17 December 2014
From the Acting Director
The later part of 2014 has been a very busy time for our Centre, packed with events and with planning for the years ahead. Around the five nodes of CHE, we’re starting to receive the first of the recently appointed new Postdoctoral Fellows.
As you can read below, we have assembled an outstanding range of Distinguished International Visitors and Early Career International Research Fellows for 2015-16. We’ve also held an excellent Postgraduate and Honours Workshop at the Melbourne node on 4-5 December, which attracted many potential future CHE dissertation writers. Thanks and congratulations to all who took part.
Professor Piroska Nagy, from the Université du Québec à Montréal, a soon-to-be CHE Partner Investigator, visited Melbourne, UWA and Sydney during her recent time here. Her current research looks at the power of an ‘emotional event’ to create an 'affective community’ in distinction from Barbara Rosenwein’s language-based ‘emotional community’, and also at the empowerment of an ‘emotional politics’ through the interpretation of emotional events. Piroska, who is an expert on hagiography, argued in other venues for the special power granted in the medieval period to embodied emotions. The Melbourne symposium on ’Emotions work in the historical past’ tied her research with that of Charles Zika, Grace Moore, Bronwyn Reddan and several other CHE Associate Investigators and Postgraduates. We look forward very much to further collaboration with Piroska in the coming years. An exciting new prospect for earlier 2015 is 'The Passionate Arts in the Early Modern World', which CHE is hosting with the Perth International Arts Festival and the UWA School of Music on 6 March. The event features a symposium organised by CI Jane Davidson featuring CHE experts, and an evening lecture-concert, The Rhetoric of Passion; Eloquence in the Golden Age of Italian Music. World-renowned musical director William Christie with singers and musicians from ‘Les Arts Florissants’ will focus on the portrayal of human emotions as conceived by the Italian composers of the seventeenth and eighteenth centuries. The evening will include arias on rage, jealousy, beauty, and love.
Many more recent and future national and international activities are listed below. With all of this to occupy us, the end of the academic year seems to have approached very suddenly. I take this chance to give thanks to all my academic and administrative colleagues in CHE for the great privilege of sharing their work in 2014. It has been a year of sadness, with the loss of our beloved Pip Maddern, but also a year of excellent research achievement and renewed collegiality. We can look forward to a very bright 2015 and beyond. Andrew Lynch
Acting Director | Chief Investigator | The University of Western Australia
Early Modern Conversions Project
‘Theatres of Conversion: Early Modern Cities, Courts and Playhouses’ was a workshop held in Toronto from 24-25 October 2014 by the Canadian research group: Early Modern Conversions which is directed by Paul Yachnin of McGill University. The event was hosted by the Centre for Reformation and Renaissance Studies at the University of Toronto.
By Dr Penelope Woods
Early Modern Conversions are partners of the ARC Centre of Excellence for the History of Emotions and this workshop was a valuable opportunity to explore how work on the history of emotions and research into an early modern moment of conversion intersect. CHE was represented at this event by Professor Jacqueline Van Gent, Dr Merridee Bailey, Dr Penelope Woods and PhD candidate Makoto Harris Takao.
Professor Van Gent's work on cross-cultural exchange and conversion (a special edition on 'Conversion and Emotions' in the Journal of Religious History edited with recent CHE Postdoctoral Fellow Dr Spencer Young, is due out in 2015) makes her a lynchpin in this relationship between the two research centres. Dr Bailey's discussion of Thomas Dekker’s prose writing and the mercantile and economic history of Early Modern London offered a significant intervention in the discussion of ‘conversion’ in cities, drawing attention to the importance of both stasis and similitude within a framework of change and difference. This insight informed other considerations of specific city contexts of early modern conversion, such as the work by: Dr Jose J. Lopez-Portillo of McGill University on colonial encounter and conversion in Mexico City; Dr Eoin Devlin’s (Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), based at the University of Cambridge) work on Baroque Rome; and Dr Jane Hatter’s work on the female and maternal conversions and transitions illustrated by church music practices in Early Reformation Nuremberg.
Makoto Harris Takao provided invaluable insight into the Jesuit paths of cross-cultural exchange and conversion with his work on the seventeenth-century musical drama Mulier Fortis by Johann Baptist Adolph and Johann Bernhard Staudt. Makoto considered the significance of the Christian Japanese female martyr figure, Gratia Hosokawa, at the heart of this play first staged in Vienna in 1698. Makoto’s work informed the concluding discussion, led in part by Professor Van Gent, about the significance of pushing the geographic boundaries of early modern conversion research and disrupting a Eurocentric reading of these events.
