L'Agenda des Médiévistes

Le château, notamment le château fort du Moyen Âge, a souvent exprimé la qualité de son occupant par une hypertrophie de la dimension verticale ; cette volonté ostentatoire de voir et d’être vu est emblématisée par l’empilement des étages et la surélévation des tours. Du point de vue de la hiérarchisation verticale des espaces intérieurs, le premier étage est généralement réservé aux fonctions les plus nobles, l’apparat et la réception, tandis que les niveaux bas sont abandonnés aux fonctions de stockage, de cuisine, voire de prison, et les étages supérieurs aux espaces privés et ancillaires (galetas). Les tours et tourelles sont souvent occupées, au bel étage, par des pièces annexes, mais les étages supérieurs sont généralement sous-utilisés, tout comme certains « donjons », plus conçus pour être vus que pour être habités.

Le 7e colloque international de Bellecroix : « Le château de fond en comble : hiérarchisation verticale de la résidence aristocratique, au Moyen Âge et à l’époque moderne », se propose de réunir des chercheurs (historiens, archéologues, architectes…) pour confronter différents cas et différents types d’habitats aristocratiques médiévaux et modernes, et pour mieux comprendre l’usage des différents niveaux et leurs interrelation, aussi bien dans les tours que dans les logis, dans les sous-sols, les étages carrés et les étages de combles. Les communications porteront plutôt sur l’usage des pièces que sur leurs liaisons et leurs distributions.

Le colloque aura lieu au château de Bellecroix (Chagny, Bourgogne), du 18 au 20 octobre 2019.

Sous la direction de Nicolas Faucherre, Delphine Gautier, Hervé Mouillebouche.

Organisé par le Centre de Castellologie de Bourgogne, l’UMR 6298 ARTEHIS et l’université de Bourgogne-Franche-Comté

Propositions à envoyer avant le 1er mai 2019 à H-Mouillebouche@Wanadoo.fr

University of Coimbra
26-29/06/2019

Convenors:
• Silverio Franzoni – Scuola Normale Superiore (Pisa), École Pratique des Hautes Études (PSL, Paris)
• Elisa Lonati – École Pratique des Hautes Études (PSL, Paris), Scuola Normale Superiore (Pisa)
• Adriano Russo – Università di Pisa (Pisa), École Pratique des Hautes Études (PSL, Paris)

Panel description:
Through a path sometimes glorious, sometimes humble, a major part of Latin literature has survived the Middle Ages and has acquired a new life, according to the different historical moments that characterized each area of Europe.
The aim of this panel is to explore how medieval authors have dealt with the classical heritage within their own cultural context. On the one hand, we will look at what type of classical texts they had at their disposal, what textual tradition was known to them, and how this tradition moved from one place, library or scholar to the other.

On the other hand, we aim at an in-depth evaluation of the role of classical models in medieval works. This enquiry could illustrate different degrees of exploitation of classical texts: from systematic excerption to scattered quotations naturalized in different frameworks, from the reshaping of biographies, political and philosophical treatises to the reuse of poetical patterns in order to convey new values.

Making sense always implies a multiple perspective. The goal of this panel is to encourage the interaction between different points of view – historical, philological, literary, philosophical, scientific – in order to get a better understanding of the cultural background through which the Classics had to pass before reaching us.

Topics for papers may include:
– Manuscript traditions of classical texts from Late Antiquity to the Late Middle Ages
– Latin classics in medieval libraries
– Medieval scholarship on Latin classics
– Classical authors in medieval florilegia
– Scattered quotations in medieval works
– Reuse of Latin classics in literary, philosophical and scientific works
– Christian reshaping of classical models

Prospective speakers: young (graduate students, PhD students, Post-doc researchers) and established scholars (researchers, professors, librarians).
Submitting papers.

We envisage a panel of around 15 speakers, so that each speaker could present a paper of around 35-40 minutes. Both papers in English and in French are accepted.

If you wish to submit a paper, please send a short abstract in English to makingsenseoflatinclassics@gmail.com.

The deadline for submitting papers is 22/02/2019. Acceptance of the papers will be communicated shortly thereafter.

University of Leeds
8th-9th April 2019

Between the breakdown of Roman rule and the sweeping legal and administrative changes of the later twelfth century, western Europe saw many types of rulers. The precise nature of their title and authority changed: dukes, counts, rectores, gastalds, ealdormen… These rulers were ubiquitous and diverse, but despite the variation between them, they all shared a need to conceptualise, to justify, and to exercise their rule without access to the ideological and governmental resources of kingship. This conference invites proposals for papers which will explore the political practices of non-royal rulers across the earlier medieval period, in order to understand how the ambiguities of a position of rule that was not kingship were resolved in their various inflections.

