XXIV Annual Conference of the Italian Musicological Society


Lucca, Institute Superior Musical Studies “Luigi Boccherini”, 20-22 October 2017


The twenty-four Annual Conference of the Italian Musicological Society will be hosted in Lucca from 20th-22rd October, in collaboration with the Institute Superior Musical Studies “Luigi Boccherini”. On October 21nd at 3 p.m. the annual Meeting of all members will take place.

The Conference will be divided into free paper sessions.

Scholars from all over the world are invited to submit their proposals.

In your abstract (which has not to exceed 30 lines in word format) please indicate the title of the proposed paper, the state of the art in your research field, with an outline of the project and the specific contribution to the current knowledge. Only original, unpublished research will be taken into consideration: papers in print will not be accepted.

Along with the text please send also a short C/V (max. 15 lines) and indicate the A/V equipment required.

ed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Scholars are not allowed to send more than one abstract. Please provide your full name, address, phone number, fax number and e-mail address. The abstracts have to be sent to the e-mail address convegni@sidm.it no later than June 15, 2017. Acceptance of papers will be notified by July, 15, 2017.

We inform you that one session of the conference will be entitled: Paisiello 1816-2016. “The post anniversary”.

For further information about the conference please visit the web site: http://www.sidm.it or by mail: segreteria@sidm.it.


Musica movet: affectus, ludus, corpus


12th Biennial International Conference on Music Theory and Analysis
Belgrade, 13-15 October 2017

Call for papers

International Conference
Musica movet: affectus, ludus, corpus
October 13-15, 2017

Organised by
Faculty of Music
University of Arts
Belgrade, Serbia

To be held at:
Faculty of Music,
University of Arts, Belgrade

Keynote Speakers
Danuta Mirka (University of Southampton, UK)
Arnie Cox (Oberlin Conservatory of Music, USA)
Michael Spitzer (University of Liverpool, UK)

Program Committee
Patrick McCreless (University of Yale, USA)
Márta Grábocz (University of Strasbourg, Alsace, France)
Gesine Schröder (University of Music and Performing Arts, Austria)
Benedict Taylor (University of Edinburgh, UK)
Denis Collins (University of Queesland, Australia)
Milena Medić (University of Arts, Serbia)
Miloš Zatkalik (University of Arts, Serbia)
Srđan Teparić (University of Arts, Serbia)

Call for papers deadline: March 31, 2017.
Notification of acceptance (by e-mail): May 1, 2017.

Conference theme

In the year in which the Faculty of Music celebrates its 80th anniversary, the 12th International Conference on Music Theory and Analysis will be devoted to the issues of effect and impact of music, and its ability to arouse and move the emotions (soul), intellectual play (mind) and gesture (body) of the recipient (listener, performer, analyst) beyond the pleasure principle. Although the idea of movere, as a rhetorical, psychological, philosophical, and music-theoretical concept is thousands of years old, throughout the intellectual history of music it was being elucidated, examined and comprehended in various ways, and even today it invites theoretical and analytical rethinking. The Conference, therefore, aims to consider two essential questions as its starting point. One relates to the manners in which music with its musical eloquence is able, rhetorically speaking, to move the recipient. This question of HOW presupposes certain dispositional properties of musical composition in the sense of specific stylistic, genre, parametric, expressive, compositional-technical, gestural, tropic, intertextual, medial and other configurations that produce a kind of deviation, excess, frustration or inhibition with respect to normative expectations (intensification, concentration, condensation, expansion, fractalization, chromatization, diatonization, atonalization, dramatization, silence, quotation, allusion etc.). Possibilities seem to be enormous.The other question is the one of the effects of music in the recipient’s response. It is the question of WHAT (music) DOES; it suggests an attaining of the desired, intended goal, and this means movere (to be moved, aroused, provoked, transformed and so on).
The Conferences chooses three concepts (affectus, ludus, corpus), namely, the affective, ludic and corporeal kinds of compositional, (a)perceptual, cognitive, signifying, interpretative, epistemological experience as its focal point, and in this regard, it suggests the following topics:
1. affectus: pathos, ethos, affect, emotion, feeling, Empfindsam, atmosphere, mood, Stimmung etc.;
2. ludus: an (inter)play as a way of doing/perceiving music, music as ludus; compositional procedures, strategies, rules, conventions, operations for listeners, performers, analysts in a manner of ilinx, agon, alea, mimesis (mimicry);
3. corpus: the expressive gestures, embodied meaning, bodily metaphors in musical discourses; embodiment in the perception and cognition of music, embodied music theory, etc.
The Conference suggests diverse historical and/or contemporary theoretical and analytic approaches connecting the two aforementioned questions and three concepts, with their intra- and interdisciplinary combinations
− historical examination of musical concepts and compositional techniques;
− contemporary music-theoretical and analytic approaches: tonal and post-tonal analysis;
− thematic, transformational, generative and prolongational processes;
− from rhetoric to semiotic;
− from theory of genre to gestural theory;
− from perceptive to cognitive theories (psychology of music);
− arousal theory, association theory, expression theory, resemblance theory;
− theory of embodied meaning,
− theory of affect, affective signification;
− other approaches are welcome.
The Conference is particularly interested in original and innovative approaches.

