SS1 : « From colonial art to the arts and the expansion: recent directions »
In the last two decades, the study of the artistic and architectural production related to the Portuguese expansion has gone through a complete reconfiguration within the national research scenario. From a seminal course, taught for the first time in 1993-94 by Rafael Moreira, in the MA program at the Universidade Nova de Lisboa, this area of work has spread to virtually every university in the country, generated abundant literature and several exhibitions in Portugal and abroad, and originated debates on terminology that remain open and that lead to the questioning of old and the adoption of new nomenclatures (including the discussion around the terms colonial art and the more recent arts and the expansion). Today this is one of the most dynamic areas in the history of art in Portugal and definitely that which attracts the most international attention.
This panel aims at displaying new research directions that have been taken in the field recently, by gathering contributions that showcase new geographies brought into the discussion, new objects added to the analytical spectrum, and/or new thematic areas including but not limited to the following: agents and commercial circuits of both objects and raw materials, the circulation of specialized artistic craftsmanship, reception modes (commissions, collections and consumption), modes of usage and/or exhibition of works of art and theirs insertion in political, diplomatic and dynastic circuits, relations between different parts of the empire with the mediation of the metropolis and/or between the various European empires.
Proposals will be taken into consideration that relate to all kinds of artistic and architectural production, while preference will be given to themes, concepts, methodologies and approaches that are less frequent or more innovative. This panel aims at mapping the state of the art in its field. After, what was it that really changed? What effects did these recent directions have? Did the confrontation with historiographies from other countries and with other disciplines produce any results? And if so, which ones? Did these changes have any effect in the organization of academic programs or in museum policies? And finally, how can we envision the future of this field?
SS2 : « Contemporary art in context. Public art, nature and the city »
Since modernism, to define a work of art has become one of the most complex problems in Art History. As a result of the expansion of supports, processes and media of artistic creation, the renovation of languages and concepts, as well as the mutations of artistic practice, public reception of Contemporary Art has undergone major changes. This situation shows that it is insufficient to consider the work of art independently of the means and modes of its exhibition and public confrontation. Understanding contemporary art means considering the processes and models of its creation, reception and legitimation. It can be argued, as does Nathalie Heinich, that the nature of contemporary art deals with the triple role of transgression-reaction- integration, in which the artist is committed to transgress, the public to react and the institution (museum, experts) to integrate.
This fact implies challenges to the study of contemporary art, and art history cannot ignore or fail to examine it, at the risk of compromising the understanding of the historical continuum that leads to, and defines, the condition of the contemporary epoch.
What particular questions arise in the study of public art? Can we consider public art as a specific segment of Contemporary Art? Or is public art a mere version of contemporary art in the urban space? And if so, what are the dominant typologies? On the other hand, what relationships can be established between Art and Landscape? Is Landscape the frame of an artwork or is the artwork one of the means for producing Landscape? If this is the case, what kind of Landscape can be developed through Art? What models can the symbiosis of both follow?
Finally, how important is still the exhibition formula in an institutional space (commercial, cultural or religious) for the production of contemporary art? What impact has the Museum of Contemporary Art on the legitimation of the prevailing aesthetic standards? What tensions emerge from the dialogue between the architectural image of Contemporary Art Museums and the Contemporary Art collections on display, or circulating among them? Concerning religious institutions, can we speak of a new kind of Sacred Art? What kind of relationship does this new Sacred Art establish with the multiple spheres of the sacred? Could one speak of an artistic sacredness, distinct and independent of doctrinal beliefs?
SS3 : « The Decorative Arts in the Portuguese cultural space »
The term « decorative arts » includes a plural and multifaceted set of artistic fields of difficult systematization, including tiles, furniture, textiles, ceramics and metalwork, to name just a few. This vast universe enables visual readings that go far beyond purely aesthetic concepts, assuming complex meanings. The attentive analysis of exhibition catalogues and museum guides, as well as specific studies produced by the historiography of art, reveal the increasing knowledge and complexity of this area of study. To an increasingly extensive and comprehensive body of knowledge, corresponds, however, important methodological challenges.
The study of this heritage – to be necessarily developed by taking into account itsformal, material, technical and symbolic contents – should also be complemented by the study of the interactions of the different decorative arts and the sources and models used or/and subsequently adapted and transformed. The overall context in which they emerge should also be considered, from both the standpoints of religious and political debates, as well as by highlighting the commercial networks, the agents and the forms of agency involved and, finally, the markets for which they were intended.
