H-HistGeog: New posted content
The International Symposium on Piri Reis and Maritime History [Announcement]
İstanbul
Turkey
The International Symposium on Piri Reis and Maritime History – November 2024, Istanbul
Dear Group Members,
In commemoration of the 500th anniversary of the Kitāb-ı Bahriye, the International Piri Reis and Maritime History Symposium will be held at Piri Reis University from November 18 to 21, 2026.
The symposium aims to address the life and works of Piri Reis within their historical context through a multilayered perspective. The symposium will address, through an interdisciplinary approach, topics such as the reflections of Mediterranean-centered maritime experience in the Kitāb-ı Bahriye, Ottoman cartography, the circulation of knowledge during the Age of Geographical Discoveries, maritime strategies in the Mediterranean, and global maritime activities in the Black Sea, the Red Sea, and the Indian Ocean.
In this respect, the symposium seeks to explore the Ottoman maritime heritage within the framework of Piri Reis and the Kitāb-ı Bahriye, and to reassess the stages of development and transformation that maritime practices have undergone from the past to the present within an international academic setting.
For the symposium program, application requirements, and current announcements, please visit the symposium website: https://denizciliktarihi.pirireis.edu.tr/en/
Contact Persons:
Nilay Bahadır
nbah...@pirireis.edu.tr
Orkun Burak Tafralı
obta...@pirireis.edu.tr
CFP: Seeking Chapters on Geography and Ecofeminist Drama [Announcement]
Ecofeminist Drama: Theatre, Performance, and Ecological Futures
Seeking chapters for the edited volume Ecofeminist Drama: Theatre, Performance, and Ecological Futures, currently under review with the University of Illinois Press. We especially invite chapters using an ecofeminist lens to understand theatre set in diverse spaces, times, and geographical environments. Proposals are due 30 March 2026.
In 1974, Françoise d’Eaubonne introduced the term ecofeminism in Le féminisme ou la mort, articulating the interwoven domination of women and nature and calling for their collective liberation from systems of patriarchal and ecological exploitation. Since its emergence, ecofeminism has evolved into a dynamic and heterogeneous field encompassing philosophical inquiry, activist praxis, and interdisciplinary scholarship. Contemporary ecofeminist thought engages pressing questions of embodiment, care, environmental justice, material interdependence, and multispecies relationality in the context of accelerating ecological crisis.
Ecofeminist Drama: Theatre, Performance, and Ecological Futures seeks to extend this intellectual trajectory by examining how theatre and performance not only represent ecofeminist concerns but actively reshape and reconfigure ecofeminist theory through dramatic form, performative practice, and aesthetic experimentation. Rather than reiterating established binaries—such as nature/culture, woman/nature, or human/nonhuman—this volume foregrounds theatre’s capacity to generate new epistemologies of ecological vulnerability, ethical responsibility, and relational survival.
We invite original scholarly contributions that investigate drama and performance as sites where ecofeminist thought is materially embodied, dramaturgically enacted, and politically reimagined. Particular attention will be given to chapters engaging contemporary theatre and performance and articulating how ecofeminism is transformed through theatrical aesthetics, performance politics, and formal innovation.
Confirmed Contributions
A sampling of the confirmed chapters includes:
- Shakespearean Ecofeminism – Hadley Kamminga-Peck (Western Illinois University, USA)
- Ecofeminist Adaptation: Carol Ann Duffy’s Everyman (2015) – Özlem Karadağ (Istanbul University, Turkey)
- The Ecofeminist Agenda of Modern Russian Drama – Katherine Anna New (Oriel College, Oxford University, UK)
- Cuts to the Bone: An Ecofeminist Analysis of Catherine Banks’ Bone Cage – Emily A. Rollie (Central Washington University, USA)
- Ecofeminist Dramaturgy and the Theatre of Extinction in Caryl Churchill’s Escaped Alone – Işıl Şahin Gülter (Fırat University, Turkey)
Proposals should therefore avoid duplicating these topics.
Indicative Themes (Not Exhaustive)
We welcome contributions including, but not limited to, the following areas:
- Contemporary ecological and climate change theatre
- Posthuman and more-than-human performance practices
- Ecofeminism, disability, illness, and staged vulnerability
- Environmental justice and feminist dramaturgies
- Material ecocriticism and theatrical matter (bodies, objects, landscapes)
- Indigenous, decolonial, and Global South ecofeminist performance
- Queer ecofeminism and affective ecologies in theatre
- Care ethics, interdependence, and survival in dramatic narratives
- Ecofeminist adaptations and reworkings of canonical texts
- Performance activism and ecofeminist praxis
- Multispecies theatre and animal studies
- Ecofeminist scenography, sound design, and spatial ecologies
We are particularly interested in chapters that demonstrate how theatre and performance:
- extend and transform ecofeminist theory;
- challenge anthropocentric, patriarchal, and ableist environmental imaginaries;
- articulate innovative models of ecological ethics, relationality, and responsibility.
