Archives de catégorie : Appels à communication

Le CESCM à Kalamazoo en 2017 – Appel à communication

Le Centre d’études supérieures de civilisation médiévale et l’International Medieval Society-Paris lancent un appel à communication pour une session de communications organisée dans le cadre de l’International Congress on Medieval Studies qui se déroulera à Kalamazoo (USA) du 11  au 14 mai 2017 et qui réunit tous les ans dans le Michigan plus de 3000 médiévistes venus du monde entier. Cet appel conjoint est l’occasion pour le CESCM d’organiser pour la première fois un événement scientifique lors de l’ICMS,  sur le thème de l’altérité (sociale, religieuse, politique, linguistique) et ses implications dans le domaine du visuel.

Les propositions de communication (CV et résumé) sont à adresser à Vincent Debiais avant le 15 septembre 2016 ; merci aussi de renseigner la fiche d’inscription de l’ICMS. Pour tout renseignement, contacter Vincent Debiais : vincent.debiais@univ-poitiers.fr

Signs of Identity, Marks of Otherness: New Approaches to Visual Culture

This session will explore new avenues of research on visual signs marking the identity of social, religious, and political groups in different spaces (real or imaginary), and the ways in which these groups distinguished themselves.  Recent advances in the auxiliary sciences, which take into account social phenomena in the origin, creation and usage of systems of signs, permit  to revisit questions posed by emblems, armor, inscriptions, and images that mark the landscape and establish hierarchical spaces, both separate and connected.  In the dialectic of inclusion/exclusion, signs become references of identity included, integrated, claimed or rejected in reaction to historical circumstances and power relations.  This session brings together specialists from different disciplines to explore how visual signs work in real spaces, such as cities, monasteries, and castles; and literary spaces where such signs appear frequently in motifs and narratives.

This session welcomes interdisciplinary submissions.  Scholars working on original approaches to signs of identity through social history, visual culture, and the auxiliary sciences are encouraged to submit abstracts.  In this way, the session will have very broad appeal to participants at Kalamazoo.  Possible themes are: disputes, divisions, and heraldic claims; banners, standards, and flags; epigraphic marking and destruction; the role of written culture/visual culture in the strength of social groups.

 

[Appel à communication] journée jeunes chercheurs Janua 2016

Les instruments de pouvoir

 

débat judiciaireJournée d’études Jeune chercheurs organisée par Janua, association des étudiants en Masters et doctorants en civilisation antique et médiévale de l’Université de Poitiers.

• Propositions de communications à envoyer avant le 5 février 2016 (inclus)
à association.janua@gmail.com

Les propositions de communication peuvent être rédigées en français ou en anglais sous la forme d’un résumé/abstract d’environ 250 mots
Elles doivent être accompagnées d’un curriculum vitae.
Durée des communications : 20 à 30 min

• Date et lieu de la rencontre : 7 avril 2016, CESCM (Poitiers)

Télécharger l’appel à communications

Janua, l’association des étudiants en master et doctorat des laboratoires CESCM et HeRMA (Université de Poitiers) organisera en avril prochain une journée d’études consacrée à la présentation des travaux de jeunes chercheurs : étudiants en Master Recherche, doctorants, docteurs ayant soutenu depuis moins de trois ans, spécialisés dans l’étude des civilisations antique et médiévale. Les contributions réalisées lors de cette journée ont vocation à être publiées l’année suivante dans les Annales de Janua.
Les intervenants devront s’attacher à respecter la thématique de l’édition 2016, étant d’aspect interdisciplinaire et méthodologique pour laisser place au dialogue. Le thème choisi est celui des instruments de pouvoir.

On définira le pouvoir tantôt par les « capacité, autorité, puissance, moyen d’action que détient une personne sur quelqu’un ou sur quelque chose », par la « situation de ceux qui gouvernent », par la « puissance qui gouverne un groupe d’individus » ou encore par l’ « autorité à laquelle est soumis un groupe social ». Multiples sont donc ses définitions. Le pouvoir est résolument subjectif : il peut être décliné sous différentes formes et être exercé par différents acteurs. Mais il est aussi universel. Entendu au sens large, il est une autorité qui s’applique à toute échelle – laïque, mais également religieuse. Ceci devrait permettre une diversité dans les communications amenant à des échanges et réflexions fructueux.reconstitution d'un palais babylonien

