Australian Research Council Centre of Excellence History of Emotions  Annual Report 2012

ARC Centre of Excellence History of Emotions Annual Report 20121 Meanings Change Performance Shaping the Modern Jean-Antoine Watteau (1684-1721) La Surprise: A couple embracing while a figure dressed as Mezzetin tunes a guitar. © Wikimedia Commons. c Contents

Overview 5 Shaping the Modern Program 60  the Centre at a Glance  7  spotlight on the Faces of Emotion Collaboratory 64  governance  8  spotlight on the Zest Festival  66  from the Director  10  shaping the Modern Research Chronology  68  meet the Advisory Board  12 Discoveries: New Light on Past Emotions 70  meet the Chief Investigators  14  distinguished Visitors Program  72  meet the Researchers  16  spotlight on Disasters, Apocalypse and  spotlight on the Histories of Emotions Blog  19 the Emotions in Early Modern Europe  74  meet the Partner Investigators  20 Arts Industry Partnerships 75  meet the Associate Investigators  21  selected Academic Public Engagement  76  spotlight on Future Fellowship  22  spotlight on Danse Macabre  80  spotlight on the Methods Collaboratory  23 Education and Outreach 81 Research 24  spotlight on Ben Johnson’s ‘Epicene’  84  spotlight on the CHE Biennial   spotlight on Rivers of Emotions  85 Research Meeting  26  spotlight on Bodies in Distress 86 Meanings Program 28 Media  spotlight on the Languages Collaboratory  36  media Releases: Shame and Honour  87  meanings Research Chronology  38  media Releases: Weeping for Easter  88 Change Program 42  in the Media 90  spotlight on the Change Collaboratory  47 Events and Publications Change Research Chronology 48  selected Centre Events  92 Performance Program 50  selected Publications  94  spotlight on Depicting Emotions in Early Modern Drama 52  selected Talks and Presentations  101  spotlight on Shakespeare and Emotions 55 Key Performance Indicators 110  spotlight on Grief and Joy  56 Personnel 116  spotlight on Singing Emotions  57  performance Chronology 59

Front cover: Judith Leyster, Self-Portrait, c. 1630. Courtesy National Gallery of Art, Washington.

ARC Centre of Excellence History of Emotions Annual Report 20123 Jan Steen, The Dancing Couple, 1663. Courtesy National Gallery of Art, Washington. O Overview

Vision Fundamental V F research questions

Provide leadership in • How do understandings, expression humanities research and performance of individual and worldwide into how mass emotions change over time? societies thought, • How do we best understand the felt and functioned in roles of nature and culture in Europe 1100-1800 and the formation of emotions, both how this long history individual and communal? continues to impact on present-day Australia. • How do emotional understandings, expression and performance affect political, social and cultural developments (even up to present-day Australia)?

A Aims

• to understand long-term • to invigorate contemporary changes in emotional concepts, Australian performance expressions and regulation in practices through collaborative Europe, 1100-1800. research findings. • to investigate mass emotions • to understand and communicate and their social, political and modern audience reactions to economic influences. these performances. • to analyse and demonstrate how • to formulate policy suggestions emotions were performed in for improving Australia’s social music, art and drama. and cultural well-being. • to show how this history • to work towards establishing underpins modern Australian emotions as a normative emotional culture and heritage. framework for past societies and cultures.

ARC Centre of Excellence History of Emotions Annual Report 20125 Jean-Etienne Liotard, La liseuse, 1746. © Rijksmuseum. SK-A-228. C The Centre at a glance

Established in 2011, the ARC Centre of Our emotions shape individual, community, and Excellence for the History of Emotions national identities, and an overarching aim of the (Europe 1100-1800) has its headquarters Centre is to use historical knowledge to improve at The University of Western Australia, with our contextual understanding of the emotional nodes across the country at the universities of behaviour and health of modern Australians. Adelaide, Melbourne, Queensland and Sydney. We recover the history of emotions from Europe The Centre has developed a vast range of 1100-1800, and share it with the wider Australian collaborative links to international institutions public to enrich our personal lives, revitalize our in Asia, Continental Europe, the UK and North culture, and empower us to make good political America and has established partnerships and social decisions for our future. Australians with such arts industries and community today show strong emotional attachment to their groups as the National Gallery of Victoria, the land, cultural heritage, and history. Our long-term Australian Broadcasting Corporation, Musica European heritage remains one of our strongest Viva, the Zest Festival and the West Australian cultural influences, shaping the world we live Opera Company. Besides its wide-ranging in today. research projects, the Centre maintains a The Centre works to: nation-wide program of community outreach and education events. i) create and foster links between a team of pre-eminent Australian humanities researchers, a network of international experts and institutions, and a set of industry partners (performing arts institutions, art galleries and media). ii) develop innovative procedures and work spaces for inter-relating different research methods (e.g. cultural historiography, literary analysis, visual arts interpretations, and performance practice research), and to maximize fruitful synergies between different disciplines and methodologies.

Our locations Our Centre is a national entity with a host site at The University of Western Australia, and nodes at the universities of Adelaide, Melbourne, Brisbane Queensland, and Sydney.

Perth (Host) Sydney Adelaide

Melbourne

In Australia: We have partners worldwide: • Perth (Host) • Queen Mary College, University of London (UK), • Adelaide • Université de Fribourg (Switzerland), • Brisbane • Freie Universität (Germany), • Melbourne • University of Newcastle (UK), • Sydney • University of Umeå (Sweden).

ARC Centre of Excellence History of Emotions Annual Report 20127 G Governance

The Centre’s administering Day-to-day Centre operations Postdoctoral Fellows, and Associate organisation is The University of at the universities of Adelaide, Investigators (see Operational Western Australia; but a highly Melbourne, Queensland and Sydney Diagram, p. 9) of Research Project consultative structure enables all are managed by the relevant CIs, in pro-formas, describing the nature, nodes to take part in most Centre conjunction with their administrative aims and expected outcomes of decision-making. The Centre’s Chief officers, who report to the individual research projects. These Investigators (CIs) are located at Centre Manager. pro-formas, updated annually, The University of Western Australia are submitted to, and signed off As can be seen from the (UWA), and at the universities of by, Program Leaders, and form Management Structure (see Adelaide, Melbourne, Queensland a basis for the development of Operational Diagram, p. 9) Centre and Sydney. Program Strategic Plans. Plans and research is overseen by the leaders pro-formas are also viewed by the At UWA, the Centre Director and of the four research programs of Director and Deputy Director. Deputy Director report to the Deputy the Centre (Professor Bob White, Vice-Chancellor (Research) and UWA, Meanings Program; Professor liaise with the Dean of the Faculty David Lemmings, Adelaide, Change Partner Investigators: of Arts. Executive direction of the Program; Professor Jane Davidson, The Centre has Partner Investigators Centre is undertaken by the Director UWA, Performance Program; at five European universities (Queen (Professor Philippa Maddern) in and Professor Stephanie Trigg, Mary College, London, University of conjunction with the Deputy Director Melbourne, Shaping the Modern Newcastle, UK, Freie Universität, (Professor Jane Davidson) and the Program). The Centre Director is Berlin, Université de Fribourg, Centre Manager (Dr Tanya Tuffrey). tasked with general oversight of Switzerland and University of Umeå, Financial management is largely research direction. However, as Sweden). A further partnership with the responsibility of the Centre the Operational chart shows (see the University of Western Ontario is Manager, in consultation with the Operational Diagram, p. 9), all in the process of ratification. As can Director and Deputy Director. Day- CIs of the Centre meet regularly be seen from the Operational Chart, to-day operations are managed by to discuss decisions relating to it is the particular responsibility of the Centre Manager, in consultation research and research direction. the Director to maintain and develop with the Centre Director, the Deputy Research programs can be tracked these research connections. Director, and administrative officers. from submissions by all CIs,

Ambrogio Lorenzetti, Effects of Good Government in the city, c. 1338–1339. © Wikimedia Commons. Operational Meet annually for Director’s Advisory Board Communication diagram report and Board feedback Research related activity

Professional/ Monthly contact (Skype/ Arts Industries Partners Administrative email/face to face meetings) related activity

Meet monthly (Skype/ National video) to discuss national Communications Officer; strategies School & Community Outreach Officers

Centre Director Meet weekly to discuss  Centre Manager Administrative Officers Deputy Director day-to-day operations and Administrative Officers (UWA)

Communicate regularly by International Partner Collaborate through email, visiting fellowships Investigators visiting fellowships, collaboratories, etc

Submit Program Strategic Program Leaders Submit Project Plans; receive feedback; Pro-formas, meet to choose AIs, updated annually International Visitors

Submit Project Pro-formas, Chief Investigators Meet monthly updated annually (videoconference) to discuss research directions and initiatives

Submit Project Pro-formas, Associate Meet regularly: updated annually Investigators, seminars, Research Fellows, collaboratories, PhD students symposia

Arts Industries Partnerships and The Centre aspires to convey its the Australian Chamber Orchestra School and Community Outreach: research results as widely as in Sydney. The Deputy Director also possible to school and community oversees the work of the School and OCHE has always aimed to liaise, audiences, and where possible Community Outreach Officers at and carry out research projects, to involve those audiences in each node. with relevant industry partners, Centre activities. The Deputy mostly in the area of performing Director is particularly responsible and visual arts. To date we have Advisory Board for maintaining and extending three established Arts industry relationships and collaborative The Centre’s Advisory Board (see partners—the ABC, the National activities with our Arts Industry pp. 12-13), including top scholars Gallery of Victoria, and WA Partners, and in 2012 began in the field (and in other cognate Opera. Collaborative projects negotiations with the Perth fields), representatives of Arts with Shakespeare WA, Perth International Arts Festival and the Industry Partners, and experienced Baroque, Musica Viva, The Zest Black Swan State Theatre Company public policy experts, meets Festival and the WA branch of the in WA; the vocal ensemble e21, the annually with the Director and National Trust of Australia were Early Music Studio, The Malthouse Centre Manager to review Centre undertaken in 2012. Theatre in Victoria; The University progress, and provide high-level of Queensland Art Museum, and academic and strategic advice.

ARC Centre of Excellence History of Emotions Annual Report 20129 D Director’s View

Last year, I ended my Director’s View In consequence, the Centre’s international with the line; ‘We look back on a reputation for research excellence is perceptibly on the rise. The numbers of extremely high- good year in 2011; and anticipate an quality applicants for our Distinguished even better one in 2012!’ This year International Visitors program tell us that top I can conscientiously say that the scholars worldwide are eager to come to Australia prophecy has been fulfilled. to work together with us. Two major international publishing houses are using our expertise to oversee large publishing projects. We have Research contracted with Bloomsbury Press to provide the overall editorial oversight, and much of the Over 2012, the range, scope and pace of Centre content, for a six-volume series on the Cultural research has increased almost exponentially — History of Emotions from the ancient world to with no sacrifice of quality. Ten new Postdoctoral the present day (scheduled to appear in 2015). Research Fellows, (one of them — Dr Grace And Palgrave MacMillan have entered into an Moore — on a five-year project) joined the Centre agreement to establish a new series — Palgrave this year, providing between them invaluable Studies in the History of Emotions — for which expertise in such fields as the intellectual history Professor David Lemmings (CI Adelaide) of emotions; the configuration of emotions as part is a series editor. of the grammar of pre-modern English literature and early modern political theory; late-medieval and early modern emotions of diplomacy; audience “2012 has proved a packed year response to early-modern drama, both in its own day and ours; and the emotional connections — fast-paced, exciting, expansive, involved in early European colonialism. The work of intensive, and innovatory.” these and existing researchers complements that of the 26 new Associate Investigators (AIs) recruited to the Centre in 2012, enabling new research connections and stronger research themes to Education, Outreach and Public Engagement emerge, especially in the course of our many This year has also been an exceptionally busy collaboratories, symposia and conferences (fifteen and productive one in terms of Education and in 2012 alone). Our Methods Collaboratory in June Outreach. Sheer numbers tell the story—over (see p. 23), and whole-Centre meeting at Adelaide 2000 school students across Australia engaged in in September (see p. 26), particularly allowed History of Emotions presentations and activities, us to see the connections between our different over 200 Australian teachers were offered areas of research. To cite only one example, the opportunities of professional development in the work done by one of our AIs, Ursula Potter, on inclusion of emotions history in their teaching. traumatic illness in young girls in the sixteenth and But this is only part of the Centre’s activities in seventeenth centuries can relate to the research of public engagement. CHE was strongly involved one of our distinguished visitors, Professor Louis with three highly successful and popular festival/ Charland, on the long-term understandings of cultural events in 2012 — the Kalbarri Zest passions and their possibly morbid effects. Due to Festival, the National Gallery Exhibition ‘The Four these collaborative meetings, we can confidently Horsemen: Death, Apocalypse and Disaster in identify major research streams where CHE’s Pre-Modern Europe’ and the Bodies in Distress interdisciplinary research is at the forefront of its day held at Newcastle in September 2012 (see field — in the study of ideas of sensibility and its pp. 86). A stream of media appearances and perceived role in civil society in the seventeenth- public lectures by our staff members has also eighteenth centuries, for example, or in the helped both to raise community awareness of emerging research area of emotions and their major issues such as the emotions surrounding relationship to material objects. violent death and disaster, or the strength of emotions in relation to community heritage, and to bring to public attention the value of Centre research. Part of our outreach, of course, includes our partnership with industries (generally arts industries). Here too, there have been major developments, with negotiations on partnership projects proceeding with such new partners as the Australian Chamber Orchestra, The Malthouse Theatre, Victorian Opera, and the University of Queensland Art Gallery. One particularly satisfactory partnership was developed in conjunction with Musica Viva, to provide expert commentary from CHE to the performance tour of the German group Amarcord. We look forward to more such collaborations in the future.

Communications Our outreach efforts have been markedly improved by our new engagement in social media, driven largely by our National Communications Officer, Erika von Kaschke. The Centre now has a Facebook page and a Twitter account (as we learned at the Shakespeare and Emotions conference, tweets are now an important media for disseminating discussion from conferences to a worldwide audience). We have begun to upload videos featuring Centre programs and projects to our vimeo account (vimeo.com/user16393044 ­— See p.90). Members of the Centre contribute to The Conversation, itself a fast-growing channel of academic research information to the world. We see involvement in social and digital media to publicise our work as one of the ways in which our Centre can help to drive innovation, not just in the history of emotions, but in Humanities research generally. Overall, then, 2012 has proved a packed year — fast-paced, exciting, expansive, intensive, and innovatory. Thanks to the enthusiasm, dedication, and sheer hard work of all our staff, both academic and professional, we have, I think, both built successfully on our establishment in 2011, and provided an outstanding platform for further discoveries and developments in 2013.

ARC Centre of Excellence History of Emotions Annual Report 2012 11 Meet the AAdvisory Board

The Advisory Board is Iain McCalman (Chair) is a German E. Berrios is an composed of individuals distinguished historian and ARC internationally awarded Professor of Federation Fellow. He has received Psychiatry at Cambridge University selected for their numerous awards and honours, in the UK. In 2010 he was made breadth of knowledge of including an AO for services to Honorary Fellow of the Royal government, research and history and humanities in 2007. College of Psychiatrists of the UK. He served on the Prime Minister’s business-related aspects Ian Donaldson is an Honorary Science, Engineering and Innovation Professorial Fellow in the School of of the Centre’s activities, Council in 2005. He is also a Fellow Culture and Communication with both in Australia and of the Australian Academy of the the University of Melbourne and Humanities, the Academy of the world-wide. They provide Emeritus Professor of the Australian Social Sciences in Australia and National University. He is also a the Centre with strategic of the Royal Historical Society Fellow of the Australian Academy counsel, enabling the of Great Britain. of the Humanities, the British unparalleled advancement of Academy, and the Royal Society research in the humanities of Edinburgh. and making it accessible to the wider community. Meet the Advisory Board

Amanda Duthie was Head of Arts W. Gerrod Parrott is Professor Western Australia, Vice-Chancellor’s and Entertainment at ABC TV in 2011, of Psychology at Georgetown Fellow and Director, Festival one of the Centre’s industry partners. University. He was Editor of of Ideas 2013 at the University In 2012, she commenced as Director Cognition and Emotion from of Melbourne. She was named & CEO of the Adelaide Film Festival. 1995-1999. He is President of the Australian of the Year in 2003 and International Society for Research in 2006 she was made a UNICEF David Konstan is Professor of on Emotions. Australian Ambassador for Early Classics at New York University Childhood Development. and Professor Emeritus of Classics Lyndal Roper is Regius Professor and Comparative Literature at of History at the University of Claudia Ulbrich is a Professor of Brown University. He is a Fellow Oxford. An Australian, she conducts History at the Freie Universität, of the American Academy of Arts research in early modern German Berlin, partner institution of and Sciences and Honorary Fellow history and is a Fellow of the British the Centre, specialising in the of the Australian Academy of the Academy and of the Australian history of early modern emotions Humanities. He is co-editor of Academy of the Humanities. and self-narrative. She is on the the series, Emotions of the Past editorial board of Ego-documents Fiona Stanley AC is the Founding (Oxford University Press). and History and co-editor of the Director and Patron of the Telethon series Selbstzeugnisse der Neuzeit Carmen Lawrence, former WA Institute for Child Health Research and L’HOMME, European Journal State Premier, brings her extensive and Distinguished Research of Feminist History. political experience to the board. Professor, School of Paediatrics & She is Chair of the Australian Child Health at The University of Heritage Council and is Professor in Psychology at UWA.

Members of our Advisory Board at the 2012 Advisory Board Meeting were (LtoR): Prof Jane Davidson (Deputy Director), Prof Carmen Lawrence, Ms Amanda Duthie, Prof Philippa Maddern (Director), Prof Iain McCalman, Prof David Konstan, and Prof Fiona Stanley. Photo: Emily Dimonzantos.

ARC Centre of Excellence History of Emotions Annual Report 2012 13 Meet the Chief Investigators I

Professor Professor Professor Professor Professor Philippa Maddern Jane W. Davidson Robert White David Lemmings Stephanie Trigg Director Deputy Director Meanings Change Shaping The University of and Performance Program Leader Program Leader the Modern Western Australia Program Leader The University of The University Program Leader The University of Western Australia of Adelaide The University IPhilippa Maddern’s Western Australia of Melbourne role is to oversee and Bob White is leader David Lemmings is promote the whole Jane Davidson of the Meanings leader of the Change Stephanie Trigg research program oversees industry Program, which Program and Director is Director of the of the Centre, and to partnerships, media Cfocuses on the ways of the Adelaide Node Melbourne Node of represent the Centre and marketing, in which emotions of CHE. The Change CHE. The Shaping to the public. In education and have been defined Program focuses the Modern Program particular her tasks outreach and matters and understood in on the analysis of explores the legacy include liaison with relating to intellectual pre-modern European collective emotions of emotions as international research property for CHE. culture, in literature, and their impact on they developed in collaborators and She is also leader history, science broader historical Europe between partners. Philippa’s of the Performance and medicine, the change. Studies in this 1100 and 1800, with own CHE-related Program, interrogating visual arts, music program rest on the a particular focus research projects how emotions were and drama. Bob’s understanding that on the long-ranging explore how emotions performed and CHE-related projects emotional discourses effects of pre-modern worked in late- expressed in pre- explore how emotions act as drivers of European emotions medieval English law, modern dramatic, were described in major cultural, social, on Australian culture. families, and religious literary, artistic and Shakespeare and how political and economic Stephanie’s own work life; and how late- musical performances. we interpret those changes. David’s for the Centre focuses medieval people in Jane’s own CHE- emotions today, and own CHE research on the expression north-western Europe related research how Shakespeare’s projects include of emotion on the actually interpreted projects explore how plays have been Governing Emotion: human face, in poetic, expression of emotion music was used adapted and used in the Affective Family, dramatic and narrative in faces, gestures and historically and is used modern Indian film. the Press and the English literary texts behaviour. today for emotional Bob has also published Law in Early Modern from Chaucer and regulation from and has interests in Britain; and Emotion Shakespeare through personal through to eighteenth century in the English Criminal to contemporary collective ceremonial sympathy as reflected Courts, 1700-1830, writers on autism activities; and how in theories of natural which will consider and prosopagnosia emotional affect can rights, and Romantic the emotional styles such as Oliver be achieved through writers, especially of English criminal Sachs. A second historically informed Keats and Hazlitt. trials during a period project examines the opera production when the incursion of relationship between practices, employing counsel transformed emotions and eco- reflective practice their culture. materialism; this techniques. project compares and contrasts human emotions in medieval, early modern and modern affective responses to two phenomena: fire and stone. Meet the Chief Investigators IC

Professor Professor Professor Dr Juanita Feros Ruys Professor Susan Broomhall Yasmin Haskell Peter Holbrook The University of Sydney Charles Zika The University of The University of The University of The University Juanita Feros Ruys Western Australia Western Australia Queensland of Melbourne is the Director of the Susan Broomhall is Yasmin Haskell is Peter Holbrook Sydney Node of CHE Charles Zika is a a Chief Investigator a Chief Investigator is Director of the and her research Chief Investigator working in The working in the Queensland Node of projects contribute to whose research Shaping the Modern Meanings, Change CHE. Peter’s work the Meanings Program. projects explore theC Program. For the and Performance contributes to the Her project on demonic changing relationship Centre, Sue’s projects Programs. Yasmin’s Meanings Program. emotions explores of emotions and analyse medieval project on Jesuit His projects focus on the historical moment religion through and early modern emotions explores the two related themes in the twelfth and European History European colonialisms, theory, experience in English literature thirteenth centuries from the fifteenth objects and emotions, and performance of of the sixteenth when emotions began to the eighteenth particularly as they emotion in the early and seventeenth to be attributed to century. One project are presented in modern Society of centuries: self-control, disembodied beings focuses on emotions modern museum Jesus, the most and the conflict such as demons. It of inclusion, such as environments. She has influential order between reason and considers the sorts of fidelity, trust, love, a distinguished record of educators in the passions, with emotions that were thanks and longing, of research into early Catholic Europe and particular reference to attributed to demons created in rituals modern Dutch gender its colonies until the their ramifications in and the questions concerned with sacred history, medicine, end of the eighteenth political theory. this raises about the space and pilgrimage, colonialism, and family century. Her project nature of feeling, which are directed and household history, on ‘Passions for the relationship towards the building including emotions Learning’ opens up between feeling and and strengthening of in the household. the emotional worlds embodiment, and community. Another She is a member of scholars, scientists, whether feelings considers emotions of the Academy of teachers, and students are something that of exclusion and Humanities. from the Middle are exclusive to demonisation invoked Ages through to the humanity. Her project to counter perceived nineteenth century. on suicidal emotions external and internal in the Middle Ages threats to communities is being conducted and their integrity. He in collaboration with is also responsible Postdoctoral Research for the collaborative Fellow Dr Rebecca project with the McNamara. It explores National Gallery of how we can begin Victoria to stage an to uncover the sorts exhibition on art and of emotional states emotion. that may have been implicated in the act of self-murder in the Middle Ages. Juanita’s focus in this project is on the textual resources that give an insight into suicidal emotions.

ARCARC CCententrre of ExExcceellenllenccee HistoryHistory of EmotionsEmotions AAnnunnualal RRepoeportrt 2012 15 Meet the Researchers

Dr Katie Barclay Dr Brandon Chua Dr Stephanie Downes Dr Raphaële Garrod Dr Ross Knecht The University The University The University The University of The University of Adelaide of Queensland of Melbourne Western Australia of Queensland Katie Barclay works Brandon Chua Stephanie Downes Raphaële Garrod is Ross Knecht received with David Lemmings researches in the area specialises in French researching Jesuit his PhD from New York and Claire Walker. She of seventeenth and and English texts and emotions with University in 2011. His is researching how the eighteenth century manuscripts from Professor Yasmin research focuses on eighteenth-century English literature. His the later Middle Ages Haskell at UWA. Shakespeare and early press shaped public research interests and their reception She is investigating modern literature, opinion around law and involve the affective up to the present day. lexis and theories with additional governance through dimensions of the A graduate of the of emotions as they interest in the early acting on people’s public sphere and the University of Sydney, were spelled out at modern discourse emotional sensibilities, emotional constitution she was a British the French Jesuit of the passions, thinking about how of political identities. Academy Visiting collège of La Flèche, the philosophy of emotions drove social His project for the Scholar at Queen where Descartes language, and the and legislative change. Meanings Program Mary, University of was educated, history of pedagogy. In addition, she is of the Centre London, in 2010-11, before focusing on He is currently at working on emotions involves investigating and a Mayers Fellow at their enactment or work on a manuscript, within the marriages representations of the Huntington Library, subversion in the tentatively titled of the Scottish lower private and public San Marino. Her pedagogical, and The Grammar Rules of orders across the long government in literary research at CHE traces ultimately, political Affection: Language and eighteenth century. responses to the how expressions of practices of the Passion in Early Modern English Civil Wars emotion in literature collège. Her sources English Literature, (1642-1650). The were used to support consist of textbooks in on the intersections project reads the and explore links rhetoric, psychology, of emotion, grammar, literary fiction written between rival nations. and theology, as and schooling in by politically-active With a focus on well as treatises literary texts. figures in the period Anglo-French cultural of meditational as contributions to ‘encounter’ from practice and of moral a discussion on the the thirteenth to the edification, school- affective and non- sixteenth centuries, plays and occasional rational bases of she is also contributing literature (poetry, political allegiance and to the ‘Speaking Faces’ orations). She hopes obedience. The project project with Stephanie her findings will concerns the literary Trigg as part of the nuance traditional contribution to the Centre’s Shaping the historiographical public debate over the Modern program. accounts of the emotional constitution French Grand Siècle of a community by highlighting emerging from the the importance of chaos of civil war. emotions in the very fabric of the Age of Reason. R

Dr Una McIlvenna Dr Rebecca Dr Grace Moore Dr Katrina O’Loughlin Dr Sarah Randles The University of Sydney McNamara The University The University of The University The University of Sydney of Melbourne Western Australia of Melbourne Una McIlvenna is investigating emotional Rebecca McNamara Grace Moore is a Katrina O’Loughlin Sarah Randles is responses to public is exploring emotions Senior Research has research interests conducting a research execution in the early related to the suicidal Fellow in the in English literary project on emotions modern period, looking impulse in the Shaping the Modern history, particularly and sacred sites, in particular at the use medieval world. Her program. Her primary eighteenth-century focusing on the of songs and verse project focuses on research project is writing, cultural Cathedral of Notre in accounts of crime cases of suicide and an examination of history, gender and Dame at Chartres, a and execution across attempted suicide the representation cultural difference. significant centre for Europe. Crime reports found in legal records of bushfires in Working with Bob medieval pilgrimage were often printed and chronicles in nineteenth-century White in the Meanings and an outstanding in huge numbers on England and Europe settler literature, program, her project example of early gothic cheap pamphlets from c. 1200-1550. which will lead to for CHE explores the architecture and and set to the tune of In addition to the a book, Arcady in forging of intellectual art. The project will well-known songs, reported emotions of Flames. Grace’s recent and emotional bonds investigate emotions enabling the reader the self-murdered, research projects among women in in relationship to the to sing along to the she is interested in the include an essay on the ‘long eighteenth material culture of this account of the (often affective nature of the emotional responses century’. Drawing on site, in particular the violent) crime and judiciary’s response to arson in novels and letters, travel writing emotional responses the public execution to suicide and the the periodical press, and memoirs, this of worshippers to the of the condemned. emotional resonance combining the work research investigates relics and other holy Exploring how the of those reporting on of Brian Massumi women’s participation material housed in emotional resonances or petitioning on behalf with readings of in the early modern the cathedral, to its of a familiar tune of suicide victims. This popular short stories Republic of Letters built environment and could be transferred or project complements and a novella by and the emotional visual programs and subverted in the new Chief Investigator Anthony Trollope. With structures of to the objects that they version of the song, Juanita Ruys’ work Stephanie Trigg, she intellectual sociability. brought as donations this project reveals on emotions related will be producing a and took away as how music, balladry to suicide in medieval fire source book for souvenirs. and performance theological and high school children. played an integral philosophical texts. Grace will also be role in the public’s convening the ‘Fire emotional perception Stories’ symposium, of crime and which will take place punishment. at the University of Melbourne in December 2013.

ARC Centre of Excellence History of Emotions Annual Report 2012 17 Meet the Researchers R

Dr François Soyer Dr Giovanni Tarantino Professor Dr Penelope Woods Dr Spencer Young The University The University Jacqueline Van Gent The University of The University of of Adelaide of Melbourne The University of Western Australia Western Australia Western Australia Dr François Soyer Giovanni Tarantino Penelope Woods is a Spencer Young has just completed an plans to investigate Jacqueline Van Postdoctoral Research is a specialist in analysis, critical edition how a politically Gent is an early Fellow based at UWA. the intellectual, and translation of the top-down intolerant modern historian Penelope is working on educational and Centinela contra Judios attitude towards with special research audience and emotion religious history of puesta en la torre Catholics came to expertise in the fields in early modern medieval Europe. His de la Iglesia de Dios spread among the of early modern performance history research interests by Fray Francisco de English ‘mobs’, playing gender, religion and collaborating with include the history of Torrejoncillo, first on their deep-seated and colonialism. UK and Australian universities, poverty printed in 1674. The fears and inherent Jacqueline’s research theatres on research and poor relief, and book will appear in xenophobia, to the at the Centre explores into audience and the social and cultural print with Brill in point that when the ways in which emotion in theatre impact of the concept early 2014 with the Parliament passed emotions and material spectatorship today. of the seven deadly title: Popularizing a Catholic Relief Act culture are at the Penelope also sins. His project Antisemitism in Early in 1778, the ensuing core of early modern considers intercultural analyses sermons, Modern Spain and its protest led to the most colonial encounters. performance and the theological treatises Empire: The Centinela violent urban riots in She draws on a variety international theatre and confessional contra Judios of British history. More of textual and material tour both now and literature in order to Fray Francisco de specifically the initial sources connected historically. Penelope understand how ideas Torrejoncillo (1674). focus of his project to the Dutch and collaborated with about sin, penance and He is currently writing will be the ‘popular’ Swedish East India Shakespeare’s Globe conversion influenced his fourth book on the reception in England of companies, Moravian and Queen Mary, the emotional life of ‘politics of fear’ and a number of emotive missionaries and University of London European Christians in the use of Antisemitic and personalised indigenous converts, on a PhD project the later Middle Ages. conspiracy theories accounts of the and Swedish explorers on spectatorship, in the early modern Catholic persecution of the eighteenth reconstruction and Iberian World. of the Waldensians century. As part of the audiences. in the 1680s. project she is studying (Waldensianism was the representation considered the only of these material ‘heresy’ of the twelfth traces and their century to survive in emotional resonances unbroken continuity in contemporary into the sixteenth museum exhibitions. century to link hands with the Protestant Reformation). spotlight

Histories of Emotion Blog: researching Journeys

What is the history of emotions in Our researchers wanted an accessible, Australia, and how do we write it? informative, and stimulating public blog space. In breaking from the ‘usual’ mode of In December 2012, the History of published academic research – refereed and Emotions blog launched with the completed – the blog would show something following explanation: of what it’s like to contemplate publishing. They hoped that the act of committing to This blog documents the process of words in the online community would help researching emotions, then and now, from commit them to print faster. Reflecting on the perspective of the Australian humanities. the process of researching the history of It tells the unfolding story of our research emotions, the blog might even chart some into the histories of emotion across time and of our own emotions along the way. When place, and the stories of our own emotional Dr Una McIlvenna describes the ‘tough work’ lives in that process. of her research into early modern ballads, we must sense that she is only half joking. How to write the history of emotion and all the Conversely, Dr Raphaële Garrod talks about various histories that make up that history is the ‘pleasure’ of the past in her linguistic at the centre of what the blog aims to explore. forays into seventeenth-century France. This is not a space for finished research, What are the emotions of the historian? but for work-in-progress: the thoughts, Would any of us keep writing if it weren’t impressions, and ideas of researchers, maybe for the pleasure? half-formed, hazy, and as yet unsubstantiated, but exciting, innovative, and full of possibility. Keep reading the Histories of Emotion blog for more conversations on As one of a number of research fellows emotions in history, and glimpses into and associates in the CHE, blog manager the emotional states of its researchers. Stephanie Downes is in excellent company. Share with us as the journey unfolds at: But the job of the researcher is often a lonely historiesofemotion.com/2012/12/19/ one, and for early career researchers, the task new-researchers-new-research at hand can be highly pressurised. The blog was conceived to articulate some of the highs and lows of the job, from office to archive.

Jan Davidsz de Heem, Stilleven met boeken, 1625. © Rijksmuseum. SK-A-2565.

