CFP: Colloquium ‘Children’s Traces’ (Oxford, 29/6/18), Deadline 5 March 2018

Title/Type of event: ‘Children’s Traces, One day colloquium
Organizer: Centre for the History of Childhood
Venue: Magdalen College, University of Oxford
Date: 29 June 2018
Deadline for paper proposals: 5 March 2018
Contact: sian.pooley@magd.ox.ac.uk

Description:
This one-day colloquium on the theme of ‘Children’s traces’ examines the politics of visibility. All historians work with traces of the past, but some people leave larger and more long-lasting archival imprints than others. Children are notorious for being difficult to ignore in the present, but hard to find in our historical record. The colloquium will bring together papers that direct a spotlight on how age shapes the visibility of historical actors, across time and place. Which children made themselves (or were made) visible in the historical record? Whose voices do we fail to hear? And what do the shifting contexts in which children made their mark tell us about the society, culture, economy and politics of which they were part? We hope that each paper will use new scholarship on young lives in a particular historical context to draw out wider methodological and historiographical insights about the visibility of children in the past.

The colloquium will focus not only on what made children archivally or textually visible, but also on the new approaches that researchers are taking to uncover and interpret this evidence. We encourage papers that illuminate ways of working with a wide range of sources. These might include children’s diaries and letters, drawings and material objects made by children, published writing by young people, or case files and court records about the young.

Submit your abstracts!

We are also particularly keen to examine questions of how we share insights that emerge from these traces with diverse readerships and audiences. How can we use these archival fragments to form compelling narratives about children’s lives in the past, including when we have no sources penned by children themselves? We encourage papers from archivists, exhibition curators, broadcasters, and film-makers, as well as from those who write and publish history books about children’s lives.

We welcome papers from any disciplinary background and career stage. We anticipate that funding for travel and accommodation will be available, including some travel bursaries to enable graduate students working on the history of childhood to attend.

Please send abstracts of no more than 500 words and a brief bio to sian.pooley@magd.ox.ac.uk by Monday 5th March 2018.

Laurence Brockliss

Nick Stargardt

Siân Pooley

URL of original post: https://www.history.ox.ac.uk/event/childrens-traces-one-day-colloquium-centre-history-childhood

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Reblogged: Ethical and Interpretative Issues Workshop, 16 February 2018

Lives of Letters

Booking is now open for our first of two workshops this semester. To register, please fill out our Google form. Places are limited, and are allocated on a first-come-first-served basis.

Lives of Letters-Ethical and Interpretative Workshop 16 February 2018Ethical and Interpretative Issues Workshop, 16 February 2018

This workshop will engage participants in interdisciplinary conversation on the theme of the ethical and interpretative challenges of working with correspondence containing private or sensitive information. The sessions will reflect on issues relating to the handling of this information in the writing of history, whether as used sources for personal or institutional biography or as part of the history writing of larger communities and movements.

This event is co-hosted by the Manchester History of Humanities Research Network.

Location

Conference Room, Graduate School, Ellen Wilkinson Building, University of Manchester Oxford Rd Campus (M13 9PL). Building 77 on the campus map.

Programme

Session 1: “Correspondence, Networks and Biography”

[Abstracts for Session…

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Out now: ‘Was ist ein Brief? – What is a letter?’

matthews-schlinzig_socha_was ist ein brief_cover

Dear readers,

we, the curators of this blog, are very pleased to announce that our edited collection Was ist ein Brief? – Aufsätze zu epistolarer Theorie und Kultur. What is a letter? – Essays on epistolary theory and culture is now available from Königshausen & Neumann.

Our warmest thanks go to the authors who contributed to this volume.

Your sincerely,

Marie Isabel Matthews-Schlinzig and Caroline Socha

 

PS: Table of contents

Marie Isabel Matthews-Schlinzig / Caroline Socha: Von einfachen Fragen, oder: Ein Brief zur Einführung

 

I. Konzepte des Briefes / Conceptualizing letters

Michael Sinding: Letterier: categories, genres, and epistolarity

Nicholas Cronk: Generic instability in Voltaire’s correspondence: When is a letter not a letter?

Robert Vellusig: Die Poesie des Briefes. Eine literaturanthropologische Skizze

Inka Kording: Epistolarisches. Die achtfache Relationalität des Briefes

Jochen Strobel: Welchen Erkenntnisgewinn versprechen digitale Briefeditionen?

