CFP: Aesthetics of Kinship and Community Graduate Symposium deadline 30 October 2018

Aesthetics of Kinship and Community Graduate Symposium

Birkbeck, University of London

Friday 30 November 2018 – afternoon

Call for Papers

Birkbeck Research in Aesthetics of Kinship and Community (BRAKC) is a research centre based in the School of Arts. We study the artistic representation of human belonging, of the human bond, in literature, film, photography, paintings, and other art forms. How is this bond presented across time and cultures, how is it analysed, deconstructed, reinvented?

We are inviting postgraduate students to present their current research within the field of aesthetics of kinship and community for a roundtable event at Birkbeck on 30 November 2018 in the afternoon. The idea is to bring together the wealth of research being accomplished on the artistic representation of the familial, the social, the political, its criticism and re-conceptions. Papers can be on any period in history and all cultures are relevant. Issues upon which papers are welcome include but are not limited to:

  • Racism
  • Sexual belonging
  • Familial configurations
  • Nationalisms and Brexit
  • Diasporas
  • Utopia(s)
  • Community and commonality
  • Anticapitalism
  • Revolutions

Please send abstracts of no more than 300 words to Dr Nathalie Wourm, Director of BRAKC, by 30 October 2018. Selected papers will be announced shortly after that.

Email: n.wourm@bbk.ac.uk

Website: http://www.brakc.bbk.ac.uk/

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Satellite – School of Arts digital education subcommittee: Call for Proposals

Dear School of Arts,

Satellite – the School of Arts digital education subcommittee – is pleased to announce a Call for Proposals for exploratory events to take place in academic year 2018-19.

These exploratory events are an opportunity to explore more subject-, disciplinary- or problem-specific developments, innovations and issues related to digital education, and more generally the implications of new technologies for pedagogy and learning. You may, for instance, want to organise an event around alternative approaches to assessment that make use of techniques such as mobile video, social media or blogging. Or an event which considers innovative ways in-class learning experiences can be blended with online activities in-between sessions. Or the ways in which the digitalisation of our research objects or methods might shift how we teach and assess our subject areas. These examples are not exhaustive, and there are many other possibilities.

Exploratory events can be proposed by School academics, teaching and scholarship staff, administrative staff, as well as postgraduate research students. We are particularly keen to see more proposals from research students this year, so could doctoral supervisors please forward this on to their students – it’s a good opportunity for professional development.

Proposals are accepted on a rolling basis, through funds are limited. Your proposal must include the following:

  • Event Title
  • Event Convenor(s) (name and short bio / link to web profile)
  • Event Description (no more than 300 words)

Requested funding amount and its purpose(s) (e.g. catering costs – please specify if Satellite funding will be complemented by other funds, e.g. from department or research centre)

Please submit your proposal to Scott Rodgers at s.rodgers@bbk.ac.uk. Feel free to get in touch with Scott should you have any questions, or if you would like to discuss a potential idea further.

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CFP: Nineteenth Century Research Seminars – Submissions Deadline Sunday 1 December 2018

Nineteenth Century Research Seminars
Call for Papers – Spring 2019

The Nineteenth Century Research Seminars (NCRS) invites proposals for twenty-minute papers from postgraduate and early career researchers that address any aspect of nineteenth-century literature, history, art, and culture.

The seminar series is designed to be a cross- and inter-disciplinary forum where
postgraduate and early career researchers can meet, form connections, debate, and
collaborate on all issues pertaining to the long nineteenth century.

We accept abstracts addressing any aspect of research on the 19th century, but would
particularly welcome those addressing any of the following themes:
● Philosophy from Hegel to Nietzsche
● Empire, War, and Politics
● Religion and Society
● Ecology, Environment, and Industrialisation
● Travelling and Exploration
● Gender and Sexuality
● German Classicism and German Idealism
● Art, Architecture, and Aesthetics

Monthly seminars take place at the University of Edinburgh, on the first Thursday of the
month: 7 February, 7 March, 4 April, 2 May, and 6 June 2019 at 16:30-18:30. Each seminar will consist of 2-3 twenty-minute papers, with at least one paper from a University of Edinburgh-based researcher and the other(s) from a researcher based in another institution, followed by discussion and refreshments.

Abstracts of up to 250 words along with a brief biography and institutional affiliation should be submitted in the body of an email to edinburgh19thcentury@gmail.com . The closing date for submissions is Sunday 1 December 2018 ; speakers will be notified of a decision by mid-December. If for any reason you are not available for any of the dates listed above for the 2019 seminars, please let us know in your email submission; this will help us to pair papers and schedule more effectively.

