Experience history in action, how human emotions have changed over the centuries, and the impact it has had on Australia today. Read the latest news from the History of Emotions:



                      17 December 2015

From the Director

As the Centre for the History of Emotions heads towards the summer break, I look back with pleasure on 2015 as a wonderfully vital and productive year.

The amount of new research that we published in quality venues has far exceeded expectations. Our national and international
calendarcontinues to buzz with intellectual energy and variety. We have realised major new research outcomes, such as the ‘Historicizing Emotions’ theme day at the Comité Internationale des Sciences Historiques conference in Jinan, China, in August; CHE collaborated with the Max Planck Institute, Berlin, and many international scholars to articulate the significance of emotions history on a new international stage.
CHE’s Performance Program has also flourished this year. In March, William Christie, with Les Arts Florissants and Le Jardin des Voix, gave an unforgettable lecture-concert for us in connection with the Perth International Arts Festival. Collaborations with Latitude 37 and Joe Chindamo also produced great results at the Melbourne Recital Centre, and we maintained our long-term fruitful partnership with Musica Viva. From 15 February to 12 March 2016, a major shared project with Musica Viva and Victorian Opera, Voyage to the Moon, will tour the country.
Another collaboration with the brilliant and creative recorder player, Genevieve Lacey, will bring us
Pleasure Garden, inspired by the story and music of the seventeenth-century musician, composer, improviser and nobleman Jacob van Eyck. The project combines excerpts from his work, set within newly-composed music, weaving together place, sound, history, memory and emotion. The work will be exhibited during the Sydney Festival at Vaucluse House, 7–26 January 2016. Genevieve will give a dawn performance at 6.30am on 9 January. At UWA, Shakespeare’s The Merry Wives of Windsor, in a historically informed version, will occupy the New Fortune stage from 16–18 February, in a production by Melbourne’s Nothing But Roaring company. An associated international symposium will be held on 17 February 2016.
Education and Outreach activities are some of the most valued aspects of CHE. This year, special events involved students, teachers and the general public in discussion of emotion in relation to cinema, music, photography and theatre. The Zest Festival in Kalbarri, WA, brought the local community and visitors together in a celebration of the area’s Indian Ocean heritage. In Adelaide, Carly Osborn, CHE Junior Research Fellow in the History of Emotions (Public Engagement) is progressing the development of an emotions history online game for junior secondary school use.
In 2015, we have welcomed 11
Postdoctoral Fellows to CHE: Lisa Beaven, Joseph Browning, Stephanie Downes and Angela Hesson (UMelb); Kenneth Chong and Spencer Jackson (UQ); Kirk Essary and Michael Barbezat (UWA), Abaigéal Warfield and Amy Milka (UAdel); Umberto Grassi (USyd). They are such active and enterprising colleagues that it is very hard to remember that all except Stephanie have been with us for less than a year. We look forward to several new additions in 2016. Also, for the first time this year, our tally of postgraduate researchers rose to more than 20, along with several successful PhD completions. We were also delighted to add many new Associate Investigators, including for the first time four Aboriginal and Torres Strait Islander researchers, in 2016.
In 2015, CHE has been delighted to host visiting international academics: David Lederer at The University of Adelaide as a Marie Curie Fellow, and Mirko Sardelić at UWA as a NEWFELPRO Fellow. In 2016 we will welcome numerous other international visitors who have chosen to work with us. They include: Jonathan Adams, Uppsala University (Matariki Fellowship); Valentina Zovko, The University of Zadar (Endeavour Postdoctoral Research Fellowship); Catriona Kennedy, The University of York (CHE-York Collaborative Research Visitor); and Albrecht Classen, Arizona State University (CHE-ACMRS Collaborative Research Visitor).
2016 promises much more. In addition to our collaboratories and Biennial Research Meeting, we are working with the Australasian Consortium of Humanities Research Centres (ACHRC) to create a major ‘Public Humanities’ forum in Adelaide in November. A conference on ‘Emotions in the Courtroom’ will be held in Sydney in September. Other large collaborative events include ‘
Moving Minds’, in partnership with the ARC Centre for Cognition and its Disorders and the ‘Early Modern Conversions’ project (McGill, Canada) in March, and ‘Emotions: Movement, Cultural Contact and Exchange, 1100–1800’, in Berlin, 30 June–2 July, with the Freie Universität Berlin.
I have mentioned just some of CHE’s achievements, and a few indicators of success and quality. As a whole, the Centre’s activities in 2015 are a tribute to the extraordinary talents, energy and collegiality of our members. It is a privilege to work with you all. Very best wishes to everyone for the holidays and the New Year.