ARC Centre of Excellence History of Emotions Annual Report 2012 19 Meet the Partner Investigators P

Professor Indira Ghose Professor Jonas Liliequist Professor Peter Reynolds Université de Fribourg Umeå University The University of Newcastle, UK Professor Indira Ghose’s research Professor Jonas Liliequist is a Peter Reynolds is a Shakespearean deals with laughter and its function founding member and administrator scholar with a particular interest in early modern literature as a of the International Network for in Shakespeare in contemporary coping strategy in the face of the Cultural History of Emotions performance and practical emotions such as fear, pain and in Premodern Europe (CHEP). workshop-based approaches to embarrassment. Indira’s work within His role within CHE is in part to teaching Shakespeare in schools the Centre will contribute towards provide a liaison point between and higher education. Between tracing a history of the emotions CHE and the work of CHEP. His 2001-2006 he was the creative precisely by examining mechanisms research focuses on love, sexuality, director of the English National (such as laughter) that serve to honour and shame in early modern Theatre’s double BAFTA award control the passions and create a Europe; and includes the dynamics winning performance website sense of emotional detachment. of family emotions in 17th-18th Stagework (stagework.org.uk) . He is Her work intersects with that of Bob century Sweden. currently exploring some of the early White and Peter Holbrook. modern plays originally written for performance by boys/young adults, Professor Evelyn Welch and in 2012 at the Australia New Dr Claudia Jarzebowski Queen Mary College Zealand Shakespeare Association Freie Universität Berlin The University of London conference, he directed a production (until the end of 2012) Dr Claudia Jarzebowski works on of Ben Jonson’s Epicene, or the history of emotions in early Professor Evelyn Welch is an art The Silent Woman, using a group modern Europe, pursuing questions historian with a special interest of young actors (boys aged 10-17) of how emotions and political power in European visual and material drawn from three schools in the were entwined with each other. culture between 1300 and 1800. Perth region. Peter is now writing Her CHE-related research projects Her current work focuses on about how his cast negotiated the explore how childhood and emotion early modern dress and material problematic emotional and political interrelate to each other from a culture, and its social and cultural landscape of Jonson’s play and perspective based on practices and contexts. In 2012, she took on the how the audience responded to it. agency rather than on normative Directorship of the four million In the future he hopes to be able thinking; and the history of love as pound AHRC Knowledge Exchange to help facilitate the performance the history of political power. Hub: Creativeworks London, which as research of more early modern supports research into London’s plays on the New Fortune stage. creative economy and develops relationships between Arts and Humanities researchers and business. At the end of 2012, Prof. Welch left Queen Mary College to take up an appointment as Vice Principal (Arts and Sciences) at Johannes Voorhout, Domestic music King’s College, London. scene, 1674. © Wikimedia Commons. Meet the Associate Investigators A

CHE’s innovative Associate Investigators program Associate Investigators are able to cite their Reinier Zeeman, has gone from strength to strength in 2012. involvement with the Centre when applying A trumpeter This program, established in 2011, provides for grants or other funding. We would like to leaning against for selected Australian humanities scholars, congratulate the following AIs who were awarded barrels, drums, swords, cannon working on projects that correlate with the national competitive research grants in 2012: (one firing) and Centre’s research aims and goals, to work Louise D’Arcens, Future Fellowship - ‘Comic shot lying before with the Centre and its broader network. The medievalism and the modern world’ (See p. 22); him, 1654. © The Associate Investigators are provided with up Clare Monagle, DECRA - ‘Sexing scholasticism: Trustees of the to $3000 per year in research support and are gender in medieval thought 1150-1520’; Constant British Museum. invited to participate in CHE academic events. Mews, Discovery Project - ‘Encountering diversity: communities of learning, intellectual The program has significant mutual benefits confrontations and transformations of religious for CHE and for the Associate Investigators. thinking in Latin Europe, 1050-1350’; Lisa The range and depth of the Centre’s research is O’Connell and Alison Scott (with Simon During), exponentially enriched and the opportunities of Discovery Project - ‘Secularisation and British collaboration extended, through the AI program. Literature, 1600-1800’; Samantha Owens, Individual scholars benefit from the contact with Discovery Project — ‘The Well-travelled Musician: a large and diverse group of researchers from John Sigismond Cousser and cultures of musical a range of disciplines, as the feedback received exchange in Baroque Europe’. from Associate Investigators who participate in The Centre had 41 Associate Investigators in CHE academic events shows. 2012. A further call was issued during the year ‘I came away from the conference with a great for the 2013 program. Fifty two applications sense of elation at what has been achieved were received, with the applicants coming from so far, amazed at the diversity of ideas and a variety of Australian academic and cultural research, and the positive energy for the future. institutions and a broad range of disciplines. I’ve come back with a stack of references, ideas After considerable deliberation, 22 scholars were and names to follow up, which will spur me on invited to become Associate Investigators in 2013. to look at expanding my research networks’, For details on 2012 Associate Investigators’ wrote one participant. research projects, see the Research Section, pp 35, 44, 54 and 62, or visit the website: historyofemotions.org.au/about-the-centre/ who-we-are/associate-investigators

ARCARC CCententrre of ExExcceellenllenccee HistoryHistory of EmotionsEmotions AAnnunnualal RRepoeportrt 2012 21 spotlight

Laughing at the Middle Ages: Comic Medievalism and the Modern World In 2012 Louise D’Arcens was awarded a Future Fellowship from the ARC on Comic Medievalism and the modern world, to the value of $661,051.

Through an examination of literary, cinematic, theatrical, and popular texts and practices, this project investigates how the postmedieval world has produced comic medievalism as a way of understanding modern issues and anxieties. This is the first major study of comic medievalism, and will make significant critical interventions into medievalism studies and humour studies. It takes an interdisciplinary approach, combining textual analysis and theoretical reflection, and investigating the modern West’s dynamic comic engagement with its premodern heritage through a genealogical study tracing how comic representations have changed across time and place. Comic representation has had a persistent presence in the postmedieval imaginary of the Middle Ages. Whether the medieval period is evoked as a superseded age of ignorance and cruelty, a venerable origin of national cultures, or a lost age of beauty and social unity, it has provided a deep reservoir of images and ideas that have been crucial to defining what it is to be ‘modern’. Yet comic forms of medievalism have not received sustained analysis; and while some medievalist scholarship mentions popular comic texts, this has not led to thorough accounts of their comic dynamics, and there has been no development of a critical language to understand their aims and comic methodologies. This project will add significantly to the current data-set of comic medievalism, and develop a framework for considering the unique mechanisms of humour in medievalist representation. spotlight

The Methods Collaboratory: a new interdisciplinary venture

Our Centre encompasses a span and under what circumstances, of Humanities research disciplines emotions are felt and expressed in from Performance Practice three different societies — the USA, Research to Art History and Latin Japan, and Belgium. Interviews Literature. So how do we maintain with pre-modern subjects we a cohesive sense of our research can’t manage, but texts we questions and approaches? And may! Professor Louis Charland, how can Humanities researchers of simultaneously professor in emotion best access and make use Philosophy and Psychiatry at the of the insights of other disciplines— University of Western Ontario, cognitive and social psychology, engaged everyone with his psychiatry, anthropology, and intriguing discussion of the history sociology, to name only a few? of psychiatric definitions of the passions. This knowledge may In 2012 we initiated the annual help us develop new and more series of Methods Collaboratories, effective treatments for conditions the first of which was held at UWA such as anorexia. The day finished on the 27th and 28th June. with small-group discussions This meeting was open to all of each Program’s goals and CHE researchers, but designed possible outcomes. particularly with new researchers Day two focused on CHE’s goal of in mind. We invited top international providing professional training for scholars from the fields of social humanities researchers, in this psychology and the history and case Intellectual Property issues for philosophy of psychiatry to show our disciplines, and public media us how the methods of these communication. Invited speakers more scientific disciplines might included Mark Stickells, from the open up dialogue with humanities, Energy and Minerals Institute, UWA and extend our critical range who spoke about IP considerations, of concepts, questions, and and Michael Sinclair-Jones, Public methodologies. Affairs, UWA. In the afternoon, the The first day explored key spotlight was on our postgraduate intellectual goals of the and postdoctoral researchers who Centre — identifying current each gave a five minute presentation problems in the methodologies of on their projects. emotions history, and developing Unlike other collaboratories, the inter- and cross-disciplinary Methods Collaboratory won’t methods and frameworks. necessarily result in publications Mr Michael Boiger, representing (though some were suggested). Its the laboratory of Professor Batja value lies in its power to increase Mesquita, Leuven, Belgium, the communication between our delivered a fascinating paper on how researchers, strengthen the cross- rigorous statistical interpretation disciplinary and cross-institution of texts and interviews can show collaboration essential to our projects major cultural differences in how, and open our eyes to the possibilities and challenges of interdisciplinary research, across Humanities and beyond. Already these aims have borne fruit; the University of Western Ontario has formally expressed interest in becoming an International Partner Institution, with Professor Charland as our International Partner. He will be paying the Hans Springinklee, Centre an extended visit in 2013 to St Jerome, a woodcut, c. 1522. strengthen the collaborative links © The Trustees of the British Museum already established between us.

ARC Centre of Excellence History of Emotions Annual Report 2012 23 Oberon, Titania and Puck with Fairies Dancing by William Blake, Tate Images/Digital Image © Tate, London 2013 Research

Research in CHE takes place within four programs: Meanings, Change, Performance, and Shaping the Modern. These programs are not discrete entities working in isolation; rather each relates to all the others. Meanings  This program carries out foundational work in understanding what emotions were thought to be, and how they were understood in the relevant period in Europe. Change  This program analyses mass or communal emotions, in particular mass and communal events which were emotionally driven, but have major political and social causes and consequences. Performance  This program deals with what we can tell about how emotions were understood, expressed, displayed, transferred, and constructed through performing and visual arts i.e. music, opera, drama and art. Shaping the Modern This program draws connections between what was happening in Europe in 1100 – 1800 and what is happening in modern Australia, both in terms of continuities between our European emotional heritage and Australia now, and in terms of current Australian knowledge of, and attachment to, our cultural histories.

ARC Centre of Excellence History of Emotions Annual Report 2012 25 spotlight

The Inaugural CHE Biennial Research Meeting.

On 1st and 2nd November, 65 Centre members told us how invigorating they found it to discuss congregated at a beachside venue in Glenelg, their work in the context of the whole Centre’s South Australia — but not for recreational research. Presentations ranged from expositions purposes. We met instead to exchange research of Thomas Aquinas’ true place in the history of information, build collaborative connections, raise emotions theory to studies of modern Aboriginal methodological and research problems, maintain art and its creative and emotive appropriation an overall sense of our major research goals and of medieval European themes and forms; from discuss strategies for attaining them. emotions in the writings of Adam Smith to the reconstruction and performance of Baroque opera Members spent the mornings listening to with modern opera groups; from representations research and activity presentations from Chief of lust in Renaissance Italy to the development of Investigators, Research Fellows, Associate anti-Semitism and Islamophobia in early modern Investigators, Postgraduates, and Education and Spain. Yet everyone, I think, could say that they Outreach Officers; the afternoons in small-group came away knowing that some other Centre discussions on everything from the possible research projects directly related to their own, philosophies of the history of emotions to how methodologically, thematically or both. Common the four Programs might best co-ordinate and themes emerged — for instance, the strong communicate their work; and much of the focus on eighteenth-century sensibilities from intervening time milling in an intrigued crowd the varying disciplinary trajectories of literature, before the display of research posters provided by philosophy, and even economic history; or the the participants. emerging study of how objects become invested The meeting admirably achieved its goals, due with emotions, both now and in the distant past. largely to the dedicated work of Katrina Tap, The meeting also hosted discussions among as primary event organiser; but also to the the Administrative Officers and Education and whole-hearted participation of the attendees. Outreach Officers from all nodes, enabling them As an occasion where, for the first time, we to set up common goals and understandings of could appreciate the immense span of research their various roles. carried out by our members, it was unequalled. We particularly valued the opportunity to hear Rigorous collegial debate is the life-blood of from our Associate Investigators, many of whom academia, and there was plenty of it to be had in Adelaide. What methods can we best use to study past emotions when even the word did not exist in most European languages before 1500? Is it feasible to set as one of our goals the establishment of emotion as one of the lenses through which the past must be viewed (on the model, say, of class, or gender)? If so, how is it to be achieved? How do we maximise synergies between our sometimes divergent topics and methods? That there was occasionally disagreement about some of these issues is only to be expected; more important is the fact that we found a common language and purpose in discussing them. Finally, the meeting fully justified those who maintain that Humanities disciplines can embrace new ways of working. Hitherto, many Humanities scholars have not been used to the actual practice of interdisciplinary research; or to presenting five- minute accounts of their work; or to summarising their research in poster form. Participants of the Biennial Research Meeting rose to these challenges magnificently. If we continue to work in this way, we will certainly produce a unique, and improved practice of the history of emotions. Philippa Maddern Above: Unknown Miniaturist, English (active in 1270s), Douce Apocalypse, circa 1270. © Wikimedia Commons.

ARCARC CCententrre of ExExcceellenllenccee HistoryHistory of EmotionsEmotions AAnnunnualal RRepoeportrt 2012 27 The Meanings Program incorporates ‘emotion work’ operating in late- Meanings the following Chief Investigator (CI) medieval England (approximately and Postdoctoral Research Fellow 1350-1520) in three main areas: (Postdoc) projects: households and families (what was the glue that held often extended Project title: Emotions at Work: or fragmented families together?); family, law and religious life in the law (how were emotions used in late-medieval England late-medieval legal arenas to create P. Maddern (CI) convincing legal narratives, and even affect the results of law cases?); and Joanna Bourke posits that emotions, religious and devotional life. This far from being merely individually work, focusing not on the particular experienced, actually perform ‘work’ emotions (fear, love, anger) which in every society and culture. Her are more commonly defined as study of fear in twentieth-century the objects of study, but on the war-time Britain, for instance, social expression and reception shows how a generalised public of emotions, will be a first in the anxiety could be channelled into late-medieval historiography of creating new community solidarities, England. In October 2012 Maddern marginalising out-groups, and presented a paper on the uses and mobilising public anger against perceptions of tears in the family, perceived traitors or hinderers of the and in religious practice in late- war-effort. medieval England to a research Following this insight, this project group working on gender and will comprise a history of the space in pre-modern Europe at the University of Kassel. Project title: Signs of Emotion: Yet preliminary research into late-medieval Europeans’ late-medieval English accounts interpretations of emotional of faces and emotions shows behaviour clearly that expression was only P. Maddern (CI) one of many ways in which (so observers believed) emotions and It is generally taken for granted emotional dispositions could be that our emotions have outward detected. Such phenomena as expression that can be ‘read’ by complexion or facial conformation, those observing us—we smile, or facial gestures (thrusting the frown, turn pale, burst into tears, face forward, or resting the face wave our arms angrily, to name on the hand) were often seen to only some obvious examples. In be more reliable guides to inward terms of historiography, however, it emotional states than mere smiles is too often assumed that the signs or frowns. It is proposed, therefore, that modern Westerners observe, to carry out a wide-ranging survey and the ways they observe them, of how emotions were detected and have been constant throughout interpreted in the faces, bodies and history. Thus, even the well- gestures of late-medieval people reputed research of Paul Ekman from north-western Europe in the rests on the assumption that period roughly 1350-1520. This will emotions are primarily recognised involve a study not only of surviving through observations of facial accounts of emotional behaviour, muscular expression. but of artwork representing emotional events and behaviours.

ARC Centre of Excellence History of Emotions Annual Report 2012 29 Project title: Sin and Emotion in orders’ reputations and priorities. for Medieval and Renaissance Late Medieval Europe The project terminates towards the Studies (SASMARS) conference S. Young (Postdoc) end of the fifteenth century, just in Stellenbosch, South Africa, in before the Protestant Reformation. August 2012, a study of how the This project focuses on how ordinary late medieval didactic genre of the religious experiences helped frame Project title: Suicidal Emotions in ars moriendi (art of dying) could the emotional lives of European the Middle Ages be used to elucidate medieval Christians in the later Middle Ages. J. Ruys (CI) understandings of and approaches Drawing upon sermons, theological to suicidal mindsets was prepared. treatises, confessors’ manuals and Research got underway on this The work on the ars moriendi and exempla collections, this study looks project in 2012 with an exploration Otloh’s Liber de temptatione has now at how late-medieval theorists of sin of whether medieval first-person life been written up in a jointly-authored and penance understood emotions, narratives could constitute a useful article with Postdoctoral Research as well as how they attempted to and viable source for understanding Fellow, Dr Rebecca McNamara, structure lay emotional responses, suicidal emotions in the Middle entitled ‘Unlocking the Silences and endeavoured to use these Ages. To this end, the life narratives of the Self-Murdered: Textual responses to provoke specific of the eleventh-century monk Otloh Approaches to Suicidal Emotions in behavioural reforms in their society. of St Emmeram (Liber de temptatione the Middle Ages’, which was invited cuisdam monachi) and the twelfth- The project begins in the early for submission to a special issue century monk Peter Abelard (Historia thirteenth century when, stimulated of the journal Exemplaria edited by calamitatum) were explored. This by such large-scale initiatives CHE CI Professor Stephanie Trigg. latter research has been written as the Fourth Lateran Council’s In November 2012, Juanita Ruys up and submitted as ‘“He who kills requirement of annual confession to was invited to speak on medieval himself liberates a wretch”: Abelard one’s parish priest, and evidenced approaches to suicide at the Dax on Suicide’, in Rethinking Abelard, by the outpouring of literature Centre in Melbourne at a public ed. B.S. Hellemans, (Studies in designed to help both penitents and event dealing with suicide from Intellectual History; Leiden; Brill, confessors in the accomplishment of historical, artistic, and media forthcoming). For a presentation at this task, western Europe witnessed perspectives. In 2013, a book the annual Southern African Society a ‘revolution’ in pastoral care. Occurring in concert with several other important developments, including the emergence of universities and the creation of the mendicant orders, this ‘revolution’ led to new ways of prioritizing the role of sin and penance in the religious experience of ordinary Christians. It also produced new ways of understanding longer-­term aspects of this tradition, such as the various sub-categories of sin, by providing new methods for studying these categories, and refining techniques for eliciting specific behavioural reforms through emotional appeals. These processes continued to develop through the fourteenth and fifteenth centuries as the study of theology at universities expanded, as confessional literature and Bernat Pintor, sermon events proliferated, and Tomb Relief with as mendicant friars continued a Bishop Giving a to pursue their aims amidst the Funeral Blessing, vicissitudes of their respective circa 1370-1390. proposal and sample chapters will records in England, have been Project title: The Secret Life of be prepared by Rebecca McNamara compiled. Emotions are rarely Demons: The emotional capacity and Juanita Ruys on the topic of their named at all in these sources, and, of non-corporeal beings in joint research project. intriguingly, neither are the devil medieval thought or demons in the records before J. Ruys (CI) Project title: Emotions and c. 1350. As such, these sources Ruys’ initial exploration, begun in the Suicidal Impulse in the provide a distinct way of framing 2011, of the historic moment in the Medieval World suicide that does not rely on our High Middle Ages when demons R. McNamara (Postdoc) impression of the typical linguistic came to be attributed emotional constructs of medieval Christianity. interiority and complexity came into This project identifies and theorizes A methodology that considers print as ‘Sensitive Spirits: Changing emotions related to suicide in the contexts of suicide in these Depictions of Demonic Emotions medieval Europe through the records and traces the emotional in the Twelfth and Thirteenth evidence of non-belletristic texts. frameworks of those contexts in the Centuries’, Digital Philology: A Cases of self-murder (including wider culture of the Middle Ages has Journal of Medieval Cultures, 1:2 suicide attempts) and emotions been developed. Some significant (2012), pp. 184-209 (muse.jhu.edu/ surrounding those cases in medieval contexts that have emerged journals/digital_philology/toc/ European legal records and include suicide of the physically dph.1.2.html). The intellectual and chronicles are examined, tracing and mentally infirm, the suicide of cultural trajectories involved in the a trajectory of emotions related to suspected and convicted criminals, attribution of individual emotions the suicidal impulse c. 1100-1500. and suicide related to family crises. to demons were then explored, McNamara is interested in both Through conference presentations, with a focus on the broad affects the emotions attributed to those collaborative art exhibitions, public of sadness and love. These studies who took their own lives and the media opportunities, and drafting have now been written up as emotional responses to those work for publication this project ‘“Tears such as angels weep”: The suicides from family, community, has made significant progress in Evolution of Sadness in Demons’, and the judiciary. To date, over 450 the last year. cases of attempted and actual in Understanding Emotions, eds. self-murder, largely from archival Michael Champion and Andrew Lynch, Brepols (Late Medieval and Early Modern Series; forthcoming) and ‘Love in the Time of Demons: Thirteenth-Century Approaches to the Capacity for Love in Fallen Angels’, Mirabilia: Electronic Journal of Antiquity and the Middle Ages, 15 (2012), pp. 28-46 (available online at revistamirabilia.com/nova/ images/numeros/2012_15/02.pdf). The study on sadness in demons also constituted the focus of two international presentations by Ruys, at the University of Texas at Austin and New York University in September 2012. At Texas, a podcast interview on the topic was recorded, and is available at sites.la.utexas.edu/religionreport/ on-the-emotional-life-of- medieval-demons. Demons were also the topic of a more lighthearted approach to this research material presented as a stand-up comedy routine at Bright Club at the Sydney Festival in January 2012.

ARC Centre of Excellence History of Emotions Annual Report 2012 31 Ruys is currently in conversation of the occupational health and injustice, and tyranny. This book is with Oxford University Press safety issues attending academic currently also under consideration regarding a book proposal for research is almost entirely absent with a publisher. The Secret Life of Demons. from the modern discourse of work-life balance, medical warnings Project title: The Grammar Rules of Project title: Passions for Learning against the sedentary lifestyle, etc. Affection: Passion and Language in Y. Haskell (CI) Since Australia wishes to develop early modern English literature as a knowledge economy driven R. Knecht (Postdoc) The broad aims of this project are to by research, technology, and explore the role of the emotions in Language is often thought of as innovation, such considerations European education and knowledge a tool for conveying information are far from frivolous or irrelevant. cultures, 1100-1800. How were the or expressing emotion. Against Haskell has written a chapter on two emotions harnessed in teaching this instrumentalist perspective, major eighteenth-century medical by medieval and early modern this project examines historical, writers who broached the subject: educators? How did the emotional philological, and literary evidence ‘Physician, heal thyself! Emotions experience of the schoolchild/ suggesting that emotional states and the Health of the Learned in intellectual/ scientist evolve over and relations are not simply Samuel Auguste André David Tissot this long time period, and how described by language, but are (1728–1797) and Gerard Nicolaas were the emotions perceived at encoded in the structure of language Heerkens (1728–1801)’, in Henry different times to impact upon, itself. Central to the project is a Martyn Lloyd (ed.), The Discourse hinder, or perhaps even to further study of early modern theories of of Sensibility: The Knowing Body in intellectual work? grammar and pedagogy, in which the Enlightenment, Special Issue of such terms as ‘passion’ and ‘mood’ This year, Associate Investigator Studies in History and Philosophy of are used to name both emotional Em. Prof. Richard Yeo joined the Science (forthcoming). states and grammatical forms. This Passions for Learning Project, in concurrence of terms suggests the which he will explore the transition Project title: A Literary way that emotions emerge from from the early modern cultures and Intellectual History language rather than simply being of curiosity, collecting, natural of Self-Government reflected by it. history and philosophy to the P. Holbrook (CI) distinctive disciplinary specialisms Furthermore, the project argues During 2012, Holbrook continued and passions of nineteenth- that early modern writers trained basic research into the theme of century science. Haskell has in the methods of Humanist rational ‘self-government’, or self- recorded a program for ABC Radio grammar developed an acute self- control, in English literature in the National’s Science Show on the consciousness of the grammaticality age of Shakespeare. One essay on idea of vocation in both humanities of their own writing and of the this theme, entitled Shakespeare, and scientific research, tracing constitutive powers of language. Montaigne, and Classical Reason, is their shared assumptions and Thus we find in figures such as due to appear in an edited collection aspirations back to the early modern Philip Sidney—who writes of entitled Shakespeare and Ethics ‘Republic of Letters’ (Saturday 17 ‘the grammar rules of affection,’ (this volume is currently under the phrase used for the project’s November 2012). consideration with a publisher). title—habitual emphasis placed on Essentially the essay argues that Haskell has also assembled a the grammatical character of their Shakespeare (like Montaigne) tends preliminary dataset of some twenty own writing and a canny awareness to take a negative or pessimistic early modern dissertations and of the way that passion and emotion view of the classical ideal that treatises on the emotional lives are situated in language. Early human beings should and can of scholars and ‘scientists’ from modern writing thus makes the aspire to the rational control of the seventeenth and eighteenth emotional effects of language emotions, drives, and appetites. centuries. For example, a particularly visible and provides an Also completed was a manuscript dissertation by a theological ideal space for their analysis. writer, ‘On the Affects that Detract (of approximately 70,000 words) from the Pursuit of Truth’, is focused on English Renaissance In 2012, Knecht presented and devoted entirely to the passions Tragedy. This book argues that the circulated new work from the project predominantly or almost exclusively essential emotional and intellectual on Humanist pedagogy, Philip experienced by intellectuals. texture of this major genre is one Sidney, and Shakespeare’s Love’s Such detailed discussion from an of anger, or passionate indignation Labour’s Lost and Hamlet. emotional or moral perspective — in particular against inequality, The evil or fallen angel, the Spiritual Exercises of their Madrid, Spain. founder, Ignatius of Loyola, Jesuits learned techniques for rousing and disciplining their own emotions, and, for two centuries, were at the vanguard of theorisation and hands-on shaping of mass and private emotion throughout Europe and its colonies. Jesuits produced key works on psychological self- and other-mastery; they excited and channeled emotion through their sacred oratory, poetry, plays, operas, art and architecture; they inflamed young men with holy desire to die for their faith in foreign missions; they initiated dialogue with and accommodated to non- European cultural and emotional regimes (notably in the Americas and East Asia). As such, they are an ideal focus for exploring the dynamics of European emotions on a global stage. One of our new doctoral students, authority. The seventeenth Project title: Reason musicologist Makoto Takao, will century then, can be seen as the be researching the transmission and the Passions beginning of a gradual relocation B. Chua (Postdoc) of European emotions from West of the irrational appetites, from the to East (and back to the West) via a This project examines seventeenth- margins to the centre of civil order. dissertation on ‘Glocal Affectivity: century political understandings This project aims to analyse the Performative Practices of Jesuit of the passions and their proper literary response to this broad shift Conversion in Early Modern Japan’. government. The English Civil Wars in understandings of the passions Postdoctoral Research Fellow, contributed to groundbreaking and the redefinition of reason as Raphaële Garrod, has put together re-considerations of political ‘interest’. The project examines a digital library of all the textbooks power and the foundations of the literary works produced by in rhetoric, natural philosophy and civic obligations. The demand for prominent political figures in the theology which she has been able new ways of thinking about public Interregnum and Restoration, to trace online from the catalogue government, and the processes of reading them as responses to a of the library of the Jesuit college subjection, was also a demand for set of political problems generated of La Flèche, and is using them new ways of thinking about human by the political crisis of civil war. alongside a collection of occasional motivation, as the affective, non- With its propensity for strategically poetry commemorating the death of rational dimensions of political manipulating the passions for often Henri IV to write her first paper on action were increasingly posited ambiguous ends, literary narrative Jesuits and the politics of mourning. as objects for systematic, rational functioned as an ideal medium inquiry. The political circumstances for asking political questions on Haskell has been studying Jesuit of seventeenth-century England, new forms of government and texts of diverse genres, including together with the growing currency community in a newly and violently a long philosophical poem on the of radical philosophical theories demystified state. emotions by eighteenth-century questioning the power of reason Frenchman, Pierre Brumoy, and over the unruly passions, led to Project title: Jesuit Emotions the highly emotive epic and tragic destabilising theories on how the Y. Haskell (CI) works of Jacob Bidermann, an influential Jesuit playwright of the indulgence of the self-regarding The Jesuits were the premier passions could be posited as seventeenth century. (She discussed educators of early modern Catholic Bidermann’s representation of solutions to the crisis of political Europe and the New World. From

ARC Centre of Excellence History of Emotions Annual Report 2012 33 children’s emotions on ABC Radio Project title: Cultivating States: Project title: ‘A Certain National’s Encounter program on Anglo-French literary exchange Correspondence’: Intellectual Saturday 18 August 2012.) In 2012, 1250-1600 sociability and emotional community Distinguished International Visitor S. Downes (Postdoc) in the eighteenth century and Art Historian Jeffrey Chipps K. O’Loughlin (Postdoc) What is the relationship between Smith visited Perth and spoke on literary text, material culture, The early modern era is marked by Jesuit confraternities in Germany and the history of emotion? This an extraordinary expansion of trade and the art of sensuous worship. research explores diplomatic and travel. In addition to remarkable The project members are currently encounters between England and material exchanges — of products recruiting contributors towards a France, with regard to the ways like coffee, tea, and textiles that collective volume on Jesuit emotions that textual and material evidence came to define the era — was the that will illuminate their importance both represent emotion and foster movement of people through various for an understanding of early positive feeling in the context of forms of travel. Many experienced, modern European and European face-to-face encounter. or were forced to experience, colonial emotions more widely. themselves as ‘citizens of the world’. The chosen period witnessed Project title: Shakespeare shifting allegiances and political Accompanying this circulation and Emotions relationships between French- of people and objects was a R. White (CI) speaking and English-speaking lively exchange of ideas. These individuals. At its centre is the movements of people and ideas The fulfilment of this proposed violent conflict of the Hundred Years contributed to the establishment project was the organization of a War. How relationships and cultural of vital social networks: circuits major international conference in a ties were made through individual of writers, sympathizers, and collaboration between the Australian and collective emotional expression friends. This celebrated ‘Republic of and New Zealand Shakespeare is currently being analysed. Books Letters’ is frequently understood in Association and the ARC Centre about love were often exchanged terms of the rational and scientific of Excellence for the History of or offered as gifts in peacetime values of the Enlightenment, or the Emotions, on ‘Shakespeare and between men otherwise at war. emergence of the public sphere. Emotions’. This conference, held at Downes is asking what motivated However, there are powerful UWA on 27th–30th November 2012, these men to give books as gifts, affective dimensions to these attracted over 100 participants from what function it was hoped they intellectual bonds. ten different countries. The next would perform, and what emotions stage of this project — to compile a This project investigates various they expressed and elicited. volume of the best papers in book sites and manifestations of these form — is now under way. As well In the late fourteenth century, characteristic forms of exchange, as academic panel sessions there French-speaking poet and such as the salon, the theatre, were theatre workshops utilising chronicler Jean Froissart gave to the coffeehouse, landscape to the full the resources of the Richard II of England a beautifully and pleasure gardens, galleries New Fortune Theatre and involving decorated book of his poetry about and foreign courts. In Elizabeth plenary speakers including John love. Froissart recounts that Richard Montagu’s famous ‘Bluestocking’ Bell and James Evans from the Bell was delighted by the gift, and salon, for example, the role of the Shakespeare Company. Alongside suggests that his pleasure could arrangement and decoration of the conference ran a Performance be read facially. It’s hard to tell if the room in Montagu’s fashioning Collaboratory organised with Jane Richard’s reaction was as simple of a new kind of literary assembly Davidson on ‘Depicting Emotion as a smile; but Froissart’s account specifically available to women in Early Modern Drama: The suggests that material transactions has been explored. By attending to Practitioner / Scholar Nexus’, which that took place in multilingual both the spaces and practices of included actors from the conference settings contained layers of intellectual sociability — including and local teachers of drama. A emotional meaning, and that the letters, books, objects, fashions, highlight of the whole conference signs of emotional expression visual and material cultures — and collaboratory was a brilliant shifted between languages and this research uses the emergent and unique performance of Ben cultures, as well as between literal discipline of the history of Jonson’s Epicene, played by boys and metaphorical states. emotions to explore early modern from local WA schools, directed by cosmopolitanism as a community Peter Reynolds, one of the Centre’s of feeling. Partner Investigators. Associate Investigators’ The Sex of Adam in Early Modern PhD candidates’ projects projects in this program: Europe, M. Bollinger in this program: The Reversed Cross in Pseudo- Architectures of Debate in Several Emotions and politics in Shakespeare, Giotto’s ‘Crib at Greccio’ as a booster Seventeenth-Century Writers, H. Kerr E. Beaton of Liturgical Drama (1297-1300), Passionate Readers: Literary Gothic elements in Shakespeare, R. Read responses to stoicism and the C. Yeo The Emotions of War in Medieval development of an emotional ethics of Literature, A. Lynch reading, 1590-1690, A. Scott Chief Investigators’ Projects which Face and Heart: Public and private Worlds behind the world: the politics have links into this program are: values in medieval Arthurian of the imagination in early modern Fire, Rock, Affect: Shaping modern literature, S. Knight witchcraft, demonic possession and emotions, S. Trigg spirituality, S. Ferber Trouble in Heaven: Emotions and Speaking Faces: Describing the facial the plague in renaissance Italy, ‘The Bliss of Solitude’: expression of emotion, S. Trigg L. Marshall Representations of the idea, experience and emotion of solitude Emotions and Sacred Space, Theorizing Emotion in Mendicant in poetry in English from the Early 1300-1750, C. Zika Influenced Traditions, with Particular Modern period to today, B.Spurr Reference to the Speculum dominarum (Mirror of Ladies), Governing Emotion: The affective Postdoctoral Research Fellows’ C. Mews family, the press and the law in early Projects which have links into modern Britain, C. Walker this program are: Emotions in Scholasticism: Historicising the passions of the soul, Body and Mind from Plato to Emotions and Sacred Sites: C. Monagle Descartes, D. Kambaskovic-Sawers Chartres Cathedral, S. Randles Emotions in Medieval Music Theory, The Politics of Civility: Historicizing C. Williams genres of community, 1580-1665, D. Barnes Emotional Support, Knowledge Transfer and Dynastic Ambition: the The Early Modern Reception of importance of women and strong Cicero’s Consolation to Himself, family relationships in early sixteenth- H. Baltussen century Atlantic trading networks, ‘She was Fond of the Other Children’: H. Dalton Emotion and emotional attachment in The Passions in Early Modern Art eighteenth-century Scottish Infanticide Theory (1400-1690), A. Bubenik Narratives, J. McEwan Love and Desire, Stage and Page: The Passions of the Expert: the ethos The love story in fiction and drama in of specialization in Western science, Britain (1660-1750), A. Hultquist 1600-1900, R. Yeo Emotions and feelings between Melancholy Sympathies: Scaling up young people and adults in London, Beachy Head (Charlotte Turner Smith, 1500-1600, M. Bailey 1749-1806), H. Kerr Interpreting Adolescent Fears in Early Emotions in the Social Thought and Modern Daughters, U. Potter Political Economy of the Scottish Enlightenment, L. Hill The Sonnet Sequence before Early Modern Eyes: Printing practices and Sentiment, Secularity and the notions of the genre in Italy 1450-1650, Eighteenth-century British novel, D. Kambaskovic-Sawers L. O’Connell Claws of Desire: Women, lust and The Family Diaries of Katherine sacred space in early modern Italy, Plymley (1758-1829), D. Coleman C. Kovesi

ARC Centre of Excellence History of Emotions Annual Report 2012 35 spotlight

Speaking, Writing and Thinking Emotions: The Languages Collaboratory

The emotional terminology of medieval and early modern Europe was inherited from ancient Greece, Rome, and their Christian, Jewish and Islamic successor cultures. But how were terms such as contritio, gaudium and melancholia (contrition/grief, joy and melancholy) translated and modified in the emerging vernacular languages of Christendom in the middle ages and renaissance? How do we understand the ‘emotion talk’ of the past when even the term ‘emotion’ did not exist until the fifteenth century at earliest? Did different languages and linguistic communities command and transmit different emotional repertoires (and did writers develop emotional attachments to different languages?) The collaboratory opened on 24th August with a satisfyingly thought-provoking paper by UWA’s visiting Professor-at-Large David Konstan (New York University) on ‘The Origins of Remorse’. This discussion formed the basis of an emerging theme of the collaboratory — at what stage, and how, did the language of emotions become entwined with categories of Christian vices and virtues? Was it in the sixth century, with the works of such writers as Dorotheus of Gaza (Dr Michael Champion, UWA)? In the twelfth century, when scholars began to Debates were enlivened by the incisive perspectives describe in detail the seven deadly sins and their of scholars whose visits were enabled by the metaphorical offspring (Dr Spencer Young, CHE international Matariki universities network. Professor Postdoctoral Research Fellow, UWA)? Succeeding Stephanie Dickey (Queens University, Ontario) papers investigated such questions as how emotions reminded us that the changing iconographies and emotion-language actually came to structure of emotions such as grief, expressed in the texts (Dr Erika Kuijpers, University of Leiden, representation of tears and mourning, themselves speaking on convent chronicles of the Dutch Revolt, constitute a different kind of emotions-language. 1566-1635, and Professor Yasmin Haskell, CHE Professor Andrea Noble (Durham University) shared CI, UWA, on ‘Epilinguistic Emotions: Latin letters insights from her new cross-cultural research project in the eighteenth century’); and how emotions on the long cultural history of tears in Mexico. were expressed and embedded in multi-lingual The Languages Collaboratory perhaps produced communities (Dr Stephanie Downes, CHE Postdoctoral more questions than answers; but they’re vital Research Fellow, Melbourne, on ‘”Jeo suis Englois”: questions. If we are to ‘know’ pre-modern emotions, Feeling in French in Fourteenth-century England’). we need a profound and subtle understanding of the One lively debate emerged as to whether, and when, ways they were described and expressed, and the pre-modern theories of language and linguistics ways in which emotion terms, and the categories of changed from viewing language merely as a reflection language and emotion, changed and developed over of psychological states of mind, to postulating that the centuries from the classical to the modern era. passion itself could be embedded in forms of grammar (Dr Ross Knecht, CHE Postdoctoral Research Fellow, UQ, ‘Passion and Pedagogy: Philip Sidney’s “Grammer Rules of Affection’’’ and his excellent respondent, Dr Juanita Ruys, CHE CI, Sydney).

