Arts of China Consortium(formerly Chinese and Japanese Art History WWW Virtual Library) CALLS FOR PAPERS/PARTICIPATION |
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Listings below are organized chronologically by submission deadline; calls with no deadlines are at the bottom of list.
Tate Britain
London, UK
5-6 December 2013
[from H-ARTHIST, 1/17/13]
This conference follows a series of workshops organised by the AHRC-funded research network Internationalism and Cultural Exchange c. 1870-1920. Previous events have explored different aspects of cultural internationalism at the long fin de siècle, from world exhibitions, to the global rise of the vernacular, and the idea of music as a universal language. This conference adapts Benedict Anderson's theory of the nation as an imagined community in order to examine certain questions – about the locations, languages and citizens of an ‘imagined cosmopolis'– which have been fundamental to our enquiry. In particular, it asks what alternatives to nationhood were proposed by artists working at the turn of the twentieth century. What were their sites of operation? How did they use the arts to communicate? And what real and imagined communities did they build to cross national boundaries? The conference will focus on these three themes, of place, language and cosmopolitanism, as they played out during an otherwise intense period of nation-building; and it will examine the methodological implications of cultural internationalism for research, teaching and display in the arts. We invite short papers (15–20 minutes) on topics which may include but are not limited to:
- The fin-de-siècle cosmopolis, real or imagined
- Temporary sites of internationalism: exhibitions, conferences, communes
- Virtual sites: journals and other publications
- The idea of art as a universal language
- Transnational systems of inscription
- Translation between national traditions
- The cosmopolitan individual (celebrity, mediator or misfit)
- Transnational communities and sub-cultures
- International organisations
- Transnational history and the arts: methodological implications for research and teaching
- Transnational history and the gallery: methodological implications for curation
- Why the fin de siècle? 1870–1920 as a distinctive period for cultural internationalism
Please submit proposals for papers (of no more than 400 words) and a short biography by Monday 15th April to iceresearchnetwork@gmail.com.
Joint International Conference: University of Ghent and University of Catania
Ragusa Ibla, Italy
28-29 June 2013
[from H-NET, 2/11/13]
The "Victorian Orientalism(s)" joint international conference between the Centre for the Study of Text and Print Culture at Ghent University (Belgium) and the School of Foreign Languages and Literatures of Ragusa (University of Catania, Italy) aims to discuss the continuing relevance of Edward Said's Orientalism (1978) as a paramount attempt to define the latent and manifest traces of the East in Western literature and culture. Starting with the postulate that all Eastern societies are fundamentally different from one another, "Victorian Orientalism(s)" seeks to explore what Sherry Simon (2000) calls "aesthetics of cultural pluralism," i.e. the many ways in which the Victorians envisioned the East. Drawing examples from material elements of Orientalism – religious texts, exotic tales, Imperial expeditions, colonial conquests, and so forth – this conference invites submissions which explore nineteenth-century modes of art (narrative, poetic and visual) which position themselves as instruments of knowledge of the Orient.
"Victorian Orientalism(s)" is an interdisciplinary conference, which aims to bring together scholars working in a wide range of research areas to explore in depth the many fields of thought covered by the conference theme and to redefine the task of interpreting the East in the new millennium. Papers should deal with one of the following topics:
All abstracts of max. 300 words, along with a brief bio-sketch (max. 60 words), should be sent as Microsoft Word e-mail attachments, at victorianorientalisms@unict.it, by 15 April 2013.
Eleonora Sasso
University of Catania
School of Foreign Languages and Literatures
Via Orfanotrofio, 49
97100 Ragusa Ibla
Italy
Kunsthistorisches Institut in Florenz - Max-Planck-Institut
Florence, Italy
26-28 September 2013
[from H-ARTHIST, 2/24/13]
Organized by the Max Planck Research Group "Objects in the Contact Zone - The Cross-Cultural Lives of Things" directed by Eva-Maria Troelenberg
Scholars normally consider the institution of the museum to have arisen in Europe. Historians have traced its origin back to the collections of the Renaissance princes and the "cabinets of curiosity," the "Kunstkammern" and "Wunderkammern," literally art chambers and wonder chambers, of sixteenth and seventeenth-century Western Europe. From their initial establishment until today, museums have become increasingly elaborate institutions, the purpose of which is not simply to exhibit collections of beautiful artefacts, but also to become a social agency able to interact with a different kind of public. In particular, in recent years, it seems as though "the museum" has become a geographically universal or "global" institution. At the same time, museum discourses are almost inevitably entangled with political questions, implying definitions of cultural values and privileges of interpretation.
Since the early 1990s, the emerging field of museum studies has seen rapid expansion in the critical study of museums. New Museology started to question the institution and its functions. Anthropological approaches to the object, theories on the aesthetics of perception or "Bildakt" have affected our ideas of the artwork. The current museum boom and the ensuing new wave of historiographical and theoretical writing on museums have on the one hand addressed notions of "the museum" as a temple, a cultural storage or even a universal symbol of enlightenment. On the other hand, more pro-active postmodern approaches work with concepts of the museum as a forum, a place of participation, but also as a machine or even a brand.
The changes in the museums' functions have largely been documented and represented through a variety of tools, both literally and figuratively: pictures, photographs, popular books, video, film, etc… These images not only passively constructed the public's idea of the museum but also play an active role in our understanding of the institution.
To contribute differentiated viewpoints to the currently evolving metadiscourse on the museum, this conference seeks to investigate how the institution of the museum has been visualized and translated into different kinds of images (the term "image" being applied both literally and figuratively) and how these images have affected our perception of these institutions. The images could be the result of the encounter between Western paradigms and alternative models of relating to art and of producing and promoting culture. Our aim therefore is to discuss a wide range of historical and present-day 'images' of art and archaeology museums in Western and non-Western societies.
Papers may address one of the following or related topics:
- Artistic representations of the art museum.
- Museum transfiguration/idealisation vs. museum critique and polemics, also as expressed in art, cinema or literature.
- Reception of the images of the art museum: how does the image of the museum influence the public's perception?
- Museums as topographical and/or cultural landmarks.
- The museum as a building and the museum as a canon: relations between space and artwork and its consequences for the image of the institution.
- The musealisation of public or private spaces: how does the presence of important artworks affect the perception of a place?
- Media Representations of the Museums: from the "Musée Imaginaire" to the web 2.0?
- Cross-cultural importations and exportations of museum concepts, artworks, and narratives.
The purpose of this multidisciplinary and international conference is to give scholars from various backgrounds and geographical areas working on the topic of museums an opportunity to meet and discuss ideas.
We will help participants with travel and accommodation expenses.
Applications should include a one-page CV and a 300-word abstract for a 25-minute presentation in English, Italian or German and should be sent to melania.savino@khi.fi.it no later than 15 April 2013.
Sri Lanka Foundation Institute
Colombo, Sri Lanka
21-23 August 2013
[courtesy of A Manatunga, 4/16/13]
The Centre for Asian Studies of the University of Kelaniya is pleased to announce the "International Conference on Asian Art, Culture and Heritage" organized in collaboration with the International Association for Asian Heritage (IAAH) and the Ministry of Culture and the Arts, which will be held from 21st to 23rd of August 2013 at the Sri Lanka Foundation Institute, Colombo, Sri Lanka. All interested academics are invited hereby to submit the abstracts of their research papers on or before 20th April 2013 on the following themes to be considered for presentation at the conference.
1. Recent studies in Archaeology
2. New perspectives in History
3. Trends in Heritage Management, Museology and Tourism
4. Critical studies in Religion, Language and Literature
5. Aspects on Arts, Culture and Society
The abstracts should be between 250-500 words in font size 12 Times New Roman and should contain the title of the paper, name of the author, the text and a few keywords. A brief CV not exceeding one page including educational qualifications and institutional affiliations should also be sent along with the abstract.
Abstracts and all other correspondence should be channelled through iaahlanka@yahoo.com which is exclusive for this conference. Acceptance of abstracts will be notified case by case till 10th May 2013. Full papers of the accepted abstracts are required on or before 15th June to be considered for publishing.
All participants should be registered before attending the conference by paying the registration fee according to the category they belong to. Registration fee includes the conference kit, food and beverages during the conference.
Students: Rs. 500, $20 (South Asians), $30 (non-South Asians)
IAAH Members: Rs. 1000, $50 (South Asians), $100 (non-South Asians)
Others: Rs. 2500, $100 (South Asians), $150 (non-South Asians)
Basic accommodation will be provided for foreign students and IAAH members. Request for accommodation for other participants may be considered according to the availability of hostel facilities at the Sri Lanka Foundation where the conference will be held. Accommodation will be arranged on first come first served basis and therefore payment of the registration fee at the earliest is encouraged to secure accommodation.
All foreign Participants are invited to attend the Post Conference Tour to the historic city of Galle on the final day of the conference. The Galle Fort is the best preserved Dutch Fort in Asia and a good example of living heritage site in the country. An additional fee of $15 from students and $30 from others will be charged for the tour.
Anura Manatunga
Director/ Centre for Asian Studies
University of Kelaniya
Sri Lanka
69th Annual Meeting
University of North Carolina at Greensboro
30 October - 2 November 2013
[from H-ASIA, 2/14/13, and SECAC, 4/17/13; panels of potential interest to China and Japan art historians listed below]
A list of available sessions can be found here: https://secac.memberclicks.net/assets/documents/secac/conference/secac_2013_call_for_papers.pdf. Deadline for paper proposals: April 20, 2013, midnight, EDT. This is a firm deadline.
Avenge Me!: Expressions of Vengeance and Retribution
Session chair: Meredith Bagby Fettes (University of Arkansas at Little Rock)
"If you wrong us, shall we not revenge?," queries Shakespeare's Shylock, affirming the human impulse for
retaliation. This session's topics might include divine retribution in the mode of Zeus or the Christian God, angry
but doomed vengeance such as that exhibited by Hamlet or Achilles, or artists whose work is retaliatory in nature,
such as provocateur-cum-activist Ai Weiwei. This session invites presenters from all academic backgrounds with
proposals related to the themes of vengeance and/or retribution.
Reciprocal Exchanges: Regionalisms and Modernisms in Dialogue
Session chairs: Shannon
Connelly (Rutgers University) and Mary Manning (Rutgers University)
Recently, art historians have zealously endeavored to decenter or re-center formulations of modernisms (or
Modernisms) away from the dominant urban centers of Paris, Berlin, London, and New York and toward artistic
activities in more peripheral locations. Though exploring the native milieux of various modern artists has
illuminated the significance of regional academic traditions and aesthetic preferences, as well as historical
contingencies of place and geography, these studies have often privileged analysis of these peripheral
circumstances over creating dialogue with the narratives of modernism that still prevail within much of art history.
In contrast, this session will explore how considerations of "periphery" inform those of "center," and vice versa,
asserting that neither alone may sufficiently address the influences and outputs in these projects of scholarly recentering. Possible paper topics may include secessionist challenges to regional academies in Europe, educational
opportunities or exhibitions complementing or extending those of hegemonic institutions, geographically decentered iterations of modernist movements in dialogue with their metropolitan counterparts, or individual artists
who moved between regions as their careers progressed. Preference will be given to projects that address art
created or displayed between 1850 and 1950 and embrace interdisciplinary methodologies.
Eclecticism, Appropriation, Forgery: Issues of Borrowing in Art
Session chair: Betty Crouther (University of Mississippi)
Eclecticism, the act of deliberate, conscious borrowing from the works of another, has been practiced since
ancient Greece. It was standard practice in European academies where artists borrowed from Greeks, Romans,
and Renaissance masters to develop their craft. Appropriation, taking and using another's imagery without
permission, is often practiced and much debated in the digital age. Despite copyright and trademark protection,
appropriation is viewed by some as a right, by others as mere theft. Modern and contemporary artists have
appropriated freely elements of folk and non-western cultures to inspire innovation in their works. Forgers assume
the identity of another for profit. Even when prosecuted, some defend the practice for expanding the number of
originals available to the public. Some forgers use the exposure to launch legitimate careers as artists in their own
right. This panel invites papers on borrowing of all sorts. It seeks to investigate how the phenomenon has been
manifest in art and culture.
"Eew, gross!" Disgust in Art since the 1960s
Session chair: Anja Foerschner (Getty Research Institute)
Even though the emotion of disgust, which is one of the most intriguing and socially significant emotions of
humans, has become an integral part of the arts over the past decades, it has stayed remarkably absent from art
historical, philosophical or pedagogical discourse. As a countercultural aesthetic practice, an instrument of social
or political criticism, a medium to question concepts of social or gender roles and identities, disgust in art is a
difficult, yet important topic that calls for closer examination. Therefore, this panel aims at exploring the emotion
of disgust in art since the 1960s and invites papers from a variety of disciplines and cultural angles that investigate
topics like different forms of disgust in art, meanings and functions, triggers and significance of disgust in art in
relation to a respective cultural and social environment, or the special situation that disgusting art creates with
regard to its reception.
Damaged, Destroyed, and Disappeared: The Scholarship of Lost Art
Session chairs: Andrew Hottle (Rowan University) and Leanne Zalewski (Randolph College)
Research in the history of art often necessitates the study of objects that have been damaged, altered, destroyed,
stolen, or otherwise lost. This panel seeks to examine the difficulties encountered when researching damaged or
lost art. Although art historians generally recognize the limitations of studying such works, how--and how
accurately--can these limitations be overcome? Should lost or damaged works receive less scholarly weight
because they cannot be studied first-hand? Papers from all periods are encouraged. Of particular interest are
papers that address the problem of using photographs, documents, or fragments to assess, reconstruct, or
contextualize lost or damaged works.
Master and Pupil
Session chair: Vida Hull (East Tennessee State University)
Papers are invited that examine any aspect of the relationship between master and pupil from any historical
period, such as guild regulations and training, influence and dependency in the art, or the process of developing
independence and artistic autonomy. This includes investigations of workshop practices and the emergence of
artistic education from workshop to studio practice as guild-dominated instruction wanes. Studies of the
relationships between specific artists, including both well-known and anonymous or minor artists, are encouraged,
as are papers that examine and critique evidence of workshop practice.
Art to Heal the Sick
Session chair: Bonnie Kutbay (Mansfield University of Pennsylvania)
Since ancient times mankind has created sacred art and architecture to heal the sick and comfort the dying. The
Greeks and Romans sought healing in the temples and sanctuaries of the god Asklepios. Medieval churches were
filled with images of venerated saints associated with miraculous cures. Pilgrims journeyed great distances to view
and touch holy relics purported to heal. The social affects of the plague during the Medieval, Renaissance and
Baroque eras produced images that offered hope for healing. Manuscripts, altarpieces, and other forms of art
chronicle the terror and hope that gripped the afflicted seeking relief from impending death. This session will
address art or architecture from any period that was created for the purpose of healing the sick or comforting the
dying.
Stories about Artists
Session chair: Norman Land (University of Missouri-Columbia)
Abstract: Papers for this session should deal with stories about artists from antiguity to the present. The stories
may be fictional or they may reflect an actual event.
Art and International Relations in the Twentieth Century
Session chair: Jennifer McComas (Indiana University)
This panel seeks to deepen our understanding of the interplay between visual art and international relations in the
twentieth century. The twentieth century saw the tremendous growth of World's Fairs and Biennales, the
politicization of art by totalitarian governments, and of course, the cultural Cold War. Internationally oriented
initiatives ranged from the successful (i.e., the Museum of Modern Art's 1958 abstract expressionist exhibition The
New American Painting) to the disastrous (the State Department's touring exhibition of 1946-47, Advancing
American Art, which was deemed "communist" by some politicians). How did governments, museums, and art
organizations work together (or separately) to spread political propaganda, disseminate their cultural views, or
work towards international understanding? What types of controversies or problems did they encounter? How did
exhibitions or other art-related initiatives function as forms of cultural diplomacy around the world? What types or
styles of art were selected for these endeavors? What was the reception of this art by various populations? While
the United States was a major player in international artistic endeavors, papers exploring the activities of other
nations are especially encouraged. However, this panel welcomes papers addressing any aspect of this topic during
any part of the twentieth century.
FOCUS: Revealing a Single Work
Session chairs: Arthur Marks (University of North Carolina at Chapel Hill) and James Boyles (North Carolina State
University)
Papers are sought that focus on disclosing some dimension(s) of a SINGLE work of art produced since 1700. No
medium is excluded and all revealing approaches are encouraged.
Photographing the Body
Session chair: Ann Millett-Gallant (University of North Carolina at Greensboro)
Since its inception, photography has focused on the human body, by assessing, classifying, diagnosing,
memorializing, documenting, advertising, representing, and performing human subjects and their personal and
social identities. The camera has also become a tool for deconstructing its own constructions, by challenging social
categories for bodies and the conventions of visual culture for portraying them.
This panel with explore multiple genres for and the consequences of photographing the human body. Papers are
welcome about subjects from any time period and of any form of visual culture, yet presentations that cross and
challenge traditional categories are preferable. This panel aims to explore race, class, gender, sexuality, and
disability, and interactions between these identities, through the photographic lens.
Typecasting in Art
Session chair: Mey-Yen Moriuchi (Saint Joseph's University)
This session will explore how the human desire to create stereotypes impacts art and contributes to identity
formation, (gender, racial and social). Typecasting, a means of creating stock characters that could be used and
reused to represent certain personality traits, behaviors, races, occupations and/or social classes has been
prevalent in various artistic and literary genres. These popular types tend to be distinguishable by their dress,
facial expressions, bodily gestures and poses, accessories and setting, and acute realism and attention to detail
characterizes this artistic production. Notably, there is a tension between being both the same and different, that
is being universally applicable and uniform to be "typical," at the same time as being particular enough in order to
claim uniqueness.
Typecasting is a persistent cultural practice. In many countries and cultures, popular types are symbolically
charged and directly associated with nationalism, in addition to reflecting and shaping beliefs about gender
identity. This session seeks papers that examine issues of typecasting in art, historically, theoretically and/or crossculturally. Topics might include: appropriation and/or rejection of stereotypes in art; development/impact of
certain racial and social popular types; ties to nationalism and national identity; gendered discourses and
perceptions of masculinity and femininity.
Contemporary Chinese Political Art: Using Western Values in an Eastern Culture
Session chair: Lai Orenduff (Valdosta State University)
Ai Weiwei is the leading artist from the Peoples' Republic of China to openly confront the Government, and both
his art and his political activism have brought him worldwide fame. His protégé, Zhao Zhao, and others are now
engaging in overt political art. Despite the shutting down of his website, the bulldozing of his studio and his arrest
and confinement, Ai says he wants to remain in China. Yet his political art seems strongly western, perhaps created
"or at least influenced" by the twelve years he spent in New York (1981-1993) during which he became a fan of
Marcel Duchamp and his iconic ready-made Fountain. When Ai returned to China, he became interested in
traditional crafts that had been wiped out by the now infamous Cultural Revolution. He painted Western
trademarks (e.g. the Coca-Cola logo) on traditional Chinese vases and had artisans assemble craft pieces into
sculptures that came to be known as "ancient ready-mades." This session will investigate to what extent Ai is
building on the legacy of Western artists such as Kollwitz and Daumier and whether his interplay between Western
and Eastern arts and ideas is the engine that powers Ai's ability to defy China's rulers and capture the imagination
of thinkers worldwide. Ai said, "The art always wins. Anything can happen to me, but the art will stay." Is he
correct? And if his art and the art of his followers does stay will it be because of their political activism, creative
genius or both?
Censorship's Windfalls: Learning from David Wojnarowicz
Session chair: Mysoon Rizk (University of Toledo)
Contemporary artist David Wojnarowicz inspired this session. Subject to frequent censorship during his lifetime,
his work continued being targeted after he died in 1992, at age thirty-seven of AIDS-related illnesses. Nearly each
time, censoring efforts ultimately brought the artist and his concerns greater attention. Perhaps most notorious
was the Smithsonian Institution's 2010 excision of his 1986-87 Super-8 film, A Fire in My Belly, from the exhibition
Hide/Seek: Difference and Desire in American Portraiture. The recent incident heightened recognition of the artist,
expanding his representation in the art historical record. It also inspired numerous institutional responses:
increasing public discussion, modeling better exhibition practices, and forestalling further suppressions. The
session invites papers on censorship's beneficial dynamics, including when efforts to "disappear" works of art
stimulate not only further exposure of the very works but also alternative approaches. Papers may address any era
of art history though examples from the modern and contemporary periods are particularly encouraged, as would
be analysis of censorship's unintended productivities and democratizing outcomes.
ParaFiction and ParaFact: The Space Between
Session chairs: Monica Steinberg (The Graduate Center, CUNY) and Andrianna Campbell (The Graduate Center,
CUNY)
This session addresses the complex intersection of artistic practice and "parafiction," a term offered by Carrie
Lambert-Beatty to discuss projects that call attention to, play with, and function in the gray area between fact and
fiction. Much recent work has explored and problematized this unstable binary whereby inserting a particular
falsehood points to versions of the "truth." Projects enacted by Ai Weiwei, The Atlas Project, Pierre Huyghe,
Michael Blum, The Yes Men, etc. have used strategies of pranks, lies, humor, deception, and impersonation to
examine instances of "truthiness," to use Stephen Colbert's term. Such projects build on mimicry, détournement
and encourage shades of plausibility with which to implicate contemporaneous issues. We invite papers that
investigate aspects of parafiction, the functionality of such projects, the facets of dissemination, and the
implications of its practice. Simultaneously, this panel will provide a forum for discussing the vocabulary that
informs the discourse surrounding parafiction.
Open Session: Anything Ancient
Session chair: Beth Stewart (Mercer University)
Ancient topics from not just Greece and Rome but anywhere in the world up to c. 500 CE are welcome. Papers that
relate text to art or are interdisciplinary in scope or comparative (e.g. a theme relating Greco-Roman work to that
of Kushan India) would be especially welcome. We need to keep paying attention to the full depth of time in
human culture.
The Multi-Temporal City
Session chairs: Martina Tanga (Boston University) and Erin Nolan (Boston University)
In Henri Lefebvre's last published text, Rhythmanalysis, he put forward a new way of understanding the
relationship between time and space based on how rhythms -natural, corporeal and mechanical - influence the
city's urban pulse. By turning the concept of rhythm into an epistemological tool, Lefebvre provides a new
framework for understanding the urban experience. How does the cadence of the cosmopolitan space synchronize
with an increasingly frenetic world? How do we make sense of this cacophony? From Greensboro to Guangzhou,
the city exists as a historical entity that changes in concert with different cultural and chronological periods. The
urban space is a fluid, yet geographically contained, locus for a discussion of space and place. This panel focuses
on the city as a locale caught in a temporal and spatial nexus as it follows its own unique set of patterns and
vibrations. We seek papers examining art works, artists, or architectural features that engage with the workings of
cities, urban life and movement through the complex cosmopolitan landscape. Additionally, we encourage
submissions that mediate multi-cultural, multi-sensory, and/or multi-temporal boundaries in an effort to redefine
the way in which we experience the city as a symphonic, dissonant or utterly silent.
From Banksy to Burning Man: The Continuing Metamorphosis of Public Art and Street Art in the 21st Century
Session chair: Eric Schruers (Edinboro University of Pennsylvania)
Public art has never been more accessible. An internet live stream brings the "radical self-expression" of the annual
Burning Man festival into living rooms around the world. Contemporary documentary film-making has made it
possible for anyone with a DVD player or a streaming service to experience the street art of England's Banksy, the
collective of artists that made up New York's Beautiful Losers, or the global art project spawned by the 2011 TED
Prize winning French street artist JR. In this new realm of direct public expression, traditional notions of galleries,
dealers, critics and patrons have been all but abandoned. In their place is a new dynamic of direct interaction
between the artist and the public in settings ranging from high-density urban areas to remote deserts.
Underpinning this great variety of new forms of expression is the shared goal of taking art directly to the people as
an agent of social awareness and change. This session seeks papers that examine themes of contemporary public
art and street art and its social impact.
Open Session: Contemporary Art
Session chair: Preston Thayer (independent scholar)
This session provides a venue for papers that address all aspects of the contemporary art scene. Preference will be
given to papers that state an explicit thesis.
Art Historians Interested in Pedagogy and Technology (AHPT)
Plays Well with Others: Art Historians' Collaborations, Intersections, and Networks
Session chairs: Rhonda
Reymond (West Virginia University) and Marjorie Och (University of Mary Washington)
One of the "intractable issues" Diane Zorich identified as needing more study in her landmark 2012 report,
'Transitioning to a Digital World: Art History, Its Research Centers, and Digital Scholarship," is the reluctance of art
historians to engage in collaborative models of research, scholarship, and teaching. This session, sponsored by Art
Historians Interested in Pedagogy and Technology, seeks papers that examine ways art historians are changing the
paradigm of the solitary scholar and instructor. For example, how has technology transformed our networks and
our collaborations across campus and the world? How do we negotiate differences in disciplinary assumptions,
classroom pedagogy, theoretical models, and even standards of communicating scholarship? Where do we
collaborate'in the physical or digital world and where does our work live? Who and where is our audience and
how do we engage them through digital humanities? How are we incorporating digital art history into our curricula
and modeling it for our students? What projects are only possible because of collaboration and particularly that
engendered through technology? Beta releases of projects in progress are welcome, as are team presentations.
Ideally, this session will not only provide a forum for lively discussion but also connect future collaborators.
Association
for Textual Scholarship in Art History (ATSAH)
Texting, Past and Present: Word with Image as Artistic
Vehicle
Session chair: Barbara
J. Watts (Florida International University, Biscayne
Bay Campus)
When texting, do you or your students combine text and
image? I don't, but mine do. Are letters/words interchangeable
with icons? Does a "Happy Face" say more or less than
a "happy" phrase? What if the "Happy Face" icon is used
ironically or sarcastically? Do abbreviations and the
intermingling of work and image clarify or confuse?
Does "LOL" mean "laughing out loud" to one person and
"lots of love" to another? Such musings are the genesis
of this session. This session explores the intersection
of word and image in works of art in which text is part
of the image, and meaning contingent upon both. Papers
from all periods are welcome, from those that address
subjects such as script issuing from the mouth of the
Virgin in medieval and Renaissance representations of
the Annunciation to the figurative and literal use of
newsprint in 20th century art. Papers that provide an
art historical perspective on contemporary works that
employ words in new ways and in non-traditional mediums
are also welcome.
Chinese
Studies Association of Australia 13th Biennial Conference
University of Tasmania
Hobart, Tasmania
10-11 July 2013
[from H-ASIA, 2/14/13, and CSAA, 4/16/13]
The Chinese Studies Association of Australia is the peak body in Australia for Chinese Studies. Its biennial conference is the opportunity for scholars to share their expertise and current research among peers at the highest level in an atmosphere that is both convivial and galvanizing of new ideas and knowledge about China.
The CSAA is pleased to invite colleagues to submit paper proposals for the biennial CSAA 2013 conference in Hobart, Tasmania. The theme of the conference is ["Journeys"]. The phrase intends to capture conceptual links between Tasmania as a place for scholars to come and evocative ways of thinking about China. We invite participants to reflect upon journeys across territory and through time that have been undertaken by people, objects, ideas and words in the Chinese world, and the transformation that those things have undergone.
As in previous meetings of the CSAA, we encourage contributions from all disciplines and points of view, either as individual papers or in coherent panels. We welcome innovative concepts for panels, including themes and texts presented in dialogue with each other or contrasting readings of common material by panel members. The new deadline for submissions is April 26, 2013.
Information about the conference, including submissions, is available at the conference website. For further information, please contact Dr Mark Harrison at the University of Tasmania.
Academia Sinica
Taipei, Taiwan
5-6 December 2013
[from Academia Sinica, 1/5/13]
The Committee for Promotion of Ming-Qing Studies, Academia Sinica is pleased to announce a call for papers for the International Conference on Ming-Qing Studies to be held at Academia Sinica on December 5-6, 2013. The Conference seeks significant contributions in all major fields of Ming-Qing studies, and will provide a forum for sharing cutting-edge developments in the field. Airfare is not included, but panelists (except those from northern Taiwan) will be provided free accommodation and breakfast at the conference hotel for three nights. Lunch will be provided on conference days. A farewell dinner will be served for all panel participants on December 6, 2013.
Authors are invited to submit panel proposals to the Conference Submission System by April 30, 2013. Submissions must be original and should not have been published previously. Panel conveners should submit a panel description of up to 500 words defining the panel topic and connections among the papers, along with abstracts of individual papers, which should not exceed 250 words. Panels should include a maximum of five participants (including the chair, paper presenters and discussants) with a maximum of four papers presented. Panels will be reviewed for the quality of the entire panel and individual papers. The Program Committee will inform panel conveners of acceptances and rejections by May 31, 2013.
Send the application form to mingchingstudies@gate.sinica.edu.tw or mingchingstudies@gmail.com (If you do not receive the confirmation e-mail after sending application form, please contact the assistant, Yuchun Chiu, at +886-2-2652-5350 x6868.
Important Dates:
Panel submission: 2013.4.30
Notification: 2013.5.31
Final manuscript due: 2013.11.5
Asian Cultural Landscape
Association 2013 International Symposium
Seoul National University
Korea
12-15 October 2013
[from H-ASIA, 1/6/13]
In the frame of Plutonian sense aesthetics refers to transcendent or sublime form of beauty that maintains incorporated proportion, harmony, and unity among their parts, which is elaborated by Aristotle conceiving the idea that the universal elements of beauty have been order, symmetry, and definiteness that together promotes the state of inspiration, reflected in the spirit of place (genius loci). The dominant ideology behind landscape aesthetics in Western tradition mostly deals with formalist scenic landscapes to ecological and phenomenological aesthetics; however in the Asian tradition in addition to these notions emphasis is laid upon the experiences in everyday lifeways and the deeper interpretation of the symbolic meanings manifested in landscapes. This results into the understanding of interconnectedness between Man and Nature, and exposed through interpreting the inherent and imposed meanings and contextuality that changes in varying space, time, function and cultural notions and symbols. This is how the trajectory of "meaning-metaphor-milieu" envelops the cosmic frame of cultural landscape, getting it conceived as organic reality inherently possessing all the niches of human psyche, perception and environmental sensitivity and humility. Lowenthal's (1961) paraphrased statement that "the geography of landscapes is unified only by human logic and optics, by the light and colour of artifice, by decorative arrangement, and by ideas of the true, the good, and the beautiful," expressed the meanings and aesthetics in Asian cultural landscape. The Asian region consists of 38 countries (from Siberia in the north, to Timor-Leste in the south), inhabited by 2.62 billion people (2012), spread over an area of 40.91 million sq km; thus sharing a little over 37 per cent of the world's population, spread over 27.47 per cent of world's land area. The region is broadly divided into four sub-regions, viz. North & Central Asia, East & North-East Asia, Southeast Asia, and South & South-West Asia. In Asia total 204 heritage properties (48 Natural, 152 Cultural, and 4 Mixed) are inscribed in the UNESCO World Heritage List, thus recording share of 21.21 per cent in World's number (total 962, in December 2012).