Andrew Lynch


'Play of Emotions' collaboratory

Image: 'Children at Play in the Open' by Nicolas Lancret. 1705-1743. Courtesy of Wikimedia Commons.By Bob White (Meanings Program Leader, The University of Western Australia)
Befitting the occasion, this was an open-ended exploration of an intriguing subject, with about 40 in attendance at the E-Moot Court, UWA, from 19–20 November 2015.
The word ‘play’ was the inspiration – an activity so ubiquitous through history that it can hold and be driven by many emotional resonances and motivations, as we discovered, from childhood through adulthood, and ranging from the innocent to the illicit. The word itself has been deployed in bewilderingly diverse contexts, such as recreational and competitive sports which may be rule-bound or unruly, music, gambling, tournaments and festivals, trickery, acting in the theatre, war and many others. We aimed to open up and explore as many of these meanings as possible, considered in the historical range from medieval texts and society up to Charles Dickens’ novels, and in terms of emotional needs satisfied by or expressed through playing.
Our international guests, Jennifer Radden (University of Boston Massachusetts), Ros King (University of Southampton) and Tom Bishop (The University of Auckland), provided keynote perspectives respectively taken from Robert Burton’s ‘playful’ conception of melancholy, and Elizabethan playtexts including Shakespeare’s. Some of the themes raised in these probing papers ran through discussion like leitmotifs. A whole session of papers on Shakespeare developed and applied in specific plays some of the general ideas raised. There were also papers that questioned the gendering of play and its emotional ambiguities, in medieval children’s stories through to deceptions in low-life in the eighteenth century. Figures as historically separated as Erasmus and William Reddy, in their very different ways, were examined as ludic theorists, and some of John Keats’ poems were interpreted as adult recuperation of the child’s eye and child-like emotional experience.

To view the program and abstracts click
here.                                                                                           Back to top

Hamlet touring Nauru

Nauru June 2015By Penelope Woods (completed CHE Postdoctoral Fellow at UWA, currently at Queen Mary, University of London)
“Gertrude, do not drink,” Claudius urges in the final scene of Hamlet, as Gertrude unwittingly raises the poisoned cup intended for Hamlet to her lips. '“I will, my lord; I pray you, pardon me." She drinks'. There was an audible intake of breath on the third row of the temporary seating erected for this afternoon’s performance of Hamlet at Nauru College, from a Hezari refugee seated next to his case worker. He realised that Gertrude, played in this performance by Miranda Foster, was about to become the innocent victim of Claudius’ machinations.
This was Shakespeare’s
Globe’s touring production of Hamlet, which has embarked on a two-year project to perform in every country in the world. Shakespeare’s Globe Research Department and CHE collaborated to provide funding and access for further audience research to be carried out on the local response to this production in seven countries in Oceania and East Asia. A Globe Postdoctoral Fellow, Dr Malcolm Cocks, had already embarked on this audience research project covering the audience response throughout Africa.
I accompanied the tour to its performances in Geelong, Australia; Wellington and Auckland in New Zealand; Nauru, Vanuatu and Papua New Guinea in the Pacific Islands; and Korea and Japan, in East Asia. I have since done work on its reception in Singapore, Jordan, Syria and Turkey.
  • Hamlet is an English-language production, with 12 actors, each of whom can perform several characters from the play. (There are so many potential combinations that 20 months into the tour some configurations have still only been performed once or twice). There are four virtuosic stage managers. One or two of the cast for each performance learn some phrases in the main language of the country they are performing in, which always receives a warm welcome.