ARC Centre of Excellence History of Emotions Annual Report 2012 37 1100 1200 1300 1400 1500 1525 1550

Literature 1500-1700

Literature Reason and the Passions, Brandon Chua, 1100-1500 Postdoctoral Research Fellow, UQ

The emotions of war in medieval literature, Andrew Lynch, AI, UWA “The Grammar Rules of Affection”: Passion and language in early modern English literature, Face and Heart: Public and private values in medieval Arthurian literature, Stephen Ross Knecht, Postdoctoral Research Fellow, UQ Knight, AI, Melbourne Emotions and Politics in Shakespeare, Elizabeth Fire, rock, affect: shaping modern emotions, Stephanie Trigg, CI, Melbourne Beaton, PhD candidate, Melbourne Art/Music History 1100-1500

Trouble in Heaven: Emotions and the plague in Renaissance History Italy, Louise Marshall, AI, University of Sydney 1500-1700

Emotions in Medieval Music Theory, Carol Williams, AI, Monash Emotional Support, Knowledge Transfer and Dynastic Ambition: The importance of women and strong family relationships in early 16th-C Atlantic History trading networks, Heather Dalton, Melbourne 1100-1500 Interpreting Adolescent Fears in Early Modern Emotions at Work: family, law and religious life in late-medieval England, Daughters, Ursula Potter, AI, University of Sydney Philippa Maddern, CI, UWA Sin and Emotion in Late Medieval Europe, Spencer Young, Postdoctoral Research Fellow, UWA The Secret Life of Demons: The emotional capacity of non-corporeal beings in medieval thought, Juanita Ruys, CI, Sydney Art/Music History 1500-1700 Suicidal Emotions in the Middle Ages, Juanita Ruys, CI, Sydney Emotions and the Suicidal Impulse in the Medieval World, Rebecca Literature & History McNamara, Postdoctoral Research Fellow, Sydney 1500-1700 Emotions in Scholasticism: Historicising the passions of the soul, Clare Monagle, AI, Monash Signs of Emotion: Late-medieval Europeans’ interpretations of emotional behaviour, Philippa Maddern, CI, UWA Emotions and Sacred Sites: Chartres Cathedral, Sarah Randles, Postdoctoral Research Fellow, Melbourne Theorizing Emotion in Mendicant Influenced Traditions, with Particular Reference to the Speculum Dominarum (Mirror of Ladies), Constant Mews, AI, Monash History Art/Music History 1500-1600 1297-1300 Emotions and Feelings Between Young The Reversed Cross in Pseudo Giotto’s ‘Crib People and Adults in London, 1500-1600, at Greccio’ as a Booster of Liturgical Drama  Merridee Bailey, AI, ANU (1297-1300), Richard Read, AI, UWA

Literature Public and Private Faces: Diplomacy, poetry, and emotion in Anglo-French contact, 1250-1600, 1250-1600 Stephanie Downes, Postdoctoral Research Fellow, Melbourne

Literature 1450-1650

History Emotions and Sacred Space, 1300-1750, Charles Zika, CI, Melbourne Continued to P40 1300-1750

History Passions for Learning: Emotion, education, and knowledge Continued to P40 1100-1800 cultures (1100-1800), Yasmin Haskell, CI, UWA

Meanings Literature & History Continued to P40 Research Chronology 1400-2012 1550 1575 1600 1625 1650 1675 1700

Literature 1500-1700

Architectures of Debate in Several Seventeenth-Century Writers, Politics and Emotion in Shakespeare, Elizabeth Beaton, PhD Heather Kerr, AI, Adelaide candidate, Melbourne Gothic elements in Shakespeare, Colin Yeo, PhD candidate, UWA Body and Mind from Plato to Descartes, Danijela Kambaskovic- Sawers, AI, UWA ‘The Bliss of Solitude’: Representations of the idea, experience and emotion of solitude in poetry in English from the Early Modern The Early Modern Reception of Cicero’s Consolation to Himself, period to today, Barry Spurr, AI, University of Sydney Han Baltussen, Adelaide Performing Emotions in Shakespeare, Robert White, CI, UWA

History 1500-1700

Claws of Desire: Women, Lust and Sacred Space in Early Modern “A Certain Correspondence”: Intellectual sociability and emotional Italy, Catherine Kovesi, AI, Melbourne community in the eighteenth century, Katrina O’Loughlin, Postdoctoral Research Fellow, AI, UWA The Sex of Adam in Early Modern Europe, Marina Bollinger, AI, UQ Governing Emotion: The affective family, the press and the law in Worlds Behind the World: The politics of the imagination in early early modern Britain, Claire Walker, AI, Adelaide modern witchcraft, demonic possession and spirituality, Sarah Ferber, AI, Wollongong Jesuit Emotions, Yasmin Haskell, CI, UWA, Raphaële Garrod, Postdoctoral Research Fellow, UWA An Irish Jig: The friendship of Princess Dashkova and Martha Wilmot, Katrina O’Loughlin, Postdoctoral Research Fellow, AI, UWA

Art/Music History The Passions in Early Modern Art Theory, 1500-1700 Andrea Bubenik, AI, UQ

Literature & History A Literary and Intellectual History of  1500-1700 Self-government, Peter Holbrook, CI, UQ

Literature The Politics of Civility: Historicizing genres of community,  1580-1665 1580-1665, Diana Barnes, University of Tasmania

Literature 1600-1700 Passionate Readers: Literary responses to stoicism and the development of an emotional ethics of reading, 1600-1700, Alison Scott, AI, UQ History 1500-1600

History Continued to P40 1600-1900

The Passions of the Expert: The ethos of specialization in Western science, 1600-1900, Literature Continued to P40 1660-1750 Literature Richard Yeo, AI, Griffith University 1250-1600 Love and Desire, Stage and Page: The love story in fiction and drama in Britain (1660-1750), Aleksondra Literature The Sonnet Sequence Before Early Modern Eyes: Printing practices and notions of the Hultquist, AI, Melbourne 1450-1650 genre in Italy 1450-1650, Danijela Kambaskovic-Sawers, AI, UWA

History Continued to P40 1300-1750

History Continued to P40 1100-1800

Literature & History Speaking Faces: Describing the facial expression of emotion Continued to P40 1400-2012 (1400-2012), Stephanie Trigg, CI, Melbourne

ARC Centre of Excellence History of Emotions Annual Report 2012 39 1700 1750 1800 1850 1900 1950 2000

Literature 1700-1800

Sentiment, Secularity and the 18th-C  British novel, Lisa O’Connell, AI, UQ

History 1700-1800 Emotions in the Social Thought and Political Economy of the Scottish Enlightenment, Lisa Hill, AI, Adelaide An Irish Jig: The friendship of Princess Dashkova and Martha Wilmot, Katrina O’Loughlin, Postdoctoral Research Fellow, AI, UWA “A Certain Correspondence”: Intellectual sociability and emotional community in the eighteenth century, Katrina O’Loughlin, Postdoctoral Research Fellow, AI, UWA Emotion and Emotional Attachment in 18th-C Infanticide Narratives in London and Edinburgh, Joanne McEwan, AI, UWA.

Literature 1758-1829

The Family Diaries of Katherine Plymley (1758-1829), Deirdre Coleman, AI, Melbourne

Literature 1749-1806

Melancholy Sympathies: Scaling up Beachy Head (Charlotte Turner Smith, 1749-1806), Heather Kerr, AI, Adelaide

History 1600-1900

The Passions of the Expert: The ethos of specialization in Western science, 1600-1900, Richard Yeo, AI, Griffith University

Literature 1660-1750

Love and Desire, Stage and Page: The love story in fiction and drama in Britain (1660-1750), Aleksondra Hultquist, AI, Melbourne

History 1300-1750

Emotions and Sacred Space, 1300-1750, Charles Zika, CI, Melbourne

History 1100-1800

Passions for Learning: Emotion, education, and knowledge cultures (1100-1800), Yasmin Haskell, CI, UWA

Literature & History 1400-2012

Speaking Faces: Describing the facial expression of emotion (1400-2012), Stephanie Trigg, CI, Melbourne

Meanings Research Chronology Anonymous (France), Virgin and Saint John, circa 1420 and circa 1440. © Walters Museum.

ARC Centre of Excellence History of Emotions Annual Report 2012 41 The Change Program incorporates into sites of intense collective and Change the following Chief Investigator (CI) personal emotional experience, as and Postdoctoral Research Fellow well as sites that could elicit indirect (Postdoc) projects: emotion on a local, regional or national scale through extended and Project title: Emotions and Sacred constructed memory. Space, 1300-1750 The immediate focus is the Austrian C. Zika (CI) shrine of Mariazell which developed This project examines the changing from its founding on the margins relationship of emotions and of Austrian society in the twelfth religion, looking specifically at century into a shrine of national emotions of inclusion such as significance for the Austrian state love, gratitude, trust and wonder. and empire by the eighteenth Through the emotions generated century. It became a site of national at particular sacred places, religious fervour, the object of large- communities can be created and scale princely and imperial patronage confirmed and individual and and a location for elaborate ritual group identities fashioned. This practices. The emotional dynamics of project concentrates on one form Mariazell will be explored within the of sacred place that exercises an context of other European pilgrimage especially strong attraction in this sites and a changing religious and period, the pilgrimage shrine. It political environment. It will be examines the architectural space, complemented by the research of ritual objects and performances, Postdoctoral Research Fellow Sarah liturgical scripts and devotions, Randles on the Cathedral of Notre that transformed these places Dame at Chartres. The research on this project garment. These copies were then Adam and Eve banished began in late 2011 and a number worn by women in childbirth and from the Garden of Eden, of research papers have been men in battle, as a ward against a a stained glass window from 1887 of the church delivered. A collaboratory on the prevalent medieval fear of sudden Saint Aignan, Chartres. death without time to confess broader project will take place in The window is made by May 2013. and be absolved of sins. Pilgrim Charles Lorin. badges could be worn on clothing, Project title: Emotions and the where they were a visible and Sacred: Chartres Cathedral tangible display of devotion to the S. Randles (Postdoc) Virgin of Chartres, but could also be considered as miraculous, The research to date has used to address both illness and concentrated on emotions and fear. Various objects were given material culture at the Cathedral to the Cathedral as ex votos, or of Notre Dame in Chartres. gifts expressing thankfulness for This includes the ways objects miracles received. Some of these such as the primary relic of the donations were themselves relics, Cathedral, the chemise of the Virgin while others, such as suits of Mary, pilgrim badges or items armour, represented specific human donated to the Cathedral carry bodies and positive emotional emotional weight; how they are responses to miraculous events. used to symbolise, represent or Donations could also be given regulate emotions. in hope that a miracle would be Copies of the chemise were made granted, representing a form of and touched to the reliquary emotional communication. so that they would absorb the miraculous powers of the original

ARC Centre of Excellence History of Emotions Annual Report 2012 43 Project title: Cultivating Fear Project title: Governing Emotion: Associate Investigators’ and Hatred of the ‘Other’: the Affective Family, the Press and projects in this program: the development of officially the Law in Early Modern Britain The Emotions of War in Medieval sanctioned anti-Semitic and K. Barclay (Postdoc), D. Lemmings (CI) Literature, A. Lynch Islamophobic sentiment in Catholic and C. Walker (AI) Southern Europe (1500-1800) Emotional Support, Knowledge This project explores how the F. Soyer (Postdoc) Transfer and Dynastic Ambition: the eighteenth-century press reported importance of women and strong This project examines the deliberate on high profile trials, with a family relationships in early sixteenth- manipulation and cultivation particular focus on cases that century Atlantic trading networks, of the fear and hatred of Jews discussed the nature of family life. It H. Dalton and Muslims by both secular looks at how such ‘scandals’ acted governments and the Catholic on the emotions of the reader to ‘Getting’ the Joke: Anger, envy, Church in southern Europe between shape public opinion around the violence and contempt in the 1500 and 1800. This was part of nature of family life, and how in community life of Renaissance Italy, a deliberate drive to marginalise turn such events influenced law N. Eckstein Jewish and Muslim minorities and and governance. In doing so, it construct a sense of collective explores how these high profile identity around Catholicism. events used emotions to enable and encourage social, economic and Soyer is studying books and political change. David Lemmings, pamphlets that were published has been looking at criminal trials with the aim of promulgating fear arising from spousal murders and and hatred of Jews and Muslims, the abuse of servants and children, analysing the development and but also at other crimes where nature of the rhetoric, arguments, criminals’ place in their families images and vocabulary used or the implications of trial and to depict Muslims and Jews as punishment for their families are inherently alien and hostile groups under discussion. He has conducted during the early modern period. research at archives in the UK and He intends to demonstrate how USA, and recently presented a paper the language of demonization used at the North American Conference in ‘Hate literature’ in modern- for British Studies, Montreal. Katie day Australia, Europe and North Barclay has been working on sexual American has deep roots running scandals arising from divorce, back to early printed propaganda adultery and seduction suits, and on works. He has completed the first civil suits, particularly inheritance critical edition, study and translation cases where family members into English of the highly-influential disputed property distribution. She seventeenth-century Spanish anti- has been researching in archives Semitic bestseller and polemic of in the UK, and has presented her Fray Francisco de Torrejoncillo, findings at conferences in the UK, Centinela contra Judios puesta en la Australia and Canada. Claire Walker torre de la Iglesia de Dios (Madrid, has commenced working on printed 1674) to be published by Brill in assize sermons, representation of 2014 with the title: Popularising the family and the threats it faced Anti-Semitism in Early Modern in the changing economic, political Spain and its Empire. The Centinela and religious environment from 1660 contra Judios of Francisco de to 1760. She will be presenting a Torrejoncillo (1674). Soyer is currently preliminary paper in Melbourne in working on a second book project, February 2013. provisionally titled: Anti-Semitic Theories in the Early Modern Iberian World: Propaganda, Identity and the Politics of Fear. Worlds Behind the World: The politics Emotional Landscapes: English and Genealogies of Emotion, Intimacy of the imagination in early modern Scottish battlefield memorials and Desire: Theories of changes in witchcraft, demonic possession and 1638-1936, D. MacKinnon emotional regimes from medieval spirituality, S. Ferber society to late modernity, A. Brooks Sentiment, Secularity and the 18th-C The Politics of Civility: Historicizing British novel, L. O’Connell Violent Emotions and Religious genres of community, 1580-1665, Polemic: Southern Indian religious Emotions in the Social Thought and D. Barnes cultures in the 16th-C northern Political Economy of the Scottish European imagination, J. Spinks Emotions and Feelings Between Enlightenment, L. Hill Young People and Adults in London, Saeva Indignatio – Swift as emotional Sensibility in the Eighteenth Century, 1500-1600, M. Bailey outrider in the early 18th-C literary S. Gaukroger regulation of ‘the Rage of Party’, Governing Emotion: The affective R. Phiddian family, the press and the law in early modern Britain, C. Walker

Burning Of The Heretics Sentenced In Spanish Inquisition (1768)

ARC Centre of Excellence History of Emotions Annual Report 2012 45 Emotion and Emotional Attachment in 18th-C Chief Investigator’s Projects which Infanticide Narratives in London and Edinburgh, have links into this program are: J. McEwan Meanings of Emotion in Discourse and Practice, The Passions of the Expert: the ethos of Europe c1300-1500, P.M. Maddern specialization in Western science, 1600-1900, R. Yeo Fire, Rock, Affect: Shaping modern emotions, S. Trigg PhD Candidates’ Projects in this program: Jesuit Emotions, Y. Haskell Witchcraft, the Devil and Popular Print in Seventeenth-Century England, C. Millar Postdoctoral research Fellow Projects Treason, Passion and Power in England, which have links into this program are: 1660–1685, E. Reuter Jesuit Emotions, R. Garrod Madness in England in the “Age of Sensibility”, M. Neuendorf ‘A Heart of Stone Would Melt to Hear:’ Playing on emotions in early modern public executions, U. McIlvenna

Eustache Le Sueur (1616–1655), Melpomène, Érato et Polymnie. © Wikimedia Commons. spotlight The Authenticity of Emotions: Sceptical and Sympathetic Sociability in the Eighteenth-Century British Public Sphere Date: 18 – 19 September 2012

This Collaboratory discussed public emotions in the context of eighteenth-century British literature, philosophy, print culture, and literary sociability. This focus acknowledged the growth of virtual communities formed by readers of newspapers, magazines, novels and poetry, and their constitution by the expression of passions and feelings (ranging from evocations of sublime poetic beauty to satiric anger). Speakers also considered whether the typical eighteenth-century emphasis on feeling as the key to ‘authentic’ humanity overly ‘emotionalized’ discourse, leading to public scepticism about passionate expressions and their power to evoke virtue or expose corruption. David Lemmings briefly set the eighteenth-century British scene: the proliferation of print media; the growth of ‘the public sphere’; the origins and rise of the novel, which relied upon emotional communication with readers for its appeal; the ’culture of sensibility’, by which people were expected to sympathize with the passions of others to be fully human; and the Scottish Enlightenment and the philosophical focus on moral sentiments. As keynote speakers, W. Gerrod Parrott, (Georgetown University), provided an overview of psychological perspectives on collective emotions; Laura J. Rosenthal, (University of Maryland), discussed the Scottish philosopher Adam Smith and his interest in theatrical passions as a source of sympathetic sociability; and Michael J. Frazer, (Harvard University) investigated David Hume’s dilemma about the adoption of passionate colouring in philosophy as a means to encourage morality. Finally, Conal Condren, (University of Queensland), critically reviewed concepts and theories expressed in the papers from the perspective of eighteenth-century translations of Homer’s Iliad. Other speakers discussed ‘improving emotions’ in eighteenth-century British press culture; the search for authentic expression in novels, suicide notes, and medical tracts; the affective dimensions of political theatre and quasi-political satire; and the virtual participation of readers in emotional communities of printed letters. How did the Collaboratory contribute to the Change Program’s mission to explain how collective emotions cause historical change? Analysis of Scottish Enlightenment philosophers displays their belief in the power of emotion to encourage morality and civilised sociability. The growth of the eighteenth-century ‘public sphere’ was, we learn, probably fed by readers’ egoistical desire to participate, as well as authors’ use of ‘emotives’ to amuse, persuade or mobilize the public. Above all the meeting suggested there was a tension in eighteenth-century print culture: between valuing passionate communication of emotions as a source of moral education, and fearing insincerity and fraud raised by appeals to readers’ sentiments. It remains to be seen how this tension played out in the formation of ‘public opinion’ around issues like the abolition of slavery, the amelioration Gaspare Tagliacozzi, “De curtorum of capital punishment, and prosecution of the patriotic wars chirurgia per insitionem”, (1597). against France. © Wikimedia Commons.

ARC Centre of Excellence History of Emotions Annual Report 2012 47 Melbourne Research Fellow, Randles, Postdoctoral Cathedral, Sarah Sites: Chartres Emotions andSacred 1100-1500 Literature Maddern, CI,UWA England, Philippa life inlate-medieval F Emotions atWork: 1100-1500 History 1100-1700 History Andrew Lynch, AI,UWA in Medieval Literature. The EmotionsofWar Trigg, CI,Melbourne emotions, Stephanie Shaping modern Fire, Rock,Affect:

amily, lawandreligious 1100 Resear Change 1300-1750 Literature Emotions andSacred S pace, 1300-1750, Charles Zika,CI,Melbourne

ch Chronology

Cultivating F McIlvenna, Postdoctoral Research Fellow, Sydney emotions inearly modernpublicexecutions, Una ‘A heartofstone would meltto hear’:playingon Jesuit Emotions,Yasmin Haskell, CI,UWA, Raphaële Garrod, Postdoctoral Research Fellow, UWA 1500-1700 History, Literature 1500-1700 History Emotions andF 1500-1600 History Violent EmotionsandReligiousP early modernBritain, Claire Walker, AI,Adelaide Governing Emotion:Theaffective family, thepress andthelawin Charlotte Millar,PhDcandidate, Melbourne Emotional Support,Knowledge T Ferber,Sarah AI,Wollongong early modernwitchcraft, demonicpossession andspirituality, Worlds BehindtheWorld: Thepoliticsoftheimaginationin community life ofRenaissance Italy, NicholasEckstein, AI,Sydney ‘Getting’ theJoke: Anger,envy,violence andcontempt inthe Witchcraft, theDevil andP Melbourne in early 16th-CAtlantictrading networks, Heather Dalton, AI, The importance ofwomen andstrong family relationships Research Fellow, Adelaide Europe (1500-1800),François Postdoctoral Soyer, and IslamophobicsentimentinCatholicSouthern development ofofficially sanctionedanti-Semitic Jennifer Spinks,AI,Melbourne religious cultures inthe16th-CnorthernEuropean imagination, 1500-1800 History 1580-1665, DianaBarnes,AI,Tasmania The P 1500-1700 Literature 1500 olitics ofCivility:Historicizing genres ofcommunity, ear andHatred ofthe‘Other”:The eelings Between Y

opular Printin17th-CEngland, 1550 oung P ransfer andDynastic Ambition: olemic: SouthernIndian eople andAdultsinLondon,1500-1600,MerrideeBailey, AI,ANU

1600-1900 History The P Western science, 1600-1900,Richard Yeo, AI,GriffithUniversity 1600

assions oftheExpert:Theethosspecialization in

1638-1936 History 1638-1936, Dolly MacKinnon, AI,UQ and Scottish battlefield memorials Emotional Landscapes: English

1650 T Reuter, PhDcandidate, Adelaide in England,1660–1685,Elsa Adelaide Adelaide Ann Brooks, AI, Walker, AI,Adelaide; Fellow, Adelaide;Claire Postdoctoral Research Adelaide; Katie Barclay, David Lemmings, CI, 1660-1800, Governing Emotions 1660-1800 History 1660–1685 History reason, P assion andP

ower 1700

1750 1800 1850 1900 1950 2000

History 1700-1800

Emotions in the Social Thought And Political Economy of the Scottish Enlightenment, Lisa Hill, AI, Adelaide Emotion and Emotional Attachment in 18th-C Infanticide Narratives in London and Edinburgh, Joanne McEwan, AI, UWA Madness in England in the ‘Age of Sensibility’, Mark Neuendorf, PhD candidate, Adelaide

History 1660-1800

History 1700-1830

Emotions in the English Criminal Courts, 1700-1830, David Lemmings, CI, Adelaide

Literature 1700-1800

Sentiment, Secularity and the 18th-C British Novel,  Lisa O’Connell, AI, UQ Sensibility in the 18th-C, Stephen Gaukroger, AI, Sydney Saeva Indignatio – Swift as Emotional Outrider in the Early 18th-C Literary Regulation of ‘the Rage of Party’, Robert Phiddian, AI, Flinders

Theory 1700-1800

Norbert Elias, Emotions and Historical Change,  David Lemmings, CI, Adelaide, Ann Brooks, AI, Adelaide Emotional Styles and Historical Change, Ann Brooks, AI, Adelaide

History 1500-1800

History 1600-1900

Literature 1300-1750

History 1638-1936

ARC Centre of Excellence History of Emotions Annual Report 2012 49 The Performance Program the science of music, gesture Performance incorporates the following Chief and poetry. Investigator (CI) and Postdoctoral Practical work has taken place Research Fellow (Postdoc) projects: in workshops and rehearsals, documented as reflective practice Project title: Rhythm, Text, research, and culminating in Gesture: Exploring emotional performances. Highlights have meaning and communication included: Monteverdi’s ensemble in sacred and theatrical version of Lamento d’Arianna (1608) musical performance settings at the Helsinki Metropolia; working working through a reflective with period gesture and philosophy historically-informed of the four humours; Monteverdi’s performance-practice approach Combattimento de Tacredi e Clorinda J. Davidson (CI), A. Lawrence-King (1624) at the Wallace Collection, (Senior Visiting Research Fellow) London, in a staged production with The aim of this project is to re- historical swordsmanship, co- assess ‘authentic’ performance produced with The Guildhall School practices for the achievement of Music and Drama; Purcell’s Dido of emotional communication & Aeneas (c1689) in Copenhagen of the repertoire (sacred and Town Hall in a staged performance, theatrical) spanning the period. co-produced with Concerto Over the past twelve months, Copenhagen; Dowland & Purcell The assessment has been in the light Dark Side at Melbourne University’s of new insights from readings of Early Music Studio on English historical documents on philosophy, Seventeenth-Century music and the philosophy of the four humours. emotional depictions resulted in Furias, Karin Modigh All these projects have been directed a series of performances and the and Elizabeth Svarstad. by our Senior Visiting research production of a small book; and © Katerina Antonenko, fellow, Andrew Lawrence-King. Singing Emotions: Voices from The Harp Consort, 2012. History explored the relationship In addition to these impressive between singing, emotion and performance projects, key history through a series of public outputs have been research lectures and an eBook. The project and educational films: is now also producing a range of Monteverdi Orfeo for Royal Danish written outputs including several Academy of Music, Copenhagen:  book chapters and journal articles. youtube.com/watch?v=efAAEZ4jf6o The project aims to contribute to analyses under the Performance Peri’s Euridice for Guildhall School but also Meanings and Shaping the of Music & Drama: Modern Programs. Key partners in youtu.be/kgJ4SoTreHw 2012 include: The Harp Consort; The In addition to the work above, Royal Danish Academy of Music, collaborators including Perth Copenhagen; The Guildhall School Baroque, Stephen Grant and the of Music and Drama, London; Early Music Studio at Melbourne Perth Baroque; The Early Music University and Musica Viva in the Studio, The University of Melbourne; Amarcord Partnership have assisted and Musica Viva. in the development of the current project. The beautiful Grief and Joy exploration of German Baroque

ARC Centre of Excellence History of Emotions Annual Report 2012 51 spotlight

Depicting Emotions in Early Modern Drama: The Practitioner/Scholar Nexus Date: 27–29 November 2012 Venue: University of Western Australia Convened by: Jane Davidson

Embedded within the ANZSA ‘Shakespeare and Emotions’ Project title: ‘A heart of conference, this collaboratory investigated on-going stone would melt to hear:’ challenges facing scholars and practitioners of the theatre Playing on emotions in early — how to decipher emotions and their meanings in early modern public executions modern drama; and finding a suitable means of conveying U. McIlvenna (Postdoc) interpretations to achieve an informed and appropriate This project investigates impact on the twenty-first century stage. An opening forum emotional responses to public session offered participants an opportunity to discuss execution in the early modern their own concerns. There were many contributions by period, looking in particular practitioners including John Bell of The Bell Shakespeare at the use of song in accounts Company and Andrew Jarvis, a prominent English of crime and execution across Shakespearean actor and teacher, as well as a range of Europe. Printed on broadsides scholars. These included CHE international partner Peter and other cheap forms of print, Reynolds from the University of Newcastle in England and and often written in the first- Penelope Woods, CHE Research Associate. person voice of the condemned In a fascinating second session, CHE senior visiting prisoner, execution ballads research fellow in music, Andrew Lawrence-King, detailed the crime as well as the introduced participants to the Italian-style recitative written punishment in highly emotive for Samuel Pepys by Cesare Morelli, based on Hamlet’s language and were often sold soliloquy ‘To be or not to be’. Whilst this work has been on the day of execution itself. regarded as something of a musical curiosity, Andrew Set to well-known tunes, argued that Pepys and Morelli based the vocal setting on execution ballads enabled the Betterton’s delivery of Shakespeare’s works and so the listener-singer to sing along recitative gives insight into how speeches may have been to the account of the (often delivered on the stage in the early to mid-seventeenth violent) crime and the public century. The mix of scholars and practitioners in attendance execution of the perpetrator. enjoyed experimenting with the full range of their spoken Using English, French, Italian and sung voices to find the inflections and accents of the and German sources, this soliloquy as prescribed by the musical notation. project examines how ballads functioned within a tradition of In a third session, Rob Conkie of La Trobe University led active, engaged spectatorship at a discussion on how the collaboratory participants could public executions across early develop future projects and networks. Outcomes of this modern and modern Europe. discussion included a proposed range of historically- With a particular focus on informed workshops and presentations to be realised in reconstructing the transmission 2013 in the New Fortune Theatre at UWA, as well as sister and reception of this early projects in Melbourne. form of news media, McIlvenna Besides the three ‘target sessions’, powerful workshops reveals how music, balladry added much to the scope of the collaboratory. Of these, and performance played an Alison Findlay of Lancaster University offered a compelling integral role in the public’s exploration of emotion, ceremony and performance in emotional perception of crime Macbeth. In the workshop setting, actors and scholars and punishment. McIlvenna were able to explore objects, sounds, gestures, actions and has set up a still-expanding movements of the ceremonies and rituals that accompany database of hundreds of such us in everyday life. They then examined the ceremonial ballads, from the sixteenth and ritualised contexts used in the play. The aim of the through the nineteenth exercises was to explore whether the ceremonies and what centuries, linking them to their they represent within the context of Macbeth can offer an original music. Her research emotional hotwire connecting the feelings of actors and was the subject of an hour-long audience then and now. radio documentary on ABC Radio National in December, With over forty participants in the collaboratory, many as well as being featured in new connections were forged and research ideas a range of public events and emerged as a result of the focused discussion and talks organised by the Sydney participatory experimentation. node of CHE. A Song, on the Confession and Dying / Words of William Stevenson, Merchant, late of North-Allerton, in the County of York, / aged 27 Years, who was executed at Durham on Saturday the 26th of August, 1727, for / the barbarous Murder of Mary Fawden, near Hartlepool in the Bishoprick of Durham; taken / from his own Mouth the Night before his Execution, by a Person that went to visit him while / in Goal. ©Huntington Library.