In the Portuguese context, the « decorative arts » result from several interactions and cross-references, plus the fact that, starting from the late 15th century, they cover a vast geographical territory that extends well beyond the metropolitan boundaries.
Since we are referring to a large number of objects of portable character, their material presence indelibly marks a significant part of the everyday landscape of continental Portugal and of its maritime dominions. As a consequence, this heritage embraces different cultures and civilizations. By the same token, it should not be forgotten either that the Arab presence in the Iberian Peninsula influenced and marked the « decorative arts » in the territory.
All together, these considerations justify the title chosen for this panel: more than talking about « Portuguese decorative arts » tout court, we aim to stimulate a debate that encompasses the spatial dimension of their very manifestations. By introducing the notion of place and space, it will be possible to raise questions concerning identities, contexts of manufacture, uses and functions, which may allow us to more accurately define the universe of Portuguese decorative arts in a rich, integrated, and possibly more accurate manner.
SS 4 : « The manor house in the aftermath of Solares Portugueses »
The history of domestic architecture, traditionally viewed as the poor relative of Art History, has been propelled in Portugal in the past decades, both in the open and plural perspective of art history and in the more specific history of architecture. Besides the pioneer works about the “anonymous” house (Ex: Conde, 1997, 2005; Trindade, 2002; Barreiros, 2004, 2010), other approaches were taken to bridge the gap between vernacular architecture – reserved in the past to ethnographers, geographers and architects – and architecture of a more erudite tendency (Ex: Caldas, 1988, 2007), generally accepted in the sphere of art history. In the research field, the latter has been rigorously studied – chronologically, geographically and typologically – with several works published (ex: Barroca, 1987, 1998; Silva, 1995; Ferreira-Alves, 2001), as well as many other of monographic character. Nevertheless, more than 40 years after the first edition of Solares Portugueses by Carlos de Azevedo (1969), we still lack global insight into the types and ways in which the elite of the Ancient Regime lived in Portugal. Focused on the northern and rural model of the manor houses, although gathering information on examples of royal palaces and reaching occasionally as far south as Alentejo and Algarve, Carlos de Azevedo was not interested in the urban house, nor in the palatial program adopted by the nobility. Furthermore, his typological analysis pays little attention to the organization of the interior scenes, concentrating more on the composition of the main façade.
In the meantime, very little progress has been made on this path. Information on this subject is scarce (except for what concerns ornamental covering or coating), regarding the functional distribution of manor houses and how they were inhabited. We still know very little about their commission, conception and the constructive processes used. The case of the noble palaces is, in this respect, paradigmatic, seeing as, apart from studies that are specifically focused on tiling, mural painting or stucco, references to these buildings do not usually go beyond a brief dictionary mention, an index card or a casual reference in generalist works where only the type of implantation and the façades are summarily described.
This session aims to contribute towards a summary of the actual state of the art concerning the manor house of the Modern Age in Portugal. It also intends to stimulate research in this field, particularly on aspects – such as the organization of the interior space and the techniques and materials used – the material vestiges of which tend to either fall apart due to negligence or undergo dramatic changes due to careless restorations that erase their identifying characteristics. In this light, all recent progress made in the field of the history of architecture of the manor house are welcome, particularly those advances that establish bridges with the investigation developed in a wider geographical sphere (Europe and its former colonies), those that study the interior space of the houses of the elite, and those that may improve our knowledge of the commission process, conception and construction of the buildings.
SS 5 : Crossing borders – história, materiais e técnicas artísticas (No english version)
Esta sessão pretende explorar a investigação sobre os materiais, técnicas e processos criativos na pintura e, eventualmente, noutras modalidades artísticas ao longo dos séculos, designadamente na época moderna e contemporânea (sécs. XV a XXI). Será dada preferência a propostas que se baseiem em investigação que conduza à compreensão do modo como os artistas preservaram a continuidade das práticas artísticas ou, pelo contrário, adoptaram novas soluções.
A investigação sobre materiais, técnicas e processos criativos faculta uma melhor compreensão sobre as obras e o seu contexto, permite a concepção de projectos de conservação e, caso necessário, a intervenção directa na obra. Neste sentido serão bem-vindos trabalhos que apresentem resultados de investigação de carácter interdisciplinar, em que as ciências exactas e os métodos de exame e análise coloquem questões à história da arte e vice-versa, com vista a uma caracterização mais precisa das obras, dos movimentos artísticos e à identificação e análise das questões relacionadas com a preservação destas obras.