The cultural landscape is viewed as a product of a distinctive culture embedded in the associated history and traditions that evolved, practiced, continued, maintained, purveyed and envisioned in the structural frame of space-time-function. Their projection and contextual interpretation have been influenced by various religious and cultural traditions and occupations by different socio-political systems and lifeways. In the Western tradition aesthetics tend to concentrate on the context of physical landscape and visual quality, but in Asian tradition more emphasis is laid on the experiential and sacred aesthetic expression, what in a way referred as "ecospirituality" or sublimation of landscape, existing in relationship to their ecological contexts and believed to be deeply rooted meanings in Asian landscape and culture that in passage of time absorbed and transposed various layers of superimposition and manifestation but always kept alive the spirit of ‘"organism"; thus, cultural landscape is to be seen as the existential insider.
In the above context the present ACLA Symposium-2013, presents a platform for mutual exchange, shared and co-shared wisdom and to understand the co-existentiality of the spirit of place and cultural landscape where the humankindness of the Earth meet with the transcendentality of Nature, and expressed through "meanings" and "aesthetics" illustrated with Asian Cultural Landscape.
There appear three broad approaches to quality assessment of cultural landscape with respect to meanings inherent or imposed, and aesthetics manifested, perceived and professed, viz. (i) the ecological approach that emphasises and explores the causes and effects of spatial heterogeneity of the region, mostly though visual and field-testing methods, (ii) the architectural approach, focussing on investigating perceptual features of the region for its design, management and landscaping, commonly using "down-to-earth" experiences, and (iii) the cultural approach, projecting the historicity and human imposition of meanings and metaphysical expositions. All these three together in the frame of integral or holistic vision provide a deeper sense of understanding the "unity of Man with Nature" or "harmony between Man and Nature" — that also incorporates the principles and methods of landscape ecology (LE) and sustainability science (SS). It is felt that sustainable landscapes are more likely to be developed and maintained if the three pillars of sustainability — environment, economy, and society — are simultaneously considered as interlinking chain. Musacchio (2009) discussed six elements of landscape sustainability (or six E's): environment, economy, equity, aesthetics, ethics, and (human) experience — all together to be taken as network and interlinkage in making cultural landscape sustainable and happy habitat.
For 20-25 minutes paper presentations,
we invite participants to submit abstracts and CVs related to the themed sessions:
1) Heterogeneity vs. Homogeneity in Cultural Landscape Aesthetics;
2) Exposing the Meanings and Spirit of Place;
3) Making Harmonious Path through Integrity and Co-sharedness.
Deadline: The abstracts should be submitted by e-mail by 30 April 2013.
First of all, it is my great pleasure to welcome all distinguished participants to the 3rd International Symposium on "Meanings and Aesthetics in Asian Cultural Landscape," organised under the aegis of the Asian Cultural Landscape Association (ACLA), at Seoul National University, Seoul, Korea. The feedback from the discussions facilitated by this Symposium may find future application in making cultural landscapes more serene and sensitive environmentally, aesthetically, visually and visionary in Asia region and serve as a model frame for other parts of the world. We hope this Symposium can provide inspiration to experts in creating and generating new models and platforms in this direction. The Symposium's schedule contains many activities designed to help and organize the networking of experts and practitioners in Cultural Landscapes and Heritagescapes in Asia region to facilitate the sharing of expertise for cultural landscape and planning. We promise you that we will make every endeavour to ensure your time here is fulfilling. I wish to welcome you all and hope you have a wonderful experience attending the Symposium, workshops, and technical excursions.
Thank you very much,
Sung-Kyun KIM, Ph.D.
President & Executive Editor, ACLA (Asian Cultural Landscape Association)
Head of Urban Greening Institute, SNU Seoul, KOREA
Professor, Department of Landscape Architecture, College of Agriculture and
Life Sciences
Seoul National University
599 Gwanak-ro
Gwanak-gu
Seoul 151-921
Korea
tel +82-2-880-4872
fax +82-2-873-5113
International Institute for
Asian Studies (IIAS)
Leiden, The Netherlands
18-19 November 2013
[from H-ASIA, 2/4/13]
"Asian studies," whether broadly defined as the production and dissemination of scholarly knowledge about Asia, or narrowly limited to the institutionalized field of study labeled as such, has constantly been framed by changing geopolitical context. The colonial root of Oriental or Asiatic scholarship, the war-driven migration of Asian scholars and the dispersion of their expertise, and the Cold War American investment in both social sciences in East Asia and in "Asia studies" at home, were just a few examples. In recent decades, we further witnessed the rising scholarly interest on Japan, China and India following their growing political-economic significance, as well as the emergence of various "alternative discourses" and "inter-Asia dialogue" as attempts of intellectual decolonization.
This framing effect is at least partially mediated by the various institutions involved in the social process of knowledge production foundations, professional associations, publishers, journals, research institutes, governments to multinational entities. These institutions operate in ways that reflect their role, agenda and power relations within the geopolitical context, and left their imprints, through funding and agenda-setting, on the intellectual landscape of Asian knowledge.
Those institutions constitute various inter-institutional networks through forms of collaboration, and each has its own network of associated people—for instance, grant recipients, members, authors, subscribers, staffs and alumni. Scholars at individual level also form network of interpersonal ties (educational genealogy, friendship, citation). These networks not only help distribute financial, political, intellectual and social resources for the generation of knowledge about Asia, but also mediate how such knowledge is disseminated, preserved and accessed.
Investigating the above-mentioned themes further invites critical examination on the power structure underlying the knowledge scape: Who had written about Asia- for what and for whom? Where has the Asian knowledge been disseminated and consumed? What (institutional, societal-structural, national) interest and bias were brought into the knowledge production? What topics were emphasized or excluded? Even the term "Asia" as an epistemological unit could be questioned for its historical root associated with a European perspective of gazing.
This conference aims for examination and critical reflection on the "social framing" of Asian studies by focusing on the four themes discussed above. We invite paper proposals that discuss:
- The influence of geopolitical factors on how knowledge about Asia is produced and disseminated: colonialism and its legacy, wars and regional conflicts, the Cold War structure, and the 'knowledge economy' competition in the new era of globalization.
- The role of various institutions in promoting and directing the Asia studies: foundations, professional associations, publishers, journals, research institutes, governments to multinational entities. We particularly welcome papers that relate the role of particular institution(s) to broader geopolitical context.
- The outlook of various knowledge networks. We welcome both (a) macroscopic investigations on the patterns and developmental trajectory of knowledge networks measured in terms of flows of scholars/ students, capital, and knowledge, and (b) case studies of a particular networks of institutions or people on (a particular branch of) Asian studies.
- Critiques on the power structure underlying the observed patterns of knowledge production and dissemination of Asian studies. We encourage reflections that revisit fundamental questions like: Knowledge for what? Knowledge for whom? Whose were represented or excluded? How relevant and biased to use 'Asia' as an epistemological unit?
Expressions of interest are invited to send an abstract of 300-400 words together with a short biographical note before 30 April 2013. Young scholars are also encouraged to apply. You are kindly requested to use this web form: http://bit.ly/WSiQYK.
The successful applicants will be informed by 20 May 2013. We require submission of a full paper draft of 6000-8000 words by 1 October 2013 to allow the circulation among participants prior to the event.
We aim at providing accommodation for all selected speakers of the conference. Participants are expected to provide their own travel funding. In exceptional cases only, a request for travel expenses support may be taken into consideration. Selected papers from the conference will be published in a joint IIAS-ISEAS volume.
For further inquiries, please contact Dr. Albert Tzeng.
Warburg-Haus
Hamburg, Germany
9-13 September 2013
[from H-ARTHIST, 2/5/13]
it Begriffen wie "Liminalität" (Turner) oder "Third Space" (Bhabha) hat die kulturwissenschaftliche Forschung ihre Aufmerksamkeit verstärkt auf Phänomene des Übergangs und auf "Zwischenräume" gerichtet. Traditionell binäre Oppositionen wie etwa solche zwischen Identität und Alterität, Zentrum und Peripherie, Innen und Außen oder Subjekt und Objekt werden multilateral gedacht über eine "Figur des Dritten", die Prozesse des Transfers und der Übersetzung bei gleichzeitiger Trennung oder Spannung beschreibt. Auch Machtgefüge werden in diesem Zusammenhang von den 'interstices', den Lücken, Rändern und Rissen bzw. den flexiblen, dezentrierten Konnexionen her verstanden. Die Kunstgeschichte, aber auch die Künste der Gegenwart haben sich vermehrt derartigen Phänomenen eines "Dazwischen" identitärer, geografischer, topologischer, medialer oder kultureller Art zugewandt und damit auch die kulturwissenschaftliche Theoriebildung vorangetrieben.
Im Rahmen des Studienkurses soll diskutiert werden, wie Bilder aufgrund ihrer polyvalenten Struktur in diesen liminalen Räumen als Übersetzungsmedien genutzt werden können und wie die Kunst selbst jene Zwischenräume besetzen, reflektieren und aushandeln kann. Ambiguität, Appropriation, Doppelcodierung, als Verfahren der Vermittlung, aber auch Differenzkonstruktionen und Opazität, als Behauptung von Unvereinbarkeit, spielen sowohl in transkulturellen Aushandlungsprozessen als auch in performativen Praktiken der Grenzüberschreitung eine wichtige Rolle. An Fallstudien sollen Methoden und Analyseinstrumente für die Untersuchung dieser künstlerischen Verfahren und Bildmedien erprobt und diskutiert werden.
Erwünscht sind Bewerbungen von Studierenden und AbsolventInnen der Kunstgeschichte oder aus dem Bereich der Kulturwissenschaft, die im thematischen Feld des Studienkurses eine Magister-, Master- oder Doktorarbeit begonnen oder kürzlich abgeschlossen haben. Auch fortgeschrittene Studierende im Haupt- bzw. Masterstudium, die einen entsprechenden Studienschwerpunkt aufweisen, sind eingeladen, sich zu bewerben.
Neben der Diskussion von einschlägigen Texten und Gastvorträgen zum Thema sind Präsentationen der Teilnehmenden zu ihren Forschungsvorhaben geplant.
Bewerbungen zur Teilnahme sollen die folgenden Unterlagen enthalten:
1. Lebenslauf;
2. kurze Projektskizze des Arbeitsvorhabens und Darlegung des Interesses an der Teilnahme (max. 1–2 Seiten);
3. Angabe der Kontaktdaten eines/r Hochschullehrers/in, von dem/r eine Referenz eingeholt werden könnte.
Sie sind bis zum 30.4.2013 zu richten an Prof. Dr. Julia Gelshorn & Prof. Dr. Margit Kern.
University of Applied Arts
Vienna, Austria
27-28 September 2013
[from H-ARTHIST, 2/22/13]
Materials, and fluid materials in particular, exert a significant influence on the formation of those artistic and scientific practices within which they are employed and explored. They possess a certain agency that very often thwarts and escapes the original designs and intended goals of researchers and artists. As a result, they have great bearing on our modes of thinking and our imagination. Thus, fluid materials possess the capacity to shape knowledge in a substantial way. Or do they? And if they actually do, how do they wield their influence, how do they actively pose problems within scientific and artistic processes, why should their agency be problematic at all, and to what extent could they retain a systematical resistance towards all attempts of control?
In the last decades, the material culture of both "laboratory life" and studio practice has been increasingly studied. The main focus being the technical and material conditions of art and science such as spatial settings, apparatuses, machines, tools, but also the daily actions and routines, tacit as well as practical knowledge, manual dexterity, bodily gestures, group interactions, networks etc. Studies in this research area made quite clear that these material conditions are not just inevitable circumstances or frameworks within which scientific and creative processes simply ‘take place'. Instead, they have shown that the epistemic and artistic outcomes (i.e. knowledge, concepts, theories, art works) are crucially shaped and defined by the material conditions and contexts of the processes that produced them. Such insights are pivotal departure points of the symposium "Flows (Un)bound: Fluid Materials in Artistic and Scientific Practices."
However, we pursue a slightly different approach: We encourage to focus on investigations into materials that possess some sort of fluid properties and behaviour, and to raise questions about whether and how these materials play a formative part in the shaping of the methods, strategies and practices of their scientific or artistic exploration. Thus, we propose a shift from the technical and material conditions of production to fluid materials as objects of research in both artistic and scientific experiments. This perspective may allow insights into how the dynamic and vibrant performance of these materials mobilised mental and imaginative processes.
The period under consideration is limited to 1900 until today. We are particularly interested in the impact dynamic, transitive and flowing materials have on research practices in art and science. How do they contribute to the thought processes and what effects do they have on epistemic or aesthetic insights? Furthermore, we welcome papers that take a closer look at the (specific) agency of fluid materials, or critically discuss whether ‘material agency' exists at all? Our focus is by no means restricted to notions of "auto-poiesis" or "self-activity." Instead, we invite studies which examine some sort of "productive resistance" that fluid substances and dynamic materials retain within artistic and scientific practices. Since fluid materials are (under most circumstances) malleable, easy to deform and yield pressure, it is obvious that "resistance'"in our context is not synonymous with solidness or rigidness. The "productive resistance" we are looking for rather points to certain traits and behaviours that make fluid materials difficult to master in the systems tailored for their exploration; a kind of pertinacity which causes "unanticipatable'"events, reactions, and flows. At stake is something that escapes intentions or expectations and, thereby, forces artists and scientists either to regulate and contain fluid materials in different ways or to accept and embrace the new possibilities and potentials opened up by these materials. We are equally interested in papers studying attempts to control and bind material flows within scientific or artistic settings, and papers discussing practices that welcome unbound material flows as aesthetically or epistemically productive. The "productive resistance" may even affect the framework of common knowledge in so far as it could oppose established modes of intelligibility and traditional ways of reasoning. If this proves true, do we, then, need some sort of "epistemology of the fluid" as companion to an "epistemology of the concrete" (Rheinberger)? Last but not least, the intricate relations between "the fluid'"and "the concrete' "their intermixtures as well as the transition from one state to another are issues also within the scope of the symposium.
The symposium will consist of two distinct, yet closely related parts:
1) a public part with two or three keynote lectures delivered by
internationally renowned historians of science and art;
2) a workshop in which the selected papers of the invited participants
will be discussed. The symposium is conceived as a kind of preparation
or ‘rehearsal' that shall culminate in an edited volume on the topic
and issues of fluid materials as outlined above. Applicants should be
willing to contribute to the publication in form of an essay about the
subject of their accepted proposal. The PEEK-Project LIQUID THINGS
will take over accommodation costs (entirely) and travelling expenses
(up to a reasonable amount) for all invited participants.
Requirements:
Abstracts (max. 500 words) in English together with a short CV (max. 300 words)
should be submitted as an e-mail attachment (PDF) and sent to: info@liquidthings.net.
Deadline: April 30th, 2013. We will advise all proposers of accepted papers
within four weeks of the deadline.
Australian National University
Canberra
27-28 August 2013
[from H-ASIA, 4/14/13]
Convenors: Dr Benjamin Penny, Mr Paul Farrelly
This workshop will explore histories of how religion is created, transmitted, embodied and changed in specific locations in late imperial, modern and contemporary China and Taiwan. Taking not only temples, mosques, churches, schools, tea houses, festival sites, burial grounds and shrines as the locus of research, but also cities, neighbourhoods, counties and districts, it will explore the rich, and often overlooked, details that populate the lived experience of religious activity. Seeking to focus on interactions between place, text and individual agency, we aim to reflect on the layered and specific histories that develop as a consequence of this interplay. Through reducing the scale to a specific locale, phenomena such as religious change, conversion practice, and individual transformation can be reappraised.
Questions to consider may include: How do the particular circumstances of time and place shape religious experience? What is specific to a location that influences the nature of religious practice there? What religious power is embodied in a place? How is the power created or maintained? How are narratives created around a location? How are locations represented in oral and printed media? What is characteristic of the religious world in a particular place? How do the defining religious features of a locality originate?
Seeking to enhance scholarship about place and religion in China and Taiwan, we request work informed by microhistory and theories of the everyday that offer alternative perspectives on the sacred world. In doing this, we will explore the idea that religious experience is not homogenous across geography, and that even comparatively small distances can produce meaningful differences in institutions and practices. Through sharpening the focus of research to a county, district, neighbourhood, or particular numinous site we also hope to examine the relations between particular places and institutions of authority based locally or distantly.
Interested participants should submit a paper title, abstract with keywords (300 words maximum) along with brief biographical information (name, affiliation) to paul.farrelly@anu.edu.au by 1 MAY 2013.
CIW may be able to provide some financial assistance for the travel and accommodation expenses for successful applicants. The conference will be conducted in English and we plan to publish the proceedings in a special edition of East Asian History.
[from H-NET, 4/2/13]
The Journal of Curatorial Studies invites original research articles on the subject of curating, exhibitions and display culture in China. The rapid transformation of China's market economy and urban environment has been paralleled by a burgeoning artistic and cultural sphere. Museums, biennials and alternative institutions have gained important footholds despite the spectre of state censorship. This special issue seeks articles that explore the dynamics and tensions of recent developments in Chinese exhibitionary practices.
Potential topics can include:
- museum-building in China
- Chinese biennials, triennials and art fairs
- alternative curatorial methodologies and strategies in China
- diasporic Chinese curators
- Chinese artist-curators
- curating social and digital media in China
- the cultural politics of transnational Chinese exhibitions
- case studies of watershed Chinese exhibitions
- exhibitions and displays in Chinese popular culture
- curatorial training in China
- the influence of the art market, nationalism or state policies upon Chinese curators
Timeline:
May 1, 2013, Abstracts due (250 words)
January 1, 2014, Essays due (5-6,000 words)
Publication in issue 3(3), Fall 2014
Jennifer Fisher, Editor
York University
Jim Drobnick, Editor
OCAD University
University of California, Davis
27-29 September 2013
[from H-ASIA, 3/21/13]
UC Davis is launching a Reception Studies Initiative. We are hosting the inaugural conference at Davis, September 27-29, 2013. The key note speaker is Prof. Wai Chee Dimock, William Lampson Professor of English & American Studies, Yale University. The title of her talk is "Recycling the Epic: Gilgamesh on Three Continents."
In keeping with the National Endowment for the Humanities new call for interdisciplinary transcultural projects, this conference will focus on "intercultural receptions" across time and space. Reading, in the title, is broadly conceived in the sense of reception of "cultural" forms and genres, including texts, buildings, art works, rituals, and performances. This year's conference will particularly focus on the reception of ancient, medieval, and early modern texts, whether literary or philosophical, across genres, periods, and geographical spaces.
250-word abstracts should be submitted to Professor Brenda Schildgen by May 1, 2013.
[from H-ASIA, 3/18/13]
It's been almost 20 years now since R.W. Connell published her groundbreaking and inspiring work, Masculinities, and masculinity studies has become a major field of study, a conceptual domain ready to come out of the closet, and a central critical point of reference in gender, identity, power and trans-anything discussions. The debate over the public visibility and hierarchy of gendered identities has manifested itself as a complicated conflict area more strongly than ever. It has often been reassured that it is of utmost importance to define and redefine the scope of masculinity studies, to establish its basic methodology, and maintain a balance between the ambiguity of interdisciplinary studies and objectivity of a scientific field.
We have been working on a peer-reviewed online journal that will be published biannually in English and that will serve to provide an independent forum for issues of gender, identity and culture, with a particular emphasis on masculinity studies. Masculinities hosts a group of scholars from various disciplines in its editorial board mostly based in Turkey as well as distinguished experts from different parts of the world and it offers a joint ground for the interdisciplinary and pioneering research in the field of gender and masculinity so as to enable researchers to share their work, discuss prospective projects, learn from each other, and inspire young scholars. Masculinities also reflects a particular interest in (but not necessarily confined to) "non-Western" constructions and representations of masculinity and seeks to explore the terra incognita of manhood in different cultures, different geographies, and different worlds.
We invite scholarly and critical contributions, including articles, book and film reviews, reviews of the published articles as well as announcements of forthcoming events, conference reports, and information on other matters of interest to gender studies and/or masculinity studies for the inaugural issue to be published in June 2013. The contributions to the journal should be sent to the email address given below as of May 1, 2013 and they may be related (but not limited) to the topics listed below. You can visit our website for the submission guidelines and further details and you can join our email group that provides updates and recent news as well as announcements and call for papers for the symposiums and journals on masculinity and gender studies.
Sexism and masculinity
Morality and masculinity
Ideology and masculinity
Philosophy and masculinity
Medicine and masculinity
Aesthetics and masculinity
Disability and masculinity
Fatherhood and masculinity
Buddy relations and masculinity
Orientalism and masculinity
Occidentalism and masculinity
Music and masculinity
Alcohol and masculinity
Space and masculinity
Sports and masculinity
Gastronomy and masculinity
Racism and masculinity
Mass media and masculinity
Film studies and masculinity
Television and masculinity
Law and masculinity
Bureaucracy and masculinity
Technology and masculinity
Politics and masculinity
Crime and masculinity
Violence and masculinity
Mythology and masculinity
Evil and masculinity
Mobility and masculinity
Service industry and masculinity
Internet and masculinity
Pornography and masculinity
Transgression and masculinity
Performance arts and masculinity
Body and masculinity
Death and masculinity
Sexuality and masculinity
Aging and masculinity
Queer theory and masculinity
Feminism and masculinity
History and masculinity
Power and masculinity
Publishing and masculinity
Sea and masculinity
Monstrosity and masculinity
Military and masculinity
Humor and masculinity
Graphic arts and masculinity
Photography and masculinity
Gaze and masculinity
Design and masculinity
Cyberculture and masculinity
website:
http://masculinitiesjournal.wordpress.com
e-mail: masculinitiesjournal@gmail.com
mail group: https://groups.google.com/forum/?hl=en&fromgroups=#!forum/masculinitiesjournal
Université Lumières Lyon 2
Lyon, France
24-25 October 2013
[courtesy of EACS, 2/25/13]
Organised by Terminology and Translation Research Center (Université Lyon 2)
The discovery of tea goes back to Chinese antiquity, and, according to Arab legends, Mohammed was healed by coffee. Both drinks have centuries of history to show for. Today, carried into the four corners of the world, these two are the drinks most frequently consumed daily, right after water (and actually, there is quite a rivalry between them for the title). This geographic and historical pervasion makes an inquiry into their cultural representations in language and practice seem fruitful.
Numerous scientific papers have already dealt with the impact of tea and coffee on our bodies, so we would like to take a closer look at their description and appreciation as cultural objects in different contexts. PR and marketing have strongly changed the image of tea and coffee: We now talk of origins and growing areas, like with wine. And even if we do not yet use an official term like "oenology" for tastings of tea and coffee, professional "tea-" or "coffee master" slowly enter public awareness. Publications that initiate us into this art are countless. But how do our eyes, our noses, and our palates appreciate the same drink differently in the four corners of the world? What does the terminology used during tastings, or for the description of these drinks, tell us about our perception, or our conception of them?
Boiling, infusion, matcha, filter, piston, or percolation, in the privacy of our homes, or in public places, the ways we consume tea and coffee have evolved enormously. We would be interested not only in a description of each gesture, but also in their origins (cultural, economic, and technological), as well as their perception in society.
It is thus that we would like to place these two drinks firmly back into their socio-cultural context. How could tea and coffee conquer the world after their origins in the Orient (generally speaking)? Associated with a Zen mind-set, or the signature drink of a rising bourgeoisie, what have these two stimulants represented for different groups, and at different times? How do economic agents explore these symbols, and do they, in turn, fashion our representations?
We wish for an interdisciplinary exchange between linguists, anthropologists, historians, literary critics, but also professionals. Papers should preferably fall into one of three areas of interest:
1) Tastings: Procedures and terminology, especially from an anthropological, or linguistic angle, or from the perspective of sensorial analysis. Interdisciplinary approaches would be most welcome.
2) Rituals and Symbols: Which rituals and symbols are part of our experience of tea and coffee? How can we describe and interpret the ceremonies associated with these drinks? How do they develop over time? What words are used to express them? How are they mediatised, amongst others in commercial and advertising practice?
3) Exchange and Evolution: How are the practices of consumption of tea and coffee diffused in time and space? How does this entail an evolution of practices? What is the role of marketing and advertising in these processes?
Please send your abstracts of 200-350 words (in doc/x, odt, or pdf formats), together with a short bio- and bibliographical note about yourself, to weiwei.guo-gripay@univ-lyon2.fr using as subject heading "International Colloquium Tea & Coffee."
Language: English, French
Timeline:
- Deadline for abstracts: Friday, May 10, 2013
- Notification of acceptance: End of June
- Registration: End of June (Presentation of a paper is not required for registration.)
For any academic-related inquiries please contact the conference organizers:
Weiwei
Guo
Sylvain
Farge
Marie
Laureillard.
A selection of the best papers will be published in an edited book.
8th Global Conference
Oxford, UK
17-19 September 2013
[from H-NET, 3/27/13]
Mapping the field of the erotic is a complex and frustrating endeavour; as something which permeates lived experience, interpersonal relationships, intellectual reflection, aesthetic tastes and sensibilities, the erotic is clearly multi-layered and requires a plethora of approaches, insights and perspectives if we are to better to understand, appreciate and define it.
This inter- and trans-disciplinary project seeks to explore critical issues in relation to eroticism and the erotic through its history, its emergence in human development, both individual and phylogenetic, as well as its expression in national and cultural histories across the world, including issues of transgression and censorship. The project will also explore erotic imagination and its representation in art, art history, literature, film and music. These explorations inevitably touch on the relationship between sexualities, gender and bodies, along with questions concerning the perverse, fetishism and fantasy, pornography and obscenity.
Papers,
presentations, workshops and pre-formed panels are also
invited on any of the following themes:
- The erotic in cyberspace: chats, webs, facebook, erotic
pictures of the profiles. How do people present themselves
in social networking?
- Can religion be erotic?: Saint images, celibate, witch
hunts.
- The erotic in literature and film: erotic acts, images
and figures as in Nabokov's Lolita or Bertolucci's
Last Tango in Paris. The beauty of erotic.
Where is the line between the erotic and pornography?
- Contemporary erotic: a phenomenon of 50 Shades
of Grey.
- New supernatural romances and teen erotic (The Twilight
Saga, Hunger Games, etc)
- National and cultural histories of the erotic
- Ancient erotic of the old Greece and the old Rome:
erotic images (pictures and sculptures), esthetics of
the ancient erotic, erotic in mythology (Zeus and Leda,
Helen, Venera, etc).
- Erotic and folklore: folk stories, songs, customs.
- The erotic and phases of human development
- The psychology of the erotic: subconscious, dreams,
theories
- The erotic and the perverse: fetishisms, toys, pictures,
objects of desire
- The politics of the erotic inc. issues of censorship
and transgression
- The eroticism of childhood: we normally associate
children's erotic with paedophelia but is this so? Lewis
Carroll's Alice's Adventures in Wonderland
is a children's book but it's also a reflection of the
author's desire for a young girl. Are there any other
examples in literature, art and history?
- The most erotic figures in the history of humankind:
Merlin Monroe, Cleopatra, Messalina, Jackie Kennedy,
Brad Pitt, Barack Obama. Is there any difference between
sex and erotic appeal?
- Erotic pedagogy: is there a place for the erotic in
the classroom? Erotic relationship between a professor
and a student. Is it possible to teach erotic?
We welcome submissions from within specific disciplinary boundaries, but we are also particularly interested in interdisciplinary contributions that balance the scope of insight that disciplines bring with the limitations that disciplinary boundaries create in failing to recognise cross-disciplinary connections, which neglect important historical and cultural perspectives on the development of the "erotic" as a locus of attention. Consequently, we are particularly keen to encourage submissions that are not subsumed within disciplines, but cut across and between disciplinary vocabularies to provide new synergies, domains and inter-disciplinary possibilities. We warmly welcome proposals which go beyond traditional paper presentations and encompass also panels, performances and workshops.
What to Send: 300-word abstracts should be submitted by Friday 10th May 2013. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 12th july 2013. Abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) e-mail address, d) title of abstract, e) body of abstract, f) up to 10 keywords. E-mails should be entitled: "Erotic 8 Abstract Submission"
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs:
Natalia
Kaloh Vid
Rob Fisher
The conference is part of the Gender and Sexuality series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Priory House
149B Wroslyn Road
Freeland, Oxfordshire OX29 8HR
United Kingdom
tel +44 (0)1993 882087
fax +44 (0)870 4601132
102nd Annual Conference
Chicago, IL
12-15 February 2014
[from CAA, 4/14/13 and 5/5/13; panels of possible interest to art historians of Japan and China listed below]
The 2014 Call for Participation for the 102nd Annual Conference, taking place February 12–15, 2014, in Chicago, describes many of next year's programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the seven Open Forms sessions.
Listing more than 120 panels, the 2014 Call for Participation will soon mail to all individual and institutional members; you can also download a PDF of the twenty-seven-page document from the CAA website immediately.
The deadline for proposals of papers and presentations for the Chicago conference is Monday, May 6, 2013 [extended to 13 May 2013].
For more information about proposals of papers and presentations for the 2014 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
Unbecoming Animals
Irina Aristarkhova and Holly Hughes (University of Michigan)
This panel seeks submissions that address contemporary art
works that focus on animals and place them at the center of
aesthetic concerns. More and more artists include nonhuman
living beings into their works. This happens in the context of
the growing dialogue between the fields of animal studies, ethics, and contemporary art. We call for proposals about artworks
that deliberately attempt to shift our attention from human to
animal matters. The panel is especially interested in proposals that showcase what "caring about animals" might look
like, with all its messiness and possible critical concerns from
ecological, feminist, and other perspectives. Questions that are
of special interest include, but are not limited to: Is it possible
to care for animals ethically? How does such care translate to
art? What does it mean: to love animals or to welcome animals
in art?
Toward a Loser's Art History: Artistic Failure in the Long
Nineteenth Century
Jan Dirk Baetens (Radboud University Nijmegen)
The narrative of art history has always been construed as a
sequence of successes. This is especially true for the history
of nineteenth-century art. The century conceived of itself as a
glorious time of breakthroughs and achievements, and the various stories of its art production quickly integrated this logic.