II. Ein Medium im Wandel / A changing medium

Grace Egan: Epistolary valediction in Johnson and Thrale’s correspondence

Julia Gillen: ‘I should have wrote a letter tonight’: A Literacy Studies perspective on the Edwardian postcard

Alan Scott: Letters 2.0? Linguistic insights into the extent to which social media are a substitute for personal letters

Emma de Vries: Letters in/on transition: neo-epistolarity, nostalgia, and new media

III. Schreibkulturen / Cultures of writing

Patrick Reinard: Briefe auf Papyri und Ostraka. Bemerkungen zur quellenkritischen Auswertung in der althistorischen Forschung

Lik Hang Tsui: Calligraphic letters as precious objects in Chinese history

Lena Vosding: Gifts from the convent: the letters of the Benedictine Nuns at Lüne as the material manifestation of spiritual care

Marie Isabel Matthews-Schlinzig: Collaboration and imagination in letters between parents and their children: The Herder family correspondence 1788–89

 

Autorinnen und Autoren / Contributors

 

 

Altes Medium, frisches Leben: ‘The Letters Page (Vol. 2)’

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Auch im Zeitalter von Twitter, WhatsApp und Email leben manch Totgesagte länger: So zumindest ergeht es dem Brief, der seit einigen Jahren in Großbritannien eine neue Blüte erlebt. Da beeindrucken schön produzierte Anthologien wie Shaun Ushers Letters of Note mit Botschaften berühmter Personen. Die Organisatoren von Letters Live lassen diese Briefe von Stars wie Benedict Cumberbatch oder Sir Ian McKellen vor großem Publikum vortragen. Ein altes Kommunikationsmedium als massentaugliches Event. Wem dies zu kommerziell ist, der halte sich an Projekte wie Writing Back: Es hilft Brieffreundschaften zwischen Student/innen und Senior/innen zu knüpfen – für intergenerationellen Austausch und gegen Alterseinsamkeit. Auf berührende Weise verdienstvoll macht sich ebenfalls From Me to You, eine Initiative, die Briefe an Krebskranke initiiert – von Freunden wie Fremden.

Dafür, dass auch der fiktionale Brief eine Art Renaissance erlebt, zeichnet in nicht unerheblicher Weise die seit 2013 an der Universität Nottingham beheimatete literarische Zeitschrift The Letters Page verantwortlich. Konzipiert von Autor Jon McGregor als Unterrichtsprojekt wird sie von ihm und seinen Student/innen herausgegeben. Letztere, so McGregor, “sind fast durchweg in den Produktionsprozess einbezogen.” – Das reicht von der Lektüre der Einsendungen über die Mitarbeit am Design bis hin zur Online-Werbung für das fertige Produkt. Manche/r wird dabei den Brief als kreatives Medium für sich entdecken: Denn so begegnet er einem in der Zeitschrift selbst, die – der Name ist Programm – aus literarischen Briefen besteht. Wer hier veröffentlichen möchte, muss zunächst ganz altmodisch zu Papier und Stift, Umschlag und Briefmarke greifen. Bei der Auswahl zählt, dann, so McGregor, vor allem die literarische Qualität. Veröffentlicht werden die Beiträge schließlich eher zeitgenössisch online.

Seit 2016 erscheinen einige der Letters Page-Briefe im zypriotischen Verlag Book Ex Machina auch in gedruckter Form. Buch- und Briefkunst gehen hierbei eine reizvolle Verbindung ein: The Letters Page – Vol. 1 hatte die Form einer ‘Briefkiste’, die neben einem Büchlein mit gedruckten Briefen Einzelblattfaksimiles beinhaltete. Die im Herbst 2017 – wieder in limitierter Auflage – erschiene zweite Anthologie erreicht ihre Leser dagegen in einem Briefumschlag aus festem Karton; der äußere Einband des Büchleins selbst spielt auf die Ästhetik der Luftpost an. Im Band spielen derweil, so Verlegerin Ioanna Mavrou, die nur auf den ersten Blick identischen “Titelblätter” der Beiträge auf deren Kernthemen an: ‘Plagiat’ bzw. ‘Kopie’ und ‘Einfluss’.

Die Autor/innen nähern sich diesen Themen aus unterschiedlichen Perspektiven; Form und Inhalt ergänzen sich häufig: So etwa bei Kit Caless, der eine angeblich per Instagram-Messenger geführte Copyright-Auseinandersetzung in ein analoges Medium rücküberträgt. Anders amüsant denkt Andrew McMillan darüber nach, inwiefern Kinder nur Kopien ihrer Eltern sind und wir alle uns im Grunde gegenseitig plagiieren. Schließlich erinnert Darren Chetty in einem der schönsten Beiträge des Bandes daran, wie eng Kreativität und Imitation miteinander verflochten sind.

