The support of
scientific projects and the academic communication and exchange are among the
central concerns of the Herder Institute. Therefore, we provide senior and
junior researchers fellowships for a stay of up to three months in Marburg. Our
newly designed fellowship program enables both for early career researchers as for
established scholars the intensive research closely linked to
the Collections of the Herder Institute.
Sunday, February 28, 2016
Wednesday, February 24, 2016
FYI: Conference: Ludwig Fleck´s theory of thought styles and thought collectives-Wroclaw
Tuesday, February 16, 2016
CFP: Identities In-Between: East-Central Europe, c. 1900-present
Wolfson
College, Oxford, 12-13 September 2016
This two-day
conference invites submissions for 20-minute papers that engage with a specific
definition of ‘sub-cultures’ (see below)
through case studies drawn from the East-Central European region, over the
period c. 1900-present
Funding is
available for travel and accommodation in Oxford for accepted submissions, with
details to follow. Participants may be invited to contribute to a summative
volume or special edition on the titular subject.
Deadline for
proposals: 1 June 2016
Interrogating
the notion of ‘identity’ remains a central concern in Humanities and Social
Sciences research. For East-Central Europe, the subject has particular
resonance: this was a region forged in diversity, remade after 1945 along
ethno-national lines, and which in the present, continues to resist alternative
narratives.
The
conference concludes a four-year research project that proposes a new
definition of the term ‘sub-cultures’ to understand identities that do not
conform to the fixed, standard categories imposed from the top down, such as
‘ethnic group’, ‘majority’ or ‘minority’. Instead, a ‘sub-culture’ is an
identity that sits between these categories. It may blend languages, e.g.
dialect forms, cultural traditions, or ethnic identifications. It may be drawn
on particular conceptions of race and biology that, similarly, sit outside
national projects, or else in the interstices. In short, a ‘sub-culture’ in
these terms is not ‘subaltern’, but is an identity resisting complete
incorporation into the standard categories of ‘majority’ and’minority’. The
region offers many examples of such identities: among working-class inhabitants
of Lodz or Lviv in the early 20th Century, with their mixed dialect
practice; Germans who lived in Wroclaw after the city became Polish in 1945,
with their blended tradition and mixed identifications.
A full
definition of the term and a working case study can be found in the article by
Robert Pyrah and Jan Fellerer, ‘Redefining ‘sub-culture’: a new lens for
understanding hybrid cultural identities in East-Central Europe with a case
study from early 20th century L'viv-Lwów-Lemberg’, Nations and Nationalism,
Volume
21, Issue 4, pp. 700–20, October 2015. DOI:
10.1111/nana.12119. Further information on the project, the concept, and
its evolution may also be found on the dedicated website: http://subcultures.mml.ox.ac.uk.
To help
participants select their topics, we propose a number of governing themes,
which may cut across disciplines:
- Uses of history, memory, myth and tradition;
- Ritual practice, religion and religious observance;
- Minority policies ‘from above’
- Subjective experiences among groups / populations ‘from below’
- Linguistic forms and practice
- Biology and essentialism
Submissions: please include your name, title, the title of
your presentation, and a short abstract (up to c. 500 words) to the address:
subculturesoxford[AT]gmail.com
Monday, February 15, 2016
Starter scholarships of the Basel Graduate School of History
Start date: 1st of October 2016
The Basel Graduate School of History (BGSH) is offering two 1-year starter scholarships.
Your tasks
The purpose of the scholarships is to support you
during the starting phase of your doctorate. Within the first six months
of your scholarship, you must develop a grant application for your
doctoral project and submit it to the Swiss National Science Foundation,
or another funding institution.
Your profile
The scholarships are intended for graduates who hold a
Master’s degree or an equivalent qualification in History, and who are
interested in carrying out research within the fields of study
represented at the Basel Graduate School of History. A high level of
motivation is expected, with the ability to carry out a research project
independently over the course of several years as an active member of
the BGSH, and to contribute to academic debates both within and outside
the Department of History. For further information on the fields of
study at the BGSH see: bgsh.geschichte.unibas.ch/about-us/research-fields/?L=1
What we offer
The Basel Graduate School of History offers a
structured graduate studies programme in history within an
intellectually inspiring environment. Doctoral students at the BGSH
benefit from a rich scolarly exchange, joint workshops and research
seminars, and a vast international and interdisciplinary network.
Moreover, the BGSH offers further instruments to pursue your doctoral
project and supports the realization of own scholarly events. The 1-year
scholarship amounts to CHF 30,000 and is paid in two tranches (with
intermediate evaluation).
Application / Contact
Deadline for applications: 4th of April 2016
The application is to be submitted electronically on following web page:
bgsh.geschichte.unibas.ch/application
In addition, please email the following documents to the coordinator at the Basel Graduate School of History, Dr. Roberto Sala (roberto.sala@unibas.ch)
Wednesday, February 10, 2016
CFP: Contested Spheres: Artworlds under Socialism (Budapest, 27-28 May 16)
Kassák Múzeum – Petőfi Literary Museum and Translocal Institute, Budapest, May
27 - 28, 2016
Deadline: Feb 29, 2016
Contested Spheres: Actually Existing Artworlds under Socialism
This conference aims to provide a platform for fresh research into the art history of Eastern Europe that brings to light the varied solutions that artists and cultural workers found to living and working inside the socialist system in the period of the 1960s and 1970s.