The official language of the Conference is English.
A selection of papers will be considered for publication in an edited book.

Conference fee: 50 € (Euros)

Proposal formats
1. Spoken papers (20 minutes plus 10 minutes for discussion)
2. Panels (3-4 participants, 80 minutes plus 10 minutes for discussion)
3. Book presentations (30 minutes)

Submission guidelines
Please send (in Word format, not Pdf)
− title, abstract (up to 300 words) and a short biography (up to 150 words plus five representative publications which are not included in the word count) for proposal of spoken papers;
− title, description of the panel (up to 400 words), an abstract of each individual paper (up to 300 words) and a short biography of each participant (up to 150 words plus five representative publications which are not included in the word count) for proposal of panels;
− the exact title of the book, year of publication, name of the publisher and a short abstract for proposal of a book presentation,

to the following mail:

Kindest regards,
Miloš Zatkalik, Milena Medić and Srđan Teparić

Arvo Pärt: Icon of Modernity

This one-day conference will be held on the eighty-second birthday of the Estonian composer Arvo Pärt September 11, 2017 at the Institute for Advanced Music Studies, Senate House, The University of London,.. It is presented under the auspices of The Royal Academy of Music, The University of West London and in association with the Estonian Embassy.


We invite papers of 25 minutes with the first 5 minutes of the paper to be given to a background introduction and placement of the paper in this field. Papers are welcome on all aspects of and approaches to the composer’s music including philosophical, theological, analytical, ethnographic studies and also research that addresses the position of Pärt in popular culture and media. In particular, papers that expand the significance of material inside the critical enclosure of Pärtian concepts as well as studies that bring fresh insights, strategies and contexts to this burgeoning scholarly literature will be well received. The conference intends to showcase the widest range of critical thinking on this important contemporary artist with full papers to be edited and published by a major University Press.  The conference supper will be held on the evening of the 11th at a major London club.


Abstracts including affiliation and a short biography should be sent in a word document to Prof. Robert Sholl r.sholl@ram.ac.uk by May 15. These should explain the context for the research and show the work to be presented represents a contribution to this subject.


The conference fee will be £40 for the day, and £80 with supper. The conference also follows on from the Royal Musical Association conference on 7-9 September.



Music and Dance in Visual Culture

Music and Dance in Visual Culture

17th International Conference of Association Répertoire International d’Iconographie Musicale (RIdIM) in collaboration with the Music Library of Greece “Lilian Voudouri” of the Friends of Music Society

Athens, 5 to 7 October 2017


Submission Deadline: 30 April 2017

Association RIdIM and the Music Library of Greece “Lilian Voudouri” are pleased to invite submissions of proposals for the 17th International Conference of Association RIdIM «Music and Dance in Visual Culture», to be held in Athens at the Music Library of Greece “Lilian Voudouri”, 5 to 7 October 2017.

The Conference focuses on the visual representation of music and dance across periods and cultures. In addition to papers with specific chronological or cultural foci the Programme Committee also encourages submissions encompassing the broad arena of theoretical and methodological issues such as topics related to visual theory, visual culture, visual literacy, as well as subjects linked to the representation of music and dance in visual culture from a methodological and/or theoretical point of view.