Potential subjects include:

• conceptualisations of non-royal rulership in titulature, literature, documents or coinage;
• legitimisation of non-royal rulership;
• the relationship between non-royal rulership and wider political cultures;
• the various inflections of non-royal rulership within the same geographical
  space;
• the relationship between non-royal and royal rulership.

Please send titles and abstracts of up to 300 words to nonroyalrulership@gmail.com, indicating affiliation, current academic status, and contact details, by the new extended deadline of 31st January 2019. Thanks to the generous support of the Leverhulme Trust, we will be able to offer paid travel, accommodation and subsistence to speakers.

Des romans de Walter Scott ou Fenimore Cooper jusqu’à The Crown (Netflix, 2016- ) et Assassin’s Creed (Ubisoft, 2007), les fictions historiques connaissent une popularité constante et renouvelée à chaque génération. La persistance de cet engouement du public pour la fiction historique semble être en partie liée à la naissance régulière de nouveaux formats qui renouvellent le genre en même temps qu’ils réactivent le potentiel populaire des œuvres précédentes, tombées en désuétude. Cette journée d’étude se propose d’établir des pistes critiques et analytiques pour construire une archéologie des formats de fictions historiques comme formes populaires du XIXème siècle à nos jours (roman, cinéma, série télévisée, bande dessinée, jeu vidéo). Plutôt que des études ciblées sur une seule forme, les communications porteront de préférence sur des analyses et thématiques transversales, à la fois en termes de période et de format.

Les enjeux porteront, dans un premier temps, sur la manière dont chaque format influe sur le genre de la fiction historique, le modifie, l’adapte, le met à jour, et ainsi assure sa popularité. Nous nous attacherons particulièrement à faire dialoguer les différents formats, genres et époque. On s’interrogera ainsi sur ce qui persiste de la fiction historique du XIXème siècle dans les formats actuels et comment ces derniers puisent dans les genres plus anciens (en explorant par exemple le lien entre la publication en feuilletons des romans au XIXème siècle et les séries historiques actuelles) ; ou encore comment varie la représentation d’un personnage ou d’un événement historique en fonction des genres et des formats. Les questions d’influence et d’héritage seront donc au centre de nos préoccupations. Il s’agira également de considérer les contraintes de conservation et d’accessibilité des sources, ainsi que les aspects physiques des formes et des formats. Par ailleurs, on pourra également se demander dans quelle mesure les nouveaux formats de la fiction historique redéfinissent le rapport à l’histoire des lecteurs, spectateurs, ou joueurs, et proposent différents modes de construction du savoir historique.

Quelques pistes d’analyse, non exhaustives:

• origines, avatars et héritages du roman historique.
• le récit historique audiovisuel, des films de cinéma aux séries télévisées ou « post-télévisées » (Netflix, Hulu, Amazon, webséries), jusqu’aux jeux vidéo.
• processus d’adaptation et de remédiation.
• enjeux politiques, commerciaux et idéologiques des différents formats.
• incidence du genre et du format sur le traitement de thèmes, événements, ou personnages historiques.

Modalités de soumission

Envoi des propositions de communications (300 mots, communications de 20 minutes) pour le 15 février 2019.

Comité scientifique

Les propositions de communications seront sélectionnées par un comité composé de :

Marjolaine Boutet, Université de Picardie
Laurence Cros, Université Paris-Diderot
Emilia Le Seven, Université Paris-Diderot
Ariane Hudelet, Université Paris-Diderot
Michel Imbert, Université Paris-Diderot
Marie-Jeanne Rossignol, Université Paris-Diderot

Source : Calenda

University of Oxford
7 June 2019
Deadline for submissions: 20 January 2019
Keynote Speaker: Professor Kathryn Rudy (University of St. Andrews)

With the release of its inaugural issue in 2006, The Senses and Society journal proclaimed a « sensual revolution » in the humanities and social sciences. The ensuing decade has seen a boom in sensory studies, resulting in research networks, museum exhibitions, and a wealth of publications. This interdisciplinary conference hosted at the University of Oxford aims to shed light on how sensory perception shapes and is shaped by the experience of pilgrimage across cultures, faith traditions, and throughout history.