Project title: My Life as a Playlist population of facts relating to the project are the surveys now on the J. Davidson (CI) long history of emotions and the website, which awaits a nationwide use of music; collect extra historical launch in 2013. Progress on the The central focus of the project is data from the public who will be project to date includes papers on how we have used and continued able to post their own historical the cross-cultural uses of music for to use music as a means of information; and collect new data weddings, funerals and other rites emotional regulation at individual about current interactions with of passage; and the historical beliefs and communal levels. Through music and associated beliefs and from the time of Pythagoras to the a partnership with the ABC, the attitudes surrounding those musical Baroque about music’s potential to creation of a website permits mass behaviours. The tools that will influence moods and behaviours engagement with the Australian generate the bulk of the data for this both for the better and for the worse. public, enabling us to inform the

ARC Centre of Excellence History of Emotions Annual Report 2012 53 In addition, collaborations Project Title: Associate Investigators projects between scholars interested in Shakespeare in Indian Films in this program: music associated with the rituals R. White (CI) Emotions in Medieval Music Theory, surrounding death has led to the This project was completed during C. Williams planning of a special journal issue 2012 and has been published as on ‘Music and Mourning’ which The Reversed Cross in Pseudo- a book which was launched in includes historical investigations of Giotto’s ‘Crib at Greccio’ as a Booster Kota, Rajasthan in October 2012 the use and function of music for of Liturgical Drama (1297-1300), at the conference of the Indian mourning across different periods R. Read Shakespeare Association in and places. Pilot studies have been which Bob White was an invited The Passions in Early Modern Art conducted to look at contemporary plenary speaker. The book is called Theory, A. Bubenik choices of music for funerals and Shakespeare’s Cinema of Crime: an analysis of this data has revealed Trouble in Heaven: Emotions and ‘Macbeth’, ‘Hamlet’ and Film that rituals surrounding death are the Plague in Renaissance Italy, Genres Including ‘Omkara’ and increasingly personalised, including L. Marshall ‘Eklavya’. As the title suggests, this music choices. They reflect a desire book argues that modern films The Performance of Affect in Early to celebrate life and to create a noirs and ‘thrillers’ are heavily Modern Opera, A. Maddox sense of ongoing connection with influenced by generic templates the deceased rather than focusing The Use of Instrumentation to laid down in Macbeth and Hamlet, on the loss. Represent Emotions in Theatrical and it extends the analysis into Music of the German Baroque This project includes involvement three self-conscious adaptations (1600-1800), S. Owens with research consultants William of Shakespeare’s plays into Indian Forde Thompson, Macquarie cinema. At the heart of the book is Love and Desire, Stage and Page: University and Emery Schubert, a description of the ancient Indian The love story in fiction and drama University of New South Wales; and analysis of emotional representation in Britain (1660-1750), A. Hultquist research officer Sandra Garrido. in art through nine Sthayi-bhavas The Role of Music for Lent and This project contributes strongly to each of which has a corresponding Eastertide in the Dresden Catholic the Shaping the Modern Program. rasa (emotional colouring). It is this Court Church (1710–1742): subtle, emotional taxonomy which A documentation, J. Stockigt Indian film-makers inherit from their own culture and which they Chief Investigator’s Projects which equally find in, or creatively project have links into this program are: onto, Shakespeare’s plays, in richly revealing fashion, illuminating the Jesuit Emotions, Y. Haskell. potential for affective diversity in Shakespeare’s plays which is not Postdoctoral Research Fellows’ fully obvious to Western eyes. Projects which have links into Penelope Woods joined CHE in this program are: October 2012 as a postdoctoral Jesuit Emotions, R. Garrod research fellow. Her work will examine audience and emotion in early modern performance history. spotlight

James Barry. King Lear Weeping over the Dead Body of Cordelia (1776). © Wikimedia Commons

Shakespeare and Emotions Conference

‘Shakespeare and Emotions’, The Scholar Nexus. ‘Shakespeare and including presentations by John Bell 11th Biennial International ANZSA Emotions’ also sought to include local supported by James Evans from The Bell Conference, 28-30 November, presented participants in the meeting of ideas, Shakespeare Theatre Company, English in collaboration with the ARC Centre of offering a ‘Teaching Shakespeare’ Shakespearean actor Andrew Jarvis, and Excellence for the History of Emotions professional learning workshop for local theatre group GRADS. The New (CHE), featured over ninety presenters secondary English and Drama teachers. Fortune Theatre, a unique replica of who explored the ways in which the Elizabethan stage built in 1600, was The Conference, Collaboratory and Shakespeare and his contemporaries used to capacity with keynote addresses, Teachers’ Workshops were very well understood and represented emotions. performances, and workshops. The received, with 130 delegates from all over With a strong emphasis on the smooth running of the conference and the globe enthusiastically attending and performance of emotions in drama collaboratory were largely due to the discussing papers from 6 distinguished and poetry, papers and workshops tireless efforts of Pam Bond. plenaries and 87 speakers across 5 investigated how these early modern parallel streams. A highlight of the To close the conference an all-male materials have been received by readers program was the potential for people student cast from Applecross Senior and audiences from the sixteenth to move between scholarly papers and High School, Ashdale Secondary College century to the present day. ‘hands-on workshops’, a structure which and Lance Holt School performed an Running concurrently with the received lots of positive feedback from ‘authentic practice’ version of Ben conference was the CHE collaboratory participants. Each evening delegates Jonson’s Epicene ‘in the round’, directed Depicting Emotions in Early enjoyed specially-commissioned by Professor Peter Reynolds, University Modern Drama: The Practitioner / performances and presentations, of Newcastle, UK — see p. 84.

ARC Centre of Excellence History of Emotions Annual Report 2012 55

 55 spotlight

Grief and Joy: Emotions in the Music of the eighteenth Century Eighteenth century composers consciously used specific musical techniques to represent states like joy, grief and agitation, believing that music’s function was to ‘move the affections’ of the listeners. This performance project focused on works of German composers J.S. Bach, J.T. Römhild and G.P. Telemann to investigate how affective works were constructed, and consider the sophistication with which musical materials were employed to capture the subtle meanings of texts in cantatas. The musicians explored their own interpretations of eighteenth century period knowledge to generate twenty-first century performances aimed at ‘moving the affections’ of audiences in Victoria and Western Australia. The event included 16 internationally experienced historically-informed musicians from CHE partner organisation Perth Baroque. The project was directed by German oboist Georg Corall, with Canadian bass soloist Stephen Grant and Vienna-based leading Australian baroque violinist Cynthia O’Brien. Dr Samantha Owens of The University of Queensland, Professor Jane Davidson, Dr Sandra Garrido and Georg Corall of The University of Western Australia presented scholarly essays in a supporting book on theories and history of the musical affections in the eighteenth century and detailed notes on the repertoire. For a copy of the book please visit: historyofemotions.org.au/ publications-and-resources/ recent-publications/grief-and-joy. Excellently received in WA and Melbourne, the program was recorded by one of CHE’s Industry Partners the ABC. spotlight

Singing Emotions: Voices from History

Throughout July and August 2012, offerings, described by Lindsay talks and the emotions depicted CHE worked with industry partners Lovering of Musica Viva as in song and elicited by the human Musica Viva to provide a series of ‘informative, entertaining and clearly singing voice. pre-concert talks to accompany the well researched — all noted and For a copy of the eBook, please visit: German vocal ensemble Amarcord’s appreciated by the many present.’ historyofemotions.org.au/ Australian touring programs based In December 2012 this astonishingly publications-and-resources/ on the history of song and the successful collaboration produced general-publications-and-resources themes of love and murder. an eBook, comprising nine scholarly Presentations by CHE researchers essays with accompanying historical interpreted aspects of the musical images, reflecting the original

ARC Centre of Excellence History of Emotions Annual Report 2012 57 57 Studio of Gerard ter Borch the Younger, The Music Lesson, c.1670 © National Gallery of Art 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000 2010

Music Music 1100-1300 1500-1800

Emotions in Medieval ‘A heart of stone would melt to hear:’ Playing Music Theory, on emotions in early modern public executions, Carol Williams, AI, Art Una McIlvenna, Postdoctoral Research Fellow, Sydney Monash 1297-1300 The Reversed Art Music Cross in 1400-1690 1710-1742 Pseudo- Giotto’s ‘Crib The Passions in Early Modern Art Theory The Role of Music for Lent and Eastertide in the at Greccio’ (1400-1690), Andrea Bubenik, AI, UQ Dresden Catholic Court Church (1710-1742), as a Booster Janice Stockigt, AI, Melbourne of Liturgical Opera Drama 1400-1600 (1297-1300), The Performance Richard Read, Music, Opera of Affect in Early AI, UWA 1600-1800 Modern Opera, Alan Maddox, AI, Rhythm, Text, Gesture: Exploring emotional meaning and University of Sydney communication in sacred and theatrical musical performance settings working through a reflective historically-informed performance- practice approach, Jane Davidson, CI, UWA, Andrew Lawrence-King, Senior Visiting Research Fellow, UWA. Partnership with WA Opera

Drama Drama 1400-1600 1660-1750

Performing Emotions Love and Desire, Stage and Page: The love story in Shakespeare, Robert in fiction and drama in Britain (1660-1750), White, CI, UWA Aleksondra Hultquist, AI, Melbourne

Drama 1400-2012, Contemporary reception

Audience and Emotion in Early Modern Performance History,  Penelope Woods, Postdoctoral Research Fellow, UWA

Drama 1600-1800

Jesuit Emotions, Yasmin Haskell, CI, UWA, Raphaële Garrod, Postdoctoral Research Fellow, UWA

Art 1400-1600

Trouble in Heaven: Emotions and the plague in Renaissance Italy, Louise Marshall, AI, Sydney Music Contemporary reception

My Life as a Playlist, Jane Davidson, CI, UWA, Emery Schubert, Senior Investigator, UNSW, and Bill Thompson, Senior Investigator, Mq, Sandra Garrido, Research Officer, UWA. Partnership with the ABC

Music, Opera 1600-1800

The use of Instrumentation to Represent Emotions in Theatrical Music of the German Baroque (1600-1800), Samantha Owens, AI, UQ

Performance Research Chronology

ARC Centre of Excellence History of Emotions Annual Report 2012 59 The Shaping the Modern Program modern objects, contemporary Shaping the incorporates the following Chief spaces’ working with a team of modern Investigator (CI) and Postdoctoral Australian historians, art scholars Research Fellow (Postdoc) projects: and sociologists, and international museum practitioners from Project title: Medieval and the Museum of Ethnography, Early Modern Colonialisms, Stockholm, Victoria and Albert Objects and Emotions Museum, London and the Stirling S. Broomhall (CI) Smith Art Gallery and Museum, to explore the challenges for curators This research explores i) the to explain the emotions conveyed interpretation of medieval and early by objects for Europeans of the modern objects in the history of past in ways that make sense to emotional processes and practices; modern viewers today; and how ii) the affective origins of specific artefacts collected during European medieval and early modern objects; colonial contact during the sixteenth iii) the emotional interpretation of to eighteenth centuries still hold medieval and early modern objects profound significance for their in museum, gallery and tourism communities of origin. contexts; iv) affective materiality. These aspects are explored through Some of this work relates to a series of projects. Scotland, a country Broomhall has researched in previous projects. In The research commenced in ‘Stories of Emotions and Scottish November 2011 with a short project Objects’ early career researchers are ‘Materialising Emotions: Early working with our partner, the Stirling Smith Art Gallery and Museum, to around the Indian Ocean from narrate emotional histories of select seventeenth-century Dutch contact museum objects for presentation to the present. The work includes to the general public, on gift cards physical, travelling and online and postcards. In ‘Objects, Emotion, exhibitions, dramatic and musical Place, Scotland’ Broomhall is writing performances, public lectures and a book with Research Associate school programmes. Dr Alicia Marchant to explore the ‘Rivers of Emotion: An emotional affective origins of specific medieval history of Derbarl Yerrigan and and early modern objects; their Djarlgarro Beelier/ the Swan and interpretation in museum, gallery, Canning Rivers’ funded by the Your tourism and marketing contexts, as Community Heritage Program: well as their handling, reception, Department of Sustainability, and response by historical and Environment, Water, Population and contemporary audiences. Communities, with Gina Pickering In June 2012, Broomhall was (National Trust, WA), created a involved in the first year of the ‘The community symposium and a ZEST Festival’ which will run from multi-modal web portal for people to 2012 to 2016, as a partner with the upload their emotional experiences Kalbarri Development Association, of the rivers. The project’s Shire of Northampton, WA Museum, contributions will contribute to an The Kingdom of the Netherlands. international understanding of this This will entail a five-year cycle unique cultural landscape, and of annual festivals on the Coral inform the interpretation plan for Coast celebrating cultural contact planned heritage trails.

ARC Centre of Excellence History of Emotions Annual Report 2012 61 Broomhall is currently preparing a book-length study called ‘An Emotional History of Medieval and Early Modern Australia’. This work looks at how European emotional understandings shaped their expectations of new environments and their assumptions about the peoples they encountered, including what became known as Australia. Broomhall’s research explores this part of Australia’s past by thinking about the objects that were part of those emotional processes and exchange—maps, ships and their cargo, landscapes, exchange goods, letters, and objects which claimed ownership of the land and its peoples, and the modern environments in which they are now placed. Jean de Liège, Angel of the Annunciation, c.1370–90. Project title: Fire, Rock, Affect: © Metropoliton Museum of Art Shaping modern emotions S. Trigg (CI) In 2012 Stephanie Trigg joined forces with Jeffrey Cohen (George Washington University), who visited CHE at Melbourne in 2011, to co-author a paper on ‘Fire’ for collaboratory on this topic at the Associate Investigators’ Projects a special issue of the new prize- University of Melbourne in December in this program: winning journal, Postmedieval, on 2012 which involved a number of CHE Medieval and Early Modern Emotions Eco-materialism. They presented researchers and other speakers. and Modern Exhibition Spaces, this paper at a panel of the It featured a public lecture from J. Van Gent BABEL conference in Boston, Stephen Jaeger on the redemptive in September, and the article power of the female face from Melancholy Sympathies: Scaling up will be published in March 2013. medieval literature through to the Beachy Head (Charlotte Turner Smith, It compares the representation of modern silent film, The Artist. This 1749-1806), H. Kerr fire in medieval Icelandic narratives lecture was translated into AUSLAN. The Family Diaries of Katherine with contemporary debates about The three-day collaboratory also Plymley (1758-1829), D. Coleman fire history and fire management featured a performance of a short in Australia. Stephanie is also in play about Shakespeare’s Richard II Medievalist Laughter: Emotion and discussion with Punctum Books and Elizabeth I, a pop-up exhibition transformation, L. D’Arcens about a short monograph on the of self-portraits at the Dax collection, Face and Heart: Public and private cultural and affective history of and formal papers from a range values in medieval Arthurian Victorian bluestone. of disciplines. Plans are afoot for literature, S. Knight a series of publications that will Project title: Speaking Faces: emerge from this conference. Trigg Emotional Support, Knowledge Describing the facial expression is also working with Associate Transfer and Dynastic Ambition: of Emotion Investigator Paul James, at The importance of women and strong S. Trigg (CI) RMIT University, to develop an family relationships in early sixteenth Stephanie Downes and Stephanie interactive database of faces and century Atlantic trading networks, Trigg both wrote papers on this emotions across human history and H. Dalton topic in 2012, and convened a major global culture. Emotional Landscapes: English Chief Investigator Projects which and Scottish battlefield memorials have links into this program are: 1638-1936, D. MacKinnon Rhythm, Text, Gesture: Exploring Violent Emotions and Religious emotional meaning and Polemic: Southern Indian religious communication in sacred and cultures in the 16th-C northern theatrical musical performance European imagination, J. Spinks settings working through a reflective historically-informed performance- ‘The Bliss of Solitude’: practice approach, J. Davidson Representations of the idea, experience and emotion of solitude My Life as a Playlist, J. Davidson in poetry in English from the Early Modern period to today, B. Spurr Postdoctoral Research Fellow Contemporary Art Meets History and projects which have links into Emotion in Julie Dowling’s “Stations of this program are: the Cross” Series, C. Czerw Cultivating States: Anglo-French Figures of Emotion: A global history of literary exchange 1250-1600, the face, P. James S. Downes

ARC Centre of Excellence History of Emotions Annual Report 2012 63 ‘Kristy’ Artwork reproduced with permission of the artist, Dianne Jones, Niagara Galleries. spotlight

Faces of Emotion: Medieval to Postmodern Date: 5 – 7 December 2012 The keynote public lecture was given by Stephen Venue: University of Melbourne Jaeger on the ‘silent’ film, The Artist. His lecture Convened by: Stephanie Downes drew on the long history of redemptive female and Stephanie Trigg faces that sits behind the 2011 film, from Dante’s Beatrice to Marlene Dietrich. The lecture was Researchers on medieval and early modern signed by AUSLAN (Australian Sign Language) literature and art came together with artistic interpreters. Audience members were particularly practitioners and scholars from a range of other struck by the eloquent language of the interpreters’ fields, including psychologists, philosophers, hands describing Dante’s descent into hell and his photographers, museum curators and cultural ascent to the vision of Beatrice in Paradise. theorists to reflect on research into, artwork about, and performances of, facial expressions The collaboratory included a performance of of feeling. the play, ‘Richard II and the Old Queen,’ by Mark Nicholls (Cinema Studies at the University of Many academic disciplines and artistic and Melbourne), as well as a pop-up exhibition at the cultural practices are fascinated by the capacity Brain Centre of portraits from the Dax collection of the face to express — and withhold — emotion. by psychiatric patients, which brought participants Questions of performance, historical change face-to-face with a series of artistic expressions and cultural difference further complicate the of emotion. relationship between emotions and the face. Papers presented addressed one or more of these Dianne Jones, the artist behind the stunning key areas, with some startling and provocative ‘Kristy’ image used in publicising the results across temporal and cultural differences. collaboratory, talked about her own artistic In contrasting papers, for example, Ottmar Lipp practice as an Indigenous photographer in described the ‘happy face advantage,’ which making the ‘Mona Lisa Series’ of portraits of found that test-subjects of various races respond her family members posed as Leonardo’s iconic to the stimuli of happy faces faster than angry sitter. The image is an ideal representation of the ones, while Kim Phillips presented her research juxtaposition of contemporary Australia with the into depictions of racial difference in the faces in European past. medieval illuminations. The collaboratory showed that the face not only A primary goal of the collaboratory was to open has a fascinating history, but also has political up conversations about facial expressions of implications, especially in twenty-first century emotion between scholars in different fields, Australian contexts, from debates about refugees with a focus on different historical periods. Work and indigenous relations to the performance of on empathy in the face in modern philosophy gender. It became clear over the course of the and neuroscience rubbed up against studies of 3 days that longer, transhistorical as well as the representation of facial emotion in art; while multidisciplinary accounts of thematic topics like plastic surgery and facial modification were set ‘the face’ are needed in the history of emotions. against the range of signs medieval people looked for in their readings of faces, from gesture and expression, to facial shape, changes in colour and complexion, and emanations such as tears, sweat, and blood.

ARCARC CCententrre of ExExcceellenllenccee HistoryHistory of EmotionsEmotions AAnnunnualal RRepoeportrt 2012 65 spotlight

Zest Festival

The Zest festival was held in June 2012, range of projects. Teachers received professional celebrating the 300th Zuytdorp shipwreck development opportunities via video link, and anniversary and the connection that began students enjoyed workshops and performances between the Netherlands and Western Australia of Baroque music and dance, and by Shakespeare on that fateful day hundreds of years ago. WA. With the guidance of an award- winning indigenous actress, students wrote and directed A major component of the 2012 Zest Festival was pieces which were performed at the Chamber of the Still Life/Our Life exhibition which received Rhetoric to great applause. over 800 visitors, including 7 school visits, and resulted in an exhibit tour and website. The Along with the ARC Centre of Excellence for the three-day event also included spice tasting, History of Emotions, this project established arts workshops, a guest lecture by Phillip community partnerships with the Embassy to Playford, one of the primary investigators of the the Kingdom of the Netherlands, WA Museum Zuytdorp wreck, museum artefacts display and a and Geraldton Newspaper, and was attended traditional Rijstaffel evening meal. by His Excellency Willem Andreae, the Dutch Ambassador, and Museum WA CEO Alec Coles. The festival highlight was the Chamber of Rhetoric, or Rederijkerskamers, where stories, The benefits continued after the event with poems and song were shared with over 400 a Zest Festival presentation and display of visitors around a large bonfire, symbolic of the students’ work at The Hague for the Australian- Zuytdorp survivors’ beacon fire burning atop the Dutch Heritage Day. The Zest Festival has since cliffs for weeks for a rescue that never came. been shared as an exemplary project with presentations in Budapest and Canberra, has The 265 students from Kalbarri District School provided inspiration for two documentaries played a huge part in the success of the inaugural and has received culture and heritage awards. Zest Festival. Students from 4 to 17 studied Dutch The most important outcomes were within the culture, language, artworks, history, the VOC and community as the festival provided opportunities the Zuytdorp shipwreck, resulting in a diverse for relationship-building with Nanda families, $30,000 financial benefit to the community including $10,000 for local groups, and an increased appreciation worldwide of Kalbarri’s cultural heritage.

Above: Image Courtesy of Laurie Malton Background: Courtesy of Marina Baker (2012) ARC Centre of Excellence History of Emotions Annual Report 2012 67 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000 2010

History, Sociology 1100-2012

Figures of Emotion: A global history of the face, Paul James, AI, RMIT

Literature 1100-2012

Medievalist Laughter: Emotion and transformation, Louise D’Arcens, AI, Wollongong

Literature, History 1100-1800

Fire, Rock, Affect: Shaping modern emotions, Multi-Disciplinary Stephanie Trigg, CI, Melbourne 1400-2012

Speaking Faces: Describing the facial expression of emotion (1400-2012),  Art, History Stephanie Trigg, CI, Melbourne; Vikki Leone, 1800-2012 Education Officer, Melbourne Contemporary Art Meets History and Medieval and Early Modern Colonialisms, Emotion in Julie Dowling’s “Stations Objects and Emotions, Susan Broomhall, CI, of the Cross” Series, Catherine UWA and Jacqueline Van Gent, AI, UWA Czerw, Art Matters

Literature 1600-1800

‘The Bliss of Solitude’: Representations of the idea, experience and emotion of solitude in poetry in English from the Early Modern period to today, Barry Spurr, AI, University of Sydney

Literature History 1400-1600 1749-1806

Violent Emotions and Melancholy Sympathies: scaling up Beachy Religious Polemic: Head (Charlotte Turner Smith, 1749-1806), Southern Indian religious Heather Kerr, AI, Adelaide cultures in the 16th C northern European History imagination, Jennifer 1638-1936 Spinks, AI, Melbourne Emotional Landscapes: English Emotional Support, and Scottish battlefield memorials Knowledge Transfer and 1638-1936, Dolly MacKinnon, AI, UQ Dynastic Ambition: The importance of women Literature, History and strong family 1758-1829 relationships in early 16th C Atlantic trading The family diaries of Katherine Plymley  networks, Heather (1758-1829), Deirdre Coleman, AI, Melbourne Dalton, AI, Melbourne History, Museology 1600-2012

Medieval and Early Modern Emotions and Modern Exhibition Spaces, Jacqueline Van Gent, AI, UWA

Performance Practice 1600-2012

Rhythm, Text, Gesture: Exploring emotional meaning and communication in sacred and theatrical musical performance settings working through a reflective historically-informed performance- practice approach, Jane Davidson, CI, UWA, Andrew Lawrence-King, Senior Visiting Research Fellow, UWA. Partnership with WA Opera

Multi-Disciplinary 1800-2012

My Life as a Playlist, Jane Davidson, CI, UWA, Emery Schubert, Senior Investigator, UNSW, and Bill Thompson, Senior Shaping the Modern Investigator, Mq, Sandra Garrido, Research Research Chronology Officer, UWA. Partnership with the ABC Sagrada Familia Barcelona ARC Centre of Excellence History of Emotions Annual Report 2012 69 Discoveries: D New Light on Past Emotions

A newly discovered musical work from the 18th century

In the past few months I have discovered Emotions in pre-modern music? a previously unknown mid-eighteenth- century sacred motet for solo bass, Re-defining medieval plain chant and operatic recitative. which shows the operatic ‘rage’ aria topos extended into the sacred realm. While it is generally assumed by both modern audiences and many scholars that Its innovative liturgical setting of medieval music, and particularly plain chant, is only broadly expressive and little the Passion narrative by Franciscan concerned with detailed articulation of the emotion of the lyric, our study of Guy de St maestro Francesco Antonio Calegari Denis’ Tractatus de tonis provides certain evidence that full and emotive expression of (1656-1742), makes striking use of the lyric or text was fundamental to the aesthetic understanding of liturgy. theatrical-style recitative to affectively Carol Williams and Constant Mews, AIs dramatize the words of Christ. Many opera fans have the impression that recitative is the boring, unmemorable Alan Maddox, AI bit in between the nice tunes. Yet performers of the first operas from early 17th- century Italy must escape this false impression, since the earliest surviving works (Cavalieri’s Anima e Corpo and Peri’s Euridice, from 1600, and Monteverdi’s Orfeo from 1607) consist almost entirely of recitative! To avoid boredom, today’s early music conductors teach singers a modern performance practice based on rhythmic freedom and improvised ornamentation. But my study of the writings of these three composers and an anonymous guide for the artistic director of an opera production, Il Corago (1630) reveals quite a different view. These early music-dramas are not called ‘operas’, but (among others) rappresentatione (Show), and azioni armoniche (Harmonic Actions). Then, as now, the Italian word recitare meant ‘to act’. So musica recitativa is ‘music for acting’. Seventeenth-century writers are unanimous that this style should not be ornamented, that it was not conducted, and that the accompaniment directs the rhythm in a slow steady beat comparable to the human heartbeat or to the regular movement of the stars and planets. Composer Giulio Caccini describes in 1601 a certain noble sprezzatura di ritmo (nonchalance, or ‘cool rhythm’) which Monteverdi writes out in notation: the singer is free to anticipate or delay, but the accompaniment continues in rhythm. So recitative is rhythmic and dramatic, but also cool: Ella Fitzgerald meets William Shakespeare!  Andrew Lawrence-King, Senior Visiting Research Fellow

Individual versus social emotions? Changing values.

In early medieval narratives, from Irish saga to English romance, emotion and the human face as an index of it, are understood as primarily of super-personal status. That is to say, they manifest not as personal individual feelings and expressions, but as social, cultural, and mythic phenomena, such as heroism, royalty or fate. Any personalised emotion is seen as inherently destructive of such collective systems, as when the love of Guinevere and Lancelot initiates the collapse of Arthurian society. Work in a different area shows how eighteenth-century male authors such as Pope, Fielding and Voltaire, in a curious opposition to grandly mythic early medieval emotionality, adopt a near-hysterical id-oriented approach. They use the now juvenile-seeming modalities of medievalism to represent otherwise inexpressible forms of sexual anxiety. Emotionality has passed, it would appear, from mythic royalty to the masculine nursery. Stephen Knight, AI The changing history of Thechildren’s changing emotions history of children’s emotions Children’s experiences of death, and the ways they are socialised to cope with it, have changed dramatically over Children’s experiences of death, and the ways they are the past five hundred years. In Western countries today, socialised to cope with it, have changed dramatically over children may rarely experience the deaths of friends and the past five hundred years. In Western countries today, family-members, and are not expected to develop ‘true’ children may rarely experience the deaths of friends and knowledge of death at least until after age six. But late- family-members, and are not expected to develop ‘true’ medieval children (like many in developing countries today) How do different cultures knowledge of death at least until after age six. But late- faced high risks of dying themselves, or experiencing the ‘read’ emotions? medieval children (like many in developing countries today) deaths of parents, siblings, relatives and peers. How were faced high risks of dying themselves, or experiencing the they trained to cope with such traumas? My research How do we observe and understand other people’s deaths of parents, siblings, relatives and peers. How were suggests that far from trying to shield children from emotions? My research suggests that different cultures they trained to cope with such traumas? My research the knowledge of death, late-medieval people used art, use very different methods. Unlike modern Westerners, suggests that far from trying to shield children from drama and sermons to illustrate vividly for young children who tend to look for the expression of the face (frowns, the knowledge of death, late-medieval people used art, the chances of death and bereavement. Children were smiles, puckered forehead), medieval Europeans took drama and sermons to illustrate vividly for young children encouraged to take full part in the rituals (funerals, prayers smiles or frowns to be a much less reliable guide to a the chances of death and bereavement. Children were for the dead) that might provide a consolatory sense of a person’s feelings than factors such as facial shape and encouraged to take full part in the rituals (funerals, prayers continued relationship between the living and the dead.  colour, or gestures such as thrusting the face forward for the dead) that might provide a consolatory sense of a (in anger) or hanging the head (in grief). This suggests continuedPhilippa Maddern, relationship CI between the living and the dead.  that in studying cross-cultural contacts — for instance, Philippa Maddern, CI early modern Europeans and colonised peoples — we need to consider carefully how each would read and understand signs of emotions in the other, before we can understand the emotional relations — or misunderstandings — established between them. Philippa Maddern, CI How did 16th-century people experience, and react to, natural disasters?