The official language of the Conference is English. Papers selected at the Conference will be published in a miscellaneous volume. Papers are limited to thirty minutes in length, allowing time for questions and discussion.

Further information available at: https://ridim.org/call-for-papers-17th-ridim-conference-5-7-october-2017

All proposals have to be submitted via the automatized electronic form, available at https://ridim.org/paper-panel-submission-form-17th-ridim-conference-5-7-october-2017, no later than 30 April 2017.

There will be a registration fee of 130 Euro.

The Programme Committee will make its final decision on the abstracts by the end of May 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced at the RIdIM Conference Website.


Programme Committee

Antonio Baldassarre, Lucerne University of Applied Sciences and Arts (CH)

Zdravko Blažeković, The City University of New York (US)

Theresa Buckland, University of Roehampton, London (UK)

Daniela Castaldo, Università del Salento, Lecce (IT)

Alexandros Charkiolakis, MIAM Istanbul Technical University (TR)

Richard Leppert, University of Minnesota (US)

Isabelle Marchesin, Institute national d’histoire de l’art, Paris (FR)

Stefania Merakos, Music Library of Greece “Lilian Voudouri”, Athens (GR)

Cristina Santarelli, Istituto per i beni musical in Piemonte, Turin (IT)

Margaret Walker, Queen’s University, Kingston (CA)

The 12th International Scientific Conference “Music Science Today: the permanent and the changeable”

05.05.2017 – 06.05.2017

Daugavpils University, Faculty of Music and Arts, Vienības Street 13

Faculty of Music and Arts of Daugavpils University (LATVIA) in co-operation with Lithuanian Academy of Music and Theatre and Vytautas Magnus University in Kaunas (Lithuania) and Institute of Music of University of Silesia in Katowice (Poland) organize the 12th International Scientific Conference “Music Science Today: the permanent and the changeable”.

The range of themes of the conference is rather great firstly due to the common thematic line, since the permanent and the changeable issues in music are everlasting and comprehensive ones. The situation of postmodern culture, the spread of new style trends and new types of music have even more escalated the topicality of the above-mentioned issues. Secondly, apart from the tandem of history and theory, the dominant of the conference is also the other pair – the close co-existence and interaction of the research and the pedagogic-methodological aspects. Third, the total value of the conference is built also by the fact that serious presentations will be made by both Latvian scientists and foreign scholars. The content of the conference thus becomes richer with every participant, and the encouraging ideas voiced and proposed at the conference will make the basis for further research and the analysis of the cultural situation.


The aim of the conference is to promote the development of scientific communication on the international scale, to enrich the Latvian music science with new findings, to stimulate scientists to research the questions related to academic, traditional and popular music history and theory, as well as the 20th century music analysis in an integrated way.


Thematic guidelines:

  • The link between music history and theory in scientific research
  • Music in Latvia and the neighbouring countries
  • The analysis of the 20th century music
  • Latgale music culture
  • Traditional, jazz and popular music

 Organizing Committee:

  • Ēvalds Daugulis, Daugavpils University, Latvia, Head of Conference
  • Leonidas Melnikas, Lithuanian Academy of Music and Theatre, Lithuania
  • Romualdas Apanavičius, Vytautas Magnus University, Kaunas, Lithuania
  • Hubert Miška, Institute of Music of University of Silesia in Katowice, Poland
  • Edgars Znutiņš, Daugavpils University, Latvia
  • Olga Ušakova, Daugavpils University

Working languages: English, Latvian, Russian

 Deadline for registration: March 20, 2017.

Deadline for the submission of abstracts (300 words) electronically: March 20, 2017.

Deadline for the submission of complete manuscripts for the proceedings: June 30, 2017.


Participation fee: 50 EUR .

Park Hotel Latgola http://www.booking.com/hotel/lv/park-latgola.en.html

Hotel Verina http://www.select-a-room.com/hotels/latvia/daugavpils

Daugavpils University Students’ hotels http://www.du.lv


In case of inquiries do not hesitate to contact:
Faculty of Music and Arts

Daugavpils University
Vienības Street 13-416, Daugavpils,

Latvia, LV5401
Phone: +371 65440819, +371 65424479
Fax: +371 65422890
e-mail: evalds.daugulis@du.lv

RMA Study Day: Music, Media and Technologies

Music, Media and Technologies

RMA Study Day, Durham University, UK
Saturday 20 May 2017

Keynote Speaker: Frederick Moehn (King’s College London)
Call for Papers deadline: 3 March 2017

How do media and technology shape music-making, music experience, and music meaning? What contemporary and historical developments in these fields influence how music (of any kind) can be understood? How has music played a role in shaping wider media and technology environments?

