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>
>From: "Meredith J. Donaldson" <[log in to unmask]>
>
>Subject: CFP: Permeability and Rivalry in the Early Modern Arts 
>(grad) (1/5/06; McGill, 3/11/06-3/12/06)
>
>Panel Proposal for:
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>=93Permeability and Selfhood=94=20
>McGill University, Montreal=20
>12th Annual Graduate Conference on Language and Literature=20
>
>=20
>
>Painting about Poetry, Singing about Sculpture:=20
>
>Permeability and Rivalry in the Early Modern Arts
>
>
>
>=93If you assert that painting is dumb poetry, then the painter may call =
>poetry blind painting=85
>
>Music is not to be regarded as other than the sister of painting=85
>
>The poet remains far behind the painter with respect to the =
>representation of corporeal things, and with respect to invisible =
>things, he remains behind the musician.=94
>
>(Leonardo, On Painting)
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>=20
>
>During the early modern period in England and on the continent, the =
>relationship between the arts was both volatile and collaborative, at =
>once a rivalry and a shared enterprise.  Similarities were at the level =
>of both content and method: painters visualized scenes from narratives =
>and drama, while poets theorized about the ramifications of ut pictura =
>poesis.  Yet as the quotation from Leonardo shows, the arts were often =
>thought to have a paragonal relationship, and so such interart =
>discussions often used one art form to point out the limitations for =
>representation in the other arts.  As Clark Hulse has argued, it was =
>between 1400-1600 that the arts of painting and poetry emerged =93for =
>the first time as fields of knowledge,=94 and =93acquire[d] a common =
>lore that constitute[d] the vocabulary for talking about the =
>relationship between the two of them=94 (The Rule of Art 16).  However, =
>this relationship and rivalry went beyond painting and poetry; =
>sculpture, music, architecture, landscape gardens, and maps need to be =
>considered, as do developments in science and psychology, such as the =
>perspective theory experimented by thinkers like Alberti.
>
>=20
>
>This panel=92s aim is to explore what it means for the arts to be =
>=93permeable=94 during the early modern period.  It also encourages =
>papers to explore the larger social, political, cultural, historical, =
>and national implications of such a discussion.=20
>
>=20
>
>Papers may address, but are certainly not limited to:
>
>=20
>
>-readings of ekphrasis in poetry or of the depiction of narratives =
>(classical or otherwise) in paintings
>
>-consideration of the ut pictura poesis tradition and pictorialism in =
>early modern literature
>
>-the history of interart criticism: Panofsky to Gombrich to Mitchell
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>-social circles of poets, painters, and other artists
>
>-the relationship between text and image in the staging of Renaissance =
>drama
>
>-texts as iconophilic, iconophobic, or iconoclastic
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>-the influence of the Protestant Reformation and the Counter-Reformation =
>on the relationship between the arts
>
>-the relationship of poetry and painting to other arts: music, =
>architecture, sculpture
>
>-reading other kinds of images: maps, building plans, religious icons
>
>-the influence of recent politically and culturally specific critical =
>approaches for understanding early modern interart relationships on =
>reconstructing early modern artistic theory and practice.
>
>=20
>
>Please send 300-word abstracts to [log in to unmask] by 5 =
>January 2006.

*******************
The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor:  Megan McKinstry
Sponsored by the University of Missouri
Info available at: http://www.missouri.edu/~graswww/resources/gerlistserv.html