As part of the focus on conversion and theatre, Dr Woods led a workshop on Shakespeare’s The First Part of King Henry VI drawing on Thomas Nashe’s account of excessive audience weeping in response to this play. Penelope produced four scenes with the help of actors Paul Hopkins and Jennifer Roberts-Smith, with attention to the specific staging and reception conventions of the Rose Theatre, and inviting self-reflective consideration of the mechanisms of affect, participation and emotional conversion at work in this early modern performance. This rarely-performed play elicited tears from its twenty-first century scholarly audience.
Other highlights of the workshop included work by the art historian Professor Bronwen Wilson (University of East Anglia) on European travel drawings, former CHE guest speaker Associate Professor Steven Mullaney (University of Michigan) on Jewish conversion in London and embodied memory, and Yelda Nasifoglu (McGill University) on Robert Hooke’s ‘air and lunacy’ in 17th-century London. Paul Yachnin’s work drawing together and curating the emerging cross-disciplinary discussions and themes was characteristically generous and artful. The significance of precise work on the history of ‘emotion’ for better contextualizing the complexities of religious conversion and the ramifications of conversion as a personal and social phenomenon was evident. Issues of conviction, hypocrisy and sincerity were particularly bound up with emotional style and practice in ways that produced new insights in discussion between the researchers of each Centre. A forthcoming collaborative event between the ARC Centre of Excellence for the History of Emotions and the Early Modern Conversions Group is being coordinated by Professor Van Gent. Back to Top
The gendering of emotion in the eighteenth-century theatre
The eighteenth-century has been regarded as an age of reason for its many advances in science. But the period’s “cult of sensibility” that promoted a feeling response to art and to life also makes emotion central to this era. Indeed, several eighteenth-century thinkers brought these two spheres together by theorising about feeling, notably in the form of sympathy.
By Fiona Ritchie, McGill University
As an Early Career Research Visitor at the Centre for the History of Emotions (CHE), I am interested in furthering our understanding of the role of emotion in eighteenth-century culture, particularly with regard to gender. In my work as a historian of British theatre in the period, emotion has become a major concern.
The acting style prevalent at this time was very much based on the communication of feelings through performance. Dramatic writing too was highly emotional: new plays were full of moments of pathos and old plays, even Shakespeare’s, were adapted to make them more affective. And playgoers at the time did not hesitate to express their responses to the plays and the actors who performed in them.
Gender was key to the circulation of emotion in the eighteenth-century theatre: women were considered more susceptible to emotion than men and were urged to harness their feelings to bring about moral reform. So actresses, female dramatists and women playgoers played an important role in propagating emotion.
During my time at the CHE, I have given talks at The University of Western Australia and The University of Sydney on the emotional response of women playgoers to sentimental staging’s of Shakespeare in the eighteenth-century.
This work on how feelings circulate between audience members has led to collaboration with Professor Bob White and Dr Penelope Woods on the concept of emotional contagion, a term used to describe how emotions are transferred between people. This idea has great resonance for our work in theatre studies, in which we think about how feelings move from actor to spectator and between audience members. But it also has much wider implications for the study of the transmission of emotion in art, music, literature and so on.
Following a reading group session at UWA in which we discussed some key research on the topic, we held a more wide-ranging workshop in Sydney to further interrogate this idea. Several presenters from different disciplines and working in different historical periods brought an example of emotional contagion in the form of a text, image or object for discussion. We also spent time debating the wider issues around emotional contagion, including the ethical dimension of this concept, its terminology and the labour that might be involved in propagating feeling. We intend to write up the ideas developed in this productive workshop for publication.
I have also visited The University of Melbourne, where I participated in a symposium entitled Global Theatricalities/Global Shakespeare, organised by Professor Gillian Russell. In this session I presented a paper based on work from my new research project on women and regional theatre in Britain and was able to gain valuable feedback on methodologies for writing performance history from both the other presenters and the audience members. Back at UWA, I’ve begun a research project with Dr Katrina O’Loughlin in which we bring our respective backgrounds in theatre history and travel writing to bear in thinking about the overlap in emotional publics between summer theatre audiences and spa town visitors in eighteenth-century Britain, concentrating on women’s activity in these spheres.