Often the company’s performance is reciprocated by their local hosts with a performance of their own: a piece of theatre (for instance, a production of a new writer in Bislama at the Wan Smolbag Theatre in Port Vila, Vanuatu); some dancing (several of the Pacific Island nations reciprocated with dance performances, including on Nauru); singing (the Maori community who welcomed the company, and its famous Maori actor Rawiri Paratene, to the New Zealand Arts Festival in Wellington, sang for the company); the Syrian refugees who came to an after-show event at the Za’atari Refugee Camp in Jordan sang a Syrian folk song for the company – the audio for this can be heard as the accompaniment to this Guardian photojournalism
The company’s hosts are often keen to show them something of their country. The company went for a drive along the Great Ocean Road whilst visiting Australia and were taken out on a boat for some dolphin-watching. In other countries what the company are asked to bear witness to is more harrowing. They have visited massacre sites in Srebrenica and Rwanda, and the Killing Fields in Cambodia. A reciprocity of acts of witnessing, feeling and responding informs the local, intercultural nature of this tour.

Read the full article on our
blog.                                                                                                                Back to Top

‘Witchcraft and Emotions: Media and Cultural Meanings’ symposium

Image: Frontispiece woodcut,  in  Performance at the Blocksberg (Blockes-Berges Verrichtung) by Johannes Praetorius [Hans Schultze], 1668 and 1669 editions. By Charles Zika (CHE Chief Investigator, The University of Melbourne) and Charlotte-Rose Miller (CHE Research Assistant, The University of Melbourne)

A symposium on ‘Witchcraft and Emotions: Media and Cultural Meanings’ was held at The University of Melbourne, 25–27 November 2015. Sixteen papers were delivered, half by visiting European researchers. The program also included a film screening of Häxan: Witchcraft through the Ages, created by the Danish filmmaker Bernard Christensen in 1922, followed by panel discussion by Film Studies researchers and historians.

A significant aspect of this symposium was the attempt to bring together historians working on early modern European witchcraft (in Germany, England, France and Spain) and anthropologists researching contemporary witchcraft and sorcery (in South Africa, Vanuatu, Papua New Guinea and Arnhem Land). The anthropological papers reminded the audience that witchcraft is not simply a cultural relic, but an accusation still deployed today in helping to understand a variety of phenomena – such as crop failures, ill health, sudden loss of kin or accelerated social change. The papers on contemporary societies also assisted historians working in a more distant past without direct access to the emotions driving accusations and understandings of witchcraft.  
Malcolm Gaskill (University of East Anglia) opened the conference by employing the concept of the ‘personification’ of witchcraft as a way of understanding how prosecutions of witchcraft in England resulted in actual convictions. The key was how witches made people feel, and whether such feelings could be exploited to convict them. Other papers on European witchcraft dealt with the emotions of God and the Devil in the narrative of witchcraft, emotional vulnerability as a key to individuals succumbing to witchcraft, the role of emotions and identity in child witch trials, witchcraft confessions as emotional self-reportage and self-construction, gendered emotions in love magic, the play of emotion in reconciliation rituals, the deployment of emotions in visual sources to reinforce factuality or heighten threat and emotions as materialised forces in magical practices.
A follow-up conference will be held 23–24 June 2016 at the Max Planck Centre for the History of Emotions, Berlin, and will focus more specifically on social conflict and the judicial process.

