Tag Archives: CFP

CfP: Association of Art Historians 2017

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AAH2017 

43rd Annual Conference and Art Book Fair

Loughborough University

6 – 8 April 2017

Deadline for Proposals: 7 November 2016

 

AAH2017’s Call for Papers includes two sessions of interest to RIN’s members, readers and followers:

 

Prints in Books: the materiality, art history and collection of illustrations

Convenor: Elizabeth Savage, Cambridge University, leu21@cam.ac.uk

 

Speculative Libraries

Convenor: Nick Thurston, University of Leeds, n.thurston@leeds.ac.uk

 

Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeks.

 

CFP: “Tracing Types: Comparative Analyses of Literary and Visual Sketches (1830-1860)”, Ghent University Belgium, 3-4 June 2016.

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“Tracing Types: Comparative Analyses of Literary and Visual Sketches (1830-1860)”, Ghent University Belgium, 3-4 June 2016.

Deadline for abstracts: October 1, 2015

In the wake of the pioneering work of Nathalie Preiss and Martina Lauster, a new wave of scholarship has emerged in recent years, which examines nineteenth-century sketches (sometimes referred to as ‘panoramic literature’) from a transnational perspective.

Two recent examples of this interest are the special issue of Interférences littéraires, “Croqués par eux-mêmes. La société à l’épreuve du panoramique” (2012), directed by Nathalie Preiss and Valérie Stiénon, and the recent NYU conference “Dissecting Society: Periodical Literature and Social Observation (1830-1850)” (March 2015), organized by Christiane Schwab and Ana Peñas Ruiz.

The present call for papers seeks to continue this comparative reflection by placing the spotlight on the comparative analysis of texts and images of specific types and by tracing how these representations vary across sketches from different places, media and editorial contexts.

We welcome presentations that address the following types of questions:

– How do the representations and definitions of a type (or group of related types) vary from one national context to another?
– How do different collections, periodicals or editorial contexts inflect a type in different ways?
– How do visual representations of a type differ from one another or from literary representations of the same figure?
– How does the type transform as it is taken up in other genres, registers or types of discourse?
– Does the type exist in a system? Does it belong to a collection or series of types and if so, how does it relate to or interact with other types in the system? How do different collections position the type within their systems?
In short, we invite each participant to choose a type (or group of related types) and to trace how it shifts or remains the same across different contexts and in relation to different co-texts. Presentations that explore less known types are particularly welcome.

The long term goal of this project is to publish an edited volume exploring these issues. It is our hope that the combined insights of the seminar will allow us to draw a series of general reflections about how portrayals of types shift across contexts, borders and media.

We would like to invite expressions of interest in the form of a short abstract (of around 300 words in English or French) describing your idea. Please submit your idea to Leonoor Kuijk at l.kuijk@ugent.be by October 1, 2015.

http://www.tracingtypes.ugent.be/

Organizers: Leonoor Kuijk, Elizabeth Amann and Marianne Van Remoortel (Ghent University), Valérie Stiénon (Université Paris 13)

Thoughts wanted: Eighteenth-Century Book Illustration Reader

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From Dr. Christina Ionescu, Associate Professor Modern Languages and Literatures, Mount Allison University:

Dear colleagues,

Leigh G. Dillard and I are engaged in the planning stages of a reader on eighteenth-century book illustration that would encompass various traditions (English, French, German, Spanish, etc.). In order to best position the reader, we would be most grateful if those of you who work on book illustration (and perhaps also teach courses on the subject) could provide some feedback on our preliminary ideas.

You could write to us directly (cionescu@mta.ca and Leigh.Dillard@ung.edu) and we will compile a report for the SHARP list.

1) Would you use such a reader in a course? What type of course would you consider using it in? Would your library be interested in purchasing it?

2) Do you have any suggestions about its contents? Any specific texts that you believe should be included? Any translations of seminal texts that we should commission?

