24 October 2013
From the Change Program Leader
Emotions and historical change: how do they relate?
by David Lemmings
The mission of the Centre’s Change Program is broad and very ambitious: to investigate how mass emotional regimes influenced major social, political and economic changes. In doing so we assume that emotions were not merely epiphenomenal, i.e. that they act as drivers of change, and not merely consequences. How can this be demonstrated? As every historian knows, separating cause from effect, and chicken from egg, is a very complicated business. But emotions do make history, and our research can show how.
In 1794, Robert Hardy was tried for treason at the Old Bailey in London. At the time the French Revolution was raging across the English Channel, and Thomas Paine’s interpretation of the rights of man had helped to inspire a movement for parliamentary reform among relatively humble men like Hardy, who was a London shoemaker. He was also the secretary of the London Corresponding Society, and putting him on trial for treason was the beginning of a government campaign to shut down the radical clubs that were the backbone of the reform movement.
The story of Thomas Hardy is relatively well known. At the end of the trial he was found not guilty and, although the government subsequently legislated the reform societies out of existence, his case was recognised as a landmark in the progress of freedom of speech and association in Britain. But why did he win? The government threw all its legal talent at him: the attorney general opened the case with a speech that lasted nine hours, and the solicitor general spoke for six hours at the end. The Centre’s research has now revealed a key difference between the cases for the prosecution and the defence, however, and it was clearly a matter of emotional style.
The leading counsel for the defence was a barrister called Thomas Erskine. As close study of many effusively enthusiastic newspaper reports reveals, his success consisted of a theatrical style of address that used sentimental human stories to touch the emotions of the jury and the other people in court, even moving some to tears. How did he manage this? At one point he compared the prosecution’s case, which depended on an extremely lengthy chain of circumstances to connect demands for parliamentary reform with an alleged plot to dethrone the King, with the popular children’s story “The House that Jack Built”, which also hinged on indirect connections. This was a brilliant strategy because it transformed a public event into the familiar experience of the household, thereby allowing Erskine to play on the emotive contrast between poor Hardy, whose home and family had been destroyed by his arrest, and the relentless juggernaut of the government law machine. And in their reports the newspapers focused this sentimentalism to influence public opinion against the government, just as Erskine had persuaded the Old Bailey jury.
This is just one example of the many ways in which a perspective from the emotions can help to explain the course of history. Through a variety of research projects which analyse pre-modern communal genres open to emotional influences (such as printed media, legal conventions, religious rituals and practices such as pilgrimages, processions and witchcraft) and assess their power to influence the course of history, the Centre’s Change Program is helping to re-conceptualize the historiography of medieval and early modern Europe. For more on the change program click here.
My Life as a Playlist
CHE and its industry partner, the Australian Broadcasting Corporation (ABC), launched “My Life As A Playlist”, a major cross-platform project produced by ABC Arts in Spring 2013.
Presented by ABC Radio National’s “The Inside Sleeve” host Robbie Buck, “My Life As A Playlist” offers an interactive website where you can curate a personal soundtrack to your life. Users can create music playlists for major life events - births, childhood, falling in love, heartbreak, weddings and funerals. They can share their selections, explore other people’s playlists and discuss the reasons behind their choices. Pop quizzes that produce instant results about how and why you like the music you choose.
Robbie Buck said: “I love the way music can act as chapter headlines for our past. Looking back at the highlights – and lowlights – in our own lives, there’s always a soundtrack attached to it. Music possesses that wonderful capacity to boost our spirits in celebration and bolster our moods in commiseration. And there’s nothing quite like the emotional rush of hearing a piece of music that’s closely attached to a major point in your life, even many years later. It’s this aspect of “My Life As A Playlist” that’s so exciting, along with its ability to share those experiences with the rest of the nation”.
The site will feed into CHE’s research that explores the musical choices, emotions elicited, personality and social context over time, offering a history of emotions perspective on why and how we use music in our lives.
Jane Davidson, Deputy Director of CHE said: “The central focus of the academic project is on how we have used and continued to use music as a means of emotional regulation at individual and communal levels. Through a partnership with the ABC, the creation of this website has given CHE the opportunity to engage with the Australian public in a fun yet meaningful way to collect important data about music and emotion, personality, culture and history”.
