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- 17. Februar 2026 Narrative weiblicher Selbstbestimmung in Gesprächsinszenierungen europäischer Autorinnen der Frühen NeuzeitIn "Il Merito delle Donne" (1600), einem literarischen Werk der italienischen Spätrenaissance, treffen sieben recht unterschiedliche Gentildonne zusammen, um sich angenehm zu unterhalten, woraus sich ein am zeitgenössischen Bildungs- und Wissensbestand orientiertes Streitgespräch entwickelt – unter anderem über männliche und weibliche Tugenden und Laster, Geschlechterrollen und Geschlechterhierarchien. Im geschützten Rahmen findet ihr ‚Salon‘ zunächst in einem Palazzo-Garten statt, der von einer eigenständig lebenden Frau einst angelegt wurde. Diese ließ auch einen Springbrunnen bauen, den sechs Skulpturen weiblicher Allegorien schmücken. An ihren Impresen identifiziert als Einsamkeit, Freiheit, Keuschheit, Naivität, Falschheit und Grausamkeit stellen die Brunnenfiguren Leitthemen vor, die von den Betrachterinnen erörtert und diskutiert werden.Die Verfasserin dieses Werks, Moderata Fonte (1555–1592), ist die Namenspatronin der FONTE-Stiftung, die in diesem Jahr ihr 25-jähriges Jubiläum feiert. Anknüpfend an das Förderprofil der Stiftung – Forschungen zu Kunst und Literatur der Frühen Neuzeit, Autorinnen der Vormoderne, Genderthemen – und inspiriert von der Namensgeberin widmet sich die Tagung den Texten europäischer Autorinnen der Frühen Neuzeit, die Gespräche über Geschlechterrollen auf erfahrungsgeleiteten sowie wissenschaftlichen Reflexionsebenen inszenieren.Eine Durchsicht der thematisch relevanten Handbücher und der einschlägigen Forschungsliteratur zeigt, dass die transphilologische Forschung zum Dialog von Frauen der Frühen Neuzeit weiterhin ein Desiderat darstellt. Hier setzt die geplante Tagung an; sie erweitert die vorliegende Dialog-Forschung um geschlechterhistorische Aspekte aus dem Querelle des Femmes-Diskurs und der Salonkultur.In und mit ihren Werken – so die Leitthese – schufen Autorinnen des 16.–18. Jahrhunderts Erkenntnisräume, die es in Einzelstudien zu erkunden gilt. Dabei sollen Themen und Narrative weiblicher Selbstbestimmung sowie Formen ihrer Inszenierung identifiziert und analysiert werden.Denkbar sind einerseits themenorientierte Beiträge, die Beschreibungen und geschlechtsspezifische Deutungen von beispielsweise Begriffen wie Einsamkeit, Freiheit, Keuschheit, Naivität und dergleichen vornehmen. Welche Erkenntnisse und welches Wissen werden durch die Dialoge der Frauenfiguren vermittelt und generiert? Andererseits soll ein Augenmerk auf die Inszenierung des Gesprächs gelegt werden, die als äußeres Gerüst die Räume von Erkenntnis definiert – von stilistischen Merkmalen über die Einbettung in bestimmte Rahmen und Settings bis hin zu dargestellten geselligen Praktiken weiblicher Gesprächskultur(en). Entlang beider Schwerpunkte können weiterführende, disziplinübergreifende Fragen gestellt werden, die ebenfalls Eingang in die Tagungsbeiträge finden sollen: Inwieweit sind die gewählten Themen und Formen an Geschlechtlichkeit und zeitgenössische Geschlechterdiskurse geknüpft? Wie sind sie historisch, kultur-, literatur- und kunstwissenschaftlich einzuordnen? Gibt es gattungs- und/oder disziplinübergreifend vergleichbare Phänomene zu beobachten, z.B. auf der Bühne oder in der bildenden Kunst? Angedacht sind Vorträge à 30 min (je 20 min Diskussion), die sich mit Moderata Fontes Werk und den oben skizzierten Fragestellungen auseinandersetzen. Zusätzlich sollen kleinere Beiträge (à 15 min) reale oder fiktive Erkenntnis-Räume des lehrreichen Gesprächs unter Frauen vorstellen, wie beispielsweise den Brunnen, den Garten, den bureau d’esprit oder den Salon.Eine Veröffentlichung der Tagungsbeiträge in der Reihe "FONTE Atelier.Forschungen zu europäischen Autorinnen der Frühmoderne" ist geplant.Beitragsvorschläge (max. 350 Wörter) senden Sie bitte an: Dr. Katja Triebe (katja.triebe@hu-berlin.de), in CC Prof. Dr. Renate Kroll (renate.kroll@romanistik.hu-berlin.de).