Literarisch überzeugen manche Beiträge mehr als andere – besonders positiv hervorzuheben ist Joe Dunthornes dystopisch-poetischer Text, der sich in bester (Oulipo-) Tradition nur eines Vokals bedient. Etwas fehlplatziert wirken dagegen die wenigen Beiträge, die die Grenzen von Brieflichkeit nicht erfolgreich austesten: Eine Unterschrift allein macht einen Prosatext eben nicht zum Brief. Der eine oder andere editorische Lapsus hätte sich auch vermeiden lassen, u.a. in den teils hilfreichen, teils ein wenig ausführlichen Fußnoten zu den Beiträgen. Am Ende versöhnt dann aber die Qualität der Anthologie insgesamt – gemeinsam mit der Tatsache, dass hier auch Autor/innen zu Wort kommen, die keine professionellen Literaten sind: Wie etwa Jonathan Ellis, dessen Meditation über Tod, Verlust und die das eigene Leben überdauernde Korrespondenzen zu den rührendsten Texten des Bandes zählt.

Alles in allem sind The Letters Page – Vol. 2 (ebenso wie ihrem Vorgänger und eventuellen Nachfolgern) viele Leser zu wünschen – allein schon um des anregenden inhaltlichen Formats und buchgestalterischen Anspruchs willen. Ebenfalls zu hoffen ist, , dass die eingangs erwähnten Projekte Writing Back und From Me to You erfolgreich bleiben. – Und wer weiß, vielleicht finden sich ja auch im deutschen Sprachraum Menschen, die sich auf ähnlich kreative bzw. sozial positive Weise des Briefes annehmen? Bewegung in diese Richtungen ist bereits auszumachen: Beispielhaft genannt seien die digitalen Dichterbriefe – “eine Mischung aus Offenem Brief zu Lyrik und Gesellschaft, bewusst parteiischer Rezension und vertrautem Austausch”, mit denen Autor Christophe Fricker seine Leser seit einiger Zeit erfreut.

PS: Für alle, die mehr über The Letters Page sowie das Design der Druckausgabe/n erfahren möchten, füge ich am Ende dieses Eintrags zwei (per Email geführte) Q&As mit dem Herausgeber Jon McGregor und der Verlegerin Ioanna Mavrou an.

 

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Q&A with the editor, Jon McGregor

– Who chose the titles for the letters? (and how?)

Almost always, I have chosen the titles for the letters. This goes right back to our first issue, when it just seemed like a good idea to give the letters titles, in order to give the reader some sense of the content and tone of each letter. And also because it looked right on the page. Usually I have just taken a line or phrase from the letter which has struck me as sounding good, or containing a spark of what the letter is about. Sometimes I have checked with the author if they are happy with my choice of title; sometimes I have neglected to do so. It’s interesting, because usually with a literary work the author is very concerned with the title – it’s seen as an intrinsic part of the text – but with letters it seems redundant to use a title.

– Who added/wrote the footnotes? (and why?)

Again, this was mostly me. There were some letters that we published in the first issue that seemed to require additional explanation or exposition; and then I also had the sense that the footnote was another version of the marginalia that you might find in a handwritten letter. *And* I wanted to play with the fact that we are publishing from an academic institution, but this is not an academic piece of work; and so to be playful with academic apparatus such as footnotes. Often the students I work with will research the material for the footnotes, but I always rewrite what they have done in order to achieve a kind of ‘house style’. Occasionally the authors themselves will provide a footnote.

– What was the rationale for selecting the contributions?

It’s the quality of writing, first. I want The Letters Page to be something that people read for the quality of the writing, in the same way that they would be drawn to any other literary journal or book. But then I’m interested in what people do with the restrictions of the form (which turn out not to be all that restrictive), and with how they gain and retain the attention of the reader. Once there are a number of pieces we’re interested in using, we start to look for some coherency between them, connections and continuities, until we find a collection of pieces which work together.

– Were Nottingham students involved at all in the production of the book?

Yes, very much so. The whole project is designed around student involvement. They have a hand in most of the process – reading and commenting on submissions, researching footnotes and author biogs, organising some of the layout and design, proof-reading – as well as in a lot of the promotional work that we do online, and organising launch events. Ultimately, I make the final creative decisions, as editor, but the student’s involvement is very important. It’s a key element in their studies on the Creative Writing course here.

