - 10 June 2012); Sleep Walk Sleep Talk (9 December 2011 - 10 June 2012); At Home with the Queen (25 May - 28 October 2012); Frederick Wilfred: London Photographs 1957-62 (16 June - 8 July 2012); Our Londinium 2012 (22 June 2012 - ongoing); LomoWall (13 July 2012 - January 2013); Doctors, Dissection and Resurrection Men (19 October 2012 - 14 April 2013)
Museum of London Docklands
Your 2012 (Until 8 July 2012); Journeys and Kinship (24 February - 4 November 2012)
Museum of Modern Art Oxford
Piercing Brightness: Shezad Dawood (5 April - 10 June 2012); Exercise (Djibouti) 2012
John Gerrard (6 July - 29 July 2012)
Scottish National Portrait Gallery
Romantic Camera (1 December 2011 - 3 June 2012); Hot Scots (1 December 2011 - 3 June 2012); War at Sea (1 December 2011 - 31 October 2012); Migration Stories: Pakistan (1 December 2011 - 31 October 2012); John Slezer: A Survey of Scotland (1 December 2011 - 31 December 2012); Close Encounters: Thomas Annan's Glasgow (1 December 2011 - 31 December 2012); Out of the Shadow: Women of Nineteenth Century Scotland (1 December 2011 - 31 December 2013); George Jamesone: Scotland's First Portrait Painter (1 December 2011 - 31 December 2013); Pioneers of Science (1 December 2011 - 31 December 2013); Blazing with Crimson: Tartan Portraits (December 2011 - 31 December 2013); The Modern Scot (1 December 2011 - 31 December 2013); Playing for Scotland: The Making of Modern Sport (1 December 2011 - 31 December 2014); Citizens of the World: David Hume & Allan Ramsay (1 December 2011 - 31 December 2015); The Age of Improvement (1 December 2011 - 31 December 2015); Imagining Power: The Visual Culture of the Jacobite Cause (1 December 2011 - 31 December 2015); Reformation to Revolution (1 December 2011 - 31 December 2016)
Scottish National Gallery of Modern Art
Artist Rooms: Sol LeWitt, Wall Drawing #1136, 2004 (1 December 2011 - 4 November 2012); The Sculpture Show (17 December 2011 - 24 June 2012); Edvard Munch: Graphic Works from The Gundersen Collection (7 April - 23 September 2012); Picasso and Modern British Art (4 August - 4 November 2012); The Scottish Colourist Series: SJ Peploe (3 November 2012 - 23 June 2013)
The Scottish National Gallery
Red Chalk (18 February - 10 June 2012); Masterpieces from Mount Stuart (18 May - 2 December 2012); Expanding Horizons: Giovanni Battista Lusieri and the Panoramic Landscape (30 June - 28 October 2012); Van Gogh to Kandinsky: Symbolist Landscape in Europe 1880-1910 (14 July - 14 October 2012); John Bellany: A Passion for Life (17 November 2012 - 27 January 2013)
The National Gallery
Titian's Diana and Callisto (1 March - 1 July 2012); Turner Inspired: In the Light of Claude (14 March - 5 June 2012); Titian's First Masterpiece: The Flight into Egypt (4 April - 19 August 2012); Metamorphosis: Titian 2012 (11 July - 23 September 2012); Richard Hamilton: The Late Works (10 October 2012 - 13 January 2013); Seduced by Art: Photography Past and Present (31 October 2012 - 20 January 2013)
National Maritime Museum
Arctic Convoys, 1941-45 (21 October 2011 - 4 November 2012); ‘Titanic’ Remembered (8 March - 30 September 2012); Royal River: Power, Pageantry and the Thames (27 April - 9 September 2012)
National Portrait Gallery
The Queen: Art and Image (17 May - 21 October 2012); BP Portrait Award 2012 (21 June - 23 September 2012); The Lost Prince: The Life and Death of Henry Stuart (18 October 2012 - 13 January 2013); Taylor Wessing Photographic Portrait Prize 2012 (8 November 2012 - 17 February 2013)
Royal Academy of Arts
LithORRgraphy: Chris Orr RA and the Art of Chemical Printing (23 February - 20 May 2012); Nicholas Hawksmoor: Architect of the Imagination (4 February - 17 June 2012); Johan Zoffany RA: Society Observed (10 March - 10 June 2012); Sara Knowland
Selina Chenevière Award Winner, 2011 (20 April - 20 June 2012); Hermès Leather Forever (8 - 27 May 2012); Celebrating the Queen’s Diamond Jubilee (25 May - 12 August 2012); Summer Exhibition 2012 (4 June - 12 August 2012); From Paris: A Taste for Impressionism, Paintings from the Clark (7 July - 23 September 2012)