For me, it is impossible to think about the eighteenth- century or about theatre without taking emotion into account. My time at the Centre has helped me to refine my ideas about how emotion works historically by bringing me into dialogue with experts in this growing field. I’ve learned a huge amount from joining the ongoing conversations at the Centre, and feel better equipped to navigate the sometimes murky waters of historical emotions research with a clearer understanding of the methodological and theoretical approaches I might take in my work. I hope also to have contributed to the Centre’s impressive historical breadth by bringing some emotional aspects of eighteenth-century culture into the conversation. My fellowship has created connections that I anticipate will lead to long-term collaborative research relationships. Back to Top
New Fortune Theatre fifty and fabulous
The Second New Fortune Lecture-Performance was delivered on 14 November 2014, the year of the Theatre’s 50th Anniversary, by acclaimed director Aarne Neeme at The University of Western Australia.
On the occasion, the much-loved, open-air New Fortune Theatre, greeted up to 200 guests, many of them UWA alumni, to witness a milestone for a theatre that has made history in its own right in the last fifty years.
Aarne Neeme unlocked some of this past as he delivered a narration based on his own remarkable productions. His lecture was accompanied by Shakespearean performances to illustrate many of his observations. It ended with a first-ever performance of a scene from a play written by Dorothy Hewett but never published or performed before this night, The Knight of the Long Knives.
Organised by the ARC Centre of Excellence for the History of Emotions (CHE) and supported by the UWA Dean of Arts and the Director of the Cultural Precinct, the Lecture-Performances have drawn local and international attention to this rare reconstruction of the original Fortune Playhouse (London, c.1600) and its suitability for reproducing all kinds of drama, including Shakespeare’s plays.
CHE Chief Investigator and UWA English Professor, Bob White, would like to see the New Fortune Theatre’s rich history celebrated, its ‘golden age’ of vigorous performances in the 1970s and 1980s brought back to life, and the stage restored to its former grandeur.
“In this year, 2014, we have a double celebration – not only is it the New Fortune’s 50th Anniversary but it is also Shakespeare’s 450th birthday following his birth in 1564, and we want to pay homage to these very important dates in history,” he said.
During the Lecture-Performance Mr Neeme reflected fondly on the theatre’s earlier days, describing the New Fortune Theatre as like an artist’s palette for Elizabethan stagecraft.
“I was so excited about gaining insights into its structure, I thought about the intended visual effects of Shakespeare’s plays, as well as how the use of its space would illuminate his intentions, so I was delighted to work on staging productions here,” he said.
He spoke of his initial visit when he met the ‘grande dame of Australian literature’, poet and playwright Dorothy Hewett.
“Dorothy had an office overlooking the New Fortune and was likewise fascinated by its possibilities. Over the course of time I had the honour of directing four of her plays here, most notably The Chapel Perilous (1971).
“Tonight I am privileged to relive my first experience at the New Fortune Theatre in the summer of 1967/8, when Rex Cramphorn and I accompanied Philip Parsons as assistants on his Festival of Perth production of Richard III.
“I was completely smitten with the New Fortune’s vast open playing area and its stadium-like actor-audience relationship,” he said.
The New Fortune Theatre was opened on 29 January 1964 with Jeana Bradley’s production of Hamlet for which Sir Laurence Olivier and other celebrities sent congratulatory telegrams. The Inaugural New Fortune Lecture-Performance was delivered by director John Bell in 2012. Back to Top
Philosophy and the winning writer
Danijela Kambaskovic, a Research Associate with the ARC Centre for the History of Emotions (CHE), recently completed editing Conjunctions of Mind, Soul and Body from Plato to the Enlightenment, now published in the Springer History of the Philosophy of Mind series.
Dr Kambaskovic describes the book as a place of ‘enjoyment and enlightenment’, where eighteen authors from Australia, Belgium, The Netherlands, United Kingdom, Canada and Singapore could transcend their borders to address a complex subject together.
The book examines connections between the corporeal, emotional, spiritual and intellectual aspects of human life as represented in the writing of the Middle Ages and Renaissance.
“This was essentially a blue sky project which brought together an incredible team of academic researchers working in a number of different disciplines – pure philosophy, theology, history, literature, history of science and art history. We were honoured that they were intrigued and agreed to come on board,” Dr Kambaskovic said.
