All rooms are equipped with an overhead projector
Rooms C, D, E, F, G and H (H only on Saturday): slide projector (framed slides, carrousel. There are extra carrousels available to set up your presentation in advance)
Rooms C, D, M, N, O, U and Committee Room 2: beamer to connect your laptop. You have to bring you own laptop. (If you want to use your Apple notebook, please contact us, as it may be incompatible.)
Rooms C, T and U: VCR
Programme
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Trecento Tuscany in Eurasian Context
| Crossing both scholarly boundaries and historically defined social spaces, this paper seeks to place the developments of trecento
Tuscany in the context of its contemporary Eurasian cultural and economic dynamics. I will argue that far from being uniquely European in origin, Tuscan artistic innovations were one social manifestation in a Eurasian wide network of political and economic exchange that gave rise to multiple, interlinked centers of cultural
effervescence. Labor history studies of the period underline the interconnectedness of social change and artistic developments across thirteenth-century Eurasia. This alternative contextualization suggests a reevaluation of the dynamics of early modern world history stressing complexity and inclusiveness to a degree not fully developed in present scholarship. This paper’s fundamental challenge is to the notion that the "Italian Renaissance" was primarily a development of Western European history, a view which Samir Amin and others have referred to as an ideological distortion that has traditionally claimed a progressive uniqueness for European society, legitimizing European aggression in the modern era. Exploration of this topic includes definition of the 13th/14th century Euraasian ecumene, the trans-local features of Tabriz and Siena, the contemporary Manichaen Cathar revival, and the migration of labor and technologies in the ecumene.
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