Euroacademia Conferences
Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers (9th Edition)April 24 - 25, 2020
Identities and Identifications: Politicized Uses of Collective Identities (9th Edition)June 12 - 13, 2020
8th Forum of Critical Studies: Asking Big Questions AgainJanuary 24 - 25, 2020
Re-Inventing Eastern Europe (7th Edition)December 13 - 14, 2019
The European Union and the Politicization of Europe (8th Edition)October 25 - 26, 2019
Identities and Identifications: Politicized Uses of Collective Identities (8th Edition)June 28 - 29, 2019
The European Union and the Politicization of Europe (7th Edition)January 25 - 26, 2019- 7th Forum of Critical Studies: Asking Big Questions AgainNovember 23 - 24, 2018
Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers (8th Edition)September 28 - 30, 2018- Identities and Identifications: Politicized Uses of Collective Identities (7th Edition)June 14 - 15, 2018
Papers
Sullied Sublime: Art History and Identity in the Post Internet Era
This paper focuses on two migrant, European painters who influenced the perception of a cultural identity in the newly colonised Australia between 1850 and 1890: Swiss-born, Abram-Louis Buvelot (1814-1886) and Austrian, Eugene von Gerard (1811-1901). Both have been posthumously honoured as fathers of the Australian landscape and, conversely, criticised for their misrepresentation of Australian history.
Visual Objects in European-Bengali Identity Dynamics: From 18th Century Exchanges to Contemporary Afterlives
My contribution investigates the history, appropriations and afterlives of visual objects involved in historical intercultural exchanges in 18th century Bengal. Visual objects appear in this history on multiple levels, both as gift-objects and as part of 'early visual anthropologies'. As gift-objects, specific visual materials such as Flemish prints or copies of European paintings circulated as gifts from European merchants to influential local power-brokers.
‘Superflat’ and the Reconsideration of the Western Heritage: For a New Definition of the Japanese Identity
This study will show how Morimura Yasumasa uses the imagination from the Japanese aesthetic and exoticism to exhibit a certain Nippon imaginary. Quoting and sliding inside the narration of the famous masterpieces, Morimura’s substitutions and hybridizations reflect another historic alternative. In a search of recognition of Japanese path, cross-cultures and cross-genders are instruments to set up a dialogue addressing the Western influence.
Henry Stanley’s ‘The East and The West’ (1865): Reflections on Civilization and Identity by Britain’s First Muslim Peer
This paper explores the reflections on ‘civilization’ and identity that developed in Westminster debates and through the press in the 1860s, with particular focus on an 1865 pamphlet entitled 'The East and the West: Our Dealings with Neighbours'. In some respects, they address themes strikingly reminiscent of challenges that continue to face multicultural societies today.
Shilpa Gupta: Identity as Shared Day-to-Day Life Practice
Gupta is making a statement regarding Indian and Pakistani's identity, referring to a common identity, prior to the Independence, based on the territory, and human presence on the land, trying to overcome a narrow definition of identity based on religion, which is the prevalent definition at present in Pakistan and is becoming more prevalent in India under the spell of the Hindu party. These trends that attempts to assert religion as an essential component of people identities is a passport for confrontation between the communities. Instead she is proposing that collective identities are based on practices of living, of growing food, and of dying, and related to ties with one's neighbors as carers of pasture, of land, of graves.
Identity and Self-Fashioning of an Ottoman Ruler as Shown in Gentile Bellini’s Portrait of Sultan Mehmed II (1480)
Although accepting Portrait of Sultan Mehmed II as an important cross-cultural artistic testimony, due to the complexity of the painting’s condition and conservation history, few scholars have further explored its significance as a political and cultural expression of self-representation by an Ottoman ruler. Therefore, this paper aims to examine the intercultural dialogue between the identities of the painter and the sitter. In addition, I will discuss not only how portraiture is used to create a cross-cultural identity, but also how courtly culture and the Renaissance itself had an impact on the staging of this multi-layered identity.
The Illustrated Interview as Self-Portrait: Portraying British Women Sculptors
This paper considers the role of the illustrated interview as a representation of British women sculptors in the first half of the twentieth century. It addresses both language and photographic imagery as mechanisms through which these artists were positioned as women undertaking a supposedly “masculine” practice.
Fake Identities: Nature, Representation, and Self-Projection
Based on that hypothesis, and drawing from Aesthetics, Art History and Theory of Representation, this article wishes to attempt an archaeology of the work of art as an apparatus of identification, focusing on the specular links that articulate vision, knowledge, nature and identity in Western culture.Non-Aligned Modernism: Yugoslavian Modernist Art and Cold War Cultural Diplomacy
This paper examines aspects of the history of modernism in the socialist Yugoslavia by studying the influence of Cold War cultural diplomacy in Yugoslavian culture and politics of the 1950s and 1960s. More specifically, it does this by looking at the 1956 MoMa exhibition of Abstract Expressionism which legitimized modernist ethos as an accepted political, social, and cultural form during Yugoslavia’s transition from a hard-line Soviet-style state, to a more open, humanist-socialist one.
Through Art to Good Diplomatic Relations: Exhibitions of Soviet Art in Germany, Italy and the US in the 1920s
The aim of this paper is to bring a light on the way how the multi-institutional organization of these exhibitions influenced the choice of artworks to be presented and artists to be employed and also how these choices influenced the creation of an image of the Soviet Union as a country of tolerance and open-mindedness in the artistic field in the 1920s.
