Durham University, June 22nd and 23rd, 2023. Venue: Birley Room, Hatfield College, North Bailey, Durham, DH1 3RQ
On 22 and 23 June, the Zurbarán Centre at Durham University will host its third student-led symposium showcasing innovative doctoral and early career research in Iberian and Latin American art and visual culture.
The theme of this year’s symposium is movements and transformations, with presentations exploring a wide variety of topics, periods and regions. The 20 papers, drawn from 17 academic institutions, range from the movement of artists and artworks and their impact on visual culture to the transformative power of art in the forging of social, religious and political identities. The presentations will address important questions relating to artistic agency and reception, the circulation of art and artefacts, visual traditions across different media and societies, and artistic innovation. The symposium also features a keynote address by Prof. Claudia Hopkins, Director of the Zurbarán Centre.
Opportunities for questions and answers will follow the presentations and the keynote lecture. The aim is to stimulate interdisciplinary conversations and connections among emerging and established scholars engaged in the field of Iberian and Latin American art. Organised by Durham University doctoral students, the symposium will be held as a hybrid event for in-person attendance in Durham or virtual attendance via Zoom. Booking is essential and registration details can be found on the Zurbaran Centre’s website.
For those coming in person and able to spend more time in Durham, we will be arranging a visit to the Spanish Gallery in Bishop Auckland on Wednesday, 21 st June and a visit to the Bowes Museum in Barnard Castle on Saturday, 24 th June. More details will be provided closer to the event.
SYMPOSIUM PROGRAMME MORNING SESSION, THURSDAY 22 ND JUNE 10:00AM-12:45PM BST
10:00-10:30 Registration
10:30-10:45 Welcome and opening remarks: José María Robles, Minister-Counsellor for Cultural and Scientific Affairs, Embassy of Spain
10:45-11:45 Panel One – Art in Motion: Moving Artworks and Artistic Practices Stephanie Bernard (Durham University, UK) Juan Sánchez Cotán’s Adoration of the Magi, Between Tradition and Innovation Nora Guggenbühler (University of Zurich, Switzerland), The Travels of the Madonna di Trapani: Records of a miraculous image’s journey throughout the Iberian world
Q&A
11:45-12:00 Break
12:00-1:00 Panel One – Continuation Rafael Japón (Universidad Autónoma de Madrid, Spain), Flemish Paintings by an Italian Painter: The decoration of the cloister of the monastery of San Agustín in Lima Annemarie Iker (Princeton University, USA), Secrecy in the Paris Paintings of Santiago Rusiñol (1861—1931) and the Catalan Modernistes
Q&A
1:00-2:00 Lunch
AFTERNOON SESSION, THURSDAY 22 ND JUNE 1:45-6:00PM BST
2:00-3:30 Panel Two – Art and the Transformation of Iberian Identities Paola Setaro (Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo, Italy), From Painter of Friars to Painter of the Soul. The Gaze on Zurbarán in Francoist Spain Vega Torres Sastrús (Universitat de València, Spain), Transformations in and Through the Arts. Catholicism and Visual Culture in the Spanish Second Republic (1931-1936) Andrea Garcés Galarreta (Universidad Complutense de Madrid, Spain), From Equipo Realidad (1966) to Nueva Escuela Valenciana (circa 1980): De-sacralising visual practices in post francoist Spanish Mediterranean Coast
Q&A
3:30-3:45 Break
3:45-5:00 Panel Three – Jewish Identity on the Move in the Hispanic World Laura Feigen (The Courtauld Institute of Art, UK), Exodus and Expulsion: the Barcelona Haggadah as a Material Witness to Sephardi Migration 1391-1459 Jorge Oliaga Vázquez (University Autónoma of Madrid, Spain), The Old Testament in Seventeenth Century Spanish and Novo-Hispanic Painting: circulation of models and ideas in the Modern Age Drew Erin Becker Lash (University of California, Los Angeles, USA), Jacob and Intertextuality: Old testament images in seventeenth century Spain Q&A
5:10-5:25 Refreshments
5:25-6:00 Keynote speaker: Prof. Claudia Hopkins, Director of the Zurbarán Centre (Durham University, UK) Politics and Nostalgia for Al-Andalus in Art and Visual Culture in Franco’s Spain around 1950
MORNING SESSION, FRIDAY 23 rd JUNE 11:00AM-1:00PM BST
10:00-10:45 Coffee
10:45-11:45 Panel Four – Reception and Reimagining the Artistic Cultures of the Past. Montserrat Andrea Báez Hernández (University of Teramo, Italy) “Per metterlo in venerazione nel lontano paese…” Translation, Reception and Devotion of Roman Catacomb Martyrs in Latin America (1830-1880) Richard Jacques (Durham University, UK), Zurbarán’s Image of Saint Serapion and the Transformation of a Body in Pain
