miércoles, 26 de septiembre de 2012

International Medieval Society Paris Symposium.


The International Medieval Society in Paris (IMS-Paris) is soliciting abstracts for individual papers and proposals for complete sessions for its 2013 symposium organized around the theme of “Color" in medieval France.

From the beginning of the Middle Ages, color was as connected to the visual and performing arts as it was to letters, theology, science, the livelihoods of medieval people, and their way of relating to the world.
Long before Vasari’s famous distinction between colore and disegno, medieval artists and musicians had recognized the great aesthetic, semiotic, and rhetorical potential of color. From a musical and rhetorical standpoint, the concept of color and the quality of ornatus both signified embellishment. In many ways such embellishments resulted in devices in musical notation that were intended as visualizations of the aural experience. These visualizations were derived from the definition of categories distinguished by aural cues, such as the symbolism and classification of church modes, whose qualities of were meant to be readily recognized by listeners.
As cultural references, colors–and the terms that described them–were subject to variations in meaning. In their material form of colorings and pigments, they were a commodity and a social signifier. The exoticism of these valuable substances could denote luxury and prestige down through the Middle Ages, from the purple pages of precious manuscripts to the dyes of clothing regulated by sumptuary laws. Yet color could also stigmatize or exclude, for medieval people classified, categorized, and imparted meaning by associating certain colors with specific minority groups and social hierarchies. This 'semiotizing' activity was crystallized in heraldry. Nevertheless, categories were not consistently mapped to colors. The variability of 'color coding' in medieval romance, the visual arts, or from one region to the next tests the limits of schematic, rigid views of color symbolism.
Meditations on color in literature, as in philosophy and theology, point to the agency of color, so that color is not solely a thing seen, but a potential to make things happen. The theology of light, through its attendant emphasis on color, intersected with the later reintroduction of the study of optics into the West via Latin translations of Arabic works that built upon ancient authors, giving rise to the development of theories of perspective, light, and color.

This symposium welcomes papers about color from all disciplines. In addition to approaches to color and light in medieval science and art (including the techniques for making colorings; the use of silver, gold, lapis lazuli and gemstones; grisaille and the absence of color), we invite analyses of the economics of color, the lexis of color, the symbolics and meaning(s) of color(s) in social history and literature, and approaches to color in philosophy, theology, and music (notation, embellishment, use of mode).

Proposals of 300 words or less (in English or French) for a 20-minute paper should be e-mailed no later than 1 December 2012. Each should be accompanied by full contact information, a CV, and a list of audiovisual equipment you require. 

Priority will be given to papers that address the French or francophone Middle Ages. Please be aware that the IMS-Paris submissions review process is highly competitive and is carried out on a strictly blind basis. The selection committee will notify applicants of its decision by e-mail by 20 December 2012.

Titles of accepted papers will be made available on the IMS-Paris web site. Authors of accepted papers will be responsible for their own travel costs and conference registration fee (35 euros, reduced for students, free for IMS-Paris members). 

The IMS-Paris is an interdisciplinary, bilingual (French/English) organization that fosters exchanges between French and foreign scholars. For the past ten years, the IMS has served as a centre for medievalists who travel to France to conduct research, work, or study. For more information about the IMS-Paris and the programme of last year’s symposium, please visit our website.

Source: CPF

Scripting the Sacred: Medieval Latin Manuscripts.

Peterson Gallery and Munger Rotunda, Green Library Bing Wing,
Sep 17, 2012 - Jan 6, 2013.  

Scripting the Sacred, part one of a two-part exhibition of Western European manuscripts and fragments, showcases the medieval experience of reading. On display are fine facsimiles from the Art & Architecture Library and selected codices and fragments from Stanford’s collections of ancient papyri and medieval manuscripts. A curator will be present on most Sundays from 2–4:00 pm to discuss the exhibition.


Workshop “Historical Documents in the Digital Age”.

Workshop “Historical Documents in the Digital Age”, 
25th-26th october 2012 – University of Rouen


The aim of the Workshop is to bring together those whose professional work involves the study of historical documents or who have a responsibility for increasing their accessibility, with technologists developing techniques to support the analysis and management of digital documents. The Workshop will encourage a greater understanding of how these two communities can work productively together and how crossing the traditional disciplinary boundaries can create opportunities for supporting better historical research while also increasing the general public ‘s awareness of their rich cultural heritage.

This workshop should be interesting for:
* Historians and others interested in sharing their experiences of document analysis with scientists developing computer-based tools to support such activities.
* Those who have a responsibility for preserving and managing historical documents and making them available both to specialists using them for research and detailed study, and the general public seeking to benefit from the rich cultural legacy embodied by such documents.
* Scientists and engineers developing advanced technologies in areas such as image processing, pattern recognition and digital media engineering relevant to document analysis.