Progressist histories of nineteenth-century art have thought of
success in teleological terms of change and innovation, whilst
revisionist accounts have justified their focus on salon art by
referring to its commercial success or official acclaim. This session aims to reverse the rigid logic of success, and proposes that
a study of failure can contribute in an equally significant way
to our understanding of nineteenth-century artistic developments. The panel invites papers addressing issues of lack of
achievement, deficiency, and ill luck. It especially discourages all
proposals relating to great artists, salon heroes, or unrecognized
innovators, unless their stories can be told as stories of failure.
Committee on Women in the Arts
Toward Transnational Feminisms in the Arts
Temma Balducci (Arkansas State University)
Recent interest in transnationalism reveals the pressing need to
overcome the monocultural underpinnings of Anglo-American
feminist scholarship. Several exhibitions and publications have
acknowledged "common differences" among women's lives and
art worldwide as well as the particularities of art feminisms
within and beyond Western culture. There remains, however,
space to question both how we re/define feminisms beyond
Western cultural borders and how transnationalism affects the
critical perspective of women in the arts. Papers are encouraged from scholars, critics, curators, and artists that advance
transnational perspectives on past and present feminisms in
the arts, interrogate articulations and absences in transnational
feminist art, or critically address the transnationalist premises
and pretensions of feminisms in the arts. Topics may include
artists' case studies, comparative analyses of feminisms in different contexts, decoding the legacy of Western feminist art in
women's art transnationally, reflections on the methodological
challenges of intercultural research, and theoretical or empirical
ruminations on dialogue/collaboration across generational and
geocultural borders.
Contemporary Painting and Technology
Matthew Biro (University of Michigan)
In painting today there is increasing dialogue across media.
Using the latest technologies, painters are hybridizing their medium to an ever-greater degree, mixing painting with sculpture,
photography, performance, printmaking, video, installation, and
social practice. This panel asks both artists and scholars to reflect on how technology affects contemporary painting. Among
the questions participants might address are the following: How
has technology changed painterly practices? In what ways has
technology become a subject for painting? How and why has
technological change inspired painters to hybridize their practices? And finally, what have the demands of the virtual world
done to modernist values such as expression, intentionality, the
artist's hand, and painting's material presence?
Curatorial and Exhibition Studies: Training a New Generation of Exhibition Makers
Robert Blandford and Neysa Page-Lieberman (Columbia College Chicago)
Curatorial and exhibition studies is a fast-growing field, with
more programs than ever offering students a variety of training options. With an increasing number of students graduating
and seeking careers in museums and galleries, there is a need to
consider different educational models and modes of training.
The best programs partner with professional venues to offer
cutting-edge innovation, arming students not only with current theoretical frameworks, but also with experiential learning
where student projects are realized and risk-taking is real. This
panel will present examples of these partnerships that offer
students a supportive, professional environment where they
can apply theoretical training, exercise practical skills, realize
creative visions and receive critical feedback from academic,
professional, and public audiences. The conversation will also
include a focus on the student experience and preparedness for
entering the field.
Rutgers University Institute for Women and Art
Momentum: Gender/Art/Technology 2.0
Judith K. Brodsky (Rutgers University Institute for Women and Art)
This panel welcomes
papers that discuss how art with a feminist or transgender
perspective toward technology helps change its content
and points to a future in which populations presently
excluded from full participation in the high-tech achievements
of contemporary society can share in the benefits of
a more democratic technology. Momentum
is a Rutgers University Institute for Women and Art
initiative, funded by the National Endowment for the
Arts. An exhibition and conference are planned for spring
2014. The project began as a focus on women artists,
but now, as a result of the research undertaken since
the launch of this endeavor in 2009, includes transgender
artists who are developing "transtechnology," technology
that supersedes the heterosexual binary context in which
technology has developed.
CAA International Committee
Artists' Workspaces: Portability, Contingency, Virtuality
Kathryn
Brown (Tilburg University)
Artists' workspaces have long been prized as sites of extraordinary creative labor. Many discussions of this subject have, however, failed to keep pace with the theorizing of art from a global
perspective. Moving away from a Eurocentric notion of the
"studio," this session examines the diversity of artists' working
environments in a contemporary, international arena. Whether
virtual realms, social spaces, portable structures, or fictions, artists' working environments have become increasingly varied and
mobile spaces of exchange between producers and consumers
of art. What social, political, or aesthetic significance attaches to
such heterogeneous and locally contingent environments? What
underexplored historical and geographical examples might offer
a new trajectory for reflecting on images of the artist and approaches to art production? This session aims to identify fresh
ways of analyzing how contemporary artists and their audiences
from around the world conceive of and inhabit artists' workspaces as real, virtual, and imaginary locations.
The Delinquent Curator: Has the Curator Failed
Contemporary Art?
Brad Buckley and John Conomos (University of Sydney)
This session will consider the emerging discourse about
curators. If we accept the premise that our conceptualization of
the art critic has been well delineated since Baudelaire's time,
why is it that the curator's role in the contemporary art world
is fluid, vague, and lacking a multifaceted cultural critique
that adequately describes what takes place between the artist,
the curator, and their publics? How do artists and curators
relate to each other? Who is at center stage or in the wings
(metaphorically speaking) of the art world? What is painfully
evident is the ascendancy of a corporate managerialism
and the influence of collectors in determining the curator's modus operandi and raison d'être. This has had a pernicious
influence on what artists produce, and on how they are curated,
promoted, and valued by all of us who care for art that is not
repetitively banal, grossly depleted of critique, and a curiosity
about our world. We welcome proposals from artists who are
involved in curatorial projects or spaces and curators working
at any institutional level.
New Media Caucus
Approaching Systems
Jon Cates (School of the Art Institute of Chicago) and Shane Mecklenburger (Ohio State University)
Over the past forty years, systems—technical, social, political,
legal, and economic—have become increasingly influential for
art making. Artists also engage games as a specific system or
sets of systems. The unique dynamics and accelerating technologies of games present specific opportunities for artists. This
panel invites artists and history/theory-practitioners to address
contemporary approaches to art as games and systems. The
panelists will also address the approach of systems themselves
on contemporary art theory-practices. Now seminal new media
art histories, including the exhibitions Cybernetic Serendipity
(curated by Jasia Reichardt in 1968) and Software (curated by
Jack Burnham in 1968), as well as recent Art Games events and
festivals, will be discussed as expressions of how artists and
curators approach systems. "We are now in transition from an
object-oriented to a systems-oriented culture. Here change emanates, not from things, but from the way things are done."—
Jack Burnham, Systems Esthetics (1968)
Industry, Utopia, and Modern World Architecture
Lawrence
Chua (Hamilton College) and Nathaniel
Robert Walker (Brown University)
Utopian strivings lie at the core of global modernity. They
helped to propel industrial modernization in its capitalist and
socialist strains, and fueled resistance against both. Visions of
ideal high-tech worlds informed the aesthetic and functional development of modern architecture as well as its popular reception, from the Crystal Palace to Kemalist Ankara, from the Plan
Voisin to Putrajaya. Throughout the past two centuries, utopia
was a dream—sometimes a nightmare—that transformed the
natural and synthetic worlds, investing built environments with
collective desire. This session invites papers that seek to identify
the planned and/or built locations of modern utopias while
critically exploring the socio-political character of architecture.
How do high-tech utopian proposals reveal theories of cultural
evolution? Where do pre-modern cosmologies fit into visions
of modernity? We will strive for an understanding of utopia in
a global context while developing a historical understanding of
the relationships between concepts, representations, and lived
spaces—ideology and practice, rhetoric and materials.
Finding Common Ground: Academics, Artists, and Museums
Irina D.
Costache (California State University Channel Islands) and Clare Kunny (independent scholar)
What is the relationship between the academy and the museum?
Art history as a discipline has been closely intertwined with the
emergence and development of museums. The work of art has
been the overt common denominator. Paradoxically, however,
the perceived distinctions between the processes (and value) of
making, theorizing, and displaying art have overshadowed the
mutual goals of museums and higher education. We contend
that it is important for the art museum and the academy to
find new modalities of exchange in order to create a broader
and richer education (in the arts and beyond). To find common
ground on which academic concerns and museum practices
can meet, this panel seeks a variety of perspectives and invites
artists, art historians, and museum professionals to discuss and
identify strategies that establish sustainable, meaningful relationships. To accommodate diverse speakers and views we are
interested in short papers/presentations, case studies, pedagogical reflections, and new-media projects that address these issues.
Association of Historians of Nineteenth-Century Art
The Image of Nineteenth-Century Money
André Dombrowski (University of Pennsylvania)
Does nineteenth-century money have a period-specific look?
Can we speak of a nineteenth-century "visual psychology"
of money or an "imagination" of money? How did monetary
imagery aid in fostering trust in the abstract quality of early
capitalism, in the emergence of new (paper) currencies and the
expanding reach of financial institutions? Papers are sought that
engage directly with depictions of money: the design of bills,
coins, insurance policies, bond or stock certificates; the material
changes to the face of money under regime change; representations of transactions in pawn shops, casinos, stock exchanges
and other market places. On a more figurative level, the panel
invites discussions of the relationship between taste and "new
wealth"; the shifting prices of the period's art and the vagaries
of artists' pay; or the imagery inspired by Marx's Capital or
Simmel's Philosophy of Money. There are no restrictions placed
on medium or geography, as long as the topic falls within the
long nineteenth-century.
Public Art Dialogue
Vandalism, Removal, Relocation, Destruction: The Dilemma of Public Art's Permanence
Erika Doss (University of Notre Dame)
Public art is often equivocal and unresolved, even when originally intended to be immutable. Its meaning is neither inherent nor eternal but processual, dependent on various cultural
and social relationships and subject to the volatile intangibles
of multiple publics and their fluctuating interests and feelings.
Consequently, public art that offends, contradicts, violates, or
condemns the concerns and beliefs of today's publics may be
defaced, despoiled, removed, re-sited, dismantled, destroyed,
and/or forgotten. What are the ethical and political implications
of public art's removal and destruction? Is it legitimate to erase
or revise markers of history and culture? Do such acts constitute
public dissent? Are there alternatives to public art's defacement
and destruction? This panel invites papers that contextualize the dilemma of public art's permanence, taking innovative
approaches to the subject through focused case studies, comparative analyses, historicized investigations, and theoretical
arguments. Transnational perspectives are encouraged, as are
proposals from public art practitioners, commissioners, and
curators.
Regionalism in Art: New Perceptions of Here
Xandra Eden (Weatherspoon Art Museum, University of North
Carolina at Greensboro) and Claire Schneider (Ackland Art
Museum, University of North Carolina at Chapel Hill)
This session examines the concept of regionalism from the
point of view of contemporary artists and curators working in
cities and towns outside of areas that are considered to be "art
centers." Formatted as a roundtable discussion, the session offers panelists and conference attendees the opportunity to revisit
the concept of regionalism and examine what the term conveys
within globalism. We will discuss recent projects and initiatives
that address questions of participation in a national or international dialogue. For example, what does it mean to be intellectually a part of this dialogue but not physically a part of it? Do
the labels "localism" or "critical regionalism" better describe
regionalism today? If so, what are the implications of this different vocabulary? Proposals are encouraged from artists, curators,
art historians, and art community organizers actively engaged
with issues related to regionalism.
Studio Shots: Representations of Women as Artists
Sarah Evans (Northern Illinois University) and Elizabeth Ferrell (University of California, Davis)
Photographs of artists in the studio pose particular challenges to
interpretation because they are difficult to categorize as representations. Are these photographs artworks or documents, products or representations of process? Should we view the figure
in these photographs as a model or an artist? These questions
become more complex when we consider that photos of women
artists in their studios raise the issue of the legitimacy of their
claim to an identity, work, and space that are traditionally gendered male. How do the photographs construct or negotiate the
woman artist's identity? How do the photographs represent the
studio space and artistic labor? Are taking the photograph (the
artist's act of mediation) and the labor of posing acknowledged
parts of that labor? As feminist scholars, we aim to examine the
ways these images have been made to signify in the history of
art, asking how and why specific photographs of women artists
in their studios abet or vex feminist projects. We welcome papers by scholars and artists that engage this rich and perplexing
group of images.
The Art of Display: Context and Meaning, 1700–1850
Christina Ferando (Columbia University)
In the eighteenth and nineteenth centuries, viewers encountered
works of art in a variety of settings: private homes, churches,
gardens, and the first public museums. Within these settings, colored walls, rotating pedestals, elaborate frames, well-thoughtout lighting, and careful juxtapositions were used to showcase
objects. These displays affected the way viewers encountered
and thought about the works. Display could be used to educate the eye, emphasizing the formal qualities of a work or
encouraging viewers to look closely at the material nature of an
object. At the same time, display could have a significant impact
on symbolic meanings as well, affecting the political, social,
or cultural significance of a work of art. This panel welcomes
papers that reconstruct displays that have been lost to us, and in
so doing rediscover and historicize the meaning and significance
of objects as they were encountered by viewers between 1700
and 1850.
The Practice and Politics of Public Space
Benjamin
Flowers (Georgia Institute of Technology) and
Joanna Merwood-Salisbury (Parsons The New School for
Design)
Student protestors in Quebec rallied recently under the charge
"debout!" This begs the question: What are we willing to stand
for in public, and where should we do it? As relationships
between public space and political action are tested in various
global contexts—the Arab spring—the roles of "designer" and
"user" are increasingly hybridized. We seek papers exploring
the design of public spaces and buildings in modern cities and
the socio-political contexts in which they are conceptualized
and used. We encourage a broad consideration of design: from
architects and urban designers, to artists, choreographers, event
planners, interlopers, and protestors. Do the creation and/or
occupation of public space (or private property masquerading as public) inform significant economic, social, and political
debates of our time? How do those debates inform our sense of
the appropriate ends to which public space and its design and
occupation can serve as a means?
Ephemeral
Carson Fox (Adelphi University)
At its core, the ephemeral defines the nature of human existence,
yet it is an inevitability that humanity continues to deny and
struggle against. As artists, viewers, and academics, we value
material as a stand-in for so many things we cannot hold. But
when we pause to truly contemplate the expanse of the human
experience, we realize nothing is permanent. In this panel, we
will explore our cultural expectations of the art object, the function of creation in the lives of artists, and our temporal experience as art viewers. Subjects may include the conceptual use of
transitory materials and environments, the evolving disciplines
of performance and installation, artistic themes of human mortality, or even the temporary nature of the student-teacher relationship. Questions may include: Does art need to be materially
permanent to be "real" and impactful? What is our understanding of permanence in the world? Who should the object serve,
the maker or the viewer, and how does this impact meaning?
National Committee on the History of Art
State of the Field: New Frontiers in Chinese Art
Sarah
E. Fraser (University of Heidelberg) and Eugene Y. Wang (Harvard University)
More than a decade into this millennium, the field of Chinese
art has seen appreciable changes. The old canon has been challenged and broadened, if not replaced, by innovative horizons of
possibilities. New grounds are being blazed, diverse narratives
are emerging, and alternative methodologies are being tested.
Among the new impulses that fuel the field is the drive to situate
Chinese art in a global context; the agency of mobile art objects;
spatial and interregional re-mapping; the growing awareness
of the historical and critical specificity of aesthetic concepts;
and the interdisciplinary exploration of science and religion. In
short, the field is undergoing landslide changes due, in part, to
the overall changing intellectual climate in art history in general.
The ease of technology and physical access to China––in stark
contrast to the Cold War–era inaccessibility––have broadened
and animated the practice of Chinese art history in Europe and
the US. The panel seeks papers that point to new horizons, test
alternative methods, and offer reflections on the larger question of what it means to practice Chinese art history in this new
landscape. This panel is sponsored by the National Committee
on the History of Art in anticipation of the 2016 Beijing Conference of International Art Historians (CIHA).
Abstraction and Difference
David Getsy (School of the Art Institute of Chicago) and
Tirza Latimer (California College of the Arts)
Conventional accounts of abstraction stress its universalism,
purity, and opposition to figuration. Non-figurative content,
though, can also open artworks to rogue identifications of difference, impurity, and discrepant potentiality. Indeed, abstraction's refusal of mimesis has made it a resource for artists and
viewers who aim to inhabit the world differently. This panel
examines abstraction as a mode for defending difference and as
a strategy for circumventing the ways that bodies are culturally
marked and regulated. How does abstraction have the capacity
to postulate new genders, new sexualities, or new racial configurations? Of late, transgender and queer artists, among others
who do not inhabit normative positions on the social spectrum,
have returned to abstraction as a platform from which to visualize previously unimagined relational, corporeal, and artistic
horizons. The panel will address such contemporary practices
as well as earlier historical episodes in which abstraction
provided a resource for those seeking to affirm difference. We
solicit scholarship about artistic practices that use abstraction to
destabilize cultural marking and/or create representational space
for difference.
The Rise of the Artist-as-Curator
Gabrielle
Gopinath (University of Notre Dame)
One of the most celebrated works in the 2011 Venice Biennale was completed in 1594. Tintoretto's Last Supper had been
relocated from its historic location, surrounded by contemporary art, and freshly glossed with explanatory text. Its restaging
exemplified the creative practice associated with an emergent
figure, the artist-as-curator. Artist-curators recontextualize
historic artworks in order to manipulate their meaning. While
this practice originated with critical museum interventions in
the 1990s, institutional critique is no longer its default rationale. Reframing works by famous dead artists has proven a
popular and successful strategy. However, such practices may
marginalize the living. When the discourse around art becomes
as important as the work itself, contemporary art—which possesses no history as yet—may be disadvantaged. Does the rise
of the artist-as-curator suggest that contemporary art occupies
a place of diminishing significance? Does the re-animation of
canonic masterpieces create new niches for twenty-first century
creativity? This panel welcomes contributions that examine such
practices or consider their historical antecedents.
Ethereal Permanence: The Lasting Legacy of Temporary
Public Sculpture
Brian E. Hack and Caterina
Y. Pierre (Kingsborough Community College, City University of New York)
International expositions, World's Fairs, and other forms of
nineteenth- and twentieth-century public pageantry provided an
unprecedented opportunity for sculptors to explore and expand
the formal and conceptual possibilities of their medium in
ways otherwise unfathomable under the aesthetic and financial
constraints of traditional monument commissions. Contemporary criticism and exposition guidebooks provided extensive
descriptions and analyses of such works, reflecting the seriousness with which they were considered; most, however, were
destroyed following their public display. This panel examines
the ways in which temporal sculpture created for expositions,
parades, rallies, protests, or other events helped to define the
look, scale, and scope of more permanent public monuments.
How do ethereal or non-extant works fit into the canon? Are
temporary sculptures merely the imaginative remnants of grandiose spectacles, or were they bold proposals for new artistic
avenues? Papers addressing these and other related issues from
an international perspective are welcome.
"A New and Unsettled Connectivity:" The Network as an
Artistic Practice
Emily Hage (Saint Joseph's University) and Kirsten Olds (University of Tulsa)
Since the 1960s, artists working in different geographic areas
can be seen to be operating within the logic of the network,
where their work feeds into and emerges directly from their
connections to other artworks or artists working in a broad
range of media. For example, artists across several continents
were involved in the diverse network that was Fluxus, through
participation in performances and concerts, collaboration on
multiples, inclusion in anthologies, or through the development
of spin-offs. This panel considers how a networked sensibility enables artists to investigate questions of intermedial and
intertextual practice, collaborative authorship, and the relationship between artist and audience. Papers might explore how the
works of video groups, mail artists, architectural workshops,
performance artists, gamers, or activists generate and sustain
networks that facilitate participation in local communities, interventions in economic or political systems, and dialogue with
elements from consumer, media, and mass culture.
Beyond Big Data: The Politics of Vision in Complex Systems
Kevin Hamilton and Terri Weissman (University of Illinois)
"Big Data" no longer belongs exclusively to the domain of supercomputing. The proliferation of digital artifacts has made the amassing of large collections available to any curious browser
or hoarder, including artists, curators, and scholars who have
begun to create new online or offline spaces, data structures,
maps, and software as part of their research. But how do
scholars and artists make visible the values and epistemologies
embedded in the technological systems we use—and often, simultaneously, seek to critique? The question of vision is central
to this inquiry, not only because images play a key role in these
systems, but because technological systems facilitate visibility
through the application of frames, filters, and algorithms. This
session seeks to investigate the politics of vision in technological systems and the innovative methodologies at work in their
analysis. We welcome proposals from artists and scholars who
approach digital collections as networks that merit examination
as technologies themselves.
Medieval Global Art History: China and Cross-Cultural
Exchange, 500-1500
Shih-shan Susan Huang and Diane Wolfthal (Rice University)
This panel seeks to explore connections between China and
the Middle East, Central Asia, and Europe from the fifth to the
fifteenth centuries. Going beyond the conventional modes of
medieval art history, which has traditionally focused on only
one cultural region, we seek papers that highlight voyages,
crossroads, border activities, and other ways in which art and
artists linked more than one culture. What connections did
China establish with the rest of the world? How did lands to
the west learn about Chinese art and material culture? How did
artists depict the stranger? What did these regions learn from
foreign art styles, materials, and techniques? How did they
display foreign objects? Which circumstances most encouraged
cross-cultural contact?Through this panel we wish to provide
a format for both historical and theoretical conversations that
will address the most effective approaches for studying the medieval visual culture in a more globally encompassing fashion.
The Global Sixties: Art in the Cold War
Caroline A. Jones (Massachusetts Institute of Technology) and
Steven Nelson (University of California, Los Angeles)
The modifier "global" has proliferated from 1989 onward. This
periodization is complicated by historians of early Mediterranean civilizations (Braudel), the Afro-Atlantic World (Gates,
Gilroy), Enlightenment travel (Pratt, Stafford), or colonial empire (Anderson, Bhabha). Moreover, there are more proximate
antecedents of globality that have yet to be historicized. This
panel focuses on activities during the Cold War itself, when state
initiatives, artist collaboratives, and nomadic individuals sought
international, transnational, or transcultural exchange. How
did the epoch that gave us "Third World," "Bloc politics," "Neoimperialism," and "Iron Curtain" in the early Cold War, with
later developments such as "festivals of free expression," mail
art, hippie tourism, drug trade, alternative spaces, mail-order
architecture, new centers of film production, and an incipiently
global conceptualism alter the course of art and architecture?
We welcome proposals focusing on any locale, whether retrieving a moment lost to history, or presenting an unexplored
continuity with today.
The Decorative Impulse and the New Aesthetic Democracy
Yevgeniya Kaganovich (University of Wisconsin Milwaukee) and
Fo Wilson (Columbia College Chicago)
Although the term "decorative arts" is usually relegated to
concepts of function, there is evidence of a new freedom with
which artists are referencing historical forms of ornamentation
as both subject and object that challenge or express a variety
of theoretical ideas. This panel invites papers that examine
the decorative impulse through the work of diverse artists and
designers that are providing new vitality to the decorative using
different reference points, new technologies, inventive uses/reuses of materials, or social commentary. How successful are they
in redefining the decorative or repositioning historical narratives within a contemporary context? How can we place these artists
within the historic continuum in their respective disciplines? We
invite presentations by artists and scholars about artists, designers, and makers that reference the decorative using particular
strategies that create new aesthetic languages.
Contemporary Art and Radical Democracy in Asia
Sohl Lee (University of Rochester) and Bo Zheng (China Academy of Art)
Propelled by the New Left movement, Chantal Mouffe and Ernesto Laclau developed the theory of radical democracy, which
in the past decade resonated through "social practice" (Esche,
Sholette, Jackson), "antagonistic art" (Bishop), and "dialogical
aesthetics" (Kester) in the arts. This panel has a two-fold goal:
to expand this discourse beyond its Western focus, and to examine contemporary Asian art through the framework of radical
democracy. How have Asian artists imagined radical forms of
democracy, transforming, for example, Mao's idea of daminzhu
(mass democracy) after the Cultural Revolution? How have
the ideals of democracy motivated radical art, as in the case of
South Korea during and after minjung undong? How can we
understand artists-led radical enclaves in India, a country often
described as the world's largest democracy, or the recent surge
of activist art in Hong Kong, Indonesia, and Japan? How have
online technologies affected social practice across Asia? Can
international platforms like art biennales in Asia promote transnational forms of democracy?
Eco–Art History
Sonya Lee (University of Southern California) and
Therese O'Malley (Center for Advanced Studies in the Visual
Arts, National Gallery of Art)
The mutual impact of the environment and human society
is one of the most important topics for academic and public
discussions in our time. This panel aims to bring together art
historians from diverse fields to work toward a more earthconscious mode of analysis that can be termed "eco–art history."
As such, this approach addresses on the most fundamental
level how cultural artifacts and sites affect and are affected by
human interactions with the natural world. Beyond the historical specificities of each case, eco–art history also calls for a
reexamination of the history of art history at large as well as the
rethinking of key issues in the discipline with methods and materials that integrate climate, landscape, and natural resources
into the interpretative framework. For this panel, we thus seek
papers that reflect on past attempts at developing ecological perspectives in the study of artistic monuments. We also welcome
studies that introduce new critical categories in analyzing the
production and reception of a work or site in relation to its
broader social and eco contexts.
Music and Visual Culture: Assessing the State of the
Field
Anne Leonard (University of Chicago) and Tim Shephard
(University of Sheffield)
The field of music and visual culture has become an increasingly important branch of art-historical scholarship in recent
years. Moving beyond traditional studies in iconography, it
now encompasses hybrid arts (such as dance, opera, film, and
video), performance studies, synaesthesia, architecture and
soundscapes, and much more. Yet, in all the enthusiasm around
"intermediality," certain problems present themselves. To what
extent do the different arts maintain distinct characteristics even
as they converge into new forms? How can existing disciplinary structures best accommodate inter-arts inquiry? Finally,
how can we ensure the production of worthwhile, responsible
scholarship that also remains intelligible, accessible, and useful
to both musicologists and art historians? Closely following the
publication of The Routledge Companion to Music and Visual
Culture, edited by the co-chairs, this session will present recent
approaches to research in music and visual culture that exemplify the aspirations and possibilities of this swiftly growing field.
À La Mode: The Contemporary Art and Fashion System
Jenny Lin (University of Oregon)
Takashi Murakami's handbags for Louis Vuitton, Cosima
von Bonin's reference to Martin Margiela's stitch, Alexander
McQueen's retrospective at the Metropolitan Museum of Art—
these are just a few of many recent art/fashion conflations. Since
Roland Barthes published his seminal text, The Fashion System
(1967), the worlds of fashion and art appear to have become increasingly intertwined. Might we then identify a contemporary
art and fashion system unique to our late-capitalist, globalized
present, and if so, how can we analyze the system's language
and socio-political stakes? Do recent collaborations between
contemporary art and fashion constitute a new phenomenon, or
is art moving, as Barthes suggested regarding fashion's cycles, in
an endless process of decay and renewal, with constant returns
to the past? Historians of art and design and critics writing on
modern and contemporary art, fashion, and their hybrids, and
artists engaging fashion through appropriation, critical intervention, or modes of production are invited to submit presentation
proposals.
Association for Textual Scholarship in Art History |
Hegemony and Hierarchy: Rivalry in the Theory and
Practice of the Visual Arts
Sarah Lippert (University of Michigan-Flint)
When Michelangelo mapped out his notion of the concetto in
his sonnets, he addressed theoretically the most fundamental
act of artistic rivalry (or the paragone), which is that between
the artist's hand and his/her idea. Although the paragone has
been a well-established framework of inquiry in scholarship on
the Renaissance era, its precedents and legacies invite stronger
historical contextualization and consideration as a methodological tool, despite the continued popularity of inter-arts studies.
Papers are invited considering the paragone, and its myriad of
manifestations in the visual arts. Such rivalry may lie, for example, between patrons, artists, nations, academies, and theoretical
hierarchies of the arts (or the senses to which they correlate),
including explorations of how the ut pictura poesis or sister arts
traditions were rejected or contested by competitive artists or
entities. Topics on all eras and media will be considered.
Other Asias
Susette Min (University of California, Davis)
This panel examines how Asia is rendered in and through curatorial practices beyond nation-state, global North-South, third-
and first-world paradigms. In contrast to exhibitions that recall
nineteenth-century world exhibitions or present Asia regionally
through a narrow scope of natural disasters, human crises, or
ethnic identities, a number of recent exhibitions—biennials,
curatorial collaborations—have envisaged "Asia" differently.
Avoiding dichotomies such as East/West and North/South, the
curatorial structure and selected artworks of these exhibitions
de-territorialize Asia, destabilize the spatial and temporal ways
art history, area studies, and Asian American studies conceive of
Asia, and challenge embedded understandings of modernity and
transnationalism. The panel seeks papers that offer critical reviews or examinations of these exhibitions, specifically focusing on how they inspire alternative networks and assemblages that
open up new geographies and art histories through metaphors
of connection—archipelago, ocean, rim, port. How might these
connections, for example, reveal models of South-South art
worlds or link Asia and Africa, Europe, or the US in radically
different ways?
Acts of Dissent: Reflections on Art and Politics in the
Twenty-First Century
Natalie Musteata (Graduate Center, City University of New
York)
Art and politics have a long and complex relationship. At
times their union has resulted in state propaganda, or agitprop
(for example, Socialist Realism in the former Eastern European Bloc). In other cases, it has raised political awareness
and attempted to incite radical change (see Tucaman Arde in
Onganía-ruled Argentina). The recent upsurge of worldwide
political unrest—evidenced by the Arab Spring and Occupy
movements—necessitates a reexamination of the intersection of
art and political agency in the contemporary moment. We invite
papers that shed light on the following questions: Can art be a
true agent of change and the harbinger of revolutionary society?
In the face of recent political upheavals, what new creative
tactics have emerged? How do current acts of artistic praxis
challenge existing modes of address and theoretical analysis?
This panel aims to address alternatives to orthodox ethical and
artistic criteria and complicate the agendas surrounding these
urgent issues in our post-9/11 world.
Objects, Objectives, Objections: The Goals and Limits of
the New Materialisms in Art History
Bibiana Obler (George Washington University) and
Benjamin
Tilghman (Lawrence University)
It is time to take stock of the opportunities afforded art and art
history by what might collectively be called the New Materialisms. What can we learn from thinkers such as Jane Bennett,
Graham Harman, and Bruno Latour? How can art historians,
attuned to the specificity and uniqueness of our objects of study,
enrich and modify New Materialist ideas? This panel seeks
papers representing diverse approaches to the topic. We are
looking for case studies of New Materialist ideas in art historical and artistic practice, as well as theoretical or historiographic
analyses suggesting ways forward or revisiting earlier moments
in the discipline's history marked by vitalism and materialism.
We also believe there is cause to be skeptical of these new theories and would like to include challenges to the validity of New
Materialist approaches. Do we have before us a valuable new
tool or a broken toy?