Q&A
11:45-12:00 Break
12:00-1:00 Panel Four – Continuation Pablo Sánchez Izquierdo (Universitat de València, Spain), The Vernacular Moroccan Construction and the Spanish Modern Architecture Theories Élodie Baillot (Sorbonne Université, France), From One Century to Another: French historiography and the fortune of « Hispano-mauresque » art
Q&A
1.00-2:00 Lunch
AFTERNOON SESSION, FRIDAY 23th JUNE 2:00-5:30PM BST
2:00-3:30 Panel Five – Expressions of Power: Arts and politics of the Americas Alexis Salas (University of Arkansas, USA), “¡Dále Gas! [Give It Gas!]: Art and Oil in The Petrochemical Americas Francesca Romana Gregori (University of Padua, Italy), “Antimonumenta” Artistic Practice in Feminist Mexico Alessandra Simões Paiva (Federal University of Southern Bahia, Brazil), Revolution from the Margins: The decolonial turn in the Brazilian contemporary art
Q&A
3:30-3:45 Break
3:45-5:00 Panel Six – Innovative artforms and artistic agency Ana Plaza Roig (Universidad Nacional de Tres de Febrero AGENCIA I+D+i/UNTREF, Argentina), A Saint Prince in Northwest Argentina: The patronage of Juan José Fernández Campero de Herrera Julieta Pestarino (4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics, Berlin), Botanical Portraits: Anatole Saderman native plants photographs, between Science and Art Lariana Olguín (University of Puerto Rico, Puerto Rico), The Female Figure in the Spanish and Puerto Rican Satirical Press from 1860-1900
“Así repiten aún las piedras”: Juan de Roelas, Seville of 1615, and the City as Substrate
Juan de Roelas, The Immaculate Virgin, 1616, oil on canvas, 323 x 195cm. Museo Nacional de Escultura, Valladolid.
Speaker: Dr. Aaron Hyman
Date: 25 May 2023, 6 – 7:30 (BST) Place: Lecture Theatre 1 Vernon Square
In 1615, Seville erupted with fervent debates about the question of the Virgin’s Immaculacy. Clergymen hoping to sway the hearts and minds of both everyday supplicants and the religious powers that be took to the streets. The main mode by which clerics tested and contested ideas about Immaculacy was through the written word. “No plaza, no fortification, no street,” as one period source describes, was free from pamphlets and broadsheets that alternatively lambasted or defended this theological tenet. Amid this turmoil, the Spanish-Flemish cleric and painter Juan de Roelas produced a massive painting covered in texts of all sorts. This talk parses the picture’s many inscriptions not simply for their content but for their formal and material aspects, coordinating these against campaigns of the written word that were staged across the city’s surfaces. Doing so reveals the painting to be a carefully constructed message about the potentials and the power of particular types of textual objects and of the city itself—its very stones—to serve as a substrate capable of receiving inscription.
This talk emerges from a new book project, Formalities: The Art of Script in the Early Modern Spanish World, research for which has been supported by the American Council of Learned Societies, the Thoma Foundation, and the Newberry Library, Chicago.
Aaron M. Hyman is assistant professor in the Department of the History of Art at Johns Hopkins University and in 2023 fellow-in-residence as part of the “Global Horizons in Pre-modern Art” project at the Universität Bern. He is the author of Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021), which was awarded the Latin American Studies Association’s Best Book in Colonial Latin American Studies (2019-22), honorable mention for the 2023 Association for Latin American Art-Arvey Foundation Book Award, and honorable mention for the Renaissance Society of America’s 2023 Phyllis Goodhart Gordon Prize for Best Book in Renaissance Studies.
Organised by ARTES and Dr Tom Nickson (The Courtauld)
ARTES would like to express our apologies for this last minute change. Due to unforeseen circumstances, the event ‘“Murillo. From Heaven to Earth” – A talk by Guillaume Kientz’ will be rescheduled for a later date yet to be determined. Please keep an eye out for the announcement!
The Lise Meitner Research Group “Decay, Loss and Conservation in Art History” led by Francesca Borgo at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome seeks to appoint a:
Predoctoral Fellow (M/F/D)
The deadline for application is May 31 2023, 12 pm CEST. Interviews will be held virtually in June 2023. Candidates should propose a funding period of desired length within the academic year 2023/2024. Motivations for the length of period proposed should be made clear in the cover letter.