Davidson and Postdoctoral Research Fellow Sandra Garrido have written book on based on their research and entitled “My Life As A Playlist” which will be available later this month through UWA Publishing. Click here for to pre-order. Back to Top
Far From Home: Adventures, Treks, Exiles, Migration
Mauretta Drage lives “far from home” in Broome, many miles from her family and the Nhanda country where she grew up. The Drage family, has many connections to Nhanda country and the history of the region. Mauretta’s message sticks installation of over 300 sticks collectively hung together on the beach in Kalbarri, not only brought her back home to the heart of Nhanda country, but set the scene for a most spectacular “Welcome to Country” for those attending the 2013 Zest Festival.
Over the weekend of 21-22 September, CHE played its annual part in partnering with the Western Australian coastal town of Kalbarri to look at their historical connection with other nations along the Dutch East India Trading Company’s (VOC) trading route.
This year’s theme, “Far From Home: Adventures, Treks, Exiles, Migration”, focused on South Africa, and Cape Town in particular, and its emotional connections to the VOC and Western Australia (WA). The meaning of home was explored, and the power of travel to forge bonds and relationships over vast distances.
Last year, the Kalbarri Development Association and the Shire of Northampton in association with CHE created the Zest Festival in recognition of the 300-year commemoration of the Zuytdorp shipwreck. That event was the beginning of a new cultural journey for Kalbarri and its visitors.
In 2013, Festival-goers had the opportunity to discover WA’s history and connections to South Africa through exhibitions, films, digital storytelling, performances, music, South African food, school displays, markets, the horse trek, great race and bush walks.
CHE’s “Far From Home” exhibition combined historical and creative components. The “Journey into the Unknown” gave people insight into what life might have been like in those days.
“Then, the creative exhibition invited visitors to experience the world and emotions through an interactive exhibition where we explored the power of stories, objects and the senses to hold memories and emotions of home, places, people, times and changes. Memories and emotions are intangible, yet a physical place and objects can embody these. In this exhibition, we learned how messages have been communicated in the past, and how physical objects placed in the landscape have left messages for us today”, CHE Chief Investigator, and major driver of CHE's program within the festival, Susan Broomhall said.
According to Rebecca Millar, Zest Festival Director, “It has been very rewarding to see community members, artists and our children learn, create, reflect and come together to share. This weekend was a celebration of all the experiences and creative ventures we have been working on over the past year”.
“We invited community members to present an object, artwork, story or anything that holds meaning about being far from home to them, and to provide a story about why this chosen item connected them to home. The object could have been anything - a letter, a traditional meal recipe, a treasured memento, a musical instrument, a song – it was the story that made the choice meaningful”, Millar said.
This year’s Festival didn’t only attract local interest, but state and local politicians also made the trek up to Kalbarri to support the event. As a South African migrant himself, Speaker of the Legislative Assembly, Hon Michael Sutherland, recalled some of his South African history and expressed his delight at the Festival when opening the event.
There was certainly no shortage of food at Zest. Voyager Estate Executive Chef, Nigel Harvey, showcased the Cape Malay-inspired dishes paired with a selection of Voyager Estate wines, while Geraldton-based Chef Lecturer Darren Smith from the Durack Institute of Technology designed a menu in keeping with the theme of the Zest Festival. The food served by Voyager Estate and Durack tantalised the taste buds of guests with delicious South African cuisine.
Internationally acclaimed opera singer, Michael Halliwell (a CHE associate artist), along with Jane Davidson (CHE Deputy Director and Performance Program Leader) and Perth Baroque (CHE associate artists), brought musical treats to the festival with items ranging from music of the chamber to that of the street, and included a presentation on sea shanties. Halliwell was also part of the “Chamber of Rhetoric” held on the Murchison River foreshore. With the bonfire lit, well-known Australian actress Ningali Lawford-Wolf took onlookers on a journey across the ocean, whilst the sound of drumming transported everyone to another land, far away. The African beats of Moses Nii Odartei, master drummer and teacher in traditional Ghanaian music, called out to those who had been taken from their homes and sold into slavery. Under the artistic direction of Rebecca Millar, aerial performers Ty Fitzsimons and Theaker von Ziarno, with Outback Rhythm Dance Centre choreographer Melinda Leo, worked with local dance students to develop an acrobatic and dance interpretation of human bravery, creating scenes of people far from home, travelling to unknown places. To support the performance, education and outreach work was undertaken by CHE officers. Go to our website to read more about CHE’s rhythm of life drumming workshops at Kalbarri District High School.