Encorajam-se especialmente propostas que se orientem no sentido da abordagem de um ou mais dos seguintes tópicos: circulação da informação sobre materiais e técnicas; relações pessoais estabelecidas com artistas de outros países, em termos de troca de ideias e de fontes de informação; formação de artistas em contextos informais, académicos e outros; análise de materiais utilizados e a sua relação com a historiografia; resultados da realização de “reproduções históricas” em contexto laboratorial (accurate historical reproductions), para estudo do comportamento dos materiais e das técnicas artísticas.
Pretende-se, acima de tudo, que a sessão seja um diálogo vivo que permita o desenvolvimento da história da arte abrindo novas perspectivas de investigação e integrando novos conhecimentos.
SS 6 : História da Cidade: novas fronteiras epistemológicas para o século XXI (No english version)
Um dos aspectos mais relevantes do legado de José-Augusto França para a História da Arte portuguesa foi a sua abordagem inovadora da História da Cidade, introduzida com a publicação de Lisboa Pombalina e o Iluminismo (ed. francesa de 1965 e 1a ed. portuguesa de 1966), em que a forma urbana se autonomizava enquanto facto artístico e, por isso, passava a ser entendida em articulação e em paridade com as restantes dimensões estéticas da urbe (arquitectura, equipamentos, escultura, etc.). Efectivamente, para José-Augusto França, mesmo no contexto específico da História da Arte, a cidade é compreendida como urbe, ou seja uma realidade cultural, social, política e económica circunscrita num espaço e num tempo, por isso histórica, que se manifesta na arquitectura, no urbanismo e nas diferentes variantes de Arte Pública. Este é outro dos contributos inovadores de José-Augusto França: a forma nunca é abstracta, pois configura a soma das circunstâncias que a produziram. A perspectiva que assim se abria trouxe para primeiro plano períodos artísticos que até aí eram secundarizados ou até menosprezados pela historiografia, como a arquitectura revivalista e ecléctica do século XIX, ou a Lisboa que José-Augusto França categorizou como pombalina.
Finda a primeira década do século XXI, parece-nos ser da maior pertinência reflectir sobre que novos caminhos puderam ser percorridos desde que José-Augusto França expandiu as fronteiras da História da Cidade e também que começam a ser hoje percorridos, quer em relação aos temas de estudo e investigação, quer em relação às metodologias e às perspectivas de análise. Deste modo, propõe-se a realização de uma sessão em que seja apresentada e debatida uma História da Cidade que, ao criar novo conhecimento, também constrói novas formas de criar conhecimento e se interroga enquanto área de investigação. Para uma melhor coordenação da sessão, serão consideradas prioritárias comunicações que se pautem pelas seguintes coordenadas temáticas: História da Cidade e Novas Tecnologias; História da Arte como História da Cidade; Cidade e Memória; Cidade e Identidades Urbanas; Cidade e Utopia; Cidade Ideal e Cidade Real; a Cidade como Lugar e Não Lugar. Ou seja, temáticas de uma História da Cidade “física e moral”.
SS 7 : Art historiography and criticism in Portugal
The publication, in 1966-67, of A Arte em Portugal no século XIX (Art in Portugal in the nineteenth century) and, in 1974, of A Arte em Portugal no século XX (Art in Portugal in the twentieth century), by José-Augusto França, marked an epistemological rupture in art historica methodology in Portugal. Its main innovation is the authorial perspective. By organizing the sources and facts with a rigorous heuristic approach, the author, an active agent of Portuguese artistic life, reflects on them, grounding the analysis on his own interests. Having been written before April 25th, 1974, these publications may also be seen as a criticism of the history that they portray. Pointing out, in particular, the absence of state policies for culture from the late eighteenth century until the first republican regime, França goes on confronting, with boldness, the Estado Novo and its « politics of the spirit ».
José-Augusto França’s militant Hermeneutics is conveyed through some of the fifteen- volume História da Arte em Portugal (The History of Art in Portugal), published by Alfa editions in 1986-89. These volumes, which cover a vast chronology, from the “Palaeolithic” to “the present”, are still relevant, having revealed new generations of art historians and fresh insights in some areas.