Pourquoi se focaliser sur les instruments de pouvoirs ? Ils sont les témoins d’un pouvoir passé. C’est à travers eux que nous pouvons, en tant que chercheurs, tenter de comprendre les autorités du passé. De plus, ces outils touchent toutes les disciplines et toutes les périodes de l’histoire. Ils sont fédérateurs. Ils peuvent revêtir de multiples formes : du plus monumental (châteaux forts, cathédrales, murailles), au plus minimaliste (pièces de monnaies, anneaux, sceaux) ; du plus singulier (peintures, sculptures, vitraux) au plus ordinaire (épées, crosses, pierres tombales). Cette multiplicité de formes qu’incarnent les instruments de pouvoir offre un large éventail de possibilités de propositions de communication, touchant tous les domaines d’étude.

En fonction de leur discipline et de leurs thématiques de recherche, les intervenants sont invités à exposer leurs conceptions et usages des instruments de pouvoir. Ils auront, en outre, l’opportunité d’échanger avec des chercheurs issus d’autres spécialités, afin que chacun puisse enrichir ses réflexions méthodologiques et développer ses connaissances.

Comité scientifique

Martin Aurell (Professeur d’Histoire médiévale)

Nadine Dieudonné-Glad (Professeure d’Archéologie antique)

Laurent Hablot (Maître de conférence en Histoire médiévale)

Estelle Ingrand-Varenne (Ingénieure d’études au CNRS, Histoire médiévale)

Yves Lafond (Professeur d’Histoire grecque)

Vincent Michel (Maître de conférences en Histoire de l’art et Archéologie antique)

Nicolas Prouteau (Maître de conférences en Archéologie médiévale)

Ghislaine Stouder (Maître de conférence en Histoire romaine)

 

Call for papers: International Medieval Congress, Leeds 4-­7 July 2016

INTERNATIONAL MEDIEVAL CONGRESS, LEEDS 4-­7 JULY 2016
CALL FOR PAPERS

Stylus as a Paint Brush – Writing and Artistic Creation

(sixth to ninth centuries)

Two sessions convened by Vincent Debiais and Francesca Dell’Acqua

By involving scholars from various disciplines, these two sessions will explore: 1) the ability of late antique and medieval authors to create images throughout their written words, blurring the borders
between visual and literary arts; 2) investigate how the written and oral dissemination of textual imagery interacted with the conception, production, and perception of visual arts in the same period.

Using their stylus as a painting brush, late antique and medieval authors composed texts in which the arrangement of words and the display of rhetorical devices transformed words in literary images/icons, making them part of a wider visual culture. Works of art described or evoked might have existed in their “physical” dimension, but, most of the time, textual imagery remained “literary works of art” in a poetic space of creation, a fiction of shapes and
colors, depicted or shaped under the readers’ eyes.

Not willing to rely on the common assumption that inspiration, creation, and innovation are no more separate than the realms of
literature and visual arts, and expanding the common assumption of “texts influencing visual arts,” the two sessions will reconsider aim at
reconsidering the elaboration of textual and physical images/icons
through the written circulation of text  among the literate, and the oral circulation of liturgical or poetic texts among a wider audience.
In fact, what usually escapes the attention of scholars is how the oral
transmission of texts eventually influenced visual culture, specific “mental visions” of art patrons and artisans, and the imagery produced by the latter. Therefore the relation between text and image – one of the oldest issues in art history – needs to be broken into a more complex sequence of: literary and theological tradition –
current circumstances (theological debate, political situation, current mentality) – production of texts – written transmission of texts – verbal transmission of texts – reception of texts – consequent shaping of religious and lay mentality and mental imagery – shaping of visual imagery.

Through case-­studies, these sessions will consider the “visual” dimension of late antique and early medieval texts, and will help understand how the circulation of ideas and mental images among writers and artists shaped the representation of certain subjects in lay and religious art. Connecting textual and visual works of art, this
workshop offers an opportunity to take a broad look at the notion of
“creation”.

Proposals (300 words) and CV must be sent by September 20th 2015 to Francesca Dell’Acqua [dellacquaf@gmail.com] and Vincent Debiais [vincent.debiais@univ-­poitiers.fr].

