tag:blogger.com,1999:blog-21165575.post7248629231649136850..comments2024-03-10T20:46:19.274-04:00Comments on In the Middle: Postcolonial Medieval Studies and Art HistoryCord J. Whitakerhttp://www.blogger.com/profile/06224143153295429986noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-21165575.post-22705340717914489452009-05-04T10:37:00.000-04:002009-05-04T10:37:00.000-04:00I think this would be a great question for Asa Mit...I think this would be a great question for Asa Mittman, and I also think one hopeful sign of change in this area is the new online journal "Different Visions: A Journal of New Perspectives on Medieval Art":<br /><br />http://differentvisions.org/<br /><br />Asa and Debra Higgs Strickland are co-editing an issue on monstrosity, some of which I know will take up post-colonial themes.<br /><br />From my own experience, I recall last February when I was at a conference organized by Erin Labbie and her colleagues at Bowling Green State University on "Beholding Violence" in the medieval and early modern periods, and the conference was specifically kind of designed around a literary studies/art history studies axis, so in a lot of sessions there would be a literature paper, then an art history paper, and so on. This conference can in no way be said to reflect a "state of the field" in art history [that would be unfair], but I do remember being struck by how many of the art history papers stuck to very close readings of the formal elements of paintings and such in relation to narrowly-defined [temporal-wise] socio-historical [often local] contexts.Eileen Joyhttps://www.blogger.com/profile/13756965845120441308noreply@blogger.com