Humanist Discussion Group, Vol. 33, No. 441. Department of Digital Humanities, King's College London Hosted by King's Digital Lab www.dhhumanist.org Submit to: firstname.lastname@example.org  From: Dirk Van Hulle
Subject: ESTS conference 2020, Oxford (51)  From: Dirk Van Hulle Subject: GENESIS conference, Oxford 2020 (79) -------------------------------------------------------------------------- Date: 2019-11-26 19:11:35+00:00 From: Dirk Van Hulle Subject: ESTS conference 2020, Oxford Call for papers The seventeenth annual conference of the European Society for Textual Scholarship (ESTS) will take place at the University of Oxford (Jesus College), 17-19 September 2020. The conference theme is: histories of the holograph: From Ancient to Modern Manuscripts and Beyond A holograph can be defined as a manuscript that is written by the person named as, or presumed to be, its author. Usually, the notion of 'modern manuscripts' is used in genetic criticism to distinguish these private documents from earlier (e.g. ancient, medieval) manuscripts, which are often scribal copies, i.e. meant for public dissemination. But even though holographs are rarer in the pre-modern period, they do exist. Similarly, the era of the 'modern manuscript' needs to be confronted on the other end of its temporal spectrum with the era of the 'digital manuscript' the born-digital holograph, so to speak. By making 'histories of the holograph' the theme of the 2020 ESTS conference, we would like to encourage the dialogue between colleagues working on texts from all periods and invite them to investigate habits of revision throughout the ages, alongside more general ESTS-related topics and questions on textual scholarship and scholarly editing. These may include: the theories and practices of scholarly, critical and textual editing; digital scholarly editing and tool development; philology; manuscript studies; codicology and palaeography; genetic criticism; historical bibliography and the history of the book; authorship studies, etc. Please send your abstract (300 words) to ESTS.OXFORD2020@jesus.ox.ac.uk by 14 February 2020. Venue: University of Oxford, Jesus College. This conference is co-organised by the University of Oxford (Jesus College) and the University of Antwerp (Centre for Manuscript Genetics). Academic Committee: Mateusz Antoniuk, Olga Beloborodova, Nicholas Cronk, Paolo D'Iorio, Sakari Katajamäki, Seamus Perry, Adam Smyth, Kathryn Sutherland, Dirk Van Hulle, Wim Van Mierlo, Daniel Wakelin. Organising Committee: Olga Beloborodova, Wout Dillen, Dirk Van Hulle The conference will be preceded by the GENESIS OXFORD 2020 conference, 15-17 September 2020, and by a pre-conference colloquium on authors' libraries, 15 September 2020. -------------------------------------------------------------------------- Date: 2019-11-26 19:10:22+00:00 From: Dirk Van Hulle Subject: GENESIS conference, Oxford 2020 Call for papers: GENESIS - OXFORD 2020 The third GENESIS conference will take place at the University of Oxford (Jesus College), 15-17 September 2020. The conference theme is: creative revision exercises in comparative genetic criticism Revising, reworking or revamping is a crucial element of any artistic process. In a narrow sense, this revision can be the late phase in the genesis shortly before the work of art is made public. In a broader sense, it may also include other forms of re-vision, of looking again. For instance, a recent exhibition of Rubens' 'intertextual' appropriations in Frankfurt (StaÌdel museum) showed how the artist gradually processed his own impression and sketch of a sculpture of a Centaur and then used it to give shape to a painting of a religious theme, Pilate presenting Christ to the crowd ('Ecce Homo'). From this 'intertextual' perspective the painting acquires several layers of complexity. Not only does it show Christ with a Centaur's torso, but the whole transformation of a Greek mythological theme into a Christian topic is a complex process, in which the artist's drafts or sketches play a crucial intermediary role. Similarly, in literary studies, a writer's notebooks and drafts play a pivotal role in the analysis of intertextual relations. In this context, Michael Baxandall's criticism of the term 'influence' (and implicitly of the term 'source') is still relevant, to all types of artistic research, from architecture to musicology, from art history to literary studies. 'Influence', he writes, is 'a curse of art criticism primarily because of its wrong-headed grammatical prejudice about who is the agent and who the patient' (58). Another 'agent' in this transformation is the audience - listeners, spectators, readers - adding 'a dimension of experienced meaning', to borrow Paul Eggert's phrase. The work of art is as much a process as it is a product and the audience is a crucial participant in this process. Researchers interested in the genesis of art works, or genetic critics, are 'readers' in their own right. So are composers who listen to music, filmmakers who watch movies, writers who read books. Genetic criticism is therefore not limited to a focus on the production process, but also involves a work's reception. The GENESIS - OXFORD 2020 conference invites scholars from various disciplines (art history, architecture, musicology, literature) to reflect on the dictum 'ex nihilo nihil fit' (nothing comes from nothing) and explicitly welcomes papers that compare forms of artistic metamorphosis across various art forms, as exercises in comparative genetic criticism. * How do different forms of artistic research and literary studies deal with 'negative intertextuality' (the phenomenon that an external source acts upon the genesis of a work of art, but remains out of sight in the published version)? * How can the digital medium contribute to the visualisation of creative revision? * How controversial are the terms 'influence', 'source' or 'source of inspiration' in various disciplines? * To what extent is 'comparative genetic criticism' possible? * To what extent is it helpful for an audience to be 'genetically informed'? Or to what extent is it rather an obstacle to the aesthetic experience? * How do comparative approaches to historical periods, areal traditions, genres of literature, arts and music, or scholarly traditions widen the scope of genetic criticism? Please send your abstract (300 words) to GENESIS.OXFORD2020@jesus.ox.ac.uk by 14 February 2020. Venue: University of Oxford, Jesus College. This conference is co-organised by the University of Oxford (Jesus College) and the University of Antwerp (Centre for Manuscript Genetics). Academic Committee: Mateusz Antoniuk, Olga Beloborodova, Nicholas Cronk, Paolo D'Iorio, Sakari Katajamáki, Seamus Perry, Adam Smyth, Kathryn Sutherland, Dirk Van Hulle, Wim Van Mierlo, Daniel Wakelin. Organising Committee: Mateusz Antoniuk, Olga Beloborodova, Sakari KatajamÃ¤ki, Dirk Van Hulle The conference will be followed by the ESTS OXFORD 2020 conference (European Society for Textual Scholarship), 17-19 September 2020, and preceded by a pre- conference colloquium on authors' libraries, 15 September 2020. _______________________________________________ Unsubscribe at: http://dhhumanist.org/Restricted List posts to: email@example.com List info and archives at at: http://dhhumanist.org Listmember interface at: http://dhhumanist.org/Restricted/ Subscribe at: http://dhhumanist.org/membership_form.php
Editor: Willard McCarty (King's College London, U.K.; Western Sydney University, Australia)
Software designer: Malgosia Askanas (Mind-Crafts)
This site is maintained under a service level agreement by King's Digital Lab.