Toward a Spatial (Digital) Art History
Béatrice
Joyeux Prunel (École normale supérieure) and
Catherine Dossin (Purdue University)
Recent developments in Web mapping enable the ability to create multidimensional, dynamic maps that display vast amounts
of spatial and temporal data while remaining readable and
intuitive. Spatial dynamic visualizations allow historians to
study the locations and movements of artistic agents and artworks, their integration in social fields, as well as their response,
whether visual or discursive, to these spatial logics. The new
Spatial (Digital) art history thus participates in the redefinition
of art history by meeting the challenges of the spatial, global,
and digital turns. But to which extent is it groundbreaking
and productive? What are its unique contributions compared
to those of traditional art-historical methods? This panel will
bring together scholars who are pioneering in the field of Spatial
(Digital) art history to take stock of projects under development, and foster exchange and collaboration among them. We
seek papers that combine the presentation of a cartographic
project with a methodological reflection.
Painting in the Digital Age: Twenty-First-Century Recontextualization
Amy Schissel (Algonquin College)
Painting in the twenty-first century has begun to address how
the new and continuously updated digitally influenced tools of
perception affect the way one reflexively makes and experiences
art. We can question the role of painting, a primarily analogue
practice, within the complexity of a continuously recontextualized twenty-first-century modernism. This panel seeks papers
that explore the following issues for painters: Recontextualization from analog to digital, and/or re-contextualization of the
history of painting in light of its contemporary function or
dysfunction within the framework of an increasingly digitally
and media-saturated world. Interest is in exploring interactions
between painting and digital modes of representation and/or
communication through a wide range of painting—influenced
practices such as two-dimensional painting, installation, and
time-based media.
Rethinking the Total Art of Socialism
Geng
Yan (University of Heidelberg) and Christine Ho (Stanford University)
This panel seeks to open a transnational conversation about the political economy of socialist art during the Cold War years in order to
grapple with the aesthetic and ideological legacies of socialist culture. In considering the wide scope of responses, ranging from outright
rejection to appropriation to cautious revival of shared utopian ideals, this panel reexamines our current understanding of socialist art
beyond mere instrument of ideological control. How can we historicize its unified style and working methods, in particular the preference for representation? What role did the historical avant-garde play in its formation? How did socialist art mobilize its publics, and
how was it developed in concert with the state penetration of media? To what extent did the impact of global interactions shape international socialist aesthetics? Papers expanding beyond the Soviet epicenter to specific histories of other Communist states and exploring
cross-disciplinary approaches in addressing various media and media cultures are particularly welcome.
The Myth of Participation and the Growing Realities of
Critical Exchange
Shane Aslan Selzer (Parsons, The New School for Design) and
Ted Purves (California College of the Arts)
This session will feature artists and curators exploring the
international trend toward project-based artworks that prioritize critical exchanges through an occupation of social forms.
Critical exchanges occur when works situate their meaning
and structure around the transfers—of information, content, or
material— that happen within a chosen form (such as a market
stall, a shop, a public meeting, or a classroom), with an eye
toward illuminating relations and power. How can critical exchanges operate as a methodology for social inquiry? How does
critical exchange allow us, as viewers, to reflect upon the social
and economic pressures that are present in the institutions and
structures we navigate through on a daily basis? If participatory
projects are utopian in nature, then are critical exchanges their
opposition? How might institutions evolve to host such projects
effectively?
The Present Prospects of Social Art History
Robert Slifkin (New York University) and Anthony E.
Grudin (University of Vermont)
The practice of social art history has made a significant mark
on almost all aspects of the current comprehension of artistic
production and reception. Yet for many today, it seems difficult
to ascertain whether the social historical approach has succeeded beyond all expectations or failed completely. Social art
history has arguably achieved a dominant position on many
undergraduate syllabi, and attached itself to the current popular
understanding of the discipline, even as both its critics and some
of its central advocates have repeatedly accused it of stagnation,
sanctimony, and a blindness toward object-based analysis. This
panel is intended to solicit a conversation about the current
state of social art history through case studies and methodological inquiry. Which problems can it still engage, and which does
it tend to foreclose? And how do the significant influences of
deconstruction, feminism, and post-colonial and queer theory
factor into these debates?
Architecture Not
Adrian Sudhalter (independent scholar) and Claire Zimmerman (University of Michigan)
This session investigates models of architectural thought in the
divergent practices of those who trained but did not practice as
professional architects. Siegfried Kracauer's interest in surface,
for example, recasts the work of Carl Bötticher, Alois Riegl,
and Gottfried Semper as cultural critique: metaphorical surface
replaces material construction. Johannes Baader abandoned
architecture to embrace its figurative potential in Dadaist assemblages that decimated the conventions of representational
Wilhelmine buildings. El Lissitzky's architectonic abstractions
were "blueprints" for a new society. Does architecture writ large
survive elsewhere, either in the work of individuals like Sergei
Eisenstein, Rudolf Laban, Gordon Matta-Clark, Maya Lin, or
Patrick Keiller, or in broader constellations like Die Brücke?
This session traces architectural thinking across disciplines, periods, geography, and gender. How are design modes and spatial
concepts transposed to other fields? How do such models affect
cognition or understanding? What ideologies adhere to such
cross-disciplinary overlaps, and with what impact? How does
architecture "appear" in other practices?
The System of Materiality: Dialectic of a New Visuality in
East Asian Art
Ching-Ling
Wang (Kunsthistoriches Institut in Florenz, MaxPlanck Institut; Museum für Asiatische Kunst, Staatliche
Museen zu Berlin) and Frank Feltens (Columbia University)
The materiality of an artwork is as specific to its time, as it determines a work's afterlife. Sometimes meanings do not emerge
from pictorial content alone, but instead from the material and
compositional choices made by the artist(s). Never before was
the viewer's own engagement with the picture so forcefully
encouraged. Audiences were left with no choice but to see and
artists' individual virtuosity was put at the center of art consumption. This panel seeks to explore the impulses and results of a new visuality during the Early Modern period in China
and Japan, a time in which the arts witnessed an unprecedented
flourishing.
The Absent Image
Michelle C. Wang (Georgetown University)
From Zhang Yanyuan's Record of Famous Painters of Successive
Dynasties (847) to Giorgio Vasari's Lives of the Most Eminent
Italian Architects, Painters, and Sculptors (1550), histories of art
teem with accounts of artworks that no longer exist. This panel
examines the uses and values of absent images for the history of
art by exploring how writings about them have informed our
perceptions of art and society in particular historical moments.
How may we progress beyond using such writings in purely
documentary fashion or as sources in need of independent verification? What is the status of lost artworks in a discipline that
deals from the outset with the visible and the tangible? Seeking
a platform for cross-cultural and comparative dialogue, this
panel seeks proposals from scholars in any field or period of art
history for papers that investigate the problems and potential of
studying art-historical writings that address absent images.
The Unlikely Self
Veronica
White (Morgan Library and Museum) and
Anna
Hetherington (Columbia University)
We propose a theme of self-portraiture that extends our understanding of a portrait and goes beyond studies of mimetic representations. The artist is the primary viewer of his own self-portrait, but how are we, secondary observers, to interpret images
where likeness is removed, but the self remains? Examples range
from the skin of St. Bartholomew in Michelangelo's Last Judgment, which is often read as a self-portrait, to Jim Dine's titled
self-portraits, wherein an object such as a bathrobe identifies
the sitter rather than his physical likeness. Jenny Saville's Closed
Contact features photographs of the artist's own body, but the
contorted poses challenge the viewer's perceptions of beauty,
Early Modern Imperial Landscapes in Comparative Perspective
Stephen Whiteman (Center for Advanced Study in the Visual
Arts)
Early modern social and economic transformations led contemporary regimes to develop new means for articulating and communicating visions of authority. Landscape both reflected and
conveyed these transformations, and the relationship between
land, its imagination, and consumption proved a fruitful site for
the negotiation of royal and imperial identities. This panel seeks
to illuminate how early modern states shaped, and were shaped
by, landscape, including both physical sites, such as gardens,
courts and hunting parks, and rhetorical ones, whether visual,
textual, or otherwise. How did these states engage landscape
as a medium for imperial identity? What effects did social and
economic transformations, including the rapid expansion of
printing, increasing mobility, and commercializing economies,
have on these processes? How may a comparative study of these
and related questions enlighten our understanding of both landscape and early modernity? We invite papers critically engaging
the nature of landscape and state power in Asia, Europe, and
beyond during the early modern period.
Maintaining the Past: Collecting and Collectors in
Twenty-First-Century Museums
Janet Whitmore (Harrington College of Design) and
Gabriel P. Weisberg (University of Minnesota)
This session will examine the preservation of historical museum
collections, the role of archival research in protecting the integrity of the history of collecting, and the scholarly publication
of evidence-based, art-historical analysis related to collection
development. Topics might include: Do museums have a responsibility to document their own history? How has the curatorial
practice of collecting influenced the development of the arthistorical record? How have museums maintained the archival
history of their own pasts? How—and when—do art historians
and curators publish research on serious collectors and donors
in order to establish a scholarly record of the past? Is deaccessioning a legitimate practice? Are there legal guidelines for
managing this process? What practices need to exist in order to
maintain the integrity of historical documentation regardless of
the art-historical tastes and predilections of any particular era?
Fifth Biennial Art History
Symposium
Savannah College of Art and Design (SCAD)
Savannah, GA
28 February - 1 March 2014
[from H-ARTHIST, 1/28/13]
The media, techniques and materials of art-making comprise layers of knowledge and bear traces of the physical and intellectual act of creation. The art object changes as successive layers build-up over time or strip away material and evidence. Both tangible and virtual paint covers canvas, earth subsumes artifacts, weather and environmental effects leave traces, and new layers of thought replace older conventions. A process of creation similarly yields destruction as new covers old, possibly masking or revealing the underlying trace. "Palimpsest: The Layered Object" will explore the relations between aesthetic inscriptions, erasures and the historical conditions of their media, whether drawing, film, incunabula, painting, print, sculpture, textiles, architecture or urban space. This symposium considers the "layered object," or "palimpsest" as a model for artistic production. We seek to mine history, excavate knowledge and find meaning in the residue between layers of creation.
In the late 20th century, philosophy provided tools to investigate media and technology as conceptually constituting our present condition. Today, where do we stand within our rapidly accelerating post-media condition? Technologies and their application in art history provide us with tools to generate a profound understanding of the monumental and the ephemeral, the real and the imagined, the single object and the archive. We, therefore, invite interdisciplinary contributions that merge art history with other fields and seek topics that explore the beginning of inscription as well as the remains of its erasure. "Palimpsest: The Layered Object" is unbounded temporally, geographically and culturally.
Potential topics may include:
- Interstices between signs within media
- Philosophical traces underpinning conceptual, analytical or methodological strategies
- Encapsulated knowledge in different forms of narration
- Fluidity of processes underlying media
- Cultural mappings and archival strategies
- Pentimenti and layered surfaces in painting
- Indexicality and "the trace" in photography
- The layered city landscape
- The media of the scientific examination of art
Please submit an abstract
(300 words maximum) and a résumé, including complete contact information, to
arthsymposium@scad.edu.
Deadline for abstract submission: Wednesday, May 15, 2013
Notification of acceptance: Sunday, Sept. 1, 2013 via e-mail
Symposium language is English.
20th International Conference
Institute of Far Eastern Studies
Russian Academy of Science
Moscow, Russia
16-18 October 2013
[courtesy of EACS, 2/13/13]
Dear colleagues,
Hereby we cordially invite you to take part in the 20th International Conference on "China, Chinese Civilization and the World: History, Modernity and Future Prospects," which will take place at the RAS Institute of Far Eastern Studies, Moscow, on October 16-18, 2013. The main theme of the Conference shall be "China in the Epicenter of Global Problems Facing the Asia-Pacific Region".
The Conference shall be organized by the RAS Institute of Far Eastern Studies, together with RAS Academic Council on Comprehensive Studies of Modern China, Russia-China Friendship Association and Russia-China Committee for Friendship, Peace and Development. Apart from two Plenary Sessions, the conference proceedings shall include the round-table discussion on Prospects for Sino-Russian Interaction in the Asia-Pacific Region (Moderator: Academician Mikhail L. Titarenko) as well as the following panels:
- China in the Global Policy and Economy Today (Moderator: Prof. Dr. Vladimir Ya. Portyakov)
- RF and PRC : Interaction at the Global and Regional Levels (Moderator: Prof. Dr. Sergey G. Luzyanin)
- Experience of China's Socio-Economic Development (Moderator: Prof. Dr. Andrey V. Ostrovskiy)
- Specifics of Socio-Political Processes in Contemporary China (Moderator: Prof. Dr. Andrey V. Vinogradov)
- Historical Roads of China, Russia and Asia-Pacific Region Countries (Moderator: Prof. Dr. Natalia L. Mamaeva)
- China in the Dialogue of Cultures (Philosophy, Religion, Literature and Arts (Moderator: Prof. Dr. Anatoly E. Lukyanov)
- Chinese Language, Linguistics and Education in the Era of Globalization (Moderator: Prof. Dr. Olga I. Zavyalova)
We invite Russian and foreign scholars to take part in the conference.
For timely issue of visa-support invitations, hotel bookings and abstract publication, the Organizing Committee requests to fill-in and send the attached application form plus your presentation abstracts by May 15, 2013 by e-mail to demido@ifes-ras.ru or karganova@ifes-ras.ru, Re: October Conference. Abstracts can be written in Russian, Chinese or English, without footnotes and/or endnotes, in RTF format, and should not exceed 4000 characters, spaces included (in Russian or English), Font Times New Roman, size 14, or 2000 characters, spaces included (in Chinese).
Participants are expected to take care of all costs pertaining to participation in the conference (international air-tickets, room & board in Russia, in-country travel if any, and registration fee).
Chairman of the Conference:
Academician Mikhail L. Titarenko, Chairman
of RAS Academic Council on Comprehensive Studies of Modern China
Chairman of the Organizing Committee: Prof. Dr. Andrey
Ostrovskiy, Deputy Director, RAS Institute of Far Eastern Studies
[from H-NET, 1/22/13]
The Quarterly Journal of Chinese Studies (i.e., former Journal of Chinese Studies, ISSN: 2224-2716), is an international peer-reviewed academic journal (in English) which is edited by the Overseas Education College of Xiamen University in China. It publishes articles and reviews on a full gamut of Chinese studies which include but are not limited to Chinese language education, Chinese linguistics, Chinese culture, Chinese literature, Chinese arts, Chinese history, Chinese society, Chinese politics and economy. It intends to promote research and provide an interface for scholarly communications and discussions in the fields.
The deadlines for submission of papers are February 15, May 15, August 15, and November 15 respectively for the March, June, September, and December issues. We are now calling for submission of papers for the third issue of the first volume.
All submitted articles should be original and are subjected to blind peer review and to the discretion of the editors. As a benefit, authors and co-authors will receive two free copies of the issue including the printed manuscript. All submissions should be saved as Microsoft Word files and e-mailed to jcs@xmu.edu.cn.
Papers:The length of each paper is expected to be in the range of 6,000-10,000 words. The text should be typed in 12-point Times New Roman font on A4 paper, and double-spaced.The title should be on the first page followed by an abstract around 200 words. The second page should list author name(s), title(s), brief biographical data, institutional and email address(es), and indicate the corresponding author.The wording of the text and bibliographic reference should be in the APA style.
Reviews:Reviews can be in the range of 1,000-6,000 words. Contributors should follow the guidelines for papers.
Queries may be directed to the executive editor:
Yu Zhu
Overseas Education College
Xiamen University
Fujian Province 361005
China.
American University
Washington, DC
8-10 November 2013
[from H-ASIA, 2/18/13]
This fourth annual conference continues to build on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas, national traditions, and issues of race and ethnicity are encouraged.
To be considered for participation, please provide a single document in Microsoft Word (title the document [last name]-proposal.doc or .docx) comprising a one-page, single-spaced proposal of no more than 500 words for a 20-minute presentation, followed by a curriculum vita of up to two pages.
Submit materials by May 15, 2013 via the file-sharing service Dropbox: https://www.dropbox.com/sh/6o2lj5neaygmnlg/QtMeEn7aDf.
Accepted proposals will be notified by July 1, 2013.
Please direct inquiries to: fahc4papers@gmail.com.
Keynote speaker: Professor Patricia Simons (University of Michigan)
Sponsored by the Art History Program, Department of Art, College of Arts
and Sciences at American University
Organizing committee: Kathe Albrecht,
Juliet Bellow, Norma Broude, Kim Butler, Mary D. Garrard, Namiko Kunimoto,
Helen Langa, and Andrea Pearson
Falmouth University
Cornwall, UK
28-30 August 2013
[from H-NET, 3/23/13]
"Fascinate" is an interdisciplinary conference investigating the current and future applications of ubiquitous computing technologies in visual and performance arts, architecture, craft, design and interactive media. "Fascinate" will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things. "Fascinate" will offer participants the opportunity to present and discuss their work, inspire and be inspired by the work of others across a range of fields of practice; build on the experience of keynote speakers and establish new and eclectic collaborations. "Fascinate" will explore:
- The design of augmented reality, performance and interaction
- Digital technologies in contemporary art, craft and design practice
- The use of sound design, animatronics and context-based media
- Current developments of ambient intelligence and architecture
THEMATIC AREAS
Ambient Computing and Cognitive Environments
Pervasive Media
Tangible, haptic and embodied Interfaces
Ubiquitous computing and architecture
Low cost embedded processing in product design
Innovative interfaces in contemporary arts and crafts
Augmented musical instruments
Interfaces for dance and theatre
Networked performance
Motion and gesture analysis
Augmented Reality
Contributions are welcomed in the form of:
Papers
Posters
Demonstration/installation
Workshop
Performance
SUBMISSIONS
Deadline: 15 May 2013.
General Requirements:
Document Formats: please submit your written proposals in only PDF, OpenOffice (.odf) or MSWord (.doc) formats.
Video: if you wish to provide video or other large files in support of your proposal then please provide links where they can be viewed online, link to a dropbox folder or on CD/DVD/USB media.
Proposal for papers (to be peer reviewed) should include:
An abstract (500 words maximum including bibliography)
A short biography (200 words maximum)
Full name and contact details (address, e-mail and phone)
Proposals for demonstrations/installation should include:
A description of the work (500 words maximum)
Supporting media (video, images, sound) showing previous examples of same work or that will enable us to understand the work you are proposing
A short biography (200 words maximum)
Full name and contact details (address, email and phone)
Details of any equipment that a) you will be bringing; b) that you are requesting us to supply
Details of any special technical or space requirements
Details of any health and safety considerations
Proposals for workshops (exploring themes of conference, held parallel to afternoon sessions on both days of conference) should include:
Title and short description of workshop proposal (500 words maximum including bibliography)
A short biography (200 words maximum)
Details of any equipment that a) you will be bringing; b) that you are requesting us to supply
Proposals for posters (up to A1 in size for display throughout the conference) should include:
Title and short description of poster (500 words maximum)
A short biography (200 words maximum)
Full name and contact details (address, e-mail and phone)
A limited number of bursaries will be available for students and artists contributing to the conference (paper, poster, installation, performance, workshop) to cover registration, travel, accommodation and materials. If you would like to apply for a bursary then please state this in your submission.
Fascinate
Conference Academy for Innovation & Research
Falmouth University
Tremough Campus
Penryn, Cornwall TR10 8EZ
UK
e-mail info@fascinateconference.com
Ghent University
Ghent, Belgium
18-20 December 2013
The Ghent Centre for Buddhist Studies Studies (Ghent University, Belgium) and the Buddhism in Motion Group of the KHK Dynamics in the History of Religions between Asia and Europe (Ruhr University Bochum, Germany) are pleased to announce the International Conference "Network and Identity: Exchange Relations between China and the World."
At this stage, we invite proposals of papers for this conference to be held in Ghent, Belgium on 18, 19 and 20 December 2013.
The aim of the conference is to examine the spread of ideas and practices along the major trade roads between India and Japan, with China in a pivotal position. This journey is conditioned by many factors: geographical, social, political, philosophical, artistic, religious and even linguistic environments all played their role. In each region, ideas and practices intermingle, giving rise to new identities. Roads also naturally rely on networks, economical as well as cultural. This conference aims to focus on these two concepts, "networks" and "identity": while people need each other to travel along the long routes of Asia, meeting each other also enhances ideas or questions about one's own position and cultural framework.
We welcome any papers on the concepts "identity" and "network" or related to various forms of interaction and exchange in the Asian World.
Interested scholars are invited to submit paper proposals and a short résumé by May 15th at cbs@UGent.be. Presentations should be approximately 15 to 20 minutes in length. The abstracts will be evaluated by a scientific committee (anonymous peer review). Notification of acceptance of your paper for presentation at the conference will be done by June 15th 2013. Attendance at the conference is free of conference fees for paper presenters.
Keynote speaker: Tansen Sen (Baruch College, the City University of New
York)
Other invited speakers: Christoph Anderl (Bochum University), Jinhua Chen
(University of British Columbia), Max Deeg (Cardiff University), Peiying
Lin (Oxford University), Ilona Manevskaia (Manchester University), Sem
Vermeersch (Seoul National University)
Speakers from Ghent University: Ann Heirman, Bart Dessein, Christian Uhl
Speakers from Bochum University: Sven Bretfeld, Licia Di Giacinto, Carmen
Meinert, Jessie Pons, Henrik H. Sørensen, Michael Willis, Sven Wortmann
For more information and registration, please contact cbs@UGent.be.
University
of Macau
Macau, China
16-20 December 2013
[courtesy of IIAS, 3/21/13]
The Macau Winter School is the third such programme in Asian Studies run by IIAS. It will be co-organized this time with the Faculty of Social Sciences and Humanities, University of Macau, and will take place in the historic Chinese port-city Macau from 16-20 December 2013. The Macau Winter School is meant to elicit and interrogate new theoretical paradigms of postcolonial urban hybridity that are informed by experiences emanating from various contexts in Asia and beyond. Participants will be required to assess critically their individual work through discussions led by co-conveners. They will also test their knowledge against the background of the urban setting of Macau where they will reside for the duration of the programme.
The programme will be run by three world-renowned scholars in the fields of Asian postcolonial hybridity: Prof. Engseng Ho (Duke University), Prof. Akhil Gupta (University of California, Los Angeles) and Prof. Michael Herzfeld (Harvard University). Research specialists from various academic backgrounds (history, Asian studies, social anthropology, art history, media studies, etc.) will combine their expertise to provide participants with an intensive and interactive experience. Students will have the opportunity to present their research and receive productive critical feedback from top scholars and from their student peers. The session will close with a one-day conference where selected participants will present their revised papers. The event will also feature outside scholars in the fields of postcolonial hybridity and Macau studies.
The key themes related to postcolonial urban hybridity include but are not limited to:
- Rethinking notions of hybridity, métissage, creolization, etc., in urban contexts
- The colonial / postcolonial city – cities before, during, and after Empire
- Postcolonial and cryptocolonial nation-states and cities
- Port-cities and maritime connections
- Contests over land use and ownership (gentrification, eviction, "disneyfication," ethnic and spatial "cleansing")
The programme invites applications from PhD students. Please visit www.masterclasses.asia for more information on the Macau Winter School, the requirements and the application form. Deadline for applications: 16 May 2013, 9.00 am (CET)
For questions, please contact Ms Martina van den Haak.
20th NZASIA Biennial International Conference
Auckland, New Zealand
22-24 November 2013
[from MCLC, 4/8/13]
The University of Auckland this year hosts the twentieth conference of the New Zealand Asian Studies Society. Panels and papers which respond to the theme are particularly invited and will be considered for publication, but the conference will cover the full range of disciplinary and area studies approaches to East, Southeast and South Asia and all paper and panel proposals will be given full consideration.
Deadline for proposals: 17 May 2013. Proposals for panels (up to four presenters) are particularly welcome. Submission of proposals will be through the website (see below).
Keynote speakers:
Geremie Barmé (Australian National University)
Amita Bhaviskar (Institute of Economic Growth, New Delhi)
David L. Howell (Harvard University)
The University of Auckland, New Zealand's leading research university, is one of the top universities in the Asia-Pacific region. This will be the fifth time the University has hosted an NZASIA conference since the inaugural event in 1974. Modern Asian Studies in New Zealand is also celebrating fifty years.
Wesbite for further information and submission of proposals: http://www.nzasia2013.org.nz/
Cluj-Napoca, Romania
24-26 October 2013
[from H-ARTHIST, 1/3/13]
In the past decades "intermediality" has proved to be one of the most productive terms in the domain of humanities. Although the ideas regarding media connections may be traced back to the poetics of the Romantics or even further back in time, it was the accelerated multiplication of media themselves becoming our daily experience in the second half of the twentieth century that propelled the term to a wide attention in a great number of fields (communication and cultural studies, philosophy, theories of literature and music, art history, cinema studies, etc.) where it generated an impressive number of analyses and theoretical discussions. "Intermediality is in" ("Intermedialität ist in"), declared one of its pioneering theorists, Joachim Paech, at the end of the 1990s.
However, we may also note, that since then other theoretical approaches introduced even newer perspectives that have not only revitalized the study of media phenomena in general but have specifically targeted the emerging new problematics raised by the new electronic media. Facing the challenge of the daily experiences of the digital age, discussions of media differences or ‘dialogues' highlighting the ‘inter,' the "gap," the "in-between," the "incommensurability" between media are currently being replaced by discourses of the "enter" or "immersion," and the "network logic" of a "convergence culture" in which we have a "free flow of content over different media platforms" (Henry Jenkins). At the same time the turn towards the corporeality of perception in all aspects of communication has also shifted the attention from the "interaction of media" towards the "interaction with media," from the idea of "media borders" towards the analysis of the blurring of perception between media and reality, of humans and machines - media being perceived more and more not as a form of representation but as an environment and as a means to "augment" reality.
Nowadays media continuously mutate, relocate and expand, while connections between "old" and "new" media are being established with incredible fluidity. Accordingly, we may ask: what are the new perspectives for intermedial research in the digital age? While media are continuously changing and expanding, how can we relocate the "in-between"? If we consider "intermediality" first and foremost--as suggested by Jürgen E. Müller--as a "research concept" (Suchbegriff), how can this concept be effectively applied to the media we see around us today? And if we believe that the "ecosystem" of contemporary media can be understood not as a unified digital environment that nullifies differences, but as a thriving and highly diversified, "multisensory milieu" (Jacques Rancière) that poses new challenges both for the consumer/producer and the theorist, how can we address these challenges? How do media differences persist and how do these differences still matter despite voices advocating the so called "post-medium condition"?
As the Society for Intermedial Studies launches its own expanded, international format (ISIS), we think it is timely to address once more the major issues for which this society exists, and to invite participants to examine new forms of "intermedialities." In doing so participants may address a broad range of questions relating to "old media" and "new media," and their possible interactions, focusing on the wide array of intermedia phenomena and new type of relationships that new media have produced, but also on how pre-digital media relations can be re-evaluated, and how historical paradigms of intermediality may already be distinguishable viewed from the standpoint of the contemporary media landscape.
Proposals may address (but are not limited to) the following questions either from a theoretical point of view or through concrete analyses:
Media on the move? Media relations produced by expansions and relocations of media (e.g. "the virtual life of film," the expansions of the "photographic" and of the "cinematic" over other media, e-literature, etc.), the emergence of mobile screens, the fact that media use is more and more related to moving in the literal sense of the word: mobility and navigation.
Relocating the "in-between": intermediality, inter-sensuality, multimodality and interactivity, assessing the contribution of cognitive theories (and neuroscience), phenomenology and post-phenomenology to the study of understanding interactions of media and interactions with multiple media.
Performing in (new) intermedial spaces: intermedial performance in art and society. Being "in touch" with reality - being ‘in touch with media:' researching new (trans)media practices.
Intermediality and new forms of digital storytelling: new perspectives in transmedial narratology, new media and narratology (e.g. narrativity and e-platforms, games versus "old" media etc.), the aesthetics of the intermedia flow, of complex, network narratives generated by the experiences of the new media age.
Modelling and mapping intermedialities: historical paradigms of intermedial relations (pre-modern, modern, post-modern intermediality); the aesthetics and ‘politics' of intermediality before and after the digital age; historical research on intermediality related to media migration, cultural heritage and changing relationships between production, distribution, and perception.
Confirmed keynote speakers:
Henry Jenkins (University of Southern California)
Joachim Paech (University of Konstanz)
Marie-Laure Ryan (independent scholar)
Deadline for the submission of proposals: 20 May 2013. We will notify you about the acceptance of your proposals by: 1 June 2013.
Submission of proposals: please complete the submission form that can be dowloaded from the conference website, and send it as an attachment to the following address: 2013.rethinking.intermediality@gmail.com.
Binghamton University, SUNY
27-28 September 2013
[courtesy of R. Knapp, 1/27/13]
The NYCAS 2013 program committee invites proposals for panels, roundtables, and individual papers on all aspects of Asian and Asian-American history, culture, and contemporary life, representing disciplines in the humanities, social sciences, and professional schools. Interdisciplinary proposals are also welcome. Graduate students are especially encouraged to apply.
The deadline for all paper, panel, and roundtable submissions is May 31, 2013.
All panel, roundtable, and paper proposals must include the name and full contact information of all participants You should submit your proposal online by visiting http://ceo.binghamton.edu/continuing-education/non-credit-programs/nycas/abstract-submissions.php.
INDIVIDUAL PAPER proposals should include the full title and a brief abstract of 250 words or less. Individual papers will be assigned by the NYCAS 2013 program committee to a panel according to topic and should be short enough to present in 15-20 minutes. Word-for-word reading of papers is discouraged.
A PANEL consists of 3 or 4 papers organized around a common topic or theme, and a chair (who may also be one of the panelists). All panel proposals should include a title and brief abstract of the panel (250 words or less), and a title and brief abstract of each paper. Panels will run for 90 minutes, and paper presentations should be short enough to allow for questions and discussion. Creative panel formats that encourage discussion and exchange are especially welcomed.
ROUNDTABLE FORMAT may vary, but could include introductory remarks by each roundtable participant, followed by comments and discussion among participants and the audience. All roundtable proposals should include a title, content summary, and description of the anticipated contributions of each roundtable participant.
Check the http://www2.binghamton.edu/continuing-education/non-credit-programs/nycas/index.html for updates. Please address all inquiries to the conference chair Michael Pettid: nycas13@binghamton.edu.
[from H-NET, 3/21/13]
Studia Orientalia Monographica is a monographic edition issued by the Institute of Oriental Studies in Slovakia. It is published annually in English. We invite conceptual and empirical research papers from the field of oriental studies, such as history, linguistics, archaeology, literature, philosophy, religious studies, ethnology or arts. We invite original manuscripts not previously published and not reviewed by any other publisher. The scope is international. The publication is to be published in November 2013. If you wish to have your paper considered for the 2013 issue, please submit by May 31, 2013. Manuscript should count up to 40,000 words in length (including references, endnotes and space taken for tables/figures).