This is what is currently on our list:

i) some relevant excerpts from nineteenth-century texts (Dibdin, the Goncourt brothers, etc.)

ii) some reprints/translations of key chapters from important 1980s/1990s studies on eighteenth-century book illustration (Hodnett, Ph. Stewart, etc.)

iii) theoretical approaches to book illustration as it pertains to the chosen timeframe (e.g. book illustration and word and image, book illustration and book history, book illustration and visual culture, etc.)

iv) the mechanics of book illustration (etching, woodcut, copperplate engraving, frontispieces, colour plates, etc.)

v) illustrators (Stothard, Marillier, Chodowiecki, Gravelot, Hogarth, Cochin, etc.)

vi) genres (illustrated travelogues, gothic novels, sentimental fiction, erotica, etc.)

vii) examples of eighteenth-century illustrated bestsellers (The Sentimental Journey, La Nouvelle Héloïse, etc.)

viii) overviews by geographical region (illustration in England, France, Spain, etc.)

3) Would you be interested in contributing a chapter? (The deadline for submission of chapters will likely be December 2016.)

Many thanks,
Christina and Leigh

CFP: ‘Romanticism and the Arts’ SAMLA, Durham, North Carolina, USA (13-15 Nov. 2015)

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Call for Papers
‘Romanticism and the Arts’
an affiliated session of the Keats-Shelley Association of America South Atlantic Modern Language Association Conference
Durham, North Carolina, USA (13-15 Nov. 2015)
Deadline: 15 May 2015

This panel seeks papers related to second-generation Romantic-era British writers and/or their literary circles, so proposals addressing the works of John Keats, Percy and Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt will receive priority. Proposals that engage with the conference theme (“In Concert: Literature and the Other Arts”) are especially welcome. Subjects to be considered might include (but are not limited to) Romantic literature in relation to music, concerts, songs, painting, engravings, caricatures, drawings, panoramas, book arts, calligraphy, dance, theatre, opera, architecture, sculpture, china, pottery, ceramics, textiles, and, in later contexts, electronic art, film, and photography.

Please send a 250-word abstract, bio or CV (one page only), and audio-visual requests to Ben P. Robertson, Troy University, (bprobertson@troy.edu) by 15 May 2015.

CFP: RIN panel at Romantic Imprints, BARS’ 2015 International Conference

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Romantic-Imprints-image The deadline for submission of abstracts to the RIN panel at BARS 2015 approaches: February 15th.

 

 

Of particular interest for RIN members is the RIN panel ‘Romantic Illustration’: see the panels page on the BARS 2015 website here.

The full CFP is below:

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2nd Call for Papers: Romantic Imprints

British Association for Romantic Studies, 14th International Conference

Cardiff University, 16–19 July 2015

Proposals are invited for the 2015 British Association for Romantic Studies international conference which will be held at Cardiff University, Wales (UK) on 16–19 July 2015. The theme of the interdisciplinary conference is Romantic Imprints, broadly understood to include the various literary, cultural, historical and political manifestations of Romantic print culture across Europe, the Americas and the rest of the world. Our focus will fall on the ways in which the culture of the period was conscious of itself as functioning within and through, or as opposed to, the medium of print. The conference location in the Welsh capital provides a special opportunity to foreground the Welsh inflections of Romanticism within the remit of the conference’s wider theme. The two-hundredth anniversary of Waterloo also brings with it the chance of thinking about how Waterloo was represented within and beyond print.

The confirmed keynote speakers for Romantic Imprints will be John Barrell (Queen Mary, London), James Chandler (Chicago), Claire Connolly (Cork), Peter Garside (Edinburgh) and Devoney Looser (Arizona State).

The conference is open to various forms of format:  we encourage proposals for special open-call sessions and for themed panels of invited speakers as well as individual proposals for the traditional 20-minute paper. Subjects covered might include:

  • Nation and print: the British archipelago; cities of print; transatlantic and transnational exchanges; Romantic cosmopolitanism and print; translation; landscape and/in print; Wales and its Romantic contexts; national (especially Welsh) patterns of influence and exchange in the international context.
  • Producing and consuming print: Romantic readerships; publishers; circu­lating print; legislation, copyright and print; technologies of print; plagiarism, forgery and piracy; popular and subaltern cultures of print; periodicals and journalism; gender and genre; print as new and old, ephemeral and collectable objects; print beyond reading (paper money, cards, etc.); the fate of print as ‘rubbish’.
  • Intertextual exchanges: politics and print (e.g. revolution and radicalism, war, Napoleon, Waterloo); satire and parody; science and print culture; performance and print; Romantic visual cultures (including art and illustration); representations of print and printing; fashion; adaptation and remediation; the Romantic essay; print and its others – epitaphs, manuscripts, marginalia, etc.; print and imprint as Romantic metaphor or ideology; popular pastimes.
  • Textual scholarship: editing texts; bibliography and book history; manuscripts, correspondence and diaries; analysis and quantification; digital humanities.
  • Romantic legacies: physical traces and imprints; architecture; Romantic anti­quarianism; Victorian Romanticism; Romanticism and modernity; Romanticism and new media; Romantic biography; lives in print; Romantic afterlives; celebrity and print; adapting the Romantics (film, art, literature).