This study day aims to attract scholars from across music’s sub-disciplines interested in analysing the significance of media and technologies in the production, dissemination and experience of music.

Research areas might include (but are not limited to) both contemporary and historical approaches to musicology, analysis, ethnomusicology, music technology, psychology, education, composition and performance. There are no restrictions on musical genres, eras, or research approaches.

Contributions from postgraduate students and Early Career Researchers are especially welcome.

The study day will be free for Royal Musical Association (RMA) and Durham University Music Department members. There will be a fee of £10 for non-members.

All papers will be of 20-minutes duration. Please send abstracts of up to 300 words.

For enquiries or to submit an abstract, please email Samuel Horlor at s.p.horlor@durham.ac.uk.
Deadline for receipt of abstracts: Friday 3 March 2017.

The following themes are of particular interest:

Media and technologies in music production:
– Musical instruments and creative tools
– Wider technologies around creation and live music-making
– Recording and the studio

The influences of technologies at the moments of inspiration, creation and live performance in music of any kind. These may be central to the production of sound (musical instruments, creative tools) or have a less direct impact (technologies bringing together musicians and listeners, technologies of the physical or media spaces for music-making). These themes might be approached from analytical, historical or social perspectives, as well as those of creative practice.

Media and technologies in music dissemination:
– Film, broadcast, and music industries
– New media (historical or contemporary perspectives)
– Media of music learning

The roles of media and technologies in how music is spread and encountered. Focuses may include the impacts of commercialisation and the proliferation of new media (from both historical and contemporary perspectives) upon the processes and products involved in learning and sharing music. They might be explored through analysis of both musical texts and wider social contexts.

Media and technologies in music experience:
– Technologies of listening and music’s integration into everyday life
– Issues of genre, transnationalism and cultural hybridity
– Impacts upon identities, politics and communities

The effects of media and technologies in music’s broader involvements and uses. Focus here may fall on audiences, listeners, amateurs and communal music-makers, for whom music is integrated into wider life through media and technologies. Suggested areas of exploration include impacts upon global music flows, and the shaping of communal and individual experiences with music.

V Symposium on the Paradigms of Teaching Musical Instruments in the 21st Century

School of Music and Scenic Arts
Federal University of Goiás
18, 19, 20, April 2017

Considered one of the few forums concerning research relating to the overall topic of teaching musical instruments in today’s world in view of the future, the V STMI – Symposium on the Paradigms of Teaching Musical Instruments in the 21st Century reaches a new level in its mission of disseminating international research on the area of the musical instrument. While its previous editions (2009, 2011, 2013, 2015) were held at the University of Évora in Portugal, the V STMI will take place at the Federal University of Goiás in Goiânia-Brazil, thus continuing to open its doors to the international community.
As in its previous editions, the relevance of STMI continues to be centered on the mismatch between what is taught in music and contemporary production. A good example of this is generally found in music education, and in particular the teaching of musical instruments. Many techniques, methods and repertoire which are used today for teaching an instrument are the same that were used over one hundred years ago. Conscious that music education institutions – as any institution – tend to react slowly to changes and progress of the overall music creation outside the academia, we need to constantly measure our educational tools, so that what we truly teach represents where we come from and prepares and envisions artistic possibilities for the future. In order to discuss and contextualize these issues, the V STMI welcomes article presentations related to the topic of instrument teaching covering three broad chronological periods: (1) an overview of the past, (2) the present, and (3) the future. Thus, for each of these chronological periods, work can be presented from different areas of research, such as: historical musicology, performance practice, composition/repertoire, pedagogy (e.g. methods and techniques; the teaching of ‘old’ or new instruments), ‘new musicology’ (e.g. gender studies and ‘new’ music styles; jazz, pop, world), and music technology.