Institute
of Oriental Studies
Klemensova 19
813 64 Bratislava
Slovakia
tel +421-2-52926326
fax +421-2-52926326
e-mail <kaoreast@savba.sk>
Austin, TX
9-13 April 2014
[from SAH, 5/5/13; sessions possibly relating to China and Japan listed below]
The Society of Architectural Historians is now accepting abstracts for its 67th Annual Conference in Austin, TX, April 9-13, 2014. Please submit abstracts no later than June 1st for one of the 31 thematic sessions or open sessions. Sessions have been selected to cover topics across all time periods and architectural styles. SAH encourages submissions from architectural, landscape, and urban historians; museum curators; preservationists; independent scholars; architects; and members of partner organizations.
After
Representation: Architecture Displays Itself
Session chairs: Martino Stierli (University of Zurich) and Reto Geiser (Rice University)
"And
On Your Left": Taking the Architectural Tour Seriously
Session chair: J. Philip Gruen (Washington State University)
Architectural
Histories of Maritime Asia
Session chairs: Imran bin Tajudeen (National University of Singapore) and Jiat-Hwee Chang (National University of Singapore)
Architecture
and the Unconscious
Session chairs: John Hendrix (University of Lincoln) and Lorens Holm (University of Dundee)
Architecture
RePerformed: The Politics of Reconstruction
Tino Mager (Berlin Institute of Technology)
The
Changing Face of Urban Cartography
Session chair: Linda Hart (Los Angeles)
Conceptions
of Public Space in the Early Modern World
Session chair: Janna Israel (Virginia Commonwealth University)
Display
Architecture: Department Stores and Modern Retails
Session Chairs: Florence
Brachet Champsaur (EHESS; Groupe Galeries Lafayette) and Anca I. Lasc (Shippensburg University of Pennsylvania)
Gardens
and Visual Representation: West-East, 1400-1800
Session chairs: Mirka Beneš (University of Texas at Austin) and Anatole Tchikine (Dumbarton Oaks)
Landscape of Scale
Session chair: Sonja
Duempelmann (Harvard University)
New Reflections on Colonialism and Globalization
Session chairs: Zeynep Çelik (New Jersey Institute of Technology) and Rosemary Wakeman (Fordham University)
Other Postmodernisms: Alternative Genealogies of the Recent Past
Session chair: Vladimir Kulic (Florida Atlantic University)
Sacred Power: Religion, Politics and Architecture in the 20th
Century
Session chairs: María González
Pendás (Columbia University) and Antonio Petrov (University of Texas San Antonio)
Spatial
Violence
Session chairs: Andrew Herscher (University of Michigan) and Anooradha Iyer
Siddiqi (New York University; The New School)
[from H-ASIA, 12/20/12 and 3/29/13]
Although we have received commitments for several promising manuscripts, there is still time for prospective authors to submit manuscripts for the special section described in this post. Especially welcome are shorter teaching essays on a variety of Central Asia topics. The next paragraph is a description of Education About Asia for those who are unfamiliar with the journal.
Education About Asia (EAA) is the peer-reviewed teaching journal of the Association for Asian Studies. Our approximately 1,800 readers include undergraduate instructors as well as high school and middle school teachers. Our articles are intended to provide educators, who are often not specialists, with basic understanding of Asia-related content. Qualified referees evaluate all manuscripts submitted for consideration. Most of our subscribers teach and work in history, the social sciences, or the humanities.
We are in the process of developing a special section titled "Central Asia" for the fall 2013 issue of EAA. In this special section, we invite authors to submit manuscripts that assist instructors and students in secondary school and college/university introductory survey courses in the humanities or social sciences to better understand Central Asian cultures and history. This special section will include articles on a variety of both historical and contemporary topics. Manuscripts on early and modern history, geography, economics, culture, and contemporary geopolitics are especially encouraged. We welcome manuscripts from teachers, scholars, journalists, or others who have expertise in the topic. Prospective authors should be aware that approximately fifty percent of our readers teach at the undergraduate level and the rest are secondary or middle school teachers. Please consult the EAA guidelines, available on the website under my signature before submitting a manuscript for this special section. Pay particular attention to feature and teaching resources manuscript word-count ranges. Prospective authors are also encouraged to share possible manuscript ideas with me via email. The deadline for initial submission of manuscripts is June 10, 2013. Prospective authors are welcome to e-mail me at the address below if they have questions.
Cordially,
Lucien Ellington
Editor, Education About Asia
302 Pfeiffer Stagmaier Hall
tel (423) 425-2118
fax (423) 425-5441
The Eleventh Chinese Internet
Research Conference (CIRC11)
University of Oxford
UK
14-15 June 2013
[from MCLC, 10/6/12]
CIRC is an interdisciplinary conference that brings together scholars, analysts, industry leaders, journalists and legal practitioners from around the world to examine the impact of the Internet on Chinese society, including its social, cultural, political and economic aspects, as well as how China is changing the Internet. Founded in 2003, the eleventh meeting of the Chinese Internet Research Conference (CIRC) will be held in Oxford, hosted and co-organized by the Oxford Internet Institute, the Programme of Comparative Media Law and Policy, and the Reuters Institute for the Study of Journalism at the University of Oxford in collaboration with the Steering Committee of the CIRC, the Annenberg School for Communication & Journalism at USC, the Center for Global Communications Studies (CGCS) at the Annenberg School for Communication at the University of Pennsylvania, the Global Communication Research Institute (GCRI) at Shanghai Jiao Tong University, and Singapore Internet Research Centre at Nanyang Technological University.
CIRC11 will begin with a dinner at Balliol College on 14 June 2013, which follows the ICA Pre-Conference on "China and the New Internet World." This conference will be organized by the OII, PCMLP and RISJ, in collaboration with an organizing committee, which will include representatives of CIRC and our academic partners. CIRC11 will continue on Saturday, 15 June with academic panels and presentations from 9am to 5pm, followed by a closing session.
While individuals may register to attend CIRC11 whether or not they are able to attend the ICA Pre-Conference on the 14th (and vice versa), the conferences are designed to flow seamlessly together providing a broad range of current research on the Chinese Internet and drawing prominent researchers to this these consecutive events. Those who wish to attend the ICA Pre-Conference should register through the ICA. Those who wish to attend the CIRC11 Dinner on 14 June or CIRC11 on 15 June should send an e-mail expressing interest, with CIRC in the subject heading.
The CIRC11 Organizing Committee welcomes proposals for panels or abstracts of presentations for the 15 June conference. Any panel or presentation that promises to advance social research on the Internet and related media and communication technologies in China or within the broader Chinese user community is welcomed. Panel proposals should be written in English and should not exceed two pages or 1000 words, and abstracts not exceed one page or 500 words.
Papers by graduate students are particularly welcomed. Graduate students who submit conference papers will be considered for CIRC's annual graduate student paper competition. Eligibility is limited to papers that do not include any faculty co-authors.
CIRC examines trends and themes concerning the role of the Internet and related media and communication technologies in Chinese political, economic, cultural and social life. We welcome contributions from any disciplinary or interdisciplinary perspective that seek to address these themes. Forward looking and historical perspectives on the Internet in China and the Asian region are particularly welcome. Potential topics include:
[from ASDP-L, 2/20/13]
JSAJ, a juried professional journal published annually, accepts essays on a wide variety of topics related to Japanese Studies across the disciplines, Pedagogical Notes and Essayswhich reflect on aspects of teaching Japanese material, and book reviews and review essays of relevant research for our membership and for all those engaged in infusing Japanese and Asian material into their curricula.
For our next volume, a general number, we invite submissions, inquiries, and proposals, both disciplinary and interdisciplinary, on any topic related to Japan.
General guidelines:
- up to 5,000 words, formatted in a style consistent with your discipline(s)
- use roman script as much as possible and severely limit graphic images, especially color images
- try to include in your bibliography helpful sources for anyone teaching the material you discuss in your paper
- include at the beginning of your paper an abstract of 250 or so words, single-spaced
- minimize use of footnotes and endnotes
- send your paper as a Word document attached to an e-mail to: painestover@gmail.com
- send in a second attachment a brief Contributor's Note including your name, academic affiliation, relevant publications, areas of research, etc.
- make sure you include in your e-mail message a current and reliable e-mail address, as well as your postal address
- please use current MLA style, or the current style
manual adopted by your discipline.
Deadline for all submissions in completed form is June 15, 2013. However, late submissions may be considered. Early submissions are very much encouraged! The issue will be presented at the JSA Conference in January [2014].
[courtesy of EACS, 3/28/12]
Application Deadline: June 15, 2013
Planned publication time: October 2013
Dear Colleagues,
We would like to invite proposals for articles for an open access academic English language blind peer review journal International Journal of Area Studies to be published in October, 2013. This issue is devoted to Chinese and Taiwanese studies.
The Journal, published semiannually in March and October, is devoted to area studies from the humanities and social sciences perspectives (including but not limited to research on history, religion, philosophy, politics, and social processes in the regions of the world). We are interested in receiving article proposals related to different facets of the aforementioned scientific fields.
Though the Journal first of all is aimed at becoming a scholarly outlet for scholars engaged in area (including North European) studies who are based in Central and Eastern Europe, it naturally welcomes contributions by authors residing and working anywhere in the world. In addition, the Journal welcomes texts by aspiring young researchers, including graduate and post-graduate students. Next to texts based on original research, the Journal accepts review articles with in-depth analysis of relevant publications in area studies. Review articles are subject to blind peer review process and are treated as research articles in their own right.
Manuscripts and enquiries should be submitted to the Editor via e-mails: ijas@pmdf.vdu.lt and ijas.academia@gmail.com
The articles should be between 6,000 to 10,000 words and the used figures should be submitted together. Each article should be accompanied by an abstract of up to 300 words. The Journal uses a "Harvard-style" referencing system.
Authors are anticipated to provide information about themselves: name(s), surname, academic title and position, name of his/her institution, address for correspondence and e-mail address. This information should be indicated in the body of the submission letter, but not in the text of work.
The detailed instructions for authors of the Journal can be found at http://asc.vdu.lt/wp-content/uploads/2010/07/IJAS-instructions.pdf.
[from H-NET, 11/8/12]
In recent years, the cultural turn in the history of empire and imperialism has shed much new light on how imperialism and subject populations functioned. Yet despite ample attention being given to the role played by commercial advertising, print capitalism, travel and tourism, and other cultural forms, there has been little analysis of the key function of cartoons, satirical art, and caricature in sustaining, and challenging, imperial systems. Aside from useful surveys by Roy Douglas (Great Nations Still Enchained, 1994) and Mark Bryant (Wars of Empire in Cartoons, 2008), there exists no thorough, scholarly, interrogation of the relationship between cartoons and empire. This is a significant omission, for it is almost impossible to imagine the "New Imperialism" in Africa without picturing Linley Sambourne's "Rhodes Colossus" standing astride the continent from Cape to Cairo. Similarly, Thomas Theodor Heine's famous representation of the different Belgian, French, British, and German methods of colonialism continues to colour our understandings of imperial exploitation, as do numerous similar works by American, Japanese, and cartoonists of other nationalities. Cartoonists and satirical art also played an important role in the resistance to imperial regimes, and the recovery of their voice has been an important aspect of the postcolonial enterprise. This study therefore aims to bring together what is still a disparate field of inquiry, and offer a consolidated approach to understanding the relationship between cartoons and imperialism.
This edited volume aims to explore the importance of cartoons, caricatures and satirical art in the imperial context through a series of case-studies spanning the age of High Imperialism (c.1815-1945) from European and non-European contexts. It will cover important threads of support, resistance and criticism, to imperialism in both metropole and periphery, explore the question of orientalism, and look at colonial development, as well as any other theme relating to empire. Already committed to the project are the editors of the collection, Dr Richard Scully (University of New England) and Dr Andrekos Varnava (Flinders University, South Australia). The editors are looking to receive proposals on the cartoons, caricature and satirical art emanating from journals published in Europe (including Ottoman Empire), the US and non-Western traditions, such as Japan.
Please send an abstract (150-200 words) and short professional biography to Dr Richard Scully (University of New England) and Dr Andrekos Varnava (Flinders University) by 28 June 2013. All those who send in a proposal will be notified of the result by 22 July 2013, and the full book proposal will be sent to Manchester University Press, to be considered as part of the "Studies in Imperialism Series" at the end of July 2013. The series editors of "Studies in Imperialism," Manchester University Press, Professors John MacKenzie and Andrew Thompson, have expressed an interest in considering such a volume. Contributors will have until July 2014 to submit their finished drafts, which should be no more than 8,000 words in length (including footnotes), with a view to the volume being published in 2015. The volume will be published in English.
Special Issue on Chinese art
[courtesy of W. Teo, 1/23/13]
The Journal of Art Historiography, a peer-reviewed journal, i interested in producing a special issue on the question of how modern and contemporary Chinese art history (from 1840 to the present day) has been written, conceptualised and periodicised.
With the seemingly inexorable rise of China as a 21st-century superpower, the study of Chinese art has become more topical than ever. Over the last two decades, the demand for Chinese art and antiques in the international arena has grown exponentially, and as of last year China has overtaken the US to become the largest art market in the world. In the field of academia, the critical terrain of Chinese art historical scholarship has also expanded. Increasing numbers of art historians from both within China and without have turned to dialogic, cross-cultural and interdisciplinary methodologies to analyse and address the significance of modern and contemporary Chinese artistic practice beyond the detracting allure of its commercial value. Such developments are no doubt indicative of the changing shape of the art historical discipline itself as it evolves from a predominantly Euro-American discourse to one with increasingly global outreach and ambitions.
It is precisely at this crucial juncture in a dynamically changing field that in-depth historiographical examination becomes an especially pertinent and urgent endeavour. This special issue of the Journal of Art Historiography aims to stimulate new research–particularly archive-based research–into how modern and contemporary Chinese art history has been written, conceptualised and received both nationally and internationally. It seeks to foster critical dialogue between various generations of Chinese art historians, and will provide a unique opportunity for emerging scholars to make their voices heard. It will further extend the scope of its examination to historiographies of Chinese visual culture beyond traditional media, and will dismantle monolithic understandings of what constitutes "China" by including historiographic research on artistic practice in Taiwan and the Chinese diaspora.
This special edition of the Journal engages with the broad thematic "TERMS"–the provisional title of the 34th Congress of the International Committee of the History of Art to be held in Beijing in 2016.
Professor Shao Yiyang (Central Academy of Fine Art, Beijing) the guest editor of this special edition and the members of the Special Advisory Board invite proposals for articles and reviews on the subject, and suggestions for important texts and documents that might be included. Previously published articles that engage the historiography of Chinese art in discursive contexts outside the Anglophone world are welcome, and relevant articles will be translated.
Possible topics include (but are not limited to) the following:
- What methodologies and critical frameworks have been used to study Chinese art in both national as well as international contexts, and how these comparative frameworks been negotiated locally and globally.
- How the "canon" has been constituted and how it has changed over time, and why some artists have received critical attention while others have been deliberately marginalised.
- The specific systems and institutions that govern art historical scholarship nationally and internationally.
- How effectively critical theory has been used to analyse Chinese artistic practice, and the pressures this brings to bear on the shape of art history as a global discipline.
- Debates on the critical function and efficacy of contemporary Chinese artistic practice and criticism within different socio-cultural, economic and political settings.
- The role of the museum, the market and the media in the development of Chinese art and scholarship.
- Historiographies of new media, performative, dematerialised and participatory art.
- The role of the curator, art critic and collector in Chinese art historical research.
- The critical utility of interdisciplinary approaches to the study of Chinese art.
- The translation of art historical and theoretical texts and its impact on Chinese artistic practice and reception.
- Pan-Asian historiography and how Chinese art is situated within regional discourses.
- The historiography of Chinese Academic art and critical analysis of the Chinese art educational system.
Previous editions of the journal can be viewed on its website for guidance on the Journal of Art Historiography's focus and submission guidelines.
Proposals should be no more than 400 words long and are due 1st July 2013. Completed articles (4000-12,000 words inclusive of notes) are due May 1st, 2014. The publication date is June 1st, 2014. Please send proposals and suggestions to:
Associate Professor Shao
Yiyang
Guest Editor, Journal of Art Historiography - Special Issue on Chinese
art
Head of Western Studies
Art History Department
School of Humanities
Central Academy of Fine Art
Beijing, China
Dr Wenny
Teo
Special Advisory Board member
Journal of Art Historiography - Special Issue on Chinese Art
Manuela and Iwan Wirth Lecturer in Modern and Contemporary Asian Art
The Courtauld Institute of Art
University of London
London, UK.
[from H-ASIA, 3/7/13]
The International Academic Forum in partnership with Waseda University (Japan), Birkbeck University of London (UK), The National Institute of Education (Singapore), The National University of Tainan (Taiwan), Lincoln University (UK), the Hong Kong Institute of Education (HKSAR), Auburn University (USA), and its global partners is proud to announce the First Annual Asian Conference on Society, Education and Technology, to be held from October 23-27 2013, in Osaka, Japan. The First Asian Conference on Society, Education and Technology encourages submissions to the following interdisciplinary streams:
ACSET Stream 1: Technology and Society: The Social and Societal Impact
and Implications of Technology
Submissions dealing with the following areas should submit under this stream:
- Humans and Technology Interact: Interfaces, Robots, and Cyborgs
- Technology, Media and Communications
- Intellectual Property and Digital Rights: Sharing, Complying and Avoiding
- Data and Metadata Communications Technologies
- Multilingualism and machine translation
- Encoding Historical Documents
- Artificial intelligence
ACSET Stream 2: Technology and Society: Technologies, Societies and
Communities
Submissions dealing with the following areas should submit under this stream:
- Virtual communities
- Technologies for participatory citizenship: E-democracy & E-Government E-Businesses & E-Services
- E-Inclusion & Solidarity
- Globalization and technology
- Multilingualism and cultural diversity in the digital age: preservation and protection vs assimilation and absorption
- Internet regulation
- Cultural difference and technology
- Cyber-identities and privacy
- Technology, Art and Design
- Technology, Ethics and the Law
- Technology and Philosophy
ACSET Stream 3: Education and Technology: Teaching, Learning,
Technology & Education Support
Submissions dealing with the following areas should submit under this stream:
- Curriculum instruction and design
- Playing and Learning: Edutainment, video games and education
- Learning Support Education, Learning & Creativity
- Changing Learning Styles: Learning Through Technology
- Interactive and collaborative learning
- Technology: lifelong, adult, distance and access learning
- E-learning, training and professional development
- Organizational learning and change
- The virtual university/virtual universities
- MOOCs (Massive Open Online Courses)
- Educational Change through Technology
- Innovative Assessment Collaboration and Problem Solving
- Educating Educators: Teacher Learning and Professional Development
- Visions for the Future
ACSET Stream 4: Education, Technology and Society: Technologies,
Knowledge Creation and Access
Submissions dealing with the following areas should submit under this stream:
- Information systems and people in organizations
- Research infrastructures
- Participatory design
- Technology, knowledge and innovation
- E-commerce, open markets and open knowledge: contradictions or complementarities?
- Collaborations: from personal to interpersonal computing
- Technologies in developing countries
- Information and communications technologies and development
- ICTs and how the poor do or do not benefit
- Situating ICTs in development policies and strategies
- Global interactions: technologies, development and globalization
ACSET Stream 5: Technology and Society: Computers, Technology &
Society: IT Delivery
Submissions dealing with the following areas should submit under this stream:
- Delivering Communications & Infrastructure in Developing Countries: Innovation, Trial and Practical Technical Solutions
- Biologically Inspired Computing
- Robots as an Invasive Species
v
- Embedded Systems
- Artificial Intelligence: From Theory to Practice
- Future Communications Networks
- Enterprise Architecture, Enterprise Interoperability & ICT: Problems and Solutions
- Information Processing Virtual Technologies and Social Shaping
ACSET Stream 6: Technology and Society: ICT & Security: Questions of
Privacy, Governance & Trust
Submissions dealing with the following areas should submit under this stream:
- Implications for Security, Privacy, International Law and the Cloud
- Critical Information Infrastructure Protection
- Surveillance and Privacy
- Global Information Systems Processes (GISP)
- E-Government, E-Services, E-Business, E-Society
- Ethics and Governance
- Efficiency, Efficacy & Safety in E-Health: Healthcare Computing and Communications
ACSET Stream 7: Technology and Society - Green Computing: ICT,
Sustainability, Energy and the Environment
-Submissions dealing with the following areas should submit under this stream:
- Political and Environmental Implications
- Energy Efficiency in Production and Implementation
- Conceptions of the Information Society and Sustainable Development
Deadline for submission of abstracts: July 1 2013
Results of abstract reviews returned to authors: Usually within two-three weeks of submitting an abstract
Deadline for full conference registration payment for all presenters: October 1 2013
ACSET Conference: October 23-27 2013
Deadline for submission of full papers: December 1 2013
Bridgewater State University
Bridgewater, MA
11-12 October 2013
[from H-ASIA, 3/29/13]
Bridgewater State University, a suburban campus south of Boston, is pleased to host the annual meeting of the New England Association for Asian Studies on October 11-12, 2013. The NEAAS Program Committee welcomes proposals for panels, roundtables or individual presentations that address the history, societies, political and economic systems, languages and literary/visual cultures of Asia in different regional and global contexts. Panels and roundtables that take an innovative approach to format (interdisciplinary, pedagogical, creative, mixed media) are welcome, as are traditionally organized academic panels. We also encourage roundtables that address the state of the field.
Submissions of proposals are now being accepted on the conference website: http://vc.bridgew.edu/neaas. The deadline of application is July 1.
For questions, please contact Wing-kai To, Conference Program Chair.
[from H-ASIA, 1/7/11]
The Chung-Hwa Institute of Buddhist Studies, an accredited research institute dedicated to academic research and publication of Chinese Buddhism, is launching a grant project for graduate students. In line with the institute motto declared by founder Master Sheng Yen, Our roots are Chinese; our branches are global, the Chung-Hwa Institute of Buddhist Studies and the Sheng Yen Education Foundation cooperate to offer graduate students scholarship opportunities and publication in the journal, Chung-Hwa Buddhist Studies.
I. Topics of contribution
Academic articles related to Chinese Buddhism of any period within a wide variety
of fields, e.g., literature, history, philosophy, art, psychology, education,
etc., are welcomed by the journal.
II. Prospective contributors
Domestic and international students enrolled in graduate programs are welcome
to submit their academic works. Prospective students with a Master's degree
who are considering further study are invited as well.
III. Deadline
An issue deadline is set for July 30th annually. Manuscripts
received by the deadline will be peer reviewed. Manuscripts received after July
30th will be considered for the next year. The journal is published on December
annually.
IV. Amount of scholarship
Accepted articles from students in M.A. programs or contributors with a Master's
degree will be awarded a scholarship of NT$10,000 (approximately 300 USD.) Accepted
articles from Ph.D. students will receive a scholarship of NT$20,000 (approximately
600 USD.) *This scholarship will be offered continuously until further notice.
Twenty percent tax will be deducted.
V. Scholarship ceremony A scholarship ceremony will be held on the 9th of the first month of Chinese lunar calendar in commemoration of Master Sheng Yen. *Overseas scholarship recipients who cannot attend this ceremony are requested to write a letter of acceptance. Scholarship will be remitted after the ceremony.
VI. Submission checklist
1. A Contributor's Information Sheet.
2. A validated statement of enrollment in graduate program, or a copy of the Master's degree diploma certificate.
3. A recommendation letter from student's academic advisor.
4. Two copies of the manuscript in hard copy, together with electronic versions of the article (with DOC and PDF files) along with font files for special characters (if any).
VII. Submission guidelines
1. Manuscripts are expected in Chinese, English, or Japanese, and contain 10,000 to 20,000 words. A complete manuscript should include the following components: the title, an abstract within 600 words, and five keywords in both English and Chinese (or Japanese), along with table of contents and references. Please see manuscript formatting for the suggested format of manuscripts.
2. All submissions will be reviewed anonymously by two outside reviewers. Acceptance of submitted manuscripts will be based solely upon the opinions of the reviewers. Authors unwilling to meet reviewers' suggestion for revision will be withdrawn automatically.
3. Chung-Hwa Buddhist Studies reserves the right to revise articles. The author is responsible for proofreading before publication.
4. Authors submitting a manuscript to Chung-Hwa Buddhist Studies should not simultaneously submit the manuscript to another journal. Copyright of all accepted works will transfer to the Chung-Hwa Buddhist Studies. CHIBS and Chung-Hwa Institute of Buddhist Studies may include articles in on-line databases or CD/DVD titles for academic distribution. The authors will be awarded two copies of the published Chung-Hwa Buddhist Studies and ten excerpted copies. Written permission must be obtained to reprint or reproduce articles.
VIII. Contact information
Dharma Drum Mountain
The Chung-Hwa Institute of Buddhist Studies
14-5 Sanjie Village, Jinshan 20842
Taipei County, Taiwan
ROC
tel (+886-2) 24987171 x2339
fax (+886-2) 24981176
e-mail <grant@chibs.edu.tw>.
Hong Kong
9-12 June 2014
[from H-ASIA, 4/17/12]
We invite paper submissions for a conference to investigate urbanism, nature, and ecological sustainability in Asian cities and towns. We will explore the ways that urban social processes intersect with assessments of urban environmental order and disorder in specific cities by asking, how are relationships between urban environments and urban societies made, and made "meaningful"? How do biophysical properties, rules, and histories of nature matter in the city? How is the urban environment used to construct social identities and demarcate political spaces?
The papers will engage cases grounded in the cities and towns of South Asia, Southeast Asia, and south China. We seek submissions in the following thematic areas: the political ecology of the city, urban environmentalism, nodes and networks, and the social lives of infrastructure.
Paper proposals of no more than 300 words (1 double-spaced page) and a two-page author’s CV showing current institutional affiliation with postal and e-mail addresses, should be sent via e-mail attachment as pdf documents. Applications must be sent in by July 15, 2013, and invitations to participate will be sent by August 15, 2013. Applicants should send their material to Sahana Ghosh.
All selected participants will be provided a round-trip economy airfare to Hong Kong, and up to six nights accommodation, as well as invitations to the conference dinner and associated field trips. Only those able to stay for the whole conference and field trips should apply; this would mean arriving Sunday, June 8, 2014, and staying through Friday, June 13, 2014.
This conference follows "Urban Ecologies in Asia," which convened in Hong Kong in 2010 with the support of the Hong Kong Institute for the Humanities and Social Sciences. The resulting book may be found at: http://cup.columbia.edu/book/978-988-8139-76-7/ecologies-of-urbanism-in-india.
[from H-NET, 10/18/12]
Chapter proposals are welcomed for an edited volume on contemporary art and addiction. Chapters will examine artworks in a range of media from 1960 to the present and can consider art produced in any geographical context. The working title for this volume is Relentless Seeking: Contemporary Art and Addiction in Global Contexts. The phrase "relentless seeking" refers not only to the embodied experience of drug and alcohol addiction that involves movement through spaces and places in order to seek out alcohol and/or drugs, but also to the manifold kinds of "seeking" that characterize artistic production and life as a contemporary artist (creative, imaginative seeking and financial seeking, for example). Potential contributors may wish to approach their proposals in terms of this analytical framework, but it is not necessary that they do so. There has been shockingly little written about visual culture and addiction, despite the historical relationship between visuality and addiction that is based on the belief that addiction is legible from both the body and visual images. One of the few texts concerned with contemporary art and addiction is David Hopkins's essay "Out of It" (2004), examines Gillian Wearing's video Drunk. Contributors may wish to refer to Hopkins's essay as a jumping off point. Considering the ongoing visualization of addicted individuals in a range of contemporary media there is an urgent need for scholars from various disciplines to critically examine visual representations of addiction. Relentless Seeking will contribute to this burgeoning field of analysis by looking specifically at how contemporary artists have represented addicted persons and/or responded to, re-entrenched or problematized discourses of addiction. Contributors may also discuss artists who were addicted and how their addictions impacted the production and/or reception of their work. Proposals attentive to the intersections between discourses of addiction and discourses related to gender, sexuality, class and race are particularly welcome, as are proposals that employ innovative methodological and theoretical approaches to the visual culture of addiction.
The deadline for abstracts (max. 500 words) is August 1, 2013. The deadline for chapters will be February 1, 2014. Please send abstracts and CVs to Dr. Julia Skelly.
Florida State University
Tallahassee, FL
18-19 October 2013
[from CAA, 3/8/13]
The Art History faculty and graduate students of The Florida State University invite students working toward an MA or PhD to submit abstracts of papers for presentation at the Thirty-First Annual Art History Graduate Student Symposium. Paper sessions will begin on Friday afternoon, October 18, and continue through Saturday, October 19, with each paper followed by critical discussion. Symposium papers may come from any area of history of art and architecture. Papers will then be considered for inclusion in Athanor. The deadline for receipt of abstracts (maximum 500 words) is August 1, 2013. Please include the title of the talk, graduate level, and whether the subject originated in thesis or dissertation research.
Send
the abstract by e-mail to:
Dr. Lynn Jones, Symposium Coordinator
Department of Art History
The Florida State University
Western Conference of the Association for Asian Studies (WCAAS) 51st Annual
Meeting
Weber State University
Ogden, UT
27-28 September 2013
[from H-ASIA and WCAAS, 4/15/13]
Proposal Deadline for WCAAS 2013: August 1, 2013
Proposals in all disciplines are welcome, and we encourage you to organize integrated panels if possible (3 papers per panel, 90 minute panels). Round table discussion proposals also welcome. Asian Studies-related topics. Each should include an abstract or summary (one page maximum) for each paper. Panels will include three presenters, a chairperson, and a discussant. Each participant and paper title should be listed on the panel proposal. Roundtable proposals should list participants. Applicants will be notified concerning their status by e-mail.
Click here to complete the online proposal submission form.
Proposals and other inquiries should be sent to:
Greg Lewis, Program Chair
Department of History
Weber State University
Ogden, UT 84408
tel (801) 626-6707.
[from Maison Franco-Japonaise, 4/14/13]
La rédaction de la revue Ebisu lance un appel à contributions pour un numéro spécial "Patrimoine et musées, boussoles des peuples? Mise en scène des racines et des origines nationales en Extrême-Orient." La date limite d'envoi des propositions d'article est fixée au 1er septembre 2013.