Royal Scottish Academy
A Royal Taste: landscape paintings from the RSA Collections (23 April - 17 September 2012); RSA Annual Exhibition (28 April - 6 June 2012); Drawing from the Landscape (16 June - 22 July 2012); Muse (4 July - 6 March 2012); Tutaj/Teraz (Here Now): An investigation of Polish contemporary artists in Scotland (28 July - 9 September 2012); Of Natural and Mystical Things (15 September - 4 November 2012); Scottish Painters and Limners: works from the RSA collections (24 September 2012 - 30 January 2013); RSA Architecture Open 2012 (24 November - 16 December 2012); RSA Open 2012 (24 November 2012 – 31 January 2013); Derek Clarke RSA (1 - 31 January 2013)
Tate Britain
David Tremlett Drawing for Free Thinking (19 September 2011 - 31 December 2016); Atlantic Britain (5 December 2011 - 4 November 2012); Migrations (31 January - 12 August 2012); Picasso and Modern British Art (15 February - 15 July 2012); Patrick Keiller The Robinson Institute (27 March - 14 October 2012); Frank Bowling (30 April 2012 - 30 April 2013); Gary Hume and Patrick Caulfield (4 June - 8 Sept 2013); London 2012 Olympic and Paralympic Games posters (21 June - 23 September 2012); Lowry and the Painting of Modern Life (25 June - 20 October 2013); Another London (27 July - 16 September 2012); Pre-Raphaelites: Victorian Avant-Garde (12 September 2012 - 13 January 2013)
Tate Liverpool
DLA Piper Series: This is Sculpture (1 May 2009 - 30 June 2013); Chagall: Modern Master (7 June - 29 September 2013); Turner Monet Twombly: Later Paintings (22 June - 28 October 2012); Sky Arts Ignition Series: Doug Aitken (15 September 2012 - 13 January 2013)
Tate Modern
Damien Hirst (4 April - 9 September 2012); Project Space: Stage and Twist (25 May - 14 October 2012); Edvard Munch: The Modern Eye (28 June - 14 October 2012); The Unilever Series: Tino Sehgal (24 July - 28 October 2012); William Klein/Daido Moriyama (10 October 2012 - 13 January 2013); A Bigger Splash: Painting after Performance Art (7 November 2012 - 1 April 2013); Roy Lichtenstein (21 February - 27 May 2013); Ellen Gallagher (1 May - 1 September 2013); Mira Schendel (26 September 2013 - 19 January 2014); Paul Klee (15 October 2013 - 9 March 2014)
Tate St. Ives .uk/stives
Alex Katz: Give me Tomorrow (19 May - 23 September 2012); The Far and The Near: Replaying Art in St Ives (6 October 2012 - 13 January 2013)
Victoria and Albert
Japanese Enamels: the Seven Treasures (14 June 2011 - 19 August 2012); Beautifully Bitten: Acid-etched Metal in Europe 1500-1750 (4 July 2011 - 31 June 2012); Beatrix Potter Country: a Legacy in Lakeland and Beyond (13 December 2011 - 12 June 2012); The New Medalists (11 February - 19 August 2012); Island Stories: Fifty Years of Photography in Britain (16 March - 19 September 2012); Transformation and Revelation: Gormley to Gaga. UK design for performance 2007 - 2011 (17 March 2012 - 30 September 2013); Fit for Purpose: Contemporary British Silversmiths
(30 March - 16 September 2012); British Design 1948 - 2012: Innovation in the Modern Age (31 March - 12 August 2012); Four Masterpieces of Sacred Silver from the Gilbert Collection (2 April 2012 - 31 May 2013); George W. Adamson: A Twentieth-Century Illustrator (3 April - 30 September 2012); Recording Britain (14 April - 21 October 2012); Queensberry Hunt: Ceramic Design (14 April - 2 September 2012); The Silent Traveler: Chiang Yee in Britain, 1933-1955 (23 April - 9 November 2012); Kitty and the Bulldog: Lolita fashion and the influence of Britain (23 April 2012 - 27 January 2013); Hanging Out – Youth Culture Then and Now (7 May - 4 September 2012); King’s Cross: Regenerating a London Landmark (19 May - 21 October 2012); Heatherwick Studio: Designing the Extraordinary (31 May - 30 September 2012); Ballgowns: British Glamour Since 1950 (19 May 2012 - 6 January 2013); So Peculiarly English: topographical watercolours (7 June 2012 - March 2013); V&A Illustration Awards (11 June - December 2012); Britain Creates 2012: Fashion + Art Collusion (6 July - 29 July 2012); Arthur Bispo do Rosário (13 August - 28 October 2012); Hollywood Costume (20 October 2012 - 27 January 2013)