Keynote Speaker:
Jane Ginsborg, Royal Northern College of Music, UK

Relevant information and deadlines:

-Official languages of the Symposium are Portuguese, English and Spanish
-Article presentation proposals (20 min.) containing title, name of author(s), small bio(s), and abstract (max. 350 words), should be sent in a Word document until January 20th 2017 to stmi@uevora.pt
-Acceptance of proposals will be announced by January 29th
-Registration of accepted proposals will take place between February 13-17 upon payment of a registration fee of R$ 100 (reais) .
-Further information and details will be announced in due time in this site: http://eventos.ufg.br/V-stmi
-General inquires: stmi@uevora.pt

Symposium Chair:
Eduardo Lopes (Federal University of Goiás, Brazil/University of Évora, Portugal)

CESEM – Sociology and Musical Aesthetics Research Centre (Faculty of Humanities and Social Sciences – UNL, Portugal)
EMAC – School of Music and Scenic Arts (Federal University of Goiás, Brazil)

KOSMOS Dialogue “Music, Emotion, and Visual Imagery”

KOSMOS Dialogue “Music, Emotion, and Visual Imagery”

Humboldt-Universität zu Berlin

June 1-3, 2017

Call for Participation

Music can elicit powerful emotional reactions in the listener that are often accompanied by visual imagery (e.g., landscapes, friends, scenes of past events, colours, abstract shapes etc.). The aim of this KOSMOS Dialogue is to contextualize the research topic within broader currents of the cognitive sciences and humanities by bringing together researchers from different fields to map out interdisciplinary links and to elaborate paradigms, techniques and methods to be able to study the relationships between music, emotion, and visual imagery. Proposals for research reports and short position statements will be welcomed from researchers in any discipline from the sciences, social sciences or humanities that may be able to shed light on the ways in which music and visual imagery interact in creating an affective response.

The KOSMOS Dialogue will be led by Mats Küssner, André Weinreich (both HU Berlin) and Tuomas Eerola (Durham University), who will also give a public lecture entitled ‘How music evokes emotions’.

Submissions should be made electronically in Word or PDF format to mats.kuessner@hu-berlin.de by 15 Feb 2017. Please provide your name, postal and email addresses, and any institutional affiliation on the first page. Start your proposal on the second page and write no more than 250 words.

The format of the KOSMOS Dialogue particularly welcomes the participation of early-career researchers (PhD students and Post-Docs). We are able to provide a limited number of travel bursaries to help cover the costs of attending the KOSMOS Dialogue. To be eligible for a travel bursary, you must be a full- or part-time student or an unwaged delegate who has been accepted to participate in the KOSMOS Dialogue. To apply, please provide the following information on a separate sheet of paper: name, affiliation, contact address, email, status, country of residence and amount of funding sought. Please explain why you are unable to obtain funding from other sources and how attendance of this KOSMOS Dialogue benefits your future research.

We aim to notify all applicants of the outcome of the reviewing process by the end of March 2017.

‘I Am Not There’ International Conference on Bob Dylan

18-19 May 2017

Lisbon, Faculty of Social and Human Sciences, NOVA University of Lisbon.
Organization: CETAPS and CESEM

Call for Papers
(until 26 January 2017)

In 1999, Bob Dylan (b. 1941) was included in the ‘Time 100: The Most Important People of the Century’ as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”. In 2008, the Pulitzer Prize jury awarded Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama. In 2016, the artist was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. The New York Times (13-10-2016) reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901…In choosing a popular musician for the literary world’s highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels”. After the official Nobel announcement, opinions divided the public and critics. CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) and CESEM (Sociology and Musical Aesthetics Research Center), NOVA University of Lisbon, decided to analyze and celebrate the aesthetic, historical, political, and cultural significance of Bob Dylan’s musical, literary and artistic (visual) work, as well as its influence(s).
The initial expression in the conference’s title is the title of the biographical musical drama film I Am Not There (2007, directed by Todd Haynes and co-written with Oren Moverman), which intercuts the storylines of seven different Dylan-inspired characters. According to Haynes, “the minute you try to grab hold of Dylan, he’s no longer where he was. He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down. And that’s why his fan base is so obsessive, so desirous of finding the truth and the absolutes and the answers to him – things that Dylan will never provide and will only frustrate” (apud D. Dalton, Who Is the Man?: In Search of the Real Bob Dylan, 2012).

