Panel Finder

This section of the website lists Panel CFPs from individuals who want to organize complete panels for the upcoming conference. These panels have NOT been submitted yet to the SCSC. Check this section if you would like to view panel proposals still in need to papers.

You are NOT REQUIRED to submit your individual paper to complete panel proposals. The SCSC always welcomes individual paper submission on any topic dealing with the long sixteenth century.

To list a Panel CFP on this page, send the CFP in text format to:

1. Beyond Interiority: Prayer, Politics, and Agencies in Northern European Devotional Art c.1400-c.1700

Panel organizers: Andrea Pearson, American University, Washington, DC, and Sarah Moran, Utrecht University

Over the last decades, studies of northern European devotional art have been driven by questions of spiritual interiority. Taken in the aggregate, these investigations have illuminated the complex interplay between devotional imagery and pious expressions, practices, and achievements. Their theoretical frameworks have, however, imposed limits on what we consider devotional art as well as the questions that we ask of it, so that the devotional has remained coded as personal, isolated from, for example, social and secular concerns. The category has also taken a gendered turn. As the assumption of a private, and thus likely domestic or conventual, viewing context opened space for examining female viewership, so has the devotional become an increasingly feminized category, associated with straightforward iconography and often naive execution, while the ‘meditational’ has emerged to encompass more intellectually challenging and often aesthetically refined works for which a male viewership is presumed. The proposed session seeks to recalibrate the issues at stake by exploring alternative questions, applying emerging methodologies in other areas of art history, and looking to other disciplines in the humanities for fruitful theoretical perspectives that allow us gain a better historical understanding of devotional artworks.

We therefore invite papers that reevaluate devotional art, and the ‘devotional’ in art, in late medieval and early modern northern Europe. Possible questions include: How might the religious have converged with the sentimental, the social, the aesthetic, and the political in early modern viewers’ relationship with devotional objects? How can a focus on giving or exchange reveal the multiple meanings that devotional artworks had for their users? How is, and isn’t, devotional art gendered? How does the recent (re)turn to material culture help us to integrate our study of artworks with that of other types of objects, such as relics, religious medals, and furniture? When we look beyond the medieval period, how does confessionalization impact our understanding of devotional art? Is the devotional necessarily Catholic, and if not, how can we expand our discussions into the Protestant realms? And finally, can digital technologies help to demonstrate previously unrecognized patterns and trends of devotional art on the move, and if so, what does such transfer reveal about the social expectations and reciprocities – in acts of gifting, for example – that these works carried?

Abstracts of up to 250 words in length, together with a CV, should be sent to both Andrea Pearson ( and Sarah Moran ( by March 24, 2017.

2. Petrarch's Triumphs

From the 15th to the 19th centuries, Petrarch's famous Canzoniere was almost always published together with his narrative poem, the Triumphs. While Petrarch's Triumphs were and continue to be considered primarily encyclopedic works of erudition, they develop other central thematic and narrative issues from the Canzoniere, such as the question of love, fame, friendship, death, time, and eternity. In particular, in the very center of the series of encyclopedic processions, Petrarch presents a long dialogue with Laura in the chapter "Triumph of Death II," through which he reveals another dimension to the tumultuous love narrative in the Canzoniere.

Sixteenth-century readers across Europe were reading the Triumphs. For example, early translations of Petrarch's Triumphs are found in French and in Spanish. Furthermore, the female poet Vittoria Colonna composed her "Triumph of the Cross" that closely reflects Petrarch's own "Triumph of Death II." We are interested in any proposals that address the above issues, and/or the influences, reception, or imitation of Petrarch's Triumphs in in the sixteenth-century.

Elizabeth Anderson
Sarah Faggioli

3. Italian Studies Panels

Italian Literature Reformed
During the Protestant Reformation, those who openly questioned Catholic doctrine in Italy—Bernardino Ochino, Pietro Martire Vermigli, Pier Paolo Vergerio—ended up fleeing the country. Some others, like Fanio Fanino, were sentenced to death. While the Ferrarese court provided a temporary haven for some Protestant sympathizers (among them Olympia Fulvia Morata), Italian writers, preachers, and intellectuals were constantly faced with censorship and condemnation and yet continued to produce a wide range of literature. What were some of the creative ways in which writers reshaped/rewrote their works (religious texts as well as secular literature) to adapt to the oppressive climate of the Counter Reformation? This panel seeks discussion on “reformed” literature, in the vein of Vittoria Colonna’s spiritual “reformation” of Petrarchan lyric or Torquato Tasso’s transformation of Boiardo’s and Ariosto’s chivalric romance into a Christian epic. How did the reformed literature of the period prove to be, in the words of Virginia Cox, “richer and more inventive than it is often given credit for … in transforming past models to contemporary ends”?

Remaking the Past: Early Modern Italy in Contemporary Popular Culture
The Netflix website states that, in 2016, “a record 7.6 million viewers watched the Italian premiere” of the series Medici: Masters of Florence starring Dustin Hoffman and Richard Madden. Other mini-series featuring the Italian Renaissance, Medici: The Godfathers of the Renaissance (PBS, 2004) and Borgia (Netflix, 2011), as well as the Dan Brown novels (and their film counterparts)—Inferno and The Da Vinci Code—have enjoyed a similar fan base. This panel explores the relationship between history and the popular fiction of contemporary films, tv series, novels, graphic novels, etc. How is the past rewritten, restructured or reordered for a contemporary audience?

Dante, Petrarch, and Boccaccio in Early Modern Italy
This panel seeks papers addressing the fate of the literary works of the “tre corone” in the early modern period.
If you are interested in submitting papers for one of the above panels, contact Jennifer Haraguchi at