The editors of Ecofeminist Drama, Douglas Vakoch and Işıl Şahin Gülter, have edited nine previous books on ecofeminism, including The Routledge Handbook of Ecofeminism and Literature (2023), Indian Feminist Ecocriticism (2022), Ecofeminist Science Fiction (2021), Literature and Ecofeminism (2018), and Feminist Ecocriticism (2014).
Submission Requirements
Interested scholars should submit:
- A 300-word abstract clearly outlining the chapter’s central argument, primary dramatic texts or performance practices, and its contribution to ecofeminist theatre studies
- A 200-word biographical note
- A list of 5–7 keywords
- Five key references
Abstracts should articulate a focused and original thesis and demonstrate how the proposed chapter advances ecofeminist thought through theatre and performance.
Only previously unpublished work will be considered. Contributors must hold a completed PhD. The editors seek a diverse and internationally representative group of scholars from theatre and performance studies, literary studies, environmental humanities, gender studies, and related disciplines.
Important Dates
Abstract deadline: 30 March 2026
Notification of acceptance: 15 April 2026
Full chapter submission: 30 July 2026
AI Policy
Contributors must adhere to the AI usage guidelines outlined in the Bloomsbury AI Policy for Authors and Illustrators (December 2025):
https://www.bloomsbury.com/media/0zxgch3t/ai-policy-for-authors-and-illustrators-dec-2025.pdf
For the purposes of this volume, “AI systems” include publicly accessible generative platforms (e.g., ChatGPT, Gemini, and similar tools) as well as AI-enabled grammar and editing systems.
In accordance with these guidelines:
- Publicly accessible AI systems (free or paid) may not be used to generate, draft, rewrite, or substantially edit submitted chapters.
- Institutionally licensed or privately managed AI systems may be used solely for limited brainstorming or organizational assistance, not for composing substantive scholarly content.
- Authors remain fully responsible for the originality, intellectual integrity, and scholarly accuracy of their submissions.
All accepted contributors will be required to formally attest to compliance with these policies.
Submission Address
Please send all materials as a single document to:
📧 Işıl ŞAHİN GÜLTER
igu...@firat.edu.tr
Contact Information
Işıl Şahin Gülter
Contact Email
Enroll: Medieval & Early Modern Cartography: An Introduction (June 22-25: Remote) [Announcement]
“Medieval & Early Modern Cartography: An Introduction”
Mediterranean Studies Summer Skills Seminar
22–25 June 2026 • Remote
The Summer Skills Seminar, “Medieval & Early Modern Cartography: An Introduction” will be held via Zoom from Monday, 22 June to Thursday, 25 June 2026 from 10am to noon and 1pm to 3pm MDT.
Regular Registration until April 26
This Summer Skills seminar addresses the importance of maps in medieval and early modern society in terms of their production, function, display, and their contribution to a mapping mentality. Over four days we will study different types of maps from Islamic and Christian territories in relation to their form, content, use, and context. This course will not be addressing the geographic accuracy or scientific basis of cartographic works; rather they will be assessed as material, visual, and aesthetic products and as repositories of a newly formulated system of signs that promoted novel ways of seeing. We will work here to integrate maps more fully into art historical discourses while analyzing them as ideological objects.
Course overview
Over the course of the Middle Ages, cartographic works came to play a significant role in Mediterranean visual culture. This Summer Skills course addresses the importance of maps in medieval and early modern society in terms of their production, function, display, and their contribution to a mapping mentality. Over four days we will study different types of maps from Islamic and Christian territories in relation to their form, content, function, and context. This course will not be addressing cartographic works in terms of their geographical accuracy or contribution to scientific knowledge; rather they will be assessed as material, visual, and aesthetic products and as repositories of a newly formulated system of signs that promoted novel ways of seeing. We will work here to integrate maps more fully into art historical discourses while analyzing them as ideological objects. Art historians have long acknowledged the non-transparent nature of visual imagery and the inquiry of cartographic works undertaken in this course will illuminate the great power that maps had for their producers and consumers.
