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Wednesday, October 19, 2022

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Warwick Words - History Festival 2 - 22 October 2022

Runs from Sunday, October 02 to Saturday, October 22.

Researchers from the Department of History will be delivering a series of talks at Warwick Words History Festival. Now in its twentieth year, Warwick Words is a popular annual event, bringing internationally acclaimed historians to share stories from the past to venues around Warwick.

Since 2012, the University of Warwick has collaborated with the festival on a series titled Tea Time talks, where academics from the Department of History discuss their research. This year, topics are:

History and the Russian Invasion of UkraineProfessor Christoph Mick and Dr Claire Shaw, Saturday 8 October

Picking up the Pieces: Gender and Romantic Failure in late 20th Century Britain Dr Zoe Strimpel, Saturday 22 October

The Politics of Touch in the late 18th Century Professor Mark Philp, Saturday 26 November

The programme also includes a play written by PhD student David Fletcher and performed by Loft Theatre company. Taking the Waters tells the story of a cholera epidemic that took place in Leamington Spa in 1849, and the medical and political conflicts that surrounded it.

Other speakers at the festival include Tracy Borman, Max Hastings, Dan Jones, Adam Rutherford, Charles Spencer and Alison Weir. Tickets are available from Warwick Words’ website: 

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Constellations of Home
University of Warwick’s Faculty of Arts Building (The FAB)

Runs from Monday, October 03 to Thursday, October 27.

Constellations of HOME is a legacy project from Agency, part of the HOME: Arts and Homelessness Festival that took place during Coventry City of Culture. Agency was created by the socially-engaged artist Anthony Luvera in collaboration with people who have experienced homelessness in Coventry.

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Classics and Ancient History, Work in Progress Seminar. Rocio Gordillo: "Managing Greek Sanctuaries under Roman Rule: Roles and Responsibilities in the Organization of the Rituals"
FAB 5.01
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Warwick Seminar for Interdisciplinary French Studies: Shirley Jordan (Newcastle), 'Le Temps de vieillir: Martine Franck’s forgotten photobook'
Teams - see webpage for Teams link

Belgian-born documentary and portrait photographer Martine Franck (1938-2012) is internationally known for her aesthetic rigour and talent as a documentary and portrait photographer. Yet her vast collection of photographs of older persons, where these skills are harnessed to specific critical purpose, has been almost totally neglected. This paper is part of a larger project which uncovers the hidden history of Franck as a photographer of ageing and re-situates her as an unrecognised landmark for cultural gerontology as well as a precursor to the current upsurge of interest in care. The paper will examine the historical context and contemporary relevance of Franck’s work through an in-depth analysis of her first project on ageing, a photobook entitled Le Temps de vieillir (1980). It will also explore the application of care theory to the production and reception of photographic material to show how Franck’s attempt to challenge normative perceptions of ageing becomes newly available under this theoretical lens.

Shirley Jordan is Professor of French Studies at Newcastle University. Her research interests are wide, including 20th - and 21st - century women’s writing in French, art and art criticism, photography, ethnography, and experimental self-narrative across media. Her recent research has focused on ageing, ageism and care as explored in literary narratives, visual representations, and theory. She currently holds a Leverhulme Research Fellowship (2022-23) focusing on the representations of ageing and care for older people made over several decades by Magnum photographer Martine Franck. She is Co-Lead of the NUCoRE (Newcastle University Centre of Research Excellence) on Ageing and Inequalities and Co-Director of the Centre for the Study of Contemporary Women’s Writing at London University’s School of Advanced Studies.

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Penny Siopis’s stylo-caméra and the subject of cine-writing, Professor Laura Rascaroli, University College, Cork.

Penny Siopis’s films write histories that are markedly alternative. Combining family home movies, amateur or documentary found footage with sound and a written text presented through subtitles, her films tell untold or censored histories. They speak to (auto)biographical concerns and widely shared experiences of colonialism, war, Apartheid, migration, globalisation, and ecological crisis, all the while standing out as strong aesthetic/affective experiences beyond the historical, and as art objects in dialogue with a number of traditions. Here, I am most interested in producing an understanding of her films as a specific form of post-medium cine-writing. My interest is not purely formal, for the cine-writing in Siopis’s films is not independent of the stories they construct; it is a mode of writing beyond-the-book, born of the task of telling history otherwise. By working through her paragrammatical, scripto-visual style, my discussion will circle in particular around the unspeakable film subject produced by her work