For those travelling from outside of Edinburgh, reimbursement of travel expenses (up to
£40) is available.

More details, and programmes from previous years are available at:
edinburgh19thcentury.weebly.com. Follow us on Facebook to stay updated:
@EdinburghNCRS .

The NCRS is supported by the University of Edinburgh’s Student-Led Initiative Fund.

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CFP: Imagining the Apocalypse Saturday 12 October 2019

IMAGINING THE APOCALYPSE: CALL FOR PAPERS

12 October 2019, The Courtauld Institute of Art

Shaped by different religious traditions, the apocalypse has been called upon throughout history to articulate collective anxieties, act as a warning, or a yearned-for spiritual salvation. These contradictory and competing aims behind imagining the end of the world in specific cultural moments make it a fertile ground for analysis. This conference will ask: what are the politics of picturing annihilation, from the early Christian Church to climate change today? This call for papers welcomes submissions from all historical periods and geographic regions. From medieval mosaics to Hieronymus Bosh, Albrecht Dürer’s woodcut The Four Horsemen of the Apocalypse (1498) to Keith Piper’s critique of Thatcherite-era racism, The Four Horsemen of the Apocalypse (1984) – culture has played a crucial role in imagining the apocalypse.

 

Claiming the end is nigh has always been political. The Democratic Unionist Party’s 1970s ‘Save Ulster from Sodomy’ campaign, for example, invoked the threat of Biblical floods: “The legalising of homosexuality would open the floodgates of immorality … The consequences of such a deluge would be grim”. What does this nightmarish vision tell us about the way we direct violence at others when fearing for our own survival? Rather than call for a saviour and salvation, could there also be an opportunity to contemplate and perhaps even come to terms with feelings of powerlessness in the face of our own annihilation? If the apocalypse is employed as a metaphor – a framework for conceiving reality, rather than a faithful portrait of it – it is regularly used to describe situations that are not literally the end of the world.

 

If we scratch under the surface, doomsday is often evoked time and time again to articulate a worldview of ‘us’ versus ‘them’: the desire to re-establish a sense of mastery over those perceived to be threatening. In 2017 The Sun claimed Jeremy Corbyn “would be a disaster in No10” – printing 1970s photographs of warehouses filled with coffins and rubbish piled high in the streets; while The Guardian wondered “How soon will the ‘ice apocalypse’ come?” and “are we sleepwalking towards a technological apocalypse?” – telling readers to look out for “Seven signs of the neoliberal apocalypse”. In January, online blogs asked “Is the fatberg apocalypse upon us?” – and in June The Sunday Times reported a UK government “Doomsday” plan for Brexit. By August, The Times reeled in horror at the “End of days feel in Westminster”.

 

Twenty-four hours later, historian David Olusoga warned: “Just as today’s historians are struck by the parties and general joviality that characterised the long hot summer of 1914, future scholars might wonder how we remained so calm as we approached the edge of the cliff”. The fear that underscores these catastrophic accounts may be sincere, but if we take a step back from the immediate sense of dread they provoke – how can we unpack the politics and psychoanalytic stakes at play? Can we look across time and space to make sense of how such anxieties are intimately bound up with their specific historical moments, and that considering them comparatively can throw into relief how power and violence often fuel these fantasies of disaster? This interdisciplinary conference welcomes proposals that consider imaginative representations of the end of the world from antiquity to the present day.

 

Potential topics might include (but are not limited to):

  • Gender studies, LGBTQ+ politics, heterosexuality
  • Migration, racism, empire, whiteness
  • Industrial Revolution, fossil fuels, nuclear meltdown/war, climate change
  • Food, eating, starvation, stockpiling
  • Financial crisis and disaster capitalism
  • Religious art
  • Technological change (e.g. the invention of telecommunication/artificial intelligence)
  • The Gothic, nightmares, monsters, magic, zombies, contagion, disease, the occult, spiritualism
  • Nationalism, conflict, civil war, group identity and collective violence, terrorism, anti-war activism
  • Generational change and inter-generational conflict
  • Visions of the future and science fiction
  • Moral panics, addition as metaphor, fears of societal collapse
  • Dark tourism and the entertainment industry

Please send a short bio with proposals of no more than 300 words for 20-minute papers to edwin.coomasaru@courtauld.ac.uk by 14th January 2019.