While some took the path of direct confrontation with the authorities, leading to harassment, imprisonment or exile, and refused in principle all collaboration with state-run art institutions, others complied with the demands of the Party and freely placed their talents at the service of communist ideology, either through conviction or in exchange for public commissions, exhibition opportunities and institutional positions. There was also a wide band of artists, curators and art historians who, like the majority of citizens of ‘actually existing Socialism’, devised their own individual strategies for negotiating a haphazardly repressive system and actively participated in shaping a complex artistic landscape of alternative spaces, transitory gatherings and artist-run galleries, as well as semi-independent institutions, associations and open air symposia, which all functioned according to the unorthodox rules of the socialist art economy. Examining the art worlds of mid- to late Socialism not from the top down perspective symbolised by the notorious ‘three T’s’ of Hungarian cultural policy, which divided artists into the categories of supported, tolerated and forbidden, but rather through a bottom up approach that examines the variety of possible attitudes adopted by cultural producers to the socialist system, ranging from confrontation and withdrawal to conformity and compromise, this conference sets out to foster debate about the conditions of artistic production during the last decades of Socialism and how these affected the individual trajectories, aesthetic choices and post-communist legacies of East European artists.
Proposals for conference papers are sought that examine how artists, curators or art historians, or even entire art scenes, responded to the demands of the socialist system, investigating, for example, prominent cases of refusal and resistance, the self-image and social role of official artists, as well as instances of disingenuousness, ambiguity and doublespeak in the machinations of late Socialist art worlds. Of equal relevance are papers that examine the workings of the artistic economy under socialism, and the different ways in which artists reacted to, suffered under, or turned to their advantage the distinctive material and economic environment established by the socialist state.
Speakers are invited to submit abstracts of 250 words, along with a short biography (approx. 100 words) to fowkes@translocal.org by 29 February 2016.
Papers will be selected by a conference board made up of: Dr. Klara Kemp Welch, Courtauld Institute London, Dr. Tomáš Pospiszyl, Academy of Fine Arts, Prague, Dr. Maja Fowkes and Dr. Reuben Fowkes, Translocal Institute, Budapest and Dr. Emese Kürti, ACB Research Lab, Budapest.
This conference is organised with the framework of the Kassák Museum’s long term research project into the art of the 1960s and 70s.
Deadline: Feb 29, 2016
Contested Spheres: Actually Existing Artworlds under Socialism
This conference aims to provide a platform for fresh research into the art history of Eastern Europe that brings to light the varied solutions that artists and cultural workers found to living and working inside the socialist system in the period of the 1960s and 1970s.
While some took the path of direct confrontation with the authorities, leading to harassment, imprisonment or exile, and refused in principle all collaboration with state-run art institutions, others complied with the demands of the Party and freely placed their talents at the service of communist ideology, either through conviction or in exchange for public commissions, exhibition opportunities and institutional positions. There was also a wide band of artists, curators and art historians who, like the majority of citizens of ‘actually existing Socialism’, devised their own individual strategies for negotiating a haphazardly repressive system and actively participated in shaping a complex artistic landscape of alternative spaces, transitory gatherings and artist-run galleries, as well as semi-independent institutions, associations and open air symposia, which all functioned according to the unorthodox rules of the socialist art economy. Examining the art worlds of mid- to late Socialism not from the top down perspective symbolised by the notorious ‘three T’s’ of Hungarian cultural policy, which divided artists into the categories of supported, tolerated and forbidden, but rather through a bottom up approach that examines the variety of possible attitudes adopted by cultural producers to the socialist system, ranging from confrontation and withdrawal to conformity and compromise, this conference sets out to foster debate about the conditions of artistic production during the last decades of Socialism and how these affected the individual trajectories, aesthetic choices and post-communist legacies of East European artists.
Proposals for conference papers are sought that examine how artists, curators or art historians, or even entire art scenes, responded to the demands of the socialist system, investigating, for example, prominent cases of refusal and resistance, the self-image and social role of official artists, as well as instances of disingenuousness, ambiguity and doublespeak in the machinations of late Socialist art worlds. Of equal relevance are papers that examine the workings of the artistic economy under socialism, and the different ways in which artists reacted to, suffered under, or turned to their advantage the distinctive material and economic environment established by the socialist state.
Speakers are invited to submit abstracts of 250 words, along with a short biography (approx. 100 words) to fowkes@translocal.org by 29 February 2016.
Papers will be selected by a conference board made up of: Dr. Klara Kemp Welch, Courtauld Institute London, Dr. Tomáš Pospiszyl, Academy of Fine Arts, Prague, Dr. Maja Fowkes and Dr. Reuben Fowkes, Translocal Institute, Budapest and Dr. Emese Kürti, ACB Research Lab, Budapest.
This conference is organised with the framework of the Kassák Museum’s long term research project into the art of the 1960s and 70s.
Sunday, February 7, 2016
CEFRES Fellowship
The CEFRES - French Research
Center in the Social Sciences and Humanities - is offering Young
Researcher Fellowships in Prague for 1 year.
The call is addressed to PhD students from the 2nd year and above from the Visegrad countries or France.
The deadline for submission is 15 March 2016.
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