Wallace Collection
The Noble Art of the Sword: Fashion and Fencing in Renaissance Europe (17 May - 16 September 2012); Display: Making the Renaissance Sword (17 May - 16 September 2012); Treasures from The East (12 January - 10 March 2013)
Whitechapel Art Gallery
The Bloomberg Commission: Josiah McElheny: The Past Was A Mirage I Had Left Far Behind (7 September 2011 - 20 July 2012); The Story of the Government Art Collection (3 March - 2 September 2012); Government Art Collection: Selected by Downing Street Staff (9 March - 10 June 2012); Writers in Residence (9 March - 10 June 2012); Artists Film International (28 March - 16 June 2012); Gillian Wearing (28 March - 17 June 2012); The London Open (4 July - 14 September 2012); Mel Bochner (12 October - 30 December 2012)
Yale Center for British Art
“While these visions did appear”: Shakespeare on Canvas (3 January - 29 July 2012); Art in Focus: Gazes Returned, The Technical Examination of Early English Panel Painting (13 April - 29 July 2012); The English Prize: The Capture of the Westmorland, an Episode of the Grand Tour (4 October 2012 - 13 January 2013); Caro: Close Up
(18 October - 30 December 2012)
HBA calls for reviews
Call for reviews of recent publications, exhibitions, conferences and symposia
The newsletter encourages reviews of at least 800 words from graduate students and university, museum, and gallery affiliated art historians as well as independent art historians active in the US or abroad, and from individuals representing fields other than art history who wish to contribute to an ongoing discussion about the scholarship of British art.
We seek reviews of recently published books and other forms of scholarship such as exhibition catalogs, exhibitions and articles relating to the study and teaching of British art and visual culture. Also welcome are reports of conferences and symposia attended. Please consider discussing multiple examples, such as an exhibition, its catalog and a related symposium, or several articles or books.
To receive a review copy of a recently published book or catalog, offer suggestions or submit your material for publication, please contact Jennifer Way, MACROBUTTON HtmlResAnchor JWay@unt.edu.
The next deadline to submit material for publication in the HBA Newsletter is November 15, 2012.
Keep in touch
Facebook!
Join our Facebook group by searching Historians of British Art or find us at group.php?gid=59663381317
Have some news to share or do you wonder where to direct your query?
▪ Membership, renewals, e-mail:
▪ Jongwoo Kim, Treasurer/Membership Chair
▪ jongwoo.kim@louisville.edu
▪ Newsletter items, including member news, announcements, reviews, and calls:
▪ Jennifer Way
▪ JWay@unt.edu
Thank you.
Thank you to Case Western Reserve University and the Department of Art History for support of the Historians of British Art.
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[1] ‘1922: Born 8 December in Berlin, second son of Ernst Freud (1892–1970), an architect and youngest son of Sigmund Freud (1856–1939), the founder of psychoanalysis, and Lucie Brasch (1896–1989), a classics graduate. The family live in middle-class comfort near Berlin’s Tiergarten.
1933–7: Freud’s family arrive in England as voluntary emigrants to escape the National Socialists’ rise to power’. (Notes from the Chronology in the catalogue, p. 222)
[2] See and
< >.
[3] Lucian Freud Portraits by Sarah Howgate, with essay and interviews by Michael Auping & a contribution by John Richardson. (London: National Portrait Gallery, 2012).
[4] See .
[5] See .
[6] See the MOMA site with an audio commentary by Martin Gayford
.
[7] See .
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