Daily Archives: 7 April 2017

The Shape of Return: Progress, Process, and Repetition in Medieval Culture – Call For Papers

The Shape of Return: Progress, Process, and Repetition in Medieval Culture
ICI Berlin
29-30 September, 2017

Organized by: Francesco Giusti and Daniel Reeve

Keynote speaker: Elizabeth Eva Leach (University of Oxford)

In his Convivio, Dante claims that ‘the supreme desire of each thing, and the one that is first given to it by nature, is to return to its first cause.’ Yet this formulation is marked by a tension: return is both a destination and a process. To put it in terms of an Augustinian distinction: does each thing simply desire to arrive in/at its patria (homeland, destination, telos), or is its desire also directed towards the via (way, process, journey)? On the one hand, the desire for return is teleological and singular; on the other, it is meandering, self-prolonging, perhaps even non-progressive. And return itself can also be errant, even when successful: to take one important example, medieval theology frequently conceptualizes the sins of heresy and sodomy as self-generating returns to unproductive sites of pleasure or obstinacy.

Return, then, is an uncanny thing, with a distinctive temporality that conjoins recollection, satisfaction, and frustration. It plays an important role in shaping many kinds of medieval cultural artifact. Return is a basic component of pseudo-Dionysian (and later, Thomistic) theories of intellection; for Boethius, it is inherent to the process of spiritual transcendence. Return also shapes literary texts: for instance, romance heroes desire to return to their homeland, but the obstacles placed in their path, or the digressions they undertake, are the basic preconditions of the stories in which they find themselves. In such cases, only a deferred return can satisfy; and even a return is not inevitably satisfying — it can also be a frustrating repetition of a well-trodden path. This is true of lyric texts as much as narrative ones: medieval lyric poems are often concerned with the human inclination to go back to an unfruitful site of pain, loss, or even dangerous enjoyment.

Return is also embedded in the very texture of medieval poetic and musical forms: the sestina, the refrain, and the terza rima all embody different kinds of recursivity. Dante’s re-use of rhyme sounds in the unfolding of the Divine Comedy — a poem that, at various crucial points, thematizes return as a transcendent symbol — performs a spiraling movement that combines repetition and progressive ascent. Reiteration can disrupt linear and teleological progress, but also empower it. How does medieval culture cope with this ambivalence?

The conference will explore the ways in which medieval literary, artistic, musical, philosophical, and theological texts perform, interrogate, and generate value from the complexities of return, with particular reference to its formal and temporal qualities. Reconsidering the practical and theoretical implications of return — a movement in time and space that seems to shape medieval culture in a fundamental sense — we will investigate the following questions:

  • What shapes does return take, and how does it shape cultural artifacts of the Middle Ages?
  • How does return (as fact or possibility) regulate the flow of time and the experience of human life?
  • How can return as a final goal and return as a problematic repetition coexist?
  • Is repetition simply identified with a state of sin, or can it lead somewhere?

The conference will provide a forum for an interdisciplinary discussion of medieval temporality: we welcome participants working in any academic discipline. Areas of investigation might include:

  • Neoplatonic emanation and return to the self / God; the temporality and shape of religious self-perfection
  • Refrain and/or repetition in musical and literary forms such as lyric, lyric collections or narrative verse incorporating refrains or concatenation
  • Ulyssean return in romance, theology, hagiography; return as resolution and/or disruption
  • The processes of return inherent in the use and experience of literary topoi and loci classici; exegetical return; the tension between innovation and tradition in biblical commentary
  • Religious conversion as return: teleology, retrospection, spatial metaphors
  • Return as related to medieval conceptions of originality and reproduction
  • The experience of return in daily life: liturgy, ritual, diurnal and seasonal cycles, the mechanical clock
  • Return in medieval temporal theory: for example, the medieval reception of circular time in Stoic philosophy or the book of Ecclesiastes
  • The geometry of return in (for instance) mystical writing
  • The queerness and/or conservatism of return
  • Return from digression; return as a regulatory mechanism
  • Return theorized as a constitutive process of subjectivity and/or intellection
  • Return as a psychoanalytic concept related to obsession, repression, Nachträglichkeit

Papers will be given in English, and will be limited to 30 minutes. Please email an abstract of no more than 300 words and a short bio-bibliographical profile (100 words maximum) to theshapeofreturn@ici-berlin.org by 15 April, 2017. An answer will be given before 1 May 2017. A full programme will be published on the ICI Berlin website (www.ici-berlin.org) in due course. As with all events at the ICI Berlin, there is no registration fee. We can provide assistance in securing discounted accommodation for the conference period.

Peace, Empathy and Conciliation Through Music: A Collaboratory – Call For Papers

Peace, Empathy and Conciliation Through Music: A Collaboratory
The University of Melbourne
21-22 September, 2017

More info: http://www.historyofemotions.org.au/events/peace-empathy-and-conciliation-through-music-a-collaboratory

Enquiries: Samantha Dieckmann (samantha.dieckmann@unimelb.edu.au)

Organised by the ARC Centre of Excellence for the History of Emotions, The University of Melbourne, in collaboration with the Faculty of the Victorian College of the Arts & Melbourne Conservatorium of Music, and Multicultural Arts Victoria, this collaboratory will bring together researchers, practitioners (musicians including performers, community musicians, music educators, music therapists; community development workers; social service workers; arts organisation delegates), and arts and community policymakers to share ideas around the ways that music is used to develop peace, empathy and conciliation. We invite submissions from local, national and international researchers and practitioners, and hope that the symposium will produce thought-provoking discussion and fruitful partnerships between industry, community and education sectors.

Organised around the United Nations International Day of Peace, this collaboratory will include a keynote address by Laura Hassler, founder and director of ‘Musicians Without Borders’.

Topics of interest include, but are not limited to:

    • The emotional, social, cultural, psychological and/or political mechanisms underlying the use of music in peace building, empathy development and/or conflict transformation.
    • The characteristics of effective and ineffective musical practices and programs aimed at peace building, empathy development and/or conflict transformation.
    • The ways in which various stakeholders involved in this work engage with one another, and the implications of their collaboration.
    • The frameworks within which such music programs and practices are supported, and how these structures affect the work itself.
    • The ways in which schools and universities engage with music practices and programs aimed a peace building, empathy development and/or conflict transformation, and the ways this engagement can be improved upon

Accepted presentation formats:

Academic papers (20 mins); fieldwork reports (20 mins); thematic panels of 3-4 speakers (45 mins); workshops (60 mins or 90 mins); poster presentations (A0 size).

Call for Papers

Submission guidelines:

Submissions should include the title of presentation, presentation format, 250-word abstract, and short professional biography of presenter/s (approx. 50 words).

Email submissions as Microsoft Word files to samantha.dieckmann@unimelb.edu.au

Deadline for submissions is 1 June, 2017, and notification of acceptance/rejection provided within two weeks, with instructions on how to register. Deadline for registration is 1 July 2017.