CHE Director Professor Philippa Maddern summed up the success of 2013 Zest Festival in this way: “The theme of being far from home encapsulates the highly emotive experiences of many new Australians over recent centuries. This immigrant nation began in the days those Dutch and South African survivors of the Zuytdorp shipwreck struggled ashore, and so many of us still live with deep nostalgia for far distant lands. In exploring this immigrant past and the significant meetings with Indigenous Australians, the Zest Festival allows us to value the emotional worlds of all Australians now and into the future”.
Click here to download the 2013 Zest Festival brochure in three parts. Back to Top
Emotions in Blood, Stone and Land
At first glance a title like “A History of Heritage: Emotions in blood, stone and land” immediately stirs the emotions, even more so when the event is in Tasmania, a place deeply marked by family bloodlines, monuments and a remarkable landscape, and it thus set a perfect context for a CHE Shaping the Modern program collaboratory.
This collaboratory, coordinated by Susan Broomhall, Alicia Marchant and Diana Barnes, explored the long affective history of heritage, from the medieval period to the present. “We were interested in how the meanings and focus of the concept of heritage have changed over time - as it has been represented in families and bloodlines, monuments and objects, and in landscape and places imbued with memory”, Alicia Marchant said.
Practitioners in heritage, art and museology came together to explore themes of shared interest with scholars from a range of academic disciplines, from archaeology and literary studies to philosophy and history. A strong theme was the emotional connection of and to Britain, with discussions ranging from the meanings of carved stone for medieval Orcadians and the classical traditions of early modern England to battlefields in Britain and Australia, the Scottish and English heritage of nineteenth-century settlers and convicts, the collecting habits of modern Australians, and the public heritage of contemporary Scotland.
Aboriginal elder, Patsy Cameron, spoke about the emotions of the past, present and future held in the natural landscape, while others analysed recent literary expressions of aboriginal heritage. Early European settlers’ attempts to understand, preserve and often exploit aboriginal peoples and their cultures were also discussed. The future heritage recognition of Perth’s key waterways, the Swan and Canning Rivers, imbued with indigenous, natural and historical values was an additional topic of debate.
Participants also visited two colonial prisons in Tasmania, the Richmond Gaol, and the Cascades Female Factory in Hobart, as well as a range of other historic and heritage sites. The two main sites allowed the visitors to reflect on what it might have been like to be held in these facilities. The Richmond Gaol is still intact and uses soundscapes and display boards to guide one through its history. In contrast, on a bitterly cold morning, Lucy Frost (The University of Tasmania) took the group through the bleak remains of the Female Factory, where much is left to the imagination, affecting the visitor in a very different manner.
Jo Hawkins, PhD Candidate, UWA (History) reflected on the collaboratory: “The event offered a unique opportunity for me to situate my research based on the ANZAC Legend within a much longer history of heritage spanning back to the medieval period. As a postgraduate student, the opportunity to connect and collaborate with an interdisciplinary group of researchers at the forefront of their respective fields was invaluable. Not only did participation in the conference inspire new questions and connections, it challenged many of my previous assumptions, vastly enriching my research project. It was an inspiring weekend and one not soon forgotten”.
Janet Gleeson-White, PhD Candidate, University of New South Wales, shared her insights about the collaboratory on her blog. Back to Top
AI report: Singing Death
Death is the unanswerable question for humanity, ”the question of questions” as Federico García Lorca has it, since it lies beyond human experience. The music of death represents one of the most profound ways in which, nevertheless, we struggle to accommodate it within the scope of the living by giving a face and a voice to death and the dead.