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‘Emotions, History and Philosophy in Cinema’ symposium

Image: Film star Helen Twelvetrees, Rutland Gates, Bellevue Hill, Sydney, early 1936 / photograph by Sam Hood. State Library of New South Wales.By Stephanie Tarbin (CHE Research Assistant, UWA)
On 4–5 December 2015, the UWA node hosted the ‘Emotions, History and Philosophy in Cinema’
symposium. Organised by Andrew Lynch, the symposium explored the intersections between cinema, philosophy and the history of emotions from a variety of disciplinary perspectives including cinema studies, philosophy, art history, literary studies and medievalism.
program began with a paper by Ika Willis (University of Wollongong), examining how the creation of mood in Ben Ferris’s Penelope (2009) produced particular temporal and emotional effects on viewers. Continuing the attention to cinematic mood, Robert Sinnerbrink (Macquarie University) and Louise D’Arcens (University of Wollongong) proposed that the concept could be expanded from aesthetic and subjective forms of expression to include historical and cultural dimensions of memory, experience and time. Richard Read (UWA) focused on the question of how cinema constructs the past in emotional terms, analysing the boredom, hostility and despair of Antonioni’s L’Eclisse (1962) as an expression of contemporary art’s rejection of the past and identifying the mood of the film as an essentially modernist expression of alienation.
The later sessions on the first day turned to the ways that cinema addressed moral and ethical issues. Damian Cox (Bond University) reflected on philosophical notions of ‘moral beauty’ and its experience by cinematic audiences, discussing examples from works by the Dardenne brothers. Ned Curthoys (UWA) examined Margarete von Trotta’s Hannah Arendt (2012), suggesting the biopic articulates Arendt’s own ethical view of thinking as politically significant, inter-subjective and critical. The day concluded with a public lecture by Eastern Michigan University’s Martin Shichtman, who analysed how Youssef Chahine’s Destiny (1997) deployed song and dance in its portrayal of the twelfth-century philosopher Averroës to question religious fundamentalism and tyrannical government.
The first session on the second day offered perspectives from film studies and philosophy. Drawing on findings in recent neuro-scientific research, Caterina Di Fazio (Paris 1 Panthéon-Sorbonne University and Charles University, Prague) argued that certain cinematic techniques presented a phenomenology of movement to create an impression of perceptual continuity between film and audience. In the last paper, Michael Levine (UWA) reframed the questions of the conference, asking how philosophy and the history of emotions might contribute to understandings of cinema, rather than examining how cinema contributes to philosophy or to the history of emotions, or constructs the historical past.
The concluding discussion returned to ongoing issues for participants. What is the relationship between mood and emotion (Does mood prompt to emotion? or emotion generate mood?) What are the implications of different conceptions of emotions (phenomenological, cognitive, psychoanalytic, etc.) for theorising and interpreting the effects of cinematic representation? Why hasn’t cinema scholarship engaged explicitly with emotions until recently? How can historical films represent the legitimate differences of the past (and be comprehensible to the present)? What are the ethics of representation? How do the expectations and experiences that audiences bring to film inform their responses? How can scholars and critics take into account the complex, multi-layered experience of viewing film in their interpretations? There was substantial agreement that cinema had great power to mobilise emotion as a way of knowing, which could be morally, ethically, epistemologically and intellectually productive (as well as over-simplifying, ideologically suspect or simply confusing). Explicit engagement with theories of emotions will contribute fresh insights to scholars concerned to theorise the nature, significance and effects of cinematic representations.

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‘From Passions to Emotions’ Postgraduate Advanced Training Seminar (PATS)

By Gabriel Watts (CHE Education and Outreach Officer, The University of Sydney)