[Further guidelines at http://www.mfj.gr.jp/actualites/_data/RevueEbisu_appel_2013-09-01.pdf]
[from H-ASIA, 11/15/11]
The Journal of Northeast Asian History invites the submission of manuscripts on Northeast Asian history and territorial issues. Topics may include, but are not limited to, historical interaction in East Asia, imperialism and colonialism in Asia, historiographical issues, maritime and boundary issues, naming of geographical areas, monuments and memory, and history textbooks. The geographical scope includes Korea, China, Japan, Mongolia, Russia's maritime region, Central Asia, and other nearby areas. Papers focusing on current issues of boundary delineation and territorial sovereignty also are welcomed.
The journal is published semiannually, in June and December. There are no deadlines for the submission of manuscripts. However, the manuscript must reach the Editorial Office by March 15 to be considered for publication in the June issue and by September 15 for the December issue. All submissions will be refereed by specialists in the relevant field. Authors will be notified of the decision of the Editorial Board as promptly as possible as to whether their papers have been accepted for publication. Manuscripts may be edited according to the guidelines of the Editorial Board.
Inquiries and submissions may be sent to jnah@nahf.or.kr, Northeast Asian History Foundation.
[from CAA, 4/15/13]
The eponymous journal of Public Art Dialogue (PAD) is now accepting submissions for its upcoming special issue on murals, guest edited by Sally Webster and Sarah Schrank. With this issue, Public Art Dialogue seeks to advance a twenty-first century understanding of wall art by soliciting papers on its history and status as it relates to the built environment, as an expression of community, or its function within the critical discourse of public art. Also welcome are studies on the documentation, conservation, and inventorying of mural painting, explorations of other kinds of wall art such as projections, and proposals for artist's projects addressing related themes. Please see the journal website for guidelines and send inquiries to Public Art Dialogue's editorial assistant at SamanthaEdenCataldo@gmail.com. The submission deadline is September 15, 2013.
[from H-ARTHIST, 2/12/13]
Contemporaneity: Historical Presence in Visual Culture aims to explore how the complexities of being in time find visual form. Crucial to this undertaking is accounting for how, from prehistory to the present, cultures around the world conceive of and construct their present and the concept of presentness visually. Through scholarly writings from a number of academic disciplines in the humanities, together with contributions from artists and filmmakers, Contemporaneity maps the diverse ways in which cultures use visual means to record, define, and interrogate their historical context and presence in time.
For our forthcoming issue, we seek submissions from scholars, artists, and filmmakers. Possible topics or areas of interest include, but are not limited to, the following:
- The concept of the present across time and cultures
- The persistence of the past in the present
- Cultural exchange, temporal disjunction, historical coincidence
- The simultaneity of conflicting kinds of time
- Messianic time, circular time, the eternal return, the event, everyday life, historical time, timelessness
- Teleology, apocalypse, the end of time, the end of art, the end of history
- Tradition, decadence, renaissance, restoration, avant-garde, modernization
- Phenomenology of time
- Nostalgia, melancholy, boredom
- Chronophobia and chronomania
- Making time visible, representing time through images and texts, narrating
- The life of images and reception history
- Methodological problems concerning the writing of art history or film history
Proposals for book and exhibition reviews, interviews or scholarly discussions will also be considered. We encourage submissions from artists and filmmakers, recognizing that these submissions may take many forms. Proposals can be directed to the editors at contemporaneity@mail.pitt.edu.
The deadline for submissions is September 30, 2013. Manuscripts should be no more than 6,000 words in length and should adhere to the Chicago Manual of Style.
Contemporaneity: Historical Presence in Visual Culture is a scholarly, peer-reviewed online publication edited by graduate students in the Department of History of Art & Architecture at the University of Pittsburgh. It is hosted by the University Library System of the University of Pittsburgh as part of its D?Scribe Digital Publishing Program.
Twentieth National Conference of the Asian Studies Development Program (ASDP)
Houston, TX
13-15 March 2014
[from ASDP-L, 4/19/13]
Room Rate: $115 per night (single or double occupancy)
Registration: $200
CFP Deadline: October 31, 2013
The ASDP National Conference is an annual event that provides an opportunity for ASDP alumni and other interested college and university faculty members to share research related to Asian cultures and societies, as well as strategies for effectively infusing Asian content into undergraduate humanities, social science, business, and science curricula. Known for its multi-disciplinary approach and convivial dynamics, the ASDP National Conference also offers an opportunity to extend professional networks and explore new possibilities for both personal and institutional collaboration.
The Keynote Speaker will be Dr. Yasmin Saikia, the Hardt-Nickachos Chair in Peace Studies and Professor of History at Arizona State University. Dr. Saikia's research and teaching have centered on local, national and religious identities in South Asia, examining the Muslim experience in India, Pakistan, and Bangladesh; her teaching aims to help students understand peace as a dynamic process. One of our roundtable events will be headed by Dr. Richard Smith of Rice University. Dr. Smith studies, writes about and teaches Chinese history and culture, with publications on the Yijing and on Qing, Late Imperial, and Early Republican China. Roger Ames will be leading another roundtable, "From Comparative to Intercultural Philosophy: An Ideal for the 21st Century."
Proposals are invited for individual papers, panels, poster sessions, or roundtable sessions for the 2014 conference in Houston. While we enthusiastically welcome the usual panels, both disciplinary and interdisciplinary, we solicit your contributions to a few initiatives that we hope to include this year. Please plan to submit a 200-250 word abstract by October 31. Early submissions greatly facilitate putting together meaningful panels.
Highlights of the Program for the Twentieth Conference:
Guidelines for Pedagogy Roundtables:
While we would like to include a variety of perspectives and ideas, we propose a few guidelines to help us arrive at meaningful conversations:
Please direct questions, ideas, proposals, and suggestions for panel leaders to:
Program Chairs:
Sylvia Gray (Portland Community College)
Rachana Sachdev (Susquehanna University)
Conference Organizers:
Jessica Sheetz-Nguyen (University of Central Oklahoma)
Elizabeth "Betty"
Buck (ASDP)
Send us a notice about your recent or upcoming book publication so we can be sure to include you in the book publication panels.
Please consider contacting your colleagues from previous ASDP Institutes to invite them to the 20th ASDP Conference.
[from ASDP-L, 4/3/13]
Education About Asia (EAA) is the peer-reviewed teaching journal of the Association for Asian Studies. Our approximately 1,800 readers include undergraduate instructors as well as high school and middle school teachers. Our articles are intended to provide educators, who are often not specialists, with basic understanding of Asia-related content. Qualified referees evaluate all manuscripts submitted for consideration. Most of our subscribers teach and work in history, the social sciences, or the humanities.
We are developing a special section that will be published in Spring 2014 on teaching Asia through field trips and experiential learning. We are not seeking manuscripts where authors address study abroad programs of one semester or longer. We seek articles by secondary school and university survey-level instructors that focus upon a wide range of short term activities including study tours in Asia, visits to Asian communities in North America or elsewhere, field trips to art or history museums, or any assignment or project at the secondary school or university survey level in which students learn about Asia by experiential activities other than exclusively didactic learning (lectures, reading, or film).
Prospective authors should be aware that approximately fifty percent of our readers teach at the undergraduate level and the rest are secondary or middle school teachers. Please consult the EAA guidelines, available on the website under my signature before submitting a manuscript for this special section. Pay particular attention to feature and teaching resources manuscript word-count ranges. Prospective authors are also encouraged to share possible manuscript ideas with me via e-mail. The deadline for initial submission of manuscripts is November 10, 2013. Prospective authors are welcome to email me at the address below if they have questions.
Lucien Ellington
Editor, Education About Asia
302 Pfeiffer Stagmaier Hall
University of Tennessee at Chattanooga
Chattanooga, TN 37403
tel (423) 425-2118
[from CAA, 1/16/13]
The Journal of Art Crime, a twice-yearly peer-reviewed journal published by ARCA, welcomes submissions to be considered for publication. The Journal of Art Crime publishes both academic articles, subject to anonymous peer review, and editorial articles, book reviews, interviews, and news items, making it an ideal, informed and scholarly go-to source for information and discoveries in the world of art crime. Relevant subjects include law, theft, forgery, security, investigation, the illicit trade in antiquities, art looting in war, vandalism and iconoclasm, and museum studies. To submit a paper, subscribe, or if you have any questions, write to lynda.albertson@artcrimeresearch.org. To subscribe or for more information, visit www.artcrimeresearch.org. Deadline: [10 December 2013]
Siem Reap, Cambodia
12-18 January 2014
[from IPPA, 5/5/13]
IPPA holds international congresses every 3-4 years. Past congresses have been held in the Philippines (1985), Japan and Guam (1987), Indonesia (1990), Thailand (1994), Malaysia (1998), Taiwan (2002), Manila (2006) and Hanoi (2009). IPPA also produces the peer-reviewed online Bulletin of the Indo-Pacific Prehistory Association.
The 20th Congress of the Indo-Pacific Prehistory Association will be held in Seam Reap (Angkor), Cambodia, from Sunday 12 to Saturday 18 January 2014. The proposed schedule gives people weekends to travel to and from Cambodia. At this stage it is envisaged that there will be a gentle "starting program’"on the first Sunday (morning registration, afternoon opening plenary address and evening welcome event) followed by four full days of sessions, with the middle Wednesday 15 January clear for local tours/time out. At present we are planning four consecutive blocks of four or five parallel sessions each day, broken up by snack and lunch breaks. Departures are scheduled from Saturday 18 January.
The venue will be the APSARA facilities in Siem Reap, near Angkor. But please note that APSARA is not in the town centre – most delegates will not wish to walk as it is more than one km away. We plan to use shuttle buses from hotels to the site.
All presenters at the congress will be required to hold paid-up IPPA membership and to pay registration fees of A$100 (Rate A) or $50 (Rate B). To make these payments please go to http://ippa.anu.edu.au/iregister.php.
If you have questions concerning the Siem Reap conference program (details to be announced soon) please contact Ian Lilley.
[from MFEA, 6/12/10]
The BMFEA publishes articles by scholars worldwide on all aspects of ancient and classical East Asia and adjacent regions, including archaeology, art, and architecture; history and philosophy; literature and linguistics; and related fields.
Contributions seriously engaging contemporary critical thought in the humanities and social sciences are especially welcome.
All contributions, for general issues as well as for special thematic issues, are peer-reviewed. The BMFEA Editorial Advisory Board mainly consists of scholars based at European centers for Asia research. Please note that no new manuscripts are reviewed for publication until June 2010. The editor is Martin Svensson Ekström, Associate Professor, Stockholm University (bmfea@ostasiatiska.se).
[from AAS, 3/17/10]
The Association for Asian Studies announces a new scholarly book series—"Asia Past and Present: New Research from AAS"—to be published under the Association's own imprint. The series will be overseen by the AAS Editorial Board and the Series Editor, Martha Ann Selby, professor of Asian Studies at the University of Texas, Austin.
AAS expects to publish 2–3 books a year, each of them fully refereed and selected on the basis of exemplary, original, and enduring scholarship.
Submissions in all areas of Asian studies are welcome. AAS particularly hopes to support work in emerging or under-represented fields, such as South Asia, premodern Asia, language and literature, art history, and literary criticism. In addition to monographs, other forms of scholarly research—such as essay collections and translations—will be considered.
Authors interested in publishing in this new series should first consult the "Author Guidelines" and then e-mail excerpts of their manuscript (10,000–15,000 words, including a full Table of Contents and a representative sample chapter) along with a completed "Author Questionnaire" to Jonathan Wilson, AAS Publications Manager.
If, after initial evaluation by the series editor, your manuscript is selected to be sent for review, you must at that time be prepared to provide a complete manuscript. Only complete manuscripts will be reviewed. Completed manuscripts should adhere to the "Author Guidelines."
Authors must be current members of AAS at the time of submitting their initial manuscript excerpts for evaluation. In the case of edited volumes with multiple editors, if your manuscript is selected for review, each editor must hold AAS membership at the time of full manuscript submission (this requirement does not apply to contributors/single chapter authors).
For further information, please contact the Series Editor, Martha Ann Selby, or AAS Publications Manager, Jonathan Wilson.
[from H-ASIA, 2/2/10]
Early Modern Japan: An Interdisciplinary Journal is a refereed, on-line journal of sixteenth to nineteenth century Japanese studies. In addition to scholarly articles and book reviews, we welcome translations, essays on teaching/teaching resources and other topics of professional interest that are not normally encompassed by other academic periodicals.
Inquiries regarding submission of manuscripts should be directed to Philip Brown, Editor. Inquiries regarding books for review or review manuscripts should be sent to Glynne Walley, Book Review Editor. A basic style sheet for manuscripts appears on the final page of each issue of Early Modern Japan.
[from H-NET, 3/10/10]
Polymath: An Interdisciplinary Arts and Sciences Journal welcomes submissions from any academic field, though preference is given to papers with an interdisciplinary approach or a focus on interdisciplinarity. As such, our formatting guidelines embrace the plurality of each discipline's style. Authors are asked to make use of the style and formatting typical to their discipline with respect to citations, bibliographic reference, foot-noting, punctuation, and formatting of section and sub-section headers. Authors, however, must be consistent in their usage throughout the paper. Where possible, authors are recommended to include hyperlinks to citations.
Additionally we encourage the submission of other media such as images, video, sound, among others that the new technology makes possible. Submitting authors should also provide copies of these files with reasonable size constraints for video and sound via e-mail attachment to the editor.
Douglas
Simms
Box 1432
Southern Illinois University Edwardsville
Edwardsville, IL 62026-1432
tel (618) 650-2177
fax (618) 650-3509
[from H-ARTHIST, 4/14/10]
RIHA, the International Association of Research Institutes in the History of Art, is pleased to announce the launch of RIHA Journal, the new international online-journal for the history of art, on April 14, 2010. A joint project of 27 institutes in 18 countries, the journal provides an excellent medium for fostering international discourse among scholars. Funding is provided by the German Federal Government Commissioner for Culture and the Media (Beauftragter der Bundesregierung für Kultur und Medien, BKM).
RIHA Journal features research articles in either English, French, German, Italian, or Spanish, and invites submissions on the whole range of art historical topics and approaches. Manuscripts undergo a double blind peer review process and are published within few months from submission.
A not-for-profit e-journal committed to the principles of Open Access, RIHA Journal makes all articles available free of charge.
RIHA Journal welcomes submissions at any time. Please contact the RIHA institute in your country and/or field of expertise, or the managing editor.
Managing Editor:
Regina Wenninger
Zentralinstitut für Kunstgeschichte
Meiserstraße 10
D?80333 München
Germany
[from H-ARTHIST, 6/20/10]
Announcing a new series from
Ashgate Publishing Company: The Histories of Material Culture and Collecting,
1700-1950
Series Editor: Michael Yonan (University of Missouri)
The Histories of Material Culture and Collecting, 1700-1950 provides a forum for the broad study of object acquisition and collecting practices in their global dimensions from the eighteenth through the mid-twentieth centuries. The series seeks to illuminate the intersections between material culture studies, art history, and the history of collecting. HMCC takes as its starting point the idea that objects both contributed to the formation of knowledge in the past and likewise contribute to our understanding of the past today. The human relationship to objects has proven a rich field of scholarly inquiry, with much recent scholarship either anthropological or sociological rather than art historical in perspective. Underpinning this series is the idea that the physical nature of objects contributes substantially to their social meanings, and therefore that the visual, tactile, and sensual dimensions of objects are critical to their interpretation. HMCC therefore seeks to bridge anthropology and art history, sociology and aesthetics. It encompasses the following areas of concern:
1. Material culture in its broadest dimension, including the high arts of painting and sculpture, the decorative arts (furniture, ceramics, metalwork, etc.), and everyday objects of all kinds.
2. Collecting practices, be they institutionalized activities associated with museums, governmental authorities, and religious entities, or collecting done by individuals and social groups.
3. The role of objects in defining self, community, and difference in an increasingly international and globalized world, with cross-cultural exchange and travel the central modes of object transfer.
4. Objects as constitutive of historical narratives, be they devised by historical figures seeking to understand their past or in the form of modern scholarly narratives.
The series publishes interdisciplinary and comparative research on objects that addresses one or more of these perspectives and includes monographs, thematic studies, and edited volumes of essays.
Proposals should take the form of either:
1. a preliminary letter of inquiry, briefly describing the project; or
2. a formal prospectus including: abstract, brief statement of your critical methodology, table of contents, sample chapter, estimated word count, estimate of the number and type of illustrations to be included, and a CV.
Please send a copy of either
type of proposal to the series editor and to the publisher:
Professor Michael Yonan
Meredith Norwich, Commissioning Editor
[from Asian Studies Newsletter, Spring 2010]
The Trans-Asia Photography Review (TAP Review) is a new international refereed journal devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the University of Michigan Lirary Scholarly Publishing Office. Its editorial boeard includes Raymond Lum (Harvard University), Michael Chen (Taipei), Gu Zheng (Shanghai), Iizawa Kotaro (Tokyo), Lee Hongeun (Museum of Photography, Seoul), Young Min Moon (University of Massachuseets), David Odo (Yale University), Christopher Phillips (International Center of Photography, New York), Ram Rahman (New Delhi), Ajay Sinha (Mount Holyoke College), and Alexander Supartono (Jakarta), The editor is Sandra Matthews (Hampshire College).
TAP Review offers a forum in which a nuanced, detailed history of photography in Asia can be articulated, and in which contemporary works can be assessed in historical and cultural contexts. The first issue will be launched September 1, 2010. The journal welcomes submissions of articles and curatorial projects. All submissions are sent anonymously to two reviewers. For more information, or to join the mailing list, please visit http://asianphotos.hampshire.edu.
[from H-NET, 7/6/10]
Palimpsest is a peer-reviewed journal of interdisciplinary inquiry. The editors seek submissions of innovative interpretive analyses in all fields. Essays may be drawn from any humanities, social science, or other fields including history, literature, philosophy, environment, psychology, sociology, fine arts, language, economics, business, and medicine. A palimpsest is a manuscript on which the original text has been rubbed or scraped away and written over, with shadows and nuances of the original text sometimes visible underneath. As a metaphor for our journal, a palimpsest describes the state of text in the information age: shadows, traces, and pluralities of texts shaped by the input of many minds and voices. There is no pristine text but nuances of other texts visible underneath and written over. As a critical metaphor, Palimpsest is meant to suggest that all areas of study have multiple layers of meaning, which the scholar may discover by "rubbing away" the old to reveal new insight. Palimpsest seeks to establish a dynamic forum for interdisciplinary discourse in the search of new paradigms and ways of seeing.
Papers may be submitted for consideration using any citation format; the final format for those accepted will be submitted in a modified version of the Chicago Manual of Style. The author's name should appear only on the title page and in the file name of the submitted document (jones.doc). Manuscript length is standard, from 6,000 to 8,000 words. Online submissions are encouraged as attachments in doc or rtf files. For safe delivery please write "Palimpsest submission" in the subject line. Our website is under construction, but you may direct inquiries and submit manuscripts to Dr. Fred van Hartesveldt. Online submissions are preferred, but if you must submit hard copies, please send three copies SASE to:
Dr.
Fred van Hartesveldt
Department of History
1005 State University Drive
Fort Valley State University
Fort Valley, GA 31030.
[from H-ASIA, 7/12/10]
Journal of Central Asia and the Caucasian Studies (JCACS) is a refereed journal and published twice (Winter and Summer) a year. JCACS publishes scholarly articles in Turkish and English from all over the world. The Editorial Office of the JCACS is in the International Strategic Research Organisation (ISRO) central building in Ankara, Turkey. However the journal is an independent publication in terms of scientific research and the editors decide its publication policy.
JCACS focuses on legal, political, sociological, cultural, social, religious, anthropological and economic studies regarding the Central Asia, Caucasus and neighbouring states' (Turkey, Iran, Pakistan, India, Afghanistan, China, Mongolia, Russia) and regions' (Black Sea, South Asia, Middle East, Far East) relations with the Central Asia and the Caucasus.
The journal encourages interdisciplinary studies. Manuscripts submitted to JCACS should be original and challenging, and should not be under consideration by another publication at the time of submission.
We also welcome short pieces on recent developments and review articles.
Articles submitted for consideration of publication are subject to peer review. The editorial board and editors take consideration whether submitted manuscript follows the rules of scientific writing. The appropriate articles are then sent to two referees known for their academic reputation in their respective areas.
The Editors and referees use three-step guidelines in assessing submissions:
i) Literary quality: Writing style, usage of the language, organisation (paragraphing, syntax, flow etc.)
ii) Use of references. Referencing, sources, relationships of the footnotes to the text.
iii) Scholarship quality: Depth of research, quality; contribution, originality of the contribution (new and creative thought) and plausibility of the author's argument.
Upon the referees' decision, the articles will be published in the journal, or rejected for publication. The review process lasts from five to 15 weeks. Questions regarding the status of submissions should be directed to the Editor by e-mail at turgutdem@yahoo.co.uk or hasanozertem@gmail.com. The referee reports are kept confidential and stored in the archives for five years.
Aim
JCACS's aim is to generate a productive dialogue and exchange between theorists, writers and practitioners in disparate locations. JCACS assumes that one of the main problems in Central Asian and Caucasian studies is lack of dialogue between writers and scholars from different cultural backgrounds.
All manuscripts and editorial correspondence and enquiries should be addressed to the JCACS Editorial Office (The Office).
Submission
We prefer electronic submission to turgutdem@yahoo.co.uk or hasanozertem@gmail.com as a Microsoft word attachment file. Please be sure that you received a confirmation from The Office. Manuscripts should be one-and-half or double spaced throughout (including all quotations and footnotes) and typed in English on single sides of A4 paper. Generous margins on both sides of the page should be allowed. Pages should be numbered consecutively. The author should retain a copy, as submitted manuscripts cannot be returned. Full names of the author(s) should be given, an address for correspondence, and where possible a contact telephone number, facsimile number and e-mail address.
Length
Articles as a rule should not exceed 10.000 words, not including footnotes. Book reviews should be about 2.500 word-length for one book, or maximum 3.500 words for two or more books.
Style and Proofs
Authors are responsible for ensuring that their manuscripts conform to the JCACS style. Editors will not undertake retyping of manuscripts before publication. Please note that authors are expected to correct and return proofs of accepted articles within two weeks of receipt.
Titles and Sub-Titles: Titles in the article should be 12 punt, bold and in uppercase form. The sub-titles should be 12 punt and in the title case form.
Footnotes: In the case of books the following order should be observed in footnotes: Author(s), Title, (Place of Publishing: Publisher, Year), Page. For example:
1. Begali Qosimov, Istiqlol Qahramonlari: Mahmud Khoja Behbudiy, Tanlangan Asarlar, (Tashkent: Ma'naviyot, 1997), p. 45.
In articles: Author(s), "Article Title", Journal Title, Vol., No., Year, Page.
2. Chantal Lemercier-Quelquejay, "Abdul Kayum Al-Nasuri: A Tatar Reformer of the 19th Century", Central Asian Survey, Vol. 1, No. 4, April 1983, pp. 122-124.
Book Reviews: Book reviews should be preceded by full publication details including price and ISBN number:
Dale F. Eickelman, The Middle East and Central Asia: An Anthropological Perspective, 4. Edition, (Upper Saddle River, NJ: Prentice Hall, 2001). 384 sayfa. Biblo. Index. $48.40. ISBN: 0130336785
Biography
Current and recent academic and professional affiliations, and recent major publications for the Notes on Contributors should be supplied with the articles. It should not exceed 150 words.
Abstract
The authors should send a 200-word abstract of the manuscripts. For more information about the journal feel free to contact with the editors.
Editors: Turgut
DEMIRTEPE & Esra HATIPOGLU
Assisting Editor: Hasan Selim ÖZERTEM
Editorial Office: JCACS/ OAKA, Ayten Sokak, No: 21, Mebusevleri, Tandogan, Ankara,
TURKEY
[from H-NET, 7/21/10]
Asian Women seeks submissions for recent gender issues such as women and welfare, women's rights, eco-feminism, health, women and bio-technology, women and history, men's studies and other relevant themes in gender studies. Asian Women is accepting submissions for general theme.
Asian Women, an interdisciplinary journal covering various Women's Studies, Men's Studies and Gender Studies themes, hopes to share intelligent original papers as well as case studies with you. Any contributions of theoretical papers, regional reports, or case studies based on feminist studies and Asian studies will be welcomed. The editors welcome submissions that are based on either collaborative or independent scholarship. They also receive submissions from a wide variety of Asia and other countries. Contributors need to send their manuscripts to the Research Institute of Asian Women any time. For more information, contact:
Managing
Editor
Research Institute of Asian Women
Sookmyung Women's University
52 Hyochangwon-gil, Youngsan-ku
Seoul, Korea 140-742.
[from World Art, 9/5/10]
Two issues of World Art are published each year. All contributions are peer reviewed, under consultation with the journal's Advisory Board. Some volumes are guest edited and, where appropriate, contributions will be grouped by theme. Issues alternate between those which are general in content and those which engage specific themes.
Upcoming themes include: "Heritage Futures" (publication date Mar 2012); "Museums and the Marginalised" (Mar 2013); "Visualising the Exotic" (Mar 2014).
The editors seek original material with intellectual integrity. Text as well as image-based contributions are welcome. Picture or photo essays, with critical commentary will also be considered.
[For categories of content, a style guide and submission guidelines, please consult http://www.tandf.co.uk/journals/journal.asp?issn=2150-0894&linktype=44.]
[from H-NET, 12/10/10]
In association withmthe International
Society for the Study of Time (ISST)
Founded in 1966
Edited by an international board of scholars and representing the interdisciplinary investigation of all subjects related to time and temporality, the journal is dedicated to the cross-fertilization of scholarly ideas from the humanities, fine arts, sciences, medical and social sciences, business and law, design and technology, and all other innovative and developing fields exploring the nature of time.
KronoScope invites critical contributions from all disciplines; submissions are accepted on a continuing basis.
Manuscripts of not more than 8000 words, and using The Chicago Manual of Style, may be submitted electronically to the Managing Editor Dr. C. Clausius. We also welcome review articles as well as creative work pertaining to studies in temporality. For further submission guidelines, please visit the Brill website or the ISST website.
Dr.
C. Clausius
Managing Editor
KronoScope: Journal for the Study of Time
AssociateProfessor
Department of Modern Languages
King's University
University of Western Ontario
tel (519) 433-0041 x4425
[courtesy of Antiqua, 1/14/11]
Antiqua (eISSN 2038-9604) is a new, peer-reviewed, Open Access journal intended to archaeologists and scientists having particular interests in the application of scientific techniques and methodologies to all areas of archaeology. Our journal publishes Original Research papers as as well as Rapid Communications, Case Histories, Editorials, and Letters. The journal seeks to provide an international, rapid forum for archaeologists to share their own knowledge.
Open Access journals are an ideal platform for the publication of your research enabling you to reach the widest available audience of professionals in your field of expertise. Publication in our journals means that your research articles will be available for free access online being immediately citable. PAGEPress shortens the time needed before publication, offers a high quality peer-review system, highly-professional scientific copyediting, DOI assignment, and submission to many online directories such as the Directory of Open Access Journals, arXiv, GEOBASE, Inspec, Chemical Abstracts Service, IndexCopernicus, Google Scholar, Scopus, EBSCOHost, Socolar, OpenJGate and others.
PAGEPress strongly support the mission of the Council of Science Editors (CSE): "CSE's purpose is to serve members in the scientific, scientific publishing, and information science communities by fostering networking, education, discussion, and exchange and to be an authoritative resource on current and emerging issues in the communication of scientific information." All individuals collaborating with PAGEPress are strongly invited to comply with this mission.
Open access publishing does have its costs. Since PAGEPress does not have subscription charges for its research content it can defray publishing costs from the Article Processing Charges (APC). This is because PAGEPress believes that the interests of the scientific community can best be served by an immediate, worldwide, unlimited, open access to the full text of research articles. The price for publication of any type of articles in our journal is EUR 350,00.
[from H-NET, 5/7/11]
For the past 20 years, Review of Culture (RC) has served the needs of Chinese, Portuguese and English readers by issuing both Chinese and International (Portuguese and English) editions. A major academic quarterly dealing with Macao history and culture, RC aims to foster the exchange of ideas relating to Chinese and Western cultures, to reflect the unique identity of Macao and to stimulate ideas and discussions of topics related to Macao culture and history, establishing an intellectual forum for "Macao Studies." RC - International edition is putting out this call for articles.
Please contact us with projects and articles that fall within our editorial guidelines. In a nutshell: Macao Studies, (Related) Sinology, Asia/China-Europe/West Encounter in the field of Humanities. More on the RC editorial guidelines in our on-line edition.
At the moment, a line of research we are pursuing is Anglo-American presence in Macao and the South China Seas and Sino-American historic relations.
Other projects under development:
- 100 years of Portuguese and Chinese republics (1910/1911)
- Western coats of arms in Chinese porcelains and pottery
- 500 years of Portugal-Siam relations and the role of Macau (RC is
associated with the official commemorations that are taking place in Lisbon
and Bangkok)
- Malacca 500 years (1511-2011)
- Macau in the origins of the Chinese migration to (Portuguese) Africa
- Macanese diaspora(s)
We accept (preferably) original articles but we also consider papers that were only presented in public lectures/conferences and not yet published.
Royalties vary between 500 and 1,000 American dollars, depending on originality and length. Academic papers will have usually 7,000-10,000 words. Short essays and book reviews are also welcome.
After approval of a paper
we usually ask for a set of materials, as follows:
- Digital article with automatic footnotes
- Bibliography (References)
- Abstract (150-250 words)
- Keywords
- Bionote of the Author (up to 80 words)
- Illustrations or suggestions of illustrations with a clear indication of the
source.
Since it was founded, in 1987, hundreds of researchers worldwide had contributed to RC. I sincerely hope you or a fellow researcher of your group of contacts can become another valuable contributor.
Kind regards,
Paulo Coutinho
Executive editor
Revista de Cultura/Review
of Culture
International edition
Cultural Affairs Bureau of Macau SAR
[from JFS, 1/27/11]
The Journal of Feminist Scholarship is a new twice-yearly, peer-reviewed, open-access journal published online and aimed at promoting feminist scholarship across the disciplines, as well as expanding the reach and definitions of feminist research.
Why a new journal? Why now?
We believe it is time to explore the state of feminist scholarship at the turn of the new century, and we see the endeavor as part of a larger question of where feminism itself is heading. For example, we ask whether it still makes sense to talk of the "waves" of feminism. If so, what is the status of the third wave? Is there a post-third wave? We wish to encourage a discussion of feminist thought for the twenty-first century. What are its directions today, and what relationship does it sustain with the foundations laid down by feminist inquiry and action in earlier centuries? We aim to publish work that explores the multiple theoretical paradigms and political agendas of contemporary and historical feminist scholarship and the potential intersections and tensions between these paradigms and agendas. We are especially interested in examining productive controversies and divergences between local and global contexts of feminism. We also welcome submissions that focus on feminist pedagogies and activism.