Authors in the book included international scholars such as, Professor Karen Pratt from Kings College in London (‘Keeping Body and Soul Together: Gender, Sexuality and Salvation in the Works of Jean LeFèvre de Ressons’), and Professor Manfred Horstmanshoff, from Leiden University in the Netherlands (‘Tears in Ancient and Early Modern Physiology: Petrus Petitus and Niels Stensen’).
“Every author saw the answer to the question of where the body, mind and soul meet from within their own discipline and time period. As each essay fulfils its own philosophical concerns, the reader is exposed to different perspectives that create a unique, enriching experience.
“As our research nowadays is characterised by relentless narrowing of topics, I think it was important to find a subject which allowed academic examination of broader frameworks of pure philosophy and theology within the contexts of gender in society, morality, sexuality and medical knowledge, and over a period spanning more than twenty centuries,” Dr Kambaskovic said.
Completed over four years, the book is dedicated to the memory of the beloved late Director of CHE, Winthrop Professor Philippa Maddern, who contributed a poignant essay on late-medieval English doctrines on the relationship of the body and soul on Earth and in the afterlife.
The process of production also saw the birth of four babies to researchers in the team, including Dr Kambaskovic’s own.
In the book’s foreword, CHE Acting Director Andrew Lynch writes that the event of reading Conjunctions will be a different one for every reader.
“It will be a work returned to on many occasions … raided for information and appreciated for subtle formulations of complex processes,” he said.
Dr Kambaskovic, formerly an Assistant Professor, teaching Shakespeare and Renaissance Studies at The University of Western Australia, and award-winning poet, is working on a book about the cultural history of love and its pre-modern literary genres, The New Life: Love Written in the First Person and the European Renaissance.
A full list of her publications can be found here Conjunctions of Mind, Soul and Body from Plato to the Enlightenment is available for order here Back to Top
Magnificent Memento Mori
Memento Mori – ‘Remember you will die’ – was the focus of a thought-provoking exhibition curated by Winthrop Professor Ted Snell at The University of Western Australia’s Lawrence Wilson Art Gallery (LWAG) from October to December 2014.
The exhibition attracted over 10,000 visitors to view an extraordinary video art work by the Russian collective AES+F, new works by Western Australian artists and events including those from the ARC Centre for the History of Emotions (CHE).
Dr Janice Lally, curator of the Public Program accompanying the exhibition, acknowledged the benefits created through UWA campus partnerships between the Cultural Precinct, CHE, the Institute for Advanced Studies and the School of Music.
“By working together we have developed and presented a diverse and richly stimulating public program: a series of talks, evenings of music and discussion, Australian art and a symposium that extended appreciation of the exhibition to a wider audience," she said.
CHE Acting Director Andrew Lynch was enthusiastic about partnership with the Cultural Precinct’s Exhibition, which aligned well with the Centre’s research on emotions and philosophy, religion, literature, performance and art.
“This partnership delivered a powerful range of stimuli on an uncomfortable subject. The strong interest from audiences spoke for itself, and I look forward to future opportunities with the Cultural Precinct.
“The Memento Mori Symposium linked effectively to the artworks on display. Those present became engaged in a discussion that reflected on the nature of death and its image in visual arts and literature since medieval times,” Professor Lynch said.
CHE’s researchers delivered a range of talks on thought from the Classical, Medieval and Renaissance periods – Dr Penelope Woods on ‘Death and Laughter on the Elizabethan Stage’, Professor Yasmin Haskell and Doctoral Candidate Makoto Harris Takao on 'Not suitable for children: Memento Mori and Martyrdom in Jesuit Poetry, Drama, Art and Music' and Dr Danijela Kambaskovic’s, ‘To be, or not to be, forever?’
Professor Lynch’s contribution to the symposium was ‘Medieval Modes of Death and their Afterlives’. CHE Chief Investigator, Professor Charles Zika (The University of Melbourne) spoke on ‘Remembering Death or the Community of the Dead in Early Modern Europe’. His talk explored the range of emotional bonds that might be inspired by images representing the dead as an alternative human community. CHE Associate Investigator, Winthrop Professor Richard Read (UWA) presented ‘Death, the Common Unshareable: Has the Meaning of Memento Mori Imagery Changed?’ where local and international art works invited meditation on death as "something which disunites us all, and binds us inseparably apart."
