Archives par étiquette : juin 2016

Journée d’étude : “Imagining Apocalypse”

John Martin, The Destruction of Pompei and Herculaneum, 1822, huile sur toile, Londres, Tate Britain.

John Martin, The Destruction of Pompei and Herculaneum, 1822, huile sur toile, Londres, Tate Britain.

Type : Colloque international
Date : 18 juin 2016
Lieu : University of Oxford, Radcliffe Humanities Building

Organised in collaboration with Dr Catherine Redford, the theme of this year’s RECSO conference is Imagining Apocalypse and will be held on 18th June. 2016 is a key anniversary for scholars studying long eighteenth-century depictions of apocalypse as it marks two hundred years since the famous ‘year without a summer’ of 1816, when the skies went dark and there was widespread speculation that the end of the world was nigh. This conference will allow a varied group of scholars working in the field of long eighteenth-century apocalypse studies to share their current research, giving them the chance to consider collaboratively current trends and research in apocalypse studies and to look forward to future projects. The project will ultimately encourage a more interdisciplinary approach to apocalypse studies.

Bringing together academics from across English, History, History of Art, Modern Languages, and Theology, the conference will introduce participants to the richness of apocalypse studies across a range of disciplines, both enhancing their research and laying the foundations for future projects, publications, and collaborations. A plenary lecture will be given by Professor Fiona Stafford (Professor of English Language and Literature, University of Oxford). Following the conference, a showcase of musical and literary performances will take place at St George’s Crypt, Oxford Castle. Registration is now open; see the conference website for further details.

Romanticism and Eighteenth-Century Studies Oxford (RECSO) is a graduate-led initiative for scholars across the Humanities Division. Our aim is to provide a platform for graduates and academics from various disciplines to discuss and share their research into the long eighteenth century. It also facilitates the development of projects, workshops and larger events, as well as providing a physical meeting space for RECSO’s growing body of members.

Programme :

9.30 – Registration
10.15 – Welcome and introduction by Catherine Redford and Emily Knight, University of Oxford

10.30 – Morning Session

Panel A : The Eighteenth-Century Apocalyptic Imagination: The Interpretative Landscape
Chair : Amelia Greene
Jonathan Downing, University of Bristol : ‘The Commentators’ Apocalypse: The Interpretation of Biblical Eschatology in Eighteenth-Century Popular Commentaries’
Stephen Bygrave, University of Southampton : ‘Improvement and Apocalypse: Joseph Priestley’s Rhetoric in the 1790s’

Panel B : The Last Man
Chair : Eva-Charlotta Mebius
Claire Sheridan, University of Greenwich : ‘Apocalypse as Domestic Melodrama: Dibdin Pitt’s The Last Man; or, the Miser of Eltham Green’
Audrey Borowski, University of Oxford : ‘The Strange Indetermination of Cousin de Grainville’s “Last Man”’
Adrian Tait, Independent Scholar : ‘Intimations of Apocalypse: From Mary Shelley’s The Last Man to M. P. Shiel’s The Purple Cloud’

12.00 – Lunch

12.45 – Afternoon Session, Part I

Panel A : Revelation/Revelations
Chair : Christian Zolles
Natasha O’Hear, University of St Andrews : ‘Four Become One : The Preoccupation with the Fourth Horseman of the Apocalypse in the Eighteenth Century’
Joanna Raisbeck, University of Oxford : ‘The Post-Kantian Apocalypse: Revelatory Visions in Jean Paul and Karoline von Günderrode’
Randall Reinhard, University of Edinburgh : ‘The Revelation of Edward Irving: The Apocalypse as Social Criticism’

Panel B : Secular Apocalypse : Nature and the Human
Chair : TBC
• Amelia Greene, City University of New York : ‘Uncovered Earth: Scaled Apocalypse in John Clare’
Lucia Scigliano, Durham University : ‘“What faith is crushed, what empires bleed”: Apocalypse and Nature in Percy Bysshe Shelley’s Hellas’
Adam D. J. Laity, University of the West of England : ‘The Last Man, the Rückenfigur and Mad Max: Romantic Subjectivism and “the human” within the Apocalyptic Sublime Landscape’

2.15 – Tea and coffee

2.45 – Afternoon Session, Part II

Panel A : Ruin and Catastrophe
Chair : Audrey Borowski
Jessica Stacey, King’s College London : ‘Apocalypse of Meaning: Catastrophes of Language in Eighteenth-Century France’
Thomas Moynihan, University of Oxford : ‘Human Extinction and Romanticism: The Intellectual Discovery of the End of Thought’
Helen Slaney, University of Oxford : ‘Original Ruins’

Panel B : Apocalyptic Afterlives
Chair : TBC
Christian Zolles, University of Vienna : ‘Modern Apocalypse in Reverse: Edgar Allan Poe’s Dialogue The Conversation of Eiros and Charmion (1839)’
Tom Bromwell, University of York : ‘A Sublime Armageddon: First World War Artists and the Burkean Sublime’
Catherine Redford, University of Oxford : ‘From Mary Shelley to H. G. Wells: The Romantic Last Man Reimagined’

4.15 Plenary lecture
Fiona Stafford, University of Oxford : ‘Barkless, branchless, blighted : Alpine Apocalypse in 1816’

5.15 Closing remarks ; walk to Oxford Castle

6.15 Showcase in St. George’s Crypt, Oxford Castle: A selection of musical and literary imaginings of the Last Man on earth from the Romantic period.

7.00 Dinner

Colloque : « Allégorie et Topographie à l’époque moderne (XVIe – XVIIIe siècles) »

Charles-Joseph Natoire, Allégorie à la naissance de Marie-Zéphirine de France, 1750, huile sur toile, 223 × 150 cm, Versailles, Musée national des châteaux de Versailles et de Trianon.

Charles-Joseph Natoire, Allégorie à la naissance de Marie-Zéphirine de France, 1750, huile sur toile, 223 × 150 cm, Versailles, Musée national des châteaux de Versailles et de Trianon.

Type : Colloque international
Date : 9 et 10 juin 2016
Lieu : Salle Vasari et Salle Perrot, INHA, 2 rue Vivienne, 75002 Paris
Sous la direction de : Etienne Jollet (Université Paris I Panthéon Sorbonne, HiCSA) et Antonella Fenech Kroke (CNRS, Centre André Chastel)

Les arts de la période moderne, de la Renaissance à la fin du XVIIIe siècle, accordent une importance majeure à l’allégorie comme mode d’évocation visuelle d’un universel invisible – que ce soit le divin chrétien ou les valeurs humanistes. Ainsi définie, la pensée de l’allégorie apparaît éloignée de la topographie en tant que prise en considération de la spécificité du lieu, à la fois visible, matériel et singulier. Or cette tension entre l’universel et le singulier, le visible et l’invisible, l’immatériel et le matériel, la figure et le lieu, la production du sens et la description du monde est une caractéristique essentielle d’arts visuels en constant questionnement de leurs limites et de leur légitimité. L’interrogation sur la capacité de l’allégorie à s’inscrire dans le vaste processus de la sécularisation et, réciproquement, de la représentation d’un monde de mieux en mieux connu à visualiser la transcendance, anime un mouvement dont les quatre sessions du colloque (« Le lieu de l’allégorie »; « L’allégorie du lieu »; « L’allégorie et les mondes » et « L’espace allégorique ») proposeront quelques aspects.

Programme :

Jeudi 9 juin, Salle Vasari

10h – Introduction par Etienne Jollet et Antonella Fenech Kroke

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