Notions of apocalypse and apocalyptic time are critical Reason and passion—are they opposites? in understanding sixteenth-century reactions to disaster. Can Reason control Passion? At the apocalypse, time becomes flexible, subservient to a moral logic and invested with hyper-intensity. Research over the last year has made it clearer to me how frequently With that urgency comes anxiety, dread and anger, but Renaissance writers took a pessimistic view of the capacity of human beings also hope, longing and an ardent zeal for justice and to govern themselves according to reason. According to the classical ideal, joyousness at its prospect. Within such a framework our capacity for intellectual reason should enable us to achieve self-control disasters can be suffered and yet borne; they can act and, therefore, freedom from enslaving passions or compulsions. But a large as instruments of terrifying warning, but also of fervent body of Renaissance writing asserts the hopelessness of this ambition. The hope and longing. Through the emotional registers and perceived failure of rational control of the passions had consequences for deep-felt conviction released by an apocalyptic reading political theory; if human beings are by nature driven hither and thither by of time, the understanding, experience and memory irrational drives, then what hope that a rational and free society could exist? of natural disasters in the sixteenth-century were Peter Holbrook, CI frequently transformed, and individuals and groups were stimulated to novel forms of social action. Scholars often think of the eighteenth century as ‘The Age of Enlightenment’ Charles Zika, CI or the ‘The Age of Reason,’ a seemingly scientific and philosophical-centered epoch preoccupied with the primacy of reason in engaging in both the scientific and artistic world. But a study of the works of the prolific novelist Eliza Haywood, in particular the threads to which Haywood returns — love, experience and knowledge, and reason — shows that in her texts, a person becomes a mature, reasonable and well-balanced adult only through Sonnet sequences as successful engagement of the passions. Thinking and feeling are not binary opposites in Haywood; rather thinking creates emotion, and some ‘Passions’ narratives of love control other passions. Indeed, in Haywood’s novels, passions can act more Sonnet sequences in manuscript and print forms effectively than reasoning to subdue other emotions. from the late middle ages to the early modern Alexsondra Hultquist, Al period contain fictional mechanisms also employed in eighteenth-century English novels, and were often formatted in very different ways than modern editions. Today’s editors privilege a single sonnet on each separate page. But a study of pre-modern scribal and printing practices reveals that the early modern writer and printer saw the sonnet sequence as a genre with elements of narrativity. These observations invite reconsideration of the sonnet sequence genre, not just as part of the history of poetry, but as a stage in the development of the novel and of prose love narratives written in the first person.  Danijela Kambaskovic-Sawers, AI

ARC Centre of Excellence History of Emotions Annual Report 2012 71 The Distinguished Visitors Program — Highlight Initiative in 2012

We’ve all experienced it. Prestigious international Centre and were keen to work with us. Again, scholar flies into Australia for a conference; the selection was hair-splittingly difficult; but seven hectic days of public lectures and seminars we have managed to invite six stellar younger later, prestigious international scholar flies out scholars to visit us over the years 2013-2014; and again, leaving behind a sense of exhilaration, we will be issuing a further call in 2013 for ECR but also disappointment. Exhilaration from Distinguished International Visitors in 2014-2015. the stimulus of new ideas and contact with Secondly, we decided not to wait for 2013 to start a worldwide academic conversation — but inviting international scholars to visit. Assisted disappointment because so few Australian by funding from their own universities, we scholars have had a chance to converse in depth were fortunate to be able to host the following with the visitor, let alone establish enduring or visitors in 2012: productive research connections. Dr Christa Knellwolf (Universität Wien), a That’s why we in CHE decided to inaugurate a leading scholar in the emerging field of the system of Distinguished International Visitors. history of emotions and Empire; We now fund international scholars from all over the world to attend any node/s of the Centre Dr David Lederer, (NUI Maynooth), who works for periods of between four and eight weeks, on the history of witchcraft, suicide and allowing plenty of time for our visitors to take emotions in the Continental Reformation, and part in conferences and collaboratories, to meet whose plenary paper in the Emotions stream of all researchers at the nodes they visit, and to the Australian Historical Association conference establish deep-rooted research connections in July 2012 sparked intense and lively between scholars working on the same, or discussion on early modern understandings of similar fields. sexuality and emotions; Our first call for Distinguished Visitors, issued Professor Jeffrey Chipps Smith, (Kay Fortson in late 2011, resulted in 37 applications from Chair in European Art, University of Texas at superb scholars working at universities located Austin), recipient of numerous awards for his from New Zealand westwards to California. work on art in northern Europe c: 1400 – 1700, With great difficulty, we selected twelve top who presented a ‘standing room only’ paper at candidates — with the result that in 2013- the UQ Art Museum on Albrecht Dürer; and 2014 we will be hosting such world-renowned Dr Nicole Hochner, (Political Science, Hebrew scholars as Professor Carolyn Dinshaw (English University of Jerusalem), a leading expert on the literature and eco-criticism, New York University); earliest European uses of the word ‘emotion’ — Professor Tim Carter (Baroque musicology and a proponent of the theory that Macchiavelli’s and performance, University of North Carolina) political thought finds room for love in politics! and Professor Miri Rubin (medieval social and cultural history, Queen Mary College, London). Our distinguished international visitors will But the decision to set the scheme in place has provide profound enrichment to Australian led to two other exciting developments. intellectual life; but they will also take back to their far-flung home universities a better sense Firstly, we noticed in the round of applications of the scale and depth of CHE’s research (and several more junior scholars, whose work of Australian humanities research generally), was clearly outstanding, but who could not be and of the collaboration possible — indeed expected to compete with their more senior vital — between international scholars, in all counterparts. So we issued a second call — disciplines, working on the exciting new field this time for scholars within eight years of of the history of emotions. gaining their PhD. The result was even more extraordinary — 45 applications, many from younger scholars who had already heard of the Dr Dagmar Eichberger, Dr Erika Kuijpers, and Prof Jeffrey Chipps Smith at the Death, Disaster and Emotion in the Shadow of the Apocalypse Symposium

ARC Centre of Excellence History of Emotions Annual Report 2012 73 Stefano Della Bella, ‘Death on a Battlefield’, (c. 1646-48), etching, reg. no. 1959.4585, gift of Dr Orde Poynton, 1959, Baillieu Library Print Collection, University of Melbourne. A spotlight Arts Industries Partnerships

Disasters, Apocalypse Since its establishment, CHE has been committed and the Emotions in Early to forging arts partnerships with a range of Modern Europe; an NGV institutions. We have several firmly established Exhibition & Symposium partnerships, and are about to undertake exciting work with new ones. In recent years, natural catastrophes have featured regularly in the news, creating fear, Our established links include: The National anxiety and ongoing social disruption and trauma. Gallery of Victoria (NGV), The West Australian A common adjective for the tragic impact and Opera Company, and the Australian Broadcasting incomprehensible loss is ‘apocalyptic’. Corporation (ABC). Future plans with these organizations include, respectively, an exhibition, Reflections on such realities, and the little an opera production and a website, all of which attention paid to historical disasters, prompted are devoted to history of emotions topics. Charles Zika and Jenny Spinks of the School of Preliminary work has already built capacity Historical and Philosophical Studies, University towards these major outputs. For example, of Melbourne, to pursue an ARC-funded project ‘My Life As a Playlist’, the website to be launched on the subject, It included an art exhibition by the ABC in 2013, has been trialled in 2012 and exploring the roots of this language in the has developed exciting ways for the mass public to print culture of fifteenth- to seventeenth- engage with our work. century Europe and how natural disasters were represented and understood as signs of Shakespeare WA, who provide high quality, the Last Days. professional early modern drama in the outdoor setting of Perth’s spectacular King’s When Zika and Spinks became a CI and AI Park, continue to work with CHE in a range in CHE, their research became more finely of theatre and outreach-based projects. attuned to the emotional registers and visions Two major collaborations occurred in 2012: of the Book of the Apocalypse, on which the outreach activities based on Shakespeare’s The artists of the later period based their images. Tempest; and a performance/ workshop at the They also investigated how an apocalyptic ‘Depicting Emotions in Early Modern Drama: framework not only generated fear in this The Practitioner / Scholar Nexus’ Collaboratory period, but also provided emotional support and (See p. 52). hope in the face of actual natural disasters. Perth Baroque comprises international musicians Their insights were communicated through an playing historical musical instruments and taking exhibition, ‘The Four Horsemen: Apocalypse, active roles in preparing historically-informed Death and Disaster’, curated by Zika and performances. In 2012, this expert ensemble Spinks, together with Cathy Leahy and Petra undertook a number of projects with CHE, from Kayser of the National Gallery of Victoria schools outreach to the development of the (August 2012 – January 2013). beautiful ‘Grief and Joy’ reflective practice project The impact of human emotions in shaping that toured Victoria and Western Australia in understandings of disaster and mass death in September. the sixteenth and seventeenth centuries was The Zest Festival partnership goes from also the focus of a CHE-funded international strength to strength. This annual 2-day symposium in September 2012, ‘Disaster, festival, celebrating cultural contact between Death and the Emotions in the Shadow of Europeans and Indigenous Australians since the Apocalypse’. the seventeenth century, was launched in 2012 This is the first venture in the on-going and will continue through to 2016. Working partnership, with more contributions to Musica alongside Zest’s major sponsor, the Kalbarri Viva’s excellent chamber music and outreach Development Association, CHE has been able program planned for 2013. to collaborate with the Shire of Northampton, Foundations were laid during 2012 for the WA Museum, Kalbarri District High School, The following projects to ensure the on-going Kingdom of the Netherlands, West Australian development of our arts industry scheme: a Regional Newspapers and the Rijksmuseum pre-concert talk and discussion at an event at of Amsterdam, to produce an exciting range of the Perth International Arts Festival; pre-concert outputs (see p. 65). talks for the Australian Chamber Orchestra CHE’s involvement will grow further in the coming and Sydney Dance Company’s Rameau Project; years. See zestfest.experiencekalbarri.com voice production research for a Shakespeare play with Black Swan State Theatre Company, New industry links have been forged with the WA WA; two opera projects with Perth Baroque; a branch of The National Trust of Australia. This pre- number of medieval music concerts with the eminent, independent organisation is committed vocal ensemble e21 and the Early Music Studio in to promoting and conserving Western Australia’s Melbourne; research and development support indigenous, natural and historic heritage. The for a production at The Malthouse Theatre, also project that brought us together in 2012 was in Melbourne; and collaboration with the UQ ‘Rivers of Emotion’ which launched an innovative Art Museum on the upcoming ‘Five centuries of new web portal designed for Perth’s community to Melancholia’ exhibition scheduled to be held in share their experiences and feelings about Derbarl July 2015, to coincide with the 500th anniversary Yerrigan and Djarlgarro Beelier/ the Swan and of Albrecht Dürer’s print ‘Melancholia I’. Canning Rivers. (See p. 85) Further international collaborations have taken ‘Rivers of Emotion’ is a Your Community Heritage place in 2012 with The Museum of Ethnography Program grant funded through the Australian in Stockholm, Stirling Smith Art Gallery Government and draws on leading cultural and Museum in Scotland, The Royal Danish expertise from the partnership formed between Conservatory of Music, The Guildhall School CHE and the National Trust of Australia (WA). of Music and Drama, The Wallace Collection in Musica Viva is the largest chamber music London, The Sibelius Academy in Helsinki, The St entrepreneur in the world and prides itself in Petersburg Early Music Festival, and the following presenting the finest performers in classical, ensembles: Concerto Copenhagen, The Harp jazz, world, folk and a capella music in order Consort, and Il Corago. to bring the experience of live music to Australian audiences. Their promotion and touring of the German a cappella male voice ensemble, Amarcord, provided a forum for CHE to produce a series of pre-concert talks on singing and emotions in July and August 2012. An engaging eBook has also been produced entitled: Singing Emotions: Voices from History. (historyofemotions.org.au/publications-and- resources/general-publications-and-resources)

ARC Centre of Excellence History of Emotions Annual Report 2012 75 P Selected Academic Public Engagement

Bailey, Merridee Invited Public Lecture: ‘Early Dickey, Stephanie S. Modern Colonialisms, Objects and Pre-concert Public Lecture: ‘Love CHE Public Lecture: ‘The Gift Emotions in modern narrative- and Marriage in History: Devotion, of Tears: Gender and Emotion making contexts’, Amsterdam lust, despair and betrayal’, Musica in the Art of Rembrandt and his Centre for Cross-Disciplinary Viva: Armarcord concert, Llewellyn Contemporaries’, University of Emotion and Sensory Studies: Hall, School of Music, Canberra, Melbourne, 29 August 2012. VU University Amsterdam, The 24 July 2012. Netherlands, 19 June 2012. Downes, Stephanie Baltussen, Johannes (Han) Public Lecture (invited): Public Lecture: ‘Tough Love: Poetry ‘Interdisciplinary Methods in Public Lecture: ‘How to Console and Politics in England and France Practice’, Amsterdam Centre for Oneself and Others: Ancient during the Hundred Years War’, Cross-Disciplinary Emotion and and modern perspectives on University of Melbourne, 2 April 2012. Sensory Studies: VU University managing grief’, in support of Amsterdam, The Netherlands, 19 the ANU Classics Endowment Haskell, Yasmin June 2012. Fund, University House, Canberra, Presentation: ‘Passions for Australia, 24 August 2012. Charland, Louis Learning and of the Unreasonably youtu.be/yQqIpJuSCag Learned in the Eighteenth Century’ Public Lecture: ‘Resurrecting the Discovery Lecture: ‘The Case of to Friends of the Reid Library, Passions: Lessons from the History Cicero’s Self-Consolation: Grief, Reid Library, University of Western of Passion and Emotion’, University books, and writing therapy’ for the Australia, 10 July 2012. of Western Australia, 26 June 2012. friends of the Barr Smith University Public Lecture (invited): ‘Jesuit Library (Adelaide), Australia, Chipps Smith, Jeffrey Emotions: Child’s Play and Murder in 20 June 2012. Jacob Bidermann’s epic “Herodiados” Public Lecture: ‘1498-Albrecht (1622)’, CHE Seminar, University of Barclay, Katie Dürer and the Quest for Fame’, UQ Adelaide, 12 October 2012. Art Museum, 23 August 2012. Public Lecture: ‘My Songs Annoy Invited talk: ‘Imaginary Diseases: the Public’: Singing in the Irish CMEMS/PMRG Public Lecture: Then and Now’, Glyde-In Community Magistrate’s Court’, Amarcord Tour ‘Jesuit Confraternities in Germany Learning Centre, Perth, Western Pre-concert CHE talks, 19 July 2012. and the Art of Sensual Engagement’, Australia, 4 December 2012. University of Western Australia, 29 Bollinger, Marina August 2012. Hochner, Nicole Public Presentation: Prado Davidson, Jane W. Public Lecture: ‘All You Need Is Exhibition – Emotion, Heresy, Politics, Love? The Machiavellian answer’, Queensland Art Gallery, www. Pre-concert Public Lecture: ‘The Perth Medieval and Renaissance qagoma.qld.gov.au/exhibitions/ Power of Singing’, Musica Viva, Group (PMRG), University of Western past/2012/portrait_of_spain_ Perth Concert Hall, 17 July 2012. Australia, 31 July 2012. masterpieces_from_the_prado/ Public Lecture: ‘Moved by Music’, opening_weekend 20 July 2012. Public Lecture: ‘(E)Motions and Melbourne Recital Centre, Australia, Humours or Anxiety about Motion 25 September 2012. Broomhall, Susan in late 15th-C Political Thought’, University of Melbourne, 8 August Invited Public Presentation: D’Arcens, Louise 2012 and History of Emotions ‘Exemplifying Projects of Australian Public lecture: ‘Reception, Recovery, Seminar, University of Adelaide, Dutch Cooperation: The ZEST Recreation: The Singular Story 10 August 2012. Festival’, The Australian-Dutch of the Middle Ages in Australia’, Heritage Day organised by Presentation: ‘Are Men Free to Hate UWA CMEMS / Perth Medieval and the Australian Embassy in the or Free to Love? A Restatement of Renaissance Group conference, Netherlands, CIE – Centre for Machiavelli’s View on Emotions’, University of Western Australia, International Heritage Activities University of Sydney, 15 August 2012. 16 August 2012. and the Museum Volkenkunde, held at the Australian Ambassador’s Residence, The Hague, The Netherlands, 14 June 2012. Holbrook, Peter Kovesi, Catherine Public Lecture: ‘“Let All That Hear this be Afraid”: Singing about Lecture: ‘Poetry, Technology, and Public Lecture (invited): ‘Claws of executions in Early Modern Europe’, Emotion’, Bond University (audience Desire: Women, lust and sacred University of Western Australia School of high-school teachers and space in Early Modern Italy’, ARC of Music, Perth, 8 May 2012. students from Gold Coast, Singapore Centre for the History of Emotions and Hong Kong), 1 May 2012. Seminar Series, University of Performance and Discussion Panel: Adelaide, 1 June 2012. Performance of Execution Ballads Jaeger, C. Stephen and Discussion Panel, Bodies In Kuijpers , Erika Distress, Critical Animals Creative Public Lecture: ‘The Redemptive Research Symposium, The Lock-Up Power of the Face: Beatrice Public Lecture: ‘Traumatic Memory Cultural Centre, Newcastle NSW, 27- (Portinari) to Bérénice (Bejo)’, CHE in the Early Seventeenth Century 30 September 2012. Faces of Emotion Collaboratory, Netherlands: Anachronism or University of Melbourne, hidden reality?’, CMEMS/PMRG, Presentation and Public 6 December 2012. University of Western Australia, Reading: ‘Capons, Cuckolds and 28 August 2012. Concupiscence: Scandalous desire Kambaskovic-Sawers, Danijela at the Early Modern French Court’, Lederer, David followed by public reading of La Public Lecture: ‘Plato’s Loves and Mandragola by Machiavelli, Pleasure, Shakespeare’s Women’, CMEMS/ Public Lecture (invited): ‘Fear Desire and Greed in the Renaissance PMRG, University of Western During the Thirty Years War’, ARC Symposium, University of Melbourne, Australia, 24 July 2012. Centre for the History of Emotions 20 November 2012. Seminar Series, University of Kerr, Heather Adelaide, 3 August 2012. Maddern, Philippa Presentation (invited): ‘Prospero’s Public Lecture: ‘Murder/Suicide in Talk: ‘Managing Fear and Anger the Theatre of Sympathy’, for public the Media During the Little Ice Age’, Medieval Way’, University of the Third event ‘The Tempest in Words University of Sydney, 8 August 2012. Age, Perth, 5 March 2012. and Music’, Flinders University, 10 August 2012. Lynch, Andrew Outreach Lecture: ‘Anger and Love in the Middle Ages’, UWA Extension Public Lecture: ‘Guinevere and the Kirkham, Melissa Programme, University of Western Boys: Emotion and community in Australia, Claremont Campus, Perth, Workshop: ‘History of Emotions’, Chrétien de Troyes’, CMEMS/PMRG, 14 August 2012. University of the Third Age, State University of Western Australia, Library of WA, 9 August 2012. 15 May 2012. Invited Keynote Public Evening Lecture: ‘Where did Women Weep? Workshop: ‘History of Emotions’, McEwan, Joanne Female Emotion Public and Private, University of the Third Age, State in late-medieval England’, DFG Library of Western Australia, Public Lecture: ‘The Social Life Research Training Group Colloquium, 23 August 2012. of Crime in 18th-C London’ to ‘Dynamics of Space and Gender’, the WA Genealogical Society, University of Kassel, Germany, Knellwolf, Christa Bayswater, Western Australia, 22 October 2012. 25 November 2012. Public Lecture: ‘The Conflict Between the Representation of Maddox, Alan McIlvenna, Una Imperial Power and the Struggle Public Lecture (pre-concert talk) for Emotional Maturity and  Public Lecture: ‘True, Véritable, for CHE partnership with Musica Self-Realisation in The Tempest’, Vera, Warhafftige: Truth and fiction Viva: Amarcord tour, ‘The Rhetoric University of Western Australia, in the early modern execution of the Emotions: How music stirs the 4 April 2012. ballad’, ARC Centre for the History passions of the soul’, City Recital Hall, of Emotions Seminar Series, Angel Place, Sydney, 21 July 2012. Konstan, David University of Adelaide, 20 April 2012 and Early Modern Literatures and Public Lecture: ‘”A Vivid Imitation Public Lecture: ‘Beauty, Love, and Cultures Seminar, University of in the Theatre”: Andrea Perrucci’s Art: The legacy of Ancient Greece’ Sydney, 27 April 2012. treatise on the rhetoric of speech at University of Western Australia, and song (1699)’, School of Music, 21 August 2012. University of Western Australia, Perth.

ARC Centre of Excellence History of Emotions Annual Report 2012 77 Marshall, Louise Presentation: ‘The Eternal Sadness Walsham, Alexandra of Demons’, University of Texas at Public Lecture (invited): ‘God’s Public Lecture (invited): ‘History, Austin, September 2012 and New Executioners: Angels, Devils and Memory and the English York University, September 2012. the Plague’, History of Emotions Reformation’, History of Emotions Seminar, University of Adelaide, Podcast, Interview with Professor Seminar, University of Adelaide, 7 September 2012. Steve Friesen, Louise Farmer Boyer 24 August 2012. Chair in Biblical Studies, University Owens, Samantha of Texas at Austin, uploaded on Williams, Carol ‘Religion Report: Interviews in Pre-concert Talk: ‘”Singing, Medieval Music Performance Event: the Study of Religion’, recorded Believing, Learning”: A brief history Aesthetic Acord I – ‘Formal Acord’, September 2012: sites.la.utexas. of the St Thomas Boys’ Choir’ for Liddiard Gallery, Oakleigh, Victoria, edu/religionreport Musica Viva: Amarcord concert, 11 March 2012. Melbourne Recital Centre, Australia, Presentation: ‘Talking about Medieval Music Performance Event: 26 July 2012 and Musica Viva: Suicide: History, Art and the Media’, Aesthetic Acord II – ‘Contented Amarcord concert, Queensland Dax Centre, Melbourne, Inspired Acord’, Liddiard Gallery, Oakleigh, Conservatorium Theatre, Lives, 15 November 2012. Victoria, 20 May 2012. 1 August 2012. Scott, Alison Medieval Music Performance Event: Randles, Sarah Aesthetic Acord III – ‘Stylish Acord’, Public Lecture: ‘Emotional Liddiard Gallery, Oakleigh, Victoria, Public Lecture: ‘The Stuff of Significance of Luxury in Early 22 July 2012. Miracles: Religious Objects and Modern Satire’, ARC Centre for the Emotions in Medieval Chartres’, History of Emotions Seminar Series, Young, Spencer University of Melbourne, 6 University of Adelaide, 18 May 2012. August 2012. Public Lecture: ‘The Usurer’s Soyer, François Alms: Theologians, society and Public Lecture: ‘Material Magic: the emergence of the University The deliberate concealment Invited Public Lecture: of Paris’, Perth Medieval and of clothing and footwear in ‘A Centinela contra Judios y su Renaissance Group, University of buildings’, University of Melbourne, tiempo’, Catedra de Estudos Western Australia, 13 March 2012. 9 August 2012. Sefarditas of the University of Lisbon, 25 October 2012. Public Lecture: ‘Sins and Read, Richard Daughters: The capital vices, their Public Presentation: ‘The making offspring and social reform among Public Lecture: ‘Painting and of an Antisemitic bestseller in the the early Dominicans’, University of Technology: Samuel F. B. Morse Seventeenth Century’, University of Sydney, 19 September 2012. and the visual communication of Adelaide, 15 November 2012. intelligence’ at Samuel F. B. Morse’s Charles Zika ‘Gallery of the Louvre’ in Focus Spurr, Barry Symposium, National Gallery of Art, Talk to a community group: ‘Early Public lecture (pre-concert Washington, 21 April 2012. Printing, Emotions and Historical talk): ‘Representations of Love in Change in Europe’, Probus Club of 2 Hour Tour: ‘Subverting Figurative Romantic Poetry’, Musica Viva: Port Philip, 11 September 2012. Traditions of Painting’, 120 minute Amarcord tour, City Recital Hall, lecture to WA Psychiatrists Angel Place, Sydney, 31 July 2012. Public Lecture: ‘Witches and Association around MoMA Picasso the Scapegoating of Disaster’, to Warhol exhibition, Art Gallery of Trigg, Stephanie National Gallery of Victoria, Western Australia to group from 30 November 2012. Book Launch: ‘Shame and Honor: WA Association of Psychiatrists, A Vulgar History of the Order of the 1 December 2012. Garter’, Australian Heraldry Society, 8 June 2012 and University of Ruggiero, Guido Melbourne, 12 June 2012. Public Lecture: ‘Machiavelli the Pre-concert Talk - invited: ‘The Wimp: Making one’s emotions Aspirational Voice’, Musica Viva and self-presentation in the – Armarcord Concert, Melbourne Renaissance’, University of Recital Centre, Melbourne, Melbourne, 19 November 2012. Australia, 31 July 2012. Ruys, Juanita Feros Presentation: ‘Fire and the History of Emotions’, North Balwyn Uniting Stand Up Comedy Routine: Bright Church, Victoria, Australia, 30 Club, Sydney Festival, ‘Medieval September 2012. Sex Demons’, sydneyfestival.org. au/2012/All-Events/Bright-Club- No2, 18 January 2012. Selected Academic training and development

11 February 2012 Masterclass: ‘German Avant-Garde Art’ (with Medieval and Renaissance references) by Richard Read for ‘Art of the Weimar Republic’ exhibition, National Gallery of Victoria, Melbourne. 22 March 2012 Keynote (invited): ‘Performing Emotions: Methods and Meanings in Music Research’ by Jane Davidson, Finnish Musicological Society Annual Symposium for Music Scholars, University of Jyväskylä, Finland. 15 April 2012 Presentation: ‘Expressive Body Movement and Musical Communication in Piano Performance’, by Jane Davidson, WA Piano Pedagogy Convention, UWA School of Music, Perth. 20 April 2012 Master Class: ‘Violence and the Threshold of the Human’ by Prof Joanna Bourke (Professor of History, Birkbeck College, U.London, Fred Alexander Fellow 2012), in conjunction with the Institute of Advanced Studies (IAS), UWA, Perth. 26-27 April 2012 Lecture: ‘How to Teach Poetry’ by Peter Holbrook, Queensland Studies Authority Conference: Shaping Teaching and Learning: The Assessment Factor, Brisbane. 27 April 2012 Keynote Presentation: ‘Performing Emotions and Music Research’ by Jane Davidson, Telethon Institute for Child Health Research Postgraduate Study Retreat, Rottnest Island, Western Australia. 16 May 2012 Masterclass Presentation: ‘Research with Impact in the Humanities’, by Susan Broomhall, UWA, Perth. 27-28 June 2012 CHE Collaboratory on Methods and Concepts, including Postdoctoral Fellows Meeting, UWA, Perth. Sessions for Postdocs and ECRs dealing with intellectual property and public outreach. 4 July 2012 Conference Paper: ‘Thinking About Feelings: Engaging school students with the philosophy of emotions’ by Gabe Watts, Australasian Association of Philosophy Conference, University of Wollongong, NSW. 18 July 2012 Study Day: ‘Why Aquinas? Aquinas and the History of Emotions’, panel convened by Clare Monagle, with Spencer Young, Constant Mews, Juanita Ruys, Monash University, Victoria. 23 August 2012 Masterclass: ‘Animal Psychology and Human Nature: A historical perspective’ by David Konstan, UWA, Perth. 21 September 2012 Study Day: ‘Danse Macabre: Emotional responses to death and dying from Medieval to Contemporary Times’, The Australian Museum, Sydney, NSW. 24 October 2012 2 hour tour: to UWA postgraduates conducted by Richard Read at the Art Gallery of Western Australia, Perth. 5 December 2012 2 hour tour: to UWA postgraduates by Richard Read at the Art Gallery of Western Australia, Perth.

ARCARC CCententrre of ExExcceellenllenccee HistoryHistory of EmotionsEmotions AAnnunnualal RRepoeportrt 2012 79 spotlight

Danse Macabre A world-leading psychiatrist in the study of suicidal depression and an award-winning Australian author whose books wrestle with death and divinity were among the speakers assembled at the Australian Museum on 21 September 2012 for a study day on ‘Emotional Responses to Death and Dying from Medieval to Contemporary Times’. Professor Ian Hickie’s keynote on the contemporary landscape of suicide in Australia provided a comprehensive overview of current understandings of the interior motivations to suicide, and and responses of society to self- harm. Dr Peter Goldsworthy’s keynote on how doctor-authors throughout history had dealt with death from front-line and literary perspectives was admirably supplemented by a viewing of the recent film version of his disturbing short story ‘The Kiss’. The first session discussed the perennial social trauma of suicide, from medieval understandings of the nexus between physical and mental wellbeing, and the growing rhetorical complexity of early modern suicide notes, to the almost emotionless and deindividualized mass suicides enforced by contemporary religious cults such as Heaven’s Gate. Commemoration of the dead was the theme of the afternoon sessions, and two papers explored the grisly and comic genres—including ballads and mock elegies—that early modern European culture developed to make particular meaning out of the remembrance of the dead. The deceased themselves were the subjects of the last two papers of the day, with one speaker revealing the elaborate Victorian world of animal companion commemoration, replete with carved tombstones and commemorative poetry volumes, and another exploring award-winning artwork associated with the care and burial of the anonymous dead (many victims of drug crime) in modern-day Colombia. Death is something we all have to deal with emotionally; no wonder Danse Macabre attracted a sizeable, engaged, and strongly focused audience.

Michael Wolgemut, Danse Macabre, c. 1493. © Wikimedia Commons. E Education and Outreach

With a full Education and Outreach team assembled, 2012 proved to be a huge year for CHE’s exciting schools and community program.

New South Wales CHE co-hosted a well-attended public lecture at the University of Queensland Art Museum Gabriel Watts joined the Sydney node of CHE entitled ‘1498: Albrecht Dürer and the Quest in March 2012, focusing on developing public for Fame’ by CHE’s Distinguished International audiences for the Centre’s research. Gabriel Visitor Professor Jeffrey Chipps Smith (University worked in collaboration with the Social Inclusion of Austin), a leading German renaissance art Unit at the University of Sydney to deliver history scholar. 13 workshops to over 400 students. These workshops used historical resources to engage school students with questions such as: ‘how can South Australia we find emotions in history?’ and ‘do emotions Steven Barclay joined the Adelaide node of change over time?’ CHE in February 2012. Steven’s work focused From July to September a number of practising on establishing partnerships with local interest artists were invited to engage with historical groups and creating opportunities to present materials studied by CHE postdoctoral fellows, to schools. Steven developed sample activities, Dr Una McIlvenna and Dr Rebecca McNamara. lesson plans and subject outlines which integrate This collaboration, titled ‘Bodies in Distress’ with the new Australian Curriculum in History. resulted in an exhibition, public performance Steven also visited 5 schools as part of a Barossa and discussion panel — each directly linking tour, delivering 9 workshops to around 300 pupils. non-academic audiences to CHE research In collaboration with Adelaide Compass, Steven (see p. 86). Additionally, the processes behind presented ‘Emotions and Music’ workshops to this collaboration were filmed, and a short 120 Year 3/4 students at Mark Oliphant College. video is available on the CHE vimeo account. The workshops were followed by a campus visit (vimeo.com/user16393044) in which pupils were able to film footage to match their piece of music. This was part of a bigger Queensland event in which pupils created a film or animation over a period of weeks, which premiered at the Penny Boys joined the Queensland node of CHE University of Adelaide cinema. in August 2012. Penny focused on establishing connections with organisations such as the University of Queensland Art Museum, Victoria Queensland Studies Authority and the English Penelope Lee joined the Melbourne node of Teachers Association of Queensland, as well as CHE in August 2012. Penelope’s focus has been developing a network of schools and teachers. to promote an awareness and understanding Penny has also been populating the web of the node’s research to the wider community, pages and developing a working calendar and students, professionals and scholars. Over the organisational resources for the node. last 4 months, Penelope has established relations In October, 20 secondary school English teachers within the university, as well as with diverse attended ‘Shakespeare in his own time’, a cultural institutions and educational associations. professional development session presented This has included planning future opportunities by visiting Professor Tom Bishop (University of to contribute to public programs and professional Auckland) and CHE postdoctoral fellow Dr Ross development for educators and teachers. Knecht. Teachers learned about Shakespeare’s Penelope has also been working closely with schooling and the kinds of contemporary theatre Research Administrator Jessica Scott, conducting that would have influenced his literary output. A and filming interviews with local, national and recording of this session will be available on the international visitors to Melbourne. These will CHE vimeo account. (vimeo.com/user16393044) form part of a library of research showcasing activities affiliated with the Melbourne node.

ARC Centre of Excellence History of Emotions Annual Report 2012 81 Discussions have commenced with the University of Melbourne’s Masters of Teaching program, exploring ways in which CHE can contribute to both resource development and student teaching. One initiative has been filming the public programs and interviewing the curators of ‘The Four Horsemen: Apocalypse, Death and Disaster’ exhibition. A collaboration with the National Gallery Victoria, it is intended that the footage will form part of an educational resource to complement the National History Curriculum’s Historical Knowledge and Understanding—Medieval Europe, a key learning area.

Western Australia The History of Emotions workshops introduced in 2011 continued to grow, with Melissa Kirkham, the EOO with CHE at the University of Western Australia, sharing CHE research with over 1500 students at Western Australian Secondary Schools The involvement of Kalbarri District in 2012. These workshops were well received with 100% of High School in the Zest Fest is an teacher feedback forms requesting a return visit in 2013, and exciting journey of discovery and all but one recording positive responses for interaction, pace, learning. Students have been able knowledge and discipline. In partnership with Aspire UWA, CHE to feel some emotion for those who delivered workshops, teacher professional learning seminars were shipwrecked and make links and community evenings in several Pilbara mining towns in between the harshness of the local September and October. community of 300 years ago and the community they live in today. More than 200 teachers benefited from 6 teacher professional Carol Goodwin, learning opportunities in 2012. This included a two-day Kalbarri District School Principal ‘Teaching Shakespeare’ workshop at the Shakespeare and Emotions conference in November. CHE Director Winthrop Professor Philippa Maddern presented a keynote address at the History Teachers of Australia Association (HTAA) 2012 Conference, followed by a practical workshop by Education and Outreach Officer Melissa Kirkham. A new collaboration was developed between CHE and This was excellent! The National Trust of Australia (WA) in 2012. The website, riversofemotion.org.au, was launched in October to capture Well presented with emotional responses to the Swan and Canning Rivers, as both good interaction a research source and interpretation input. A partnership with your students. between the education officers of the respective organisations Thank you. has also generated a new primary school workshop. Teacher response A significant outreach highlight for 2012 was the Zest Festival, celebrating the 300th anniversary of the Zuytdorp shipwreck to Art and Emotions and the connection between The Netherlands and Western Workshop Australia. CHE supported this unique event with curation of an art exhibition, music and theatre workshops, guest lecturer, and assisting the educational activities at the Kalbarri District School. Students aged from 4 to 17 studied Dutch culture, language, artworks, history, the VOC and the Zuytdorp shipwreck resulting in a diverse range of projects. Following the festival, selected students’ projects were displayed in The Hague for the Australian Dutch Heritage Day. Also in 2012, Melissa Kirkham presented History of Emotions workshops for seniors with the University of the Third Age, and portraiture workshops for the ‘Beyond Likeness’ exhibition at the Lawrence Wilson Art Gallery. Brilliant, thought- provoking, enjoyable, engaging, relevant – an explanation in plain English of the new paradigm of history. Teacher response to keynote, HTAA Conference

You are doing a lot of wonderful work at your centre. Keep it up! I feel a whole new world Thank you for sharing as you have added a new has opened up to make the perspective to understanding teacher/learning process my country’s history. meaningful and enjoyable. John Chng, Ngee Ann Polytechnic Teacher response to Shakespeare and Emotions, Teacher Professional Learning

Exceptional, practical, hands-on. Engages students and gives us a new way of looking at I HATE history! It’s our stuff. so boring! … but that Teacher response history activity we did to workshop, today was cool, it was HTAA Conference really interesting! Student response to History of Emotions Workshop

ARC Centre of Excellence History of Emotions Annual Report 2012 83 spotlight

Ben Jonson’s ‘Epicene’ Professor Peter Reynolds (CHE PI) of Newcastle University, UK, directed a production of Ben Jonson’s 1609/10 play Epicene or The Silent Woman for the Australian and New Zealand Shakespeare Association (ANZSA) conference at UWA in November 2012. The play was originally written for performance by children or young adults (all boys of course) and has rarely been revived and, as far as is known, this was the first performance of the play in Australia that used a cast of school students. The actors aged between 10-17 years came from three local schools — Applecross Senior High School, Lance Holt School, and Ashdale Secondary College. A Jonsonian purist might have been offended by the heavy cutting of the text, and, in performance, by the occasional lapses of the actors when forgetting lines, re-shaping the syntax, or the deliberate addition of references to contemporary Australian culture, but the effect of all this on the audience, judged by the frequent laughter; and long and loud applause at the end, was entirely positive. They appeared to admire the quick-witted ability of the actors to think on their feet and improvise when someone forgot their line, or missed a cue, and perhaps felt relief that what they had witnessed was engaging rather than embarrassing. It was a pleasure to witness the boys breathing new life into this old play, and to hear and see Jonson’s brilliant quick-fire wit in action once again. spotlight

Rivers of Emotion

In partnership with the National Trust of Australia (WA), the innovative new web portal riversofemotion.org.au was launched on Wednesday 24 October 2012, for WA communities to share their experiences and feelings about Derbarl Yerrigan and Djarlgarro Beelier, respectively the Swan and Canning Rivers. The project explores the emotional histories of the Rivers and allows the community to upload memories, stories, soundscapes, landscapes, and visual responses, with an aim to develop content for heritage interpretation. At the launch event, a large number of community leaders and members from diverse backgrounds told their stories and looked at the river in terms of wellbeing, sustainability and power. The Rivers hold deep emotional significance for people from the past and present who have drawn upon them as functional, pleasurable and spiritual resources. Susan Broomhall, co-manager of the project and CHE CI, explained: “The Swan and Canning Rivers are a defining cultural focus of Perth’s communities (Aboriginal and non-Aboriginal) and this project provides an easy-to-use framework for the community to express its often very personal, very deep connections to our internationally recognised riverscape and its long history”. Shane Pickett, Waagle—Rainbow Serpent, 1983. © State Art Collection, Art Gallery of Western Australia. For more information about the Rivers of Emotion project see: historyofemotions.org.au/ publications-and-resources/recent-publications/ rivers-of-emotion Rivers of Emotion is a ‘Your Community Heritage’ Program grant funded through the Australian Government.