The papers presented in the “Singing Death” symposium held at The University of Melbourne in August 2013 covered a range of areas - from the sounds of bells announcing death in the early modern English countryside to the representation of vampires in 18th-century Eastern Europe, from the iconographical tradition of the Dance of Death to the varied emotions of horror, triumph and sympathy evoked in execution ballads of the 16th-17th centuries. The symposium raised a number of questions: Why should compositions entitled “laments” in the late 12th century display so few of the affective flourishes used in comparable works of the 13th century (hence sounding rather emotionless to modern listeners)? Why do ghosts and messengers from the dead in the English ballad tradition deliver such different messages to their counterparts in the middle ages, or for that matter, in the modern era?
This moving event was the creation of one of CHE’s Associate Investigators, Helen Dell, who joined forces with Helen Hickey to deliver a program which included presentations by Una McIlvenna (The University of Sydney), Dolly MacKinnon (The University of Queensland), Michael Pickering (The University of Melbourne), Nela Trifkovic (Independent scholar and artist), Carol Williams (Monash University), Charles Zika (The University of Melbourne) and Helen Dell (The University of Melbourne).
“The day fostered a deeper understanding of the cultural and historical context in which the music was created and performed, and some of the functions it attempted to fulfil,” the organisers said. Fittingly, the day ended with a short concert, ”The last goodbye”. Music was provided by Troveresse Medieval Music ensemble (Alex Connelly, Helen Dell, William Thompson), joined by Una McIlvenna, Nela Trifkovic and Carol Williams. Back to Top
True Self: David Rosetzky Selected Works
In August 2013, after months of discussions and planning, CHE successfully collaborated with the Centre for Contemporary Photography (CCP), a Melbourne gallery, to deliver a series of three public programs, as well as an educational resource and educational program accompanying the exhibition “True Self: David Rosetzky Selected Works”.
For those familiar with the contemporary multi-media artwork of Rosetzky, connecting with CHE would come as no surprise. His beautifully crafted lo-fi video, photo-collages and cinematic long-duration works have long explored issues of identity, subjectivity and relationships, encouraging his audiences to examine their own emotions of desire, longing and the need to belong.
Faces appear throughout Rosetzky’s work - beautiful, young, some dynamic, some static. Exploring “The Face” as the locus for both projecting and representing emotions was the first of three key themes explored in the public programs forums, followed by “In Public Space” and “Music and Sound”.
Examining crying and the expressed face in art and literature, clinical psychologist Tom Whelan discussed the connection between emotional expression and wellbeing with particular attention given to the psychology behind tears. CHE’s Stephanie Trigg shared her ideas about the textual face and “of reading” emotional expression on the human face drawing from medieval and modern examples, while curator of the National Portrait Gallery, Chris Chapman, pondered the evolving states of male identity looking at recent photographic portrait-related works by selected American artists.
Despite the cold winter evenings, Melbournites turned out in good numbers to “In Public Space” to hear three diverse approaches to emotions in public space, from the performative to the political and the sacred space. Jeff Kahn, Co-Director of Sydney’s Performance Space, explored some of the diverse and surprising ways artists intercept public space through performative interventions. Professor Nikos Papastergiadis looked at emotions, recognition and engagement in mediated public spaces, drawing from his “Large Screen” project in Federation Square. Reflecting on her “Station of the Cross” exhibition at the Wesley Uniting Church in Perth, CHE Associate Investigator Catherine Czerw spoke about the role of emotion in sacred spaces for contemporary art.
The final evening, “Music and Sound” was a real treat, attracting a new audience to the gallery. It brought together CHE’S Postdoctoral Research Fellow musicologist Sandra Garrido, esteemed Australian composer Elena Kats-Chernin and sound and visual artist Robin Fox. Collectively they addressed the issue of affect and sonics - from how music speaks of the human condition, to how mood, feelings, emotions and state of mind relate to the creation of music, to the final challenge - do emotions still matter now that everything is music?
The three evenings attracted over 150 people, drawing such enthusiastic responses that some wrote to CCP’s director and co-curator of “True Self“, Naomi Cass, complimenting the interdisciplinary program for its “depth and complexity”. The speakers, many of whom were unfamiliar with CHE’s work prior to the program, were also thrilled to participate. Beyond the enthusiasm and immediacy of the evening’s discussions and audiences, thinking about emotions specifically in relation to their own disciplines has nourished their research and work.