The Predoctoral Fellow will conduct their own research within the framework of the Research Group. Excellence in research, commitment to pursue new insights through original scholarship, and willingness to become part of a group of young, international scholars are essential. Fellows will actively participate in the Group’s activities and are invited to contribute to its publication output while benefitting from editorial and image licensing support. They will be responsible for planning and organizing seminars, workshops, visits, and fieldtrips in collaboration with other team members and under the supervision of the Group Leader. Candidates must be conversant in English and familiar with Italian and/or German.
This position is intended for a PhD student enrolled at any university worldwide who is in the finishing stages of their dissertation. In addition to clarifying how residence in Rome benefits their PhD research, candidates should include in their cover letter a statement of how their work advances the goals of the research group. Candidates should also seek the approval of their doctoral advisor. Candidates are expected to review the Research Group’s research agenda, past initiatives and event series, as well as the broader structure of the Bibliotheca Hertziana into which the Research Group fits. We welcome applications from doctoral students in every field within the history of art, technical art history, conservation history, and museum studies, with preference given to projects spanning traditional disciplinary boundaries. The selection committee aims to assess the ability of candidates to contribute in a collegial way to the intellectual life of the Research Group.
This is a residential fellowship. By the start of the appointment, candidates are expected to have taken up residence in Rome. The fellowship may not be held concurrently with another major fellowship award; applicants must disclose any supplementary funding and may not take on other obligations during their fellowship period.
The Max Planck Society offers a fixed-term contract of employment. Stipend and benefits are determined according to the German Civil Service Collective Agreement (65% TVöD Bund E 13) or equivalent, depending on individual personal circumstances. Fellows enjoy all the privileges of the Institute, including library access seven days a week, a research budget, and their own carrel or desk.
We encourage women and individuals from communities that are underrepresented in academia to apply. The Max Planck Society is committed to fostering equal opportunities and diversity and welcomes applicants from all parts of society, regardless of gender, ethnicity, disabilities, or sexual orientation.
To apply the candidate must upload the following documents as separate PDF files to the application portal:
Cover letter that clearly states the candidate’s contribution to the Research Group’s objectives
Description of proposed research project (max. 1000 words), accompanied by a bibliography
Curriculum vitae with list of publications (including those forthcoming, under revision, submitted, or in preparation)
One reference letter
Output proposal (max. 500 words). This could be a site visit, a collaboration with a local collection, a research seminar, a publishable piece of writing, or a contribution to a national or international conference. The proposal should detail specific names and locations and specify how the output aligns with the Research Group’s themes.
This talk will discuss the research for the exhibition Murillo. From Heaven to Earth curated by Guillaume Kientz at the Kimbell Art Museum in Forth Worth, 18 September 2022 – 29 January 2023. Inspired by the Kimbell’s mysterious Four Figures on a Step, the exhibition focused on Murillo’s earthly depictions of secular subjects and everyday life in seventeenth-century Seville. The show and its accompanying catalogue shed new light on Murillo’s innovative portrayals of beggars, street urchins and flower girls in the artist’s culturally rich narratives of youth and age, romance and seduction, faith and charity.
Guillaume Kientz is the Director and CEO of the Hispanic Society Museum and Library, New York. He previously served as Curator of European Art at the Kimbell Art Museum and as Curator of Spanish and Latin American Art at the Musée du Louvre.
To join the seminar, click on the link below, or copy and paste it into your browser:
The seminar has been organised by the Zurbarán Centre and the ARTES Iberian and Latin American Visual Culture Group in association with the Cervantes Institute, UK.
Histories of architecture and histories of construction continue to debate the relationship of design and craft. The biographical model, privileging the architect’s intellectual gifts and relations to patrons, has long emphasized the circulation of architectural knowledge through treatises, writings, and travel accounts, while histories of construction and the vernacular focus on the organization of the architectural trades and the study of materials and construction technologies. Histories of construction underscore the fact that the building trades were hardly “democratic” in the early modern Iberian world, where cities and towns often issued legislation to control (not always successfully) artistic and architectural practices as well as urban development (e.g., Slater, Pinto, 2017). The implementation of official languages, urban regulations and design, cartography—or the way the world was represented and understood—consistently effaced both racial and religious minorities across these regions (e.g., Jones 2019; Mignolo, 2003; Mundy, 1996, Davies, 2016). Yet recent literature shows that Black and Indigenous subjects and other racial and religious minorities across the Spanish Atlantic actively litigated to gain rights (e.g. Ireton, 2020; Masters, 2023). While the biographical model has often silenced minority voices, histories of construction and the vernacular allow us to bring to the fore the major intellectual contributions of Black, Indigenous, and other minority architects, builders, masons, and non-architects. This roundtable seeks to re-examine the histories of construction and architecture to explore the role played by a diverse array of builders in shaping the Iberian World.