 

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CFP: BRAKC Research Centre 2018-19: Deadline 30 September 2018

Birkbeck Research in Aesthetics of Kinship and Community (BRAKC) is a research centre based in the School of Arts. We study the artistic representation of human belonging, of the human bond, in literature, film, photography, paintings, and other art forms. How is this bond presented across time and cultures, how is it analysed, deconstructed, reinvented? BRAKC was established ten years ago and since then we have organised many conferences, symposia, seminars, reading groups, exhibitions, interrogating the concepts of “family”, “kinship”, and “community”.

We would like to encourage interested research students in the School of Arts to play a prominent role in the activities of the centre. We invite proposals for research events in 2018-19. Some funding is available if needed for the organisation of these events. Although organisers will not be paid, they will have something to add to their CVs!

Please send proposals of no more than 300 words to Dr Nathalie Wourm, Director of BRAKC, by 30 September 2018. Selected proposals will be announced shortly after that, and the events will be organised in cooperation with BRAKC.

Email: n.wourm@bbk.ac.uk

Website: http://www.brakc.bbk.ac.uk/

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CFP: Eight Early Modern Symposium – The Courtauld Institute deadline 31 August 2018

CALL FOR PAPERS – SUBMIT BY 31 AUGUST 2018

In recent years, a renewed interest in Early Modern rituals, festivals, and performances has prompted a reconsideration of ceremonious processions with a particular focus on their impact on social, cultural, artistic and political structures and practices. Simultaneously, scholars have increasingly acknowledged the mobility of Early Modern artists across geographical, religious and cultural borders. Although processions were witnessed by natives and visitors alike and were therefore prime instances of cross-cultural encounters, their depictions by artists both local and foreign remain a lesser-studied body of visual material. This symposium proposes to explore the visual representations of processions that took place within cross-cultural encounters both within and outside of Europe.

A procession was an act of movement that was particularly charged with meaning; an ambulatory mode of celebration, it had a global resonance in the Early Modern period. Processionals impressed foreign dignitaries, established modes of rule, communicated traditions and negotiated power balances and were highly sensory occasions – as such they lent themselves readily to visual representation and were enthusiastically recorded in literature. Pageantries, military processions and Joyous Entries (Blijde Inkomsten) were recorded in a variety of media, as exemplified by the festival books celebrating the ephemeral constructions orchestrated for Cardinal-Infante Ferdinand’s arrival in Antwerp (1635) or the eighteenth-century paintings depicting Venice’s dazzling boat parades in honour of foreign dignitaries. Furthermore, ceremonial processions conceived for births, weddings, circumcision feasts and funerals occasioned visual representations such as the colourful Mughal miniature Wedding Procession of Dara Shikoh in presence of Shah Jahan (1740). In addition, the notion of procession can be expanded to encompass various expressions of mobility that could be understood and were often depicted as a procession. Both Jan van Scorel’s frieze-like painting of the knightly brotherhood commemorating their Holy Land pilgrimage (c. 1530) and the depiction of ambassadors travelling with their retinue to foreign courts and cities can be perceived as a form of procession. Thus, the structure of a procession was increasingly adopted in the Early Modern period to depict moments of exchange and motion propelled by the quest for knowledge, as much as diplomatic concerns and religious piety. Well-known examples include The Voyage to Calicuttapestry series (1504) as well as the highly detailed printed frieze of a merchant endeavour by Hans Burgkmair (The King of Cochin, 1508).

We welcome proposals for papers that engage with processions in the Early Modern period (c. 1500-1800) in the context of cross-cultural encounters, with the locations of cross-cultural interaction defined here as both inter or extra-European and beyond the “East meets West” dynamic. Participants are invited to explore artistic exchanges across geopolitical, cultural and disciplinary divides, and to examine drawings, prints, alba amicorum, painting, sculpture, decorative arts, architecture, and the intersections between them. Contributions from other disciplines, such as the history of science and conservation, are welcome. We invite 20-minute papers that explore, but are not limited to, the following questions:

  • How is the format of the procession used to structure visual representations of Early Modern ceremonial occasions and cultural difference?
  • How were processions perceived visually both by local and foreign artists?
  • Moreover, what audiences were interested in these visual representations and what scope did such a broad and diverse range of visual material serve? It is widely acknowledged, for instance, that Festival Books were not only designed for the audience of the spectacle, but also for armchair readers who could thus experience the procession as if they had been present.
  • In what way does the visual representation of a procession signify a means of negotiating between one’s own identity, heritage and outlook whilst in dialogue with another culture?
  • How did diplomatic encounters encourage the production of procession scenes both during and after the diplomatic mission, such as the depiction of gift-giving ceremonies? We strongly encourage speakers to also consider less conventional modes of processions. Could, for instance, the sequential depiction of costumes in costume albums also be interpreted as a procession of some sorts?
  • Through which visual strategies and spatial arrangements did the ephemeral decorations and arches erected on the occasion of glorious entries orchestrate a procession through the urban space, or thematise the idea of cross-cultural encounter?
  • What are the effects (both ephemeral and lasting) of these processions that sometimes involve the construction of specific architectural constructions and temporary settings (e.g. the Field of the Cloth of Gold, 1520)?

The Early Modern Symposium offers an opportunity for research students from universities both in the UK and abroad to present, discuss and promote their research. We invite proposals from graduate students, early career researchers, conservators, and curators. Talks that draw upon technical analysis and other theoretical approaches are equally welcome.

Please send proposals of no more than 300 words along with a short biography by 31 August 2018 to:

talitha.schepers@courtauld.ac.uk and alice.zamboni@courtauld.ac.uk

The aim of this postgraduate symposium is to provide a platform for Early Career Researchers and postgraduate students to share their research with peers. We may be able to provide a subsidy for travel and accommodation costs, but please be aware that this may not cover all of your expenses. We prioritise candidates from the UK and Europe. We will notify successful applicants by Monday 10 September 2018.

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CFP: Frankenstein Unbound – deadline Monday 18th June 2018

CALL FOR PAPERS

Arts University Bournemouth

Frankenstein Unbound: An Interdisciplinary Conference Exploring Mary Shelley and Gothic Legacies

Dates: Wednesday 31 October and Thursday 1 November 2018

Venues: Conference – St Peter’s Church, Bournemouth

Keynote Speakers:

Sir Christopher Frayling, Chancellor, Arts University Bournemouth

Professor Elaine Graham, University of Chester

Professor Sir Peter Cook, CRAB Studios (TBC)

In 1849, Mary Shelley and Percy Shelley’s heart were brought to the graveyard of St. Peter’s Church in Bournemouth, where they were buried with the remains of Mary Shelley’s parents Mary Wollstonecraft and William Godwin.

In 2018, Arts University Bournemouth and St. Peter’s Church, in association with Bournemouth University, celebrate the bicentenary of the publication of Mary Shelley’s most famous work Frankenstein, or the Modern Prometheus (1818) as part of the Shelley Frankenstein Festival. The academic conference, located at this unique venue, will offer new and re-situated perspectives on Mary Shelley and her writings, her family and circle, and her most famous work.  We are pleased to acknowledge colleagues at Bournemouth University for their organisational support.

We invite papers and presentations themed around, but not limited to, the following:

  • Mary Shelley, Percy Shelley, and the Romantics
  • Mary Wollstonecraft and Mary Shelley
  • Mary Shelley beyond Frankenstein
  • The Shelley family: history and legacy
  • Monstrous Romantics
  • Frankenstein and the sea
  • Theology and Frankenstein
  • Frankenstein and philosophy
  • Frankenstein at home and abroad
  • Adaptations and afterlives
  • Frankenstein and medical humanities
  • The abject and the sublime
  • Frankenstein and emotion
  • Guilt and crime in Frankenstein
  • Interpretations of Frankenstein in the creative industries (Film, Art, Theatre, Dance, Writing etc)
  • Mary Shelley and Gothic legacies
  • Gothic architecture
  • The Gothic imagination

We welcome proposals for themed panel sessions (maximum three papers), individual twenty-minute presentations, or creative submissions from practitioners and scholars of all fields. We particularly encourage submissions from post-graduate students and Early Career Researchers. Please submit an abstract (300 words) and short biography (100 words) to frankensteinunboundconference@gmail.com by Monday 18th June 2018.

For more information and updates visit our website: https://frankensteinunbound.wordpress.com/

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CFP Action: Arrest – Performance, protest, and the law deadline 11 June 2018

Action: Arrest 

Performance, protest, and the law

A one-day symposium

Keynote Speaker: Jennifer Doyle (University of California, Riverside)

Join us in exploring the role of action and arrest in protest, law, and performance. Taking place during the year of the Suffragette centenary, the fifty-year anniversary of the Paris ‘68 uprisings, and a period of burgeoning civil unrest and political uncertainty in the UK and worldwide, Action: Arrest looks to assess and reassess the relationship between performance, protest, and the law. Inspired by their compelling dualities, the symposium aims to open up a new set of questions that may further complicate the relationship between these terms.