The workshop will provide an opportunity for a diverse range of researchers and other professionals, including end users, to share experiences and explore ideas at the crossroads of traditional disciplinary boundaries, otherwise barriers to rapid progress in improving the accessibility of documents which can contribute so fundamentally to an understanding of our cultural heritage.

For each session of the workshop, we invited european specialists of the field to share their experience of the domain, as an opening for an open debate with all attendants. The workshop is opened to all, we only require those wishing to attend to freely register on the website starting September 15th in order to manage the logistical constraints of the venue. The languages of the workshop will be French and English, with simultaneous translation provided.

Session 1: Libraries and archives in the Digital Age
Session 2: Digital tools for annotating and indexing
Session 3: Digital paleography
Session 4: ICT in Cultural Heritage
Session 5: Digital Humanities: present and future

**Invited speakers
* Mathieu Bonicel, BNF.
* Thierry Claerr, Ministère de la Culture.
* Véronique Eglin, LIRIS.
* Oliver Hitchcock, VirtuaSENSE.
* Clive Izard, British Library.
* Franck Lebourgeois, LIRIS.
* Jean-François Moufflet, Archives de France.
* Marçal Rusiñol, Centre de Visió per Computador Barcelona
* Marc Smith, École des Chartes.
* Dominique Stutzmann, IRHT
* Melissa Terras, University College London
* Clotilde Vaissaire-Agard, CF2ID
* Alison Wiggins, University of Glasgow.

**Organizing committee
The workshop is organized by the InterReg IVa DocExplore project, a collaboration between computer scientists, historians and archivists, on both sides of the Channel, to build a software suite. This suite is aimed at both historians and librarians, providing transcription and multimedia annotation functionalities, from which interactive books can be produced to reach a broader audience.

Source: DM

Stage d'initiation aux manuscrits grecs.

Stage d'initiation aux manuscrits grecs.
L’IRHT au Collège de France.

Organisateur(s) IRHT: André Binggeli, Pierre Augustin, Matthieu Cassin, Marie Cronier, Didier Lafleur, Paul Géhin, Jacques-Hubert Sautel.

Ce stage, qui aura lieu les 23 et 24 octobre 2012, propose une formation initiale sur le manuscrit grec. Il est destiné aux étudiants en master et en thèse et, plus largement, à tout autre public intéressé. Cette formation vient en complément des enseignements de paléographie, d’histoire du livre et d’histoire des textes existant par ailleurs en France. 
Le stage sera assuré par les membres de la section grecque de l’IRHT et se déroulera dans ses locaux. La section dispose en effet d’un ensemble unique de documentation nécessaire à une telle formation: reproductions de manuscrits, catalogues, instruments de travail. Une visite-atelier est prévue dans une ou des bibliothèques parisiennes conservant des manuscrits grecs.
Ce stage s’articule avec le séminaire sur «Littératures techniques et tradition des textes scientifiques de l’Antiquité gréco-romaine» organisé à l’Université de Reims à partir de la rentrée 2012 par le Professeur D. Marcotte.


lunes, 24 de septiembre de 2012

Sign and Design Symposium.

Sign and Design: Script as Image in a Cross-Cultural Perspective (300-1600 CE)

October 12-14, 2012,
Dumbarton Oaks, Washington, D.C.

Dumbarton Oaks is pleased to announce a symposium, to be held in the Music Room of Dumbarton Oaks in Washington, D.C., on Friday, October 12th, Saturday, October 13th, and Sunday, October 14th, 2012.

In the Middle Ages and beyond, legal, documentary, exegetical, literary and linguistic traditions have organized the relationship between image and letter in diverse ways, whether in terms of equivalency, complementarity or polarity. In this symposium, we wish to explore those situations in which letter and image were fused, forming hybrid signs that had no vocal equivalent and were not necessarily bound to any specific language.  Although imagistic scripts work on the visible, arranging representation, they challenge the legible in terms of linguistic signification. The incorporation of figures, objects, colors, even events, within the letter insists on the material dimension of the sign. As the iconicity of the letter transforms reading into gazing, the script-like character of the image compels consideration of the co-signification of sign forms. In mediating each other into altered formats, the script-image disrupts a-priori models and ideas and thus redefines both text and image in terms of their signifying and representational processes. The disruptive effect of imagistic script inheres in a suspension of meaning that opens the system of representation and signification in which it was produced and circulated.

