Sourcing Emotions Abstracts Bios _SF - ARC Centre of Excellence ...

Sourcing Emotions Conference Abstracts and Biographies DRAFT Version Plenary Speakers:AMELANG JamesUniversidad AutónomaTitle:The Sources of Mourning: Autobiography, Ritual, SincerityAbstract:This talk focuses on how to interpret the relatively abundant autobiographical sources onmourning the dead in early modern Europe. After reviewing the range of manifestations ofgrief found in diverse sorts of personal documents, it then explores some of the complexitiesprobed in genre-specific and cross-cultural studies in art history and anthropology. Specialattention will be paid to the nexus between expression and sincerity, understood as anespecially problematic requirement of cultural and religious modernity.Biography:James S. Amelang has been Professor of Early Modern History at the Universidad Autónomaof Madrid since 1989. He has published several works on the urban history of early modernEurope, beginning with Honored Citizens of Barcelona: Patrician Culture and ClassRelations, 1490-1714 (Princeton University Press, 1986), and has translated and edited AJournal of the Plague Year: The Diary of the Barcelona Tanner Miquel Parets, 1651 (OxfordUniversity Press, 1991). He is also the author of The Flight of Icarus: Artisan Autobiographyin Early Modern Europe (Stanford University Press, 1998), and has co-edited severalcollections of essays. His most recent book is Parallel Histories: Jews and Muslims inInquisitorial Spain (Louisiana State University, forthcoming in 2013). While his main projectnow is to finish The Oxford History of Early Modern Spain, his future plans includepublishing a study (tentatively titled Writing Cities) of diverse aspects of urban discourse inearly modern Europe.CARTER TimUniversity of North CarolinaTitle:From Conception to Delivery: Sourcing (Musical) Emotions in Early Baroque ItalyAbstract:When Claudio Monteverdi’s (1567–1643) second opera, Arianna, was performed in Mantuain 1608, “there was no lady who failed to shed some little tear” at the protagonist’s lament forbeing abandoned by her lover, Theseus, on the desert island of Naxos. That emotionalresponse from (at least part of) the audience was explicitly linked to the rhetorical anddramatic skills of the commedia dell’arte actress who played the role of Ariadne, therenowned Virginia Andreini. Devising a musical monologue was little different from devisinga spoken one: the process broke down into the typical five canons of classical rhetoric:inventio, dispositio, elocutio, memoria, and actio (or pronuntiatio). The tearful ladies in theaudience were clearly moved by Andreini’s actio, but what role did the performer play in thelament’s elocutio, i.e., the choice of (musical) vocabularies and syntaxes to persuade andmove the listeners? Other of Monteverdi’s music seems to place elocutio more firmly in thehands of the composer, who engages with a newly emerging semiotic for musical expressionby way of codified styles and gestures that became fixed in later Baroque Affektenlehre butfor the moment was still in flux. This leaves the performer(s) with less room for maneuver,and places different demands on the listener’s senses and sensibilities, or if you prefer,involves a different play of what Aristotle would have called ethos, pathos, and logos. Whatdoes all this tell us about music in early seventeenth-century Italy in terms of how it was

economic development, the intensification of global interaction, and the increasing mobilityof people, goods and information, local identity is increasingly being challenged. In my paperI will discuss how early modern Europe, predominantly as embodied in the legaciesof sixteenth to eighteenth century Portuguese and Dutch expansion in the East, is reflectedand imagined in what is considered as the heritage in Japan today. The paper will specificallyexamine how the emotional response and nostalgia regarding this heritage of European originwith the celebration of “tradition” in Japanese heritage and discourse which historically hascarried a strong emphasis on national identity and “Japan-ness”.Biography:Natsuko has a PhD, Master of Cultural Heritage and Museum Studies, Master of BusinessAdministration, Graduate Diploma of Education and Diploma of Portuguese Language andCulture and Bachelor of Arts. She is a co-editor of Intangible Heritage (Routledge, 2009),part of the well regarded Routledge series on heritage. It is due to be translated in Arabic,supported by Saudi Arabian Ministry of Culture, Arts and Heritage. She has also contributedchapters in Managing Cultural Landscape (Routledge, 2012) and Theorising Heritage(Routledge, forthcoming). Her forthcoming (Routledge, 2014), monograph, tentativelyentitled Heritage Conservation in Japan’s Cultural Diplomacy: Heritage, National Identityand National Interest, will establish a major framework for understanding the development ofglobal heritage discourse and practice. She has studied and practised the Japanese arts of teaceremony, flower arrangement and traditional fabric dying technique and Aikido in Japan.She is a voting expert member of the International Scientific Committee on IntangibleCultural Heritage for International Council on Monuments and Sites.ALESSI, PatriciaThe University of Western AustraliaTitle:Performing as one of “…the King’s Whore[s]”:Translating the emotive performance practicesof Mary “Moll” DavisAbstract:Seventeenth-century English opera and its premiering prime donne hold a unique position inoperatic history. They translated the idea of “opera” in a different way than their Italian,French or German counterparts, an approach which is problematic to today’s interpreters.Spanning the artistic genres – from opera to drama – these women not only sang but alsoacted a huge range of roles, encompassing a broad emotional palette. With such anexceptional past, how can we begin to translate the work of these women in establishing theearly operatic roles and their emotional artistic repertoire for today’s operatic world – or,indeed, the artistic world in general? The purpose of this lecture-recital is to provide the firststeps in translating these beguiling early English prime donne analogues and theircorresponding emotional repertoire via one of the first early English female publicperformers, Mary “Moll” Davis. By unpacking her training, place in society and theinfluence of her gender, we can begin to understand her unique performance career. What ismore, by offering the first complete artistic canon for this performer, we will begin to exploreearly English treatments of the female opera singer (or, rather, female artist). By specificallyperforming several operatic arias from her repertoire, we can further delve into her voice andthe music she sang as well as the role types she portrayed and the emotions assigned to them.This lecture-recital will help to bridge the conceptual gap for today’s female opera singer,providing the understanding and traditions necessary in order to approach singing thisrepertoire. Such a route may enable the contemporary operatic singer to reconnect to herpreceding English prime donne analoguesBiography:Patricia Alessi, born in Revere, MA, USA, graduated with her Bachelor of Music in ClassicalVoice (Performance) and Bachelor of Arts in Cultural Studies from the University of NorthCarolina at Chapel Hill in December 2008; gained her Master of Music in Opera Performancein May 2011 from the University of British Columbia; and, began her PhD Candidature inMusic (Research - Performance Practice) in September 2011 at the University of Western

Australia under the supervision of Winthrop Professor Jane Davidson (UWA), WinthropProfessor Sue Broomhall (UWA) and Dr Alan Maddox (Sydney Conservatorium). Patricia isalso an active opera singer. She currently studies voice with Dr Jane Davidson and is coachedby Georg Corall. An artistic list can be found at www.patriciaalessi.com.AMSLER MarkUniversity of AucklandTitle:Grammar and Pragmatics of Emotion in the later Middle AgesAbstract:A major challenge for understanding behaviours, emotions and attitudes of people in the pastand their representations and evaluations of real and fictional events is the lexicon. We knowthat word meanings change over time and across languages, as illustrated by the shifts andvicissitudes since the early fourteenth century of the meanings and connotations of theEnglish word “gay” as an emotional descriptor and social category. If language and semanticschange and if language is related to emotional sets and behaviours, then do emotional liveschange as well? Another challenge relates to linguistic and cognitive theory. Likecontemporary philosophers and linguists, medieval and early modern grammarians (akalinguists and philosophers of language) theorised about the sources of emotions and theirrelations to spoken and written utterances. Historians of linguistics and language change havecharted some of this material and can offer a distinct linguistic and cognitive perspective onthe complex history of emotions. In this paper I discuss how of late medieval grammarians,dictionary makers, philosophers and theologians provide important and sometimesdefamiliarising windows on how emotional discourses and emotional meanings wereconstructed and theorised and how they have changed. I illustrate a range of materialsavailable from the history of linguistics by exploring pragmatic analyses of emotiveutterances and grammatical accounts of the Interjection as a word class in medieval and earlymodern philosophical and pedagogical grammars, vernacular drama and devotionalhandbooks.Biography:Mark Amsler teaches medieval studies, writing studies and linguistics at the University ofAuckland. His books include Etymology and Grammatical Discourse in the Early MiddleAges and, most recently, Affective Literacies: Writing and multilingualism in the later MiddleAges.BAILEY, MerrideeUniversity of AdelaideTitle:Reading emotions in merchant practices in late medieval and early modern England, c. 1450-1650Abstract:To what extent did emotional discourses surrounding ethically complex merchant practices,such as usury, affect the behaviour and conduct of London’s merchants? Is it possible touncover emotions in the economic sphere by reading across archival and literary sources? Bysearching for the emotional states and experiences associated with perceptions of greed, trust,the sexual reputation of (women) merchants, and honour, it is possible to demonstrate thatthere is a significant underestimation of the role emotional interactions play in financialactivities. However, which emotions were discussed in the archival and legal records ofmerchants, and in the printed tracts which circulated in London? In this paper I will belooking for representations of emotions by examining the language of merchant transactionsin Chancery cases, Guild records and in print culture. This paper suggests that by searchingfor representations of emotions and morality in economic contexts that we can see how

medieval and early modern merchants were fully alive to the emotions underpinning theiractions.Biography:Merridee Bailey is a Research Fellow with the ARC CHE at the University of Adelaide. Herwork focuses on merchant thought and conduct across the late medieval and early modernperiod, in particular how morality and emotions can be seen within mercantile activities. Herprevious work on morality and conduct investigated the socialisation of medieval children,Socialising the Child in Late Medieval England, c. 1400-1600 (Boydell & Brewer, 2012).BARCLAY. KatieUniversity of AdelaideTitle:Greed, Gambling and Family Ties: Eighteenth-Century Inheritance DisputesAbstract:While not always offering such juicy material as homicide or adultery, civil suits oftenprovided the press with salacious insights into family life that had the power to shock and awe.This paper will explore high profile inheritance disputes between family members ineighteenth-century Britain. More than simply a mechanism for transferring property betweengenerations, inheritance practices were of significant political importance. Historians, such asLloyd Bonfield and Eileen Spring, have highlighted the ways that inheritance practicesbecame increasingly restrictive across the eighteenth century in order to protect lineage andfamily property at the expense of individual rights, while Susan Staves has demonstrated thatthe courts were increasingly unwilling to cede control of property to women. As well asprotecting familial property from wastrel heirs and remarrying widows, this shift wasdesigned to reinforce the political power of landed families, during an era where, conversely,demands for the expansion of democracy were growing. Yet, these changes did not gouncontested. Inheritance suits highlight the ways that questions of rightful inheritance andproperty ownership were discussed and explored within families and within the public sphere.Such suits were represented as highly emotionally charged, underscoring where the pressexpected public sympathies to lie, as well as demonstrating the continuing fear and concernthat conflict-ridden families created in an era where the family continued to be understood asthe basis of social order. An exploration of the emotions described – of sibling and parentallove, of loyalty to family, of selfishness and greed – highlights the extent to which decisionsaround inheritance were not simply viewed as economically or dynastically rational, butunderstood to be created through messy, emotional debates between family members.Biography:Katie Barclay is a postdoctoral research fellow with the ARC Centre of Excellence for theHistory of Emotions, University of Adelaide. With David Lemmings and Claire Walker, sheis currently working on a monograph that explores the role of emotion in social change,through an analysis of representations of the family in the eighteenth-century press. She issimultaneously trying to complete a monograph provisionally titled, Performances ofMasculinity: Men on Trial in Ireland, 1800-1845, that explores how men performed theiridentities in a courtroom context and the implication for power relationships in Irish society.She is the author of Love, Intimacy and Power: Marriage and Patriarchy in Scotland, 1650-1850 (Manchester UP, 2011), and of several articles on marriage and family life in Scotlandand Ireland.BARNES, DianaThe University of Western AustraliaTitle:Emoting Suburbia: London Citizen Comedy of the 1630sAbstract:

Covent Garden was London’s first purpose built suburb. It was land originally attached toWestminster Abbey that Henry 8 appropriated after the dissolution of the monasteries andgave to the Earl of Bedford in the 1552. In the early seventeenth century the third Earl ofBedford determined to make his holdings profitable through entrepreneurial urbandevelopment. Bedford received a licence for the development on February 1630/1. Whatemerged was an Italianate open piazza bordered by Bedford House the Palace built for thefamily a couple generations earlier, a church designed by Inigo Jones, and rows of terracedhouses with overhanging porticos. The design was geared not simply to expand housing inthe city, but to segregate urban space according to social station. The Covent Gardendevelopment was pitched specifically at the well-to-do country gentry relocating to London insuch numbers that Charles I issued edicts in the 1630s ordering them to return to their countryseats and resume their roles there. Citizen comedy performs some of the ideological worknecessary to make such rapid social and spatial change emotionally palatable to aheterogeneous urban population accustomed to brushing shoulders with people of all ranks atthe theatre, marketplace or streets. Richard Brome’s play The Weeding of Covent Garden(1632), for example, opens at a Covent Garden building site. A builder called Rooksbill and aJustice of the Peace called Cockbrain discuss how to ensure that the magnificent newbuildings being erected are “well tenanted and inhabited by worthy persons”. The nameRooksbill and Cockbrain reference character traits in age-old dramatic tradition, but Rooksbilland Cockbrain are determinedly contemporary figures anchored to a very specific moment inhistory: the birth of suburbia, that is an idea of the city as made up of planned self-containedyet inter-linked communities. Brome makes use of the genre of citizen or city comedydeveloped by the previous generation of playwrights to map new emotional topographiesrequired by the urban space and architecture of Covent Garden. This paper will demonstratehow the emotional flows that work to make the comic plot resolution seem right are deeplyimbricated in history.Biography:Diana Barnes is the S. Ernest Sprott Fellow at University of Melbourne and a ResearchAssociate with the Centre for the History of Emotions at the University of Western Australia.She has published on the cultural history of early modern women. She has recently publisheda book called The Imprint of Community: English Letters 1580-1660 (Ashgate, 2013). Hercurrent research includes a book provisionally entitled The Politics of Civility: HistoricisingEarly Modern Genres and a co-authored book on the history of women’s letters.BENNETT, AlanaThe University of Western AustraliaTitle:“For musike meueþ affecciouns”: Using popular literature to reconstruct medievalperformance practiceAbstract:Although manuscripts may preserve written texts from the Middle Ages, oral texts are lost assoon as their performances cease. Many medieval romances preserve within them musical andnarrative performances, however, we do not have a reliable record of how they wereperformed or arranged. In this paper I argue for the use of popular literature in reconstructingmusical and narrative performance. I will examine a range of medieval romances and,drawing comparisons to contemporary musical evidence, explore how we can go aboutreconstructing historical performance practices. The hyperbolic tendencies of popularliterature are so effective at communicating lost performance contexts because of the use oflanguage that deliberately presents and evokes extremes of emotion. Emotions are inscribedin musical performance and are also used within romance narratives to describe the receptionof a performance, demonstrate the abilities of a character or suggest a certain playing style.The emotional vitality of these performance passages gives reconstructors of historicalperformance a tangible link to the past. When used alongside surviving musical notation,musical treatises, accounts of performances in historical records, and iconography, these

omances are, I will argue, a highly valuable and informative source for historicalperformance practice.Biography:Alana Bennett recently completed her Honours in Medieval and Early Modern Studies at theUniversity of Western Australia. Her dissertation examined musicians, performers andnarrative theory in a range of Middle English, Old French and Anglo-Norman romances. Shehopes to continue her postgraduate studies in Early Medieval literature and performancepractice.BONZOL, JudithUniversity of SydneyTitle:“Passions of the Heart”: Bewitchment, Possession, and Emotional Responses to Death andDying in Early Modern EnglandAbstract:In the early modern period mortality rates were high, especially for babies and youngchildren. The loss of a child was a common experience in early modern England and mostfamilies would have been familiar with the experience. But grief and sorrow over the loss offamily members, while just as intense then as it is now, manifested differently in the earlymodern period. In an environment where the existence of witches was accepted as fact,attributing extreme, severely debilitating, and painful symptoms to supernatural causes is notat all surprising. Blaming witches and demons for chronic illnesses and the death of children,however, was more than a scapegoating or coping mechanism, and the reasons why witcheswere accused in some cases and not others were complex.This paper uses accounts of bewitchment and possession to investigate the emotionalexperiences of chronically sick and dying children and their families in early modernEngland. These accounts, mostly ignored by historians of medicine and childhood, provideample evidence that children and their families experienced a range of emotions, or passions,not just grief and sorrow. Moreover, cases of possession are particularly revealing aboutchildren’s experiences of illness and approaching death, and the prevailing religious culturemeant that passions could be moderated or enhanced, provoked or suppressed. While werecognise the basic emotions that are revealed in these accounts, the contemporaryunderstanding of the way the passions manifested in the body has changed profoundly overtimeBiography:Judith Bonzol is an Honorary Research Associate in the History Department at the Universityof Sydney. Her recent publications include, “Afflicted Children: Supernatural Illness, Fear,and Anxiety in Early Modern England”, in Diseases of the Imagination and ImaginaryDiseases in the Early Modern Period, ed. Yasmin Haskell (Turnhout, Belgium: Brepols,2011). She has also published essays on demonic possession, witchcraft, and medicine inParergon and Renaissance and Reformation.BROOMHALL, SusanThe University of Western AustraliaTitle:Emotional Currents in the Indian Ocean: VOC Correspondence and Shipwrecks on AustralianShoresAbstract:This paper examines the use of affective language within Vereenigde Oost IndischeCompagnie (VOC) correspondence, in relation to distressing and traumatic moments ofshipwreck upon the Western Australian coast during the seventeenth century. At least twoVOC ships were known to have been wrecked on the treacherous west coast, in addition toseveral documented near-miss episodes: the Batavia which struck Morning Reef near BeaconIsland in 1629 and the Vergulde Draeck wrecked off Ledge Point, just over 100 kilometresnorth of Perth in 1656. Remains of two further ships have been confirmed for the following