In 1995, the História da Arte Portuguesa (The History of Portuguese Art), was published by Círculo de Leitores editions, in three volumes, supervised by Paulo Pereira. The weaknesses of the former “Alfa History” are less evident here, due to the careful structuring of the contents by its editor. Furthermore, this publication revealed new authors and perspectives in different fields of work, making once again evident the growth potential of Portuguese Art History.
Also worthy of mention is the publication, in 2004, of História da Arte em Portugal (Art History in Portugal) by Presença, with contributions from Carlos Ferreira de Almeida, Vítor Serrão and José-Augusto França. The most recent addition to this list is the twenty-volume Arte Portuguesa. Da Pré-História ao século XX (Portuguese Art. From Prehistory to the Twentieth Century), published in 2009 by Fubu, and coordinated by Dalila Rodrigues. Its considerable range of authors confirms again the quality and dynamism of this field. In addition to these multi-author publications, an important enhancement is currently taking place in terms of new studies and revision of data in all areas of art history. This revision, comprising the widest typological and thematic range possible, constitutes the core of this Congress. However, it still lacks theorization, articulations and an authorial mark in art criticism. We may ask, for instance, if the time-periods currently in use, a legacy of the first half of the twentieth century, continue to be relevant to Hermeneutics. Or if developments in the field of contemporary art, which question the academic classifications or the distinction between high and low culture, did not contaminate the disciplinary approaches of the past. Finally, is there a Portuguese art, as advocated by Paulo Pereira, or, as José-Augusto França prefers, an art produced in Portugal?
These and other questions are the basis of this session. It aims at gathering original contributions, concerning different areas and periods, including an international approach, for which José-Augusto França also proposed a model in his História da Arte Ocidental, 1750-2000 (The History of Western Art, 1750-2000). The subjects can be broad and prospective – including criticism of the great syntheses mentioned above and reflection on what could be the future of art history in Portugal – or fragmented – focusing on the criticism of historiographic studies concerning a specific chronology or topic. Another goal of this session is to address the history of art criticism, taking into consideration the contributions of other fields of study, from archaeology to literary studies, from anthropology to philosophy, and from sociology to communication sciences.
SS 8 : « Museums, exhibitions and collections »
The creation of the first public museums and the birth of art history as a discipline are contemporary, both originating in the Enlightenment culture of the 18th century and strengthened after the French Revolution. Notwithstanding the differences in the construction of their disciplinary structures, and despite all the controversies and disagreements that may have marked their classification practices, both art history and museums –particularly today’s museums – have kept a common focus: the object, as the memory of the world’s cultural heritage, of nationalities, of societies, and of individual people, all of which recreate their identities from such pieces.
This session will look at the history of museums, their circumstances, the policies and debates behind their creation, their founders, and their original collections. It will also discuss the Portuguese socio-cultural history of the long period from 1836 to 2011, a period for which there is an almost void of knowledge. This becomes evident in the lack of sources for comparative studies with other international realities, a scarcity of data which does not even allow a complete picture of the history of Portuguese monumental heritage.
Additionally, the session will consider other important issues, in the following specific areas, as possible contributions to this still fragmentary history.
1) The theory and practice of the exhibition, from its conception to its public presentation
Discussing different ways to bring objects to attention through their exhibition: visual and scenographical techniques; interpreting the dialogue between the material object and the idea(s) behind its creation; the ability of an exhibition to interact with the knowledge brought by art history; the exhibition’s potential to give rise, on its own, to new aesthetics, not only exhibitive but also venturing further and triggering new artistic movements or new heritage concepts.
2) Working in a museum: its history and the diversity of current realities
Reflecting on the functional and disciplinary aspects of Museum practice, that is, the museum working methods present in its day-to-day operation, as it is the case for any other scientific discipline.
3) Museums and their publics
Reinforcing how the only possible way for museum institutions to survive is by being open to society and communicating effectively with it.
Collections result from the grouping of objects with very different provenances: royal houses, the Church, corporations and individuals, as well as from the generosity of many collectors and art lovers who wish to perpetuate their memory. This area of the session will further the debate on the temporal construction and the architecture of museum collections. The aim will be to understand the passage from the private domain to the public display of whatever has been taken away from the kingdom of oblivion, a process which turns museums into the ongoing builders of memory and identity.
SS 9 : « Portugal and Europe 1500-1800: presences and influences »
While Portuguese art certainly can be said to show distinct Portuguese characteristics, in recent years scholars have increasingly focused on revealing the manifold influences of foreign artists from countries such as Italy, the Netherlands, or Spain in the development of Portuguese art over the centuries.