We will privilege comparative and transdisciplinary approaches. Potential contributors are invited to submit a bionote and a 300 word abstract on themes related to any of the following conference tracks:

• Influences in/of Dylan’s music;
• Bob Dylan and awards;
• The ‘power’ of the Nobel prize for literature;
• The alter-egos and personas of Robert Zimmerman/Bob Dylan (Blind boy Grunt, Bob Landy, Tedham Porterhouse, etc.);
• Dylan’s music videos;
• Dylan in/as performance;
• Dylan and religion;
• Art, activism, protest, and social unrest;
• Dylan on stage – presence, performance and liveliness;
• Dylanesque spaces and places;
• Influences in/of Dylan’s visual art;
• Intertextuality in Dylan’s lyrics, music and videos (text-music relationship);
• Intermediality in musical genres and practices;
• Lyrics as/and poetry/literary narratives;
• Dylan depicted (visual biographies, photography, press and record [album] covers, official website);
• Dylan in cyberspace (myspace, facebook, youtube, etc);
• Dylan’s songs;
• Dylan as trend-setter;
• Musical style(s) in Dylan;
• Bob Dylan in the classroom;
• Adaptation of Dylan’s texts as children’s literature;
• Dylan in/and translation;
• Dylan’s fandom;
• Academia and Dylan’s fandom;
• Music as a social and political agent in Dylan’s and other composers’ production;
• Dylan, music and the moving image (cinema, documentary, television, internet);
• The roles and ideologies of musical, literary and artistic criticism: after Dylan;
• Gender and music;
• Listening to Dylan: social behaviors, musical taste, consumption patterns.

Working languages: Portuguese, English, Spanish. No translation will be provided.

Papers and panels on the above themes are invited. However, papers/panels on other subjects related to the above topics will also be considered. Participants will be held to a twenty minute presentation limit. Please submit an abstract and a bio note, by 05 January 2017, to the conference email:


To ensure prompt notification, please include your e-mail address on your submission. If you are interested in chairing a session, please note this at the top of your abstract.
Registration fee: 80 euros. BA and MA students: 30 euros.

Conference website: https://internationalconferenceonbobdylanportugal2017.wordpress.com/

Coordination: Rogério Puga (CETAPS) e Paula Gomes Ribeiro (CESEM).

Aestheticizing Cultural Policy in France, 1789-1815

University of Warwick

Saturday 1st July & Sunday 2nd July 2017 (preceded by a melodrama workshop Friday 30th June)

The period from 1789 to Napoleon’s second abdication in 1815 is one marked by profound transformation in all domains, including the arts – not least because the role of the state in cultural production was a matter of key concern for both the Revolutionaries and the Imperial administration. The last two decades have a seen a resurgence of interest in revolutionary culture, producing valuable insights into spectatorship, participation, propaganda, symbolism and transparency. This conference seeks to extend these approaches to the Napoleonic period, challenging the narrative of Imperial control by re-examining the way that creative agents and institutions engaged with and negotiated around cultural policies.

Studies of theatre at the time, for example, often make much of regulations and edicts (the 1791 freedom of the theatres law or the 1806/1807 imperial decrees) but there is ample evidence that theatrical practice, especially in the provinces, did not always comply with the state’s desire to impose control. Is this also the case for other artistic production such as music, painting, or literature? This conference will focus in detail on the discrepancies between the legislation, production and reception of literary and artistic works, in order to establish continuities and discontinuities in the actions of the various political regimes – and the reactions of creative agents – at a time of considerable social and political upheaval.

We welcome paper proposals on the following themes

  • aesthetics
  • genre
  • the emergence of a new public
  • the book trade
  • the creation of institutions
  • the abolition of privilege
  • censorship and surveillance
  • theatre reform
  • prizes
  • festivals
  • monuments
  • processes of adaptation
  • ideas of authorship

Abstracts (max. 300 words) for 20-minute papers should be sent, with a short biography, to napoleonictheatre@gmail.com by 15 January 2017.  The conference languages will be English and French. For more information please contact the conference organiser katherine.astbury@warwick.ac.uk .

The conference is organised and supported by the AHRC-funded research project French Theatre of the Napoleonic Era based at the University of Warwick.