Course sessions:
Day One will set the stage for an in-depth analysis of cartographic works by asking the question “What does it mean to make a map in the medieval and early modern Mediterranean?” The second topic of the day will be mappaemundi or world maps. These maps constitute some of the earliest cartographic works created in the Mediterranean in both Christian and Muslim traditions. Their close connection to religious communities (as both producers and consumers), spatio-temporal qualities, rich visual imagery, and their melding of religious content and geographical information made them powerful storytelling tools. We will conduct contextual analyses of several world maps to assess the cultural work that maps could perform for an array of patrons and audiences. The availability of digital reproductions of these complex maps will allow course participants to analyze the detailed textual and visual content presented in these cartographic works. We will study a number of world maps, including the Hereford Mappamundi, Fra Mauro’s Mappamundi, and al-Idrisi’s map made for Roger II.
Day Two will focus on a revolutionary new form of mapmaking created during a pivotal moment in the history of cartography: portolan charts and texts from the late twelfth and early thirteenth centuries. Previously mapping had existed almost exclusively in the religious domain but this time period saw the formulation of new cartographic representations that were completely secular in nature and practical in function, created to gauge distances and identify ports and landmarks, while elucidating social customs in foreign locales. We will assess the relationship between navigational charts and traditional world maps while exploring how portolans forged a distinctive visuality for a new audience of mariners and merchants. Some monuments addressed in this class session will include the Carte pisane, navigational charts made by Pietro Vesconte, Abraham Cresques, etc., portolan texts such as the Liber de existencia riverarium, and the Compasso da navegare, and maps from the Fatimid Book of Curiosities.
Day Three will introduce cartographic works that served novel functions in medieval and early modern society. By the fifteenth century, secular mapmaking traditions had become so embedded into cultural practices that they were designed for a broader clientele to serve cultural and political purposes: luxury gifts, political statements, expressions of sovereignty, and displays of wealth and sophistication. We will highlight the transformation of maps into aesthetic objects of prestige that were displayed prominently in public settings. We will also look at highly politicized contexts for maps in which they lay claim to territory and visualize sovereignty in a competitive Mediterranean environment. Some works to be addressed on Day Three include Vesconte’s maps for Marin Sanudo’s Liber secretorum, maps by Opicinus de Canistris, atlases and luxury presentation maps, and painted wall maps for homes and palaces.
The second half of Day Three will comprise theoretical considerations of maps and mapmaking. We will approach the cartographic content addressed in the first three days in relation to various methodologies and new approaches to the study of cartography. How does the visual system of a map create a mapping mentality that defines how people perceive spaces, places, and things? How do maps create communities of inclusion and exclusion? How do maps mean differently depending upon one’s gender, ethnicity, occupation, and/or religious affiliation? What new approaches can scholars and students apply to the study of maps to tap their extraordinary cultural potential? We will end the course with a discussion of new directions in the study of cartography.
On Day Four we will summarize and catalyze the content presented in the first three days of the seminar. How can we characterize the field of Mediterranean cartography and what new questions might we ask of this material? What did the participants learn from the seminar and how might this content and methodology be incorporated into their own research agendas. This will be a day of dialogue and discussion concerning new directions in the study of medieval and early modern cartography.
Past Participants said:
“This seminar more than exceeded my expectations and goals. Professor Mathews is on the cutting edge of thinking about issues regarding medieval and early modern cartography from an art historical perspective, including her work in digital mapping.”
“The class was very helpful and gave me the footing I was seeking to think more carefully on a history of cartography. It was a quick immersion in key scholarship and the instructor provided thoughtful and well-guided discussion on narrow and broad topics within cartography.”
“Now with the materials provided, I have a roadmap to follow in my future studies. Understanding milestones, prominent figures, paradigms and paying attention to "what we can pay attention to" in cartography were extremely helpful for me.”
“The course was extremely well designed to introduce specific works of mapping from differing cultural traditions. Professor Mathews offered theoretical and historical context for these works, and she consistently raised the level of interpretation. Importantly, she was comfortable with the fact that there are no easy answers in understanding some of these early maps.'“
“I enjoyed participating in the workshop, hearing from other scholars with different levels of experience in this research area, viewing the numerous mapping examples from the time period, etc. It was a stimulating class that prompted stimulating discussion.”
Past Participants said:
“I have found Professor Mathews's published research both inspiring and helpful in thinking about my own studies, and the insights and reflections she shared from her current research were very exciting and relevant to my own work.”
“Not only do I have readings (new to me) that I plan on integrating into my Medieval Mediterranean survey, but I also can imagine teaching one of the units on a "Mediterranean way of seeing."
“I learned to think about art in a deeper way. I plan to incorporate what I learned into my own courses by asking Mediterranean questions related to the art work that we study.”
“In just four days Professor Mathews covered a lot of ground and provided a rich syllabus; she took a collaborative approach and participants were able to add bibliographic sources to the drop box folder.”
“Wonderful course and professor. Left me wanting more!”