During the three-day conference, we propose to bring together scholars of Hebrew, Greek, Latin, Arabic and Pre-Columbian cultures from numerous disciplines – art history, history, literature, religion, linguistics, and law – to consider the purpose, operations, agency and specular forms of iconic scripts. What sort of communication did they facilitate? Did they imply reception by the inner eye? In prompting recognition of the aesthetic dimension of texts, did they open governance, law, literature, diplomatics, and theology to sensorial appreciation? Did they enforce a latent principle of non-representability? Does their use imply what might be called an iconomy, a practice of policing images?

The symposium is organized with Brigitte Bedos-Rezak (New York University) and Jeffrey F. Hamburger (Harvard University). 
Symposium speakers include Elizabeth Hill Boone, Ghislain Brunel, Anne-Marie Christin, Tom Cummins, Vincent Debiais, Ivan Drpić, Antony Eastmond, Beatrice Frankel, Cynthia Hahn, Herbert Kessler, Katrin Kogman-Appel, Didier Méhu, Irvin Cemil Schick and Irene Winter.


The Materiality of Text - placement, perception, presence.

The Materiality of Text - placement, perception, presence.

International Conference

24th-26th September 2012, 
Calman Learning Centre, Durham University.

Organizers: Dr Edmund Thomas, Dr Andrej Petrovic, Dr Ivana Petrovic.

In recent years, the study of ancient texts has gained from a focus on the physicality of text. Epigraphists are interested more than ever in issues of context, reading and performance. Furthermore, studies of architecture have fed on literary approaches to take account of displays of writing and their implications.

The project 'The Materiality of Text' brings together these cross-disciplinary approaches to focus on material aspects of the written word.
Scholars from a range of disciplines, including philology, epigraphy, ancient history,archaeology and art history, will join us in discussing the physical aspects of inscribed texts in the Greek and Roman world, in Greek, Latin and other scripts, and their relation to literature, art, cultural history, and aesthetics. 

Papers will address both theoretical approaches and individual case-studies, with the special emphasis on: the visualization of text in a physical context, monumental or miniature; the relationship of inscriptions to their support, including steles and statue bases; the appearance of inscribed text in buildings and their impact on the perception of architectural space; the form and varieties of lettering, the aesthetics of writing, and its implications for the reading of a text; issues of visibility and legibility; the role of inscribed dedications or commemorative texts in the perception of buildings sacred or secular; the placement and arrangement of inscriptions in public, religious or private space; the aesthetics of particular genres of text such as building contracts, epigrams and sacred laws; specific techniques in the display of prose and verse texts, ritual or magical use and performative aspects of inscribed texts; re-dedication and re-use of inscribed texts; and the use and contribution of specialized media of support from monumental bronze letters to miniature gold plaques and precious metals.

Keynote speakers: Professor Joseph W. Day (Wabash College), Professor em. John Mitchell (University of East Anglia), Professor Joannis Mylonopoulos (Columbia University), Professor em. Peter J. Rhodes (Durham University).


48th International Congress on Medieval Studies.

48th International Congress on Medieval Studies

Kalamazoo [MI], Western Michigan University

Session Oral Tradition

Co-organized by Heather Maring (Arizona State University) and Lori Garner (Rhodes College).

* Call for papers (until 15.IX.2012) *

We invite papers that stimulate open dialogue across disciplines within medieval studies on issues related to oral tradition. The treatment of medieval texts and traditions as part of an open exchange of ideas has been a hallmark of the journal Oral Tradition from its inception. The inaugural issue included a contribution addressing Old English poetry, and the most recent volume featured an essay on medieval Iranian traditions. In between, over 200 essays addressed some aspect of medieval oral traditions in such fields as medieval English, Latin, Italian Carolingian, Icelandic, Old Irish, medieval Arabic, Japanese, Middle High German, Tibetan, and many others. In this spirit, we hope to encourage the presentation of creative work from subfields that have been less frequently addressed alongside papers that employ new approaches to areas more commonly represented at Kalamazoo.
Please submit your one-page abstract by September 15 to Heather Maring (Arizona State University).

martes, 18 de septiembre de 2012

Une nouvelle vie pour les manuscrits médiévaux de Chartres.

Une nouvelle vie pour les manuscrits médiévaux de Chartres

Chartres, Médiathèque de Chartres – L’Apostrophe,

En étroite collaboration avec la Médiathèque l'Apostrophe, l'Institut de recherche et d'histoire des textes du CNRS dirige le projet d’une renaissance virtuelle de ces manuscrits sinistrés. La journée d'étude du samedi 22 septembre sera l'occasion de présenter au grand public les différentes étapes de ce projet — de la photographie numérique à la description scientifique des manuscrits remis en ordre, en passant par leur traitement de «relaxation» au centre technique de la Bibliothèque nationale de France à Bussy-Saint-Georges. 