A highlight of the gallery exhibition was the video panorama Allegoria Sacra by the Russian collective AES+F, a highly symbolic work that was created in response to a 15th-century painting of purgatory by Giovanni Bellini, and interrogates the concepts of purgatory, hell and heaven within a contemporary context. It plays on themes of human mutability and transience; the opening scene takes place in an international airport lounge and bleakly ends on a scene in a field of dead aeroplanes. In the words of one visitor, “Memento Mori is breathtaking – it’s thought provoking and overwhelming – a wonderful exhibition.”
Image: AES+F 'Allegoria Sacra' (still) 2010-2011, 39.39 minute, 3 channel moving image with sound. Acquired through the Art Gallery of South Australia, Contemporary Collectors Director's Project, Art Gallery of South Australia. Back to Top
Five Centuries of Melancholia
Five hundred years after the celebrated artist Albrecht Dürer produced his Melencolia I engraving, the historic work was the centrepiece of an exhibition at The University of Queensland Art Museum.
“Since the Renaissance, melancholy has been invoked as a condition, perspective, or mood, and inhabited figures, objects and landscapes,” said Dr Andrea Bubenik, an art history lecturer at UQ.
Dr Bubenik curated the Five Centuries of Melancholia exhibition presented by the UQ Art Museum in partnership with the ARC Centre of Excellence for the History of Emotions (Europe 1100-1800). She is a specialist in Northern Renaissance art and the art and science of Albrecht Dürer, and is an Associate Investigator with the Centre.
“I relish the opportunity to mark the 500th anniversary of one of the most enigmatic and written-about images in the history of art,” Dr Bubenik said.
“Understanding the ways historical images stake their claims in the present is an essential task for art historians and curators, museums and art galleries.
“This exhibition explored the iconic status and visual reception of Dürer’s engraving, as well as the idea of melancholia in and of itself.
“Artwork can easily and often fall into obscurity, yet Dürer’s engraving has had an impressive afterlife.
“As an art historian, I find it fascinating to trace the creative prominence and trajectory of melancholia through time and to discover the influence of Dürer’s engraving in artworks from the 16th-century right up to the present day.”
Dr Bubenik said it was difficult to qualify a universal experience of melancholia.
“Its interpretation has shifted dramatically over time, and the modern tendency is to associate melancholy with depression,” she said.
“Melancholy hasn’t always been viewed as an affliction or stigmatised in the way depression sometimes is today.
“In fact, melancholy has a history of being interpreted positively by those who reflect and comment on the creative enterprise.
“The recent exhibition demonstrated that melancholy can be contemplative, self-reflective and a creative state, as well as a concept used to frame experience in a useful, and at times, very positive way.”
UQ Art Museum Director Dr Campbell Gray said the exhibition was a confluence of literary, visual, and psychological forms inspired by a scholar’s research on an evocative and intriguing subject.
“Dr Bubenik brought her vision for this exhibition to life with great sensitivity, assembling a rich collection of work by international and Australian artists who have, over the past five centuries, responded to the melancholic state,” Dr Gray said.
“I’m deeply grateful for the partnership between the UQ node, ARC Centre of Excellence for the History of Emotions (Europe 1100–1800) that has facilitated this project, resulting in an exhibition and associated publication, as well as lectures, symposia and other public programs.”
Five Centuries of Melancholia comprises 46 works by 33 artists drawn from national and state institutions and regional, university and private collections. The exhibition ran from 30 August to 30 November 2014 and in this time it attracted 12,264 visitors. Back to Top
Teenage boys enact The Knight of the Burning Pestle
Teenage boys from Guildford Grammar School (GGS) entertained appreciative audiences when they performed Francis Beaumont’s satire, The Knight of the Burning Pestle at The University of Western Australia’s intimate Bradley Studio and Guildford Grammar School.
Booming voices and confidence brimmed from the talented young actors who were directed by CHE’s Partner Investigator Peter Reynolds, who is also Professor of Theatre Studies at Newcastle University in the United Kingdom.
The performance was initiated by CHE’s Chief Investigator, Professor Jane Davidson and GGS Head of Arts and Drama, Jane Diamond, who invited Peter Reynolds to shape and mould the boys’ acting abilities.