– How does, in your opinion, The Letters Page (and Vols 1 & 2) relate to current letter culture(s)?

I hope it’s a part of the ongoing conversation about letters as a form of communication and letters as an art form in themselves. Some people are actively encouraging or campaigning for a ‘return’ to letter writing, and others are celebrating the history of letters and letter writing; I would say that we’re doing neither of those things. Instead, we’re celebrating the possibilities of what used to be a mainstream form and has now become rather niche, and in doing so we hope we’re providing a prompt or spark of inspiration to encourage some great and unexpected work from our writers.

 

Q&A with the publisher, Ioanna Mavrou

– What was your rationale for designing the book [i.e. The Letters Page – Vol. 2] as you did? What aspects were most important to you? (If possible, please include comments on the cover (inside and outside), use of handwriting vs. typeface, colours/illustrations, choice of paper.)

The cover of the book, along with the mailing envelope the book comes in, elude to the origins of The Letters Page project itself, the physical handwritten letters mailed in the post, and the inside of the book cover serves both as a self-reference to Vol. 1 and to the theme of Vol. 2, which is copies.

For the individual title pages we wanted to add a twist to the concept of copies, so that on first glance they all appear identical while in reality not two backgrounds are the same. The colours are both related to the letters and also act as integrated bookmarks, especially when you flip the book backwards, so you can easily re-find your favourite letter.

– How does, in your view, the design relate to the book’s theme/content? Why did you choose to come up with a new design – instead of copying that of The Letters Page – Vol. 1?

When we start working on a project, we have several brainstorming sessions early on where we just throw ideas in the air and the ones that we find exciting, we make into mock-ups which are then placed on a board in our office. After a while, it becomes clear which idea fits best with the project at hand.

We went all out in the production of Vol. 1 both in production costs and time that we spent for the parts of the project we did in-house (including the hand-written letter reproductions, and the assembly of each box) so we could only produce a small number of copies. So to extend the edition run for Vol. 2 we changed the format, still keeping the design interesting and creating a postal object that served both the content and looked cool!

 

Curating Correspondence in a Digital Age

As ever – instructive, interesting, engaging on several levels.

Lives of Letters

The first phase of activities of the Lives and Afterlives of Letters Network during semester 1 consist of three seminars. These take the form of four 10-minute lightning talks with 40 minutes of interdisciplinary discussion following, with a special focus on methodological issues and the sharing of best practices.

The second session took place on Thursday 9 November in the historic surrounds of the Christie Room at the John Rylands Library, and centred on the practice of Curating Correspondence.

A report of the four lightning talks and the discussion following is provided below.

David Denison (UoM, Linguistics & English Language): Mary Hamilton Papers

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Note from Princess Augusta Sophia to Mary Hamilton, on the back of a letter written in another hand, 1781 (Mary Hamilton Papers HAM/1/1/5)

Prof David Denison, Emeritus Professor of Linguistics and English Language, focused on issues of digital curation in the Image to Text:…

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Reblogged: Letters from the Front: A Soldier’s Experiences in the First World War

John Rylands Library Special Collections Blog

Penny Blackburn, an archive volunteer, writes:

The Great War Letters of Arthur Powell, acquired by the Library in 2014, chronicle a soldier’s life on the Western Front during the First World War.

Arthur Powell enlisted with the Manchester Pals in October 1914, at age of eighteen. For most of the war he served with the 19th King’s Liverpool Regiment. After a period of time in Salonika, Greece, where he was involved with the British withdrawal of troops, he finally reached home in May 1919. By the time of demobilisation he had risen to the rank of Corporal and the pride he had in his new title is clearly evident in the way he addressed his letters.

Arthur wrote home to his parents regularly, every three or four days, except when he was on the march, with his unit, or during periods of ‘fatigue’ duty when he was taken for Lewis Gun training…

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Conference: Der Mittelalterliche Brief zwischen Norm und Praxis – Aachen (11/17)

Organisation: Prof. Dr. Florian Hartmann, RWTH Aachen University

Dates and venue: 30.11.2017-02.12.2017, Aachen, Historisches Institut, Leonardo-Raum, RWTH Aachen University, Theaterplatz 14, D-52056 Aachen