What does studying builders and the building trade in the Iberian world tell us, and why is it important? For example, architects and builders of Amerindian descent dominated the building trades in Mexico City and Quito (Mundy 2015; Webster 2011), even as several imperial systems enacted legal mechanisms to silence local, Black, and Indigenous knowledge of structures, materials, and design. And what happened in cities and locales where there were no architects but perhaps only carpenters or surveyors at work? Several essays in the recent JSAH Roundtables edited by David Karmon, “Constructing Race in Architecture, 1400–1800,” Parts 1 and 2, touch upon similar issues, further inviting us to rethink how we study architecture. Indigenous knowledge enabled the erection of buildings in regions with significant challenges, such as the suspended quincha vaults of colonial Peru, timber structures in areas with high seismic activity in Portugal, or buildings that sustained the monsoon in Asia (e.g. Carita, 2000 and 2003).
This JSAH Roundtable seeks contributions that rethink the relationship between race and the histories of craft, design, construction, the vernacular, and more traditional architectural histories by focusing on the Iberian world as an example of an imperial system. How was race constructed and reflected in the social organization of the trade and in buildings and cities across the Iberian world? It invites essays that focus on the social organization of the building trade and the construction of race in cities and regions across Europe, Asia, Africa, and America that formed part of the Iberian world between 1400–1800. Theoretically and historically rigorous studies that deal with issues of race, climate, gender, indigeneity, and/or indigenous knowledge, as well as interdisciplinary approaches, are especially encouraged. The editor is committed to working with the chosen contributors to develop their ideas for the roundtable.
Submission Guidelines A JSAHRoundtable consists of a series of short essays, each of approximately 1000 words, that will be collectively published in the place of a single article in an issue of JSAH. This format provides an opportunity for a range of contributors to explore new research directions through a variety of lenses, alongside the traditional full-length articles that are the JSAH mainstay. We welcome submissions by individuals at different career stages (including independent scholars) and different types of institutions (universities, government agencies, museums) that are diverse in their gender, racial, and national composition. To propose an essay for the roundtable, please submit a CV and a one-page abstract for review by roundtable editor Laura Fernández-González to: lfernandezgonzalez@lincoln.ac.uk
Organized by: International Committee for Museums and Collections of Decorative Arts and Design Submission Deadline: 15 May, 2023 Location: Lisbon, Portugal Dates: 10 – 12 October, 2023
“Ornament is not only produced by criminals; it itself commits a crime,” So said architect and designer Adolf Loos in his 1910 lecture-turned-essay “Ornament and Crime,” where he described the effort in designing and creating ornaments as superfluous and wasteful and helped to set the stage for the minimalist, stripped-down forms that would shape modern architecture and design for much of the twentieth century. More than fifty years later, postmodern designers rejected the strict functionalism of modern design, with Robert Venturi declaring, “more is more, less is a bore,” and Ettore Sottsass poetically describing decoration as “a state of mind, an unusual perception, a ritual whisper.”
The debate over ornament—what is its purpose, what should it look like, how should it be applied, and is it even necessary at all—chronologically and geographically transcends any of these figures and is in fact as old as the field of decorative arts itself. Skilled craftspeople have been producing ornament-laden decorative arts for more than a millennia. Throughout the world, cultures have developed complex relationships to ornament, making it an ideal topic for ICDAD’s 2023 annual meeting.
This year’s ICDAD conference invites papers that consider the many dimensions of ornament and its multiple roles in decorative arts and design. For instance, what is its role today? How have relationships to decoration evolved over periods of time? What are its social and political functions? Does ornament enhance or obscure meaning and use? How do different cultures address ornament and decoration, and where have they served as a connector between communities? How does decoration function in global art history, and how might the approaches taken by artists and makers in non-western countries illuminate alternative relationships to ornament?