"I am interested in exploring early modern plays originally written for boys’ companies and using contemporary Australian boys to form the acting Company," Professor Reynolds said.
In 2013, Professor Reynolds visited GGS and ran workshops with boys aged from 14 to 17-years-old. The workshops were designed to encourage the boys to speak the language of early modern England expressively and with increasing confidence.
"I find it satisfying when I see the students have responded well to the workshop, pushed themselves and come out of it smiling. It is great to see them take responsibility for their own learning, being able to think on their feet, and acquire the skills required to listen as well to speak," he commented.
GGS’s Mrs Diamond reflected that it had been a great privilege for students to work with a veteran theatre director, such as Professor Reynolds, to perform a text from the Elizabethan/Jacobean era in the early 1600’s.
"What was most rewarding was to see the students rise to this challenge and gain so much from the experience – we were surprised that the boys didn’t mind playing female roles and were able to see that it was about the script," Mrs Diamond said.
"The boys didn’t camp up their performances, they developed some subtle gestures as part of the characterisation, but their masculinity was still present and this only added to the comedy of the performance.
"I would be more than happy to work with CHE again and the possibilities for similar projects in human emotion are endless."
Professor Reynolds, described by the young actors as "the best", completed his first boys’ Australian production in 2012, when he partnered with Dr Shehzana Mamujee (Newcastle) to direct a production of Ben Jonson’s Epicene or The Silent Woman.
This was performed by boys, one girl and a teacher, drawn from three local Perth schools:- Applecross Senior High School, Ashdale Secondary College and Lance Holt School. The cast were not "hand-picked" or auditioned, but rather, anyone who showed an interest in the project.
The following CHE symposium Little Eyases: Early Modern Plays and Boy Players 1525-1642 provided an opportunity to reflect on some of the complex issues surrounding boy players and boys’ plays in the early modern theatre, and the unique emotional effects experienced by audiences.
Professor Reynolds stated that one way of understanding all boys’ productions was to reconstruct them and analyse the results – even with contemporary audiences.
“Our staged production and discussion illuminated emotions in Elizabethan theatre which are otherwise difficult to retrieve or imagine in studying texts on the page. Thank you to the actors of GGS and for the help and support of their teacher, Jane Diamond,” Professor Reynolds said.
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Recent Publication: Ravishment of Reason by Brandon Chua
In his book, Ravishment of Reason: Governance and the Heroic Idioms of the late Stuart Stage, 1660-1690, Postdoctoral Research Fellow at The University of Queensland node of CHE, Brandon Chua, examines the heroic dramas written for the restored English theatres in the later seventeenth-century.
Chua reads the dramas as complex and sophisticated responses to a crisis of public life in the wake of the mid-century regicide and revolution.
The unique form of the Restoration heroic play, with its scenes of imperial conquest peopled by hesitating and indecisive heroes, interrogates traditional oppositions of agency and passivity, autonomy and servility, that structure conventional narratives of political service and public virtue, exploring, in the process, new and often unsettling models of order and governance.
Situating the dramas of Dryden, Behn, Boyle, Lee and Crowne in their historical and intellectual context of civil war and the destabilising theories of government that came in its wake, Brandon Chua offers an account of a culture’s attempts to reconcile civic purpose with political stability after an age of revolutionary change.
This book, published by Bucknell University Press, USA in 2014 is part of the series, Transits: Literature, Thought & Culture, 1650-1850 and is available here. Back to Top
CHE welcomes new staff
The Adelaide Node of CHE has appointed two new postdoctoral fellows and looks forward to them joining the team.
Abaigéal Warfield begins in February 2015. Her project is: ‘Framing Fear: Constructing fear of God, the Devil and Witches in early modern news pamphlets and broadsides’. She has previously worked on media representation of the crime of witchcraft in early modern Germany.
Amy Milka will be working on ‘The Emotional History of Law, Government and Society in Britain, 1700-1830’. She is currently a lecturer in Eighteenth-Century English Literature at the University of York, funded by the Leverhulme Trust. Her PhD was ‘Reconsidering the Jacobin: Representations of Radicalism in England and France, 1790-1792’.
UWA welcomes three new researchers:
Michael Barbezat (Toronto) will start a three-year Postdoctoral Fellowship with CHE UWA on Monday 2 February 2015. Michael will be working with Professor Andrew Lynch on Literature and Culture of War, Conflict and Violence.