These influences can be broken down into direct presences and influences (foreign artists residing or traveling in Portugal – or Portuguese artists abroad –, import of foreign art works, distribution of foreign models by way of prints etc.) as well as indirect presences and influences (political, diplomatic or dynastical influences brought about by intermarriage, diplomatic missions or political developments).
Despite its geographical position at the western European periphery, Portugal at the time stood politically much closer to the center of European interests, as attested as early as 1430 by the founding of the noble order of the Golden Fleece in honor of the marriage of the powerful Duque Philippe Le Bon of Burgundy to the Portuguese princess Isabela. Emperor Charles V of the house of Habsburg, who, among many other provinces in Austria, Germany, the Netherlands, Italy and Spain, also inherited Burgundy, once remarked, “If I were king of Portugal, in a short time I would be king of the entire world”.
By way of his marriage to another Portuguese princess – Isabela, daughter of Manuel I -, Charles V began a marriage policy that established close ties between Habsburg and Portugal and that was to be carried on by his heirs. Surely, these and other dynastic and diplomatic connections to European countries had an influence on commissions and collections of artworks. Portuguese diplomats also played a role as sponsors of European art and artists.
Thus, the second Marquis of Castelo Rodrigo, Manuel de Moura, was the key patron of the important Italian baroque architect Borromini, and the bishop ambassador D. Luís de Sousa (in Rome between 1676-1682) not only purchased and brought to Portugal numerous Italian works of art for himself but was also the agent who made possible the commission of the famous Neptune fountain by Gianlorenzo Bernini and Ercole Ferrata for the gardens of the Lisbon palace of the Count of Ericeira.
In addition, there are numerous examples of direct influences between Portugal and Europe, primarily via Italy and the Netherlands. Important European artists visited Portugal, and Portuguese artists went to study or work abroad and brought back new artistic approaches. Even an art form as Portuguese as ”azulejo” (painted tiles) can occasionally be traced back to models from Spain, Italy, France, or the Netherlands via engravings, as can be seen at the Palácio Fronteira, Lisbon, just to mention one among other relevant examples.
Although scholars have laid open many of those influences, much of this intertwined history remains to be brought to light. Some Portuguese artworks in European collections have been overlooked or misattributed, while on the other hand the European dimension has not always been fully recognized in Portugal.
Hence, we are welcoming proposals on all aspects of the link between Portugal and Europe in all art forms between 1500 and 1800.
SS 10 : « Portraiture »
The proposal for a session devoted to studying portraiture was planned with the aim of evaluating the state of the art on the subject and stimulating researchers to develop further approaches.
For José-Augusto França: « portraits, above all, contain the ambiguity of all figurative or representational art in so far as they reproduce concrete models that stand to be identified but at the same time they exist, self-contained, within a system of aesthetic signs ».
Drawing inspiration from these words, we ask researchers to present situations connected with the history of portraiture, considering an extended timeline (from Antiquity to Modern times). This would focus on its various functions, concepts (individualization, likeness, face, self-portrait, caricature, distortion, timelessness, etc.), means of artistic (de)coding (allegory, rhetoric, gestures) and finally the dialectic between imitation and interpretation so dear to Classical Art. These areas can be explored by analyzing the artistic influences present in the work of art, the circulation of engravings and prints, and the ways in which these sources of inspiration have been applied to portraiture.
In this debate, portraiture will intersect with relevant fields, namely the Treatises, Physiognomony, Anthropology, Sociology, Philosophy and Aesthetics, essential for understanding the production of the work itself and its social, historical and artistic context.
We are also interested in Contemporary portraiture and the new issues that it raises, including the question of typological classifications, the variety of technologies as well as the use of new techniques, materials, and media. In recent History, Photography has played a crucial role in the issues derived from the functional use of images – manipulation, creativity, objectivity/subjectivity, among others – in the artistic, journalistic and professional contexts.
By discussing the topics listed above, the study of portraiture will make it possible to address its reception as a behavioral model, as an attribute of power and as a social and political means of assertion.
Additionally, it will enhance reflection on the human nature and its symbolic dimension, fundamental questions that, while central to Art History, remain in the field of the philosophical inquiry.
SS 11 : « Surrealism and Architecture: another side of rationality »
Drawing from José-Augusto França’s earlier activity in the Lisbon Surrealist Group (1940’s) and his book Une ville des Lumières: la Lisbonne de Pombal (1965), this session proposes to explore similarities and mutual influences between Surrealism and architecture.