Format of conference proposals

  • Traditional 20-minute paper proposals (250-word abstracts), submitted individually.
  • Poster presentations showcasing innovative projects or digital outputs (250-word abstracts), submitted individually.
  • Proposals for open-call sessions (350-word descriptions of potential session, outlining its importance and relevance to the conference theme). Accepted open-call sessions will be advertised on the BARS 2015 conference website from mid-January 2015. Please note: the deadline for submission of open-call panels has now expired.
  • Proposals for themed panels of three 20-minute or four 15-minute papers (250-word abstracts for each paper with speakers’ details and an outline of the panel’s rationale from the proposer).

Extended deadline for submission of abstracts: 15 February 2015. Submissions can comprise proposals for individual papers, poster presentations and submissions to open-call panels (which will be published online from mid-January 2015). If you are applying to an open-call session, you should include the name of the session on your proposal.

All proposals should include your name, academic affiliation (if any), preferred email address and a biography of 100 words. Please send proposals and direct enquiries to the BARS 2015 conference organisers, Anthony Mandal and Jane Moore (Cardiff University) at BARS2015@cardiff.ac.uk.

For the latest updates about the conference, follow us on Twitter @2015BARS and join our Facebook group at https://www.facebook.com/groups/BARS2015/.

CFP: The Romantic Eye (Yale, 17-18 April 2015)

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Please see below for a Call for Papers for an exciting-sounding symposium on the Romantic Eye at Yale this April.  The organisers are particularly keen to secure contributions from early career scholars (including people working on their doctorates).  Flights and accommodation will be provided for those invited to speak, so if you’re working on a topic in this area, this could be a really great opportunity.

(Taken from the BARS blog)

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The Romantic Eye, 1760–1860 and Beyond
April 17, 2015-April 18, 2015
Yale University
Yale-Conference-300x222

This symposium examines Romanticism as a shape-shifting cultural phenomenon that resists easy categorization. Focusing on the period from 1760 to 1860, the symposium embraces the amorphousness that has been ascribed to Romanticism historically by eschewing any limiting definition of it, seeking instead to explore the broad range of art and visual culture characterized as “Romantic” during this hundred-year span. We are interested in what the Romantic “eye” pursued and perceived, and how it set itself the task of recording those perceptions. In addition to interrogations of the relationship between the visual arts and Romanticism, we welcome papers on writers, composers, scientists, and philosophers whose projects engaged the visual. Papers also are sought for a special panel that will address the legacies of Romanticism in contemporary art.

This symposium coincides with a major collaborative exhibition organized by the Yale Center for British Art and the Yale University Art Gallery, The Critique of Reason: Romantic Art, 1760–1860, which opens March 6, 2015. The exhibition comprises more than three hundred paintings, sculptures, medals, watercolors, drawings, prints, and photographs by such iconic artists as William Blake, John Constable, Honoré Daumier, David d’Angers, Eugène Delacroix, Henry Fuseli, Théodore Géricault, Francisco de Goya, John Martin, and J. M. W. Turner. Talks that respond explicitly to works in the collections of the Yale Center for British Art or the Yale University Art Gallery are particularly encouraged, as are cross-disciplinary and comparative studies.

We are seeking presentations of thirty minutes in length. Graduate students and early career scholars are particularly encouraged to apply. Travel and accommodation costs will be covered by the organizers. Please e-mail abstracts of no more than three hundred words and a short CV or bio (no more than two pages) by February 2, 2015, to romanticism2015@gmail.com.

The symposium is cosponsored by the Department of the History of Art at Yale University, the Yale Center for British Art, the Yale University Art Gallery, and the Yale Student Colloquia Fund.