Further to the public programs, CHE also collaborated in the creation of an educational resource. Pervaded with an emotions orientation, the resource meets the national curriculum needs of secondary students of English, Art and Psychology, offering students a rich platform in which to engage with the ideas explored in Rosetzy’s work.
Over 20 schools and 320 students attended the exhibition and accessed the resource while in Melbourne but, given the exhibition’s national tour over the next three years, it is hoped the resource will have currency for some time. Back to Top
Tragic Affect: Performance Workshop
By Rob Conkie
The workshop entitled “Othello’s ongoing affect: an ‘original practices’ Othello”, explored the production of affective audience response to the murder of Desdemona, as contextualised by Henry Jackson’s famous 1610 eye-witness account of the King’s Men at Oxford.
From 23 September – 4 October, CHE Associate Investigator Rob Conkie (La Trobe University) and Postdoctoral Fellow Penelope Woods (UWA), in association with fifteen professional and student actors, explored “Shakespeare’s Theatrical Affect”.
The program involved rehearsals, workshops and staged readings of the first Act of Hamlet and a full production of Othello. The production of Hamlet imagined the play with the title character and his immediate family as Indigenous Australians; thus the themes of dispossession, disinheritance, usurpation and payback were appropriated for a painfully local context.
The staged reading was followed by a ‘Long Table’ discussion facilitated by Penelope Woods, and which we were graced by academic visitors from UWA, UNE, La Trobe, as well as by local actors and practitioners and students. One attendee, the comic book illustrator Bernard Caleo, responded to the discussion with drawings.
The second week of work was just as affectively charged. A full, ‘original practices’ production of Othello was staged. The rules of this ‘game’ included: an all-male cast; all actors in make-up; a thrust stage with audience on three sides; the audience in the same light as the actors; and the actors directly addressing the audience. This work imaginatively juxtaposed the historical and the contemporary:
“. . . in which not only by speaking but by certain actions [the King’s Men] moved the audience to tears. Desdemona, killed in front of us by her husband, although she acted her part excellently throughout, in her death moved us especially when, as she lay in her bed, with her face alone she implored the pity of the spectators”. Henry Jackson, 1610, Corpus Christi College, CCC: MS 304, ff 83v-4.
“A black Othello is an obscenity. The element of the grotesque is best achieved when a white man plays the role. As the play wears on, and under the heat of lights and action, the make-up begins to wear off, Othello becomes a monstrosity of colours: the wine-red lips and snow white eyes against a background of messy blackness”. S. E. Ogude, ‘Literature and racism: The example of Othello’.
The session concluded with an invitation to audience members to replicate Jackson’s 1610 practice of writing a letter to someone about the production they had just witnessed: “Dear Desdemona, I'm so sorry for you. You were so beautiful, you channeled a geisha. Thank you for sharing the last moments of your life with me. Love Emily”.
CHE hosts International Guitarist
Hosting an internationally acclaimed artist is always a privilege, but seeing that artist derive pleasure from coming back to his alma mater and making the guitar “sing with emotion”, makes it even more worthwhile.
Craig Ogden, a UWA music graduate, returned to Perth in October for a three-week residency at the University to help celebrate UWA’s centenary year. Ogden offered a three-concert series presented by the UWA School of Music and sponsored by CHE and the Centenary Luminosity Project.
Ogden is recognised worldwide as a leading guitarist and one of the most exciting artists of his generation. His many recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received critical acclaim. He has performed concertos with all of the main UK orchestras plus many abroad and has presented on BBC Radio 3 and on ABC Classic FM (Australia). He is also Principal Lecturer in Guitar at the Royal Northern College of Music in Manchester and Visiting Lecturer at the Royal College of Music in London.
At his solo recital, listeners were treated to an exploration of emotional meaning in music and how this has changed across history. A particular focus was on the extent to which re-creative performance on the modern guitar can capture the sound and meaning of works from the past that were composed originally for other instruments, such as the lute and harpsichord. The program included works by the lute virtuoso John Dowland (1563 –1626) and opened with the moving ‘Lachrimae pavan’ originally composed for solo lute with a song counterpart, ‘Flow my teares’. The work was incredibly popular in its day and was also developed into a work for consort. This ensemble composition features “seaven teares figured in seaven passionate pavans” set in five parts. Dowland points out that different types of tears are depicted: “The teares which Musicke weeps” can be pleasant: “neither are teares shed always in sorrow but sometime in joy and gladnesse”. These historical elements of musical emotions were explored with Ogden and the audience in a commentary presented by CHE Deputy Director, Jane Davidson. A further highpoint of the evening was a performance of Benjamin Britten’s ‘Noctural after John Dowland’ (composed in 1963). This clever musical homage to Dowland reflects Dowland’s song ‘Come heavy sleep’, based on the theme of melancholy.