Lisbon is an interesting site for this productive dialogue; a city marked by its centuries-old tradition of decorative tile as well as gilded and polychrome wood carving. Lisbon is also the home of present-day designers rethinking associations to material and aesthetics. The ICDAD meeting in Lisbon will take full advantage of this fertile ground, visiting significant historical sites and museums throughout the city and the surroundings while engaging with contemporary collections and makers.
The after conference tour shall be to Coimbra and Porto, in the north of Portugal, on 13 and 14 October.
For information on how to apply please click here.
Includes travel to Spain and Italy, Sep 1, 2023–Sep 1, 2024
Institution: Custard Institute for Spanish Art and Culture (Dallas, Texas) Deadline: Apr 20, 2023 Application materials should be sent in PDF format to: Dr. P. Gregory Warden, Mark A. Roglán Director, Custard Institute gwarden@smu.edu
The Custard Institute Post-Doctoral Fellow is appointed by and reports to the director of the Custard Institute for Spanish Art and Culture at the Meadows Museum, SMU. They serve a full-time appointment of one year (12 months), beginning in September 2023 or as appropriate. The Fellow will work with the faculty and staff of the Custard Institute for Spanish Art and Culture (CISAC) at SMU, and of the Edith O’Donnell Institute of Art History (EODIAH) at the University of Texas at Dallas on the research project, Royal Power, Exoticism, and Technology: Porcelain Rooms from Naples to Madrid. This cultural heritage project brings together art historians and experts in digital technologies at the EODIAH and the CISAC to create digital models of two of eighteenth-century Europe’s great artistic and technological achievements: the porcelain rooms that the Bourbon King Charles of Naples (later King Charles III of Spain) commissioned from his court workshop for the royal palaces at Portici (10 km southeast of Naples) and Aranjuez (50 km south of Madrid).
Required – Completion of the Ph.D. or equivalent – Demonstrated knowledge of digital cultural heritage technologies, and demonstrated foundation in the history of art and architecture or archaeology – Excellent proficiency in either Spanish or Italian
Preferred Qualifications – At least one year of research experience or relevant digital cultural heritage experience – Experience with collaborative projects and project management
Opportunities & Responsibilities – Play a lead role in all aspects of the project to research and model the Bourbon porcelain rooms at Portici (now held at the Museo e Real Bosco di Capodimonte in Naples) and Aranjuez – Conduct research to gather primary and secondary sources related to the design, construction, and later histories of the porcelain rooms – Actively collaborate with CISAC and EODIAH faculty and staff, as well as the staffs of Aranjuez, Capodimonte, and Portici – Spend periods of project-related work in Naples, Portici, and Aranjuez – Teach a course on digital cultural heritage in the spring of 2024 – Manage your own travel/research budget
Fellows receive: – An annual stipend of $50,000 to defray living expenses – Additional funds available for research, travel, and other expenses – In addition to SMU/CISAC appointment, a UTD/EODIAH affiliation as Visiting Researcher – SMU benefit package
Applicants must submit: • A curriculum vitae • A statement (not to exceed 1,500 words) describing: – the candidate’s background in digital cultural heritage, art history, architectural history, or archaeology; – the applicant’s research goals; – how these goals relate to or will benefit the Custard Institute and the porcelain rooms project; and – the names and contact information of three academic and/or professional recommenders.
Deadline to apply: April 20, 2023
Application materials should be sent in PDF format to: Dr. P. Gregory Warden, Mark A. Roglán Director, Custard Institute gwarden@smu.edu
Graduate Teaching Fellowships – Three Positions: Transcending Boundaries in Late Antiquity and the Middle Ages
Deadline: April 17th, 2023
Background
Building upon our recent success in the national Research Excellence Framework (REF 2021), the School of Humanities and Heritage at the University of Lincoln is offering three fully-funded Graduate Teaching Fellow positions in Medieval Studies (comprising a PhD fee waiver, plus the equivalent of a UKRI stipend, for four years full-time). We invite talented individuals to submit applications for these fellowships, which combine PhD study with limited teaching duties at the University of Lincoln. We are particularly interested in interdisciplinary and comparative doctoral projects that link to our overarching theme of ‘Transcending Boundaries in Late Antiquity and the Middle Ages’ and draw upon our staff’s expertise in archaeology, archives, art history, history, linguistics, and literature.
Medieval Studies is an area of research excellence in the University that attracts scholars from around the world who work on Late Antiquity and the Middle Ages. Successful applicants will be supervised in undertaking their doctoral research, and will simultaneously be provided with a graduated introduction to teaching, involving mentorship, training, and support for attaining HEA Associate Fellow status. Teaching contact hours will build gradually up to a maximum of no more than 8 hours per week during term time over the course of the Graduate Teaching Fellowship.
