CFP: 'The Other and the Foreign' Session at CIHA (Beijing; September 15-22, 2016)

Beijing, September 15 - 22, 2016
Deadline: Jun 30, 2015

Call for proposals, Session 14 of the 34TH Congress of CIHA (Beijing, 15-22 Sept 16): The Other and the Foreign: Contact, Curiosity, and Creative Exchange

Chairs of the Session: Petra CHU, Seton Hall University, New Jersey, US; DING Ning, Peking University,Beijing,China; LIANG Shuhan (Junior Chair), Peking Univeristy, Beijing,China

Respondent: Jennifer MILAM, Sydney University

This session is concerned with the representation of the ‘other’ and the ‘foreign’ in art as well as with the reception of ‘other’ and ‘foreign’ art forms. It acknowledges that, in a global world, the notion of ‘othering’ is not restricted to the geographically or ethnically distant (‘foreign’), but occurs within one’s own (geographically defined) culture between different social classes, genders, age groups, and religious affiliations. More generally, the session focuses on the phenomenon of artistic encounter and exchange.
While its parameters are worldwide, papers on all topics related to the ‘other’/’foreign’ are solicited in as far as they pertain to the creation and reception of art and/or the transmission of creative ideas. Papers on the contacts between specific regions or the role and place of individual artists in the process of artistic exchange are welcomed.

Questions to be addressed may include but are not limited to the following:

  • Can we distinguish universal paradigms for the ways in which ‘the other’ is represented in art, globally?
  • In the global history of art, how have animals been used as devices for ‘othering’, not solely as subject matter, but as a means through which artists and their audiences engage with the nature of self-/other relationships?
  • How can we improve our theoretical models of the reception of foreign and, more generally, ‘other’ art?
  • Are there degrees of ‘otherness,’ and if so, can we measure them? Can a work produced within one’s own (geographically defined) culture be just as ‘other’ as, or more so than, a work produced in a ‘foreign’ culture?
  • How can we theorize ‘artistic exchange?’
  • How do we define ‘hybridity’ in art? Is more than one definition possible?
  • What is the relation/difference between exchanges between cultural centers and those that happen at peripheries, specifically in connection with ‘hybrid’ art forms?
  • To what extent can artistic differences and sameness be accounted for through geography?

Please submit a one-page (max 400 word) abstract of your paper for this session to the chairs, together with a one-page resume, by June 30, 2015.

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