Kirk Essary (Florida State University) has accepted the Passions for Learning UWA Postdoctoral position and will also commence early in 2015. He will be working with Professor Yasmin Haskell.
Mirko Sardelic (Croatian Academy of Sciences and Arts) will commence a 12-month NEWFELPRO (International Fellowship Mobility Programme for Experienced Researchers in Croatia) fellowship with CHE UWA early in 2015. Mirko’s project title is: ‘The role of emotions in contacts between Eurasian cultures. Representation of the Oriental Other in Medieval and Early Modern Central Europe (Emotions Otherness)’.
Successful applicants in the final round of Early Career International Research Fellowships (ECRs) are:
Daniel Barbu (Geneva University, Switzerland)
Matthew Champion (Cambridge University, UK)
Anna Corrias (Princeton University, USA)
Patrick Gray (Durham University, UK)
Sally Holloway (Richmond, The American International University in London, UK)
Virginia Preston (King's College, London, UK)
Jenny Spinks (Manchester University, UK) Miranda Stanyon (Cambridge University, UK)
Successful applicants in the Distinguished International Visitor (DIV) round are:
Anthony Bale (Birkbeck, University of London, UK)
Carolyne Larrington (St John’s College, Oxford, UK)
Jennifer Radden (University of Massachusetts Boston, USA)
Kathryn Temple (Georgetown University, Washington DC, USA)
Robert Toft (Western University, Ontario, Canada) Back to Top
Items of note
Recent CHE blog posts
Good Fortune: 50 years of the New Fortune Theatre, by Chief Investigator Professor Bob White (The University of Western Australia) (Ab)Using Brian Massumi, by CHE Researcher Dr Grace Moore (The University of Melbourne) A breastplate reveals the story of an Australian Frontier Massacre, by ARC Future Fellow, Associate Professor Penny Edmonds (University of Tasmania) Emotional Shakespeare on the Eighteenth-Century Stage, by Early Career Researcher, Associate Professor Fiona Ritchie, (McGill University, Montreal, Canada) Recent Conversation Article
Rituals of the Mace, limits of the handgun in defence of ritual, by Professor Stephanie Trigg, (The University of Melbourne) Radio
Arianna Abbandonata E Gloriosa, - Daniela Kaleva on Orbit, Radio Adelaide, 16 November 2014 – presented by Ewart Shaw Ariadne Abandoned And Translated -Han Baltussen and Daniela Kaleva on Orbit, Radio Adelaide, 16 November 2014 - presented by Ewart Shaw The History of Emotion - Jane Davidson on Orbit, Radio Adelaide, 23 November 2014 – presented by Ewart Shaw The benefits of musical education -Jane Davidson on Radio National, 24 November 2014 – presented by Michael Cathcart Livestreamed lectures
Professor Patricia Simons (University of Michigan, Ann Arbor, USA)
Public Lecture: The Rococo Erotics of Disguise and Innocence: Revisiting the issue of viewing pleasure in the ancient Professor Laurinda Dixon (Syracuse University USA)
Symposium: The Persistence of Melancholia (UQ) Back to Top
Selected forthcoming events
The Passionate Arts in the Early Modern World Date: Friday 6 March 2015 Time: 9.30am-3.30pm Venue: Callaway Music Auditorium, The University of Western Australia The presentations include illustrations and workshop activities. All speakers are internationally renowned Australian scholars, representing four of the country's leading universities, and are associated with the ARC Centre of Excellence for the History of Emotions.
Voices and Books 1500-1800 Date: 15-17 July 2015 Venue: Newcastle University and City Library, Newcastle, UK Keynote Speaker: Heidi Brayman Hackel (University of California, Riverside) Proposals to: email@example.com by 16 January 2015
Into the Woods Date: 22 July 2015 Venue: The University of Melbourne Confirmed Presenters: Prof Stephen Knight (Melbourne) Assoc. Prof Linda Williams (RMIT) Proposals to: Into-theWoods2015@unimelb.edu.au by 28 February 2015
Date: 23-29 August, 2015 Venue: Shandong Hotel, Jinan, China Early Bird Registration: Closes 1 March 2015 Call for Papers closed 31 December 2013
'Adoration of the Magi with Saint Anthony Abbot', Artist Unknown, Franco-Flemish, about 1390-1410.
Courtesy of Getty Images.
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