Aims
The late antique and medieval world (300-1500) was one of blurred edges, where politics, societies, religions, and cultures mapped onto space and time in constantly shifting patterns. Yet modern scholarship tends to describe the period in rigid categories of race and denomination reflecting and supporting contemporary agendas of nationhood and state-building, and to reconstruct it with sets of tools determined by the divisions of modern university departments and disciplines. To encourage innovative, comparative, and intersectional approaches to examining Late Antiquity and the Middle Ages, we invite applications for our Graduate Teaching Fellowships that employ intersectional methodologies to studying Late Antiquity and the Middle Ages. Applications should be for doctoral projects that align with one of the following themes:
1. Languages, communities, and beliefs: a proposal for a doctoral project that explores multilingual, intercultural, or inter-religious contacts, martyrs, and saints, and/or networks and networking in the Iberian Peninsula.
2. Gender, identities, aristocracies, and power: a proposal for a doctoral project that reconceptualises women’s roles and/or explores new ways of understanding lordship and elites across different regions.
3. Archives, heritage, and medievalism: a proposal for a doctoral project that uses, recovers, and/or reconstructs neglected collections, works, or sites, preferably in/around Lincoln and with digital approaches.
Research Environment
The successful applicants will join the University’s thriving Medieval Studies Research Group, which enjoys an international reputation for its publications and projects. Situated within the beautiful cathedral city of Lincoln, the Group has strong links to civic partners, including Lincoln Cathedral with its peerless holdings of medieval manuscripts, the Collection Museum (soon to be renamed The Lincoln Museum) with its repository of ancient and medieval finds, Lincoln Castle, and Lincolnshire Archives, one of the UK’s largest regional collections. Our externally funded research includes the Medieval Iberian Saints Project (AHRC), and we host two Leverhulme early career researchers (Dr Hannah Boston and Dr Anaïs Waag).
The three Graduate Teaching Fellowship themes reflect the main research areas of the Medieval Studies Research Group:
2. Gender, identities, aristocracies, and power: The Group includes a critical mass of scholars whose research examines the intersections of gender, identity, status, and power amongst European aristocracies and ruling elites. Current related research includes: Medieval People; and the Noblewomen Network.
This is a developmental role for those aspiring to an academic post in the future. You will be given the opportunity to work across disciplines and engage with colleagues from the University of Lincoln’s Medieval Studies Research Group. You should possess a good undergraduate Honours degree (2:1 or higher) and Master’s degree in Archaeology, Classical Studies, History, Art History, Linguistics, Medieval Studies, or English.
Interested applicants are encouraged to demonstrate skills, experience, and/or potential relevant to a future career in teaching and researching aspects of life and culture in Late Antiquity and the Middle Ages. Evidence of the ability to engage in postgraduate research and to work collaboratively as part of a teaching team, including excellent communication skills in both written and spoken English, are required. Successful applicants will enrol on an appropriate PhD programme at the University of Lincoln.
Funding
A Graduate Teaching Fellow position is a four-year, full-time role which combines PhD study with teaching duties. Applicants with relevant personal circumstances may be enrolled for six years on a part-time basis, but only where this is justified.
All Graduate Teaching Fellows will have their PhD fees waived, whether they incur home or international fees. They will also receive the equivalent of the standard UKRI stipend (£17668 p.a. in 2022-2023), partly as salary and partly as a stipend.
Graduate Teaching Fellows will be provided with appropriate training and support to undertake their teaching role. It is envisaged that their teaching duties, including associated administrative support and training, will not exceed 468 hours (0.3 FTE) per year and in no case will exceed 20 hours of duties per week.
How to Apply
To apply for this position, please send your CV, cover letter, personal statement, and EDI monitoring form to Professor Louise Wilkinson (medievalstudies@lincoln.ac.uk) with the subject heading “Medieval Studies Graduate Teaching Fellow Application”.
Your personal statement should provide: (1) information on how your qualifications and experience meet the requirements of the Graduate Teaching Fellowship Programme (500 words); (2) an outline of your proposed doctoral project, noting which theme it aligns with and your preferred supervisors (1000 words excluding bibliography); (3) a statement outlining how you would approach teaching Medieval Studies to undergraduates, including any relevant experience if applicable (500 words); and (4) the contact details for two academic references.
Candidates are strongly encouraged to contact their preferred supervisors for informal advice about developing their doctoral projects in advance of submitting their applications.
ARTES 