Dr Meg Boulton was awarded her doctorate in the History of Art from the University of York in 2013, on The Conceptualisation of Sacred Space in Anglo-Saxon Northumbria in the Sixth-Ninth Centuries, supervised by Dr Jane Hawkes. Her thesis drew on long-term and wider research interests in iconography, spatial theory, architectural theory, sculpture and the relationship of text to image/object, to examine the conceptualization, articulation and containment of sacred space, alongside representations of Jerusalem, exploring the importance of space, place, site and theories of viewing in the construction of an institutional identity during the Anglo-Saxon period. Since the completion of her PhD she has worked as a tutor in art and architectural history and material culture for various Institutions, including the Department of Continuing Education at Oxford, the Centre for Medieval and Renaissance Studies, also in Oxford; as well as teaching Renaissance and Northern Renaissance Art for a Study Abroad programme for Sewanee the University of the South and Rhodes College Tennessee. She has also contributed lectures to the education programme at the V&A.
Meg is currently a research affiliate within the Department and is thinking about ideas of time, space and methods of viewing as they pertain to the perception and construction of medieval art. She has published widely, including co-editing a text on transition in the Medieval world titled The Art, Literature and Material Culture of the Middle Ages: Transition, Transformation and Taxonomy, edited with J. Hawkes (Dublin: Four Courts Press, 2015). Other publications include “The Early Churches of Kent: Rome and Jerusalem in Anglo-Saxon England”, co-authored with J. Hawkes, in P. Bidwell and S. Brown (eds), The Church in Kent, Donington: Shaun Tyas Publishing (Forthcoming, 2015), pp 92-188; “Waiting in the Dark”: Some Musings on Sedgwick's Performative(s) in J. Edwards (ed.), Two Arts, Fat Art and Thin: Eve Kosofsky Sedgwick as a Poet, Brooklyn: Punctum Books (Queer Aisthesis series) (Forthcoming, 2016) and ‘‘The End of the World as We Know It’: The Eschatology of Symbolic Space/s in Insular Art”, in J. Hawkes (ed.) Making Histories: Proceedings from the Sixth International Insular Arts Conference (Donington: Shaun Tyas Publishing, 2013), pp. 279-290.
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