CfPs - CALLS FOR PAPERS by M. A. Katritzky
17 October 2024. This is not a CFP. It is an invitation to attend a free public one hour online lecture. Inaugural GOTH Annual Lecture (17 October 2024, 4.30-5.30, online at The Open University).
A link to the eventbrite page is here https://www.eventbrite.co.uk/e/inaugural-goth-annual-lectur... more A link to the eventbrite page is here https://www.eventbrite.co.uk/e/inaugural-goth-annual-lecture-angeliki-lymlymberopoulou-tickets-1030965644997?aff=oddtdtcreator
Angeliki Lymberopoulou:
The Liturgical Space of Heaven and Hell in Byzantine monumental art
The synergy between the physical space of the Byzantine church and the liturgy performed within it gives the Christian faithful a ‘taste’ of eternity. In the Byzantine church, the congregation effectively experiences Heaven, amply enhanced by monumental iconography, but also the gruesome alternatives that await those who sin in this life. The GOTH Lecture explores the function of Byzantine monumental art as a constant reminder of the importance of making ‘wise choices’ in life.
Speaker: Angeliki Lymberopoulou (Open University) is a Byzantine art historian and archaeologist specialising in socio-economic and political contexts of the artistic production of Venetian Crete (1211-1669). Principal Investigator for a Leverhulme project exploring Byzantine representation of Hell (published 2020), she has recently completed a prestigious Dumbarton Oakes Fellowship.
Papers by M. A. Katritzky
Dinah Wouters & Jan Bloemendal (eds) Transnational Encounters in Early Modern Drama, 1450–1750, 2025
In seventeenth-century Europe, the most popular professional theatre was provided by two types of... more In seventeenth-century Europe, the most popular professional theatre was provided by two types of itinerant performers. They are Italian (commedia dell'arte) actors and actresses and male-only touring English actors. Numerous early modern images relate to itinerant Italian players. By contrast, very few relate to the English players in Europe. This chapter discusses ways of identifying and interpreting images of theatrical interest with reference to previously un(der)considered images relating to English and Italian itinerant performers in early modern Europe.
Journal of the Bible and its Reception, 2024
This paper examines a groundbreaking innovation to medieval Easter plays: the creation of the ext... more This paper examines a groundbreaking innovation to medieval Easter plays: the creation of the extra-biblical merchant scene, in which the Marys purchase spices prior to their Visitatio Sepulchri. The patron of its earliest known representation was the female religious leader Uta von Kirchberg. An illuminated roundel in the Uta Codex she commissioned towards the end of her term as abbess of Niedermünster (1002-25), depicts the Holy women purchasing spices from a spice merchant. Until the twelfth century, this remained the only representation of an Easter merchant scene, visual or textual. The only textual Easter merchant scene predating the thirteenth century is within the twelfth-century Latin/Catalan Ludus Paschalis of Vic Cathedral, near Barcelona, a highly influential Easter text whose transnational impact has been traced in numerous later Easter texts across Europe, including many with merchant scenes. Around 2000, musicologists David Wulstan and Constant Mews suggested the renowned composer and poet Heloise (c. 1090s-1164) as its author. Widely accepted by musicologists, their attribution's significance for the female impact on the merchant scene is barely acknowledged. Here, I ask: 'how did women influence the creation, promotion and development of the merchant scene's visual, textual and performative manifestations?' By repeatedly reattributing responsibility for decisive input into the development of the merchant scene from anonymous male scribes to identified female religious leaders, my interdisciplinary analysis moves women to the centre of this creative process.
2020 M A Katritzky. “Shakespeare’s picture of ‘We Three’ An image for illiterates?”.
Duits, Rembrandt ed. The Art of the Poor: The Aesthetic Material Culture of the Lower Classes in Europe, 1300–1600. London: Bloomsbury, pp. 185–198. , 2020
2019. M A Katritzky. “Stefanelo Botarga and Zan Ganassa: Textual and visual records of a musical commedia dell’arte duo, in and beyond early modern Iberia”,
Music in Art 44, pp. 83-104.
2012 M A Katritzky. “‘The picture of “We three”’: a transnational visual and verbal formula before, during and after the lifetime of Shakespeare”.