“This was an intense immersion in Mediterranean topics, with excellent readings and guided questions.”
“Karen was very skilled at turning comments and questions from the participants into teachable moments. The range and depth of her knowledge were easily apparent.”
“The professor was excellent. Karen Mathews was well-prepared and thoughtfully selected the readings and the material that was covered. She was attentive to every student in the course.”
Faculty
The course will be conducted by Prof. Karen Rose Mathews (Department of Art and Art History, University of Miami). She received her B.A. in Art History from UCLA and a M.A. and Ph.D. in Art History from the University of Chicago. She has received grants from the Graham Foundation, Kress Foundation, Program for Cultural Cooperation, and the American Research Center in Egypt in support of her research. She published Conflict, Commerce, and an Aesthetic of Appropriation in the Italian Maritime Cities, 1000-1150 (Brill) in 2017 and was lead editor for the volume A Companion to Medieval Pisa (Brill, 2022). Her numerous articles focus on various aspects of medieval Mediterranean visual culture, with a particular emphasis on artistic production in Spain, Italy, and Egypt, including a comparative assessment of civic ceremonial and its architectural framing published in 2025. She has been conducting research on Mediterranean cartography since 2015. An article published in 2022, “Mapping, Materiality, and Merchant Culture in Medieval Italy, 1150-1400,” studies the relationship between cartography, architectural decoration, and new visual systems in the Italian maritime republics. Two more articles in preparation assess Islamic and Christian cartographic traditions in terms of their use in navigation, the perspective they provide on the Mediterranean, and their creation of a new visual vocabulary of signs.
Prerequisites & preparation
Recommended prerequisites: AP Art History courses or introductory surveys. Some upper division or graduate art history coursework is ideal but not required
Please note: sessions will not be recorded; synchronous attendance is required.
Application & Information
The regular application period is until April 26.
There is an application deposit of $100USD or €100. This will be refunded when course payment is made.
Late applications will be accepted if there is availability and will be subject to a late fee.
If you are not accepted your application deposit will be refunded.
Applicants will be advised of acceptance by May 1. Payment is due on 15 May. Applicants waiting on a grant or subvention should contact us without delay to make arrangements.
Late applicants may be accommodated if space remains. For late applicants full payment will be due within three days of acceptance, including a $75 surcharge for late applications, or be subject to an additional fee.
All payments are final and non-refundable. A letter of confirmation/ receipt will be provided by the Mediterranean Seminar, together with a certificate of completion once the course has concluded.
Apply via this form
NOTE: Numbers are limited; participants are encouraged to apply early.
Fees
There has been no increase in fees for 2026
• $1100 for Full Professors, Librarians & Professionals
• $825 for tenured Associates, Emerita/us, Retired Faculty, Independent Scholars & Non-Academics;
• $575 for non-tenured Associates and Assistants, Postdoctoral Fellows & Graduate and Undergraduate students;
• $400 for Adjuncts, Lecturers & Contingent faculty.
Limited reductions are offered to applicants who are (1) nationals; (2) current residents; (3) AND faculty or students in low-per-capita GDP countries may apply for a reduction (the Low-GDP Bursary program).
Payment information will be provided at the time of acceptance. Posted fees do not include a 5% processing fee.
How do we determine our fees?
Can I get a reduction in fees?
Why are there sometimes supplementary charges?
Why have our fees gone up?
What is the low-GDP Bursary program?
Proposed Program
Monday, 22 June 2026: Introduction and Mappaemundi
10am to noon and 1pm to 3pm
1. Introduction to cartographic visuality
2. Mappaemundi—Patrons, audiences, and storytelling potential
Tuesday, 23 June 2026: Portolan Charts and Text
10am to noon and 1pm to 3pm
1. Secular mapmaking traditions—function and audience
2. Relationship of portolans to traditional world maps
Wednesday, 24 June 2026: Novel Uses for Maps and Theoretical Approaches to Cartography
10am to noon and 1pm to 3pm
1. Novel uses for navigational charts and world maps
2. Theoretical Approaches: Maps and/as Representations
Thursday, 25 June 2026: Conclusions and Participant Presentations
10am to noon and 1pm to 3pm
1. Conclusions
2. Participant Presentations
Important dates:
Application period: 26 April 2026
Acceptance/stand by notifications: 5 May 2026
Full payment: 12 May 2026 (subject to extension for late applicants/ or pending grants)
NOTE: Numbers are limited; participants are encouraged to apply early.
Information
For general information regarding fees, enrollment, and administrative matters, contact the Mediterranean Seminar; for questions regarding seminar content and materials, contact the instructor directly.
Brian A. Catlos, co-director
The Mediterranean Seminar
The 