century: the Zuytdorp destroyed on the remote coast between Kalbarri and Shark Bay in 1712,and the Zeewijk which hit Half Moon Reef in the Houtman Abrolhos islands in 1727. The fateof several others VOC vessels which disappeared in the same waters is yet to be confirmed. Inthis paper I explore the uses and meanings of particular affective language and descriptions ofemotional states as they were used by varied VOC officials to reveal which emotions could beexpressed and by whom, as well as gauge the effect of such expressions in the political,economic and social contexts in which correspondence, reports and logs passed through theVOC administration on their way to Patria.Biography:Susan Broomhall is a CI in the ARC Centre for the History of Emotions where her researchexplores the emotional history of medieval and early modern Australia.BRYANT, DianaIndependent ScholarTitle:“Madama mia amantissima”: signs of affection in the private correspondence of Eleonorad’Aragona and Ercole I d’Este (1477-79).Abstract:By the second half of the fifteenth century the marriage alliance had become a fundamentalpart of the process by which mutually-advantageous political ties were forged between theruling houses of the Italian peninsula. These projected unions were impersonal affairs inwhich the bride had little or no involvement and no thought was given to either thecompatibility of the couple or the possibility that they might be happy together. In July 1473,the arrival in Ferrara of Eleonora d’Aragona, daughter of Ferrante I of Naples, as the bride ofDuke Ercole d’Este, signalled the beginning of one such marriage, but one which defied theodds against it. Despite its origins in blatant political opportunism, the marriage betweenEleonora and Ercole appears from the outset to have been a happy and loving partnership.Eleonora had early shown herself to be a remarkable wife, bearing her husband the first of sixhealthy children, while enthusiastically and capably sharing with him the administrativeburdens of their state. Ercole had welcomed his young wife great kindness, consideration andrespect, continuing to demonstrate to her a sexual fidelity uncommon for the age. The lettersthat passed between the couple during separations made necessary by affairs of state are a richsource of information about the happy state of their marriage. Nowhere is this more apparentthan in the correspondence generated by Eleonora’s visit to Naples in 1477 and during theterrible events of the Pazzi War which erupted a year later. In this paper I will examine theletters exchanged by the couple in the years between 1477 and 1479 and present convincingevidence that theirs was a very happy marriage, characterised by mutual affection, loyalty andrespect.Biography:Diana Bryant obtained her BA (Syd) in1964; a Dip Lib (NSW) in 1965; and her Dip Arts,Hons I (Syd) in 2002. Her PhD (Syd) 2012 was on “Affection and Loyalty in an ItalianDynastic Marriage: the Early Years of the Marriage of Eleonora d’Aragona and Ercole d’Este(1472–1480)”. She has presented papers at RSA in both 2012 and 2013.BURTON, JillUniversity of South AustraliaTitle:Family Feeling—Lady Anne Clifford and her InheritanceAbstract:Lady Anne Clifford (1590–1676) spent most of her life fighting to regain her inheritance. Sheachieved this by default and mid-seventeenth century took possession of her lands andproperties in the North of England, where she spent the last, most productive decades of herlife. This paper considers Lady Anne’s emotions as an Early English woman (daughter, wifeand mother). Using documentary resources, it notes her resistance to her male relatives andthe King of England and Scotland, James I and VI, who were against furthering her claims,

and that she cared so much about her inheritance that she was prepared in her first marriagefor her oldest child, a daughter, to become a pawn in her marital battles.Ultimately, Lady Anne outlived her rival claimants. Everything she did afterwards functionedas testament to her family bloodline. Her journals, which she had begun in her youth, were inold age augmented as public documents substantiating her family claim. She restoredproperties and estates, built almshouses, and erected monuments. The monument erected nearBrougham Castle, the Countess’s Pillar, commemorates her last parting in April, 1616, fromher mother, Lady Margaret Russell, Countess of Cumberland, the original inspiration forAnne’s persistence. The Great Picture Lady Anne commissioned for Appleby Castle presentsa strikingly different portrait of family feelings from her presence recorded in the Wiltonfamily picture, which was commissioned by her second husband before she removed to theNorth. Thus, Lady Anne Clifford has left behind tangible evidence of what she cared about.What did she feel? What, emotionally, did she leave her descendants?Biography:Dr Jill Burton (an associate professor with a main career in language teacher education andapplied linguistics) has recently begun work on women, estate and identity from the earlymodern period to the twentieth century. Her scholarly work in this broad area already includesa forthcoming review article for Essays in Criticism on Thomas Hardy’s use of dress.CARPENTER, JenniferAustralian Catholic UniversityTitle:The Emotional Landscape of Hadewijch of AntwerpAbstract:The paper examines the emotional landscape of the mystical writer, Hadewijch of Antwerp,and seeks to situate that landscape in its context in the Low Countries of the thirteenth century.Hadewijch’s works are noted for their incorporation of the powerful themes, images andvocabulary of courtly love lyrics into a unique mystical theology. “Love” (“Minne”) forHadewijch shares many characteristics of the personified “Love” of courtly romance and lyric,and yet her work greatly extends the creative possibilities available to Love personified, byfusing together the traditional aims and actions of courtly “Love” with a mystical spirituality.Love is represented first and foremost as a figure of immense power, who cannot be resisted,who is able to enforce her will, who demands submission. Yet, paradoxically, despiteHadewijch’s passionate insistence on the importance of serving Love at all costs, she is alsoadamant that emotion, especially positive emotion, is not to be trusted; being easily swayedby emotion is for her a sign of spiritual immaturity. Reason must be used to evaluate andcontrol emotion; noble reason is what saves people from the deceptions of human feeling.This paper will examine the different places in which emotion is located, theorised, celebratedand rejected in the works of Hadewijch, and connect this emotional landscape to the socialcommunity projected in the texts. It will then seek to draw on analysis of a variety ofthirteenth-century texts from the Low Countries to situate the emotional world constructed byHadewijch within its contemporary emotional environment.Biography:Jennifer Carpenter is a Lecturer in History at the Australian Catholic University (Strathfieldcampus). She completed her PhD in Medieval Studies at the University of Toronto. She hasrecently been combining her long-standing research interests in religious and women's historywith research into the history of emotion in the Middle Ages.CHUANG, ChristinaNanyang Technological University, SingaporeTitle:Moral Emotion and the Conflicted Self in HutchesonAbstract:

Francis Hutcheson (1694-1746) is often interpreted as offering a positive outlook on humannature because his moral philosophy seems to suggest that 1) the self is capable of perfectingitself over time and 2) the self possesses no inherent conflict. Furthermore, contrary to hispredecessors, Hutcheson seems to regard emotions as a positive aspect of human reality as heclaims that benevolence is a natural sentiment in human beings. Benevolent desire, in turn, isthe foundation of all morally good acts so morality is essentially grounded in emotions ratherthan rational thinking. In this paper I will argue that this is not a complete understanding ofHutcheson. I will claim that Hutcheson’s view on human nature is essentially negativebecause the self cannot help but deviate from its nature. Even though morality is grounded ina natural sentiment (i.e., an emotion), emotions are also the cause of deviation from our nature.For Hutcheson, we are the (only) kind of being who are capable of breaking away from ournatural determinations because we are a unique combination of reason and emotions. Weexperience conflicts on two different levels: between our calm and violent emotions, andbetween reason and emotion. The end of all human activity is therefore about achievingbalances between these two proposed conflicts. If we understand the role of emotions inHutcheson’s philosophy as such, we will see that rational capacity is not the only thing thatseparates us from all other creatures in the world. Rather, it is our ability to feel certainemotions (viz., benevolent desires) towards those who are not rational agents that makeshuman beings truly unique.Biography:Christina was born in Taiwan and raised in Vancouver, Canada. She received her Ph.D. inPhilosophy from the University of California, Irvine, in June 2012 and moved to Singapore inAugust 2012. Her main research interests are the history of ethics, moral psychology andclassical Indian Philosophy. She is particularly interested in the relation between rationalthinking and emotions when it comes to making a moral judgment. She is currently workingon developing a more holistic account of the nature of moral judgment that incorporatesphilosophy, psychology and neuroscience. She is also a certified yoga teacher and an avidrock climber, and hopes that her passion for yoga and philosophy will merge in the nearfuture.COLLINS, DenisThe University of QueenslandTitle:Emotion, Text and Counterpoint in Music of the Counter-ReformationAbstract:The Counter-Reformation pointed to new-found resolve in strengthening the church and itsteachings and in countering the challenges posed by Protestant reformers. Musiciansparticipated in this undertaking by not only adhering to the Council’s guidelines for the use ofmusic in liturgical contexts but also by exploring specific emotional contexts suggested bytextual material through highly original uses of the resources of modal counterpoint. The richtradition of polyphonic settings of motets and mass ordinary movements served as vehiclesfor emotionally driven explorations of late Renaissance religious feeling. This study willfocus on representative works by Giovanni Pierluigi da Palestrina and Tomas Luis da Victoria,and, starting with close examination of texts chosen for musical settings by these composers,will assess possible emotional aspects that may have been foremost in composers’ structuralplanning. Particularly useful in this regard is the GEMS (Geneva Emotional Musical Scale)model whose application to music has been advanced in a number of studies by Zentner et al.I will compare approaches by both composers to specific emotional contexts, demonstratinghow each effectively uses the techniques of counterpoint to underline the emotionaldimensions of the texts chosen. I will examine especially how composers achieve diversity insettings of mass ordinary movements whose texts could be considered emotionally neutraldue to their repetition each time the mass is celebrated. One fruitful avenue is to evaluate howsuch imitation (or “parody”) masses derive their emotional contexts from the texts of theoriginal compositions upon which they were based. The results of this study will provide

groundwork for a more complete understanding of the interconnections between music,emotion and church doctrine in the late sixteenth century.Biography:Denis Collins is Senior Lecturer in Musicology and Acting Head of the School of Music atthe University of Queensland. He has published widely on Renaissance compositionaltechniques, especially fuga, canon and related imitative procedures. He has recentlycompleted the article on Counterpoint for Oxford Bibliographies in Music, and his editedbook on methodologies of music theory research will be published by Peter Lang in 2013.CORALL, GeorgThe University of Western AustraliaTitle:The Eloquent HautboyAbstract:Scholars have investigated “music as speech” and the “weapons of rhetoric” in musicalexecution in order to understand the importance of text in historically-informed performancepractice (HIP). This has led into the current vocal practice of declamation in, for example, thecantatas of Johann Sebastian Bach, who communicated his emotional messages to thecongregation in part through the careful selection of a suitable instrumental soundscape.Johann Mattheson (1681-1764) referred to the oboe as “der gleichsam redende Hautbois, Ital.Oboe” (the eloquent hautboy, Italian oboe) and reckoned it to be one of the instruments tomost closely resemble the human voice. The investigation of contemporary treatises thatprovide commentary on articulation and rhetoric, as well as documents dealing with thebalance of the forces available for Bach’s own performances allow conclusions to be drawnon sound balance and transparency in the performance of Early Music on period instruments;however, it appears that many present-day habits in HIP may not withstand scrutiny.Currently much attention is given to the close focus on articulation and text delivery requiredby historically-informed singers, whereas Early Music instrumentalists are deemed to merelysupport the vocalist’s words. Decades of personal experience in aiming to reconstructhistorical hautboy reeds, together with a thorough analysis of wind instrument treatises datingfrom the seventeenth and eighteenth centuries reveal that “articulation” referred to the attackof notes as means to imitate text rather than merely defining the beginning and ending of a“vocal” sound on an instrument.Biography:Georg Corall began his tertiary studies in recorder and harpsichord at the Hochschule derKünste, Berlin, and concluded studies of historical oboe instruments and recorder with RenateHildebrand (Hamburg) at the Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy”, Leipzig. He also holds a teaching degree in historical woodwinds from theHochschule für Musik, Hamburg. He completed his practical education at the ScholaCantorum Basiliensis (Switzerland) from 1996 to 1998 in Baroque oboe with Michel Piguet,Baroque bassoon with Claude Wassmer, and harpsichord with Massimiliano Rasschietti. Inaddition to his own ensembles (Perth Baroque; les hautboïstes de prusse; CantatenBandeBerlin) he has performed and recorded with musicians such as Hans-Martin Linde, HermanMax, Joshua Rifkin, Holger Eichhorn, and Gerhard Schmidt-Gaden; and ensembles such asCappella Coloniensis, Orchester der Schola Cantorum Basiliensis, Aradia Baroque Toronto,Tölzer Knabenchor, Montréal Baroque, and Musicalische Compagney Berlin. He is currentlystudying for a Doctor of Musical Arts degree at The University of Western Australia (UWA).Georg was awarded the John Hind Scholarship in his first year of study in Perth, and isUWA’s inaugural recipient of the Vice-Chancellor’s “Harpsichord Scholarship”.DAVIDSON, JaneThe University of Western AustraliaTitle:

Roundtable: “Musical (e)motions, 1100–1800: reading (and hearing?) early modernmanuscripts”Abstract:Musicology invests a great deal in music manuscripts, not just as musical sources but also asevidence of transmission and reception on the one hand, and of compositional process or evenauthorial (self-)expression on the other. There is comfort in the illusion that when poring over,say, a Mozart or Beethoven autograph, we are somehow close to the source—the composer’svoice—and whatever creative or other impulses might lie behind it. For much of the Medievaland early modern period, however, the “source”—however it might be defined—is far moreelusive. We have very few composers’ autographs at least until the mid seventeenth century,and the relationship between manuscripts and their immediate performing or other contexts ismore often fragile than not. Thus musicologists adopt a sophisticated range of codicologicaland other techniques to engage with these musical texts: their construction, function, andcontext. But such techniques are often silently motivated by similar impulses to those lyingbehind the illusion that offers such comfort for later periods: that we might indeed find thesource behind the source. Stemmatics is one case in point; another is the frequent attempt toinvest scribes, or even their products, with some kind of authorial presence in addition to, ormore often in lieu of, that of the composer. These fallacies are often intentional—i.e., theyare adopted knowingly because they are useful—but they also succumb to one or other formof the intentional fallacy. What benefit accrues from trying to recover the voices lying behindthese sources, and how does hearing them impact our work as scholars and performers? Whathappens when print culture intervenes as a means to validate one voice in preference toothers? And how do manuscripts post-print become differently valorised both within themusical markets of the time and by modern scholars? These are not all music-specificquestions, but seeking to answer them through music may offer new ways of thinking aboutthese problems across a wide range of fields. Each presenter will offer a 10-minutepresentation, then discussion will be opened to the floor. Individual titles are as follows:Kathleen Nelson: “Considering meaning and partial notation ca. 1100”.Andrew Lawrence-King: “Exploring the Play of Daniel, 13th-century drama, by students atthe school of Beauvais Cathedral”.Denis Collins: "Emotion and enigma in early modern music manuscripts".Alan Maddox: "Early modern music manuscripts as emotional mediators and objects ofdesire".Tim Carter, “From Script to Print ... to Script: Emotion and Meaning in (Some) Early ModernMusical Sources”.DAVIDSON, JaneThe University of Western Australia(with Sandra Garrido)Title:Music and Mood Regulation:Musical Prescriptions in the Medieval and Early Modern WorldAbstract:The powerful effects that music can have on mood regulation and feelings of wellbeing havebeen reported since at least the Ancient Greeks. Yet during the eighteenth century, adichotomy emerged between the arts and sciences that reduced interest in music as a tool forwellbeing. Interest has gradually been re-kindled, ignited in the first decades of the twentiethcentury when live music was used in hospitals to “treat” soldier survivors of the First WorldWar. Nowadays, the use of music in the fields of health and mental health is becomingmainstream, with slogans such as “sing for your life” and “a tune a day keeps the doctor away”being associated with growing numbers of community music groups. The discipline of musictherapy continues to occupy a role of increasing prominence in multi-disciplinary treatmentteams within many medical settings. The current paper reports references to the use of musicfor mood regulation found in literature from the medieval and early modern periods.Research techniques of narrative synthesis are used to illuminate the various mechanisms and

types of music that were believed to be involved in influencing moods. The paper aims to reconnectus to earlier behaviours and associations with music and mood regulation. It will beargued that modern empirical studies on music and mood can be informed by both rich andoften surprising historical perspectives.Biography:Jane Davidson is Deputy Director of the ARC Centre of Excellence for the History ofEmotions and the Inaugural Callaway/Tunley Chair of Music and Director of the CallawayCentre for Music Research at The University of Western Australia. Her career has spannedthe university sector, conservatory education and the music profession. Her interests are inmusic psychology, music education, musicology, music theatre, vocal performance andcontemporary dance. She has published extensively and secured a range of research grants inboth Australia and overseas. As a practitioner, she has worked as an opera singer and a musictheatre director, collaborating with groups such as Opera North (UK), Dramma per musica(Portgual) and the West Australian Opera Company. She was Editor of the internationaljournal Psychology of Music (1997-2001); Vice-President of the European Society for theCognitive Sciences of Music (2003-2006); and President of the Musicological Society ofAustralia (2009-2011). She recently completed service working as a member of the ResearchEvaluation Committee of the Excellence in Research in Australia (ERA) for both the trialevaluation in 2009 and main assessment in 2012.DELL, HelenUniversity of MelbourneTitle:What is an authentic performance of medieval song?Abstract:I have been a student of medieval music for many years, as a singer and instrumentalist,academic researcher and director of a medieval group. In all these roles I have long ponderedthe issue of authentic performance in medieval song. Directors of medieval ensembles,particularly of the English school, have made it a primary aim to reconstruct, in their ownperformances, the practices of medieval musicians. That is, for them, the meaning ofauthenticity. My question is: how does a singer reconstruct an emotion? You can research thehistory of a song’s emotion, based on text, melody, mode and rhythm, although this is, ofcourse, far from straightforward. You can also consider the context of the song’s originalperformance and make informed decisions on the emotional weight and flavour of particulargenres and registers. But something more is required for that emotion to be transmitted to anaudience. The emotion of a performed song is not wholly the emotion of its source. Unlikethe visual arts, the song does not exist until someone sings it. In performance the singer’s ownemotions need to be engaged in the song. How is this done? A song is a meeting place formany: the composer, the poet, the discourses within which it is made and lastly, the singer. Itis also a meeting place between the operations of music and those of language. But the singer,coming in at the end and drawing all these together, can only respond emotionally from his orher own place. That is another kind of authenticity. My paper considers the different kinds ofauthenticity involved in the making of medieval song, and asks how or even whether they canbe made compatible.Biography:Helen combines her research into medieval music with directing and performing with amedieval music ensemble, Troveresse. Her current research investigates the nostalgiaunderlying recent receptions and inventions of medieval music.DERRIN, DanielMacquarie UniversityTitle:What’s So Funny about Humour?: Historical Sources of Humour in Chapman’s A HumorousDay’s MirthAbstract:

Looking for “humour” in the textual remains of early modern drama presents some majorhistoriographical problems. For one thing, the OED’s first instance of the word “humour”,meaning that which excites “amusement, oddity, jocularity, facetiousness, comicality, and fun”and the faculty of perceiving such amusements, is dated at 1682. What then exactly arehumour studies scholars looking at when they encounter the word before that date and howdid its connection with fluids and temperaments develop into this “comic” humour? Is“humour” indeed even a useful critical term, when words like “wit” or “mirth” could be (andhave been) examined instead? In addition, how can historians ask questions about themeaning and rhetorical uses of comic humour without relying almost entirely on what they orsomeone else happens to find funny? This paper presents an analysis of George Chapman’sunder-discussed city comedy A Humorous Day’s Mirth (written 1597, published 1599) whichaddresses some of those questions. Chapman brings the temperamental humours and “comic”humour together at several levels including the lexical. His play (and the genre of “humourscomedy” it helped to initiate) makes the development of comic humour from within conceptsof fluid balance, temperament, and whim understandable. The paper will argue that, on thebasis of this, the use of the word “humour” to describe a range of related comic emotionalphenomena, such as wit, mirth, jest, and iocus – by historians interested in their rhetoricaluses – is less anachronistic than it seems on face value. The broadly Aristotelian idea of the“emotion” of humour as an innocuous perception of the unseemly provides some idea of whatearly modern writers may have thought was operating underneath the related concepts wegather under comic humour. Changing moral sentiments in the cultural history of the“unseemly” may hold a clue to working out what was meant to be funny and why.Biography:Daniel Derrin teaches English and media studies courses at Macquarie University. Hisresearch examines early modern rhetorical practices as they connect with the Aristotelian,Augustinian, and Epicurean theories of mind and emotion that early modern writers drew on.He has published on such topics in various journals and his book Rhetoric and the Familiar inFrancis Bacon and John Donne appeared earlier this year. As an associate investigator withthe CHE, Daniel is developing a new research project to investigate intersections betweenrhetoric and early modern theories of humour.DÍAZ-VERA, Javier E.Universidad de Castilla-La ManchaTitle:Embodying social emotions: the verbal and visual representation of shame and regret inmedieval EnglandAbstract:Using a corpus of Old English texts, in this presentation I will propose a reconstruction of thefigurative expressions (Lakoff and Johnson 1980, Lakoff 1987) used by Anglo-Saxonspeakers in order to conceptualise linguistically such social emotions as shame and regret.Thereafter, I will analyse how these same emotions are represented in a visual corpus ofmedieval English human images from different sources (especially from the Bayeux Tapestry;Foys 2003). Different to basic (or private) emotions, social emotions are elicited by socialsituations, normally when other human agents are present or imagined (Hareli and Parkinson2009). Furthermore, social emotions serve to regulate social behaviours and, consequently,can be effective instruments of social control. This is especially true in the case of collectivistcultures such as, for example, Medieval Europe (Hofstede 1991). Using these two sources(texts and images), I will describe here some of the different ways social emotions arerepresented in these two modalities and the role of embodiment in these representations.Medieval English representations of social emotions, I will argue here, illustrate the growingtension between the ancient symbols of Germanic shame culture and the new standardsbrought by Christian guilt culture. Whereas in the first case there is a strong preference foremotional expressions that emphasise the social role of the corresponding emotionalexperience in Anglo-Saxon society, in the second case shame-related emotions are

conceptualised on the basis of their physiological effects on the individual. Medievalconceptualisations of social emotions illustrate the evolution from culture-specific emotionalexpressions (such as, for example, Old English SHAME IS AMPUTATION) to embodiedrepresentations of quasi-universal nature (as in Middle English SHAME IS REDNESS IN THEFACE, an expression shared by a wide variety of languages and linguistic families).Biography:Javier E. Díaz-Vera is Associate Professor in Historical Linguistics and Sociolinguistics at theDepartment of Modern Languages, Universidad de Castilla-La Mancha (Spain). His researchfocuses on the study of conceptual metaphor and metonymy from a variationist perspective,including historical, sociolinguistic and dialectal approaches. He has published on themultimodal expression of emotions in historical varieties of English in a wide variety ofjournals (including Intercultural Pragmatics, Metaphorik.de, Review of Cognitive Linguisticsand Onomázein) and multi-authored volumes. He has edited the volume Metaphor andMetonymy Across Time and Cultures: Perspectives on the Sociolinguistics of FigurativeLanguages (Mouton 2014) and co-edited Sensuous Cognition: Explorations into HumanSentience - Imagination, (E)motion and Perception (Mouton 2013). At the moment, he isfinishing a volume on the emotional expressions of the Anglo-Saxons and working in a largescaleproject on conceptual variation in World Englishes.DOREY, MargaretUniversity of TasmaniaTitle:Reading across the records: exploring conflict within London’s Food Companies, 1660-1710Abstract:In 1709, the Butchers’ Company took action against two of their members for serving meat ata company dinner “not wholsom or fit to be eaten” in protest against being forced to take upthe role of steward. The two men were also accused of having “abused the said Company bygiving them opprobrious Language”, insulted other members by declaring that the bad meatwas “good enough for them [the members of the Livery]” and called “the Wardens andCompany a parcel of broken dogs” before refusing “to Permit many of the said Livery tocome into their Hall to Dine there, so that they were forced to Provide for themselves aDinner elsewhere at their own Charges”. Historians of trade regulation and control would notbe surprised at the highly charged emotional nature of the Butchers’ conflict. Although theability of London’s trade guilds to effectively control their trades in the seventeenth centuryhas been an ongoing area of scholarly debate, the understanding that guild relations were anarea of ongoing tension and dispute is of long standing. Yet studies of trade conflict rarelyaddress the problem of attempting to trace such disputes in the administrative and legal record.If only the records for the Butchers’ court of assistants for 1709 were consulted, for example,the explosive nature of the Butchers’ dispute disappears. Teasing out the emotional nature ofthe dispute requires gathering evidence from a range of connected sources. This paperexamines the utility of court records in tracing emotional conflict in the London Food trades.Focusing on disputes within the Butchers’ and Fishmongers’ Companies, it explores howdifferent sources interrelate and how the Courts of Assistants’ records, which are oftenperfunctory and formulaic, can point us to other sources for exploring emotionally explosiveconflicts that could arise.Biography:Dr Margaret Dorey completed her doctoral thesis: Unwholesome for Man’s Body?: Concernsabout food quality and regulation in London c1600 – c1740 at the University of WesternAustralia in October 2011. Her article “Controlling corruption: Regulating meat consumptionas a preventative to plague in seventeenth-century London”, was published in Urban Historyin April 2009. While a Visiting Fellow with the School of History and Politics at theUniversity of Adelaide in 2011, she contributed a chapter: “Reckliss Endangerment?: Feedingthe poor prisoners of London” to the volume Experiences of Poverty in Late Medieval andEarly Modern Europe, published by Ashgate in November 2012.

FLANAGAN, TimUniversity of Notre Dame AustraliaTitle:“The Joy of Martyrs”Abstract:In the discussion “Of Modes of Pleasure and Pain” from his New Essays, Leibniz remarks thatattempts to formulate distinctions between the emotions always remain insufficient. Thereason for this, he explains, is that any such analysis must reckon with the fact that any onestate seems to relate to a great many others which are quite heterogeneous: “Languages do nothave terms which are specific enough to distinguish neighbouring notions… for during thedeepest sorrow and amidst sharpest anguish one can have some pleasure, e.g. from drinkingor from hearing music, although displeasure predominates; and similarly in the midst of themost acute agony the mind can be joyful, as used to happen with martyrs”. According toLeibniz, a classic example of the emotions frustrating and even resisting any scrutiny can befound in the efforts of Stoic philosophers who “took the passions to be beliefs” and in sodoing set cognitive strictures upon the manifold of experience. For his part, against such amediated definition of the emotions, Leibniz contends that the object of any such inquiryshould instead be upon certain “endeavours – or rather modifications of endeavour – whicharise from beliefs or opinions and are accompanied by pleasure of displeasure”. This papercarefully evaluates the grounds of Leibniz’s criticism in the New Essays and suggests that hisconcerns there might yet be addressed by a consideration of broader themes expressed inStoic logic and metaphysics. It is argued that these themes not only resemble the very pointthat Leibniz himself sought to make there in his critique of Locke, but so to that they adduceimportant affinities in Leibniz’s own philosophical theodicy – themes which are evident in theunderstanding of the relation between language and reality put forward by both Leibniz andthe Stoics.Biography:Tim Flanagan completed his PhD under the UK’s Overseas Research Students AwardsScheme with a thesis on the concept of a Baroque aesthetic to be found in Modern Europeanphilosophy. His research and publications investigate the ways in which the History ofphilosophy remains significant for contemporary thought. Before moving to WesternAustralia he taught variously at Dundee, Greenwich and Wolverhampton.FORBES-MACPHAIL, ImogenThe University of Western AustraliaTitle:“No, No, they do but jest, poison in jest, no offence i’th’world”: Extending the Comic intoTragedy in Shakespeare’s playsAbstract:Shakespeare’s plays (especially the so-called “problem plays”) are often notoriously difficultto categorise neatly into the genres of simple tragedy or comedy, and themselves frequentlyinternally question generic conventions. In this paper I will explore how an analysis ofprimary sources (including eyewitness reports of performances, early paratextual material,contemporary treatises on humoral theory, and the playtexts themselves) can help us grapplewith the issue of genre and enable us to understand how the plays manipulate audiencereactions to produce a confusing blend of emotion which is difficult and often disturbing todefine. Using these sources, I will suggest that Shakespeare’s plays are based upon aconception of genre which differs widely from the simplistic Aristotelean dichotomousdivision into comedy and tragedy, but which finds other parallels in contemporaryRenaissance treatises (Wright, Burton). In Shakespeare’s plays, I argue, comedy and tragedyare not structurally or thematically different from each other, but rather represent twodifferent emotional reactions to a single fundamental situation—the loss of control. On a

small scale, this disorder provokes comic mirth, and on a larger scale, tragic despair.Although other critics (Brook, Brucher, Patrides) have explored the convergence of comicand tragic emotion at moments of heightened tension, these critics represent an excess oftragedy converting into comedy, whereas I propose a model in which tragedy is the extremeof an initially “comic” situation. Shakespeare’s plays are often preoccupied with interrogatingscenarios which take place in the intermediate phase in which the disorder has spiralled out ofthe realm of the comic, but not quite tipped over into the tragic; or in which a particularemotional reaction is misapplied—when, for instance, Titus laughs at his sons’ death,attempting to deal with the overplus of disorder and destruction by reverting to a “comic”coping mechanism.Biography:Imogen Forbes-Macphail is an Honours student and Fogarty Scholar at the University ofWestern Australia, where she has won prizes in literature, classics and history. She hasrecently returned from a year abroad which she spent working as a cupcake chef, studyingLatin, Italian and Fine Arts, and living as a Tumbleweed at Shakespeare and Company. Herprincipal research interests are in comparative literature, genre history, the history of ideasand literary influence. She will have presented her work both at a national and internationallevel (Kalamazoo, 2012; ANZAMEMS, 2013).FRENCH, KathleenUniversity of SydneyTitle:Happiness and the Discovery of the New WorldAbstract:The encounters of Europeans with the inhabitants of the Americas challenged theirpreconceptions of what it meant to be human. As they attempted to understand the new interms of the known, especially Biblical and Aristotelian preconceptions about human nature,they became involved in a series of contradictions – religious, philosophical and legal – inwhich theories about man’s right to happiness were contested. The unashamed nakedness andapparently communal life of some of the Indians seemed to indicate that they lived in aprelapsarian state of innocence, and validate the Augustinian theory that political authorityonly developed as a result of the Fall. In this instance, religious belief was in accord with theinfluence of the classical tradition, which predisposed travellers to interpret the societies theyencountered in terms of a golden age where people lived without laws. On the other hand,Christianity taught that the only true happiness occurs in the After Life and therefore theIndians should be converted. There were also tensions between religion and classicalphilosophy. For Aristotle, slaves provided the leisured existence necessary to achieveeudaimonia, and his theory of natural slavery (which implies that there are degrees ofhumanity) could be used to justify the economic exploitation which destroyed the apparentlyidyllic way of life. This came into conflict with Biblical teaching that all men are created inGod’s image. Encounters with more hierarchical societies provoked discussion about theapplication of natural law which recognised the rights of pagan rulers to their dominions, butthe imposition of the Doctrine of Submission in Spanish controlled territories denied theconcept of natural law and became a justification for tyranny. These tensions were reflectedin the journals, letters, paintings and engravings in which Europeans recorded their responsesto cross-cultural encounters. This paper will focus on the writings of Peter Martyr in De OrbeNovo and Richard Hakluyt in The Principal Navigations Voyages Traffiques and Discoveriesof the English Nation, as well as the paintings of John White and Jacques Le Moyne and theearly engravings of Theodore de Bry, to analyse the optimism and wonder experienced by thefirst Europeans. It will then trace the growing disillusionment and anger in Bartolomé de lasCasas’ The Devastation of the Indies and the later engravings of de Bry as they recorded thedevastating repercussions of the cross-cultural encounters they represented.Biography:

Kathleen French is working towards a Ph.D thesis at Sydney University. The thesis,Happiness: Positive Psychology and Shakespearean Comedy, explores attitudes to happinessin the early modern period. She is currently considering the question, raised by positivepsychologists, of the responsibility of power structures to provide for the happiness of groupsand individuals. Kathleen is also teaching senior English at Pymble Ladies’ College inSydney. French is working towards a Ph.D thesis at Sydney University. The thesis,Happiness: Positive Psychology and Shakespearean Comedy, explores attitudes to happinessin the early modern period. She is currently considering the question, raised by positivepsychologists, of the responsibility of power structures to provide for the happiness of groupsand individuals. Kathleen is also teaching senior English at Pymble Ladies’ College inSydney.GARRIDO, SandraThe University of Western Australia(with Jane Davidson)Title:Music and Mood Regulation:Musical Prescriptions in the Medieval and Early Modern WorldAbstract:The powerful effects that music can have on mood regulation and feelings of wellbeing havebeen reported since at least the Ancient Greeks. Yet during the eighteenth century, adichotomy emerged between the arts and sciences that reduced interest in music as a tool forwellbeing. Interest has gradually been re-kindled, ignited in the first decades of the twentiethcentury when live music was used in hospitals to “treat” soldier survivors of the First WorldWar. Nowadays, the use of music in the fields of health and mental health is becomingmainstream, with slogans such as “sing for your life” and “a tune a day keeps the doctor away”being associated with growing numbers of community music groups. The discipline of musictherapy continues to occupy a role of increasing prominence in multi-disciplinary treatmentteams within many medical settings. The current paper reports references to the use of musicfor mood regulation found in literature from the medieval and early modern periods.Research techniques of narrative synthesis are used to illuminate the various mechanisms andtypes of music that were believed to be involved in influencing moods. The paper aims to reconnectus to earlier behaviours and associations with music and mood regulation. It will beargued that modern empirical studies on music and mood can be informed by both rich andoften surprising historical perspectives.Biography:Sandra Garrido completed a PhD in Music at the University of New South Wales in 2012 onthe phenomenon of why people listen to sad music. She now works as a PostdoctoralResearch Fellow for both the Melbourne Conservatorium of Music at the University ofMelbourne and the ARC Centre of Excellence for the History of Emotions at the Universityof Western Australia. She has also lectured in Music Psychology at the University of NewSouth Wales.GOLOZUBOV, AlexanderNational Technical University “Kharkiv Polytechnic Institute”Title:The Franciscan Attitude to Joy, Laughter and Foolishness in the Context of FurtherDevelopment of the Western Christian Tradition.Abstract:St. Francis of Assisi combined the features of saint, martyr and fool. Each from these oneswas present in the image of Jesus Christ in one way or another. In the first two cases Christhimself was model for all subsequent saints and martyrs. He had been perceived as buffoonand fool only by the unbelieving and ignorant consciousness until recent time. St. Francis

imitates Christ, as far as this is possible, in the many important episodes of his life andsermon, in his corporal suffering he reaches obtaining of stigmas. But, in contrast to Christ, hecan be imagined as smiling, joyous and laughing. He sings, dances and preaches to animals.He enriched the concept of fool by the holy naiveté, sincerity and very personal relation toGod, preserving to a certain degree the carnival nature of this personage. At the same time St.Francis felt true and perfect joy through the self-humiliation and the suffering. This themewas especially developed in the letters by St. Clare, treatises by St. Bonaventure, Peter JohnOlivi and in others Franciscan writings. Byzantine iurodivyje disturbed the world very muchand violated various rules and regulations. But this phenomenon proved to be localized in thehistory. In the postmodern discourse not this personage, but Christ, Christocentric and joyousvision of the Christianity and the Catholic saint, who embodied this vision, were actualized.Naturally the Franciscan tradition was renewed. Besides, joy and laughter has beenconsidered more and more in the modern world as some universal medicine and practicalmeans for the illness’ recovery. But from other side Christ has become too human and hiscarnivalization has become possible. It has been result of “the Death of God” and otherphenomena in so-called religious postmodernism.Biography:Alexander Golozubov graduated from V.N. Karazin Kharkiv National University in 1993,and received his PhD (Candidate of Science) from KNU in Philosophy in 1996, and doctoraldegree (Doctor of Sciences) from H.S. Skovoroda Kharkiv State Pedagogical University in2010. His current position is Professor of the Cultural Studies Department, NationalTechnical University, Kharkiv, Ukraine. He was a participant of the Fulbright ScholarProgram (2007/2008 academic year), CEU Fellowships programs, Fellowship program of theInstitute for Advanced Studies, University of Edinburgh etc. He is the author of themonograph Teologiya smexa kak fenomen zapadnoj kultury [Theology of Laughter asPhenomenon of the Western Culture] (Kharkiv, 2009) and many articles.GRANT, KatrinaIndependent ScholarTitle:Tempestuous seas, lonely woods, and gardens of love: the emotional symbolism of setdesigns for opera in the Early Modern periodAbstract:The history of set design for Early Modern opera continues to be studied only at the marginsof research into visual culture. Too often it slips down the gaps between the disciplines of artand architectural history, music history and theatre history. In addition, because we havealmost no proper sets left, only drawings or engravings, the significant visual and emotionalimpact of set designs is more difficult to understand and, as a result, the significant role thatsets played in theatrical productions is often underestimated. However, a close reading ofvarious sources including libretti, audience accounts and studying the images of the designsthat we do have reveals that the sets were more than just decoration. Set designs would oftensymbolise the emotions of a scene. For instance, a stormy sea would be a metaphor for thetempestuous feelings of a spurned lover; a wood or a wilderness might provide a visualillustration of a character losing their way, both literally and metaphorically, or be a placesuited to intimacy, soliloquy, or dreaming; and a garden would often represent freedom fromthe emotional restrictions of courtly life and be a setting for love trysts. This paper willdiscuss the way in which set designs were used as visual representations of the emotionalstates of characters in Early Modern opera. I will also explore the idea that the sets, inaddition to the music, acted as emotional triggers for the audience to feel different emotionsand therefore allowed them to have a more immersive experience. I will focus in particular onthe operas of early eighteenth-century Rome when there was an unusually high level ofinteraction between patrons, musicians, composers, and authors of the libretti, and the artistsor architects who designed the sets.Biography:

Katrina Grant was awarded her PhD “The Theatrical Baroque Garden: The relationshipbetween Gardens and Theatre from 1600-1750” by the University of Melbourne in 2011. Herresearch interests include Baroque set design, gardens, Early Modern festivals; ephemeralarchitecture; and the relationship between Britain and Italy in the eighteenth century. She isthe editor and webmaster of the Melbourne Art Network and also a founding editor of theonline art history journal emaj.GRANT, StephenMelbourne Conservatorium of Music, University of MelbourneTitle:Heinrich Schütz and Affective Vocal PerformanceAbstract:Heinrich Schütz’s work stands out as being representative of the best of German seventeenthcentury vocal music. He is seen as a composer primarily concerned with “the word and itsdepiction in music” (Linfield, Grove), though the direct relationship of musical gesture toaffective discourse and rhetoric has been questioned and further clarified by both Varwig(2009) and Butt (2011). They postulate a more indirect and yet all-pervasive influence of therhetorical underpinnings on his music. But whether we understand the compositional processas being deeply and conceptually, or more simply and directly, a reflection of rhetoricalprocesses and an attempt to convey textual and emotional meaning in music, it remains to theperformer of Schütz’s (and other’s) music to bring the particular combination of words andmusic and their complementary or conflicting structures into live performance. If, as singersand players, we attempt to bring about powerful, communicative performances that worktowards affective and effective realisations of the music before us, how do we translate thatlanguage of composition, with its rhetorical devises and different levels of meaning into those“characteristics responsible for moving the affections”? (Kircher, 1647). Can we findelements in the musical scores of Schütz that point the way for performers and how are theyrealised beyond the meaning implied on the page?Biography:Stephen Grant, originally from Montreal, Canada, is Head of Voice and the Early MusicStudio at the Melbourne Conservatorium of Music, University of Melbourne. He is an singer,conductor and organist with years of performing experience in Australia, Europe and NorthAmerica.GREGORY, KateState Library of Western AustraliaTitleEmotions of Encounter in North West Colonial HeritageAbstract:This paper begins to analyse and describe emotions of encounter that can be discerned inNorth West colonial heritage. This research looks for evidence about how the North West wasperceived by Europeans in the early period of European exploration and colonisation, untilabout the 1870s. What was the experience of encounter with the landscape, environment andculture of the North West region like for Europeans? What was collected and recorded of theNorth West in early encounters and why? What can we reconstruct from the Aboriginalperspective? Using a range of sources such as historical documents, material objects andheritage sites, the paper will tease out some affective histories associated with this body ofevidence. It is hoped that this will provide a foundation for further research that seeks tounderstand an emotional heritage of the North West regionBiography:Dr Kate Gregory is the Battye Historian at the State Library of Western Australia where sheprovides leadership for the development of the Battye Library collections and services. Shewas previously Historian with the National Trust in Western Australia for four years working

on conservation, interpretation and cultural heritage programs across the State. Kate has aPhD in Art History from the University of Melbourne (2004). Her post-doctoral research inCultural Heritage at Curtin University culminated in a co-authored book with AndreaWitcomb From the Barracks to the Burrup: the National Trust in Western Australia(University of New South Wales Press, 2010). She has worked as a social history curator,exhibition coordinator and has a background in art museums, with five years on the StateCommittee of Museums Australia (WA), the national organisation for the museums sector.She is now a Trustee of the Western Australian Museum.HICKEY, HelenUniversity of MelbourneTitle:Reporting (on) Diplomacy in Medieval and Early Modern English Bureaucratic RecordsAbstract:The word diplomacy, in the Oxford English Dictionary, is “the management of internationalrelations by negotiation; the method by which these relations are adjusted and managed byambassadors and envoys”. The earliest example of this usage is found in 1796 in a quotationfrom Burke. This paper examines some of the discourses and pedagogies that govern socalleddiplomatic writing in late medieval England and France. It concentrates on Anglo-French relations during the Hundred Years War, relations that display all of the symbols of“modern” diplomatic interchange: visits, gift-exchange and correspondence. Diplomatic textsenjoy a special place in sourcing emotion as they are expected to display particular kinds ofemotion or to elicit particular emotional responses. Examining samples of medieval“diplomatic” letters, it questions how we might read and trust sources from which emotion isculturally and scripturally prescribed or suppressed.Biography:Helen Hickey is an Early Career Researcher at the University of Melbourne. She received herPhD from the University of Melbourne, where she wrote on the theoretical Everyday in thepoetic and bureaucratic writing of Thomas Hoccleve. She has a forthcoming article on legalpersonhood and the inquisitions of insanity in Hoccleve’s Series in Theorizing LegalPersonhood in Late Medieval England edited by Andreea Boboc and Kathleen Kennedy. Oneof her current projects focuses on Christ’s tears and emotion through the historiography ofSainte larme in France and England.HOFFMAN, TiffanyMcGill UniversityTitle:Shylock’s Shy Conscience: Sourcing Shyness in The Merchant of VeniceAbstract:Appropriating its own set of cultural meanings, the name “Shylock” possesses a certainelemental power in its capacity to move beyond The Merchant of Venice and into modernEnglish usage as a noun, “an extortionate usurer,” often pejoratively linked to the Jewish faith(OED). Despite its popular afterlife, however, the origins of the name Shylock continue toremain a mystery. Scholars have puzzled over its derivation, excavating its source either inthe Hebrew language or through biblical genealogy. This paper adds to the ongoingcontroversy by locating the significance of Shylock’s name within the affective state ofshyness it most directly connotes. The essay examines a multitude of source documentsranging from ancient moral philosophical writings as well as renaissance medical, political,and religious treatises to produce a composite understanding of early modern shyness as amoral virtue linked to notions of Christian conscience and humility. In view of the complexconceptual development elucidated by the source history of the emotion, I argue that TheMerchant of Venice seeks to establish racial and religious difference through the Christianaffective experience of shyness and the related moral emotions of shamefastness and modesty.

Shylock, as I further suggest, will inevitably come to experience the sense of moralconsciousness, restraint, and undue social humility attributable to the Christian quality ofshyness as a consequence of his conversion. However, the state of bashfulness that his nameconveys is effectively forced upon him by prominent members of the Venetian elite who seekto garner social power by turning the disempowering religious emotion they wish to escapeoppressively back upon others in callous and manipulative ways.Biography:Tiffany Hoffman is a senior level doctoral candidate at McGill University. Her dissertation,which was generously funded through a SSHRC grant, examines the historical and conceptualdevelopment of the emotional state of shyness and focuses closely on Shakespeareanrepresentations of the emotion. She has recently published some of her work in theforthcoming study, Embodied Cognition and Shakespeare’s Theatre: The Early ModernBody-Mind, edited by Australian and New Zealand scholars John Sutton, Laurence Johnson,and Evelyn Tribble.HOTCHIN, JulieIndependent Scholar (Canberra)Title:Ipsi sum desponsata: The nun’s crown and emotions in late medieval GermanyAbstract:The nun’s crown, a fabric circlet with overlapping bands forming a cross worn over her veil,formed part of the dress of monastic women in medieval Germany. Each woman received hercrown in a ceremony of consecration, or coronation, in which her virginity was dedicated toChrist. This distinctive headdress symbolised – more so than the veil and ring – a nun’sprivileged status as a sponsa Christi. This paper examines the relationships betweenemotional states and the spiritual and social identities associated with the nun’s crown.Recently Sarah McNamer has shown how the performance of devotion in connection with anun’s coronation was an integral aspect of the invention of compassion. By focusing on themateriality of the object (its form, fabric and decoration) and the ritual and social practicesassociated with it I explore the range of emotions the crown produced, in the women whowore it and in those who encountered them, and its role in the performance of emotionsthrough which nuns created, affirmed and negotiated their identities.Biography:Julie Hotchin is an independent scholar based in Canberra, Australia. Her research interestscentre on women’s spiritual, educational and intellectual activities in medieval Germany. Herresearch has been published in several articles and edited collections, and she is co-editor ofPartners in Spirit: Men, Women and Religious Life in Germany, 1100 – 1500 (Brepols,forthcoming 2013). Her research has been supported by the Herzog August Bibliothek,Wolfenbüttel and the Bibliographic Society (U.K.).HUNTER, Chenoa FUniversity of SydneyTitle:How Sir Dynadan and Lady Tristan were humiliated: forced femininity in the Book of SirTristram de Lyones and Camelot 3000Abstract:Hazing and temporary humiliation reinforces hegemonic masculinity and instances such asLauncelot’s prank at Sir Dynadan’s expense during the Tournament of Surluse in Malory’sMorte Darthur have received critical attention (from Lynch and Armstrong among others).Dynadan is stripped then forced into a dress and subjected to public (but temporary)humiliation. Putter and others have interpreted such episodes of masculine drag as nothistorically anomalous (in the context of tournaments) and often functioning as assertion ofmasculinity due to the element of “play”.

This paper explores the effects and implications of extended humiliation in an amplifiedversion of forced gender performance as occurs in Barr and Bolland’s Camelot 3000. Tristan– usually the master of disguise – is reincarnated as a woman. Lady Tristan, like Sir Dynadan,is forced into female garb but unlike Malory’s supposed “japer”, Tristan cannot simply stepout of the attire of gender performance once the court has tired of the hilarity of hishumiliation. Tristan is a man permanently trapped in a woman’s body and disgusted with hisstate. His emotional torment is heightened by the presence of the reincarnation of Isolde (awoman). Tristan cannot bring himself to consummate their mutual passion, so emotionally“unmanned” is he by his female form. Butler’s performativity is employed to investigateTristan’s crisis of bodily identity. While the comic series queers Tristan’s body and knightlyposition, it is argued that disruption of hegemonic masculinity is curbed as Lady Tristan isconsistently robbed of opportunities to earn Malorian “worship”. Isolde’s transgressivepassion ultimately softens Tristan’s resolve to exert agency through abstinence. He becomesthe weak woman “for love of Isolde”.Biography:Chenoa Hunter is a postgraduate student researching gender, the early modern and medieval,and medievalism in contemporary retellings of the Tristan and Iseult legend. She is currentlytutoring a unit on love and desire in early modernity. Her research interests also include thedigital humanities, mythology and folklore, Old French literature, visual storytelling andArthurian legend.JONES-O'NEIL, JenniferUniversity of BallaratTitle:Correspondences in Text and Image: Shaping the persona of George RomneyAbstract:The English artist George Romney has attracted renewed attention in recent years includingthe significant exhibition George Romney 1734 – 1802 originating at the Walker Gallery inLiverpool and then travelling widely. Included in the exhibition was a Self-Portrait whichfigured prominently, both gracing the cover of the catalogue, and used by a number ofreviewers as demonstration of the quality of Romney’s achievement. Jonathon Jones, forexample, writing for The Guardian described the painting as “an extraordinarily negative selfportrait,as Romney looks hard and cold into the mirror and finds himself wanting”. Similarly,a Romney biographer, David Cross, refers to this portrait as one where the artist “fearlesslyexposed his own psychological frailties, his moodiness and defensiveness”. While AlexKidson the curator of the exhibition suggests that this is “one of the greatest self-portraits ofthe eighteenth century” because the work is “fearless in self-exposure. With total honesty,Romney presents himself as moody and suspicious, defensive and withdrawn”. Thischaracterisation of the artist, as mentally troubled and deeply moody, is very generallyaccepted and it this particular self-portrait which is used in concert with early biographicalsources to substantiate the claim. These biographies have been examined elsewhere in relationto both the writers’ motivations and the veracity of their accounts but they have not, to thispoint, been investigated as to how they, along with the self-portrait itself, take part in thecontemporary discourse of masculine sensibility. This paper examines the dialecticengagement of the artist and the biographers with the contemporary literature on sensibility,melancholia and hypochondria.Biography:Jennifer Jones-O’Neill is the Deputy Dean Arts, Humanities and Social Sciences at theUniversity of Ballarat. Her research is based in eighteenth-century British art and extends tothe visual expression of ideas more broadly. She has published on the drawings of GeorgeRomney and contributed essays to exhibition catalogues and reviews including a chapter inthe recently published Capturing Flora: 300 years of Australian botanical art GordonMorrison ... [et al.]

KALEVA, DanielaUniversity of South AustraliaIndividual Paper:Title:Performing the Baroque Passions: Decorum and the Stroke in the Performance of “Lamentod’Arianna” by O. Rinuccini and C. MonteverdiAbstract:“Lamento d’Arianna” is the only extant fragment from the opera Arianna (1608, Mantua) byOttavio Rinuccini (text) and Claudio Monteverdi. Written in the monodic style of recitative,the piece is well-known as a showcase of prodigious word- and tone-setting that explores anarray of emotions in the depiction of Arianna’s state of mind after Theseus abandons her onthe Island of Naxos. The lament has been disseminated as a fragment in various versions andformats, and in that process it has lost its connection to the larger narrative of the opera andstaged performance practice. The human passions were central to the aesthetics of humanismand focus of music composition during the Baroque period. The rhetorical visual portrayal ofthe passions can be an access point into a different layer of understanding of how the passionsmay have affected the musical setting of the text. This performance-based paper exploredMonteverdi’s setting of Rinuccini’s text by identifying the passions and their intrinsickinaesthetic characteristics according to rhetorical treatises, and then comparing them to therhythmic, melodic and harmonic phrasing of Monteverdi’s music.Workshop / symposiaTitle:Embodying the Baroque PassionsAbstract:Emotions are drivers of action and reaction with a rich palette of psychophysiologicalexpression. Their manifestation in everyday life is natural and very often involuntary. Theirrepresentation on stage, specifically during the Baroque period when aesthetics demandedfrom the actor to move the spectator, could be viewed as deliberate amplification that bringsthem to live for the eyes of the viewer. Systematising them and externalising themconsciously is a process of discovery of meaning and of the intermedial dynamics betweenvarious symbolic systems in theatre performance. This performance-based workshop aims toallow participants to experience the embodiment of Baroque passions and is based on DrKaleva’s paper “Translating Text into Motion: Performance Analysis for Singers andDirectors”, in Music Research: New Directions for a New Century. M. Ewans, R. Halton andJ. A. Phillips eds, London, Cambridge Scholars Press, 2004, pp. 216-227. Dr Kaleva willlead participants (interested conference delegates with and without experience inacting/performance) into the different stages of embodying emotions according to the practiceof gesture documented in treatises concerned with rhetorical delivery from antiquity throughto the Baroque period summarised by Dene Barnett in The art of gesture (1987). Theworkshop will begin with drills for hands, arms and legs according to Gilbert Austin’sChrinomia (1806) and enactment of the physical representation of the main passions throughthe symbolic spatiality of the human body. Working with passions such as grief, surprise,terror, anger, contempt, jealousy, aversion, disparagement, shame and welcome, participantswill create a script of their own. The workshop will finish with the resultant performances.BiographyDr Daniela Kaleva is a musicologist and voice specialist. She studied classical voice withDame Joan Hammond and Merlyn Quaife at the University of Melbourne, and completed herdoctoral dissertation on analytical methodology for melodrama technique (combined spokentext, music, acting and visual effects) under the supervision of the late Emeritus ProfessorAndrew D. McCredie and Associate Professor Craig De Wilde at Monash University.Daniela’s research focuses on multidisciplinary approaches to music research, performanceanalysis and performance-based research. Daniela was a recipient of the German governmentscholarship, Weimarer Klassik and the King’s College London/Monash Research Travel