Description:
Im Jahr 2013 nahm das DFG-Netzwerk zur mittelalterlichen ars dictaminis seine Arbeit auf, um das erste Handbuch der mittelalterlichen Briefstillehre überhaupt zu verfassen. Mit diesem Werk wird erstmals ein umfassender Überblick über die bis heute in Tausenden von Handschriften überlieferten, in der mittelalterlichen Praxis also enorm geschätzten, in der Forschung aber meist ignorierten Prosalehren geboten, welche die theoretische Grundlage fast der gesamten Textproduktion des späteren Mittelalters waren. Parallel zur derzeitigen Schlussredaktion dieses Handbuches soll auf der internationalen Konferenz anhand ganz unterschiedlicher Beiträge die Vielfalt mittelalterlicher Briefkultur demonstriert werden. Ein wesentliches Ziel besteht darin,laufende Forschungsprojekte zu vernetzen und exemplarisch den Blick für das Potential und den Reichtum zu schärfen, den die wissenschaftliche Beschäftigung mit dem reichen Bestand mittelalterlicher Brieftheorie und Briefpraxis bereithält.

————————————————————————

Programme
Do, 30.11.2017

15:00
Einführung:
Florian Hartmann (Aachen): Projektvorstellung und Zielsetzung des
Kongresses

15:30
Benoît Grévin (Paris): Potential und Desiderata der Forschungen zur
mittelalterlichen Briefstillehre: die Briefsammlungen

16:15 Pause

Sektion I (Matthias Thumser, Berlin)
Briefe, Briefsammlungen und ihre Überlieferung im späten Mittelalter

16:30
Micol Long (Ghent): Letters in context: Learning through letters in the
late Middle Ages

17:15
Sara Bischetti (Venedig): Tradizione e circolazione manoscritta delle
opere dettatorie di Guido Faba

18:00
Lena Vosding (Düsseldorf): Monastische Briefsammlungen des späten
Mittelalters

Fr, 1.12.2017

Sektion II (Fabio della Schiava, Löwen)
Von der ars dictaminis zum Humanismus

9:00
Harald Müller (Aachen): Der Humanistenbrief und sein Publikum

9:45
Marco Petoletti (Mailand): Raccolte di lettere del Trecento

10:30 Pause

11:00
Clémence Revest (Paris): La diplomatica pontificia tra ars dictaminis e
umanesimo : metodi di ricerca e piste interpretative

11 :45
Thomas Wölki (Berlin): “Gnediger herr, lasst mich nit auf die
fleischpank geben!” Der Einsatz von Briefen in der politischen Kultur:
Unbekannte Briefe zur Gradner-Fehde 1455/1456

12: 30 Mittagspause

Sektion III (Benoît Grévin, Paris)
Forschungsperspektive 1: Ars dictaminis und Notariat

14:00 Matthieu Allingri (Aix-en-Provence): Culture notariale et Ars
dictaminis en Toscane et en Catalogne: une comparaison

14:45: Magdalena Weileder (München): Zur Benutzung von Formulae in der
Praxis in der Kirchenprovinz Salzburg

16:00: Führung durch den Aachener Dom für Referentinnen, Referenten und
Sektionsleiter

Sektion IV (Antonio Montefusco, Venedig)
Forschungsperspektive 2: Von der ars dictaminis zur Literatur

17:30 Nicolas Michel (Namur): La place du Morale Somnium Pharaonis dans
le réseau des collections de dictamina, un cas atypique d’hybridation
textuelle

18:15 Gaia Tomazzoli (Venedig): Dall’ars dictaminis al linguaggio
figurato dantesco: il caso delle metafore politiche

Sa 2.12.2017

Sektion V (Fulvio Delle Donne, Potenza)
Forschungsperspektive 3: Ars dictaminis als Zugang zu Wissen und
Gesellschaft

9:00 Francesca Battista (Wien): Women’s Voices in Medieval Letter
Collections and Artes dictandi

9:45 Francesca Tarquinio (Florenz): Storia e geografia nel
“Boncompagnus”

10:30 Pause

11:00 Martina Pavoni (Florenz): Il mondo nuovo nelle espistole. L’amore
nei “Carmina Ratisponensia”

11:45 Luca Core (Padua): La “revolutio” della “Rota Veneris”

12:30 Abschlussdiskussion: Ergebnisse und Forschungsperspektiven

————————————————————————
Contact:
Prof. Dr. Florian Hartmann
Historisches Institut
Wissensdiskurse des Mittelalters
RWTH Aachen University
Theaterplatz 14
52056 Aachen

hartmann@histinst.rwth-aachen.de

Source URL: <http://hsozkult.geschichte.hu-berlin.de/termine/id=35703&gt;