Please visit the submissions page to see our guidelines for authors and our contact page for contact information for the JFS. The rest of the site is currently under construction.
editors:
Catherine Villanueva Gardner
Anna M. Klobucka
Jeannette E. Riley
[from SEAA, 1/31/11]
The Bulletin of the Society for East Asian Archaeology (BSEAA) (ISSN 1864-6018, print version: ISSN 1864-6026, ed. Barbara Seyock, Tuebingen) was initiated in March 2007, and two volumes have been published since. BSEAA welcomes essays on East Asian archaeology, and it moreover provides a means of publishing smaller manuscripts such as field reports, project outlines, conference reports and papers, book reviews, museum roundups etc. The contributions appear online at varying intervals over the year. BSEAA is not peer-reviewed. The editor(s), however, reserves the right to seek for additional opinion, to edit the manuscripts, or to decline the publication of manuscripts inappropriate to the aims and objectives of SEAA.
BSEAA is an open access publication, with the exception of a 3-months preview period for SEAA members and authors. The average delay between submitting your manuscript and having it published is about 4 to 6 weeks. Colour photos and illustrations are welcome. Non English-native speakers receive a helping hand.
Please refer to the Contribution Guidelines for further information.
All contributions should be sent by e-mail to the editor.
[from H-ASIA, 5/31/11]
We are seeking academics and bona fide scholars to write and submit finished papers and review papers to our scholarly online publication (established 1995), the International Journal of Tantric Studies. The IJTS is open to all bona fide scholars in Hindu and Buddhist Tantric and Tantra-related studies, translations and translators in Sanskrit, Bengali, Vernacular, Tibetan, Chinese, Japanese, etc. We are looking for articles that engage any aspect of this broad theme.
Before submitting your paper / paper review, please read our Submission Guidelines. Send proposals to Enrica Garzilli.
We plan to publish all the IJTS papers in hard copy shortly depending on the next issue, hopefully by the end of the year.
IJTS editors:
Enrica Garzilli (Editor-in-Chief), Michael Witzel (Managing Editor), Roberto
Donatoni, Minoru Hara, David N. Lorenzen, Benjamin Prejado, Michael Rabe, Debabrata
Sensharma, Karel van Kooij.
[from H-NET, 5/1/11]
New Global Studies celebrates its fifth anniversary in 2011. Edited by Nayan Chanda (Yale), Akira Iriye (Harvard), Bruce Mazlish (MIT) and Saskia Sassen (Columbia), NGS is one of the only peer-reviewed journals that explores and analyzes globalization from the perspective of multiple disciplines. It invites contributions from the humanities and the social sciences that address the range of contemporary global phenomena, as well as the emergence of global consciousness in time. Comparative and interdisciplinary contributions are especially encouraged.
Contributors to NGS have included William McNeill, Yi-Fu Tuan, David Edgerton, William Keylor, Patrice Higonnet, Jessica Gienow-Hecht, Dominic Sachsenmaier, Peggy Levitt, Werner Sollors, David Apter, Paul Bracken, Irving Louis Horowitz, Stanley Engerman, Alastair Crooke, and many others.
More information about the journal's Aims and Scope may be found at http://www.bepress.com/ngs/aimsandscope.html.
We also welcome the submission of book reviews and review essays, which may be sent directly to the reviews editor, Benjamin Sacks.
The Editors
New Global Studies
Widener N
Harvard University
Cambridge, MA 02138
[from H-ASIA, 7/8/11]
International Journal of Intangible Heritage seeks to be an inter-communicative and interdisciplinary channel for scholarly research on intangible heritage around the world with respect to its preservation, transmission and promotion. With critical academic articles, provocative viewpoints and reviews, the IJIH, a peer-reviewed academic journal tries to enrich discourses on intangible heritage that reflects the connections between intangible heritage and people. International Journal of Intangible Heritage is an annual-basis publication officially supported by the International Council of Museums (ICOM) with its publication secretariat office in the Cultural Exchange and Education Division, the National Folk Museum of Korea.
For further information and inquiries, please refer to the oficial webpage of IJIH.
Publication Secretariat
International Journal of Intangible Heritage
Cultural Exchange & Education Division
The National Folk Museum of Korea
37 Samcheong-no, Jongno-gu
Seoul Korea 110-820
tel +82 (0)2-3704-3101, 3122, 3123
fax +82 (0)2-3704-3149
For editorial policy etc.
inquiries contact:
Editor-in-Chief: Professor Amareswar
Galla
e-mail: <ijih.editor@korea.kr>, <ijih.editor@gmail.com>
[from CAA, 6/29/11]
Exposure, the journal of the Society for Photographic Education (SPE), invites submissions for scholarly articles, interviews, conversations, art and cultural criticism, pedagogical essays, book and exhibition reviews, and any manuscripts that engage with the contemporary conversation on photography and related media. A leading voice in the conversation on photography and related media for over thirty years, Exposure publishes an inclusive range of images and ideas by those passionate about photographic discourse.
For publication consideration, please submit an abstract of no more than one hundred words, a list of illustrations, and a biographical statement of no more than fifty words. Detailed submission guidelines and more information on the journal can be found on the Web site at https://www.spenational.org/publications/exposure. Submissions are accepted year-round.
For more information, contact Stacey McCarroll Cutshaw, Editor of Exposure.
[from H-ASIA, 8/3/11]
Palgrave Studies in the History of the Media was launched in 2010 with the objective of becoming a leading international series in media history. Its overriding objective is to publish high caliber research in the field which will help shape current interpretations not only of the media, in any of its forms, but also of the powerful relationship between the media and politics, society, and the economy.
A number of important monographs have already appeared: Dr Christoph Muller's West-Germans against the West (2010) and Professor Michael Krysto's American Radio in China (April 2011). More studies are due out soon, not least Professor Joel Weiner's Americanization of the British Press (October 2011).
The series editors would welcome monograph proposals on any aspect of the history of the media from the mediaeval and early modern periods up to the present day.
Informal enquiries are very welcome. Proposals can be completed on Palgrave's standard form and submitted to:
Dr
Alexander Wilkinson
Director, Centre for the History of the Media
School of History and Archives
University College Dublin
Dublin 4
Ireland.
[from MCLC, 8/11/11]
The Journal of Asian Studies has begun using Editorial Manager, a web-based manuscript submission system.
We ask that all new manuscript submissions be submitted through Editorial Manager. Please note that if you currently have a manuscript under review, it will not show up in the database. Before submitting a manuscript for consideration, please read the "Requirements for Manuscript Submission" to ensure that your work conforms with the Journal's guidelines on style and formatting.
If you have previously submitted a manuscript, served as a reviewer, or helped us in some other way, we invite you to register with Editorial Manager and update your contact information. Please let us know about your areas of interest, and if you would like to review books and/or manuscripts. Once you are in the system, you can also submit manuscripts to JAS. You will not have to reenter your contact or specialty information after you have registered unless you need to update your information. If you ever forget your password, you can ask to have it sent to you.
If you have questions that you can not answer through Editorial Manager, please feel free to send an e-mail to jas@journalofasianstudies.org.
Best Wishes,
Jeff Wasserstrom, Editor
Jennifer Munger, Managing Editor
Journal of Asian Studies
[from H-ASIA, 8/11/11]
The International Journal of Islamic Architecture (IJIA) publishes bi-annually, peer reviewed articles on the urban design and planning, architecture and landscape architecture of the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions. The main emphasis is on the detailed analysis of the practical, historical and theoretical aspects of architecture, with a focus on both design and its reception. The journal also aims to encourage dialogue and discussion between practitioners and scholars. Articles that bridge the academic-practitioner divide are highly encouraged.
IJIA is now soliciting manuscripts in the following categories:
Design in Theory: DiT manuscripts focus on the history, theory and critical analyses of architecture, urban planning and design and landscape architecture. Essays submitted should be a minimum of 5,000 words but not more than 8,000 words.
Design in Practice: DiP manuscripts focus on the practice of architecture, planning and landscape design. It is preferential that DiP papers focus on contextual and/or conceptual issues, analysis or critique of proposals or built projects. Submissions may also include interviews or practitioner reflections or lessons learned. Manuscripts should range from 2,000 to 3,000 words.
Book, Media and Exhibition Reviews: For those are interested in writing book/media/exhibition reviews for IJIA , please submit your CV and your areas of expertise and interest and the books/media/exhibition you wish to review to Nancy Um, the Reviews Editor, for consideration. Unsolicited reviews will not be accepted. The length of the reviews should generally not exceed 1000 words for one book review essay and no more than 1800 words for an essay that reviews multiple books.
For information and for guidelines on submission please visit the IJIA website. E-mail the editors at ijia@intellectbooks.com for any additional questions or information.
[from H-ASIA, 8/12/11]
Transnational Subjects (ISSN 2045-5232, print; ISSN 2045-5240, online) is a new international journal. It covers cultural history post-1500, with a particular focus on urban/transnational subjects.
We invite essays on the nature of researching (and teaching) transnational history (4,000-7,000 words) and shorter report-type articles (less than 3,000 words) demonstrating transnational history work.
We also particularly welcome digital submissions, including audio/visual work that would not be suitable for a traditional journal. Digital content will also be peer-reviewed and published on our website. Send proposals to transnational@gylphi.co.uk.
Details are available [at] http://www.gylphi.co.uk/transnationalsubjects/index.php.
[from H-ASIA, 8/22/11]
Hangzhou Normal University has established a new Academy of Chinese Studies (Guoxue Yuan); and among its five Centers is an International Center for Research on the Song (Guoji Song Yanjiu Zhongxin). The Song Center and its new journal (Guoji Song Yanjiu) take a broad view of the Song, so it is not limited to history, but encompasses other disciplines, such as the fine arts, literature, archeology, etc. Studies of the Western Xia, the Liao, Jin and Yuan are welcome, especially as they relate to the Song. Moreover, the Center and its journal invite research on Song studies in later dynasties in East Asia and also during the Modern era worldwide. In the future, the Center will announce programs to assist the research of graduate students and professors; however, the focus at present is the journal.
Hoyt Tillman (Tian Hao) is serving as chief editor of the journal in close collaboration with Professor Deng Xiaonan of Peking University and other members of the editorial board. The journal will publish research articles and book reviews in either Chinese or English. In addition, the journal will publish Chinese translations of selected important articles in other languages.
English and Chinese articles should be submitted via e-mail attachment and supplemented by a mailed hardcopy. Please send inquiries and article manuscripts to hoyt.tillman@gmail.com and/or to dengxiaonan50@gmail.com.
Mailing addresses for hard copies are:
Hoyt Tillman
School of Historical, Philosophical and Religious Studies
P. O. Box 874302
Arizona State University
Tempe, AZ 85287-4302
USA
Deng Xiaonan
Department of History
Peking University
Beijing 100871
China.
Format and style issues follow the Harvard Journal of Asiatic Studies for English language articles and Lishi Yanjiu for Chinese language articles.
The journal also welcomes longer articles than are usually published in China. The journal will be published annually beginning in May 2012.
[from H-ASIA, 8/24/11]
Routledge Critical Studies in Buddhism is a comprehensive study of the Buddhist tradition. The series explores this complex and extensive tradition from a variety of perspectives, using a range of different methodologies. The series is diverse in its focus, including historical, philological, cultural, and sociological investigations into the manifold features and expressions of Buddhism worldwide. It also presents works of constructive and reflective analysis, including the role of Buddhist thought and scholarship in a contemporary, critical context and in the light of current social issues.
The series is expansive and imaginative in scope, spanning more than two and a half millennia of Buddhist history. It is receptive to all original, scholarly works that are of significance and interest to the broader field of Buddhist Studies. Books published in the series are first issued in a high-quality durable hardcover format geared toward institutional sales, and then they are subsequently published in an affordable paper format through the Routledge Paperbacks Direct program. Books in the series benefit from Routledges strong international presence, which markets and distributes books worldwide.
Please send your proposals
to:
Dorothea Schaefter, Editor
for Asian Studies at Routledge
Stephen C. Berkwitz, Department
of Religious Studies, Missouri State University.
[from CAA, 9/1/11]
The Art Bulletin welcomes submissions from scholars worldwide and at every stage in their career. To facilitate the process, CAA has prepared guidelines for authors who wish to submit a manuscript for consideration and for those preparing an accepted manuscript for publication.
Editor-in-Chief
Please submit manuscripts and letters to the editor to:
Karen
Lang
Department of History of Art
Milburn House
University of Warwick
Coventry CV4 7HS
United Kingdom.
The Art Bulletin no longer accepts hard-copy submissions. All submissions must be sent electronically, either via e-mail or a large-file transfer service such as YouSendIt.com. All files must be in Microsoft Word or a Microsoft Word–compatible format. Please review the submission guidelines for more information.
Reviews Editor
The Art Bulletin does not accept unsolicited book and exhibition reviews. Inquiries, letters regarding reviews, and commissioned reviews should be sent to:
Michael Cole
Publications Department
College Art Association
50 Broadway
21st Floor
New York, NY 10004.
Books for review should be mailed to:
Publications Department
College Art Association
50 Broadway
21st Floor
New York, NY 10004.
[from H-NET, 9/23/11]
Troika is an undergraduate journal in Slavic, East European and Eurasian studies at UC Berkeley. The first issue of Troika came out this Spring. The journal publishes outstanding undergraduate student work in Eastern European and Eurasian studies. This may include, but is not limited to, academic research papers, creative writing, photography, artwork and memoirs. If you would like to submit your academic work to Troika, please e-mail it as an attachment to thetroikajournal@gmail.com, and please include your name, university, major (or intended major), and graduation year. All submissions must be original, unpublished work. We gladly accept papers and other creative works written for classes. Please limit your submission to 3000 words. Only one submission per person will be considered during each submission period. If you are submitting photography, please include a short description of the photograph. If you are unsure whether your submission is appropriate for the journal, or if you have any other questions, feel free to send an e-mail to thetroikajournal@gmail.com.
Troika is sponsored by the Institute for Slavic, East European and Eurasian Studies as well as the Slavic Department and the ASUC. Additional information and a pdf version of the first issue of the journal are available on our website: http://www.ocf.berkeley.edu/~troika/.
There will also be print versions of the journal available in the UC Berkeley Slavic Department. If you would like to request a copy of one, feel free to e-mail us at thetroikajournal@gmail.com.
Olga Slobodyanyuk
University of California, Berkeley
108 Wheeler
tel (609) 651-1578
[from MCLC, 10/30/11]
Art Review is an illustrated bilingual international academic journal which publishes essays and reviews on all types of art, artists and art theories. Contributions in either English or Chinese are eagerly solicited. The journal is sponsored by Sichuan University, one of the most prestigious universities in China.
Art Review provides a broad field for various approaches and arguments. It covers not only essays on art history, art criticism and aesthetic theory, but also interdisciplinary art studies such as philosophical, psychological, anthropological, semiotic, sociological, politico-economic, or any other approaches so long as it aims at a enlightening interpretation of art.
Art Review advocates the idea of "BIG ART," with no constrains on the genres and subject of the art to be studied. The genres covered not only could be traditional art (painting, sculpture, architecture, calligraphy, music, dance, drama, folk art, ethnic art, cinema, etc), but also any form of art so long as you sufficiently argue that it is art. For instance, Art Review expects studies on "industrial" art such as advertisement, packaging, fashion, toys and gifts design, etc. Art Reviewparticularly welcomes studies on environment art, such as landscape, gardening, decoration, and digital art design such as video game and animation.
Contributions should follow the APA style.
Editor: Shunqin Cao
Executive Editor: Yirong Hu
Contacts of Art Review: <artreviewcn@gmail.com>
(international) + <art_review@126.com>
(domestic)
[from H-ASIA, 11/3/11]
Brill Series on Modern
East Asia in Global Historical Perspective
Series Editors: Billy K.L. So and Madeleine Zelin
Editorial Board:
Prasenjit Duara (National University of
Singapore)
Wang Fan-sen (Academia
Sinica)
Rana Mitter (Oxford University)
Joshua Fogel (York University, Toronto)
John Makeham (Australian National
University)
Charles Armstrong (Columbia University)
Tomobe Kenichi (Osaka University)
The economic emergence of East Asia--first Japan, followed by the Little Dragons and Southeast Asia, and the recent rise of China, has produced a paradigm shift in the study of the East Asian regions. Not only has an earlier understanding based on adaptation to Western models given way to a re-evaluation of the interface between the local and the global, but scholarship itself has become increasingly transnational. This is evidenced in hitherto unseen levels of transnational collaboration, conferences and research programs, and the creation of on-line archives and virtual intellectual communities. East Asia, broadly defined to include both northeast and Southeast Asia, has contributed greatly to this shift. This series aims at providing a platform for the products of this scholarship, encouraging interdisciplinary, transnational and comparative research on the countries and peoples of the East Asian region, and their regional and global interactions. In an effort to reflect the full range of collaborations that are now taking place across the globe this series will feature monographs and edited volumes as well as translated works that explore the global processes of change in East Asia and the historical role of East Asia in the creation of the institutions, ideas, and practices that constitute our contemporary world.
Brill welcomes submissions of book proposals and manuscripts for consideration for inclusion in the series. Submissions should be in English and can be sent to the attention of the Series Editors, Billy So, Madeleine Zelin, or the Publishing Editor, Qin Higley.
Bangor University
Bangor, Wales
7-8 September 2012
[from H-ASIA, 12/7/11]
The aim of this interdisciplinary conference is to focus on questions of cultural translation in all its forms and constructs. As global identity becomes increasingly defined by questions of communication across languages and cultures the role of translation becomes key in the forging of new subjectivities.
Topics could include (although are not limited to):
1. Adaption in literature, film and media
2. Interplay between East Asian nations
3. Construction of East Asia as a theoretical/political/cultural concept
4. A focus on the interplay between East Asia and the West
5. Global Dissemination of East Asian Popular Culture.
6. Creative writing and literary translation as cross-cultural tool
We would especially welcome practice-led works from artists, translators, filmmakers and writers. Panel submissions (3-4 people) are also very welcome.
This conference is broadly considering Mainland China, Taiwan, Mongolia, Hong Kong, North Korea, South Korea, Japan, Philippines, Cambodia, Thailand, Vietnam, Singapore, Malaysia and Indonesia to be the geographical area of focus however comparative studies are very welcome. There are plans for a special edition journal as a direct result of this conference.
Any questions or queries
please don't hesitate to contact the organisers:
Dr Kate E Taylor-Jones and Dr
Yan Ying
Bangor University
Wales. UK
[from AAH, 1/23/12]
Submissions are invited from authors (artists and scholars) who can make a provocative contribution to this book series. We are particularly looking for further titles in the area of socio-political aesthetics or global aesthetics.
The RadicalAesthetics-RadicalArt (RaRa) series of books expands the parameters of art and aesthetics in a creative and meaningful way beyond visual traditions. Encompassing the multisensory, collaborative, participatory and transitory practices that have developed over the last twenty years, Radical Aesthetics-Radical Art is an innovative and revolutionary take on the intersection between theory and practice. The series aims to:
Titles already commissioned include:
Practical Aesthetics: Events, Affects and Art after 9/11- Jill Bennett (July 2012)
Eco-Aesthetics - Malcolm Miles
Indigenous Aesthetics: Art, Activism and Autonomy – Dylan Miner
Durational Aesthetics: Contemporary Art and the Prolongation of Time – Paul O'Neill and Mick Wilson
Proposals should be 3 to 5 sides A4 and include:
Author details should include:
Proposals should be e-mailed to both series editors by the end of March and for further information regarding submission please contact J.Tormey@lboro.ac.uk and G.Whiteley@lboro.ac.uk.
Humboldt-Universität
Berlin, Germany
[from H-ARTHIST, 1/17/12]
Sammelband für die Teilnahme von NachwuchswissenschaftlerInnen - mit begleitendem Kolloquium zum Thema: "Wechselbeziehungen zwischen Text und Bild - Komplementarität, kultureller Bezug, Analogie"
In diesem Sammelband und dem für Juni/Juli 2012 an der Humboldt-Universität anberaumten Kolloquium für NachwuchswissenschaftlerInnen (es schliesst an das Kolloquium "Die Schrift findet zum Bild" (im Juni/Juli 2011) an), wird den verschiedenartigen Wechselbeziehungen und -wirkungen von Texten und Bildern nachgegangen. Ein erster Überblick über vielfältige inhaltliche und formale Varianten von Beziehungen zwischen literarischem Text und gemaltem Bild ergab eine Unterteilung in komplementäre und symbiotische "Schreibweisen". Vertiefend und erweiternd soll nunmehr drei Ansätzen einer Betrachtung Raum gegeben werden:
1. Der Untersuchung "komplementärer" (kompensatorischer) Beziehungen zwischen Text und Bild, innerhalb derer sich Bild und Text nicht entsprechen, sich nicht ergänzen oder erklären (wie Bibelillustrationen, Emblemata, Merkbilder), aber dennoch aufeinander bezogen sind, in Abhängigkeit stehen bzw. sich zu einer Synthese oder Symbiose erweitern. Es geht um dialektisch angelegte Überschreitungen der Grenzen von Ausdrucksweisen im jeweiligen Medium, indem komplementäre (kompensatorische) Ausdruckspotentiale der jeweils anderen Gattung einbezogen werden. "Sinn" oder "Bedeutung" des schriftstellerisch-bildnerischen Verbundes oszillieren zwischen den beiden Medien, ergeben sich aus der gegenseitigen Beeinflussung und Erweiterung. Gefragt wird hier nach intermedialen Verschränkungen sowie ob diese möglicherweise genderspezifisch zu differenzieren sind. Keines der Medien ist vorrangig; sie stehen in einer nicht-hierarchischen Beziehung zueinander. Beispiele für gattungsübergreifende Fusionen finden sich bei Else Lasker-Schüler, Unica Zürn, Friederike Mayröker, Frida Kahlo.
2. Ein weiterer Ansatz der Betrachtung soll sich auf die Verbindung von getrennt entstandenen Texten und Bildern beziehen, die allerdings kulturell verhafteten Prinzipien einer Wechselwirkung unterlagen. Hier wären geistes- und kulturgeschichtlichen (literarischen, philosophischen, künstlerischen) Zusammenhängen nachzugehen, transmediale Einflüsse und Übereinstimmungen zu erkennen, d.h. auch ein Netzwerk von Bezügen (anhand von Quellenstudien) zu erarbeiten. Es könnte gezeigt werden, wie Werke der bildenden Kunst bzw. der Literatur nicht selten unlösbar im Zusammenhang der aktuellen Kulturszene (ent-)stehen, wie hier auch (weibliche) Genealogien (Bezüge zwischen LiteratInnen und KünstlerInnen) auszumachen sind. Vergleichende Analysen von Texten und Bildern zielen darauf ab, ihre kulturelle, auch genderspezifische Zusammengehörigkeit festzustellen. Herausragend sind hier die Beiträge von Reinhard Brandt (Philosophie in Bildern) über u.a. Las Meninas von Velazquez oder Die Schule von Athen von Raffael.
3. Darüber hinaus fordern "analogische" Entsprechungen zur Diskussion heraus: Selbst wenn Text und Bild unvergleichbarscheinen, möglicherweise verschiedenen Epochen angehören, können sie auf analoge Ausdrucksintentionen verweisen. Als Beispiel sei die Darstellung des Ehebruchs in Madame Bovary genannt, den Flaubert literarisch verhüllt, ebenso wie Jan Vermeer van Delft in seinem Bild Das Glas Wein den Moralbruch der Verführung der Dame durch den Kavalier. Der Fokus der Betrachtung läge hier auf-eventuell auch genderspezifisch zu differenzierende-Darstellungstechniken zum Beispiel des Unausgesprochenen oder Nicht-Dargestellten. Fragen ergeben sich, wie anhand der medial zu unterscheidenden Darstellungsweisen ein gleicher künstlerischer Ausdruck (z.B. des "Innehaltens", einer "Anspannung", eines "Moments höchster Dramatik") erzeugt wird. Bei einem solchen Vorgehen wären die unterschiedlichen Ausdruckspotentiale von Literatur und bildender Kunst exemplarisch an ihrer zeitlosen Gegenüberstellung bewußt zu machen. Die sich ergebenden Parallelen beruhen nicht zwingend auf einer wechselseitigen Rezeption, vielmehr auf Konstanten bzw. Grundstrukturen der literarischen und bildkünstlerischen Produktion.
InteressentInnen am Sammelband (2 Bände) und/oder Kolloquium nehmen bitte Kontakt auf mit:
Professor Dr. Renate
Kroll
Humboldt-Universität
Philosophische Fakultät II
Unter den Linden 6
10099 Berlin
Germany
tel +49 (0)30-2093-5146; 30-2123-2668
oder mit:
Kim
Carolin Holtmann
Humboldt-Universität
Philosophische Fakultät II
Unter den Linden 6
10099 Berlin
Germany
tel +49 (0)163 574 11 17
[courtesy of M. Schimmelpfennig, 2/9/12]
Theoretical Studies in Literature and Art (TSLA), which was initiated in 1980 and published bimonthly, is one of the most highly ranked academic journals in China that publish original research articles in arts and humanities, especially in literary theory. From 2012 year onwards, TSLA will publish original academic articles that are written in English. Articles that deal with any issues in literary theory, critical theory, aesthetics, philosophy of art, cultural studies will be welcome. Discussions of Asian issues, particularly issues concerning China are encouraged but not required.
The length of papers should be about 6000-12000 words and in MLA format. The papers will be peer-reviewed, and the final decision about publication will be notified in four months. Authors can send e-mails to inquire the status if they receive no feedback in two months.
Queries and contributions can be sent to tsla@vip.126.com. Contributions must be sent as attachments in either rtf(s) or Word 97-2003 file(s) with "contribution from xxx (i.e. your name)" as the subject heading.
[courtesy of K. Burnett, 2/16/12]
The Journal of the Royal Asiatic Society China in Shanghai publishes original research articles of up to 10,000 words (shorter articles are also welcome) on Chinese culture and society, past and present, with a focus on mainland China. Original articles, which will be peer-reviewed, must be previously unpublished, and make a contribution to the field. The Journal encourages contributions from both inside and outside the academy, and also accepts for consideration material that falls outside the boundaries of traditional scholarship including, but not limited to, photo-essays, interviews, translations, maps, essays. The Journal also publishes timely reviews of books on all aspects of Chinese history, culture and society.
All material should be submitted as an electronic attachment to the editor. A separate cover sheet should include the following:
Title of work
Contributor's name and contact information
Abstract of up to 300 words
For peer review, the main body of the text should not include the author's name. Text should be double-spaced, left-aligned, 12pt, in an easily read font such as Times New Roman, and paginated. The first line of paragraphs should be indented.
Illustrations should be high quality JPEG or TIFF files, and able to reproduce well in black and white. Authors are responsible for securing copyright permissions, and for any associated costs.
Submissions will be acknowledged by e-mail. Original articles that in the opinion of the editor (working with the editorial advisory committee) make a significant contribution to the field will be sent to one independent peer reviewer. The Journal operates a "doubleblind" system of review which means that neither the reviewer nor the writer is informed of the other's identity. Following peer review, an article may be accepted, accepted with revisions, or declined.
Authors of accepted original articles will be sent a proof before publication. This is for final checking only, as no substantial revisions are possible at this stage.
The journal uses British English. For punctuation, vocabulary and Romanization of Chinese, please refer to the Hong Kong University Press Style Manual.
Notes should appear at the end of the article, and be formatted according to The Chicago Manual of Style. The notes and bibliography system, or the author-date system may be used according to whether your paper falls into the category of humanities, or physical/social sciences. A quick guide is available at http://www.chicagomanualofstyle.org/tools_citationguide.html.
For archival sources, please follow the format requested by the repository.
The editor welcomes enquiries at editor@royalasiaticsociety.org.cn.
[from H-ASIA, 1/26/12]
Dear Colleagues:
I have recently agreed to assume the co-editorship of the journal Asian Ethnology. Asian Ethnology is a semi-annual, peer-reviewed journal dedicated to the promotion of ethnographic and ethnological research on the peoples and cultures of Asia. Though rendered entirely in English, the journal draws manuscript submissions from across Asia and Europe as well as North America. Topically, it occupies a special niche located at the intersection of Anthropology, Folklore, and Asian Studies. The journal has been particularly instrumental in bringing the important work of Asian scholars (that is, scholars of Asian nationality) to the attention of an English readership, thereby helping to mitigate Western domination of the global academic arena.
Formerly called Asian Folklore Studies, the journal was founded by Austrian ethnologist Matthias Eder in Beijing, China in 1942. Under threat from the Maoist takeover in 1949, Eder relocated to Nanzan University in Nagoya, Japan, from where the journal has been based ever since. We are especially interested in submissions on the following topics:
narratives, performances, and other forms of cultural representations
popular religious concepts
vernacular approaches to health and healing
local knowledge
collective memory and uses of the past
material culture
cultural transformations in diasporas
transnational flows
ecological issues
Generally, each issue of the journal contains at least one or two articles on the South Asian region, so we encourage you to submit your work to us. We also encourage thematic issues (e.g., an issue on Chinese folklore guest edited by Thomas DuBois is forthcoming). More information on the journal can be found on the home page.
[from CAA, 2/23/12]
The Journal of Art Historiography has launched a new series of monographs in collaboration with Ashgate publishers. Authors are invited to make preliminary enquiries with the series editor, Richard Woodfield. Further information is available at the journal website. The aim of this series is to support and promote the study of the history and practice of art historical writing focussing on its institutional and conceptual foundations, from the past to the present day in all areas and all periods. Besides addressing the major innovators of the past it also encourages re-thinking ways in which the subject may be written in the future.