Grant Award which allowed her to conduct and present her research in Germany and in theUnited Kingdom. The work of Australian music publisher Louise Hanson-Dyer is anotherfocus of Daniela’s research, including the topics of Australian music heritage collections,concert programming, patronage, publishing and creativity. Daniela also received the DeneBarnett Estate scholarship which enabled her to study gesture with Helga Hill, OAM. Danielahas directed and performed in research-based productions with gesture. She is Secretary ofthe Musicological Society, South Australian Chapter and an Associate Member of the HawkeResearch Institute.KILPATRICK , HannahUniversity of MelbourneTitle:Patron, Priory, and Problems with Apostrophes: Rhetorical structure and the failures ofmeaning in the Fineshade manuscript.Abstract:Recent investigation into the effects of patronage and other secular influence on mediaevalhistorical writing has, on the whole, focused on titles and privileges: a monk writing anaccount emphasising his house’s relationship with a revered historical figure, for example, oraffirming his lord’s right to disputed lands. The resulting text has a thesis, a directed focus,shaping both the story and the meaning that it delivers.MS BL Cotton Cleopatra D IX ff. 84-90, however, provides a glimpse of a patron-priorycollaboration that actively hampers the clarity of the text. Written shortly after the civil war of1322, the chronicle and accompanying documents, originating from the Northamptonshirepriory of Fineshade, show evidence of direct and indirect influence from the priory’s patrons:the Engayne family provided the documents and first-hand accounts of the war, and thechronicler seems to be influenced also by the various misfortunes of Engaynes on both sidesof the conflict. Close reading of the text and context suggests that emotional influence hindersthe attempt to create meaning from recent events, rather than driving it: as the chronicleapproaches the crucial events, the careful narrative structure breaks down, corresponding to acollapse of the moral certainty with which the chronicler handles his material.The Fineshade manuscript allows a microstudy on the impact of major national events on onefamily and one local community - and on the act of writing history, of converting complex,painful events into a meaningful story. The fortunes and misfortunes of the Engayne familyare reflected curiously in the chronicler’s stylistic choices, and in the selection of documentsincluded with the chronicle; but his silences and his failures of style are still more telling. Asa whole, the manuscript and its context raise nuanced questions about emotional impact onaction and composition, how we can access this today, and the inevitable blind alleys in ourknowledge.Biography:Hannah Kilpatrick completed a meandering undergraduate degree at the University ofAdelaide, ranging from ancient mythology to modern languages and literature, she foundherself most intrigued by late-mediaeval England, with its seductive blend of familiarity andcultural alterity. Throughout Honours at Melbourne with Stephanie Trigg, and Masters at theUniversity of Ottawa with Andrew Taylor, she found that her strongest interests lie inhistoriography and manuscript studies: in the stories people tell about themselves, in how theyshape them, and the materiality of how these stories came to be told.KNECHT, RossUniversity of QueenslandTitle:The Irreducibility of Emotional Discourse: Adorno on Feeling and ConventionAbstract:

This paper is prompted by Theodor Adorno’s arresting claim in a discussion of letters andconversation that true intimacy requires “the delicate connecting filigree of external forms inwhich alone the internal can crystallise”. For Adorno, ceremonial forms of address andcorrespondence, dismissed in the modern age as hollow or inauthentic convention, facilitateemotional relationships. Far from being opposed to the emotions, ceremony and conventionare necessary for their cultivation. In the paper, I propose that Adorno’s insight may beinstructive to those of us working the history of emotions. It suggests that we should notdistinguish between what we perceive as genuine emotion and mere convention or rhetoricalcommonplace in our sources, but that we should attend to the necessary work that suchconventions and commonplaces do in cultivating affective communities. The paper willbriefly look to Juan Luis Vives’s De conscribendis epistolis in order to examine the ways inwhich the formal apparatuses of the letter (salutatio, exordium, etc.) work to forge emotionalbonds and negotiate affective relations.Biography:Ross Knecht is post-doctoral research fellow at the UQ node of the ARC Centre for theHistory of Emotions. He received his PhD from New York University in 2011. His researchfocuses on Shakespeare and early modern literature, with additional interest in the earlymodern discourse of the passions, the philosophy of language, and the history of pedagogy.He is currently at work on a manuscript, tentatively entitled “The Grammar Rules ofAffection: Language and Passion in Early Modern English Literature,” on the intersections ofemotion, grammar, and schooling in literary texts.KURILLA, RobinUniversität Duisburg-EssenTitle:Machiavelli and Love – Examining Sources of Medieval and Early Modern EmotionsAbstract:In this paper, a socio-constructionist concept of emotion serves as a guideline to approach thequestions of where to look for emotions in the extant sources and how we “read” acrossmultiple source types to create a composite understanding of the emotions of a particular timeperiod. The specific notion of emotion employed here was developed and tested in anextensive historiographic, cross-cultural, and foundational theoretic study concerning therelations among emotion, conflict, and communication. Combined with a Heideggerianviewpoint, it facilitates a distinction between the rather practical embodiment and the rathertheoretical reification of emotions. These levels of experience and “enactment” respectivelypresent an axis to assess and coordinate different types of sources such as novels, scientifictheories, religious texts, sculptures, paintings, folklore, mythology, diaries, court files, actingreceipts and theories etc. In order to structure the heterogeneous material, a narrativeapproach highlights the different levels of interpretation within the discussed sources. Twoexamples illustrate the contours of this theoretical framework and its methodologicalimplications. Firstly, we follow German sociologist Niklas Luhmann on his exploration of themedieval roots of the romantic ideal of love and their development in the early modern world,revisiting the scope of Luhmann’s system-theoretical perspective from a socio-constructionistpoint of view. Secondly, we address Machiavelli’s mechanistic model of an emotionalpsychagogy as a means to analyse social discourses and processes and at the same time as apart of the social discourses and processes analysed by Machiavelli. This latter concern leadsto a discussion of the technological and social changes as well as the developments in termsof the history of ideas on the way to modernity that influenced Machiavelli’s conception ofemotionBiography:Robin Kurilla studied communication science, psychology, and marketing in Essen(Germany), San Sebastián (Spain) and Denpasar (Indonesia). In 2006 he received his master’s

degree. Kurilla was as a freelance writer in three languages for four years before starting towork as a scientific assistant at the faculty for communication science at the UniversityEssen-Duisburg in 2007. He has experience as a guest lecturer at international universities inplaces like Bali, Amsterdam, and Beijing. In December 2012, Kurilla completed his PhD onemotion, communication, and conflict with the final predicate of summa cum laude. He is anassociate member of the International Society for Research on Emotions (ISRE).LANE, HannahAustralian National UniversityTitle:“L’orage des passions”: Expressing Emotion on the eighteenth century French Single-actionHarpAbstract:The single-action harp was introduced to France in the mid-eighteenth century. Theinstrument’s popularity reached its zenith in pre-revolutionary Paris as evidenced by the largenumber of method books and original compositions published for the instrument during thistime. One of the first published references to this instrument was an entry for Diderot’s iconicEncyclopédie (1751–1772) where the author states that the instrument is “most suited toexpressing tenderness and pain than the other emotions of the soul”. Through reading acrosskey contemporaneous pedagogical, literary and musical sources, with a particular focus onthose of influential harpist, writer and pedagogue Stéphanie-Félicité de Genlis (née Du Crest1746–1830), this paper interrogates how these emotions were performed and expressed on thesingle-action harp. Recent scholarship has focused on the instrument’s social and gender role,in particular its radical feminisation, in which Genlis has been positioned as a major influence.This paper builds on this research to consider the gendered nature of emotions as expressedon the single-action harp as well as contextualising the instrument’s unique mode of musicalemotionalexpression within the new musical aesthetic of the late eighteenth century, thegalante and emfindsamer styles.Biography:Hannah Lane is a Melbourne-based harpist whose performance practice encompasses bothmodern and early harps. She is currently a PhD candidate in Music at the Australian NationalUniversity, researching historical performance practice for the eighteenth century singleactionharp. She is the first Australian musician to work extensively with this instrument andperformed the first Australian single-action harp and fortepiano duo concert in 2012 withpianist James Huntingford under the name L’Accord Parfait. Hannah is a recipient of the2013 Australia Council for the Arts Jump Mentoring Grant to undertake a mentorship withthe eminent early harpist and researcher, Dr Andrew Lawrence-King in the art of continuoplaying for the baroque and single-action harps.LARKING, IrenaUniversity of QueenslandTitle:Christ’s Body By Any Other Name Is Still As Sweet: Emotional responses to theconsumption of Christ’s body in late medieval and early modern EnglandAbstract:During the late medieval period the Mass was the central sacrament of communal worship.The belief in transubstantiation and the observance of this ritual was understood to havehealing properties – both spiritual and physical – and transformative power, the two of whichare closely linked. Lay observers of the Mass were expected to be moved by the presence ofChrist – both corporally and actually – in such a way that would bring them to repentance,even to tears. As a result of the English Reformation during the mid-sixteenth century, theMass was made illegal and was replaced by Holy Communion, a service of remembrancerather than a sacrificial meal. At the same time, the accoutrements of the service, as well as

the physical environment of the church, also changed. Yet, it was still expected thatcommunicants would be moved to repentance, and even tears. Unlike late medievalcommunal worship, communal worship after the Reformation elevated the role of theScriptures and the various ways in which it was presented within the parish church. Like HolyCommunion, the Scriptures were another way in which the faith community of the parishcould consume Christ’s body, not only through the sense of taste and touch, but also throughthe sense of sight and sound. Thus, through the consumption of the Scriptures individualswere also expected to be moved to “good affection”. Matthew Milner (2011) uses the phrase“affective piety” to describe the emotional impact on and response of individuals during actsof worship. Milner acknowledges that church furnishings were important but it is notexplored. This paper seeks to build on Milner’s work and demonstrate that in order to morefully understand “affective piety” we need to explore the expected emotional responses inconjunction with the physical environment in which such practices took place.Biography:Irena Larking is currently completing her PhD in History at the University of Queensland.She graduated from the University of Auckland with a Masters (First Class Honours) inHistory, exploring several aspects of religious dissent in late medieval and early modernEngland. Her PhD thesis continues the theme of religious practice in England, exploring thecomplex interaction between religious practice, the objects that were used in worship and theenvironment of the parish church in which communal worship was conducted, and how thischanged between c.1450 – 1662.LAWRENCE-KING, AndrewThe University of Western Australia; Guildhall School of Music & Drama, LondonTitle:Meaning in Melody: Performance and PersonationAbstract:In seventeenth-century performance, physical gestures have meanings that are recognisedpartly by intuition (for gestures derived from instinctive, natural movements) and partly byknowledge (of gesture as an artificial code of mutually understood conventions). Similarly,we can hear “gestures” in an actor’s voice – high or low register, contrasting timbres, rising orfalling inflections, a catch or a tremor in the voice – from which we intuit or decodefundamental meaning and emotional colouring. In the “reciting style” of seventeenth-centurysong, musical pitches are derived from that spoken declamation. Baroque musicians thereforespeak of “musical gestures”, referring to memorable turns of melodic phrase, that seem toconvey in sound the meanings and the passions of each word they set. Re-examiningMorelli’s musical notation of Betterton’s spoken declamation preserved in the Pepys MS (itsimplications for dramatic timing were discussed at the CHE November conference), we nowfocus on these “musical gestures”: inflections of pitch, whether spoken or sung. Just asHamlet instructs the Players to “suit the [physical] Action to the Word”, so seventeenthcenturytreatises demand the “semblance and meaning” of words also in the “harmonic action”of music. Musical structures (cadences, dissonance/resolution, voice-leading) correspond tobasic physical posture. As an outstretched arm catches the attention of the eye, musicalgestures strike the ear with exclamations, questions and “word-painting”. In complex interrelations,three vectors of meaning - text, sound and physical gesture - operate within threefields of performance - presentation, passion and personation and via two modes of delivery –speech and song. Comparing differences across these variables in live demonstrations, actor,singer, guitarist and director seek a common core of performable meaning.The presentation will include live examples by actor, singer and guitarist.LAWRENCE-KING, AndrewThe University of Western Australia; Guildhall School of Music & Drama, LondonTitle:

Redefining Recitative: Action for AriannaAbstract:For modern audiences, Recitative is the boring, unrhythmic bit in-between the nice tunes.Musicologists define Recitative as rapid vocal declamation over a static bass. Most of today’sEarly Music performers believe that early seventeenth-century recitative should berhythmically free and liberally ornamented. But the anonymous circa 1630 guide for amusical theatre’s artistic director, Il Corago, contradicts all these modern views, offeringradically revised definitions. Of course, seicento music-dramas are not “opera”, but a Show(rappresentatione), a Spectacle or Harmonic Actions (c.f. Monteverdi’s Orfeo, a Story inMusic). Il Corago’s Recitative includes any kind of dramatic monody, even tuneful airs. Andany repeated rhythmic unit is sufficient to define a temporary moment of Aria within the allembracingconcept of musica recitativa as Music for Acting. Il Corago considers an actor’sspoken declamation and a singer’s Recitative as virtually identical, just as Peri did threedecades earlier. The earliest writings on recitative and continuo all support an approach basedon spoken text, strong rhythm, and avoidance of ornamentation. Historical Action, whetherfor speech or music, is more than today’s Early Music practice of Baroque Gesture. Thewhole body is involved, especially the face and the eyes. Visible signs of each affetto areunderstood within a tradition of rhetorical delivery on stage, in the courthouse or from thepulpit. These same signs appear also in countless paintings and sculptures. Their emotionalforce combines the elegant poses of a painting and the graceful movements of a dancer withthe strength of a swordsman. Thus pneuma, the divine inspiration of life itself, is both (likeoriental chi) the flow of energy within the performer’s body, and also the mystic breath ofemotional communication with the audience. We report on workshops in Helsinki, Londonand Melbourne that apply these principles to Monteverdi’s Lamento di Arianna.Biography:Baroque opera & orchestral director, Early Harp virtuoso and imaginative continuoplayer,Andrew Lawrence-King is one of the world’s leading performers of Early Music andthe most recorded harpist of all time.Under his direction,a production of Cavalieri’s Anima e Corpo recently won the Golden Mask, Russia’stop operatic award, in four categories including Best Opera and BestConductor. As harp soloist, he won the 2011 Grammy forBest Small Ensemble Performance in Dinastia Borgia directed by Jordi Savall. Andrew is alsosought after performance teacher/scholar working for such institutionsas Akademie für Alte Musik,Bremen; the Escuela Superior de Musica de Catalunyain Barcelona; the Sibelius Academy and Helsinki Stadia, Finland; the Guildhall School ofMusic and Drama, London. As Senior Visiting Research Fellow forthe Australian Centre ofExcellence for the History of Emotions, he is investigating medieval musicdrama and early opera.LEE, PenelopeUniversity of Melbourne(with Stephanie Trigg and Jessica Scott)Title: Making FacesAbstract:This paper draws out some connections between CHE's research in the Faces of Emotionproject and some of the work of its Education and Outreach program. The Faces projectexamines the movement and expression of emotion on the human face, from 1100-1800, andinto later periods as well, through the Shaping the Modern program. At its 2012 collaboratoryat the University of Melbourne, a number of presentations reminded us that the face ofemotion is often a moving face, not just a static index of emotion. During this collaboratory,we also conducted a number of video interviews with participants, capturing scholarsspeaking about their research in a forum that is often more dynamic and immediate than aformal paper, and more suitable to share with a less specialised audience. Being recorded onfilm for possible dissemination and wider consumption via the web can be a nerve-wracking

and a downright emotional experience for some scholars. Whether it is because of thepolitical context of public scrutiny of humanities research or the temperament that oftencharacterises the scholar (i.e. ambitious, driven, self-critical, and hyper-conscious of nuance);being still and appearing in command of one’s ever-evolving work is not easy. This may beeven more pronounced for individual scholars within CHE, given the challenge of reexamininghistories so well-known to scholars, yet possibly disorientating in its newness.Through a collage of sound, images and the embodied face, a dynamic moment in time iscaptured and an image and history — both individual and collective — is constructed. In thispaper we will describe the process, and experience, of conducting video interviews, from bothsides of the camera. We will show some of our recorded material, illustrating examples ofboth edited and unedited content, hoping to demonstrate the value and usefulness of theseinterviews for(a the Centre, as we make complex ideas accessible, disseminate our research and engage newaudiences to think about the histories of emotions;(b) the community, as we create “sources” for the history of emotions in the field of themoving image; and(c) scholars, as we provide a space to share, examine and reflect upon their work.Biography:Penelope Lee studied visual arts - Fine Arts Sculpture (Honours) at RMIT in the early 1990s.She has had multiple solo exhibitions and participated in over 42 group exhibitions bothnationally and internationally. Penelope has been recipient of art residencies at the AustraliaCouncil’s Japan studio and Gertrude Contemporary Art Spaces, Melbourne. Further to herpractice she has been a tutor/lecturer in sculpture at RMIT and a Co-operative Member ofArtery, an artist studio complex, since 2010. In recent years Penelope has completed a majorpublic art commissions for Melbourne’s MCG and Arts Victoria/City of Melbourne, the mostrecent celebrating the 100th year Anniversary of Victorian Women‘s Suffrage. Penelope iscurrently Manager of Professional Development and Public Programs at The Dax Centre,where her other roles include curating, education, special acquisitions, film documentariesand the ethics committee. In August 2012, Penelope commenced working part-time as theEducation and Outreach Officer at The Centre for the History of Emotions.LEMMINGS, DavidUniversity of AdelaideTitle:Compassion, Authenticity and the Offender: Emotional representations of the Family inEighteenth-century Criminal TrialsAbstract:Hideous murders, gruesome assaults and devious frauds were perennially popular topics forstorytellers, balladists and eventually the press, playing on people’s deepest fears as well astheir curiosity about the lives of others. Accounts of familial crime and justice (spousalmurder, infanticide, exploitation of servants) were particularly popular and continuously usedas evidence of the flawed condition of society. At the same time, all sorts of criminalbehaviour were interpreted in the context of the family upbringing of offenders, while theeffects of crime and punishment on the family, including that of the wrongdoer’s family, weretopics of increasing discussion. Such conversations were often highly emotive: they drewparticularly on emotional investments in the intimate relations of families, playing on theanxieties that parents had for their children, and about the authenticity of loving marriages, aswell as the overall significance of the family for shaping a sense of early modern identity. Butthe emotions they asked of their audiences were not straightforward. Some accounts createdfear and asked the public to condemn the criminal, but some also asked for compassion,drawing on the ever-present concern that criminality could arise in any family. The gender,class and race of the criminal were essential to how they were represented, with the middleclasspress showing greater sympathy for those that were like themselves, simultaneously“othering” those of different backgrounds, and reinforcing social divisions that were then

