dinsdag 4 februari 2014

CFP Intellectuals & the Great War, Dec. 2014

Intellectuals & the Great War
An International Conference.
Ghent University, December 17-19, 2014

Ghent University announces a First World War conference, scheduled to take place from 17-19 December 2014. The focus of this international scholarly gathering is on the role of the intellectual in the First World War. It aims to explore the ways in which intellectuals, working in different fields and contexts, dealt with the strain, the shock and the aftermath of WWI. We invite papers that look into the position of the university during the war; the ways in which academia and the ‘monde international des esprits’ dealt with the issue of action and commitment, and what it meant for thinkers to be confronted with the physical aspects of war. In the vast field of WWI studies, relatively little attention has been devoted to the role of the intellectual. When this topic has been tackled the debate rarely reached a transnational, multidisciplinary level. In bringing together scholars from different academic and national backgrounds, the 2014 Ghent conference seeks to do justice to the many faces of the intellectual during WWI and wants to trace what the scholarly world now owes to them. We aim to address the strategies and narratives of both the Entente and Central European intellectuals, of both patriots and collaborators in occupied territories.

The Great War broke out at a time of educational reform. Due to demographic changes and social reforms the early twentieth century speeded up the democratization of higher education, which had slowly begun in the second half of the nineteenth century. The fact that colleges started to open their doors to men and, in some cases women, from different social backgrounds changed the profile of the intellectual, from armchair scholar to public figure and intrepid adventurer. The impact of the First World War on this development cannot be overestimated. Those not out on the battlefield had to confront the questions if and how to contribute and react. In which ways did the events influence innovative developments, within the fields of the sciences, philosophy, literature and the arts? In which ways was the question how to make sense of the broken minds, the many maimed and dead bodies dealt with across disciplines? What survives today of the insights or techniques that question yielded? How do twenty-first-century intellectuals, engage in writing and rewriting the history of 1914-1918, look back on the attempts of our peers to mobilize their minds and bodies? More specifically, the conference proposes four avenues, with four intellectual disciplines, for discussion:

·         Science

The positioning of the academic and scientific world at large during the First World War is this section’s focus. We also welcome papers that seek to find an answer to what it meant to be an academic at the time, both intellectually and practically. We are interested in the legitimization of scientific and technological progress made in service of the war effort. Finally, we also invite papers that aim to understand the impact in terms of continuity and discontinuity of the First World War and the Russian Revolution on the transnational circulation of ideas and cultural goods. We encourage proposals that deal with the individual life-story of scientists, engineers, social and human scientists, to open up to a larger perspective.

·         Literature

In this section we want to explore the impact of the Great War on early twentieth-century as well contemporary literature. Possible topics include: WWI as a period of literary innovation; the production and reception of patriotic and non-pacifist texts; the image of war poets as “doomed youth”; generation gaps in the war effort; the production of nationalist literature before, during, and after the war; the decision for authors whether to swell the ranks or to comment from the sideline; the ideal of heroism; the employment of women in factories and other previously male domains; the formation of new social norms in masculinity and femininity; war poetry by female writers and its exclusion from anthologies until after 1980; nature and the countryside as a scene of war and peace; the representation of trauma during and after the War Effort.

·         Philosophy

Paper proposals that deal with any aspect of philosophy’s relationship to the First World War and its reception among philosophers are welcome. Topics could include the role of the war in the thought (and lives of) particular philosophers (e.g. Wittgenstein, Otto Neurath, Carnap, Bergson, Russell, Reinach, Eucken, etc). We are especially interested in papers that explore the role of the war in the rise (and decline) of philosophical movements (analytic philosophy, phenomenology, Lebensphilosophie, positivism) and their broader relationship to larger intellectual and political movements. We also welcome contributions that deal with the philosophy and morality of mass war and that trace the ways in which current debate in ethics relates to 1914-1918, with the use of arms, with the philosophy of history, and with the social responsibility, if any, of intellectuals.

·         Artists and architects

Paper proposals dealing with the following themes are welcomed: The Great War as artistic motif; the war as catalyst for the development of new artistic currents as well as for the rise of a new type of artist coping with industrial modernity; the use of visual media in the war effort; the relation between the arts and new war-related visual practices (such as aerial photography or camouflage techniques); industrial warfare as a nihilist "Gesamtkunstwerk" in relation to avant-garde currents such as Futurism and Dada; the development of new international contacts and forms of collaboration among artists within pacifist circles in exile; architectural conferences and education of architects abroad; exiles returning to their home country; confrontation of local and international ideas about rebuilding the country ; et cetera.

Proposals for 20-minute papers are due via email (intellectualsandthegreatwar@gmail.com) by Feb 25, 2014, and should take the form of a 1-page abstract accompanied by a short CV; in the case of complete panels, proposals should consist of an abstract and short CV for every panelist together with a short CV for the chair (if different).