Postgraduate Students at CHE node at The University of SydneyWhat are emotions? What are passions? What is the difference and where did it come from? These questions and more were up for discussion at the ‘From Passions to Emotions’ Postgraduate Advanced Training Seminar (PATS) hosted by the Sydney Node of CHE in late September 2015.
Held alongside this year’s Methods Collaboratory, the ‘From Passions to Emotions’ PATS enabled postgraduate students from around Australia and New Zealand to engage directly with CHE researchers and international guests.
The day was structured to provide students with a deeper understanding of the conceptual developments and transformations underpinning the emergence of ‘emotions’ as a class of psychological phenomena. Each of the four short workshops focused on a major figure in the history of philosophy, 1200–1800, and was facilitated by leading international and Australian historians of philosophy. Facilitators included both keynote speakers at the 2015 Methods Collaboratory: Robert Miner (Baylor University) and John Sutton (Macquarie University), as well as Margaret Watkins (Saint Vincent College) and CHE Associate Investigator Anik Waldow (USyd).
Throughout the day students engaged first-hand with the work of Aquinas (Robert Miner), Montaigne (Margaret Watkins), Descartes (John Sutton) and Hume (Anik Waldow). The philosophical focus of the PATS allowed students from all disciplines to situate their own research within a broad conceptual history of emotions.
As in the past, a small number of competitive bursaries were awarded to students to facilitate interstate travel. The attendance of these students, plus the attendance of many CHE PhD candidates in Sydney for the Methods Collaboratory, ensured that the level of conversation was robust and engaged at all times.

Spotlight on: Voyage to the Moon

Melbourne’s Recital Centre is the place to be from 15-19 February 2016 when CHE’s Performance Program, led by Jane Davidson (CHE Deputy Director) and Alan Maddox (CHE Associate Investigator) join forces with Victorian Opera and Musica Viva Australia to launch Voyage to the Moon.
This chamber opera, created by theatre legend Michael Gow, with music realised by Calvin Bowman and the late Alan Curtis, combines gems from Händel and Vivaldi with rediscovered treasures from little-known eighteenth-century composers.
The cast includes Emma Matthews, Sally-Anne Russell and Jeremy Kleeman along with a band of chamber musicians led by Phoebe Briggs, Head of Music at Victorian Opera.
This performance will also tour Sydney, Brisbane, Canberra, Perth and Adelaide.
For more information about the various performances click
here.                                                             Back to Top

Image: East Indian Market Stall, attributed to Albert Eckhout, 1640 - 1666


One of CHE’s major events in 2016 will take place at the Freie Universität Berlin from 30 June–2 July. The international conference on ‘Emotions: Movement, Cultural Contact and Exchange, 1100–1800’ is jointly sponsored between CHE and the Freie Universität Berlin, with the further involvement of scholars from The Max Planck Institute for Human Development, Berlin.
The period 1100–1800 saw a vast expansion of cultural movement through travel and exploration, migration, mercantile and missionary activity and colonial ventures. From pilgrimage routes to slave routes, European culture was on the move and opened up to incomers, bringing people, goods and aesthetic objects from different backgrounds into close contact, often for the first time. Individuals and societies had unprecedented opportunities for new forms of cultural encounter and conflict. One major question for the conference to consider is finding the appropriate theory and methodology that will account for the place of emotions in this varied history.
Speakers include Professor Lyndal Roper (Regius Professor of History, The University of Oxford), Professor Monique Scheer (Historical and Cultural Anthropology, Universität Tübingen) and Professor Laura M. Stevens (Department of English, The University of Tulsa).
Scholars will draw on a broad range of disciplinary and cross-disciplinary expertise in addressing the history of emotions in relation to cross-cultural movement, exchange, contact and changing connections in the later medieval and early modern periods.
Don’t miss this highlight on the CHE 2016 calendar of
events.                                                                 Back to Top