used to delineate between those who deserved political power and those that did not.Moreover, such responses had practical implications for the treatment of offenders by thecourt and the administration of justice, helping to determine punishment or the nature of thepenal system. It the argument of this paper that emotional representations of the familycreated by the press were therefore central to the shaping of criminal justice and to theconstruction of middle-class identity.Biography:David Lemmings is Professor of History at the University of Adelaide and Leader of the“Change Program” in the Australian Research Council Centre for the History of Emotions.He has published extensively on the socio-cultural history of law and the legal professions ineighteenth-century Britain. He is the editor of Crime, Courtrooms and the Public Sphere inBritain, 1700-1850 (Ashgate, 2012). Together with Katie Barclay and Claire Walker, he iscurrently working on a monograph that explores the role of emotion in social change, throughan analysis of representations of the family in the eighteenth-century press.MADDERN, PhilippaThe University of Western AustraliaTitle:“It is full merry in heaven”; connotations and categories of “merriment” in late medievalEngland.Abstract:As Bob White has pointed out, the study of texts in emotions history is more than usuallybeset with “false friends”; those terms or phraseologies which seem to mean one thing to amodern audience, but which, on further consideration, involve wide-ranging categories andconnotations all too easy for a modern reader to overlook or misunderstand. Texts such asthese cannot be simiply “read”; they must be subject to a continuous process of translation.Even apparently simple adjectives, in English—wrathful, happy—are not exempt from thesedifficulties. In this paper, a survey of the various genres in which the word “merry” appearsin late-medieval England—from dictionaries through lyrics, letters, story collections, anddevotional literature, to wills and court testimonies reveals connotations and categories ofmeaning that convey a profound and sobering set of significances to the superficially simpleterm “merry”.Biography:Winthrop Professor Philippa Maddern is Professor in Medieval History at the University ofWestern Australia, and Director of the ARC Centre for the History of Emotions in Europe1100-1800. She has published extensively on the social, cultural, family and gender history ofEngland, c. 1300-1500. Her monograph Violence and Social order: East Anglia 1422-1442reconceptualised the study of late-medieval violence in society. She is currently writing upthree projects: on the history of non-nuclear families in England, 1350-1650, on childhoodand the lives of English children, 1400-1520; and on the workings of emotion in Englishhouseholds, law courts and devotional practices, c. 1300-1520.MADDOX, AlanUniversity of SydneyTitle:“The affecting Manner of those who devoutly dedicate their Voices to the Service of God”:emotional expression in the musical service of St Anthony of Padua around 1700Abstract:Studies of the expression of emotion in seventeenth- and early eighteenth-century Europeanmusic have typically focused on either the compositional rhetoric of German sacred musicand French Airs, or the performative rhetoric of Italian opera. More difficult to access inmusical terms is the emotional world of Catholic liturgical music, constrained as it was by the

established repertoire of Gregorian chant and by liturgical traditions. A rare window into thisemotional world is provided by the well-preserved musical and administrative archive of theBasilica of St Anthony of Padua. The Basilica was an important centre of music theory andperformance in this period, when expressive trends in both the visual arts and music movedfrom counter-reformation austerity to baroque emotional intensity. This paper reports on astudy of previously un-researched manuscripts of Passion music associated with the Basilicaaround 1700. The emotionally charged narrative of the Passion, and its unique tradition ofdramatised narration in chant dialogue and liturgical ceremony, invited a dramatic musicalsetting, yet one that had to be framed within the strict requirements of long-standing liturgicalpractice. F.A. Calegari’s innovative settings of Christ’s words in quasi-theatrical recitative,rather than in chant or even polyphony, provide a rare opportunity to assess the ways in whichemotion was embodied in and projected through manuscript archival sources for an importantschool of Italian sacred music of the period.Biography:Dr Alan Maddox is a Lecturer in Musicology at the University of Sydney. His researchfocuses on rhetoric in early modern Italian vocal music, and on Australian colonialmusic. As a singer, Alan worked with Opera Australia, and as a freelance performer inAustralia and the UK. He is an Associate Investigator with the ARC Centre ofExcellence for the History of Emotions, and musicologist to the Australian BrandenburgOrchestra. Recent publications include articles on rhetoric and performance practice ineighteenth-century dramma per musica, and on music and prison reform in thenineteenth-century penal colony on Norfolk Island.McEWAN, JoanneThe University of Western AustraliaTitle:“Returning to her Mother’s House”: Representations of Family and Emotion in Eighteenth-Century Scottish Infanticide CasesAbstract:When Isabel Walker was reprieved from execution for murdering her child in Dumfries in1738, news reports credit her sister, who travelled to London to appeal on her behalf, withsecuring the pardon. Commenting on her sister’s actions, the London Evening Post noted that“such another instance of generous friendship can scarce be shown”. While physical supportfrom family members was undoubtedly a very important resource for pregnant women ineighteenth-century Scotland, what is often common and perhaps more interesting whenallegations of child-murder did arise are references to family and family relationships withoutthe corresponding presence of family members. When Margaret Crooks was tried for childmurderin Edinburgh in 1718, for example, she told the court that she had concealed herpregnancy at the request of the child’s father, who said he would go to the country with herbut didn’t. When she was nearing the time of her delivery she went to her mother’s house, buther mother was not home. Three days later she took the child, which she delivered alone andsaid was stillborn, three miles from her mother’s house and buried it. In this sad tale,Margaret found herself in a very precarious legal situation because she had been let downfirstly by the absence of the father of her child, and secondly by the absence of anyone at hermother’s house. These relationships, therefore, play a significant role in her explanation ofevents and ultimately in the construction of her story. This paper will examine the variousrepresentations of family in Scottish infanticide narratives, and argue that they functioned asimportant emotional framing devices.Biography:Joanne McEwan is an Early Career Researcher at The University of Western Australia, whereshe teaches History and Gender Studies. Her research focuses on gender and crime ineighteenth and early nineteenth century Britain.

MCGILLIVRAY, GlenUniversity of SydneyTitle:Towards a Community of Sentiment in the Eighteenth Century TheatreAbstract:Continuing my investigation of the relationship between eighteenth century acting techniquesand the manifestation of affect in audiences, this paper will use anthropologist ArjunAppadurai’s notion of a “community of sentiment” in order to understand how what appearsto us today as highly stylised acting techniques nonetheless seemed to create embodiedemotional responses in early modern audiences. Appadurai argues that the communication ofaffective states, such as the act of giving and receiving praise, is not dependent upon thecommunication of the internal “states” between the people concerned but involves, rather,“the public negotiation of certain gestures and responses” ( A Appadurai, ‘Topographies of theself: praise and emotion in Hindu India’, in CA Lutz and L Abu-Lughod (Eds), Language and thepolitics of emotion, Cambridge University Press, Cambridge, 1990, p. 94). This paper intends tosidestep the inside out/outside in debate that preoccupied acting theorists in the nineteenthcentury and subsequently, largely in response to Diderot’s Paradoxe sur le Comèdian. Thequestion of whether an actor “really” feels an emotion is, to a certain extent, irrelevant as itrelies on a theory of emotional transaction that predicated upon sympathetic identificationwith the “internal” state of another. Rather, I shall argue that the contract between eighteenthcentury actors and their audiences had, as Appadurai states, the objective to create a chain ofcommunications in feeling, not by unmediated empathy between the emotional “interiors” ofspecific individuals but by recourse to a shared, and relatively fixed set, of public gestures’(Ibid., p. 107). Further, as neuroscientist Susana Bloch’s “Alba Emoting” (Bloch, Susanna.ALBA EMOTING: A Psychophysiological Technique To Help Actors Create and Control RealEmotions. Theatre Topics, 3.2, 1998, pp. 121-138) techniques suggest, a fixed repertoire of eye,breathing, facial and postural techniques can produce somatic effects in an actor’s body. Thissuggests that the codified acting techniques of eighteenth century actors not only allowedemotions to be “read” but to be felt also. Biography:Glen McGillivray is a senior lecturer in the Department of Performance Studies at theUniversity of Sydney. He is currently writing a book on the cultural transformation of thetheatrical metaphor from the sixteenth to the twenty-first century titled: The Idea of Theatre.Recent publications include “The Picturesque World Stage” in Performance Research (2008),“The Discursive Formation of Theatricality as a Critical Concept” in Metaphorik.de (2009)and “King/Cate: Stardom, Aura, and the Stage Figure in the Sydney Theatre Company'sProduction of Richard II” in TDR (2010). His edited collection, Scrapbooks, Snapshots andMemorabilia: Hidden Archives of Performance, was published in 2011 by Peter Lang.MCILVENNA, UnaUniversity of SydneyTitle:The Highs and Lows of Performing Early Modern BalladsAbstract:My research looks at the use of song in accounts of public executions across Europe from thesixteenth – nineteenth centuries. Printed on cheap pamphlets, ballads were hawked both at theexecution itself and on busy street corners, markets and fairs. They were often set to the tuneof other well-known songs and the tune was usually indicated just below the title. Thistechnique of setting words to familiar music, known as contrafactum, not only allowedlisteners and singers to easily perform the new song, but also would have conjured upmultiple emotional connotations associated with the earlier tune. Ballads are therefore richsources for investigating emotional responses to crime and the penal system in early modernsociety. Despite this, historians have been slow to research the musical side of ballads,preferring instead to treat them merely as poetic treatments of historical events. This paper

will explore the methodological challenges of turning these printed, textual sources intoperformative acts. I discuss the obstacles I face – especially as a non-musician – when tryingto reconstruct the original setting of the ballads. I reveal the detective work involved inidentifying the tune indicated on the ballad (especially if no tune is provided) and thesometimes difficult task of locating a reliable musical score. But the paper is also a discussionof the benefits of overcoming these challenges and treating news-ballads as performative texts.I demonstrate how ballad-writers cleverly exploited the emotional associations of the earlier,well-known tunes to make these new songs about execution sombre, poignant or even joyful.Biography:Una McIlvenna is a Postdoctoral Research Fellow with the ARC Centre for the History ofEmotions, based at the University of Sydney. Her research investigates the use of song inaccounts of public executions across pre-modern Europe, focusing on the emotional effects ofthe use of familiar tunes as musical basis for the ballads.MCLEOD, ShaneThe University of Western AustraliaTitle:Sourcing Emotions: Runic inscriptions, monuments, and landscapeAbstract:Whilst the nature of the writing tools and inscribed material has ensured that the text found onrunestones is usually brief and lacking in overtly “emotional” language, they still provide awindow to emotions in Viking Age and Medieval Scandinavia. Indeed, for much of thisperiod runestones contain are the only available texts, especially in eastern Scandinavia. Theemotional aspect of the runestones can be studied through the text itself, the decoration on thestones, the size of the stones, their position in the landscape, and the survival of the stones.The difficulty of inscribing the stones with text (and decoration) increases the likelihood thateach word was carefully considered. Consequently, any words that did have a possibleemotional resonance are likely to be highly significant. Surviving runestones are usually largeand they were often found in very public places, such as along roads and near churches andbridges. Thus the stones and their inscriptions were publicly accessible monuments within theScandinavian landscape. The naming of locally known people and their deeds on these publicmonuments suggests a sense of pride by those commissioning the stones (usually familymembers). Finally, the survival of many intact stones to the present day may indicate that theybecame an important feature of the local landscape, ensuring their survival long after thosenamed on the stones were forgotten. This paper will touch on all of these aspects ofrunestones with a focus on the stones that mention Knútr the Great and England.Biography:I completed my PhD at The University of Western Australia in September 2011. My doctoralthesis is under contract with Brepols to be published in 2013 as The Beginnings ofScandinavian Rule in England: The Viking Great Army and Early Settlers, c. 865-900. I alsohave a Master of Viking and Early Medieval Scandinavia from Uppsala University. I am aCHE Associate Investigator for a project which examines the “England” runestones found inSweden, Norway, and northern GermanyMCLISKY, ClaireUniversity of CopenhagenTitle:Locating emotions in eighteenth century missionary sources: Australia and GreenlandAbstract:As emissaries of an evangelical “heart religion”, eighteenth century Christian missionarieswere explicitly interested in emotions. With conversion to Christianity conceptualised as a“change of heart”, missionaries set out to change the emotional worlds of converts andreplace “heathen” with “Christian” emotions; in colonial contexts this project coincided with

secular attempts to control and manipulate the behaviour of Indigenous (or other colonised)peoples. Sources such as missionary diaries, letters, reports and pamphlets bear witness to thedensity and volume of missionary discourse on emotion, but also present problems for thehistorian interested in going beyond discourse to understand the emotional dynamics of suchsituations. While rich in detail on the emotional lives of European missionaries and theirperceptions of Indigenous emotions, these sources were also written along formulaic, even“propagandistic” lines, in order to secure funding and support for mission projects. Yetdespite their limitations, this paper contends that missionary texts have much to tell us aboutemotions in colonial contexts. How did missionaries perceive emotions, both their own andthose of others? How did the emotional dynamics of their interactions with Indigenouspeoples affect broader political, social and cultural realities? And how did the powerconfigurations of different colonial contexts affect the way emotions were conceived of,expressed and recorded in missionary sources? Using examples taken from case studies ofEuropean missionaries in early colonial Australia and Greenland, this paper explores how wecan read missionary texts both along and against the grain in order to better understand theemotional economies of eighteenth century Christian missions.Biography:Claire is an Australian researcher who has been living and working in Denmark for the pastthree years. Her current project, funded by the Danish Research Council, compares theemotional economies of Christian missions to Australia and Greenland during the first fiftyyears of colonisation in each context. She holds a PhD in history from the University ofMelbourne.MCNAMARA, RebeccaUniversity of SydneyTitle:The Law on Feeling: Finding Emotions in Medieval English Legal TextsAbstract:Though testimony by females and other marginal members of society can make its way intolegal reports and petitions, the documents of medieval English secular law are recorded mostoften via the voice of the clerk, coroner, sheriff, or judge. In my search for emotions relatedto suicide in the Middle Ages through a study of legal texts and chronicles, I have becomemore intrigued by the question of who is making these judgments and reports, and how thisinflects the way emotions are conveyed. I ask in this paper how the medium of legal records(and their authors) contributes to our assessment of how emotions were understood tofunction and how they were regulated in medieval society. What if we were to read theemotional portrayals of and reactions to cases in the legal records as an endorsement by theauthoritative discourses of legal and administrative professionals of what might constituteappropriate emotions for particular situations? The law was used by the Crown for suchpurposes as maintaining peace and eliminating corruption; was it also used to regulateemotions? Circulating amongst Crown and local officials, these documents were as useful forreporting legal decisions as they were for teaching about the law and the position of theCrown on certain issues. Can we read these texts as “didactic” in this sense? Drawing fromEyre and Assize records, coroners’ rolls, Crown writs, and goal delivery records, this paperwill ask what our reading of legal texts for emotions can tell us about the regulation ofemotion in the Middle Ages, and what this might mean for the medium of legal sources as arepository for history of emotions research.Biography:Rebecca F McNamara is a Postdoctoral Research Associate for the ARC CHE at theUniversity of Sydney. She received her DPhil from the University of Oxford, where she wroteon bureaucratic, legal, and political language in the literature of Chaucer, Thomas Usk, andThomas Hoccleve. Her current CHE project considers the emotions related to suicide inmedieval Europe, focusing on legal records and chronicles. She has published in NewMedieval Literatures on the use of political and legal language in Thomas Usk’s The

Testament of Love, and has a forthcoming article in Exemplaria on methodologicalapproaches to the history of emotions in medieval texts.MELLAS, AndrewUniversity of SydneyTitle:Her Tears of Katanyxis: The Gendering of Emotion in Kassia's Poetry.Abstract:In ninth century Byzantium, Kassia became the one female author whose writings ushered herinto the pantheon of Eastern Christendom’s hymnographers. Surfacing from the margins as afigure unburdened by a sense of divine mission or the desire to enunciate doctrineHomerically, her hymns display a poignantly humane element, dramatising the adventure ofhuman freedom within a theological space.Kassia’s magnum opus, her “troparion” on the sinful woman who anoints Jesus a short whilebefore his passion, is not only a poetically beautiful and musically complex hymn that ischanted days before Pascha; it is a profound dramatisation of the emotion of katanyxis(compunction). Katanyxis for Byzantine Christianity was an intriguing chapter in the historyof emotions: it bespoke an unconditional surrender of one’s free will; it precipitated theabolition of the psychological armour that resists the numinous; and it gave birth to theexperience of the divine. This paper will investigate how this emotion is represented andgendered in Kassia’s poem, with brief allusion to a comparable composition by Romanos theMelodist.In transcribing this emotion into the literary genre of Hymnography, Kassia portrayedkatanyxis as a yearning for the divine emerging from the finitude and ephemerality of thehuman existence. Retelling a biblical event, she delicately inflected the narrative within thematrix of her personal existence. The emotion dramatised in the poem was distilled from theheart of a broken woman, not a hymnographer in a privileged position. However, Kassia’spoem was also composed for performance within the sacred space of the church, as part of theLenten Triodion. While the katanyxis of her protagonist exhibits a gendered nature, it isintertwined with the journey of salvation and the theatre of the Byzantine rite.Biography:Andrew Mellas is a Doctor of Philosophy candidate within the School of Languages andCultures at the University of Sydney. His thesis investigates compunction in Byzantine poetry,beginning with the autobiographical poetry of Gregory the Theologian and ending withSymeon the New Theologian’s hymns of erotic longing for the divine. He has published anumber of articles in peer-reviewed journals and is a member of the Australian ByzantineChoir.MEWS, ConstantMonash University(Co-written with Carol Williams, to be presented by Carol Williams)Title:Music is the … “exaltation of the mind derived from things eternal bursting forth in sound”Abstract:The musical aesthetic of Thomas Aquinas, though austere, reveals an intense sensitivity to theaffective power of music. As a result he found himself, like Augustine, caught betweenresponding positively and negatively to the use of music in the liturgy. On the one hand"vocal praise arouses the interior affection of the one praising and prompts others to praiseGod" [ST II ii question xci, article 1 ad 2] but music could also "move the soul to pleasurerather than create a good disposition in it". [ibid. article 2 ad 4] While it has been assumedthat the expression of emotion has little place in our understanding of chant of the medievalchurch, the work of Guy of St Denis can be seen to develop a contrary case. Was his exposéof the expressivity of modes in specifically named chants an outcome of the influence of