Filatkina, Natalia; Muench, Birgit Ulrike and Kleine-Engel, Ane eds. Formelhaftigkeit in Text und Bild. Trierer Beitraege zu den historischen Kulturwissenschaften (2). Wiesbaden: Reichert Verlag, pp. 223–244., 2012
2020 M A Katritzky. “The itinerant healer as a stage role: its origins in biblical drama”.
Chanita Goodblatt & Eva von Contzen (eds), Enacting the Bible in Medieval and Early Modern Drama, Manchester University Press (Manchester Medieval Literature and Culture), pp. 81-103., 2020
M A Katritzky (2020). “London and The Hague, 1638: Performing quacks at court”
M A Katritzky & Pavel Drábek (eds), Transnational Connections in Early Modern Theatre, Manchester University Press, pp. 114-138., 2020
2021 M A Katritzky. “William Hogarth and Book Illustration: Visualizing “Otherness” in pre-Victorian images of Shakespeare’s Caliban”.
Pietrini, Sandra ed. Shakespearean Characters Transposed: Iconography, Adaptations, Cultural Exchanges and Staging. L’immaginario teatrale, 1. Alessandria: Edizioni dell’Orso, pp. 65-83 & 237-241., 2021
2021 Unreliable Memories: Documenting the Scenography of the 1589 Florentine intermedi
European Medieval Drama, 2021
The Palgrave Handbook of the History of Women on Stage, 2019
This chapter focuses on a description of performances on offer at an annual fair in mid-seventeen... more This chapter focuses on a description of performances on offer at an annual fair in mid-seventeenth-century Antwerp, by an articulate writer with a particular interest in drama and (though it is a term she herself never uses) actresses. Her account offers exceptionally rare eyewitness insights into the stage practice and audience reception of early modern stage actresses and female fairground performers from the female point of view during the 1650s, the decade in which professional actresses were first officially accepted in Flanders. Its author is the writer, poet, and political and natural philosopher Margaret Cavendish (Tomlinson 1998; Katritzky 2007, 1-19). Cavendish (c.1623-1673), born Margaret Lucas, met and married the Duke of Newcastle, then also exiled from Cromwell's England, in Paris in 1645. In 1648, the couple moved to Antwerp and leased the magnificent city mansion of the Flemish artist Peter Paul Rubens from his widow. They turned Rubens's studio into a riding school and stayed until the 1660 Restoration allowed their permanent return to England (Cavendish 1667, 55, 63, 90). Cavendish was a prolific playwright. She published two volumes of plays under her own name (Cavendish 1662a, 1668), and seventeenth-century diarists indicate her substantial authorial involvement in plays published under her husband's name, notably The Humorous Lovers
2018 Commedia dell’arte related glass: early modern Venice
Drawing on sixteenth and seventeenth century texts and images, this article for the first time br... more Drawing on sixteenth and seventeenth century texts and images, this article for the first time brings together three distinct types of commedia dell’arte related glass. It examines enamelled glassware decorated with masked Zanni and old masters, connects the enamelled decoration of certain Germanic three-pot glasses (‘Stangenglaser’) to Italian stage lovers, and assesses known and newly identified lampwork glass figures of the masked, morra-playing commedia dell’arte military captain (Capitano). Rather than offering any kind of direct insight into stage practice, such glassware draws on a complex mix of influences from the commedia dell’arte, carnival costume, and longstanding iconographic, textual and festival traditions.
2021 Generisches und spezifisches Anderssein: Shackshoone (1665–1680), Antonio Martinelli (1718–1740) und frühneuzeitliche Darstellungen von menschlichen Doppelfehlbildungen
Körper-Bilder in der Frühen Neuzeit, 2021
Theatre Cultures within Globalising Empires, Aug 6, 2018
For guidance on citations see FAQs.
Uploads
CfPs - CALLS FOR PAPERS by M. A. Katritzky
Angeliki Lymberopoulou:
The Liturgical Space of Heaven and Hell in Byzantine monumental art
The synergy between the physical space of the Byzantine church and the liturgy performed within it gives the Christian faithful a ‘taste’ of eternity. In the Byzantine church, the congregation effectively experiences Heaven, amply enhanced by monumental iconography, but also the gruesome alternatives that await those who sin in this life. The GOTH Lecture explores the function of Byzantine monumental art as a constant reminder of the importance of making ‘wise choices’ in life.
Speaker: Angeliki Lymberopoulou (Open University) is a Byzantine art historian and archaeologist specialising in socio-economic and political contexts of the artistic production of Venetian Crete (1211-1669). Principal Investigator for a Leverhulme project exploring Byzantine representation of Hell (published 2020), she has recently completed a prestigious Dumbarton Oakes Fellowship.
Papers by M. A. Katritzky