The conference will be held from December 17-19, 2014 at Het Pand, Onderbergen 1, 9000 Ghent, Belgium. We welcome papers in English, French, German, and Dutch.  

zondag 26 januari 2014

The Artwork Exposed: Politics and the Arts (1850-1914)

Symposium in collaboration with the Royal Netherlands Historical 
Society (KNHG)
Amsterdam, 17-18 April 2014

With a Keynote Lecture on 
“Patriotism, Empathy, and the Politicization of Art”
by Michelle Facos (Indiana University Bloomington)

In art history, the last decades have seen an overwhelming number of
publications that provide political interpretations of a variety of
artworks. It almost seems as if any visual object can be interpreted
in ways inscribing it with political significance. Rather than adding
yet more interpretations of individual works to the canon of art
history, this symposium aims to take the topic of art and politics
into more theoretical realms by asking questions that touch upon the
fundamental relationship between artworks, history and politics.
Artworks are in the first place visual objects. How can artworks and
political history be related to each other, apart from using the first
to illuminate the second – and vice versa? How are visual objects able
to communicate a political message? How can historians deal with the
divide between intention and perception when analyzing artworks? And
whose intentions are we talking about: those of the artist, those of
the commissioner, or those of the viewer?

The conference sets out to develop new ways of thinking about artworks
as objects in networks of intention, interpretation and social
relations that include artists, commissioners, critics and the
audience. It is the explicit intention of the organizers to step
beyond the well-known generalizations of art history, like artistic
styles or schools, avant-garde and arrière-garde, modern and
traditional. It offers a platform that brings together young and
established scholars, both historians and art historians, who are
studying the period 1850-1914. In addition, the conference will
include a visit to the Rijksmuseum for an in situ discussion of the
relationship between arts and politics in the Dutch context.

PROGRAM:

Thursday, 17 April 2014

Location: Van Gogh Museum, Auditorium

13.00–13.30 Registration

13.30–13.35 Welcome

13.35–13.50 Introduction by Camelia Errouane (University of Groningen)

13.50–14.35 Keynote lecture by Michelle Facos (Indiana University 
Bloomington)

14.35–14.55 Discussion

14.55–15.15 Break

Session 1: The Influence of Politics on the Reception of Art  
15.15–17.00

1. Bart Pushaw (Tallinn University): Artistic Alliances and 
   Revolutionary Rivalries in the Baltic Art World, 1890-1914
2. Joes Segal (Utrecht University): The Politicization of Art in the 
   German Empire, 1900-1914
3. Marie Cambefort (Royal Holloway): ‘Das Unbehagen in der Kultur‘: 
   The Reception of Art at the Venice Biennale, 1909-1914

17.00–19.00 Excursion: tba

Friday, 18 April 2014

Location: Rijksmuseum, Auditorium
Day chair: Wessel Krul (University of Groningen)

9.00–9.30 Coffee/tea

Session 2: Artists and their Political Strategies 
9.30–11.10

1. Tom Verschaffel (Leuven University), Between Politics, the Public 
   and two Capitals: The Strategies and the Network of the Stevens 
   Family
2. Laura Prins (Van Gogh Museum), Politics of Printmaking in the Early
   Third Republic, 1870-1914
3. Marlies van der Riet (University of Amsterdam), Artists into 
   Politics: The National Monument and The Hague’s Theatre Debate, 
   1863-1913

11.10 – 11.40 Break

Session 3: Political Motivations and the (Dis)appearance of Artworks
11.40–13.20

1. Geneviève Lacambre (independent scholar), Gustave Moreau and the 
   Republic
2. Alison McQueen (McMaster University), Discourses of French Colonial 
   Dominance through Public Sculpture: The Monument to Maréchal Bugeaud
   in Algiers, 1852-1858
3. Sandra Leandro (New University of Lisbon, University of Évora), 
   Politics in a Phantom Museum: The Industrial and Commercial Museum 
   of Oporto

13.20–14.50 Lunch break and visit Rijksmuseum

Session 4: The Intentions of Commissioners 
14.50–16.30

1. Jenny Reynaerts (Rijksmuseum), Heritage, Museumfication and the 
   Political Past: The Decorations in the Rijksmuseum Front Hall and 
   Gallery of Honour
2. Giovanna Capitelli (University of Calabria), Against Secularization
    – Towards Anti-Modernity: Pius IX and the Esposizione romana 
    relative all’arte cristiana e al culto cattolico of 1870
3. Karen Vannieuwenhuyze (University of Antwerp), The Antwerp 
   Municipality and the (Ab)use of Sculptures, Statues and Memorials 
   in the Urban Political Space

16.30–17.00 Final reflections by Wessel Krul (University of Groningen)

17.00–18.00 Drinks

This symposium is organized by Camelia Errouane (University of 
Groningen) and Laura Prins (Van Gogh Museum, Amsterdam) in 
collaboration with the Royal Netherlands Historical Society (KNHG).

To register for this event, please mail to info@knhg.nl and transfer 
the registration fee to 
IBAN: NL25 INGB 0006 9343 91
BIC: INGBNL2A

Registration fee (includes refreshments and lunch): € 40 
Reduced prices for students (€ 20), KNHG members (€ 30) and KHNG 
student members (€ 15).

donderdag 23 januari 2014

Conference Art nouveau revisited: trends and peculiarities

Tweedaagse conferentie in het KIK-IRPA in Brussel, 13-14|02|2014

Art nouveau revisited: trends and peculiarities
De Art nouveau herbekeken: tendensen en bijzonderheden
L’Art nouveau revisité : tendances et particularités