Le 26 mai 1944, la ville de Chartres est bombardée. Dans l’incendie de la bibliothèque disparaissent d’inestimables témoignages sur Chartres, haut lieu de la vie intellectuelle dans l’Occident des XIe-XIIe siècles. Sur quelque 500 manuscrits médiévaux, près de 180 sont conservés dans des états très variables, le plus souvent réduits à l’état de fragments déformés et en désordre.

La renaissance virtuelle des manuscrits sinistrés dans l’incendie de 1944. 
Un an de recherches et de restauration.

Introduction. Présentation du projet «Carnotensia» par Dominique Poirel et Claudia Rabel.

Frédéric Tixier: Une Bible parisienne du début du XIIIe siècle (ms. 139).
Irene Caiazzo: L’enseignement des arts libéraux au XIIe siècle. L’Heptateuchon de Thierry de Chartres (mss 497-498).
Monica Calma: Une moralisation de la Bible au XIVe siècle. Pierre Bersuire et le livre 16 de son Reductorium morale (ms. 340).
Ayelet Even-Ezra: «A la griffe on reconnaît le lion»: les manuscrits non identifiés de la bibliothèque de Chartres.

Jean-Baptiste Lebigue: Un témoignage de la liturgie chartraine au XIVe siècle. L’Ordinaire de Saint-Jean-en-Vallée (ms. 336).
Rosa Piro: La médecine à Chartres au Xe siècle: les Opuscula medica du ms. 62.
Géraldine Veysseyre: Voyager en songe vers la Jérusalem céleste. Guillaume de Digulleville, Pèlerinage de vie humaine (ms. 408, XIVe siècle).
Marie-Laure Savoye: Un ouvrage de circonstance? Jean Le Marchant et ses Miracles de Notre-Dame de Chartres achevés en 1262 (ms. 1027).

Cédric GIRAUD (Université de Lorraine et IUF) et Patricia STIRNEMANN (IRHT/CNRS): Chartres, foyer intellectuel au XIIe siècle. Le témoignage de Jean de Salisbury.


The Art of Bookbinding: From Byzantium to Contemporary Artistic Creation.

Opening of the exhibition ‘The Art of Bookbinding: From Byzantium to Contemporary Artistic Creation’

Mansion of the Duchess of Plaissance, 
19 September 2012-13 January 2013.

Byzantine and Christian Museum (Athens) will inaugurate the exhibition ‘The Art of Bookbinding: From Byzantium to Contemporary Artistic Creation’, held in collaboration with the Hellenic Research Foundation and the Hellenic Bookbinding Society.
The curators of the exhibition are Dr. Anastasia Lazaridou and Dr. Niki Tsironi, aided by the consultants Konstantinos Staikos, Babis Leggas, and the special academic associate Dr. Zissis Melissakis.
The exhibition will feature excellent specimens of Byzantine and post-Byzantine bookbinding. Dating from the 11th to the 19th century, the specimens have been drawn from the Museum’s collection of manuscripts and incunabula and from the Greek Library of the Alexander S. Onassis Public Benefit Foundation. The exhibition stems from the European programme ‘Studite’, which involves six European countries and which is concerned with the study of Byzantine and post-Byzantine bookbinding. It is hoped that this programme will contribute to the development of interdisciplinary and intercultural dialogue.

Through codices and printed books the exhibition highlights, particularly with the help of audiovisual matter, the evolution of the art of bookbinding from the early Christian period to the present. Bookbinding is thus shown to be a source for the history, politics, economy, and artistic trends of every era. Veronique Magnes is the artistic editor of the audiovisual material.

In exploring current readings of the tradition of the book as an art form, the exhibition has included contemporary artistic creations. Dimitris Xonoglou’s installation approaches the book as an object of figurative use.  Venia Dimitrakopoulou’s creations are inspired by the Japanese tradition of bookbinding. The six collector’s copies of the book Cassia he Hymnographer are each illustrated by an artist—Markos Kampanis, Christos Markidis, Christos Bokoros, Kostas Papatriantafyllopoulos, Fotini Stefanidou, and Panos Fidakis.

The educational programme accompanying the exhibition enables the visitor to touch the tools and material used in the art of bookbinding. Addressed to adults and schoolchildren in the 5th and 6th grades, the programme also features a documentary, directed by Akis Hatziantoniou.