“[M]edievalism now features in hundreds of currently taught university and college-based courses, especially in English Literature departments across and beyond the English-speaking world...” writes Louise D’Arcens in the introduction to the new Cambridge Companion to Medievalism (2016). This session will explore the implications of teaching medieval studies through or alongside medievalism(s). How do students—many of whom are newly engaged with studies of medieval topics—perceive the distinction between medieval and medievalism? To what degree does medievalism affect/inflect non-literary studies of the Middle Ages (in history or art history courses, for example)?
SENSE AND SENSIBILITY IN ANGLO-SAXON ENGLAND
CALL FOR PAPERS (SPECIAL SESSION)
52nd International Congress on Medieval Studies
Western Michigan University, Kalamazoo
May 11-14, 2017
Hilary Fox (email@example.com)
I do not know that you can touch wisdom with gloved hands.
—The Old English Soliloquies
Whether it is tweeting Lydgate’s Fall of Princes, making witnesses of his poems both in and out of the codex available to scholars worldwide, or engaging in digital prosopography, the “Digital Turn” in recent literary scholarship provides heretofore unavailable opportunities for engagement with the poetry of John Lydgate. However, this is not the first time the introduction of new technology has effected reception, understanding, and interpretation of the poet. The shift from manuscript to print spread Lydgate’s poems in numbers that were not possible before, while modern editorial practices developed during the nineteenth and twentieth centuries have created a set of “standard” editions of the poet’s works, for good and ill.
Medieval studies has made serious inroads into inquiries surrounding the relationship between objects and environments, between objects and their spiritual power, as well as between descriptions of objects and their literal presence. These issues also pertain to Lydgate studies, as his relationship with matter is complex. As Lisa H.
The shadow of Geoffrey Chaucer loomed large over the century after his death. Later poets such as John Lydgate used words coined by him, explicitly referenced Chaucer’s mastery of poetry, and mentioned their relationship with him in the development of their poetic personae and the writing of their poetic works. These connections, in turn, have left a tradition of scholarship that takes such conceits at face value and maligns the poetry of the fifteenth century for allegedly not being the equal of Chaucer’s.
CFP: Persecution, Punishment, and Purgatory I-II: Methodological Considerations, Historical Explorations
Sponsored by the Medieval Studies Certificate Program, Graduate Center, CUNY
52nd International Congress on Medieval Studies, May 11-14, 2017, Kalamazoo, MI
Call For Papers for the Vernacular Devotional Cultures Group, Kalamazoo 2017
The Vernacular Devotional Cultures Group is sponsoring three sessions at the 52nd International Congress on Medieval Studies at Kalamazoo for 2017:
This session seeks proposals which intend to explore Victorian translations of medieval texts as the transmission of cultural capital and as acts of transformation. More specifically, papers might address some of the following questions: how did Victorians adapt medieval texts to their own ideologies? How were medieval texts adapted into original compositions? How did Victorians approach translation and what does that reveal? How did Victorians think of faithfulness to the text? To the audience? What role did non-British scholars play in translating medieval texts into English (for example, Guðbrandur Vigfússon’s role in George Webbe Dasent’s translations, or Eiríkur Magnússon’s in William Morris’s output and thinking)?
In contemporary studies of the Middle Ages, questions of visuality have increasingly dominated analyses of artistic production, in part because of the central role of vision in medieval theological and scientific discourse. This session seeks to broaden the conversation around medieval visuality by asking not only what it meant to see in the Middle Ages, but also what it meant to be seen, and how these networks of viewership could be depicted in the pictorial arts, literature, architecture, music, and drama.
The Medieval/Renassiance area of MAPACA ("Beowulf to Shakespeare") seeks papers concerning the use of medieval and Renaissance materials in modern productions. Topics include, but are not limited to, the incorporation of medieval or Renaissance elements in modern artistic productions such as films, t.v. series, novels and music; the creation of medieval and Renaissance "themed" festivals, restaurants, etc., and the use of medieval or Renaissance elements in video games. The area also seeks panelists interested in presenting on the ways in which contemporary theories and pedagogies influence our perceptions of these eras.