ARC Centre of Excellence History of Emotions Annual Report 2012 85 spotlight

Mimi Kelly performing in Bodies of Distress © Cassie Charlton

Bodies in Distress centuries. Through the delicate the role of ballads in enforcing the creation of mood, Felonia de se moral and emotional lessons of early Inter-disciplinary and multifaceted, draws listeners into the uncertain modern execution. the ‘Bodies in Distress’ initiative emotional territory of violence Following this performance, a took CHE research on harrowing against the self. emotional occasions to a public panel discussed the role of art and audience. Post-doctoral researchers Mimi Kelly’s video work ‘Hang’ academia in exploring macabre Dr Una McIlvenna and Dr Rebecca was developed in response to Una topics and sensitive emotional McNamara collaborated with artists McIlvenna’s research into song issues. Project participants shared Mimi Kelly and Carolyn McKay, and and first-person narrative in early insights into the professional and vocalist Grace Turner to present a modern execution practices. In personal challenges of maintaining a series of free public events,  ‘Hang’, the artist places herself in the sustained focus on domains that can 27th-30th September 2012 at The role of execution victim. By effecting be emotionally volatile or draining. a personal response to execution, Lock Up Cultural Centre, Newcastle. The ‘Bodies in Distress’ project ‘Hang’ evokes the distinctly received an enthusiastic audience Carolyn McKay and Mimi Kelly emotional and moralizing nature of response. The exhibition attracted exhibited new works produced historical execution practices. in response to the CHE research over 250 visitors, while the projects of Dr McIlvenna and Dr Saturday afternoon saw a performance of execution ballads McNamara. Carolyn McKay’s performance of seventeenth-century was at capacity with 40 attendees soundscape Felonia de se engaged execution ballads by Grace Turner. and the discussion panel was with Rebecca McNamara’s work Grace’s haunting performance standing room only at 70 attendees! recovering legal records of suicide was interspersed with annotations from the thirteenth-fifteenth from Dr McIlvenna, demonstrating M Media releases

Shame and Honor: A Vulgar History of the Order of the Garter

A new book by Stephanie Trigg explores the sympathetic and antagonistic views of the Garter vulgar secrets behind the British Monarchy’s in its almost 700 years of existence.” highest honour. Trigg’s book was launched in Sydney by Professor The Most Noble Order of the Garter is the highest Paul Giles at the Sydney Mechanics School of Arts honour in the gift of the Queen. On Garter Day on Friday, June 8, 2012. The event was organised (June 18), members of this select group will by The Australian Heraldry Society. put on their elaborate long robes, hats, ribbons and gold chains and take part in the annual The Melbourne launch took place on Tuesday, procession at Windsor Castle. June 12 in the Baillieu Library at the University of Melbourne. Mr Brien Hallett, Usher of the Black This new book by Stephanie Trigg, Professor of Rod, Australian Senate, launched the book. English Literature at the University of Melbourne and Chief Investigator at the ARC Centre of Shame and Honor: A Vulgar History of the Order Excellence for the History of Emotions, explores of the Garter is published by the University of the myths and traditions of the Order, which was Pennsylvania Press, and the research was founded by Edward III in 1348. supported by funding from the Australian Research Council. “The ‘official’ version of its origins says he wanted to reward his best knights. But a popular myth persists: that the king gallantly picked up the dropped garter of his mistress and declared to the laughing courtiers that he would found a chivalric order in honour of the occasion,” Professor Trigg said. The Order would become so great that all who were laughing would want to join. The Order’s motto is Honi Soit Qui Mal Y Pense: ‘shamed be he who thinks evil of this.’

This popular story celebrates the pleasure of things going wrong, and the monarchy’s capacity to make symbolic meaning out of trivial or embarrassing events.

This popular story celebrates the pleasure of things going wrong, and the monarchy’s capacity to make symbolic meaning out of trivial or embarrassing events. The Order has been the object of satire and fun since its inception, while its rituals have at times fallen into severe decay. The book charts the different associations of courtly honour, and the shame, or disgrace of ‘degradation’ from the Order. “Most previous histories of the Order have been celebratory, written by insiders or admirers,” Professor Trigg explained earlier this week. “This book is a cultural history, and draws on both

ARC Centre of Excellence History of Emotions Annual Report 2012 87 M Media releases

Weeping for Easter?

Easter is synonymous with passions, though not Much more commonly associated with Easter always the ones we’re familiar with. In the past, (or, to be precise, Good Friday) in the medieval images of the Passion—the suffering of Christ tradition are representations of the dying or dead came to mind. These days the image of Easter we Christ on the Cross, of His friends and mourners conjure up might be quite different. taking His dead body down from the Cross and laying it in the tomb, and of Mary weeping over the In today’s secular Australia the icons associated dead body. And here we find intense emotion—not with Easter include anything from grinning joy, happiness or pleasure of any kind, but terrible, buck-toothed bunnies, bilbies, and fluffy chickens heart-wrenching grief on a universal scale. to more and more deliciously tempting images of pure reprehensible pleasure—chocolate, “It’s there from very early on; just three months chocolate and more chocolate. Chocolate in the ago, in the Berlin Bode Museum I stood in front shape of eggs, hens, and carrots. Chocolate chips of a small ivory tablet from the Rhineland, made in hot cross buns. Easter in our public images before the year 1100; Christ hangs on the cross, has become the feast of instant, and infinitely eyes closed in death, Mary and John stand on repeated, physical gratification. each side, calm-faced but with hands upraised in stock gestures of grief and worship, two angels at The ARC Centre of Excellence for the History of the top hide their weeping eyes with their robes. Emotions is investigating how societies, think, feel And the images become more intensely emotional and function by examining the history of European as time goes on. The mourners in thirteenth and development between 1100-1800 and comparing fourteenth century crucifixion paintings look sad, it with present day Australia. but it’s hard to find one actually represented as So surely one would expect the Centre’s research shedding tears,” Maddern said. to show that medieval Christians thought of Easter as a time of joy and celebration of Christ’s rising from the dead? It’s rare to find a medieval “The odd thing is, it’s rare to find a medieval image showing unrestrained joy among the image showing unrestrained onlookers at Christ’s resurrection. Even vibrant joy among the onlookers at pieces like Grunewald’s Isenheim Altarpiece resurrection, or moving ones like Fra Angelico’s Christ’s resurrection. ‘Noli Me Tangere’ don’t portray the participants overcome with gladness,” Professor Philippa She says that new research shows it is only from Maddern, Director of the ARC Centre of the first half of the fifteenth century onward, Excellence for the History of Emotions says. that painters—especially in the Netherlands and surrounding areas—commonly began to portray ‘In Grunewald’s piece, Christ launches himself both angels and mourners weeping actual tears. from the broken tomb in a blaze of glory like rocket; his face, if anything, expresses calm “At first it’s relatively restrained. In the Seilern mastery over death, the poses of the watching triptych of 1415, possibly by Robert Campin, an soldiers complete mental and physical attendant angel lifts his hand to wipe away a astonishment and turmoil,’ Maddern remarks. tear or two.” ‘In Fra Angelico’s masterpiece, Mary Magdalen, As the century went on, more and more tears meeting the risen Christ in the garden, kneels and appear on the faces of human, as well as angelic, reaches out to Him; but His hand gesture warns mourners. The National Gallery of Victoria’s her to keep her distance. On His face is perhaps Hans Memling painting of the crucified Christ in an expression of grave, kindly warning; on hers a the arms of the Virgin (1474-1479) shows Mary restrained, though intense, awe and love. calm-faced, but with tears covering her cheeks, mirroring the trickles of blood that run down ‘From at least 1250 onwards the women meeting Christ’s forehead from his crown of thorns. the angel at the empty tomb display surprise, wonder, even perhaps amazement—but they’re “The late-fifteenth-century Flemish painter Dieric not breaking out into a celebration, of chocolate or Bouts and his workshop apparently became anything else,’ she said. famous (and successful!) for their increasing tear- drenched images; their ‘Sorrowing Virgin’ (1480- no yearning for the melting delight of chocolate Nerius, Initial A 1500) has tears welling uncontrollably out of eyes in the mouth, but an intensification of emotions with Scenes of red with weeping. By the seventeenth century, the and concentration on the seriousness of Easter Easter, ca. 1320. Spanish sculptress Luisa Roldan had converted to medieval Christians—real death, terrible grief, © Metropolitan Museum of Art. the image to sculpture, planting crystal tears on leading ultimately not to unrestrained joyful the faces of her mourning Marys,” Maddern said. celebrations but to amazement and awe that new life could, apparently, come from such grief. It seems that images of Easter remain powerful to this day—even if the outcome is nothing more than a shopping frenzy. Though they were no less powerful in the middle ages, what they perhaps produced was very different. There was

ARC Centre of Excellence History of Emotions Annual Report 2012 89 M In the Media

The Conversation H. Baltussen, 28 September 2012 , ‘Coping with bereavement and grief: lessons from history’ theconversation.edu.au/coping-with-bereavement-and-grief-lessons-from-history-9088 R. F. McNamara, 9 November 2012, ‘History of suicide is worthwhile, whatever the Coalition says’ theconversation.edu.au/history-of-suicide-is-worthwhile-whatever-the-coalition-says-10635 Y. Haskell, 12 November 2012, , ‘Hypochondriac disease – in the mind, the guts, or the soul?’ theconversation.edu.au/hypochondriac-disease-in-the-mind-the-guts-or-the-soul-10176

YouTube YouTube Research/Educational Videos: ARC History of Emotions Channel A. Lawrence-King, 7 May 2012: Play of Daniel youtube.com/user/historyofemotions [Ludus Danielis], Copenhagen, Denmark, Andrew Lawrence-King (Musical Director),

Ensemble Ars Nova, Denmark & The Harp Facebook Consort, Research/Educational Video: youtube.com/watch?v=DfCCUX9fOXA facebook.com/ThinkEmotions A. Lawrence-King, 8 May 2012: Monteverdi’s Orfeo, Royal Danish Academy of Music, Copenhagen, Denmark, Research/Educational Twitter Video, Andrew Lawrence-King (Director) youtube.com/watch?v=efAAEZ4jf6o twitter.com/ThinkEmotions A. Lawrence-King, 17 March 2012: Peri’s Euridice, Guildhall School of Music & Drama, London, UK, Andrew Lawrence-King VIMEO (Director), Research/Educational Video:  youtu.be/kgJ4SoTreHw History of Emotions vimeo.com/user16393044 Opera Videos: A. Lawrence-King, 7 May 2012: Scenes from Purcell’s Dido and Aeneas, Dido’s Flickr Lament; Witches, Il Corago & Concerto Copenhagen, Directed by Andrew Lawrence- History of Emotions’ photostream King (stage and music), Il Corago & Concerto flickr.com/photos/89150570@N02 Copenhagen Opera videos: Dido’s Lament:  youtube.com/watch?v=A0-lzui3n5I Witche: youtube.com/watch?v=F8OgJRRDMBE Blogs Performance Videos: 21 December 2012: ongoing, Histories of Emotion A. Lawrence-King, 4 October 2012: – From Medieval Europe to Contemporary Monteverdi’s Tempro la cetra, St Petersburg Australia Blog historiesofemotion.com Festival Sep 2012, Russia, Andrew Lawrence- King & Marco Beasley, Performance videos:  16 October: Skype interview with S. Trigg by Bruce youtube.com/watch?v=uC39sIm_H_k Holsinger, Burnable Books blog  burnablebooks.com/burning-questions-3- Other stephanie-trigg-on-medievalism-the-order-of- S. Trigg, 12 July 2012, Booklaunch: Shame the-garter-and-vulgar-history and Honor: A Vulgar History of the Order of the Garter, youtube.com/watch?v=Oh5MApCdxuc Radio and Print Media 25 August 2012: The Saturday Age, ‘Life & Style’, Article ‘”Visions from the Valley of Death”, 18 March 2012: ABC Radio National ‘Weekend by Andrew Stephens, re The Four Horsemen Arts’ , Interview with P. Holbrook, ‘Why Hamlet is Exhibition—based on interview with C. Zika,  not purely about the private agonies of a man, but pp. 22-23. has a whole political context and offers a critique of tyranny that is often missed now’, 26 August 2012: ABC Radio National ‘The Spirit abc.net.au/radionational/programs/weekendarts/ of Things’, Interview of C. Zika by Rachel Kohn: peter-holbrook/3894162 ‘Apocalypse Now’, (C. Zika)  abc.net.au/radionational/programs/ 20 April 2012: ABC Radio National ‘Life Matters’, spiritofthings/apocalypse-now/4200832 Interview with B. Spurr on research into the Poetry of Solitude, 14 September 2012: The Times Literary abc.net.au/radionational/programs/lifematters/ Supplement, Review of Richard Strier, The solitude-segment/3960418 Unrepentant Renaissance, by P. Holbrook. p. 9 27 April 2012: The Times Literary Supplement, 22 September: ABC Radio National ‘Encounter’ – Review of Julia Reinhard Lupton, Thinking with interview with P. Maddern, Y. Haskell, S. Trigg, P. Shakespeare by P. Holbrook. Holbrook, ‘Fire, the Innocents and other Stories: History of Emotions, Europe 1100–1800’,  30 May 2012: SBS Radio, interview with the Dutch abc.net.au/radionational/programs/encounter/ Ambassador, Willem Andreae (in Dutch) about fire2c-the-innocents-and-other-stories/4265660 “ZEST FESTIVAL, Kalbarri” by Anneke Boudewijn. 8 October 2012: The Voice, Article on NGV June 2012: Radio 6PR (Perth), interview with Exhibition ‘The Four Horsemen’ and Symposium Yasmin Haskell by Graham Mabury, on ‘Diseases ‘Death, Disaster and Emotions in the Shadow of of the Imagination’. the Apocalypse’, by Gabrielle Murphy, based on June 2012: The West Australian Regional interview with C. Zika, p. 7. Newspaper group, ‘ Zuytdorp 1712-2012 27 October 2012: The Australian, Review: ‘Paradise Commemorative Newspaper booklet’, article, lost as the National Gallery of Victoria reveals ‘Loss and despair, hope and friendship’, apocalypse, death and disaster’, by Christopher by S. Broomhall. Allen, theaustralian.com.au/arts/review/ 1 June 2012: 6PR Perth, Interview with R. Millar, paradise-lost/story-fn9n8gph-1226502572039 ‘Zest Festival’. 7 November 2012: The Australian newspaper, 2 June 2012: ABC Regional Radio, Interview with Opinion piece by Y.Haskell - ‘We must look to an R. Millar, ‘Zest Festival’. ancient tongue to understand Asia’, theaustralian. com.au/higher-education/opinion/we-must-look- 14 June 2012: Newsweek, Commentary on the to-an-ancient-tongue-to-understand-asia/story- S.Trigg’s Order of the Garter, by Tom Sykes, e6frgcko-1226511704074 thedailybeast.com/articles/2012/06/14/disorder- of-the-garter.html 8 November 2012: The Australian ‘The Nation’ (on- line and in print), Interview with P.Maddern ‘ Link 20 July 2012: The Age, Interview with S. Trigg by  grants to innovations: Libs’, theaustralian.com.au/ Deb Anderson about The Order of the Garter, news/health-science/link-grants-to-innovation- theage.com.au/national/education/is-the- libs/story-e6frg8y6-1226512584951, p.7. order-of-the-garter-lunacy-pageantry-or-both- 20120618-20ju2.html 14 November 2012: The Age, Review, ‘Death holds its charms through time’, by Robert Nelson, re: August 2012: ABC Regional Radio, Interview with The Four Horsemen Exhibition (C. Zika), p.17. R. Millar, ‘Still Life Our Life Exhibition’. 17 & 19 November 2012: ABC Radio National ‘The 15 August 2012: ABC Local Radio Perth Science Show’, Interview with Y.Haskell by Robyn ‘Afternoons’, interview with Y.Haskell by Williams - ‘Science and humanities are not such Gillian O’Shaughnessy. strange bedfellows’,  17 August 2012: ABC Digital Radio, interview with abc.net.au/radionational/programs/scienceshow/ Y. Haskell by Glynn Greensmith. the-humanities-and-science3b-a-shared- approach/4376574 18 August 2012: ABC Radio National ‘Encounter’, interview with P. Maddern, Y. Haskell, S. Trigg, P. 15 December 2012: ABC Radio National ‘Into the Holbrook, ‘What, Can’t I Stand Here? History of Music’, Hour-long documentary-style program: ‘A Emotions, Europe 1100 to 1800’,  Woeful Sinner’s Fall: Ballads of Execution’ with U. abc.net.au/radionational/programs/encounter/ McIlvenna,  what2c-can27t-i-stand-here3f/4202460 abc.net.au/radionational/programs/intothemusic/ a-woeful-sinner27s-fall/4415196 24 August 2012: ABC Local Radio Canberra ‘Afternoons’, interview with H. Baltussen by Genevieve Jacobs. 24 August 2012: ABC Radio ‘Arts Saturday’, interview with J. Chipps Smith by Sarah Kanowski.

ARC Centre of Excellence History of Emotions Annual Report 2012 91 E Selected Centre Events

Title: ‘The Authenticity of Emotions: Conferences Sceptical and Sympathetic Title: ‘Disaster, Death and the Title: ‘Shakespeare and Emotions’ Sociability in the Eighteenth-Century Emotions in the Shadow of – The 11th Biennial International British Public Sphere’ the Apocalypse’ Conference of the Australian Date: 18-19 September 2012 Date: 1–2 November 2012 and New Zealand Shakespeare Venue: The University of Adelaide Venue: The University of Melbourne Association (ANZSA) in Collaboration Convened by: David Lemmings, Convened by: Charles Zika, with the ARC Centre of Excellence Heather Kerr, Robert Phiddian Jenny Spinks for the History of Emotions Participants: 32 Participants: 68 Date: 28-29 November 2012 Venue: The University of Title: ‘Depicting Emotions Study Days/Workshops/ Western Australia in Early Modern Drama: Research Meetings Convened by: Bob White The Practitioner/Scholar Nexus’  Title: ‘Sensibility in the Early Participants: 130 (in conjunction with ANZSA Modern Era’ Workshop Conference) Date: 28-29 August 2012 Collaboratories Date: 27-29 November 2012 Venue: University of Sydney. Title: ‘Emotions and Empire’ Venue: The University of Convened by: Stephen Gaukroger Date: 16 March 2012 Western Australia Participants: 30 Venue: The University of Melbourne Convened by: Jane Davidson, Convened by: Stephanie Trigg, Participants: 50 Title: ‘Why Aquinas? Aquinas and Peter Holbrook the History of Emotions’ Study Day Participants: 26 Title: ‘Faces of Emotions: Medieval Date: 18 July 2012 to Postmodern’ Venue: Monash University Title: ‘Methods and Concepts’ Date: 5-7 December 2012 Convened by: Clare Monagle Closed Centre-wide collaboratory Venue: The University of Melbourne Participants: 9 Date: 27-28 June 2012 Convened by: Stephanie Trigg, Venue: The University of Stephanie Downes Title: ‘Danse Macabre: Emotional Western Australia Participants: 78 Responses to Death and Dying from Convened by: Philippa Maddern, Medieval to Contemporary Times’ Susan Broomhall Symposia Study Day Participants: 35 Title: ‘Medievalist Laughter: Date: 21 September 2012 Emotion and transformation’ Venue: The Australian Museum Title: ‘Languages of Emotion: Date: 25-26 September 2012 Convened by: Juanita Feros Ruys Concepts, Codes, Communities’ Venue: The University of Wollongong Participants: 50 Date: 24-25 August Convened by: Louise D’Arcens Venue: The University of Participants: 15 Title: CHE 2012 Biennial Western Australia Research Meeting Convened by: Yasmin Haskell, Title: ‘Rivers of Emotion’ Date: 1–2 November 2012 Philippa Maddern Date: 24 October 2012 Venue: Stamford Grand Participants: 30 Venue: The University of Hotel, Adelaide Western Australia Convened by: Philippa Maddern, Convened by: Susan Broomhall Jane Davidson Participants: 80 Participants: 65 Public Exhibitions/ Festivals Title: ‘Still Life/Our Life: Emotions Title: ‘Pleasure, Desire and Greed Title: ‘The Zest Festival’ Across Time, Art and Place’ in the Renaissance’ Seminars, Description: Festival created by The Description: Contemporary artistic Workshops, Discussion and a Play Kalbarri Development Association responses to the ideas and emotions Date: 19-20 November 2012 with the Shire of Northampton in encapsulated in a series of Dutch Venue: The University of Melbourne response to the 300th anniversary Masters still life paintings and/or Convened by: Catherine Kovesi of the Zuytdorp shipwreck off 17th Century Dutch objects found Participants: 45 Kalbarri’s coast. from WA shipwrecks Date: 2-3 June 2012 Date: June-August 2012 Masterclasses Venue: Kalbarri, Western Australia Venue: Allen Centre, Kalbarri , Title: ‘German Avant-Garde Art’ Organisers: Susan Broomhall, WA(June); ACDC Gallery, Geraldton, (with Medieval and Renaissance Rebecca Millar/ Kalbarri WA (August) references) for ‘Art of the Weimar Development Authority, Shire of Curated by: R.Millar (Kalbarri Republic’ exhibition Northampton. Development Authority), S. Date: 11 February 2012. Broomhall , C. Belcher (WA Museum Venue: National Gallery of Victoria, Title: “The Four Horsemen: Death, Geraldton). Works by Local and Melbourne Apocalypse & Disaster in Pre- regional visual artists. Presenter: R. Read. Modern Europe” Exhibition Description: Exhibition of primarily Title: ‘Bodies in Distress’ Title: ‘Violence and the Threshold of prints, drawings and illustrated Description: Collaborative the Human’ rare books, but also a painting and research project between artists Date: 20 April 2012 illustrated manuscripts (120 items) and postdoctoral researchers with Venue: The University of Western from the collections of the NGV, the CHE exploring the notion of Australia the State Library of Victoria and ‘moralized bodies’ from medieval Presenter: Prof Joanna Bourke the Baillieu Library, University of to contemporary times, including Melbourne. an art exhibition combining Title: ‘Research with Impact in the Date: 31 August 2012 to 28 January audio recordings of medieval Humanities’ 2013 suicide cases, live singing of early Date: 16 May 2012 Venue: National Gallery of Victoria, modern execution ballads, and art Venue: The University of Western Melbourne. installation, and a live discussion Australia Curators: Cathy Leahy & Petra panel and audience Q&A (part of the Presenter: Susan Broomhall Kayser (NGV), Jenny Spinks Critical Animals Creative Research & Charles Zika (University of Symposium, of the This Is Not Art Title: ‘Animal Psychology and Melbourne). festival 2012). Human Nature: A Historical Date: 27-29 September 2012 Perspective’ Venue: The Lock-Up Cultural Date: 23 August 2012 Centre, Newcastle NSW. Venue: The University of Western Convened by: Gabe Watts, with Una Australia McIlvenna, Rebecca McNamara, Presenter: David Konstan Mimi Kelly, Carolyn McKay, Cassie Charlton. (Univeristy of Sydney) Participants: approx. 250 people.

ARC Centre of Excellence History of Emotions Annual Report 2012 93 P Selected Publications

BOOKS C. Zika, C. Leahy & J. Spinks (Eds), Culture’, in Medieval Afterlives in The Four Horsemen: Apocalypse, Popular Culture, (Eds) G. Ashton Published Death & Disaster, [Melbourne: and D.T. Kline, [New York: Palgrave M.L. Bailey, Socialising the Child in National Gallery of Victoria, 2012], Macmillan, 2012]. Late Medieval England, c. 1400-1600, ISBN 978-0-72410-357-7. J.W. Davidson, ‘The role of [Woodbridge Suffolk; York Medieval S. Knight (Ed.), Robin Hood in bodily movement in learning and Press, Boydell and Brewer, 2012], Greenwood Stood: Alterity and Context performing music: Applications for ISBN 978-1-903153-42-0 in the English Outlaw Tradition, education’, in Oxford Handbook of A. Brooks, R. Simpson, Emotions [Turnhout: Brepols, 2012],  Music Education, (Eds) G. Welch & in Transmigration: Transformation, ISBN 978-2-503-54054-2. G.E. McPherson, [Oxford: Oxford Movement and Identity, [Basingstoke: University Press, 2012], pp. 769-784. S. Broomhall & G. Pickering (Eds), Palgrave-Macmillan 2012]  Rivers of Emotion. An emotional J.W. Davidson, ‘Demonstrating ISBN 978-0-230280-56-4. history of Derbarl Yerrigan and musical knowledge’, in Sound G.E. McPherson, J.W. Davidson, Djarlgarro Beelier/the Swan and Musicianship: Understanding the Crafts R. Faulkner, Music in Our Lives Canning Rivers, [Crawley: Uniprint, of Music, (Ed.) A. Brown, [Newcastle- —Rethinking Musical Ability, 2012], ISBN 978-1-74052-260-1. upon-Tyne: Cambridge Scholars Development and Identity, [Oxford: Publishing, 2012], pp.150-159. H. Baltussen (Ed.), Greek and Roman Oxford University Press, 2012],  Consolations. Eight Studies of a J.W. Davidson & A. Emberly, ISBN 978-0-19-957929-7. Tradition and its Afterlife, [Swansea: ‘Singing, dancing and embodied F. Soyer, Ambiguous Gender in Classical Press of Wales, 2012], communication: Research Early Modern Spain and Portugal: ISBN 978-1905125562 . perspectives’ in Music, Health and Inquisitors, Doctors and the Wellbeing, (Eds) R. MacDonald, D. Lemmings (Ed.), Crime, Transgression of Gender Norms, L. Michell and G. Kreutz, [Oxford: courtrooms and the public sphere [Leiden: Brill, 2012],  Oxford University Press, 2012 ], in Britain, 1700-1850, [Farnham: ISBN 978-9004225299. pp136-152. Ashgate, 2012]  S. Trigg, Shame and Honor: A ISBN 978-1-4094-1803-0. R. Sataloff & J.W. Davidson, ‘The Vulgar History of the Order of the older singer’ in Oxford Handbook Garter, [Philadelphia: University of BOOK CHAPTERS of Music Education, (Eds) G. Welch Pennsylvania Press, 2012],  & G.E. McPherson, [Oxford: Oxford Published ISBN 978-0-8122-4391-8 University Press, 2012], pp. 610-625. H. Baltussen, ‘Cicero’s Consolatio ad R.S. White, Shakespeare’s Cinema Y. Haskell, (Introduction) ‘When se: Character, Purpose and Impact of Crime: Macbeth, Hamlet, and Film is a Disease Not a Disease? of a Curious Treatise’, in Greek and Genres Including Maqbool, Omkara Seeming and Suffering in Early Roman Consolations. Eight Studies and Eklavya [Kurukshetra, India: The Modern Europe’ in Diseases of the of a Tradition and its Afterlife, (Ed.) Shakesepare Association of India, Imagination and Imaginary Disease H. Baltussen , [Swansea: Classical 2012], ISBN 978-81-920137-4-2 in the Early Modern Period, (Ed.) Press of Wales, 2012], pp. 67-91. Y.Haskell [Turnhout: Brepols, 2012], R.S. White, John Keats: A literary H. Dalton, ‘“Into Speyne to selle for pp. 1-17. life, [Hampshire, UK: Palgrave Slavys”: Slave trading in English Macmillan, 2012],  Y. Haskell, ‘Finding his way home? and Genoese merchant networks ISBN 978-1-113-703047-4 The Groningener physician, Gerard prior to 1530’ in Brokers Of Change: Nicolaas Heerkens, and the road Atlantic Commerce And Cultures In EDITED BOOKS back from Rome’, in De Oudheid in Pre-Colonial Western Africa, (Eds) T. de AchttiendeEeuw (Classical Antiquity Published Green & J. Lingna Nafafé, British in the Eighteenth Century), (Ed. Academy Proceedings Series, Y. Haskell (Ed.), Diseases of the Alexander Raat, [Utrecht: Werkgroep [Oxford: Oxford University Press, Imagination and Imaginary Disease in 18e Eeuw, 2012], pp. 139-45. 2012], pp. 91-123. the Early Modern Period, [Turnhout: D. Kambaskovic-Sawers, ‘The two Brepols, 2012],  L. D’Arcens, ‘Dario Fo’s Mistero faces of love in Western philosophy, ISBN 978-2-503-52796-3. Buffo and the Left-Modernist in Love and Devotion: From Persia Reclamation of Medieval Popular and Beyond, (Ed.) S. Scollay (Paperback), (Melbourne: MacMillan Greenwood Stood: Alterity and Context in Nottingham: Disney’s Robin Art Publishing in association with in the English Outlaw Tradition, (Ed.) Hood (1973)’ in Medieval Afterlives State Library of Victoria and the S. Knight, [Turnhout: Brepols, 2012]. in Popular Culture, (Eds) G. Ashton Bodleian Library, 2012), pp. 141-50, and D.T. Kline, [New York: Palgrave D. Lemmings, ‘Introduction: ISBN 978 1 921394 50 8 Macmillan, 2012], pp. 29-42. Criminal Courts, Lawyers and the H. Kerr, ‘Melancholy Botany: Charlotte Public Sphere’, in Crime, Courtrooms R. Read, ‘Hazlitt as a Gateway to Smith’s Bioregional Poetic Imaginary’ and Public Sphere in Britain, 1700- Nineteenth-Century Ekphrasis: The in The Bioregional Imagination: 1850, (Ed. D. Lemmings), [Farnham: Quarrel with Reynolds Revisited’, Literature, Ecology, Place, (Eds) T. Ashgate, 2012], pp. 1-21 in Legacies of Romanticism: Lynch, C. Glotfelty, K. Armbruster, Literature, Culture, Aesthetics, (Eds) D. Lemmings, ‘Negotiating Justice [Athens and London: University of C. Casaliggi, P. March-Russell, in the New Public Sphere: Crime. Georgia Press, 2012], pp. 181-199. [London: Routledge, 2012], pp. 1-17. The Courts and the Press in Early S. Knight, `King Arthur’ and `Robin Eighteenth-century Britain’, in Hood’, in Icons of the Middle Ages, Crime, Courtrooms and Public (Ed.) L. Matheson, [New York: Sphere in Britain, 1700-1850, (Ed. Garland, 2012]. D. Lemmings), [Farnham: Ashgate, 2012], Chapter 6, pp. 1-21. S. Knight, `Alterity, Parody and Habitus: the Formation of the Early A. Lynch, ‘Animated Conversations Robin Hood Texts’, in Robin Hood in