- 09. Februar 2026 Muriel Gold Visiting Professor - Institute for Gender, Sexuality and Feminist Studies - Faculty of Arts, McGill University 2026-2027The Institute for Gender, Sexuality, and Feminist Studies (IGSF) at McGill University, Montreal, Canada invites applications for the position of Muriel Gold Visiting Professor. This nil-salary position is open to applicants wishing to spend one or two academic terms (Fall 2026 and/or Winter 2027) in residence at McGill to carry out research on gender, sexuality or feminist studies. The Institute is located at the center of a stimulating, bilingual, urban environment in the city of Montreal. It offers workspace and support, an ongoing seminar program, and contact with faculty members at McGill and neighboring Montreal universities.To be eligible, applicants must hold a faculty position in another academic institution. The position is ideal for those with research leave funding, a portable research fellowship, or sabbatical. Research funding of up to $5,000 is available from the IGSF. Visiting professors participate in our work-in-progress series and have an opportunity to present and discuss their research with an engaged and enthusiastic research community.While we may be able to provide administrative advice on the following matters, we ask that IGSF visiting professors assume full responsibility on matters relating to visa applications, health insurance, housing and living expenses. Please note in particular that Canada does not pay for hospital or medicalservices for visitors. We ask all visiting professors to secure health insurance for the duration of the stay in Canada.How to apply:Please submit your application and all required documents via the official posting available on Workday.Required documents:One-page proposal describing the research to be undertaken while in residenceA copy or link to a recent publicationAn up-to-date curriculum vitaeAn indication of the potential period of tenure as Muriel Gold Visiting ProfessorThis position is nil-salary.Application closing date: February 15, 2026
- 04. Februar 2026 Negotiating the Nude: Unclothed Bodies in Art and its Historiographies (1860s–2026).The human body occupies a prominent position in highly controversial social debates. Especially unclothed, its various appearances in art and everyday life, public and private spheres as well as – more recently – digital environments induce and materialize conflicts at the same time. Yet the outrage provoked by Édouard Manet’s Luncheon on the Grass in 1863, and Olympia two years later indicates a different quality than current debates in post-industrial societies, whether allegations of indecency directed at Michelangelo’s David in Florida in 2023 or public responses on Florentine Holzinger’s opera-performance Sancta in Vienna in 2025 were concerned. Although notable instances permeate a Western artistic canon, the phenomenon itself goes well beyond such a framework.In global popular cultures, emancipatory efforts continue to compete with endeavors for regulation. Today, supporters of body positivity respond to mediations of the human figure governed by capitalist commodification, the MeToo-movement and various other social initiatives exposed enduring power relations based on gendered and racializing frameworks which, in a visually driven culture, are inseparable from dynamics of the gaze, as feminist writers like bell hooks have pointed out. Gaining momentum in the 1970s, diverse alliances advocating for sexual liberation and self-determination have expanded the cultural vocabulary with regard to articulations of gender, intimacy, and desire, challenging restrictive norms of binary and essentializing belief systems. All this has changed the way in which ‘the body’ is understood and discussed in discourses of modern art and beyond. As a concept, the term assumes reality in its grammatical singular only on a symbolic level. Its lived multiplicity and fragmentations, however, materialize in the aesthetic instance of the nude. Here, divided politics and affective economies are both negotiated and contested. This becomes evident in renewed attempts of interference in museums and galleries; simultaneously, artistic practices emphatically reclaim the genre from its hegemonic entanglements. From early historical surveys of the nude in art to contemporary perspectives informed by Queer and Disability Studies, scholars have repeatedly engaged with presentations of the unclothed body, connecting aesthetic, gendered, erotic, and sexual imaginaries with cultural, political, social, and anthropological concerns, in which they are inevitably entangled. Against this backdrop, the symposium seeks to explore how art, art history, and related areas of study have participated and keep responding to such decentralized developments that progress in non-linear and sometimes contradictory ways since the 19th century to the present.Explorations of the nude as a deliberate act of exposition rather than mere representation may include, but are not limited to the following questions: How is nudity negotiated in different cultural and historical contexts, and how has it been conceptualized by art history and visual culture studies, especially with respect to modern art—from Kenneth Clark to Margaret Walters, Griselda Pollock to David Getsy, etc.