CFA: ‘Illustration and Gender’

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Dear Colleagues,

As you wrap up the end of your semester and look forward to the spring, I hope you will consider submitting an article to the Summer 2015 special issue of Nineteenth-Century Gender Studies on the topic of “Illustration and Gender.” We welcome articles of 5,000-8,000 words reflecting interdisciplinary approaches and international perspectives on illustration and gender studies. NCGS endorses a broad definition of gender studies, and we welcome submissions that consider nineteenth-century illustration and gender and sexuality in conjunction with race, class, place and nationality. The submission deadline for complete articles is March 15, 2015 (earlier submission is encouraged). We hope to address a variety of possible topics including but not limited to:

Studies of female illustrators of the nineteenth century

Critical histories of illustrators marked by gender and sexuality

Depictions of gender, race, sexuality, and/or class in illustrated literary works

Depictions of gender, race, sexuality, and/or class in illustrated advertisements

Illustration and gender in periodical publications

Illustration and gender in the novel

Illustration and gender in poetry

Illustration and gender in the fin-de-siècle

The influence of scientific theories and discoveries (phrenology, evolution, ethnography) on illustration and gender

Avenues opened up by the digital humanities for visualizing gender in nineteenth-century culture.

Please adhere to MLA style, using endnotes rather than footnotes, and include a coversheet with your contact information and a short (100-150 word) bio with your article submission. Please contain all identifying information to the coversheet. Feel free contact us at the email addresses listed below with any questions or concerns. You can find more information online at the following link, CFP: Illustration and Gender or please feel free to distribute the CFP to colleagues or graduate students who may be working at the intersections of nineteenth-century illustration and gender studies.

We look forward to reading your submissions!

Dr. Nicole Lobdell, Georgia Institute of Technology, nicole.lobdell@lmc.gatech.edu

Kate Holterhoff, Carnegie Mellon University, kholterh@andrew.cmu.edu

CFP: “Illustration and Gender,” Special Issue of Nineteenth-Century Gender Studies, Deadline: March 15, 2015

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In Reading Victorian Illustration, 1855-1875 (Ashgate 2012), Paul Goldman calls for an “enlargement” of illustration studies; “[t]he breadth and depth of what exists and remains relatively unexplored is staggering” (15). In response to Goldman’s call and the increasing critical interest in nineteenth-century illustration, brought about by better digital access and the digitization of obscure materials, we are devoting the summer 2015 special issue of Nineteenth-Century Gender Studies to the topic “Illustration and Gender.”

The mechanization of print during the nineteenth century led to the proliferation of illustrations that generated cultural and aesthetic ideals and changed social perceptions on issues of identity such as race, nationality, class, and gender. Illustrations filled Victorian print culture, and accompanied novels in both serial and book form. British illustrated newspapers (The Illustrated London News and Illustrated Police News), advertisements (Pear’s Soap), satirical publications (Punch and Fun), and children’s literature, all served to foreground visual culture, ultimately redefining it. The intersection of illustration studies and gender studies occurred not only within the illustrations that accompanied nineteenth-century texts but also outside of them. Although illustrators of the period were largely male, there were several skilled female illustrators including the well-known artists Kate Greenaway and Beatrix Potter, as well as the lesser known Amy Sawyer, Mabel Lucie Attwell, Elinor Darwin, and Edith Holden.

Illustrations are complex and never synesthetic versions of written texts. They adapt texts by including their own content and exist on the unstable ground between written and visual signs. Combining aspects of art history, cultural studies, media studies and print history, illustration studies are innately interdisciplinary and an increasingly influential subset of visual-culture studies. This special issues seeks to advance not only an understanding of the relationships between illustration studies and gender studies but also ways in which digitization, including such resources as NINEs, Google Books, and Internet Archive, have increased both awareness of and access to nineteenth-century illustrations. We welcome articles reflecting interdisciplinary approaches and international perspectives on illustration and gender studies. We hope to address a variety of possible topics including but not limited to:

Studies of female illustrators of the period

Critical histories of illustrators marked by gender and sexuality

Depictions of gender, race, sexuality, and/or class in illustrated literary works

Depictions of gender, race, sexuality, and/or class in illustrated advertisements

Illustration and gender in periodical publications

Illustration and gender in the novel

Illustration and gender in poetry

Illustration and gender in the fin-de-siècle

The influence of scientific theories and discoveries (phrenology, evolution, ethnography) on illustration and gender

Avenues opened up by the digital humanities for visualizing gender in Victorian culture.