ARC Centre of Excellence History of Emotions Annual Report 2012 95 F. Soyer, ‘Nowhere to Run: The EDITED JOURNAL ISSUE U. McIlvenna, ‘Word versus Honour: Extradition of Conversos between the case of Françoise de Rohan vs. Published the Spanish and Portuguese Jacques de Savoie’, in Journal of Inquisitions during the Sixteenth (Eds) L. D’Arcens, A. Lynch & S. Early Modern History, 16, nos. 4-5, and Seventeenth Centuries’, in Trigg, Australian Literary Studies special edition: Spoken Language The Conversos and Moriscos in Late 26.2, 2011 (published in 2012). and Oral Culture in the Early Modern Medieval Spain and Beyond, (Ed.) K. Special issue: Medievalism, World, October, 2012, pp. 315-334. Ingram [Leiden: Brill, 2012], pp. 251- Colonialism, Nationalism’, pp. 36-53. L. O’Connell, ‘Sir Charles Grandison, 278 (chapter 12).  Natural Law and the 18th-Century ISBN13: 9789004228597 JOURNAL ARTICLE English Gentleman’, in Intellectual J. Spinks, ‘Monsters and heavenly Published History Review, Special Issue: signs: looking for the Last Days’, Discourses of Humanity in the J.W. Davidson, ‘Bodily movement in The Four Horsemen: Apocalypse, Enlightenment, 23:3, 2012, pp. 1-15. and facial actions in expressive Death and Disaster, (Eds) C. Leahy, musical performance by solo and L. O’Connell, ‘Vicars and Squires: J. Spinks & C. Zika, [Melbourne: duo instrumentalists: Two distinctive Religion and the Rise of the English National Gallery of Victoria, 2012], case studies’, in Psychology of Music, Marriage Plot’ in The Eighteenth- pp. 47–61. 40 (5), 2012, pp. 595-633. Century: Theory and Interpretation, J. Spinks & C. Zika, ‘The four Special Issue: The Drift of Fiction: R. Garrod, ‘On Fish: Natural History horsemen: an introduction.’, in Reconsidering the Eighteenth- as Spiritual materia medica: The Four Horsemen: Apocalypse, Century Novel, 52: 3-4, 2011, 383-402. Calvinist Pastoralism in Pierre Death and Disaster, (Eds) C. Leahy, Viret’s Instruction Chrestienne R. Read, ‘The Relational Origins J. Spinks & C. Zika, [Melbourne: (1564)’, in Perspectives On Science, of Inter-media Art in Painting, National Gallery of Victoria, 2012] , Summer 2012. Interior Design and Picture pp. 1-13. Framing: Pamela Gaunt’s Errant D. Kambaskovic-Sawers, ‘Fictional R.S. White, ‘Must Humanity Perforce Abstractions’, in craft + design Elements in Sixteenth- and Prey upon Itself? King Lear, War enquiry, 4, October 2012. Seventeenth-Century Sonnet and the Humanities’, in What is Sequences and Early Modern J. F. Ruys, ‘Sensitive Spirits: the Human: Australian Voices from Fictions’, Parergon, 29.1, July 2012, Changing Depictions of Demonic the Humanities, (Eds) L. E. Semler, pp. 47-70. Emotions in the Twelfth and B. Hodge & P. Kelly, [Melbourne: Thirteenth Centuries’, in Digital Australian Scholarly Publishing, R. Knecht, ‘The practice of theory: Philology: A Journal of Medieval 2012], pp. 189 – 204. Early Modern Grammar’, in Cultures, 1:2 (2012), pp. 184-209. Shakespeare Quarterly Online Forum R.S. White, ‘Benjamin Bailey as ‘After SAA’, 2012. J.F. Ruys, ‘Love in the Time of Friend of Keats’ in Poetical Sketches Demons: Thirteenth-Century ... Benjamin Bailey’s Original A. Lynch, ‘King Arthur in Marvellous Approaches to the Capacity for Manuscript, 1841, (Ed.) R. K. de Silva. Melbourne: W. M. Akhurst’s Love in Fallen Angels,’ in Mirabilia: [London: Serendib Publications, “burlesque extravaganzas”’, Electronic Journal of Antiquity and the 2011], pp. x – xiii. Australian Literary Studies, 26.2, Middle Ages, 15 [2012], pp. 28-46. 2011 (published 2012). Special C. Zika, ‘Witchcraft and the issue: Medievalism, Colonialism, F. Soyer, ‘Faith, Culture and fear: Scapegoating of Disaster’, in The Nationalism, pp. 36-53. comparing Islamophobia in early Four Horsemen: Apocalypse, Death modern Spain and twenty-first and Disaster, (Eds) C. Leahy, J. A. Maddox, ‘The performance of century Europe’, in Ethnic and Racial Spinks & C. Zika, [Melbourne: affect in recitativo semplice’, in Studies 2012, pp. 1-18. National Gallery of Victoria, 2012], Music Performance Research, 5, pp. 62-75. March 2012, pp. 49-58. C. Walker, ‘Crumbs of News: Early Modern English Nuns and Royalist A. Maddox, ‘On the machinery of Intelligence Networks’, in Journal of moral improvement: music and Medieval and Early Modern Studies, prison reform in the penal colony Vol 42, Issue 3, Fall 2012, pp. 635-655. on Norfolk Island’, in Musicology Australia, 34, no.2, December 2012, pp. 185–205. R.S. White, ‘”False Friends”: EXHIBITION CATALOGUES/ Perth Baroque: 25 September 2012, Affective Semantics in Shakespeare’ CONCERT BOOKS Grief and Joy — J.S. Bach’s Italienische in Shakespeare, UK, 8.5 2012, Konzert, BWV 97, ‘Ich habe genung’ Published pp. 286-299. Cantata BWV 82, and ‘Ich will den S. Broomhall & R. Millar (Eds), Kreuzstab gerne tragen’ BWV 56; G.P. S. Young, “Prohibition-Era ‘Still Life/Our Life: The Zest Festival, Telemann’s Concerto in Bb major Aristotelianism: Parisian Theologians June 2012’ from Still Life/Our Life: and Concerto in A minor; and J.T. and the Four Causes”, in Bulletin de Emotions Across Time, Art and Place Römhild’s ‘Das neue Jahr is kommen’, philosophie médiévale, 53, 2011, 2012 Exhibition, ISBN 978-1-74052-255-7. Trinity College Chapel, The University published, pp. 41-59. Includes contribution ‘The Enduring of Melbourne. Performers: Georg Pleasure of Art’ by C. Czerw, Corall (Director and Baroque oboe); ENCYCLOPEDIA ENTRIES historyofemotions.org.au/arts- Samantha Owens (Baroque oboe), Published industry-partnerships/zest-festival Stephen Grant (Bass solo); Cynthia O’Brien (Baroque violin); Stephanie C. Zika, ‘Demons, Demonology. VI. R. Prince (Ed.), ‘Grief and Joy: Eldridge (Baroque violin); Ruth Christianity. B. Medieval Times and Emotions in the music of the Wilkinson (recorder and violone); Eva Reformation Era’, in Encyclopedia of 18th century’, from Grief and Grießhaber (Taille de hautbois and the Bible and its Reception, Vol. 6, 2012. Joy: Emotions in the music of Recorder); Simon Rickard (Baroque the 18th century Concert Tour, C. Zika, ‘Demons, Demonology. X. bassoon); Rebecca Humphrey (Baroque September 2012, ISBN 978-1- Visual Arts’, in Encyclopedia of the cello); John O’Donnell (harpsichord and 74052-259-5. Contributors: J.W. Bible and its Reception, Vol. 6, 2012. organ), Arun Patterson (Baroque violin); Davidson, R.Garrido, S.Owens, Anna Webb (Baroque viola). C. Zika, ‘Devil. VI. Visual Arts’, G.Corrall, historyofemotions.org. in Encyclopedia of the Bible and its au/publications-and-resources/ Perth Baroque: 27 September 2012, Reception, Vol. 6, 2012. general-publications-and-resources Grief and Joy repeat, Callaway Auditorium, The University of Western J.W. Davidson and R. Prince (Eds.), CONFERENCE PROCEEDINGS Australia. Performers: Georg ‘Singing Emotions: Voices from Corall (Director and Baroque oboe); Published history’, Lecture Series supported Samantha Owens (Baroque oboe); by Musica Viva and Amarcord’s C. R. Millar, ‘Witchcraft and Deviant Stephen Grant (Bass solo); Cynthia Tour of Australia July-August 2012, Sexuality: A Case Study of Doctor O’Brien (Baroque violin); Stephanie December 2012, ISBN 978-1- Lambe’, The British World: Religion, Eldridge (Baroque violin); Ruth 74052-258-8. Contributors: J.W. Memory, Society, Culture, University Wilkinson (recorder and violone); Eva Davidson, P.Maddern, U.McIlvenna, of Southern Queensland. Grießhaber (Taille de hautbois and J.Stockigt, K.Barclay, A.Maddox, Recorder); Simon Rickard (Baroque U. Potter, The Trauma of Puberty for R.Halton, E. Rocha, M.Bailey, bassoon); Sally Boud (Baroque viola); Daughters in Godly Households, The S.Trigg, historyofemotions.org. Michael Brett (harpsichord and British World: Religion, Memory, au/publications-and-resources/ organ); Elliott O’Brien (Baroque viola); Society, Culture, University of general-publications-and-resources Clare Tunney (Baroque cello). Southern Queensland. LIVE PERFORMANCE OF CREATIVE Perth Baroque: 28 September 2012, R. Read, ‘Painting and Technology: WORKS 2012 Grief and Joy repeat, Northam Town Samuel F. B. Morse and the Visual Hall, Western Australia. Transmission of Intelligence’, M. Kelly, U. McIlvenna, C.McKay, Samuel F. B. Morse’s ‘Gallery of R.McNamara, G.Watts, G.Turner, Performers: Georg Corall (Director the Louvre’ in Focus Symposium, 28-30 September 2012, ‘Bodies in and Baroque oboe); Samantha National Gallery of Art, Washington, Distress’, The Lockup, Newcastle, Owens (Baroque oboe); Stephen USA ( Website, 35 minutes,  NSW as part of Critical Animals Grant (Bass solo); Cynthia O’Brien brightcove.vo.llnwd.net/pd22/ creative research symposium, part (Baroque violin);Stephanie Eldridge media/1191289016001/119128901 of This is Not Art Festival. (Baroque violin); Ruth Wilkinson 6001_1695664694001_061812nl08.mp3) (recorder and violone); Eva G.Turner, U.McIlvenna, 29 Grießhaber (Taille de hautbois and C. J. Williams, ‘Vision and Revision: September 2012,’ Execution Recorder); Simon Rickard (Baroque Guy of St Denis and MS Harley Ballads’, The Lock-Up Cultural bassoon); Sally Boud (Baroque 281’, Proceedings of the 2010 joint Centre, Newcastle NSW, as part viola); Michael Brett (harpsichord conference of the MSA and NZMS. of the Critical Animals creative and organ); Elliott O’Brien (Baroque research symposium. viola); Clare Tunney (Baroque cello).

ARC Centre of Excellence History of Emotions Annual Report 2012 97 A. Lawrence-King, on tour with R. Millar (Kalbarri Development Other Kymi Sinfonietta, 2-3 February Authority), S. Broomhall , C. Belcher P. Holbrook, Program note, ‘Thy 2012, Bach 4th Brandenburg, Vivaldi (WA Museum Geraldton) , Local and Servant Still’ for Royal Shakespeare Four Seasons, Rebel Les Elémen, regional visual artists, ‘Still Life/Our Company production of King John Public lectures & concerts, The Life: Emotions Across Time,  (dir. Maria Aberg), Swan Theatre, Four Humours, Kotka and Kouvola, Art and Place’, Contemporary Stratford-upon-Avon, UK, 2012. Southern Finland. artistic responses to the ideas and emotions encapsulated in a series E. Von Kaschke, Trust News - A. Lawrence-King with G. Windsor, of Dutch Masters still life paintings Australia (National Trust), ‘Relishing D. Rawlings, K.Antonenko, S.Player, and/or 17th Century Dutch objects history makes impact’, vol. 5 no. 9, P.Alessi, 25 May 2012, Monteverdi found from WA shipwrecks, Allen 2012, p. 14. Il Combattimento de Tacredi Centre, Kalbarri (June 2012) , ACDC e Clorinda (1624), Staged production S. Broomhall, Kalbarri District High Gallery, Geraldton (August 2012). with historical swordsmanship, School newsletters, Circulation of Guildhall School of Music & Drama, J.W. Davidson and Musica Viva, Zest Festival stories, 2012, australie. Wallace Collection, London, UK. Amarcord Tour, partnership with nlambassade.org/zoek?q=zest Musica Viva Australia, Pre Concert A. Lawrence-King with Marco S. Broomhall, Dutch Embassy, Talks given by J. Davidson & Beasley, Klim Zhukhov, 30 August Australia, Re-circulation of Zest P. Maddern, K. Barclay, A. Maddox, to 4 September 2012, Cavalieri, Festival stories, 2012. M. Bailey, S. Owens, R. Halton, Carissimi etc. Rappresentationi, B. Spurr, S. Trigg, at the Perth S. Broomhall/R. Millar, ‘The Zest semi-staged production, St Concert Hall, Adelaide Town Hall, Festival, Kalbarri Western Australia Petersburg Baroque Opera Canberra Llewellyn Hall, Melbourne June 2012’, in Musings: Museums Studio, Russia. Recital Centre, Sydney City Recital Australia, Spring 2012, volume 3, Hall, Queensland Conservatorium & pp. 6-8. Created or Produced Newcastle Conservatorium,  Substantial Public R. Millar, This Week In the 17 July-1 August 2012. Exhibitions or Events 2012 Library podcast, Interview, U. McIlvenna, R. McNamara, The Netherlands, 2012  (Curators) C. Leahy & P. Kayser G. Watts, M. Kelly, C. McKay, thisweekinlibraries.com/?p=469 (NGV), J. Spinks & C. Zika (University G. Turner, C. Charlton, ‘Bodies in of Melbourne), ‘The Four Horsemen: Distress’, Collaborative research Death, Apocalypse & Disaster in project between artists and Pre-Modern Europe’, Exhibition postdoctoral researchers with of primarily prints, drawings and the CHE exploring the notion of illustrated rare books, but also a ‘moralized bodies’ from medieval to painting and illustrated manuscripts contemporary times, The Lock-Up (120 items) from the collections of Cultural Centre, Newcastle NSW, the NGV, the State Library of Victoria part of the Critical Animals Creative and the Baillieu Library, University Research Symposium, 27-29 of Melbourne, 31 August 2012 to September 2012. 28 January 2013, National Gallery of Victoria, Melbourne. (Open to C. Kovesi, ‘Pleasure, Desire, the Public). and Greed in the Renaissance,’ Two day event, 19-20 November R. Millar/ Kalbarri Development 2012, Day one: Public Lecture Authority, Shire of Northampton, by Guido Ruggiero, University S. Broomhall, ‘The Zest Festival’, of Miami, ‘Machiavelli the a festival in response to the 300th Wimp: Mocking one’s emotions anniversary of the Zuytdorp and self-presentation in the shipwreck of Kalbarri’s coast,  Renaissance’. Day Two: Day of 2-3 June 2012. seminars, workshops, discussion and a play reading of Machiavelli’s La Mandragola: Participants: L. Giannetti, G. Ruggiero, C. Kovesi, J. Gagné, U. McIlvenna, N. Newbigin, 19-20 November 2012. Awards AND S. Treloyn, J.W. Davidson, K. Marsh, L. O’Connell , A.Scott (together RESEARCH GRANTS 2012 A. Emberly, R. Faulkren, P. Bedford, with S.During): Discovery Project, S. Carson: ARC Linkage Grant, awarded 5 November 2012 by the D. Barnes: S. Ernest Sprott awarded July 2012 by the ARC for ARC, for project ‘Secularisation and Fellowship, awarded 1 September project Evaluating and developing British Literature, 1600-1800’. Grant 2012 by University of Melbourne, For music-based strategies for teaching for $170000, 2013-2015. ‘The Politics of Civility: Historicising and learning in remote Aboriginal Early Modern Genres of Community, S. Owens: 2012 Medal of the communities in Western Australia, 1580-1660.’ This project will Australia and NZ Indexers’ Society, Partner Organisation(s): Kimberley investigate how late-sixteenth- and awarded 31 October 2012 by Language Resource Centre. Grant early-seventeenth-century genres— Australia and NZ Indexers’ Society, for $215000, 2013-2015. civility tracts, city comedy, poetry, Medal for index of book Music at correspondence, newspapers, C. Kovesi: Partner Investigator, German Courts. pamphlets and philosophical Leverhulme Grant, awarded in S. Owens, J.W. Davidson, M. Barnett: tracts—define and delimit December 2012 by the Leverhulme UWA-UQ Bilateral Research community over a period of profound Trust, for project ‘Luxury & The Collaboration Awards, awarded political change. It will illuminate Manipulation Of Desire: Historical by UWA/UQ, Administering the different philosophical, political Perspectives For Contemporary Organisation: The University and emotional strategies each Debates’, joint grant with the of Queensland, Project Title: genre employs to initiate broader University of Warwick, the University Developing a working model of participation in a public discussion of Bologna, and the Victoria and performance and reflective practice about community, and thus offer Albert Museum. Grant for £79261, research: A case study of Venus and important insights into how literary 2013 – 2014. Adonis, 1683/1715/2013, grant for and non-literary discourses A. Lawrence-King: nomination for $18,800, 2013. anticipate the emergence of the Golden Mask (Russia’s theatre democratic processes. Grant for S. Owens: Discovery Project, ‘Oscar’) in four categories including $49821, 2012-13 awarded 5 November 2012 by the Best Opera and Best Music Director, ARC, for project ‘The Well-travelled S. Broomhall: Your Community for Andrew Lawrence-King’s Musician: John Sigismond Cousser Heritage Grant, awarded June 2012 Moscow production of the ‘first and cultures of musical exchange in by the Department of Sustainability, opera’ Anima e Corpo (1600). Baroque Europe’. Grant for $90,000, Environment, Water, Population U. McIlvenna: FASS Collaborative 2013-2014. and Communities, for ‘Rivers of Research Scheme, awarded on Emotion: An emotional history of S. Owens: S. Broomhall, D. Konstan, 17 October 2012 by Faculty of Arts Derbarl Yerrigan and Djarlgarro elected a Fellow of the Australian and Social Sciences, U. Sydney, Beelier/ the Swan and Canning Academy of Humanities on Member, Research Group: ‘Putting Rivers’, with partner National Trust 19 November 2012. Periodisation to Use: Exploring the (WA), grant for $20000, 2012-2013. Limits of Early Modernity’. Grant for L. D’Arcens: ARC Future Fellowship, $39400 over 2 years. awarded on 25 July 2012 by the C. Mews: Discovery Project, awarded 5 Australian Research Council November 2012 by the ARC, for project (ARC), for project ‘Laughing at the ‘Encountering diversity: communities Middle Ages: Comic Medievalism’. of learning, intellectual confrontations Comic medievalism and the and transformations of religious modern world. This project will thinking in Latin Europe, 1050-1350’. study comic depictions of the Grant for $840000, 2013-2015. Middle Ages, examining how they reflect views about the past and C. Monagle: Discovery Early Career the present. It will produce new Researcher Award (DECRA), knowledge about how this historical awarded 5 November 2012 by humour intersects with, and the ARC, for project ‘Sexing contributes to, ongoing debates scholasticism: gender in medieval about progress, social changes and thought 1150-1520’. Grant for cultural tolerance, which are vital $357630 2013-2015. to Australian public life. Grant for $661051, 2012-2016.

ARC Centre of Excellence History of Emotions Annual Report 2012 99

S Selected Talks and Presentations

Barclay, Katie Conference Paper: ‘Citizens of the London Stage’, ‘Shakespeare and Invited Keynote Presentation: Emotions’, Australian and New ‘Exploring Intimacy among the Zealand Shakespeare Association/ Scottish Lower Classes in the Long- CHE Conference, University of Eighteenth-Century: Oral Cultures Western Australia (UWA), Perth, and Spatial Dramas’ at Intimate Australia, 27-30 November 2012. Lives Conference, University of Southern Denmark, Kolding, Bollinger, Marina Denmark, 10 March 2012. Presentation: ‘Sex and Sensibility: Conference Paper: ‘Representing States of nature and civilization in the Emotional Family: The 18th-c Scottish conjectural history’, eighteenth century press’, Social University of Sydney, Australia, History Conference, Brighton, UK, 28 August 2012. 3–5 April 2012. Conference Paper: ‘Urban and Brooks, Ann Rural Manliness in the Nineteenth- Presentation (Panel): ‘Genealogies Century Irish Court’, European of Intimacy, Emotions and Social Science History Conference, Desire: Theories of changes in Glasgow, UK, 11–14 April 2012. emotional regimes from medieval Conference Paper: ‘Disgust and society to late modernity’, North Desire, Shame and the Voyeur: the American Conference on British Crim Con Trial and the Eighteenth- Studies, Montreal, Canada, Century Family’, ‘Connections’, 9–11 November 2012. Australian Historical Association Conference, University of Adelaide, Broomhall, Susan 9 – 13 July 2012. Keynote Presentation: Conference Paper: ‘Of Greed, ‘Collaboration is not a dirty word’, Loyalty and Blood: Emotions within Limina Conference 2012, UWA, eighteenth-century inheritance Australia, 7 June 2012. disputes’, North American Keynote presentation (invited): Conference on British Studies, ‘Narratives of Trauma, Emotion Montreal, Quebec, Canada,  and Identity in Sixteenth-Century 9-11 November 2012. Francophone Sources’ at Memory Seminar Presentation: “It’ll be the Before Modernity. Memory Cultures Hoiglit of Diversion”: Performing in Early Modern Europe conference, Manliness in the Irish Court, Leiden University, The Netherlands, c. 1800-45’, History Seminar 20 June 2012. Series, National University of Ireland, Maynooth, Ireland, Susan Broomhall (presented by 22 November 2012. Jacqueline Van Gent) Conference Paper: ‘Beads, Barnes, Diana Mirrors and Tobacco’, Global Conference panel paper: Commodities: The Material Culture ‘“Nothing, but the understanding of Early Modern Connections Gentlemen o’the Ground”: Citizens conference, Warwick University, UK, of the London Stage’ at the 14 December 2012. British Shakespeare Association Conference Shakespeare Inside/Out: Depth/Surface/Meaning Conference, Lancaster University, UK.

ARC Centre of Excellence History of Emotions Annual Report 2012 101 Bubenik, Andrea rappresentativo, The Reflective ensemble performance’, Second Conservatoire: 3rd International International Conference on the Panel Presentation: ‘Appropriations Conference – Performing at the Performer’s Voice, Conservatory, of Albrecht Dürer’s Self Portraits’ Heart of Knowledge, Guildhall National University of Singapore, at CIHA 2012 The Challenge School of Music and Drama, Singapore, 27 October 2012. of the Object, Germanisches London, UK, 19 March 2012. Nationalmuseum, Nuremberg, Paper: ‘Musico-emotional Germany, 19 July 2012. Presentation: ‘Expressive Performance’, Second International Body Movement and Musical Conference on the Performer’s Chua, Brandon Communication in Piano Voice, Conservatory, National Performance’, WA Piano Pedagogy University of Singapore, Singapore, Conference Panel Paper: ‘The Convention, UWA School of Music, 28 October 2012. Politics of Conversion in Dryden’s 15 April 2012. Conquest of Granada’, CHE Keynote: ‘Music, Health and Emotions Stream, Australian Keynote Presentation: ‘Performing Wellbeing: A Long History of Historical Association (AHA) 31st Emotions and Music Research’ Emotion’, International Arts and Annual Conference Connections, by Prof. Jane Davidson, Telethon Health Conference: The Art of Good University of Adelaide,  Institute for Child Health Research Health and Wellbeing, Notre Dame 9-13 July 2012. Postgraduate Study Retreat, University, Fremantle, Australia, 29 Rottnest Island, Australia,  November 2012. Invited paper: ‘Ceremony, Tradition, 27 April 2012. and the Politics of Community in Keynote talk:’Investigating the Kim Scott’s Deadman Dance’, The Paper: ‘A Cognitive Perspective on “Emotion” in Re-creative Early Kim Scott Colloquium, Australian Spectating Medieval Music Theatre’, Opera Performance’, Musicological Indigenous Studies, University of Session on Research Directions Society of Australia’s Performative Melbourne, 3-4 August 2012. in Re-inventions in Medieval Voices Colloquium, University of Music Theatre, European Science South Australia, 1 December 2012. Paper: ‘Interpretive Relativism and Foundation Meeting: Re-inventions the 1688 Revolution in Dryden’s of Early-European Performing D’Arcens, Louise Don Sebastian’, The Authenticity Arts and the Creative City, Civic of Emotions: Sceptical and Presentation: ‘“Here lies Edmund Regeneration and Cultural Tourism Sympathetic Sociability in the Blackadder, and he’s bloody (REPACC), Central European Eighteenth-Century British Public annoyed”: (Anti-) historical Humour University, Budapest, Hungary, Sphere Collaboratory, University of in Blackadder’, Australian Humour 11 September 2012. Adelaide, 18-19 September 2012. Studies Network, Australian Panellist: Discussing ‘Psychology National University, 4 February 2012. Dalton, Heather of Music’, Psychology of Music, Invited position paper: ‘Colonial Society for Education, Music and Presentation: ‘Portraits, pearls Medievalist Awe’, Emotions and Psychology Research (SEMPRE), & things “wch are very straunge Empire Collaboratory, University of 40th Anniversary International to owres”: the Withypoll trading Melbourne, 16 March 2012. Conference, Institute of Education, syndicate in the early 16th century University of London, UK, Presentation: ‘From “veiled Atlantic’, Ashmolean Museum, 14 September 2012. princess” to “wondrous fair”: The University of Oxford, 15 June 2012. Medievalism of Australian colonial Joint Presentation (with Burland, girls’, Colonial Girlhood / Colonial Davidson, Jane Karen & Ginsborg, Jane): ‘What Girls conference, University of They Did Next: From gifted Keynote (invited): ‘Performing Melbourne, 14 June 2012. musician children to successful Emotions: Methods and Meanings mid-career profession musician’, Presentation: ‘Comic Anglo- in Music Research’, Finnish Society for Education, Music and Saxonism in Contemporary Musicological Society Annual Psychology Research (SEMPRE), Children’s Popular Culture: Symposium for Music Scholars, 40th Anniversary International Translation, Transformation, or University of Jyväskylä, Finland, Conference, Institute of Education, Distortion?’, Leeds International 22 March 2012. University of London, UK, Medieval Congress, University of Presentation: ‘Embodied 15 September 2012. Leeds, UK, 9–12 July 2012. Musical Emotions’ as part of joint Paper: ‘Bodily Communication: Keynote address: “Comic presentation with Andrew Lawrence- Expression and emotion in solo and Medievalism: Why and How the King, and Steven Player: In genere Middle Ages Make us Laugh’, Faces of Emotion: Medieval Shanghai, China,  UWA CMEMS / Perth Medieval and to Postmodern Collaboratory, 26-30 October 2012. Renaissance Group conference, University of Melbourne, UWA, 18 August 2012. Australia, 6 December 2012. Hultquist, Aleksondra Presentation: ‘“The Past is a Conference Presentation: ‘Adapting Ferber, Sarah Different and Fairly Disgusting Desire in Delarivier Manley’s Country”: The Medieval Past in Invited round-table conference Power of Love’, American Society British Televisual Edutainment’, paper: ‘Spirit Possession: European of Eighteenth-Century Study, San Medievalist Laughter symposium, Contributions to Comparative Antonio Texas, USA, 23 March 2012. University of Wollongong, Studies’, The Sabbath of the Soul, Conference Presentation: ‘The 26 September 2012. Department of Ethnology and Cultural Passions of Eliza Haywood’, The Anthropology, University of Pécs; Pécs Invited presentation: ‘The Mirthful Authenticity of Emotions: Sceptical Committee of the Hungarian Academy Face in The Name of the Rose’, and Sympathetic Sociability in the of Sciences, Budapest, Hungary,  Faces of Emotions: Medieval Eighteenth-Century British Public 14-16 September 2012. to Postmodern Collaboratory, Sphere Collaboratory, University of University of Melbourne, Adelaide, 18 September 2012. Haskell, Yasmin 6 December 2012. Keynote Lecture (invited): Kambaskovic-Sawers, Danijela Downes, Stephanie ‘Emotions in Jesuit Epic’, at Presentation (invited): ‘Breaching conference Neo-Latin epic poetry Conference Paper: ‘Orliauns/ the Social Contract: The migrant and the Habsburg Empire, Austrian Allyaunce: Negotiation and poet and the politics of being National Library, Vienna, Austria, 23 Diplomacy in the Lyrics of Charles apolitical’, The Political Imagination: February 2012. d’Orleans’, Kalamazoo Medieval Contemporary Diasporic and Congress, Western Michigan Paper (invited): ‘Learning and Postcolonial Poetries Symposium, University, USA, 10 May 2012. Emotions’ for the Passions of Deakin University, Melbourne, Learning project at the University of Australia, 12 April 2012. Conference Paper: ‘“hic secunt[ur] Zagreb, Croatia, 27 February 2012. verba equivoca”: British Library Presentation (invited): ‘Plato’s Harley MS 219’, Vernacular Co-organiser and presenter: Loves and Shakespeare’s Women’ Miscellanies Conference, British ‘Epilinguistic emotions: Latin letters at the Love and Devotion: Persian Academy, London, 22 June 2012. in the 18th century’, Languages cultural crossroads conference, of Emotion: Concepts, Codes, State Library of Victoria, Melbourne, Conference Paper: ‘Books and Communities Collaboratory, UWA, Australia, 13 April 2012. Loving Looks: Diplomatic Exchange 25 August 2012. between England and France around Presentation: ‘Plato’s Loves 1500’, UWA, 17 August 2012. and Shakespeare’s Women’, Hochner, Nicole ‘Shakespeare and Emotions’, Collaboratory Presentation Presentation: ‘The Body Politic Australian and New Zealand (invited): ‘Jeo Sui Anglois: Feeling Metaphor in Mutation or a Sixteenth Shakespeare Association/CHE French in Late Medieval England’, Century Manifesto for Social Conference, UWA,  Languages of Emotion: Concepts, Mobility’, Postgraduate History 28-29 November 2012. Codes, Communities Collaboratory, Seminar, UWA, 22 August 2012. UWA, 24 August 2012. Kerr, Heather Conference paper: ‘French Holbrook, Peter Presentation: ‘Figuring Sympathy: Feeling: Tongues and Emotions Panel presenter (with Ewan Fernie Charlotte Turner Smith’s “Beachy in Shakespeare’s Henry V’’, and John Gillies): ‘Shakespeare and Head”’, Discipline of English and Shakespeare and Emotions, the Penalty of Adam’, Shakespeare Creative Writing Seminar, University Australian and New Zealand Association of America, Annual of Adelaide, 17 February 2012. Shakespeare Association/ Meeting, Boston MA, USA, CHE Conference, UWA, Conference presentation: ‘“Sociable 5-7 April 2012. 29 November 2012. tears” in The Tempest’, Shakespeare Keynote presentation: ‘Montaigne, and Emotions, Australian and Conference paper: ‘The Moving Shakespeare, and Classical Reason’, New Zealand Shakespeare Eye: Communicating Emotions opening of the new Shakespeare Association/CHE Conference, UWA, Inwards in Medieval Literature’, Institute, Donghua University, 30 November 2012.

ARC Centre of Excellence History of Emotions Annual Report 2012 103 Knecht, Ross Workshop presentation: Empire Symposium, University of ‘Representing Lust in the Sacred Melbourne, 16 March 2012. Presentation: ‘Humanist Grammar Spaces of Italy’, as part of event and Early Modern English Paper: ‘Animated Conversations in ‘Pleasure, Desire and Greed in Literature’, Shakespeare Association Nottingham: Disney’s Robin Hood the Renaissance’, University of of America, Annual Meeting, Boston (1973)’, CMEMS/PMRG Conference: Melbourne, 20 November 2012. MA, USA, 5-7 April 2012. Receptions: Medieval and Early Modern Cultural Appropriations, Panel Paper: ‘Public Vows and the Lawrence-King, Andrew (with UWA, 17-18 August 2012. Language of Love in Shakespeare’s Davidson, Jane and Player, Steven) Love’s Labour’s Lost,’ Reading Presentation: ‘Manhood and Paper: “In genere rappresentativo”, Emotions in Public Documents, Melancholy: Changing emotional The Reflective Conservatoire: Australian Historical Association language of war in the medieval 3rd International Conference Conference, University of Adelaide, Troy story’, Languages of Emotion: – Performing at the Heart of 9-13 July 2012. Concepts, Codes, Communities Knowledge, Guildhall School of Collaboratory, UWA, 24 August 2012. Paper: ‘Passion and Pedagogy: Music and Drama, London, UK, Philip Sydney’s “Grammar Rules of 19 March 2012. Invited paper: ‘”You worry too much, Affection”’, Languages of Emotion: old boy”: Disney’s comic Robin Concepts, Codes, Communities Lawrence-King, Andrew Hood (1973)’. Medievalist Laughter: Collaboratory, UWA,  Emotion and Transformation Workshop: ‘‘Tis Master’s 23-24 August 2012. Symposium, University of Voice: a seventeenth-century Wollongong, 25-26 September 2012. Paper: ‘Hamlet’s Grammar School Shakespeare soundfile’, Passions’, Shakespeare and Depicting Emotions in Early Paper: ‘“… Another Comfort”: Emotions Conference, UWA, Perth,  Modern Drama: The Practitioner/ Virginity and emotion in Measure 28-29 November 2012. Scholar Nexas Collaboratory, for Measure’, CHE Shakespeare UWA, 28 November 2012. and Emotions, Australian and Knight, Stephen New Zealand Shakespeare Workshop: ‘The Dark Side – English Association/CHE Conference, UWA,  Paper: ‘Emotion and Socialisation in 17th Century’ with Stephen Grant, 28-30 November 2012. early Arthurian Romance’, Medieval Melbourne Early Music Studio, 1–2 Round Table meeting, University of December 2012. McEwan, Joanne Melbourne, 2 July 2012. Public Lecture: ‘The True Art – CPE Presentation: ‘Infanticide and Paper: ‘Eighteenth Century Comic Bach, L Mozart, Quantz’, Moscow Violence in Eighteenth Century Medievalism’, Symposium on Conservatory, Merzlyakov College, London’, UWA Institute of Advanced Medievalist Laughter: Emotion Russia, 23 January 2012. Studies, 20 April 2012. and Transformation, University of Public Lecture: ‘The Spirit of the Wollongong, 25 September 2012. Presentation: “She Was Fond Dance’, Moscow Art Institute, of the Other Children”: Emotion Paper: ‘Face and Feeling in Russia, 24 January 2012. and emotional attachment in early Celtic literature’, Faces of Public Lecture: ‘Tears of Passion infanticide narratives in eighteenth- Emotions: Medieval to Postmodern - Dido’s Lament, etc’, Copenhagen century Scotland’, UWA School of Collaboratory, University of Town Hall, Denmark, 29 July 2012. Humanities, 5 November 2012. Melbourne, 5-7 December 2012. Lemmings, David McIlvenna, Una Konstan, David Paper: ‘Compassion and the Presentation: ‘The End of the Presentation: ‘The Origins of Offender: Emotional representations Cuckold? Modernization and the Remorse’, Languages of Emotion: of the Family in Eighteenth-Century Transformation of Sexual Shame’, Concepts, codes, communities Criminal Trials’, NACBS conference, Renaissance Society of America collaboratory, UWA, 24 August 2012. Montreal, Canada, 10 November 2012. (RSA) conference, Washington DC, USA, 22-24 March 2012. Kovesi, Catherine Lynch, Andrew Panel: ‘Celebrating the Corpse in ‘Brown Bag’ seminar: ‘Birds of Desire: Presentation: ‘“…a picture that Early Modern Execution Ballads’, Women, Lust and Sacred Space in makes one proud to be British”: American Comparative Literature Early Modern Italy’, University of feeling imperial’, Emotions and Association (ACLA) conference, Melbourne, 11 October 2012. Brown University, Providence RI, Paper: ‘“Jangled the Belles, and University of London, UK,  USA, 29 March–1 April 2012. with fearefull outcry, raysed the 10-12 September 2012. secure Inhabitants”: Picturing fear, Guest lecture: Lecture on execution Presentation with CI Juanita Ruys and triggering memory in the early ballads on course: ‘From Tablet to (invited): ‘Unlocking the Silences modern East Anglian landscape’, i-Pad: A History of Information’, of the Self-Murdered: Approaches at Symposium: Disaster, Death and Dept. of History, University of to Medieval Suicide and Public the Emotions in the Shadow of the Sydney, 10 May 2012. Engagement’, University of Sydney Apocalypse, University of Melbourne, Medieval and Early Modern Presentation: ‘“A heart of stone would 1-2 September 2012. Centre’s AGM, University of Sydney, melt to hear”: Playing on Emotions 28 November 2012. in Early Modern Public Executions’, McNamara, Rebecca Society for Renaissance Studies (SRS) Presentation (invited): ‘Emotions Maddern, Philippa conference , Manchester University, and the Suicidal Impulse in Medieval UK, 9–11 July 2012. Invited lecture: ‘The Past is Not England’, Sydney Medieval & What it Used to Be: reflections on Presentation: ‘Ballads of Death Renaissance Group, University of the future of Western Australian and Disaster: The Role of Song in Sydney , 8 February 2012. History’, AGM address to History Early Modern News Transmission’, Presentation: ‘Infirmity and Council of Western Australia, Disaster, Death and the Emotions Compassion: Emotions of Suicide Constitutional Centre, Perth, in the Shadow of the Apocalypse Case Petitions to the English Crown, 1 August 2012. symposium, University of 1200-1400’, Australian Historical Melbourne, 1–2 September 2012. Paper: ‘The Meaning of Tears: Association Annual Conference, Reading and writing tears in late- Presentation: ‘Singing the News of University of Adelaide, 9-13 July 2012. medieval English texts’, Languages Death: Execution Ballads in Early Presentation: ‘Appropriated of Emotion: Concepts, Codes, Modern Europe’, Study Day: Danse Emotions? Medieval Suicide in Communities Collaboratory, Perth, Macabre: Emotional Responses to Art and Life’, Perth Medieval & 25 August 2012. Death and Dying from Medieval to Renaissance Group/ UWA Centre for Contemporary Times, The Australian Panel contribution: ‘Crossing Time Medieval & Early Modern Studies Museum, Sydney, 21 September 2012. and Space in the Medieval City: Conference, UWA, 17 August 2012. Authenticity and the recreation of the MacKinnon, Dolly Presentation: ‘The Sorrow Ludus Danielis’, European Science of Soreness: Infirmity and Foundation-funded workshop on Paper: ‘In the Footsteps of Suicide in the Middle Ages’, Recreated Medieval Music Events Antiquarians: The landscape of CHE Sydney node’s Study Day: and European City Heritage, Central Earls Colne, Essex,’ Landscapes & Danse Macabre, Emotional European University, Budapest, Environments: British Society for Responses to Death and Dying 10 September 2012. Eighteenth-Century Studies 41st from Medieval to Contemporary Conference, St. Hughes College, Lecture: ‘New Histories and the Times, Australian Museum, Sydney, Oxford, UK, 4–6 January 2012. History of Emotions: Implications for 21 September 2012. teaching history’, History Teachers Paper:’”If Ever Been Where Bells Presentation: ‘Afterlives of the Association Conference, Perth, Have Knolled to Church”: Parish Self-Murdered: Imaging Suicide 4 October 2012. bells, ritual, and social status in and Emotions in England’s early modern England’, Symposium: Invited paper: ‘Why Emotions Medieval Legal Records’at South Historicizing Performance in the Matter? Interdisciplinary Reflections African Society for Medieval & Early Modern Period, The John from History’, DFG Research Renaissance Studies Conference. Rylands Library, Deansgate, Training Group Colloquium Seminar, Stellenbosch, South Africa, Manchester, UK, 20 January 2012. University of Kassel, Germany, 30 August-2 September 2012. 23 October 2012. Presentation: ‘“An immortall Turff Presentation: ‘Fever, Madness, taken out of Naseby-field”’: the Invited paper: ‘“Face: the Mirror of Anguish: Suicide and Emotions emotional landscape of memories the Soul”? Ambiguities in Reading in Thirteenth-Century English and monuments to 14 June 1645’, the Face in Late Medieval England’, Legal Records’ at The Society for History Seminar Series, School Faces of Emotions: Medieval the Social History of Medicine and of History, Philosophy, Religion & to Postmodern Collaboratory, Queen Mary Centre for the History of Classics, University of Queensland, University of Melbourne, Emotions Conference, Queen Mary, 3 August 2012. 6 December 2012.