Image: Passion of Christ, Sandro Botticelli, circa 1500.What is the history of the mind; how do cognition and emotion relate, now and historically; and how are their histories studied? These are but a few of the questions that will be debated at CHE’s 2016 Methods Collaboratory, running from 2–4 March 2016 at Macquarie University, Sydney.
This event is jointly organised and sponsored by three distinct interdisciplinary research groups spanning the humanities, social sciences and cognitive sciences: CHE, the ARC Centre of Excellence in Cognition and its Disorders (CCD) (hosted by the Department of Cognitive Science at
Macquarie University) and the McGill University-based project ‘Early Modern Conversions: Religions, Cultures, Cognitive Ecologies’.
The primary historical focus of the conference is the medieval and early modern period (roughly 1100–1800), but it will also include historical, comparative or theoretical papers addressing earlier or later periods.
Keynote speakers include
Gail Kern Paster (Folger Shakespeare Library and Shakespeare Quarterly, Washington D.C.); Monique Scheer (Historical & Cultural Anthropology, Universität Tübingen); Justin E. H. Smith (Histoire et Philosophie des Sciences, Université Paris Diderot – Paris VII); Harvey Whitehouse (Institute of Cognitive and Evolutionary Anthropology, University of Oxford) and Paul Yachnin, (English, McGill University and ‘Early Modern Conversions’).
For more information on this open event, contact
movingminds2016@mq.edu.au or go to our events page.
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New gender and emotions publication

By Joanne McEwan (CHE Research Assistant, The University of Western Australia)

Fama’ and her Sisters: Gossip and Rumour in Early Modern Europe
  • Gender and Emotions in Medieval and Early Modern Europe: Destroying Order, Structuring Disorder, edited by Susan Broomhall. Farnham: Ashgate, 2015. 282pp.

    Comprising 12 chapters from a team of interdisciplinary and international scholars, this volume examines how emotions intersected with gender ideologies and practices in medieval and early modern societies to create states of order and disorder. Focusing on both emotions and gender as structuring forces, it explores how they worked together to shape codes of expression and influence relationships within premodern society.

    Chapters by Tracy Adams and Susan Broomhall, for example, examine how elite women drew on affective performances associated with conventional femininity and applied them in diplomatic contexts. A number of chapters explore the social mechanisms and structures through which emotional expressions and performances were actively managed, from the mortification practices of the nuns at the heart of Claire Walker’s chapter, to the children’s school regimes examined by Annemarieke Willemsen, the alternative living arrangements of the Moravian community studied by Jacqueline Van Gent and the travelling family groups analysed by Claudia Jarzebowski. Others consider how uncontrolled passions and excessive or inappropriate expressions of feeling could disrupt order and create instability. Alicia Marchant, for example, examines the obsessive behaviours of early modern antiquaries, while Charles Zika explores the emergence of the Woman of Endor as a popular agent of moral disorder for artists in the seventeenth century.

    A number of chapters analyse how particular texts attempted to mitigate or justify negative emotions – such as those related to war, violence or desecration – by recasting them in a more positive light. As chapters by Matthew Champion, Erika Kuijpers, Megan Cassidy-Welch and Andrew Lynch suggest, individual suffering was often aligned with Christian morals and redemption in a spiritual framework, or with ethical and politically advantageous victories on the battlefield.  As Broomhall explains in her Introduction, the collection explores how emotions were documented and what these articulations achieved in terms of the order they brought to individual lives, to communities, and to social structures more broadly.  
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Special Journal Issue: ‘Emotions and Conversion’

Journal of Religious HistoryThe July 2013 workshop ‘Emotions and Conversion’ has resulted in a special edition of the Journal of Religious History (Volume 39, Issue 4, pages 461–630), published in December 2015. This issue, edited by Spencer E. Young (completed CHE Postdoctoral Fellow and Honorary Research Fellow at UWA) and CHE Chief Investigator Jacqueline Van Gent (UWA), is made up of two parts. Part one looks at converts, conversions and the power of emotions, and part two at emotions in the mission field. It includes articles by Francois Soyer, Spencer E. Young, Eric R. Dursteler, Susan Broomhall, Peggy Brock, Jacqueline Van Gent, Claire McLisky and Karen A. A. Vallgårda.

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We have decided to end 2015 by giving our blog a new look, ready for the new year.
An elegant new design, clear categorisation and improved searchability are a few of the improvements. Go to historiesofemotions.com to take a look.