Keywords: Iconic mentality; visual rhetoric; mental images; textual images; liturgical texts; narrative texts; poetry; late antique to Carolingian/middle Byzantine period.

Call for contribution – IMC Leeds 2016

Call for contribution – IMC Leeds,  july 4-7, 2016

Deadline: 15 September 2015

The Monastic Refectory and Spiritual Food

 The CESCM (University of Poitiers and CNRS) will sponsor three sessions that explore topics dealing with “The Monastic Refectory and Spiritual Food” for the International Medieval Congress 2016 in Leeds (UK).

The theme for the IMC Leeds 2016, “Food, Feast and Famine,” presents an opportunity to explore the relationship between monastic refectories and food. At the heart of communal life, the refectory was an area where monks gathered, nourished their bodies but also strengthened their soul.

How did bells, silence, readings, prayers, refectory decorations such as paintings, sculpture and inscriptions, and ritual work together to sanctify the monastic meal? What were the links between the communal dining room and the church, the place of the Eucharistic celebration and the prefiguration of the Celestial banquet? How did each monastery build, decorate and conceive of its refectory in this aim? Did the relationship between communal repasts and spiritual nourishment in monastic life have echoes in the community of canons, lay society or in chivalry? Art historic, archeological, epigraphic, historic and literary approaches are welcome.

  • Submission guidelines:

Proposals (title and abstract) are due by September, 15th to:

– Martin Aurell (martin.aurell@univ-poitiers.fr),

– Pascale Brudy (pascale.brudy@univ-poitiers.fr)

– and Estelle Ingrand-Varenne (estelle.ingrand.varenne@univ-poitiers.fr).

Proposals will be evaluated by CESCM’s members. Papers may be published after the IMC in the Cahiers de civilisation médiévale.

  • Key-Words: Monasticism; Religious Life; Art History; Archaeology.
  • Websites:

CESCM – http://cescm.labo.univ-poitiers.fr/

Carnets du CESCM – http://cescm.hypotheses.org/

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Call for papers : International Congress on Medieval Studies Kalamazoo (USA) – May 12-15, 2016

Call for papers

International Congress on Medieval Studies

Kalamazoo (USA) – May 12-15, 2016

Writers as Builders

Alcuinus and the Carolingian Monumental Poetry
Medieval Ekphrasis, between East and West, Antiquity and Modernity

 

The sessions would like to explore the formal connections between the poetic production of medieval writers and the works of art they describe, evoke or invent in these texts.

The academic separations of visual studies from the textual ones have been erasing for many years the relationship existing between the two kinds of com-position. From the 5th to the end of the 12th century, from Paulinus of Nola to Baudri of Bourgueil, a rich corpus of these texts has been composed by some of the most prestigious writers of their time and stages some of the richest works of art from medieval Europe: the wall paintings in St Gall abbey and Mainz cathedral, the Bayeux tapestry, the stained glasses in St Denis basilica…

They often use epigraphic forms whether they were supposed to be inscribed in the churches or on the artifacts or not; they display the formal features of the Latin titulus, with dense and elliptical verse constructions and a vivid and visual vocabulary. If the form, topic, and length of the poems are different from one author to another, their use of common rhetorical displays and their constant attention to the sensorial and aesthetic values of the objects and images they describe, or evoke, establish this production as a true “literary genre” in which the poet acts as if he also was an architect, a painter, a sculptor… This production draws from the Antique and Late Antique tradition of ekphrasis and periegesis, but it has been inventing and creating its own literary tools and images to make the reader of the poem be a spectator of the work of art described in the verses.

The sessions would like to explore two different aspects of this corpus, focusing on:

1) in the Carolingian period, because of the scale and influence of the poetical production by Alcuinus, Rabanus Mauro, Micon of St Riquier, Walafrid Strabo;

2) in the common features of this production throughout the Middle Ages from East to West, and in the way they can reveal a “medieval originality” in the practice of ekphrasis.

Because the poets and their texts have been blurring the distinction between what is written and what is built or painted, these sessions equally invite philologists, art historians, historians, epigraphers, in order to focus on the medieval creativity wherever it appears.

Proposals and abstracts must be sent before
September 8th, 2015
Vincent Debiais,
Centre d’études supérieures de civilisation médiévale – CESCM (Poitiers, France) : vincent.debiais@univ-poitiers.fr

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