ARC Centre of Excellence History of Emotions Annual Report 2012 105 Maddox, Alan the Emotions in the Shadow of the Scott, Alison Apocalypse Symposium, University of Paper: ‘“Quel decoro col quale Paper: ‘Man is a giddy thing’, Melbourne, 1 September 2012. parlano i Principi, e quegli Shakespeare and Emotions, che a Principi sanno parlare”: Australian and New Zealand Millar, Charlotte-Rose The performance of identity in Shakespeare Association/ eighteenth-century Italian opera’, Paper: ‘Witchcraft, the Devil and CHE Conference, UWA, Perth, Congress of the International Deviant Sexuality: A Case Study of 28 November 2012. Musicological Society, Parco della Doctor Lambe’, Ninth conference on Musica, Rome, 2 July 2012. Researching and Applying Metaphor Monagle, Clare (RaAM 9), Lancaster University, 4 Presentation: ‘Recitative and Paper: ‘Authority and Punishment July 2012. the rhetoric of speech and song in the Letters of Hildegard of Bingen in Andrea Perrucci’s Dell’arte Paper: ‘Popular Print and Public and Catherine of Siena’, Gender rappresentativa (1699)’, 15th Perception in Early Modern England: and Medieval Studies Conference, Biennial International Conference Representing the Witches’ Sabbath’, Manchester University, Manchester, on Baroque Music, Southampton Reading Early Modern Studies UK, 11 January 2012. University, UK, 12 July 2012. Conference, University of Reading, Invited Seminar Presentation: United Kingdom, 14 July 2012. Invited lecture: ‘Retorica e prassi ‘Sovereignty and Neo-Medievalism: esecutiva del recitativo teatrale del Paper: ‘“The Ringleader of Witches”: Hedley Bull’s The Anarchical Society primo settecento’ [Rhetoric and Dr. Lambe and Diabolical English and International Relations Theory’, performance practice in theatrical Witchcraft’, Capturing Witches: History Department, University of recitative of the early 18th century], Histories, Stories, Images. 400 Sydney, 28 May 2012. Scuola di dottorato in Storia e critica Years After the Lancashire Witches dei beni artistici, musicali e dello Interdisciplinary Conference, O’Connell, Lisa spettacolo [Doctoral school in the Lancaster University, 19 August 2012. Panel presentation: ‘Teaching history and criticism of the fine Guest Speaker: ‘Witches and their Emancipation: Godwin’s Caleb arts, music and theatre], Università Devils’, University of Melbourne Williams’, on English, Education degli studi di Padova, Italy, Fellows in the School of Historical and the Humanities: Ian Hunter 13 November 2012. and Philosophical Studies, University and the Humanities in Australia: Invited lecture: ‘The humanizing of Melbourne, 28 November 2012. A Symposium, University of powers of music”: musica e Queensland, 30 March 2012. “miglioramento morale” in una Millar, Rebecca Panel presentation: ‘Terra Nullius: prigione coloniale australiana. Presentation: ‘The Zest Festival’, The Post-Revolutionary Novelization [”The humanizing powers of music’: ESF Exploratory Workshop on of the World’, Novel Worlds, Society Music and “moral improvement” Re-inventions of Early-European for Novel Studies first biennial in an Australian colonial prison.], Performing Arts and the Creative conference, Duke University, Scuola di dottorato in Storia e critica City, Civic Regeneration and Cultural Durham, NC, USA, 27 April 2012. dei beni artistici, musicali e dello Tourism, Budapest, Hungary, 11 spettacolo, Università degli studi di Lecture: ‘Reason, Sympathy and September 2012. Padova, Italy, 4 December 2012. Political Justice: Godwin’s Memoirs Panel presentation on the Zest of the Author of A Vindication’, Marshall, Louise Festival: ‘Footprints as stepping Department of English and American stones. Kickoff Dutch-Australian Studies, Humboldt University, Berlin, Paper: ‘The Emotional Dynamics Cultural Heritage Celebrations Germany, 15 June 2012. of Renaissance Plague Images’, 2016’, Zest Festival, National Library Renaissance Society of America, Canberra, 1 November 2012. Randles, Sarah Annual Conference, Washington DC, USA, 22-24 March 2012. Panel Presentation: ‘The Stuff O’Loughlin, Katrina of Miracles: Cloth Relics, Mary Paper (invited): ‘God’s Executioners: Conference Panel Presentation: Mackillop and the Virgin of Angels, Devils and the Plague in ‘“Like the temple of some Indian Chartres’, Australian History Giovanni Sercambi’s Illustrated god”: Elizabeth Montagu’s Chinese Association Conference, University Chronicle (1400), Disaster, Death room’, PMRG Receptions Conference, of Adelaide, 9-13 July 2012. and the Emotions in the Shadow of UWA, 17-18 August 2012. the Apocalypse’, Disaster, Death and Workshop (invited): ‘Textiles in Reuter, Elsa Spinks, Jennifer the time of Hildegard von Bingen’, Paper: ‘The Politics of Emotion in Paper: ‘Snakes, Heretics, and MCD University of Divinity, Restoration England 1660-1668’, Devils: Wonder books looking 20 October 2012. Australian Historical Association beyond European borders’, Presentation: ‘The Changing Conference, University of Adelaide, Renaissance Society of America Face of the Virgin’, Faces of 11 July 2012. Conference, Washington D.C., USA, Emotions: Medieval to Postmodern 22-24 March 2012. Collaboratory, University of Ruys, Juanita Paper: ‘Signs That Speak: Sound Melbourne, 6 December 2012. Paper: ‘Telling Tales in the Middle and vision in the heavens in early Ages’, Random House Australia, modern Germany’ in Frühe Neuzeit Read, Richard Motivation Day, Sydney Mint, Interdisziplinär: Visual Acuity and Paper: ‘Samuel F. B. Morse’s Gallery July 2012. the Arts of Communication in Early of the Louvre and the Electrical Modern Germany, Duke University, Paper: ‘The Passional Communities Imaginary’, Architecture, Landscape Durham, NC, USA, 29-31 March 2012. of Latin Grammar’, Languages and Visual Arts Conference 11, of Emotion: Concepts, Codes, Invited lectures: ‘Prodigious Faculty of Architecture, Landscape Communities CHE Collaboratory, Histories: Disasters in early modern and Visual Arts, UWA, 25 May 2012. UWA, August 2012. illustrated wonder books’ as part Keynote Presentation: ‘Painting, of the Imaging Disasters research Paper: ‘“In this extreme necessity Technology and the Electrical program (Excellence Cluster: ‘Asia of death”: Reading Suicidal Emotion Imaginary: Samuel Morse’s Gallery and Europe’), co-organised lecture through the Artes moriendi’, 21st of the Louvre’, Teaching and series, Technische Universität Biennial Conference, Southern Learning Conference, University Darmstadt / Ruprecht-Karls- African Society of Medieval and of Notre Dame, Fremantle, Universität, Heidelberg, Germany, Renaissance Studies, Mortality and 7 June 2012. 25 June 2012. Imagination: The Life of the Dead in Conference panel paper: ‘The Artist the Middle Ages and Renaissance, Paper: ‘Civil War Violence and the and Studio, The Artist and World’, in August-September 2012. Collapse of the Natural Order in Backs, Fronts and Contemplatory French Print Culture During the Paper: ‘Talking about Suicide: Spaces: Art in Tension with Wars of Religion.’, Disaster, Death History, Art and the Media’, Inspired Networks, conference session with and the Emotions in the Shadow Lives, Dax Centre, Melbourne, Dr Georgina Downey, ‘together of the Apocalypse, symposium, November 2012. <> apart’, annual Art Association CHE / School of Historical and of Australia and New Zealand Paper: ‘Sympathy for the Devil: Philosophical Studies, University of conference, University of Sydney, The Evolution of Sadness in Melbourne, 1-2 September 2012. 12 July 2012. Demons’, Faces of Emotion: Invited seminar paper: ‘The Medieval to Postmodern Lecture: ‘The Origins of the Modern Southern Indian “Devil in Calicut” Collaboratory, University of Studio Painting’, Receptions: in Early Modern Northern Europe: Melbourne, December 2012. Medieval and Early Modern Cultural Texts, images and objects in Appropriations conference, Centre for motion.’, Early Modern European Soyer, Francois Medieval and Early Modern Studies History Seminar, Oxford University, and Perth Medieval and Renaissance Panel Presentation: ‘Public Joy 26 November 2012. Group, UWA, 17 August 2012. and Private Agendas: The Public Conversion of Muslims in Early Trigg, Stephanie 2 hour tour: ‘Subverting Figurative Modern Spain and Portugal’, Traditions of Painting’, 120 minute Research seminar presentation: Australian Historical Association lecture to WA Psychiatrists ‘Fire and the History of Emotions’, (AHA) 31st Annual Conference Association around MoMA History Department, University of Connections, University of Adelaide, Picasso to Warhol exhibition, Hawaii, USA, 12 April 2012. 9-13 July 2012. Art Gallery of Western Australia, Keynote paper: ‘Fire and the 1 December 2012. Invited Presentation: ‘A Centinela History of Emotions’, The Sociology contra Judios y su tiempo’, Catedra of Emotions and Affect workshop, de Estudos Sefarditas of the Royal Melbourne Institute of University of Lisbon, Portugal, Technology, Melbourne, Australia, 25 October 2012. 6 July 2012.

ARC Centre of Excellence History of Emotions Annual Report 2012 107 Panel Presentation: ‘The Weeping Invited keynote: ‘Receptions abroad Woods, Penelope Child in Chaucer and Malory’, and at home: cultural encounters, Panel Presentation: ‘Hospitality and New Chaucer Society Conference, emotions and identity making Hostility: The interpersonal dynamic Portland, Oregon, USA, 25 July 2012. in early modern Europe and her at the Globe Theatre’, Shakespeare colonies’, PMRG conference, UWA, Paper: ‘The Great Fire of London and Emotions, Australian and 17-18 August 2012. and the History of Emotions:“a New Zealand Shakespeare most horrid malicious bloody Workshop presentation (invited): Association/CHE Conference, flame.”’, in Disaster, Death and ‘Early modern women’s histories, UWA, 28 November 2012. the Emotions in the Shadow of the emotions and material culture in Paper - invited: ‘The Reciprocal Apocalypse Symposium, University Sweden’, Umea University, Sweden, Face Dynamic on the Early of Melbourne, 1 September 2012. 5 December 2012. Modern Stage’, Faces of Emotion Presentation – Invited: ‘CHE and Collaboratory, University of White, Robert (Bob) Outreach’, Australian Academy of Melbourne, 7 December 2012. the Humanities/ British Academy Presentation: ‘My Literary Valuing the Humanities workshop, Adelaide’ at Literary Adelaide Yeo, Colin 7 September 2012. Conference, University of Adelaide, Paper: ‘An Onomastic Analysis of 8 –11 February 2012 Conference Talk – Invited: “Petrarch” In Romantic Verse’, Perth ‘Response to Symposium on Plenary Presentation: ‘Smiles that Medieval and Renaissance Group, Australian Performance History of Reveal, Smiles that Conceal’; British UWA, 17 August 2012. Bach’s St Matthew Passion’, Trinity Shakespeare Association Lancaster Paper: ‘Emotional Ambivalence College, University of Melbourne, University, UK. 20–26 February 2012 in Shakespeare’s Sonnets’, 15 September 2012. Conference Presentation: ‘Discrepant Shakespeare and Emotions, Panel Presentation: ‘Fire’, Emotional Awareness in Shakespeare’, Australian and New Zealand BABEL conference, Boston, Passion seminar, International Shakespeare Association/ USA, 21 September 2012. Shakespeare Association, Stratford on CHE Conference, UWA, Avon, UK, 6–10 August 28 November 2012. Research Seminar: ‘The Weeping Child’, Medieval Round Plenary Presentation: ‘Feminist Yeo, Richard Table, University of Melbourne, Criticism of Shakespeare’, Indian 1 October 2012. Shakespeare Association, Khota, Seminar Presentation: ‘Early Rajasthan, India. 1–6 October 2012. Modern Scientific Note-takers: Van Gent, Jacqueline Between Two Worlds’, Centre for Keynote Address/Plenary the History of European Discourses, Invited Seminar Paper: ‘Emotions Presentation: ‘Animal Rights and University of Queensland, Research and the ARC CHE’, Romantic Sensibility’; Romantic 8 March 2012. Griffith Centre for Cultural Studies Association of Australasia Research, Griffith University, 2012 Postgraduate Symposium, Lecture/seminar: ‘Early Modern Australia, 17 February 2012. University of Melbourne, Note-takers and the Scientific 15–17 November 2012. Ethos’, History Dept, University of Paper: ‘Cross-cultural Encounters, Sydney, 20 August 2012. Colonialism and the Burden of Love: Williams, Carol Moravian mission encounters in the Introduction to Renaissance eighteenth-century’, Emotions and Paper: ‘Geoffrey of Monmouth Circle discussion: ‘Ben Jonson’s Empire Collaboratory, University of on Arthurian Travel’, the 8th “Timber”’, University of Queensland, Melbourne, 13 March 2012. AEMA conference, University of September 2012. Queensland, 28 April 2012. Invited keynote: ‘Gift-giving of Young, Spencer Paintings and Emotions in Early Paper: ‘What can we learn of music Modern Nassau Family’, Emotions  pedagogy from the Choristers’ Paper: ‘Tears and Fears: The and material objects, National laments?’, British World Conference, Emotions of Conversion among Museum Stockholm, 10 May 2012. Toowoomba, 5 July 2012. Early Dominican Recruits’, Australian Historical Association Meeting, University of Adelaide, 10 July 2012. Paper: ‘Vocabularies of Seminar paper: ‘The Hapsburg Vice,Expressions of Emotion?: The national shrine of Mariazell: Seven Deadly Sins, their Offspring, community and belonging’, School and the History of Emotions in of Historical & Philosophical the Middle Ages’, Languages Studies, University of Melbourne, of Emotion: Concepts, Codes, 3 May 2012. Communities Collaboratory, UWA, Plenary Panel Presentation: 24 August 2012. ‘Reading Disaster in Pre-Modern Europe’ on panel ‘Cultural Zika, Charles Responses to Disaster’, Australian Paper: ‘Visual Signs of Imminent Historical Association conference, Disaster in the 16th Century Zurich University of Adelaide, 12 July 2012. Archive of Johann Jakob Wick’, Introductory Paper (with Jenny Imaging Disaster Conference, Spinks): ‘Disaster, Death and University of Heidelberg, the Emotions in the Shadow of 1 March 2012. the Apocalypse: an Introduction’, Paper : ‘The Visual and Emotional Disaster, Death and the Emotions Codes Shaping Images of Natural in the Shadow of the Apocalypse Disaster: The Later Sixteenth- Symposium, University of Century Wick Archive’, Renaissance Melbourne, 1 September 2012 Society of America, Annual Paper: ‘Disaster and Apocalypse, Conference, Washington DC, Emotions and Time in Reformation 22 March 2012. News-sheets’ Disaster, Death and Paper: ‘The Representation of the Emotions in the Shadow of the Witchcraft and the Witch of Endor Apocalypse Symposium, University in Seventeenth-Century Germany’ of Melbourne, 2 September 2012. at Visual Acuity and the Arts of Paper: ‘The Face as Sign: the Communication in Early Modern Dry Witches of Jacques de Gheyn Germany Conference, Duke II’, Faces of Emotion: Medieval University, USA, 31 March 2012. to Postmodern Collaboratory, 6 December 2012.

ARC Centre of Excellence History of Emotions Annual Report 2012 109 Key Performance K indicators

research Findings

Performance Measure Outcome 2011 Target 2012 Outcome 2012

Books (published) 1 0 7

Edited books 1 0 6

Book chapters 8 5 24

Journal articles 10 5 16

Other (Refereed conference proceedings or papers) 1 7 4

Major performance practice research event 7 1 28

Number of invited talks/papers/keynote lectures 7 keynote plus 10 10 international given at major international meetings keynote plus 44 at international meetings 75 papers at international meetings

Number and nature of commentaries about the Centre’s achievements

• Media releases 13 5 8

• Articles 11 4 30

Georg Balthasar Probst, Auditus-L’Ouie-L’Udito-Das Gehör, 1750-1780. © Trustees of the British Museum. research Training and Professional Education

Performance Measure Outcome 2011 Target 2012 Outcome 2012

Number of attended professional training courses for staff 6 collabs 5 6 collabs and postgraduate students (include collaboratories and PATS) 6 masterclasses 5 Masterclasses 5 Study Days/ Workshops/ Research Meetings

Number of Centre Attendees at all professional training courses >35 32 >40

Number of new postgraduate students working on core Centre 3 3 3 continuing, research and supervised by Centre staff (including PhD, Masters 2 commenced in 2012 and Masters by coursework)

Number of new postdoctoral researchers recruited to the Centre 5 started plus 14 5 continuing, working on core Centre research 6 appointed to 8 commenced in start in 2012 2012 (one senior research fellow) 2 appointed in 2012 to start in 2013

Number of new Honours students working on core Centre 2 12 7 research supervised by Centre staff

Number of postgraduate completions and completion times by 0 0 0 students working on core Centre research and supervised by Centre staff

Number of Early Career Researchers (within 5 years 5 17 13 of completing PhD) working on core Centre research

Number of students mentored

• Centre postgraduate students 3 5 5

• Centre Honours students 2 12 7

• Postgraduates not supervised within the Centre but receiving 60 14 25 mentoring through attendance at PATS and collaboratories

Number of mentoring programs  6 5 6 collaboratories (collaboratories plus PATS)

ARC Centre of Excellence History of Emotions Annual Report 2012 111 international, national and regional links and networks

Performance Measure Outcome 2011 Target 2012 Outcome 2012

Number of international and visiting fellows 22 11 28

Number of national and international workshops held/ 7 4 15 organised by the Centre (collaboratories plus major Conference)

Number of visits to overseas scholarly departments, 30 23 94 centres and archives

Examples of relevant interdisciplinary research supported by the Centre

• Collaboratories 6 4 6

end-user links

Performance Measure Outcome Target 2012 Outcome 2011 2012

Number of government, industry and business >10 4 (Advisory >10 community briefings Board; 2 State Culture and Heritage bodies; 1 State Theatre/Opera Company)

Number and nature of public awareness programs

• Public lectures  7 3 54

• School outreach events (WA, SA, Vic, NSW, Qld) 11 5 96

Currency of information on Centre’s website  Established Updated Updated Updated weekly weekly weekly

Number of website hits (3 websites will be monitored)

1. CHE website 31,000 page 2,000 page from Oct views, approx. views, approx. to Dec on 8,353 visits 1000 visits new website 21,000 page views, approx. 6,200 visits

2. Confluence (CHE members networking site) - 12,000 page - views It was decided that monitoring this site was unnecessary because visits to the CHE website have exceeded the targets set for the two websites together

3. CHE-built wiki site In process of 200 page In process of being set up views being set up

Number of public talks given by Centre staff 3 12 40 organisational support

Performance Measure Target 2012 Outcome 2012

Annual cash contributions from Collaborating Organisations UWA $349,429 $437,352

U Adelaide $130,000 $130,000

U Melbourne $229,310 $229,310

U of Sydney $90,266 $45,113

UQ $112,796 $364,215

Annual in-kind contributions from Collaborating Organisations UWA $194,977 $194,977

U Adelaide $43,690 $43,690

U Melbourne $69,876 $69,876

U of Sydney $9,000 $9,000

UQ $45,170 $45,170

Annual in-kind contributions from Partner Organisations Umeå $21,369 $21,369

Freie $25,000 $25,000

Newcastle $45,522 $45,522

Fribourg $29,527 $29,527

Queen Mary,  $20,276 Uni of London $20,276

Other research income secured by Centre Staff

• ARC DP $507,000 $917,024

• ARC QEII/DECRA/DORA $0 $0

• Gottingen Visiting Fellowship $0 $0

• ANZ Bank/Wicking Trust Research Grant $36,000 $36,000

• Humanities in Europe Area (HERA) grant  Є333,000 Є333,000

Number of new organisations collaborating with,  2 6 or involved in, the Centre

ARC Centre of Excellence History of Emotions Annual Report 2012 113 national benefits

Performance Outcome 2012 Measure

Contribution to the National Research Priorities and the National Innovation Priorities

• Research Published research, and conference and seminar papers delivered, create and communicate new knowledge outputs enhance on social emotions and their role in building and strengthening communities. For instance: papers delivered understanding in collaboratories, and subsequently in public venues such as the ‘Bodies in Distress’ day (Newcastle, NSW, of social September 2012) analyse the emotions leading to suicide, and community emotional reaction to suicide and emotions violent death. Intensive historical scrutiny of how societies in the past responded to, and coped with, traumatic episodes such as wars and natural disasters (Disaster, Death and the Emotions in the Shadow of the Apocalypse Symposium, Melbourne, September 2012) can help us understand community reactions to natural disaster today. CHE research on emotions and cultural heritage, feeds into the development of community events such as the Kalbarri Zest Festival (a collaboration hailed as best practice both in Australia, and by an international meeting of scholars and practitioners of European heritage festivals—Budapest, European Science Foundation Meeting:  Re-inventions of Early European Performing Arts and the Creative City, Civic Regeneration and Cultural Tourism).’

• Policy papers At this comparatively early stage of research it would be premature to issue finished policy papers; however some directed to initiatives have been undertaken. For instance, Steven Barclay (Education and Outreach Officer, Adelaide) has enhancing social developed sample activities, lesson plans and subject outlines which integrate with the new Australian curriculum and cultural well- in History. The History Teachers Association of Australia also accepted for their annual publication an article by being Melissa Kirkham (Ecuation and Outreach Officer, UWA) and Philippa Maddern on the subject of integrating history of emotions into the new curriculum.

• New postdoctoral The appointment of nine new postdoctoral fellows and research fellows (two half time, so effectively 8 FTE appointments positions) to various nodes of the Centre has markedly increased Australia’s research capacity. Note that in most enhance base of years, a maximum of only 2-3 positions in premodern studies would be advertised in Australia, and most of these skilled researchers would replace existing appointments, rather than adding capacity in the field.

• Collaboratories Our targeted program of Distinguished International Visitors and speakers, and our own scholars’ international and overseas visits, coupled with our collaboratories and conferences, have undoubtedly enhanced collaboration. For instance; visits enhance • the presence of Professor Louis Charland at the Methods collaboratory (June 2012) resulted in initiation of a collaboration formal agreement between the University of Western Ontario and the Centre, to maintain further collaborative research. Professor Charland will be visiting the Centre for some weeks in 2013 to undertake collaborative research with Centre staff.

• The Performance Collaboratory run in conjunction with the ANZSA Shakespeare and Emotions conference (November 2012) allowed our Partner Investigator, Professor Peter Reynolds (University of Newcastle, UK), to direct a research performance of Ben Jonson’s play Epicene, using students from local Perth schools to take the place of the boy actors who would originally have performed the play. We believe that this was the first historically-informed production of the play in Australia.

• Professor Susan Broomhall’s visit to the Australian-Dutch Heritage Day organized by the Australian Embassy to The Netherlands in The Hague was part of the process leading to the award of some funding from The Netherlands for research and community engagement activities connected to the Zest Festival. Professor Broomhall’s and Professor Charles Zika’s contacts with Dutch universities also enabled the visit of Dr. Erika Kuijpers to address the Languages Collaboratory, and the ‘Disaster, Death and the Emotions in the Shadow of the Apocalypse’ symposium.

• Industry interns • An Industry Liaison Internship between the Centre and the Art Gallery of South Australia has been set up enhance (to commence in 2013), to work with AGSA to set up a joint digital exhibition around emotions and change, researcher-industry utilizing their early modern European art collection. Ms. Lisa Mansfield will hold the internship. collaborations

• Collaborative Collaborative publications with industry partners commenced this year. Two important examples are: publication • The National Gallery of Victoria has published the book of the Exhibition, The Four Horsemen: Apocalypse, with industry Death and Disaster, [Melbourne: National Gallery of Victoria, 2012], edited by C. Leahy (NGV)  partners and, J. Spinks & C. Zika, (CHE).

• The CHE lecture series supported by Musica Viva and Amarcord’s tour of Australia has resulted in an electronic publication: Singing Emotions: Voices from History historyofemotions.org.au/ publications-and-resources/general-publications-and-resources. Master of François de Rohan, Hours of Francis I, c. 1539–40. © Metropolitan Museum of Art.

Financial Statement Expenditure

Income 2012 Expenditure 2012

ARC Centre Grant $3,955,617 Salaries $1,774,962

Host Institutions cash support $1,205,990 Equipment $38

Travel $513,175

Scholarships $39,882

Other $278,253

Total $2,606,310

ARC Centre of Excellence History of Emotions Annual Report 2012 115 P Personnel

Surname Given Name Role in Centre Bailey Merridee Associate Investigator Baltussen Han Associate Investigator Barclay Katie Postdoctoral Research Fellow Barclay Steven Education and Outreach Officer Barnes Diana Associate Investigator Beaton Elizabeth PhD student Bollinger Marina Associate Investigator Bond Pam Administrative Officer Boys Penny Education and Outreach Officer Brooks Ann Associate Investigator Broomhall Susan Chief Investigator Bubenik Andrea Associate Investigator Charlton Cassandra Administrative Officer Chua Brandon Postdoctoral Research Fellow Coleman Deirdre Associate Investigator Czerw Catherine Associate Investigator Dalton Heather Associate Investigator D’Arcens Louise Associate Investigator Davidson Jane Deputy Director; Program Leader, Performance; Chief Investigator Downes Stephanie Postdoctoral Research Fellow Eckstein Nicholas Associate Investigator Ferber Sarah Associate Investigator Garrido Sandra Research Officer Garrod Raphaële Postdoctoral Research Fellow Gaukroger stephen Associate Investigator Ghose Indira International Partner Investigator Gundelach priscilla Administrative Officer Hart Janet Program Administrator/PA Haskell Yasmin Chief Investigator Hill Lisa Associate Investigator Holbrook Peter Chief Investigator Hultquist Aleksondra Associate Investigator James Paul Associate Investigator Jarzebowski Claudia International Partner Investigator Kambaskovic-Sawers danijela Associate Investigator Karant-Nunn susan International Investigator Kerr Heather Associate Investigator Kirkham Melissa Education and Outreach Officer Knecht Ross Postdoctoral Research Fellow Knight Stephen Associate Investigator Kovesi Catherine Associate Investigator Lawrence-King Andrew Senior Research Fellow Lee Penelope Education and Outreach Officer Lemmings David Program Leader, Change; Chief Investigator Leone Vikki Education and Outreach Officer Liliequist Jonas International Partner Investigator Lynch Andrew Associate Investigator McEwan Joanne Associate Investigator McIlroy Claire International Research Liaison Officer McIlvenna Una Postdoctoral Research Fellow MacKinnon dolly Associate Investigator McNamara rebecca Postdoctoral Research Fellow Maddern Philippa Director; Chief Investigator Maddox Alan Associate Investigator Marchant Alicia Research Associate Marshall Louise Associate Investigator Mews Constant Associate Investigator Millar Charlotte PhD student Millar Rebecca Zest Festival Project Officer Monagle Clare Associate Investigator Moore Grace Senior Research Fellow Neuendorf mark PhD student O’Connell Lisa Associate Investigator O’Loughlin Katrina Associate Investigator/Postdoctoral Research Fellow Owens Samantha Associate Investigator Phiddian Robert Associate Investigator Potter Ursula Associate Investigator Prince Rebekah Research Officer Randles Sarah Postdoctoral Research Fellow Randolph Adrian International Investigator Read Richard Associate Investigator Reuter Elsa PhD student Reynolds Peter International Partner Investigator Ruys Juanita Chief Investigator Scott Alison Associate Investigator Scott Jessica Administrative Officer Soyer François Postdoctoral Research Fellow Spinks Jennifer Associate Investigator Spurr Barry Associate Investigator Stockigt Janice Associate Investigator Strachan Rebecca Administrative Officer Tap Katrina Administrative Officer Tarantino Giovanni Postdoctoral Research Fellow Trigg Stephanie Program Leader, Shaping the Modern; Chief Investigator Tuffrey Tanya Centre Manager Van Gent Jacqueline Postdoctoral Research Fellow von Kaschke Erika National Communications Officer Walker Claire Associate Investigator Watts Gabriel Education and Outreach Officer Welch Evelyn International Partner Investigator White Robert (Bob) Program Leader, Meanings; Chief Investigator Williams Carol Associate Investigator Woods Penelope Postdoctoral Research Fellow Yeo Colin PhD student Yeo Richard Associate Investigator Young Spencer Postdoctoral Research Fellow Zika Charles Chief Investigator

ARC Centre of Excellence History of Emotions Annual Report 2012 117 “ Overall, then, 2012 has proved a packed year — fast-paced, exciting, expansive, intensive, and innovatory. Thanks to the enthusiasm, dedication, and sheer hard work of all our staff, both academic and professional/administrative, we have, I think, both built successfully on our establishment in 2011, and provided an outstanding platform for further discoveries and developments in 2013.”

Philippa Maddern ARC Centre of Excellence History of Emotions Annual Report 2012 119 ARC Centre of Excellence for the History of Emotions, Europe 1100-1800 Faculty of Arts The University of Western Australia M201, 35 Stirling Highway, CRAWLEY, WA 6009, Australia Tel: +61 86488 3858, Fax: +61 8 6488 1069 Email: [email protected] www.historyofemotions.org.au