The concert was far from gloomy, Odgen’s virtuosity delighting the audience and his often humorous comments to Davidson highlighted the value of emotional communication. Back to Top
New web-based research resource
CHE has launched an exciting new web-based resource for researchers studying the history of pre-modern emotions: http://emotions.arts.uwa.edu.au/wiki/
The CHE database is an interactive forum comprising textual extracts and visual images relating to the identification, conceptualization, representation, and expression of emotions in a variety of genres and European languages in the period 1100-1800. It includes, for instance, scientific, medical, and theological accounts of emotion, as well as descriptions of emotions expressed in a variety of contexts from the literary to the legal.
The database allows researchers to search (by tag, date, subject, and the like) for useful references to emotion terms and expressions that would otherwise be hard to find, and it encourages collaborative thinking and discussion.
“The site is still in its early stages. We hope to extend it — perhaps by allowing a category for music uploads. The entries we have are great, but we need more of them! With the help of many of you, we aim to make this one of the world’s major resources for those studying the history of emotions. How good would it be, for instance, to be able to compare, easily, theories of the passions ranging from Thomas Aquinas to Descartes? To find out how representations of anger in European art changed over the period 1100-1800? To search for, and find, practically all references to, say, tears or weeping in English literature in the year 1750”, Philippa Maddern, CHE Director urged.
CHE welcomes new contributions from its members, and urges you to submit any relevant extracts or visual sources you may come across in your research. Together, we can make this a great resource! Simply visit the website and download a contributions form, and your resource could be added to the collection! Back to Top
CHE at the International Medieval Congress
The International Medieval Congress (IMC) held annually at The University of Leeds is one of the biggest events on the medieval conference calendar. A record 1848 delegates from 49 different countries gathered from 1-4 July 2013, making it the largest Congress in its 20-year history.
More than half of the delegates came from outside the UK: over 630 from Europe (not including the UK) and over 380 from outside Europe, from as far afield as Puerto Rico, Taiwan, and Argentina. A programme of 458 sessions and round table discussions explored all aspects of the European Middle Ages.
The IMC has a Special Thematic Strand each year and in 2013 that thematic strand was “Pleasure”. Professor William M. Reddy (Duke University), who gave a public lecture and participated in a CHE collaboratory in Melbourne earlier this year, gave one of the two opening keynote addresses. His lecture, entitled “Is Pleasure an Emotion?: Historicism and Anachronism in the History of Emotions”, certainly set the tone for four days of lively debate focused on the emotions.
CHE sponsored a very well-received session entitled “Eat, Read, and Be Merry?: Social Pleasure and Its Implications in Late Medieval England and France”. The papers in the session were: “Reading and Receiving Pleasure: The Book as Gift in Late Medieval England and France” (Stephanie Downes, The University of Melbourne), “Personal Taste and Social Threat in Malory's Morte Darthur” (Melissa Raine, Independent Scholar, Victoria), ”’Be mery […] and eate your mete lyke a woman‘: Merriment, Health, and Salvation in Late Medieval English Texts” (Philippa Maddern, CHE at UWA).
To round off the CHE participation in the Congress, Philippa Maddern and Claire McIlroy hosted a wine reception to promote the Centre’s activities, upcoming events and opportunities for becoming involved with our research programs. At its height, the reception attracted around 80 people who enjoyed drinks and nibbles while they listened to a short PowerPoint presentation provided by Maddern. Back to Top
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- CHE Associate Investigator, Ursula Potter, and her colleagues, Roger Bartrop and Stephen Touyz, have been successful in their application for a research assistant via the Summer Scholarship programme of The University of Western Sydney. A medical student will be appointed early in December to undertake a systematic review of international research on the role of spirituality in the onset of eating disorders, and develop a related questionnaire for Australian and New Zealand clinicians.