[from H-ARTHIST, 3/3/12]
Digital Humanities Research and Publication in NCAW
Nineteenth-Century Art Worldwide has received a grant from the Mellon Foundation for a three-year capacity-building initiative to maximize the possibilities of the journal electronic delivery. With this in mind, NCAW is soliciting potential articles that take full advantage of new web technologies either in the research or the publication phase, or both. The Mellon grant is intended to help authors in the development phase of their articles as well as to aid NCAW in the implementation phase. NCAW is seeking scholarship that engages in one or more of the following, interrelated areas of investigation:
Data Mining and Analysis:
Use of data analytics programs (e.g., SEASR, Network Workbench) to investigate connections among particular groups or individuals, such as artists, writers, art dealers, art markets and other networks of exchange (social networks). See for example "Mapping the Republic of Letters," produced by researchers and technologists at Stanford University.Geographic Information Systems (GIS) and Mapping:
Use of maps in concert with data sets (e.g., depictions of sites, location of objects, paths of travel) in order to investigate and communicate change over time and space. The website for the project "Imago Urbis: Giuseppe Vasi's Grand Tour of Rome," for example, links Giambattista Nolli's 1748 map of Rome with vedute created by Vasi, providing insight into the vedutismo tradition as well as the urban development of Rome in the eighteenth century.High-Resolution imaging and dynamic image presentation:
Use of panoramic and/or high-resolution imagery to view, for example, panoramas, conservation images (x-ray, infrared reflectography), moving images. The QTVR panoramas of world architecture produced by Columbia University, are an example of the kind of image viewing interface that could be used in support of scholarship on, for example, panorama paintings or large-scale architectural installations.
Authors are not expected to have extensive technical expertise themselves; instead NCAW will work with them to help in realizing the computing aspects of their project. Authors should, however, be generally knowledgeable about the technological possibilities related to their project and should be able to articulate how both specific computer-based research methods and the online publication format connect with the research questions on which their project focuses. In addition, authors should expect to collaborate with technical experts on the realization of their projects. To this end, proposals which give some indication of how authors envision working with such experts, or which identify specific collaborative partners will be preferred. Finally, proposals should outline projects which are relatively small-scale, able to be realized within a time span of about three to six months and requiring around 100 hours of development work.
Interested contributors are asked to submit a 500-word abstract that describes the author's (or authors') project and explains how it fits within the areas described above and why advanced computing technologies are necessary for conducting this research and/or for presenting the resulting scholarship. In addition, they are asked to provide a short CV and a budget. For further information or to submit an application for funding, e-mail to Petra Chu and Emily Pugh.
[courtesy of R. Woodfield, 3/6/12]
The Journal of Art Historiography is an Open Access journal that exists to support and promote the study of the history and practice of art historical writing. The historiography of art has been strongly influenced by traditions inaugurated by Giorgio Vasari, Winckelmann and German academics of the nineteenth and early twentieth centuries. Consequent to the expansion of universities, museums and galleries, the field has evolved to include areas outside of its traditional boundaries.
There is a double danger that contemporary scholarship will forget its earlier legacy and that it will neglect the urgency and rigour with which those early debates were conducted. The earlier legacy remains embedded in ‘normal' practice. More recent art history also stands in need of its own scrutiny. The journal is committed to studying art historical scholarship, in its institutional and conceptual foundations, from the past to the present day in all areas and all periods.
This journal will ignore the disciplinary boundaries imposed by the Anglophone expression "art history" and allow and encourage the full range of enquiry that encompassed the visual arts in its broadest sense as well as topics now falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It will welcome contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation.
Besides articles, it will accept notes, reviews, letters, bibliographical surveys and translations. It will be published every June and December and include both peer-reviewed and commissioned contributions.
It will be the first contemporary journal dedicated specifically to the study of art historiography and its ambition is to make it the point of first call for scholars and students interested in that area. It is being supported by the Department of the History of Art at the University of Birmingham. In collaboration with Ashgate it also publishes Monographs in Art Historiography.
Editor: R. Woodfield
[from H-ASIA, 3/11/12]
The Journal of Chinese Military History, edited by David A. Graff and David Curtis Wright, is a peer-reviewed semi-annual from Brill that will begin publication in 2012. It publishes both research articles and book reviews, aiming to fill the need for a journal devoted specifically to China's martial past. It takes the broadest possible view of military history, embracing both the study of battles and campaigns and the broader, social-history oriented approaches that have come to be known as "the new military history," and it covers all of the Chinese past, from prehistory through the pre-imperial and imperial periods down to the present day, aiming to publish a balanced mix of articles that represent a variety of different approaches and address both the modern and pre-modern periods of Chinese history. The Journal of Chinese Military History also welcomes comparative and theoretical work, as well as studies of the military interactions between China and other states and peoples, including East Asian neighbors such as Japan, Korea, and Vietnam.
Manuscripts for articles should be between 7,500 and 20,000 words, double-spaced, and submitted electronically as MS Word documents.
Article submissions may be
sent to either of the editors:
David A. Graff (Kansas State University)
David Curtis Wright (University of
Calgary)
If you are interested in reviewing books for the journal, please contact the Book Review Editor, Kenneth M. Swope (Ball State University).
Editorial Board:
Yingcong Dai (William Paterson University)
Nicola Di Cosmo (Institute for Advanced Study)
Xiaobing Li (University of Central Oklahoma)
Peter Lorge (Vanderbilt University)
Arthur Waldron (University of Pennsylvania)
Peter Worthing (Texas Christian University)
Robin D.S. Yates (McGill University)
Xiaoming Zhang (U.S. Air War College)
[from H-ASIA, 4/18/12]
We are pleased to announce the launch of the Journal of the British Association for Chinese Studies (JBACS, ISSN 2048-0601), the new official journal of the British Association for Chinese Studies (BACS).
This is a peer-reviewed e-journal publishing original and innovative research in the multidisciplinary field of Chinese Studies, with articles in a wide range of subject areas--history, economics, politics, society, archaeology, language, literature, philosophy, culture, gender, international relations and law--relating to modern and pre-modern China.
We welcome submissions from all scholars with a focus on China, including items that cross disciplinary boundaries or do not otherwise match the subject areas listed above. All research articles in this journal undergo rigorous peer review, based on initial editor screening and anonymous double-blind refereeing by two referees. If you would like to submit an article or a book review, please check the submission guidelines available on our website. All queries and material should be submitted by e-mail [to] jbacs@bacsuk.org.uk.
Editor:
Don Starr (Durham University)
Commissioning Editor:
Sarah Dauncey (University of Sheffield)
Editorial Board:
Tim Barrett (School of Oriental and African Studies)
Robert Bickers (University of Bristol)
Harriet Evans (University of Westminster)
Stephan Feuchtwang (London School of Economics)
Natascha Gentz (University of Edinburgh)
Michel Hockx (School of Oriental and African Studies)
Rana Mitter (University of Oxford)
Roel Sterckx (University of Cambridge)
Tim Wright (University of Sheffield, Emeritus)
Shujie Yao (University of Nottingham)
[from H-ASIA, 5/22/12]
Cross-Currents: East Asian History and Culture Review (e-ISSN: 2158-9674) is a peer-reviewed quarterly online journal that uses new technologies to facilitate a dialogue among East Asia scholars around the world that is enhanced by audio-visual and multilingual features. The e-journal is embedded in a web-based platform with functions for collaboration, discussion, and an innovative editing and publishing process. The semi-annual print issues of Cross-Currents (ISSN: 2158-9666) published by University of Hawai'i Press feature articles and review essays that have been selected from the journal's online counterpart for their scholarly excellence and relevance to the journal's mission.
Cross-Currents offers its readers up-to-date research findings, emerging trends, and cutting-edge perspectives concerning East Asian history and culture from scholars in both English-speaking and Asian language-speaking academic communities. A joint enterprise of the Research Institute of Korean Studies at Korea University (RIKS) and the Institute of East Asian Studies at the University of California, Berkeley (IEAS), Cross-Currents seeks to balance issues traditionally addressed by Western humanities and social science journals with issues of immediate concern to scholars in China, Japan, Korea, and Vietnam. This English-language journal includes scholarship on material from the sixteenth century to the present day that has significant implications for current models of understanding East Asian history and culture. An editorial board consisting of established scholars in Asia and North America provides oversight of the journal, in collaboration with two faculty co-editors (one each at Korea University and UC Berkeley).
The editors invite online submissions of original, unpublished research articles. The submission process and complete information about manuscript preparation can be found at http://cross-currents.berkeley.edu/e-journal/authors. Cross-Currents also features photo essays, review essays, annotated bibliographies, and summaries of important recent publications in C/J/K/V. We welcome proposals for these categories as well.
Requests for further information may be directed to the managing editor.Keila Diehl, Ph.D.
Managing Editor
Cross-Currents: East Asian
History and Culture Review
Institute of East Asian Studies
University of California, Berkeley
2223 Fulton Street, 6th Floor
Berkeley, CA 94720-2318
tel (510) 643-5104
fax (510) 643-7062
e-mail <crosscurrents@berkeley.edu>.
[from H-NET, 3/13/13]
Journal of Asia Pacific Studies (JAPS) is calling for papers for the May issue. JAPS is a peer-reviewed academic journal published in Florida, USA. The journal is published both in print and online. JAPS is indexed by EBSCOhost and other prestigous databases.
Editor in Chief
Journal
of Asia Pacific Studies
e-mail <journalalternative@hotmail.com>>
[courtesy of S. Abe, 6/5/12]
Dear Colleagues and Friends,
I would like to update you on some new developments in Archives of Asian Art:
Best,
Stan Abe
Editor and Chair of the Editorial Board
[from H-ASIA, 6/12/12 and 7/11/12]
Dissertation Reviews is a website that features friendly, non-critical overviews of recently defended and unpublished dissertations. Dissertation Reviews currently covers 15 fields, including Chinese History, Japan Studies, Korean Studies, South Asian Studies, Southeast Asian Studies, Inner Asian Studies, Tibetan and Himalayan Studies and many more.
The goal of the site is to offer all scholars a glimpse of the "immediate present" of the field. Rather than reviewing monographs, the publication of which may take a number of years after the completion of a project, the site is dedicated to examining what is happening right now in the field.
The Asia-related branches of Dissertation Reviews are currently seeking new dissertations to be featured in the 2012-2013 season. If you would like to have your dissertation reviewed (2011 defense onwards), or would like to contribute a review, please contact us at: dissertationreviews@gmail.com. For more details, please visit the sites below:
Frequently
Asked Questions
Overview of the Site
"Dissertation
Reviews: An Introduction" by Thomas Mullaney
If you work in any of the fields listed below, and have recently spent time/will spend time conducting research in archives, libraries, special collections, museums, private collections, etc., please contact us at dissertationreviews@gmail.com.
- Asian Art History
- Chinese History
- Inner Asian Studies
- Islamic Studies
- Japan Studies
- Korean Studies
- South Asian Studies
- Southeast Asian Studies
- Tibetan and Himalayan Studies
Editor-in-Chief: Thomas Mullaney
(Stanford University)
Managing Editor: Leon Rocha (University of Cambridge)
[from H-ASIA, 7/11/12]
Intellectual history has long held a central place in the scholarly traditions of France, Germany, and Britain, as well as China. The new journal Intellectual History aims to promote this disciplinary field in the world of Chinese-language scholarship, especially that of Taiwan, though we will also publish English-language articles. We hope to stimulate thinking about intellectual history in the broadest terms and to encourage a community of scholars to forge closer ties.
The new journal is interested in the processes by which individual texts and particular systems of thought have been made, developed and appropriated in different civilizations at different periods of history. In this context the word 'text' will be taken to cover philosophical, scientific and literary texts, art objects, music, experimental instruments, and etc. Intellectual History will be open to all contributions that touch upon the development of thought in China and in the rest of the world, and that consider theoretical and methodological issues. We welcome contributions that report findings of historical investigations and of textual analyses; moreover, we especially welcome innovative and suggestive approaches to new research topics of historical interest.
Intellectual History's inaugural issue will be published by Lianjing Publishing Company in the spring of 2013. The journal will publish semi-annually in Chinese and English. Chinese style sheet: please see Xinshixue; English: please see Modern Intellectual History. Paper submissions and queries to: intellectual.history2013@gmail.com.
Editors: Chen Jeng-guo (Academia Sinica), Lu Miawfen (Academia Sinica), Carl K. Y. Shaw (Academia Sinica), Peter Zarrow (Academia Sinica)
Advisory board: David Armitage (Harvard), Peter Bol (Harvard), Chang Hao (Hong Kong University of Science and Technology), Chen Ruo-shuei (Taiwan University), Benjamin Elman (Princeton), Ge Zhaoguang (Fudan), Knud Haakonssen (University of Sussex), Huang Chin-hsing (Academia Sinica), Jonathan Israel (Institute for Advanced Studies, Princeton), Lin Yusheng (University of Wisconsin), Luo Zhitian (Sichuan University and Peking University), Murata Yujiro (University of Tokyo), Nicholas Phillipson (Edinburgh University), Wang Fan-sen (Academia Sinica), Yu Ying-shih (Princeton)
[from Asian Archaeology, 1/16/12]
Asian Archaeology is an annual journal that is sponsored by Research Center for Chinese Frontier Archaeology (RCCFA), Jilin University (the Key Institute of Humanities and Social Sciences granted by the Ministry of education, PRC). The first issue will be published in 2012.
Asian Archaeology is an academic English journal that publishes original papers on the new discoveries, achievements and viewpoints of Chinese archaeology, also concerning the new discoveries and research of other parts of Asian and Oceanian areas, mainly for overseas scholars. Asian Archaeology will draw up the four columns or theses as follows:
1) Chinese archaeology. It includes reports and research of new archaeological materials in Chinese archaeology.
2) Asian archaeology. It includes the new discoveries and research of other parts of Asian and Oceanian areas.
3) Archaeological sciences. It includes new archaeological methods, theories, and practice on various subdisciplines of, archaeological sciences, including Archaeometry, Zooarchaeology, Paleoethnobotany, Physical Anthropology, Environmental Archaeology, Molecular Archaeology, Biochemical Archaeology, and so on.
4) Newsletters. It includes the important new discoveries of China and other parts of Asia.
We accept English manuscripts that are best about 8,000 to 10,000 words in length (including figures and references). A manuscript should be prepared with an abstract (about 600 words), a list of five keywords and a brief introduction of authors. The Manuscripts are contributed by bidirectional Anonymous Paper Reviewing System. If the manuscript is printed, author will be presented five sample journals and copyright royalties.
E-mail for submission: asianarch@jlu.edu.cn
Correspondence should be
addressed to:
Nan Feng
Research Center for Chinese Frontier Archaeology (RCCFA)
Jilin University
(No. 244, Kuangyaming Building, Qianwei Campus), No. 2699
Qianjin Avenue
Changchun City
Jilin Province
tel +(86) 431-85166321
fax +(86) 431-85166320.
[from H-NET, 11/29/12]
A new quarterly journal is to be launched by Brill: The Journal of Jesuit Studies. Each issue of the journal will contain an extensive review section that looks at all aspects of Jesuit history (from the sixteenth century to the present day, and in all corners of the globe), as well as books that explore the Jesuit role in the arts and sciences, theology, education, literature, and the many other avenues of Jesuitica. We will also include numerous reviews on the broader history of post-1500 Christianity and other related topics.
Publishers are invited to send copies for review consideration to the following address:
Dr
Jonathan Wright
Reviews Editor
Journal of Jesuit Studies
Department of Theology and Religion
Durham University
Abbey House
Palace Green
Durham DH1 3RS
United Kingdom.
[from H-NET, 11/27/12]
The Buddhist College of Singapore has just launched a new peer-reviewed Chinese & English journal of Buddhist Studies, the Singaporean Journal of Buddhist Studies. The first issue is to be published in a year or so, after that it will be published twice a year.
It accepts unpublished research papers on all aspects of Buddhist Studies. Interested scholars can send their work to chuancheng@bcs.edu.sg.
[from H-ARTHIST, 12/17/12]
Die Diskussion um Kunst und Öffentlichkeit ist zurzeit nicht nur in Zürich sehr aktuell–Stichwort Hafenkräne!–und trotzdem ist es für Interessierte und Beteiligte schwierig, die Debatten zu verfolgen, da diese in verschiedenen Kontexten stattfinden und in unterschiedlichen Medien publiziert werden. Common, das neue Journal für Kunst im öffentlichen Raum, soll dieses Defizit beheben, indem es die unterschiedlichen Diskussionen zu Kunst und Öffentlichkeit bündelt und einem breiten Publikum vermittelt.
Kunst im öffentlichen Raum hat in den letzten Jahren stark an Aufmerksamkeit gewonnen: sie fällt auf, polarisiert, wird öffentlich (und meist kontrovers!) diskutiert. Dank ihrer Situationsbezogenheit, Einzigartigkeit und Exklusivität haben sich künstlerische Projekte im öffentlichen Raum als vielseitig verwendbares Instrument erwiesen, das von der öffentlichen Hand und von Privaten als Fördermittel und Aufwertungsmassnahme, für Standortmarketing und Werbung, aber auch zur Identitätsstiftung eingesetzt werden. Allerdings sind Informationen zu Kunstprojekten, die in Sphären des Öffentlichen stattfinden, nur mühsam auffindbar. Sie werden nur punktuell publiziert und sind vorwiegend in der Tagespresse, oder in Eigenpublikationen der Firmen oder der öffentlichen Hand zu finden. Es fehlt eine Plattform, welche die Projekte und Diskussionen bündelt und vermittelt.
Common ist ein unabhängiges, internationales Webjournal, das sich mit Fragen um künstlerische Verfahren in Sphären des Öffentlichen beschäftigt. Es schafft eine interdisziplinäre Plattform für einen kritischen Diskurs über theoretische und praktische Konzepte von Kunst, die sich engagiert mit dem Öffentlichen auseinandersetzt. Common besteht aus einem Journalteil mit redaktionell betreuten Beiträgen, in denen AutorInnen das Thema reflektieren, und aus einem Diskussionsteil, in welchem die Texte durch ein breites Publikum kommentiert werden und so das Thema erweitert wird. Common wird von Michèle Novak (Editor) herausgegeben; das Journal erscheint dreimal jährlich in digitaler Form und einmal als gedruckte Jahresausgabe im Verlag Buch & Netz.
Common interessiert sich für Projekte, die einen Beitrag zur öffentlichen Verhandlung des gemeinsam Genutzten, des Zusammenlebens, sowie der Funktion, Ästhetik und Bedeutung des Öffentlichen leisten und darüber hinaus eine neue Sicht, Öffnungen oder Verschiebungen der Praxis und der Nutzungen des Stadtraumes beabsichtigen. Experten und Akteure aus den Bereichen Bildende Kunst, Theater, Musik, Architektur, Landschaftsarchitektur, Stadtentwicklung, Humangeographie, Soziologie und Philosophie bringen ihre Perspektiven ein und denken kritisch mit. Common interessiert sich für eine Durchlässigkeit der disziplinären Diskurse, für die Verdichtung und Reibung verschiedener Konzepte und Herangehensweisen. Wir nehmen aktuelle Tendenzen auf, arbeiten am Topos des "Öffentlichen Raumes" und an der entsprechenden Begriffs- und Themenbildung.
Common widmet sich jeweils einem aktuellen Thema, das breit und kontrovers diskutiert wird. Akteure und Interessierte aus unterschiedlichen disziplinären Blickwinkeln beschreiben, reflektieren und diskutieren Projekte, Verfahren, Konzepte und Theorien. Sie denken mit an der Entwicklung und Umsetzung von neuen Ideen für den öffentlichen Gebrauch. Der englische Begriff "common" verweist mit seinem Wortsinn auf das Gemeinsame, Alltägliche und auch Gebräuchliche, welches im Sinne der weiteren Bedeutung des Wortes, der Allmende, reflektiert wird.
Anfang Dezember wird die erste Nummer des interdisziplinären Onlinejournals Common–Journal für Kunst & Öffentlichkeit aufgeschaltet. Aus der Perspektive von Bildender Kunst, Landschaftsarchitektur, Musik und Theater wird darin zum Thema "Ideologien der Kompensation–künstlerische Verfahren im öffentlichen Gebrauch" berichtet und diskutiert. Wenn künstlerische Projekte im öffentlichen Raum stattfinden und öffentliche Sphären suchen, dann stehen immer auch Ideologien als Herkunft und Motivation der engagierten Positionen und Projekte im Hintergrund. Mit welchen inneren Bildern von Raum, Öffentlichkeit und Gesellschaft werden Künstler aktiv? Welches sind die Konzepte und Entwürfe hinter der Analyse und künstlerischen Bearbeitung der vorgefundenen Situation? Und was sind die Ziele eines Projektes am spezifischen Ort? In dieser Ausgabe werden daher Ideologien als Engagement für eine jeweils spezifische Öffentlichkeit verstanden; und Kompensationen sind entweder selber Korrektive und Veränderungen oder können solche initiieren. Kompensation wäre in diesem Zusammenhang also weniger als Ausgleich, sondern eher als Erweiterung, Verschiebung, Neubewertung und Veränderung des Vorgefundenen zu verstehen. Dies ist vielleicht auch der Grund, warum das Kompensatorische so wunderbare Überraschungspotentiale in sich birgt.
Kontakt und Chefredaktion:
Michèle Novak
Albert-Schneider-Weg 25
8047 Zürich
tel +41 (0)78 761 92 72
[from H-ASIA, 12/20/12]
The University of San Francisco Center for the Pacific Rim is pleased to announce the call for papers for Asia Pacific: Perspectives. The editors welcome submissions from all fields of the social sciences and the humanities that focus on the Asia Pacific region, especially those adopting a comparative, interdisciplinary approach to issues of interrelatedness in the Asia Pacific region.
Asia Pacific: Perspectives (ISSN: 2167-1699) is a peer-reviewed electronic journal published twice a year by the University of San Francisco Center for the Pacific Rim. Our task is to inform public opinion through publications that express divergent views and ideas that promote cross-cultural understanding, tolerance, and the dissemination of knowledge. The journal offers a forum for the exchange of ideas from both established scholars in the field and graduate students.
To submit a paper, Send a single DOUBLE-SPACED copy with any and all inclusions to the editors. Electronic copies must be in MS Word or compatible format; tables, charts or images may be inserted in the text document or be included as separate files. Further guidelines are posted at http://www.usfca.edu/pacificrim/perspectives/. Submissions should be addressed to:
Dayna
Barnes, Managing Editor
Asia Pacific: Perspectives
The Center for the Pacific Rim
University of San Francisco
2130 Fulton Street
San Francisco, CA 94117-1080.
[from H-NET, 12/16/12]
Brill has founded a monograph Series of Jesuit Studies.
Associated with the Journal of Jesuit Studies, SJS will target those areas of scholarship on Jesuit history in its broader context that have been lamentably neglected but it will also invite contributions of important but hard to find monographs in other languages, which we shall encourage to be translated.
Contact: Dr. Robert A. Maryks
[from H-ASIA, 1/6/13]
The American Journal of Chinese Studies is soliciting manuscripts in the humanities (including history, literature, religion, fine arts, philosophy, etc.) that focus on Chinese communities, including mainland China (past and present), Taiwan, Hong Kong and the Chinese Diaspora.
AJCS is a peer-reviewed interdisciplinary journal published by the American Association for Chinese Studies. Past issues have included humanistic work, but the emphasis was on social sciences. The editorial board is looking to increase the number of humanistic papers published in the journal.
For questions about submission and subscriptions contact the journal editor:
Professor Thomas
Bellows
Department of Political Science
The University of Texas at San Antonio
San Antonio, TX 78249.
[from H-ARTHIST, 1/6/13]
The editors of the Journal of Curatorial Studies invite proposals for original research articles on the subject of curating, exhibitions and display culture. The journal also seeks reviews of recent exhibitions, books and conferences.
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the increasing relevance of curating and exhibitions and their impact on institutions, audiences, aesthetics and display culture. Inviting perspectives from visual studies, art history, critical theory, cultural studies and other academic fields, the journal welcomes a diversity of disciplinary approaches on curating and exhibitions broadly defined. By catalyzing debate and serving as a venue for the emerging discipline of curatorial studies, this journal encourages the development of the theory, practice and history of curating, as well as the analysis of exhibitions and display culture in general.
Potential topics include:
- critical case studies of curators and exhibitions
- curatorial methodologies and transdisciplinary strategies
- curatorial media (e.g., social, digital and virtual)
- the cultural politics of display
- exhibition typologies and histories
- curatorial ethics and aesthetics
- curating and globalization
- para-curating: artworld rituals, openings, tours, prizes
- curating collections, archives and commissions
- display practices in popular and mass culture
The Journal of Curatorial Studies publishes three times a year and considers submissions on a continuing basis. Please send a 250-word abstract and a CV to the editors. Essays run 5-6000 words. Please send submissions and correspondence to the Editors: Jim Drobnick (OCAD University) and Jennifer Fisher (York University).
The first issue of the Journal of Curatorial Studies is available free on-line: http://www.intellectbooks.co.uk/journals/view-Journal,id=205/. Visit the journal on Facebook to keep informed about new developments.
[from MCLC, 3/16/13]
Eurosinica is a book series for monographs of various thematic focuses, sharing the goal of studying culture and literature in contemporary or historical contexts. The series, under the imprint of Peter Lang, was founded in 1984 by the German sinologist Günther Debon (1921–2005) and the Canadian comparatist Adrian Hsia (1938–2010); so far, thirteen books have been published. While the founding editors placed the emphasis on the transfer processes of classical literary works and motifs between cultures, the continuation of their work requires new approaches.
Rather than operate within the conceptual framework of "cultural dialogue" between an East and a West viewed as distinct entities, the series editors tend to a view of cultures in contact. Eurosinica is accordingly open for studies and interpretation of authors, personalities, genres and individual works committed to an understanding of humanity as a common source of values which, rather than be impeded by cultural, linguistic or ethnic disparity, are being reshaped and reinvented in different settings.
From the basic concept the series' founders have contributed, we will carry on the approach to literature, the arts and history as transnational narratives emerging out of distinct contextualization and relying on as well as contributing to both the European and the Sinic cultural spheres. We explicitly welcome well-argued innovative interpretations of classical works, as we do historical and translation studies. At a time of ongoing global changes of aesthetic and critical paradigms, Eurosinica does not intend to propose the East-West-paradigm as a last refuge for intellectual cultural conservatism, but rather envisages new critical approaches to the sporadic process of aesthetic and historical interactions ("contacts") between formerly allegedly "separated" cultural spheres.
Eurosinica expects to publish between one and two volumes annually and aims for a balance between studies of contemporary or ancient focus. It thereby seeks to counter the trend of separating research on classical and modern issues.
Eurosinica will consider manuscripts in European languages. The series editors and board members are scholars at universities in the Baltic and Nordic countries of Europe, as well as in mainland China, Japan, Taiwan, Hong Kong and Macao. They represent the disciplines of comparative literature, cultural studies and history in European and East Asian languages.
As a series, Eurosinica is directed and managed by AsiaRes, the Baltic Research Center for East Asian studies at the University of Latvia in Riga and the Department of Oriental Studies at Stockholm University). For further information, please write to Eurosinica@asiares.lv or irmy.schweiger@orient.su.se.
Editors:
Frank Kraushaar (Tallinn University; AsiaRes University of Latvia)
Irmy Schweiger (University of Stockholm/Sweden)
Board Members:
He Chengzhou (Nanjing)
Mark Gamsa (Tel Aviv/ Riga)
Sher-shiueh Li (Taibei)
Shu-ching Ho (Düsseldorf)
Lucie Berner (Macao)
Tatsuo Takahashi (Tokyo)
Rossella Ferrari (London)
[from H-NET, 3/2/13]
The Chinese Buddhist Encyclopedia is a large-scale and vast web project with numerous different aspects and purposes:
1) provide easy access to vast amount of materials for everyone with access to internet
2) create a platform for Chinese and English speaking Buddhists to interact, co-operate, work and study together
3) gather all available existing digitized materials, review them, categorize and post them online
4) collaborate with relevant universities, monasteries, institutions, libraries, museums and individuals from around the globe 5) continue digitizing more materials
6) use the advantages of modern technology to develop different forms of Buddhist education (both on and offline)
7) create a international team of specialists interested in those topics, who would collaborate and meet on regular bases.
The author and main organizer of Chinese Buddhist Encyclopedia is Vello Vaartnou. The CBE project was officially started in December 2012, when Vaartnou presented the idea of the CBE at the ECAI conference in University of California, Berkeley, USA.
We are looking for volunteer editors for the Chinese Buddhist Encyclopedia project. CBE needs a lot of data research and editing. Usually every editor has their own Buddhism-related topic(s) (English and Chinese speakers). Which he/she would gather as much material as possible.
Together we can make a difference and build up huge online Buddhist source. So we welcome everyone who could contribute their valuable time by editing and adding materials from different sources all over the internet. Also we are looking for people who has some computer skills as well do help develop the system little better. There is much work to do so anyone who would like to give their contribution for the Chinese Buddhist Encyclopedia project are most WELCOME to do so.
If you think you want to participate then please visit our http://www.friends-in-dharma.com and http://www.chinabuddhismencyclopedia.com for more information or e-mail volunteers@chinabuddhismencyclopedia.com.
Vello Vaartnou
Head of Estonian Nyingma
Perth, Western Australia
[from H-NET, 4/3/13]
Launching in 2014, the bi-annual academic journal Asiascape: Digital Asia now invites submissions for research articles that explore the political, social, and cultural impact of digital media in Asia. Although we do not exclude scholarship in digital culture and culture studies, Asiascape: Digital Asia's focus is on research from the social sciences, arts, media and communication studies, information and computer sciences, and area studies.
Bringing together state-of-the-art research from these fields, 'Asiascape: Digital Asia' examines the role that information, communication, and other digital technologies play in Asian societies (Japan, the Koreas, China, Hong Kong, Macao, Taiwan, India, Pakistan, Nepal, Sri Lanka, Bangladesh, Myanmar, Laos, Thailand, Vietnam, Cambodia, Malaysia, Singapore, Indonesia, and the Philippines), as well as in intra-regional dynamics and transnational links between the region and other parts of the world. The peer-reviewed journal addresses issues such as:
- media converge in the digital age
- transnational flows of digital culture,
- e-governance,
- the politics of network societies,
- online activism and digital challenges to state power,
- the workings of social and participatory media, and
- the dynamics of digital play.
The editors welcome contributions that analyse these issues through research that takes seriously the workings of ICT in different contexts, that critically theorizes such workings, and that is based on authoritative empirical analysis. We particularly encourage inter- and multi- disciplinary research that adopts digital methods, as well as theoretically-minded work that critically explores how ICTs can be understood through the lenses of different realities in Asia.
Asiascape: Digital Asia further welcomes reviews of book on the topics outlined above, with a specific focus on reviews that introduce non-Asian related works and scholars to the area-studies community, and research on Asia to the larger field of digital media and communication studies. In addition, the editors encourage reviews of relevant conferences, as well as of digital platforms and media products from Asia, such as social media websites, video sharing services, games, digital tools, etc.
Manuscript submissions should not exceed a length of 10,000 words, including notes and references. Review articles should not exceed 1,000 words. Asiascape: Digital Asia only accepts English-language articles.
All inquiries regarding article submissions can be addressed to:
Florian
Schneider
Nozomi Goto
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