Beyond its new imagery universe, Surrealism shares certain concerns and modus operandi with architecture: an explicit relation to science (psychoanalysis/construction techniques) and history (the unconscious as a timeless foundation for art/transformation of historical models), and a deliberate transformation of the world (new man/change of constructed reality) and of the artistic processes (marginal phenomenon/analogies and clues). Based on these assumptions, this session proposes an analysis of the relationship between architecture and Surrealism focusing – though not exclusively – on the following issues:
1) Mutual interaction between architectural forms and Surrealist imagery.
2) Procedures in architectural practice that can be linked to processes and themes of Surrealism – the objets à réaction poétique (Le Corbusier), the a-functional absurd (Michelangelo, Giulio Romano, James Stirling), the architecture in the boudoir (the private, inner world).
3) Tensions between the individual and the collective, present in Surrealism from the beginning – “poetry must be made by all, not by one” (Lautréamont, 1870) – can manifest themselves in the relationship between modern architecture’s individual approaches and the inherent collective sense it proposes. To which extent can the existing city and urban projects be understood as a work “made by all”, an almost permanent cadavre-exquis or even as pure nonsense? The natural chronological scope for this session is the 20th.century, but approaches to these issues can benefit from considering different contexts, both chronological and geographical. The aim is to discuss the possible analogies between Surrealism, architecture and history. Which are the real influences and interactions and which stand as mere cultural parallels? To what extent clues, “small” findings/evidences and marginal phenomena, valued by Surrealism, have become increasingly important in architecture and cultural history as explanatory factors more effective than large and generic systems?
SS 12 : « “To and fro”: questions of visual culture »
Since their onset at the beginning of the 90’s, Anglo-Saxon visual culture studies have reconfigured the way images are studied. Following the American scholar W.T.J. Mitchell, visual culture studies responded to an emerging pictorial turn, indicating a change of paradigm that can be traced in the very way contemporary thought has reoriented itself toward visual models.
Visual culture studies therefore represent, in their critical and transversal approach to images and visuality, a stimulating challenge to all social and human sciences. For art history, their interest is evident: both research subjects raised by visual culture studies and their interpretative strategies (assembling contributes from different disciplines and traditions) have definitely diverted the researcher’s attention from the exclusive domain of “Art”. A much wider field of analysis and study of images and visuality has been opened. That is why, visual culture studies often present themselves as questioning the traditional modes and frontiers of art history.
Thus, the relation of these two fields needs to be carefully examined, keeping in mind both the fact that the study of vision was taken as essential to art history by H. Wölfflin as early as 1915, and that visual culture studies partially refer to a history of images in the tradition of German Bildwissenchaft, well alive in the work of G. Boehm and H. Bredekamp, and illustrated by such historical figures as A. Warburg and E. Panofsky.
This session aims to discuss the methodological, practical, theoretical and political significance of the notion of visual culture, taking it to be an interdisciplinary field committed to the historical and critical study of images and modes of visual experience. The session also intends to appreciate the contribution and the relation (not always peaceful) that visual culture studies have maintained with art history – in the double sense of an academic discipline and as a history of artworks.
Finally, this session proposes an inquiry into the way in which other fields of knowledge – social and human sciences (cultural and science history, media studies, anthropology, literature, sociology, etc) as well the domains of visual arts, cinema, architecture and urban design, etc – have been exploring, questioning, debating, from the perspective of their own traditions, the territory of visual culture.
Télécharger l’appel à communication officiel
The languages of the Congress are Portuguese, English, Spanish, French and Italian. The abstracts, of no more than 300 words, should be sent by email (until February 29, 2012) both to the secretary of the congress (secretariado@chap-apha.com) and the organizers of the respective sessions. The abstracts should be accompanied by a brief curriculum vitae (including institutional affiliation, address and contact details). The participants will be notified by March 31, 2012 and the program of the Congress will be available on May 7, 2012. The full texts of the communications should be delivered to the organizers of the respective sessions by July 31, 2012. The texts of each session should be made available to its participants to ensure an informed debate. The abstracts and full texts of the communications will be published in print and digital form by September 30, 2012 and, based on that material, the organization of the Congress will publish in 2013 an Hommage to José-Augusto França, to whom the Congress is dedicated. Source : http://arthist.net/archive/1960 URL de référence : http://www.chap-apha.com/
Leave a Reply