Call for papers No 17
Building an anthropology of art and knowledge through visual representation (painting, drawing, sculpture, and their relationship to literature) in the Hispanic world of the sixteenth and seventeenth centuries
Edited by Florence Dumora and Florence Madelpuech Toucheron
This issue of Savoirs en Prisme aims to investigate visual representations insofar as they reflect or express a historical, social and epistemic awareness on the part of the artists, in Spain, colonial America, Portugal and Flanders, during the sixteenth and seventeenth centuries. The objective of this volume is to connect the literary expression of such awareness (in theoretical texts or in the artistic reflections present in various writings) as closely as possible with its visual renditions.
It is a known fact that the Renaissance (and its extensions) was a time of re-evaluation of the place of man in the universe. Awareness of the extension of intellectual and spiritual capacities increased as new knowledge was developed around objects that were not new in themselves, but that were thought anew. At that period, painting, drawing, plans and maps—although responding to very different motivations and purposes—were developed, theorised or derived from calculations and exploratory experiments. What do those visual representations express about the new knowledge of the period and how do they express it, across the Hispanic world? What do they express about society and all that structures or, on the contrary, disorganises it? It could be of interest to look at genre scenes, trades and guilds, games and festivals, including figures of patron saints treated from a profane, desacralized point of view, in view of their representativeness of a specific place.
If we remember that the great conceptual principles governing the thought of the time include analogy and concordia oppositorum, but also perpetuum mobile and the transformation of beings, we may wonder to what extent such principles have influenced the visual arts and have been made visible.
Areas of study:
- landscapes and urban landscapes, including maps, plans and emblematic representations of cities
- art of the garden
- History painting (except portraits of sovereigns as such)
- trades and genre scenes
- portraits of jesters
- angels, who in colonial painting for instance, display an identity based on analogy, and patron saints (e.g. the restoration of the carved or painted patron saints in Lope de Vega’s Peribáñez y el comendador de Ocaña)
Proposals must be submitted to the issue’s editors (ftoucheron.ulco@icloud.com and florence.dumora@univ-reims.fr ) by 15 January 2022: a proposal of 200 to 300 words and a bio-bibliographical note not exceeding 10 lines and including the author’s research affiliation and e-mail address.
The completed essays must be sent by 15 of May 2022 with an abstract and keywords in two languages (French and English or Spanish). After double-blind peer evaluation, revised, final versions of the essays must be sent to the editors by 15 November 2022 with a view to publication in the first half of 2023.
The essays may not exceed 40,000 characters (spaces included) and authors will follow the editorial norms on the journal’s website https://savoirsenprisme.univ-reims.fr/index.php/sep/about/submissions
No more than 3 images may be included in the essays. It is under the responsibility of the author of each essay to clear the rights of reproduction and ask for funding from their respective research units if necessary. The insertion of URL links to museum sites is a good solution, free of rights and easily accessible.
Select bibliography
Ámbitos artísticos y literarios de sociabilidad en los Siglos de Oro, ed. Elena Martínez Carro y Alejandra Ulla Lorenzo, Kassel, Reichenberger, 2020, intro. p. 2
Baldassare Castiglione, El Cortesano, traduction par Joan Boscan de l’original en italien (1527), Madrid, Cátedra, 1994: pour la peinture voir p. 192-198.
Isabel Colón Calderón, Jardines y huertas en la novela corta del siglo XVII, Analecta Malacitana, 2014
Fernando Copello, «Marcos narrativos ajardinados en las colecciones de novelas cortas espanolas del siglo XVII», Actas del XVI Congreso de la AIH, Cervantes virtual: https://cvc.cervantes.es/literatura/aih/pdf/16/aih_16_2_062.pdf
Dominique de Courcelles (dir.), Nature et paysages. L'émergence d'une nouvelle subjectivité à la Renaissance, Publications de l’École nationale des Chartes, 2008 : https://books.openedition.org/enc/740
Craig Harbison, Renaissance dans les pays du Nord, Paris, Flammarion, coll. « Tout l’art », 1995 (titre original : The Art of the Modern Renaissance).
Geisler Eberhard (coord.), La Representación del espacio en la literatura española del Siglo de Oro, Barcelone, Anthropos, 2013
Christine Delfour et Joséphine Marie, Villes hispaniques et Paysages, n° 10, 2017 de L’Âge d’Or, https://journals.openedition.org/agedor/1309
Louis Marin, Études sémiologiques : écritures, peintures, Paris, Klincksieck, 1972
Louis Marin, De la représentation, Paris, Gallimard/ Le Seuil, 1994
Francisco Rico, El pequeño mundo del hombre, Barcelona, Ediciones Destino, 2005
Fernando Rodríguez de la Flor, Barroco. Representación e ideología en el mundo hispánico, Madrid, Cátedra, 2002
Francisco Calvo Serraller, La teoría de la pintura en el Siglo de Oro, Madrid, Cátedra, 1991
Jean-Michel Servet, « Au-delà des leçons de Gulliver et d’une anamorphose d’Holbein, penser les échelles en sciences sociales » dans Bernard Hubert et Nicole Mathieu (éds.), Interdisciplinarités entre natures et sociétés, actes du colloque de Cerisy, coll. Écopolis, vol. 26, Bruxelles, Peter Lang, 2016
Tzvetan Todorov, Éloge du quotidien, Paris, Le Seuil, coll. « Point », 1997 (édition originale, Paris, Adam Biro, 1993)
Tzvetan Todorov, Éloge de l’individu, Paris, Adam Biro, 2000
Gabrielle Van Zuylen, Tous les jardins du monde, Paris, Gallimard, 1994