Pilgrimages present an intriguing paradox. Grounded in physical experiences—a journey (real or imagined), encounters with sites and/or relics, and commemorative tokens—they also simultaneously demand a devotional focus on the metaphysical. A ubiquitous and long-lasting devotional practice, pilgrimage is a useful lens through which to examine how humans encounter the sacred through the tools of perception available to us. Focusing on the ways in which pilgrimage engages the senses will contribute to our knowledge of how people have historically understood both religious experience and their bodies as vehicles of devotional participation. We call on speakers to grapple with the challenges of understanding the sensory experience of spiritual phenomena, while bearing in mind that understandings of the senses can vary according to specific cultural contexts. While the five senses are a natural starting point, we are open to including papers that deal with « sense » in a more general way, such as senses of time and place.

Sample topics may include (but are not limited to):

• the role of beholding (places, relics, miracles, mementos) in the pilgrimage experience
• haptic encounters with relics
• ways in which pilgrims are seen: wearing specific clothing and/or badges, public acts (or affects) of devotion, how pilgrims are depicted or described
• pilgrims’ auditory expressions: wailing/crying, chanting, singing, reciting prayers
• bathing and purification in preparation for devotions
• food as a ritual element or means of experiencing cultures along a pilgrimage route
• the place of music on the pilgrimage route and/or at pilgrimage destinations
• pain as a facet of the pilgrimage journey
• the sensory spectacle—visual, auditory, olfactory—of pilgrimage processions
• devotional objects that require handling, such as prayer beads and prayer wheels
• psychosomatic sensory experiences as a means of engaging with the divine
• the evocation of sensory participation through works of art and/or written accounts

We invite 20-minute papers from any discipline on topics related to the themes outlined above, especially in the fields of anthropology, archaeology, art history, history, literature, musicology, religious studies, sociology, and theology. We welcome submissions relating to aspects of pilgrimage of any faith or historical period. Doctoral students and early career researchers are particularly encouraged to apply.

Please submit a title, abstract (max. 250 words), and brief bio to pilgrimagesenses2019@gmail.com by January 20th. Successful applicants will be notified by February 5th. All submissions and papers must be in English.

Source : Pilgrimage 2019

27^th to 29^th November 2019

Proposal deadline: Friday 25^th January 2019

Proposals for papers are invited for the two day conference ‘The Art of the Lost: destruction, reconstruction and change’ (working title) to be held at Canterbury Cathedral on the 27^th to 29^thNovember 2019.

The conference is part of a wider project to preserve and research the material culture of Canterbury Cathedral and it is supported by the Chapter of Canterbury and the Heritage Lottery Fund through The Canterbury Journey project.

This conference will explore and appraise current and developing studies of how art changes, is reused or repurposed, disappears or is rediscovered.

It will look at how and why art is defaced, destroyed or is lost within architectural settings, with a particular focus on art within the context of cathedrals, churches or other places of worship.

It will consider changing ideologies, iconoclasm, war, fashion and symbolism. It will cover art from the 6^th century to the modern day.

The aim of the conference is to offer a vibrant and challenging perspective on the field, review ongoing projects, scholarly activity and public engagement.

Original proposals are welcome from professionals, rising and established academic scholars and graduate students. Submissions are invited on topics including, but not limited to:

• Stained Glass
• Graffiti
• Wall art
• Paintings
• Textiles
• Books, manuscripts and libraries
• Architecture and interior design
• Sculpture
• Monuments and tombs
• Church plate
• New art making use of old or reacting to architectural settings
• Photography and moving image

The conference will include a series of presentations and panel discussions, supported by unique and unusual access to the architecture of the Cathedral.

Guidelines for proposals:

Presentations of papers will be 30 minutes in length with time for questions at the end of each session.

Papers in this context could be individual or joint presentations or panel discussions.

Proposals should include the presenter’s name, position and institutional affiliation, the paper’s title, an abstract of up to 250 words, a biography of up to 200 words (written in the third person), and a contact e-mail address.

Proposals for joint presentations or panel discussions should include the above for each speaker, and in the case of a panel discussion a paragraph of up to 250 words describing the panel’s rationale.

Proposals for papers should be emailed to Sarah Turner, Collections Manager and Heather Newton, Head of Conservation by 25^th January 2019 at Learning@canterbury-cathedral.org, with the email titled: Art of the Lost Proposal and your proposal title.

Informal enquiries in advance of this deadline are welcome, via the same e-mail address or by phone on: + 44 (0) 1227 862797

All presenters will receive a contribution towards their travel costs (standard class tickets within the UK or mileage at 40p mile) and free entry to the conference (including lunch and refreshments, but excluding the conference dinner).

Full registration details will be available in February 2019. Limited student and low income bursaries may be available, more details to follow.

Source : The Medieval Academy Blog