The Bibliotheca Hertziana, Max Planck Institute for Art History, announces a one-year postdoctoral fellowship, beginning 1 January 2015.
Candidates must be in possession of an upper level university degree (Ph.D.), good working knowledge of German, Italian, and English, and a research project proposal consistent with the aims and objectives of the Minerva research group. The recipients of these fellowships are also expected to participate with constancy in the activities of both the group and the Institute. Applications must include the following documentation:
– Curriculum vitae
– Photocopies of university diploma
– Description of the research project (max 2 pages)
– Summary of Doctoral dissertation (max 2 pages)
– List of publications (if any)
– Letter of recommendation from a prominent academic in the field
The Max Planck Society seeks to increase the number of women in those areas where they are underrepresented and therefore explicitly encourages women to apply. The Max Planck Society is committed to increasing the number of individuals with disabilities in its workforce and therefore encourages applications from such qualified individuals.
Applications may be submitted via post or email and must be received by 23 November, 2014 at the following address:
Dr. Susanne Kubersky-Piredda Minerva Research Group Bibliotheca Hertziana Max-Planck-Institut für Kunstgeschichte Via Gregoriana, 28 I-00187 Roma E-mail: kubersky@biblhertz.it
For further information please consult the following internet website: http://www.biblhertz.it/en/research/research-projects-of-the-institute/minerva-research-group/
Project description
Capital of the Empire, residence of the Papacy, destination of pilgrims, and metropolis of art, Rome since Antiquity maintained political, religious, and economic contacts with every region of the known world, and was a hub for foreigners from all over the globe. From the Middle Ages on, groups of compatriots met in the Eternal City and founded confraternities, churches, and hospices that mirrored linguistic, ethnic, and cultural groupings. These groups maintained fluctuating relations with each other, with the Curia, the municipality, and with their own home regions, appearing as representative bodies of real nationes even before the idea of a nation state had established itself on a continental scale. Dependencies, alliances, and conflicts between these small groups often reflect in a nutshell the power games being played contemporaneously in Europe, and for this reason they appear particularly appropriate for an inquiry into the historic presuppositions behind modern processes of globalization. Essential to the representation strategies of the nationes was the siting of their institutional headquarters within the topography of the city as well as the architectural and urbanistic operations they promoted, but also their appropria¬tion of urban space for religious and charitable activities and the relative political implications. Up to now research has focused on the national churches of Rome, offering mainly monographic contributions dedicated to the building phenomena and their impact on the urban fabric. The objective of the Minerva research group, in the ambit of a five-year project, is a comprehensive analysis of the historical-artistic phenomena related to these foreign communities as an expression of their cultural identity. A large and multi-faceted field of inquiry is thus revealed, one that includes within the spectrum of artistic production not only painting, sculpture, and architecture, but also prints, commodities, and the vast world of ephemera for religious festivals and processions. The objective is to emphasize the unifying elements of the individual nations and to show how these elements – for example, language, religion, values, and customs – found expression in the visual culture, or in other words, how a sense of belonging to a specific cultural community could arise through the use of recog¬nizable semantic formulae. The study will also seek to verify to what degree the art patronage of foreigners resident in Rome was on the one hand the product of “self” presentation as distinct from the “other”, or on the other, of the penetration and cross-fertilization between imported artistic phenomena and local working procedures consolidated over the course of centuries.
In the ambit of the Minerva Research Group Roma communis patria The National Churches in Rome from the Middle Ages to the Modern Era
The Bibliotheca Hertziana, Max Planck Institute for Art History, announces a one-year postdoctoral fellowship, beginning 1 January 2015.
Candidates must be in possession of an upper level university degree (Ph.D.), good working knowledge of German, Italian, and English, and a research project proposal consistent with the aims and objectives of the Minerva research group. The recipients of these fellowships are also expected to participate with constancy in the activities of both the group and the Institute. Applications must include the following documentation:
– Curriculum vitae
– Photocopies of university diploma
– Description of the research project (max 2 pages)
– Summary of Doctoral dissertation (max 2 pages)
– List of publications (if any)
– Letter of recommendation from a prominent academic in the field
The Max Planck Society seeks to increase the number of women in those areas where they are underrepresented and therefore explicitly encourages women to apply. The Max Planck Society is committed to increasing the number of individuals with disabilities in its workforce and therefore encourages applications from such qualified individuals.
Applications may be submitted via post or email and must be received by 23 November, 2014 at the following address:
Dr. Susanne Kubersky-Piredda Minerva Research Group Bibliotheca Hertziana Max-Planck-Institut für Kunstgeschichte Via Gregoriana, 28 I-00187 Roma E-mail: kubersky@biblhertz.it
For further information please consult the following internet website: http://www.biblhertz.it/en/research/research-projects-of-the-institute/minerva-research-group/
Project description
Capital of the Empire, residence of the Papacy, destination of pilgrims, and metropolis of art, Rome since Antiquity maintained political, religious, and economic contacts with every region of the known world, and was a hub for foreigners from all over the globe. From the Middle Ages on, groups of compatriots met in the Eternal City and founded confraternities, churches, and hospices that mirrored linguistic, ethnic, and cultural groupings. These groups maintained fluctuating relations with each other, with the Curia, the municipality, and with their own home regions, appearing as representative bodies of real nationes even before the idea of a nation state had established itself on a continental scale. Dependencies, alliances, and conflicts between these small groups often reflect in a nutshell the power games being played contemporaneously in Europe, and for this reason they appear particularly appropriate for an inquiry into the historic presuppositions behind modern processes of globalization. Essential to the representation strategies of the nationes was the siting of their institutional headquarters within the topography of the city as well as the architectural and urbanistic operations they promoted, but also their appropria¬tion of urban space for religious and charitable activities and the relative political implications. Up to now research has focused on the national churches of Rome, offering mainly monographic contributions dedicated to the building phenomena and their impact on the urban fabric. The objective of the Minerva research group, in the ambit of a five-year project, is a comprehensive analysis of the historical-artistic phenomena related to these foreign communities as an expression of their cultural identity. A large and multi-faceted field of inquiry is thus revealed, one that includes within the spectrum of artistic production not only painting, sculpture, and architecture, but also prints, commodities, and the vast world of ephemera for religious festivals and processions. The objective is to emphasize the unifying elements of the individual nations and to show how these elements – for example, language, religion, values, and customs – found expression in the visual culture, or in other words, how a sense of belonging to a specific cultural community could arise through the use of recog¬nizable semantic formulae. The study will also seek to verify to what degree the art patronage of foreigners resident in Rome was on the one hand the product of “self” presentation as distinct from the “other”, or on the other, of the penetration and cross-fertilization between imported artistic phenomena and local working procedures consolidated over the course of centuries.
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