- CHE Research Associate, Sandra Garrido, and her colleagues Jane Davidson (CHE at UWA), Waldo Garrido (Macquarie University) and Tuomas Eerola (Durham University, UK), were successful in obtaining a Research Collaboration Award from The University of Western Australia, to research “Music and Depression: Measuring musical features and their impact on mood in historical music and contemporary”.
Selected Forthcoming Events
The Enlightenment and the Development of Philosophical Anthropology
- “Criminal” Justice during the Long 18th Century: Theatre, Representation and Emotion in the Courtroom & the Public Sphere.
- Date: 1 - 2 November 2013
- Time: 8.30am - 4.00pm
- Venue: The Huntington Library, 1151 Oxford Road, San Marino, California, USA
Date: 4 - 6 November 2013
Venue: CCANESA Boardroom, Madsen Building F09, Eastern Avenue, University of Sydney
Information & Registration: http://sydney.edu.au/arts/philosophy/research/conferences.shtml
Enquiries to firstname.lastname@example.org or call (07) 3365-4913
- J.C. Pepusch's Venus & Adonis (1715)
- Dates & Times: Saturday 23 November 2013, 2.30pm and Tuesday 26 November 2013, 6.30pm
- Venue: The University of Queensland Art Museum, University Drive, St Lucia
- Admission is free.
- Enquiries to email@example.com or call (07) 3365-4913
- Arts and Rhetorics of Emotion in Early Modern Europe
- Date: 25-27 November 2013
- Venue: The University of Queensland, Toowong Rowing Club (on the UQ campus),
- 37 Keith St, St Lucia QLD 4067.
- Register on-line here by 31 October 2013
Children's Literature, Childhood Death and the Emotions 1500-1800
- Fire Stories
- Date: 4-6 December 2013
- Location: The University of Melbourne
- Contact: firstname.lastname@example.org
Date: 5 - 6 December 2013
Venue: The University of Western Australia Back to Top
Calls for Papers:
Symposium- Try Walking in My Shoes: Empathy and Portrayals of Mental Illness on Screen.Date: 13 & 14 February 2014
CISH/ICHS Historicizing Emotions Theme Day
- Location: The Dax Centre, Kenneth Myer Building, The University of Melbourne
- Proposals Due: 15 November 2013
- Contact: email@example.com
- How is mental illness represented in film and television? What emotions are elicited from the viewer? How have these portrayals changed over time? And what are the implications of these portrayals for mental health awareness in the community?
- This symposium is supported by CHE and the School of Culture and Communication at The University of Melbourne (UoM), in collaboration with The Dax Centre. Confirmed speakers include Raimond Gaita (UoM), Barbara Creed (UoM), Jane Stadler (UQ), Stephen Macfarlane (Caulfield Hospital), Pia Brous (The Dax Centre), Samuel Margis (NEST Clinic) and Mark Nicholls (UoM).
- The Convenors invite submissions for 20-minute papers or workshop proposals, by Friday 15 November 2013. Full details are available here or contact Fincina Hopgood.
- Date: 23 - 29 August 2015.
- Venue: TBA, Jinan, China.
- Call for papers closes 30 November 2013.
- CHE and the History of Emotions group at the Max Planck Institute for Human Development, headed by Ute Frevert, are organising one of the four Major Themes for the next World Conference of the Comité International des Sciences Historiques (International Committee of the Historical Sciences)(CISH/ICHS), to be held in Jinan, China from 23-29 August 2015.
The two groups will be hosting a whole day's session—four panels--particularly on the theme 'Historicizing Emotions'. Each panel will, we envisage, have three papers-givers, plus a discussant to open up questions and debate. We will accept paper proposals covering any period of history in the last millennium, and will particularly welcome papers that enable well-focused discussion between the different perspectives of Western and non-Western histories of emotion, without privileging one over the other.
The Call for Papers is now open on the CISH/ICHS website and the plan for the Major Theme 'Historicizing Emotions' can be downloaded here.
Proposals should be sent to the two organisers (Ute Frevert and Philippa Maddern) AND to the CISH/ICHS Secretary General Robert Frank (click here to email all three simultaneously)
by 30 November 2013. Back to Top