Recent and ongoing people-led political movements – for example, the March for Our Lives against current US gun laws, Yarl’s Wood #HungerForFreedom hunger strikes and #Stansted15 activists fighting against inhumane detention in the UK, and global campaigns to fight gendered and sexual violence with #MeToo and #TimesUp – contribute to the sense that we are in a moment of global action, where national and international uprisings are opening up new alternatives for social and political futures. At the same time, disparities in media representation, state reactions, and police response to different forms of activism expose tensions between the hope for positive change and forward momentum and the recreation and reinforcement of existing oppressions and dynamics of power. This conference asks where performance intervenes in these tensions, examining the value of reading protest as performance, particularly as it intersects with the law and disciplinary structures of power. Grounding itself in the current political moment, we hope the conference will provide an opportunity to engage with current and historical protest in its varying forms and varying spaces – the street, the theatre, the courtroom, and the gallery, amongst others – to analyse the relationship between performance, protest, and the law.

Interdisciplinary in its aims, Action: Arrest draws together academics, artists and practitioners from varying disciplines and their intersections. Honouring the constitutive links between methodologies, content, and form, Action: Arrest resists the cloistering control of academic tradition and discipline and encourages diversity, collaboration, and dissent. We welcome proposals for 15-20 minute papers, 10-minute provocations, and collaborative and performative papers. We are also very open to suggestions for alternative formats or styles of presentation not listed here.

Proposals for contributions that bear directly on one or more of the above themes are welcome. These might address:

  • Explorations of action and arrest as bodily and affective, and considerations of how they define different bodies.
  • Racialised, gendered and sexualised bodies in performance, protest and arrest.
  • Thinking through the relationship between movement, action, arrest, and stillness, and their relationship to political uprisings and the law.
  • How does action catalyse change, and how is action used as a means of control?
  • Affect as protest, the body protesting itself through exhaustion, fatigue, boredom, irritation, sweat, and excitement.
  • (Non)/Spectacular violence and protest.
  • Protest in and outside the museum, gallery and/or institutional setting (e.g. WHEREISANAMENDIETA, Liberate Tate etc).
  • Protest as the duality and contradictions of arrest as a control of bodies, and as a protection of bodies.
  • Explorations of restorative and transformative justice, penal reform, and abolitionism.
  • The influence of legal structures and policies on recent or historical actions and protests, with particular focus on how this has been used as a regulatory and disciplinary tool.
  • Protest, legal action, and minoritarian feminisms.
  • Resistance to repressive politics through action, arrest, stillness and movement.
  • Considerations of police behaviour, civil unrest, and dissonance. Moments of action and stillness between dissenters and those attempting to exert state control. (e.g. riot police and protesters, state or police interventions in performance works).
  • The relationship between arrest as being taken into legal custody, and arrest as inaction or stillness.
  • The capitulation of radicalism under neoliberal/late capitalist regimes.
  • Languages of visual activism.

Please send 250 word abstracts and 100 word bios and/or artist statements to actionarrest@gmail.com by the 11th of June 2018.

Bryony White and Savannah Whaley

King’s College London

www.actionarrest.wordpress.com

Kindly supported by the London Arts and Humanities Partnership

 

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CFP: DISTRACTION Birkbeck Institute for Social Research Graduate Conference – deadline 7 May 2018

The Call for Papers for the BISR annual graduate conference has been extended! The theme this year is DISTRACTION.

This conference aims to involve PhD students and early career researchers from all disciplines and institutions. It is funded by the Birkbeck Institutes of Social ResearchGender and Sexuality, and Humanities

Dates: 8-9 June 2018

NEW DEADLINE: 7th May 2018. Please send 200 word abstracts and 50 word biography to bisr@bbk.ac.uk. If you are also interested in taking part in the running of the event such as chairing a panel, please get in touch via this email.

We are delighted to confirm Prof. Carolin Duttlinger (Oxford) and Dr. Sophie Jones (Birkbeck, English) as our keynote speakers.

 

https://www.wadham.ox.ac.uk/people/fellows-and-academic-staff/d/carolin-duttlinger

http://www.bbk.ac.uk/english/our-staff/full-time-academic-staff/sophie-jones

 

Full details: http://bit.ly/2hCcxuq

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