Please send articles of 5-8,000 words to both the guest editors, by March 15, 2015 (earlier submission is encouraged). Adhere to MLA style, using endnotes rather than footnotes.

Please include a coversheet that includes your contact information and a short (100-150 word) bio with your article submission. Please contain all identifying information to the coversheet.

Feel free contact us at the email addresses listed below with any questions or concerns.

We look forward to reading your submissions!

Kate Holterhoff, Carnegie Mellon University, kholterh@andrew.cmu.edu

Dr. Nicole Lobdell, Georgia Institute of Technology, nicole.lobdell@lmc.gatech.edu

CFP: ‘Adapted Materials’, Nineteenth-Century Studies Association’s conference in Boston, March 26-28, 2015

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Lissette Szwydky and Marie Léger-St-Jean are seeking papers to round out a panel entitled “Adapted Materials” that includes presentations on theatrical adaptations and serial novels sold in penny numbers. We wish to convey a historical understanding of adaptation in its numerous forms —including illustration— as a popular and profitable cultural practice.
 
We will submit the panel to the Nineteenth-Century Studies Association’s conference in Boston, March 26-28, 2015.
 
Deadline for paper proposals: September 1, 2014
 
Missed the deadline or can’t make it? We’d still like to hear from all those studying the emergence of a global mass multimedia culture in the form of entertainment industries led by commercial interests, so please get in touch!
 

CFP: The Itinerant Illustrator

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JOURNAL OF ILLUSTRATION/ /ILLUSTRATION RESEARCH/ /INDIA 2014

The Itinerant Illustrator

Srishti School of Art, Design and Technology, Bangalore, India

18th and 19th December 2014

Deadline for abstracts: Friday 4th July

The 5th International Illustration Research event joins forces with the peer reviewed Journal of Illustration and is hosted by Srishti School of Art, Design and Technology in Bangalore. The symposium this year will focus on the praxis of illustration in an expanded field, including histories of local/regional illustrative practices and the traversing of diverse media platforms.

Through talks, workshops, performances and exhibited works, we will consider the illustrator in terms of the ‘habitual travelling’ that he or she undertakes. The itinerant nature of the illustrator is evident in the praxis of illustration itself- the oscillation of thought between word and image, page and screen, hand and eye, dream and reality.

Occupying many roles and moving dynamically between them, the itinerant illustrator is an interpreter, a translator, an illuminator, as well as a storyteller, enquirer, performer and a pictorial juggler of ideas. The nomadic nature of the illustrator is to wander between disciplines, search for new contexts and to make images not on one, but several different platforms within an eternal evolution of technologies.

The multi-sited nature of illustration, along with illustrators’ journeys between several positions and places, also involves images that travel. We would like to investigate the fluidity of visual codes and languages, the translations, adaptations and hybrid practices that respond to the movement of cultures within the global village. How are images made and read within shifting regional and trans national contexts? How can we use illustration itself as a methodology to shed light on the praxis of illustration in these multiple contexts?

300 word proposals for 20 minute academic papers and practice based presentations are invited including (but not limited to) the following topics:
◦Illustration within local and hybrid cultures
◦Illustrated Narratives on transnational platforms
◦Image and space – murals, installations and other site-specific images
◦The illustration as palimpsest: reinterpretations of received bodies of knowledge
◦The itinerant storyteller – the book, the scroll, the kaavad
◦Illustration’s relationship to technology
◦Memory and place in illustration practice
◦Illustration as performance and dialogue
◦Local/Regional approaches to illustration practice
◦Post colonialism and illustration
◦The illustrator as tourist within global image culture

Please email abstracts along with your name, affiliation and email address to: Sandeep Chandra Ashwath (sandeep@srishti.ac.in), DesdemonaMcCannon (d.mccannon@mmu.ac.uk), and Anna Bhushan (abhushan@cardiffmet.ac.uk).

Selected papers and presentations will be considered for publication in forthcoming issues of the peer reviewed Journal of Illustration, published by Intellect books.