—with what blind spots? Which curatorial approaches have been pursued in exhibitions and museum presentations, and how was art historical research translated to broader audiences? Which canonizations and exclusions continue to shape the discipline, such as privileging Western classical traditions, or marginalizing questions of gender and ‘race’? How do techniques of reproduction affect the popularization of public nudity, from small black-and-white photographs to large-scale views evoking visual analogies between flesh, incarnate, and the materiality of the arts (oil paint on canvas, marble, paper, etc.)? And how are latent structures of desire embedded in scholarly accounts, e. g. Clark’s normative aestheticization of the “beautiful”? Discourses on anatomy, humanism, and religion may further illuminate the situatedness and historicity of art historical inquiry.The colloquium invites case studies, disciplinary debates, or methodological reflections that reconsider the challenges and potentials of engaging with the unclothed body on display. In dialogue with ongoing debates in art history, visual culture studies, and aesthetic theory, the project aims to scrutinize the topic in Western Art since the 1860s and encourages contributions from a global, de-centered perspective.Practical Information: Please submit an abstract of max. 250 words in English or German and a short academic biography (100 words) by 22.02.2026 to negotiatingthenude@zikg.eu. Proposals addressing related topics not listed above are also welcome. If you would like to suggest an alternative approach, please contact the organizers directly.Concept & Organization: Dominik Brabant (Zentralinstitut für Kunstgeschichte), Susanne Huber(Universität Bremen), Henry Kaap (Ludwig-Maximilians-Universität München)
- 19. Januar 2026 We are pleased to announce a Call for Papers for the session "Women, Sacred Landscapes, and Ritual Mobility in the Ancient Mediterranean." The session will be part of the 32nd Annual Meeting of the European Association of Archaeologists in 2026 in Athens in Greece, August 26-29. Thank you for sharing and for consideration! The deadline to submit your paper proposal for our session is Thursday, 5 February 2026.The session explores the intersections of gender, movement and sacred space in the ancient Mediterranean by foregrounding women’s active engagement with religious space and cult. Across diverse cultural and ethnic contexts, women carried out acts of devotion that transcended domestic boundaries and reshaped religious environments. For this session, we seek papers examining the impact of female agency on the formation of votive and cult practices beyond household and town settings, from peri-urban sanctuaries and cave shrines to sacred centers and distant dedication sites.We welcome papers that explore women’s religious identities, practices and offerings and the social roles through which women negotiated agency and community membership. While the ancient Greek world is central, papers addressing other Mediterranean contexts or cross-cultural interactions are also encouraged. Of particular interest are expressions of women’s ritual agency along routes of colonization, maritime trade, warfare, migration and refugee movement, and enslavement — contexts where ritual ex-votos circulated across cultural spheres and in which devotion may have intersected with obligation, secrecy or despair. Contributions should consider the material, textual, and iconographic evidence with special emphasis on the embodied ritual practice.Interdisciplinary approaches drawing on anthropology, art history, religious studies, and ancient history are welcome to illuminate how women’s activity intersected with dedication journeys and cross-cultural exchange. Ultimately, this session seeks to reassess the gendered dimensions of ancient cult and move beyond traditional male-centered or binary interpretive frameworks. It seeks to highlight women both independently and in conjunction with men sustaining cult traditions. By tracing the relationship between female devotion, space and mobility, we gain insight into networks of gendered power and memory that shaped a connected religious world through women’s ritual presence and movement.
- 14. Januar 2026 Following the Beyond Borders meeting series hosted by the WGSS Department at the University of South Florida, we warmly invite submissions for a special issue of The Archive Revisited Gazette celebrating Chukchee poet Antonina Kymytval’ and her brief but profoundly resonant encounter with Audre Lorde during the 1976 Afro-Asian Writers Conference in Tashkent.Lorde’s essay “Notes from a Trip to Russia” (Sister Outsider, 1984) and her poem “Political Relations” (Our Dead Behind Us, 1986) offer the only detailed accounts of this meeting, providing a rich starting point for reflection, creative engagement, and critical exploration.This special issue invites contributors to explore the intertwined legacies of Black and Indigenous feminist Internationalism, shining a light on the intimate and often overlooked connections that transcend Cold War boundaries. At its heart, the issue celebrates Kymytval’s poetics, Indigenous resilience, and the bold, affective solidarities she shared with Audre Lorde—what Lorde evocatively described as “making love…through our interpreters.”