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Aboriginal and Torres Strait Islander Associate Investigator (ATSI AI) grants

CHE has awarded three additional Aboriginal and Torres Strait Islander Associate Investigator grants for 2016. Congratulations to:
ROBYN HECKENBURG (Centre for Australian Indigenous Studies, Monash Gippsland), ‘The Emotions of Connection and Alienation: An Emotional and Spiritual Reflection of Place’.
JILL MILROY (School of Indigenous Studies, UWA), ‘Best Practice in Design for an Indigenous Knowledge Garden’.
PAULINA MOTLOP (School of Indigenous Studies, UWA), ‘Global Indigenous Knowledge Engagement – A Research Project on the Collection of Short Documentary Films in Bali, Indonesia’.

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CHE Associate Investigator, David Irving (Melbourne Conservatorium of Music, The University of Melbourne) was awarded the McCredie medal and elected as one of the 23 new Fellows of the Australian Academy of the Humanities on 28 November 2015. The McCredie medal is one of the highest honours for achievements in the humanities in Australia.
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Staff news

Wendy Norman has been appointed as acting Education and Outreach Officer at The University of Adelaide node of CHE. She is a former primary school teacher with a strong interest in creating curriculum that engages student enthusiasm. She has extensive experience with ACARA curriculum mapping, and her major task for CHE will be assessing the Online Adventure game project against the ACARA curriculum. A passionate educator, Wendy will also be working with the Adelaide Compass and Children’s University programs to deliver History of Emotions workshops to students from disadvantaged schools.


Research Fellow: ARC Centre of Excellence for the History of Emotions (Music & Conciliation)

Work type: Fixed Term
Location: Parkville
Salary: $64,863 - $88,016 p.a. plus 9.5% superannuation
Closing date: 15 January 2016
Full-time fixed-term position available from 18 March 2016 for 24 months.
Click here for the full job description.

Call for papers

2016 Shaping the Modern Program Collaboratory: 'Emotions, Materiality and Transformations in the Colonial Contact Zone'
Date: Monday 7 and Tuesday 8 March 2016
Venue: Lawrence Wilson Art Gallery, The University of Western Australia
Pam Bond
Call for Papers deadline: 20 December 2015

Workshop: 'Romantic Rituals: "Making Love" in Europe c.1100-1800'
Date: 4 July 2016

Venue: The University of Adelaide
Contact: Katie Barclay (katie.barclay@adelaide.edu.au) and Sally Holloway (sally.holloway@richmond.ac.uk)
Call for Papers deadline:  1 February 2016

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Selected forthcoming events

Gentile Bellini, 1496, Procession in St. Mark's Square Tempera on canvas. Courtesy of Wikimedia Commons

Peninsula Summer Music Festival 2016
Date: Sunday 10 January 2016
Time: 1pm
Venue: St Johns Marquee, King St, Flinders, Mornington Peninsula, Victoria. Date: 16–18 February 2016
Time: 7–9pm
Venue: New Fortune Theatre, The University of Western Australia.
Date: Wednesday 17 February 2016
Time: 10am–5pm
Venue: Philippa Maddern Seminar Room (Arts 1.33) and the New Fortune Theatre, The University of Western Australia.
This is a free event but numbers will be limited so please register well in advance with Pam Bond (pam.bond.uwa.edu.au).

Symposium: ‘Religious Materiality and Emotion
Date: 17–18 February 2016, commencing with a public lecture on 16 February
Venue: The Majestic Roof Garden Hotel, Adelaide.
Symposium organisers and enquiries: Dr Claire Walker, The University of Adelaide and Julie Hotchin, Australian National University.

Masterclass Baroque Music: Performance, Emotions, Insights
Date: Wednesday 17 February 2016
Time: 10am–4:30pm
Venue: The Salon, Ground Floor, Melbourne Recital Centre, Southbank Boulevard, Southbank.
Contact: che-melb-admin@unimelb.edu.au. Tickets are free, but places are limited, so advanced booking is essential. Tickets are available for the day or by session.

A full list of forthcoming events and further details about individual events can be found on our website.

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