Aquinas? This paper investigates the impact of Aquinas' Passions of the Soul on Parisianchant theory of the late thirteenth and early fourteenth centuries.Biography:Constant Mews took up a position at Monash University as Lecturer in the Department ofHistory in 1987. Since then he has been involved in developing the Centre for Studies inReligion and Theology and in promoting studies in religion more generally, with a stronginterest in interfaith work. He has had spells of study at the Institute for Advanced Study,Princeton, in 1990 and 2000, and at St John's College, Cambridge, and also taught in Paris, atthe Ecole pratique des hautes etudes (Ve section) and in the Ecole des hautes etudes ensciences sociales. Between 2009 and 2011, Constant was on the ARC College of Experts. Hisinterests are in situating the history of medieval philosophy and religious thought, within thebroader framework of medieval culture and society.MICAL, ThomasUniversity of South AustraliaTitle:Eerie ArchitectureAbstract:It is common and necessary for architecture to create order, and to manifest this order throughthe presence and regulation of structures. Specifically, that which is experienced, and thefunctions that are imagined, work within aesthetically determined structures. It is no accidentthat in the late seventeenth century and early eighteenth century in the UK. The necessity ofstructure is tied to both the senses and also rationalism / empiricism, and the conviction of thestructures of sense, of emotion, and of the geometry of the world deserves careful analysis, inthat there are overlaps and parallelisms that could too easily be glossed over intoequivalencies. Fortunately, the experience of the everyday is always punctured by eccentricdeviations and interruptions to this shroud of normative continuity, and we seek to identifythese displacements as eerie displacements, under most conditions. This paper seeks toidentify, with precision, the role and presence of these odd, unusual, and the proto-uncannyexperiences of the eerie within the Baroque Architectural imagination, discourse, drawing,and building practices. The structures can be seen to produce feelings and experiences of theeerie, and simultaneously their design ordering itself falls on the far side of manneristdistortion and dislocation, producing the eerie in the cold stones and hazy light of constructred spaces, both imperial and ecclesiastical, as spaces of meaning and sensation. The paperwill also look briefly at how the eerie can and as normalised or naturalised as part of theexperience of the world, and no longer located outside the everyday as a supernatural oroccurrence or form of alterity. This paper seeks to define, using the philosophicalunderpinnings from Hume to Hegel, a theory of the emotional state of the eerie, legible in thearchitectural imaginations of Wren and Hawksmoor, as well as aspects of the eerie receptionof their work today.Biography:Thomas Mical completed his professional M.Arch. at Harvard GSD with a thesis on "BladeRunner Urbanism for Cyber-City Tokyo", and his doctorate (in architectural theory) atGeorgia Tech and Emory, which examined the influence of Nietzsche‘s Eternal Recurrence inGeorgio de Chirico‘s “Metaphysical” Urbanism. His work on "Madness and Landscape" withEGS / Atpropos Press is forthcoming in 2013.MIDGLEY, KellyThe University of Western AustraliaTitle:Nick’s Bottom: Love, Folly, and Melancholy in A Midsummer Night’s DreamAbstract:

The aim of this paper is to provide a detailed character analysis of Nick Bottom in AMidsummer Night’s Dream. I will argue primarily that Bottom is not a wholly comical figure;in fact, he has the most emotionally complex journey of any character in the play.I will propose that Bottom exhibits symptoms of having a low self-esteem. His dissatisfactionat playing the tragic hero in “Pyramus and Thisbe” stems from a latent pessimism that he willfail at the role. His outspoken folly is used to overcompensate for this suppressed cynicism.Furthermore, if Bottom’s encounter with Titania was a dream, it must be questioned why heimagined himself with an ass head. Considering the predominantly negative depictions of theass in the Early Modern period, it is likely that Bottom is deriding himself at a subconsciouslevel. Bottom’s reaction to Titania’s advances also warrants analysis. Initially, he appears tobe cynical about the idea of love, viewing it as no more than a performance. Bottom’s shockat Titania’s interest in him demonstrates another facet of his low self-esteem, and marks thebeginning of a poignant emotional transformation. However, Bottom and Titania’s encounteralso reveals the most problematic facets of the play. Titania’s feelings for Bottom were theresult of a malicious spell; thus, they were never real. Throughout the play, love is depicted asshallow, fickle, and easily manipulated. Yet, through Bottom’s story, Shakespeare reminds usthat love also has the potential to cause divine inspiration.Biography:Kelly Midgley is in her third year of studying a Bachelor of Arts, majoring in English andMedieval and Early Modern Studies at the University of Western Australia. Her mainpassions are literature, theatre, and history. After completing her undergraduate degree, shehopes to continue studying these three areas at a postgraduate level.MILLAR, Charlotte-RoseUniversity of MelbourneTitle:The Devil’s Victims: Emotionally Vulnerable Witches in Seventeenth-Century EnglandAbstract:One of the key issues in seventeenth-century English witchcraft is to understand the point atwhich (and the conditions under which) men and women were believed to succumb towitchcraft. These crucial moments have been overlooked in much modern scholarship.Rather than looking at accused witches as a homogenous group, this paper attempts tohighlight some of the constructed individual experiences and feelings of people who wereportrayed as witches. If we examine all extant seventeenth-century English witchcraftpamphlets it becomes clear that, far from appearing randomly, devils were often portrayed astargeting potential witches at moments of extreme emotional disturbance. A close study ofthese pamphlets demonstrates that in the first half of the century devils often appeared to theirvictims after they expressed rage, hatred or envy. Sometimes these violent outbursts wereunnecessary as a witch’s disposition was enough for a devil to view her as a suitable target.This paper will explore all cases of devils appearing to potential witches immediately aftermoments of great emotional disturbance. It will argue that rage, envy, hatred and greed wereviewed as the primary reasons for men and women succumbing to witchcraft. As well aslooking at the emotional experiences of witches and the imagined experiences of their devils,it will also examine how readers and writers viewed these emotional outbursts. The belief thatdevils appeared to potential witches at times of emotional crisis appears far more frequentlyin pamphlets from the first half of the seventeenth century. This paper will attempt tospeculate as to why some groups of witchcraft pamphlets emphasised the emotional fragilityof potential witches and some did not. Ultimately, this paper will argue that witches wereoften depicted in popular print as people who were unable to control their emotions and thatthis apparent deficiency made them more vulnerable to the devil’s influence.Biography:Charlotte-Rose Millar is a PhD Candidate in the Centre of Excellence for the History ofEmotions and is based at the University of Melbourne. Her research interests focus on earlymodernEnglish witchcraft, diabolism, popular print and emotional experience. She has

published on the role of the familiar in English witchcraft (and witchcraft more broadly) andhas received two prizes for her published work. Charlotte-Rose is supervised by Prof. CharlesZika and Dr. Catherine Kovesi.NELSON, KathleenUniversity of SydneyTitle:Melismata and meaning in recitational chant for Easter EveAbstract:Recitational chants tend to be simple and often syllabic. They are also formulaic and maydisplay the same musical material adapted and repeated according to the prosody of the texts.There are, nevertheless, opportunities for variety and elaboration in recitational chants.Medieval examples show particular points in the structure of recitation tones which attractedelaboration and variation. One such point occurs at the opening (or “intonation”) of tones. Atthese intonations, melismata (groups of notes sung to one syllable) were sometimes employed.Within settings of long texts where the same tone had to be repeated numerous times, therewas scope for considerable variety, as well as repetition, amongst the intonations. One suchlong text with examples exhibiting this practice is the lengthy second section of the Eastervigil’s Exultet iam angelica. In this paper I develop a new perspective in my research into themedieval chant for Exultet iam angelica by considering intonations as a locus of meaning inexamples from the later middle ages. In addition, I will consider melismatic intonationsemployed in chant for the Lamentations of Jeremiah of Easter Eve or Holy Saturday.Examples for discussion will be mainly chosen from Spanish sources.Biography:Kathleen Nelson is associate professor in musicology at the Sydney Conservatorium of Music,the University of Sydney. She researches medieval sources of chant, and in recent years hasbeen fascinated by chants for the Easter vigil’s Exultet in Iberian and French sources.NOLAN, MikeLa Trobe UniversityTitle:"Fury has armed his thoughts so thick with thorns": the savage, destructive anger of GeorgeChapman's Byron.Abstract:George Chapman's companion plays - The Conspiracy of Charles, Duke of Byron and TheTragedy of Charles, Duke of Byron - are unique in Jacobean Theatre in that the main focus inboth plays is on the dramatic significance of the main protagonist's emotional state; Chapmaninvestigates the Duke of Byron's almost uncontrollable anger, to which we are introducedwith his entrance and which is maintained throughout to the conclusion of the second play.The audience is shown how anger dominates his actions and his relationships, leading to hisconspiring against the King of France, Henri IV, and to his eventual downfall and executionas a traitor. The study of Byron's rebellion is so much concerned with courtly plotting andintrigue, but with how a character is defined by a particular emotion. The context for theexamination of Byron's anger is strictly political with little attention paid to the personal ordomestic spheres. His anger is substantial, public and provocative; it is also demonstrativeand essential to his identity as presented to us within the drama. Byron's outward displaystherefore make him vulnerable in the controlled and undemonstrative, inward environment ofthe Court. In this paper the political ramifications of the Duke's public and necessarilyoppositional displays of emotion will be considered, along with the contrast betweenundisguised anger and the intentional (and politick) suppression of emotion within a Courtenvironment that privileges subterfuge, intrigue, manipulation and betrayal.Biography:

Dr Mike Nolan is a lecturer in English Literature at La Trobe University Melbourne, whosemain area of interest is Early Modern drama.O’LOUGHLIN, KatrinaThe University of Western AustraliaTitle:Sourcing emotions in space: The Case of the Eighteenth Century Turkish BathsAbstract:Space would certainly seem to have emotional energies: in the eighteenth century, certainspaces were alive with affective power. Landscape, gardens, grottos, ruins, all have a specialemotional resonance for the Romantics. But other spaces also display emotional significancein the writing and art of the period. Public spaces like theatres, the court, coffee houses,cathedrals and assembly halls are sites of social and emotional intensity, and private spaceslike the cabinet, closet and bedchamber feature in the emotional imaginary of poetry and thenovel. Together with these physical sites there are experiential fields that claim attention; the“space of reading”, for instance, which is both a physical relation between the reader and herbook, and a space of engagement for the imagination and emotions. This paper is a tentativeexploration of how to think about thinking about emotions in space. It explores thesesignificant spaces of feeling in the eighteenth century. Then using one of the most suggestiveand popular spaces of early modern travel and fiction - the Turkish bath or seraglio - I wouldlike to investigate what it might mean to “source” emotions in space and how it might bedone. Does one look for traces (sources), evidence (sources) or authority of representation(sources)? Can one effectively map the exchanges of emotional energies that seem to occurin space, or is it right only to look for emotional agents? How might we explore theemotional dynamics and ecologies of space?Biography:Katrina O'Loughlin joined CHE as Postdoctoral Fellow based at The University of WesternAustralia. She holds a BA and PhD from Melbourne University. Her research interests incolonial and postcolonial literature and art led her back into the eighteenth century andwomen's travel narratives for her PhD research. In 2010 she was a Visiting Scholar atChawton House, Hampshire - a research centre for early women's writing, and in 2011 aVisiting Fellow at the Humanities Research Centre at the ANU. Her research for CHEinvestigates international friendship and intellectual sociability in the early modern period - orthe “Republic of Letters” as an emotional community.OVENS, MichaelThe University of Western AustraliaTitle:Fear and Courage in Codex DöbringerAbstract:This paper will discuss how we can source emotions from the fencing treatises of fourteenthand fifteenth century Europe. Typicallyovershadowed by the fencing treatises of the sixteenthcentury and their discussions of anger and honour, I will argue that these earlier treatisesprovide a valuable insight into therelationship between emotions and combat in the latemedieval period. This paper will focus on fear and courage in the anonymous longsword glossof “Codex Döbringer”, MS 3227a, c.1389. This text can be considered representative of themedieval tradition of swordsmanship where the purpose of technique was to manipulateemotion in both oneself and one’s opponent in order to attain victory. This paper will bedivided between a discussion of how we can source emotions from medieval and renaissancefencing manuals in general, and how we can source the emotions of fear and courage withinthe master technique of the Schielhau (“Squinting Strike”) as described in Codex Döbringer. Iwill argue that these manuscripts are opaque to a simple reading of the written text, and that a

three-fold interpretation of image, performance, and text is required in order to fully elucidatetheir meaning.Biography:Michael Ovens is a PhD candidate working within the field of Medieval and Early ModernStudies at the University of Western Australia. His primary research interest is theintersection of fencing and epistemological culture during the Middle Ages and theRenaissance.PHILLIPS, BridThe University of Western AustraliaTitle:Stirring the emotions with colour: exploring emotional representations through the medium ofcolour for audiences of Shakespeare’s OthelloAbstract:“O beware, my lord, of jealousy.It is the green-eyed monster which doth mockThe meat it feeds on.”Othello, 3.3.169-171Colour is widely used in early modern literature and drama as an indicator of emotional states,or in connection with the expression of emotion. Yet the symbolic valency of colours in anyperiod is decidedly varied and context dependent. This means it can be challenging to read theemotional significance of colour, or to read the nature of emotions through their associationswith colours. The application of fixed associations can also limit a sense of their potentialemotional significance. For example, green could symbolise constancy or fertility in the earlymodern setting, but could also be linked to unrequited love (as in Desdemona’s Willow Song)and jealousy (“the green-eyed monster”, as Iago calls it.)Similarly, much critical attention toOthello has concentrated on the representation of black and white in relation to early modernracial ideology, yet these shades may also denote mourning, unhappiness, hatred, good andevil, and even, in Elizabethan times, physical defect. Consider the tonal layers of emotionalsignificance when Iago talks of “an old black ram […] tupping your white ewe”. My paperon Othello seeks to extend the awareness of the play’s emotional range throughacknowledging the polyvalent and shifting associations within its early modern discourse ofcolour and also to develop new depths of emotional understanding through the coloured lens.As a point of cultural comparison and contrast, I shall examine the apparent emotionalsignificance of colour in the 1995 film version directed by Oliver Parker.Biography:Brid Phillips completed both undergraduate and masters degrees at the University of WesternAustralia and has recently commenced her doctorate studies in early modern literature at thisvenerable institute. Her interests include the expression of emotions and the cross over ofhistorical and literary sources from the classical period through to the early modern where thisexpression can be found.ROBIN, Sarah AnnLancaster UniversityTitle:Knives to Nutcrackers: Getting Married in seventeenth-century England and AmericaAbstract:Getting married was a specific punctuation: a marker; symbolic of a transition in status. Itbrought religious fulfillment and celebration; stabilised economic necessities; and was one ofseveral rituals which communal life revolved upon. Many of the sources which survive arelegal documents. These are doubtlessly fruitful but reveal just one small part of the day.Studying the object allows an historian to make the immaterial dimensions into the material:to understand the importance of emotions, of the transient expressional forms of those

emotions, the temporary spaces that those expressions existed within: and, to understand thefundamental emotion of the wedding day: love. People commissioned physical “things” tomark this event and to express love, whether these were knives, bowls, rings or shoehorns.Marriage was an incentive for a person to produce such an object, regardless of status:whether the wedding was an opulent feast of fabrics and food, a private indoor ceremonyconducted at night or the spoken promises of two poor persons in a meadow. Emotion andintent were expressed through the very physicality of the thing, as well as material, functionand design. The survival of these objects allows us to understand the significance of love inthe period, both in terms of public displays and as highly personal, intimate experiences.Biography:Sarah Ann is a PhD student, in her third of four years of study. She attained her undergraduateand master’s degrees at Lancaster University. Sarah Ann’s supervisors are Dr. Sarah Barberand Dr. Corinna Peniston-Bird.ROLLO, DavidUniversity of Southern CaliforniaTitle:Alain de Lille’s De planctu Naturae: Feminine Love and the Pleasures of ReadingAbstract:In his De planctu naturae (ca. 1175), Alain de Lille makes love a feminine categoryallegorised through the female character Venus. In this he clearly makes a strategic choice:“amor” is a masculine noun and, since classical antiquity, it was habitually personified in thefigure of Cupid. By conflating the most ostensibly deleterious emotion with the female bodyin this way, Alain appears to align himself with the traditional, ultimately Augustinian distrustof both women and carnal delight. Interpreted in these terms, the De planctu emerges as aconventional work of misogyny that argues the need for stringent clerical regulation over theaffective relationships binding men and women: Venus, representing the fallen, debased loveof post-lapsarian humanity, is balanced against — and, finally, defined and controlled by —the male character Genius, the representative of the contemporary clergy who intervenes atthe end of the text to level an anathema against any who should fall under the influence of theclassical goddess. And yet there is a great deal that undermines this neatly genderedopposition. First, as is clear even from the above, the love that Venus represents is common toall humanity. Certainly, Alain’s Nature and the authorial surrogate recognise as much, if onlyin highly pejorative terms, accusing male followers of Venus of affective hermaphroditism —men who succumb to “venereal” emotions figuratively become women. However, thishermaphroditism manifests itself elsewhere in the text. Both Nature and the narrator equatehermaphroditism with opulent, flashy rhetoric, yet themselves use precisely the verbalexuberance they criticise. This occasions a relocation and reformulation of love itself, as thisfeminised yet universal emotion is now manifested in the pleasure gained from the text: tofollow Venus is also to enjoy the linguistic texture of Alain’s writing and the literary artifactnow becomes a legitimate, though still “female” vehicle for pleasure.Biography:David Rollo is Professor of English at the University of Southern California, specialising inthe Francophone literature of medieval England. He has previously also taught French,including 10 years as Assistant and Associate Professor at Dartmouth College. He is author offour books, most recently Kiss my Relics: Hermaphroditic Fictions of the Middle Ages(Chicago: 2011) and Alain de Lille’s De planctu Naturae: A New Translation from the Latin(forthcoming).SCOTT, JessicaUniversity of Melbourne(With Stephanie Trigg and Penelope Lee)Title:

Making FacesAbstract:This paper draws out some connections between CHE's research in the Faces of Emotionproject and some of the work of its Education and Outreach program. The Faces projectexamines the movement and expression of emotion on the human face, from 1100-1800, andinto later periods as well, through the Shaping the Modern program. At its 2012 collaboratoryat the University of Melbourne, a number of presentations reminded us that the face ofemotion is often a moving face, not just a static index of emotion. During this collaboratory,we also conducted a number of video interviews with participants, capturing scholarsspeaking about their research in a forum that is often more dynamic and immediate than aformal paper, and more suitable to share with a less specialised audience. Being recorded onfilm for possible dissemination and wider consumption via the web can be a nerve-wrackingand a downright emotional experience for some scholars. Whether it is because of thepolitical context of public scrutiny of humanities research or the temperament that oftencharacterises the scholar (i.e. ambitious, driven, self-critical, and hyper-conscious of nuance);being still and appearing in command of one’s ever-evolving work is not easy. This may beeven more pronounced for individual scholars within CHE, given the challenge of reexamininghistories so well-known to scholars, yet possibly disorientating in its newness.Through a collage of sound, images and the embodied face, a dynamic moment in time iscaptured and an image and history — both individual and collective — is constructed. In thispaper we will describe the process, and experience, of conducting video interviews, from bothsides of the camera. We will show some of our recorded material, illustrating examples ofboth edited and unedited content, hoping to demonstrate the value and usefulness of theseinterviews for :(a) the Centre, as we make complex ideas accessible, disseminate our research and engagenew audiences to think about the histories of emotions;(b) the community, as we create “sources” for the history of emotions in the field of themoving image; and(c) scholars, as we provide a space to share, examine and reflect upon their work.Biography:As well as being the administrator of the Melbourne node of the CHE, Jessie Scott is a videoartist, programmer and producer who works across the spectrum of screen culture inMelbourne. She is a founding member of audiovisual art collective, Tape Projects, editor ofPicture Skew screen culture blog, and has worked at the Australian Centre for the MovingImage in both the Digital Storytelling, and ACMI in the Regions community filmmakingprograms. In 2013, she will launch the Channels Video Art Festival in Melbourne.SEILER, DeborahOtto-Friedrich University, Bamberg, GermanTitle:Transcontinental and Emotional: Historians of Late Medieval Germany and EnglandAbstract:This paper explores how modern historians are both influenced by historical emotionalrealities and how, in turn, that influences the history they write. The focus will be on latemedieval England and Germany – two countries that are rarely dealt with in a comparativemanner in modern historical research, especially in terms of the late medieval period. Thereasons for this lack of what would certainly be a fruitful comparison stem from history itself.That is, the history of each country has formed how historians are trained and that in turn isreflected in the history they write. The emotional aspect to this is unmistakable upon closerinspection: two different and, at times even contrasting, historical landscapes create distinctemotional landscapes. Thus, this paper explores how emotions, as both transmitted andtransmuted through a history that is evidently non-static, are at the very core of historiansthemselves. The boundaries between the historical emotional landscape, hidden from plainview, and the modern emotional landscape, wherein the historian is consciously situated, meet

to reveal a distinct line of emotional transmission. As an exploratory comparison of thehistoric and the modern, the English and the German, and the historian and the history, thispaper shows just how integral emotions areBiography:Deborah Seiler completed both her BA (Hons.) and MA in MEMS at the University ofWestern Australia. In late 2012 she moved to Germany to start her doctorate at the Universityof Bamberg, under the supervision of Klaus van Eickels (Bamberg) and Philippa Maddern(UWA), with her dissertation focus being on friendship between upper class men in Englandand Germany, c.1300-c.1450. Her research interests include gender (masculinities inparticular), sexuality and social history in the later medieval period.SILVESTER, LesleyIndependent Scholar (Perth)Title:“May our ship have a safe passage”: Social and Emotional Relationships Aboard SixteenthandSeventeenth-Century Sailing ShipsAbstract:In 1488, the Portuguese explorer Bartholomeu Dias sailed around the southern coast of Africa.He was the first European to do so and it had the far-reaching consequence of opening theway for the establishment of profitable trade between Europe and the East Indies. The Dutch,the English and the Portuguese all formed large trading companies and the sixteenth andseventeenth centuries saw increasing amounts of traffic on the high seas as they all competedfor the lucrative trades in spices, ivory and slaves, as well as beginning the colonisation of theworld in the east. The people on the ships were initially nearly always men, merchants andtraders with their retinue and those necessary to sail the ships, navigators, pilots and ordinaryseamen. The seaways from Europe to the East, via the Cape of Good Hope were considered atthe time to be the roughest in the world. A voyage could take a year and a half at least, to getthere and back again. Many ships that began the voyage never returned, due to eithershipwreck or enemy action. This paper will focus on the relationships on board the ships ofthese early travellers and how emotions influence their behaviours and activities. Journals, sealogs and personal diaries reveal the tensions and emotions that filtered through those on board.These sources will be examined to identify both the catalysts for personal conflict amongthese travellers, and the consequence of disharmony on both passengers and crewBiography:Lesley Silvester completed her MA in Medieval and Early Modern Studies at UWA in 2007followed by her doctorate at UWA in 2012. Her most recent publication was released in late2012, a chapter in the collection Experiences of Poverty in Late Medieval and Early ModernFrance and edited by Anne M. Scott (Ashgate 2012). She has currently submitted a paper forthe workshop Experiences of Charity to be held at UWA in February 2013. Her other researchinterests include the history of emotions associated with music and songs of the sea; theemotional history of genealogy and the symbolic and sentimental significance of museumobjects and archaeological artefacts.SMITH, JennyIndependent scholar (Melbourne)Title:Birds and Dissimulation from the Medieval to the RenaissanceAbstract:Dissimulation was often used to displace emotions in late medieval and early moderndiscourses around correct language, translation and behaviour. This paper examines onedissimulation trope, the bird, across multiple sources, with a view to better understandingcontemporary ideas of art and of plain speaking.The rhetorical trope of the bird was used in many medieval sources, whether in a group of

irds representing emotional communities, as in Chaucer’s Parliament of Fowls, or a singlebird used as a mouthpiece for the poet in expressing emotions about authority, as in Lydgate’sThe Churl and the Bird. Different kinds of birds evoked different emotions: white birds stoodfor the redeemed soul and black for the guilty, the owl for wisdom, the daw for foolishness.When not specified, “a bird” in general, or in genus, often represented nonhuman wisdom,sometimes taking on the persona of the holy fool.In medieval discourse, a popinjay or parrot signified a beautiful or praiseworthy person, withreference to the bird’s beauty and rarity. It was considered to have been born in heaven andthere to have learned not only how to speak but also how to think. After 1492, the growingpopularity of parrots as luxury pets led to their becoming a symbol for worthless butdecorative courtiers. An example is John Skelton’s Speke, Parrott of 1521, in which thepampered bird laments the decadence in which it lives and the chaotic nonsense spokenaround it: a new version of Lydgate’s bird as metaphor for the court poet himself. Thus,contemporary emotional responses to artifice and luxury are combined with olderconnotations of dissimulation and of nonhuman wisdom.The combination of positively received and negatively received concepts within the onerhetorical symbol is a useful way to explore how meanings, and the emotions invoked bythose meanings, changed over time.Biography:Jenny Smith holds an MA in History from the University of Melbourne, with a thesis on thehistory of irony in England from the 1470s to 1530s. She is interested in the history of ideasin this period, particularly in changes in common metaphors and in the notion of serio ludere.Jenny is employed in various para-academic capacities and is exploring ideas for a doctorateon the history of metaphor in the late fifteenth and early sixteenth centuries.SPARACIO, Matthew JohnAuburn UniversityTitle:"This Plantation, which the divell hath so often troden downe": Religion and the Settlement ofan Emotional Community in Colonial Virginia, 1607-1622Abstract:This paper examines the role of emotions – specifically fear – in the development and earlystages of English settlement at Jamestown. More so than any other factor, the Protestant beliefsystem transplanted by the first settlers to Virginia helps explain the hardships the Englishencountered in the New World while influencing English perceptions of self and other. Out ofthis transplanted Protestantism emerged a discourse of fear that revolved around the agency ofthe Devil in the temporal world. Reformed beliefs of the Devil identified domestic EnglishCatholics and continental imperial rivals from Iberia as agents of the diabolical. These fearstravelled to Virginia, where the English quickly ‘satanised’ another group, the VirginiaAlgonquians, based upon misperceptions of native religious and cultural practices. I arguethat English belief in the diabolic nature of the Native Americans played a significant roleduring the “starving time” winter of 1609-1610. In addition to the acknowledged agency ofthe Devil, Reformed belief recognised the reality of providential actions based uponcontinued adherence to the English’s nationally perceived covenant with the Almighty. Earlysettlers of Virginia viewed the myriad tribulations experienced by the young colony asconcrete evidence of God’s displeasure. A religiously-infused discourse of fear came to bothepitomize and shape the first two decades of Jamestown’s existence.Biography:Matthew John Sparacio is currently a PhD student at Auburn University (Alabama, USA)focusing on colonial American history with minor fields in modern and early modernEuropean history. He received both his Bachelor’s and Master’s degrees from Virginia Tech(Virginia, USA).

SPENCER, StephenQueen Mary, University of LondonTitle:When wiser men intervene: the significance of a literary topos for discerning displays ofanger in sources for the CrusadesAbstract:In recent years, historians have convincingly demonstrated that anger features in two mutuallycompatible ways in historical narratives of the twelfth century: on the one hand, as sociallydangerous and sinful; on the other, as a righteous sentiment, which could signal therenegotiation of social relationships. An important consequence of these studies has been theidentification of a semantic distinction in the terminology of anger, between ira (legitimatewrath) and furor (insensate fury). This paper explores whether anger was represented as anappropriate emotion for Christian combatants to display in twelfth- and thirteenth-centurynarrative texts pertaining to the Crusades. In other words, did crusading provide a context inwhich it was legitimate, or perhaps even praiseworthy, for participants to direct their wrathagainst the enemies of Christendom? By discussing this question, I hope to demonstrate thesignificance of a literary topos – the intervention of wiser men – for interpreting descriptionsof crusader anger, before briefly considering whether authors were seeking to depict an alien,barbaric Muslim enemy via their distribution of two rage terms, furor and rabio.Biography:Stephen Spencer is a Ph.D. candidate at Queen Mary, University of London. His thesisconsiders the representation and function of emotions in the twelfth- and thirteenth-centurysources for the Crusades.STARBUCK, NicoleUniversity of AdelaideTitle:From Sentimentalism to Science? : Navigating Feeling in the Encounters and Ethnographiesof French Revolutionary VoyagersAbstract:This paper investigates evidence of emotions in French records of cross-cultural contact,through a comparison of the encounters between Tasmanian Aboriginal people and twoscientific expeditions of the French Revolutionary era: the first led by Bruni d’Entrecasteaux(1792 and ’93) and the second led by Nicolas Baudin (1802). These expeditions occurred atdifferent ends of the French Revolution, of the transformation of natural history, and of whatWilliam Reddy calls the “erasure of sentimentalism”; not surprisingly, perhaps, there aresignificant differences in their accounts of the Tasmanians they encountered. Scholars haveshown that an emotional economy was always central in cross-cultural encounters, but itssignificance in this case has not previously been the particular subject of analysis. In thispaper I source and assess the changing or continuing influence of feelings such as gratitude,intimacy and fear by comparing the “anthropological” instructions that were given to eachexpedition and the ethnographies that the voyagers produced, in the context of the culture andpolitics of Revolutionary France.Biography:Nicole Starbuck is a lecturer in History at the University of Adelaide and an AssociateInvestigator with the Centre of Excellence for the History of Emotions. She studies theeighteenth- to nineteenth-century history of French exploration in the Pacific and isparticularly interested in the relationship between the society, culture and politics ofRevolutionary France and the cross-cultural encounters and attitudes of French voyagernaturalistsin the Pacific.ŠTOLLOVÁ, JitkaCharles University, Prague

Title:Encoding emotions into stage directions in printed Stuart dramaAbstract:As a result of what Margaret Jane Kidnie calls “current critical orthodoxy”, the interest inperformance of early modern plays inspired scholars to place greater emphasis on paratexts.They shed light on the practical side of stagecraft, but also draw attention to the very processof transforming theatrical material into print. Anthony Hammond claims that Jacobeanplaywrights took different media into consideration when writing concise, actor-oriented, andinstructive stage directions for scripts used in rehearsals, and elaborating them in printedforms of their texts to help readers imagine the action on the stage. I will show that theupsurge of highly visualised forms of drama, particularly of masques, in the Stuart periodposed new challenges in this respect and inspired playwrights to resort to purely literarytechniques – previously unused tropes and schemes – when writing stage directions to makethe future readership emotionally involved in their work.Using plays by James Shirley and William Davenant, I will demonstrate that playwrightsbegan to draw on ekphrasis to set the action on the stage against a linguistically highlyelaborate and visualised background. Writing directions that were simultaneouslyaesthetically pleasing, descriptive, and informative offered new possibilities for engagingreaders and evoking the desired emotional reactions in them. Accordingly, character listsceased to be mere summaries of roles and were extended into more comprehensivedescriptions of the characters’ psychological profiles (as in the case of Shirley’s ThePolitician). This mirrored the strategies of character exposition in prose, and helped readers toidentify with, or set against, particular characters even before they familiarised themselveswith the play. I will argue that these trends prove the potential of Stuart drama to span the gapbetween performance and printed text, and to seek new ways of addressing readers longbefore the closure of theatres during the Civil War made such strategies essential.Biography:Jitka Štollová is currently completing her MA in English Literature at Charles University,Prague. She is also working on a £2,000 project “Richard III in Tudor Literature and Art”,funded by the Faculty of Arts at Charles University.In 2012 she obtained the Bakala Scholarship to commence her PhD at Oxford or Cambridgein Autumn 2013. She has a BA in English Studies (distinction) and a BA in Journalism(distinction), both at Charles University.TARANTINO, GiovanniUniversity of MelbourneTitle:Teaching the Fear: Gilbert Burnet’s Accounts of Catholic Violence against Waldensians(1688)Abstract:In the period 1660-85, with the exception of short interludes in 1662 and 1672, EnglishCatholics did not enjoy freedom of worship, and their property was at risk. In the Whigdominatedyears after 1678 England fell into the grip of an “anti-popish” hysteria. Some200,000 people are reported to have attended the burning of an effigy of the pope at TempleBar in 1679. Sets of playing cards depicting Catholic atrocities were also issued. The anti-Catholic prejudice was further exacerbated on the accession to the throne in 1685 of James II,the first openly Catholic monarch in England since Mary I had died in 1558.In this paper I plan to focus on Gilbert Burnet, a major political propagandist for William andMary, and his blood-dripping accounts of the Catholic persecution of the PiedmonteseWaldensians. In April 1686, a joint Catholic French and Piedmontese army had beendispatched to crush the resistance of the Waldensians. About 3,000 of the 14,000 pre-1685Waldensians converted to Catholicism, but most fought and died or were forcibly exiled. The1655 massacre of the Waldensians had also prompted a national campaign on their behalf inEngland, and churches were painted red to visually symbolise the bloodshed. But in neither

case was the outcry about Catholic violence against the only “visible” church upholding theapostolic faith accompanied by condemnation of English Protestant violence againstCatholics in England (and, above all, in Ireland). It served instead as a further justification foranti-Catholic persecution. A politically top-down intolerant attitude towards Catholics cameto spread among the English “mobs”, playing on their deep-seated fears and xenophobia.Anti-Catholicism ultimately shaped the British Protestant “emotional community” far beyondthe merely political aims of the anti-popish propaganda actors.Biography:Giovanni Tarantino is a Postdoctoral Research Fellow of the ARC Centre of Excellence forthe History of Emotions at the University of Melbourne. A former Hans Kohn Member of theSchool of Historical Studies at the Institute for Advanced Study in Princeton (2008-09) and aformer Resident Fellow of the Käte Hamburger Kolleg at Ruhr University Bochum (2010-11),his publications include Republicanism, Sinophilia and Historical Writing: Thomas Gordon(1691?-1750) and his 'History of England' (Brepols, 2012); 'Martin Clifford and "A Treatiseof Humane Reason" (1674): A Europe-Wide Debate', in Philosophy and Religion inEnlightenment Britain, ed. Ruth Savage (Oxford UP, 2012), pp. 9-28; 'AlternativeHierarchies: Manhood and unbelief in early modern Europe, 1660-1750', in GoverningMasculinities: Regulating Selves and Others in the Early Modern Period, eds SusanBroomhall and Jacqueline Van Gent (Ashgate, 2011), pp. 209-225; Lo scrittoio di AnthonyCollins (1676-1729): i libri e i tempi di un libero pensatore (Milan: FrancoAngeli, 2007).TRIGG, StephanieUniversity of MelbourneTitle:“Especially delicious and exquisitely tender”: Chaucer, Coleridge, Emotion and AffectAbstract:The most common narratives in Chaucerian reception history use broad brushstrokes tocontrast discrete phases of Chaucerian readership and interpretation. We customarily say thatin the sixteenth century, for example, Chaucer was prized as a courtly poet; in the eighteenthcentury, as a bawdy or satirical poet; and in the nineteenth century, as a poet of sentiment.Coleridge described his “unceasing delight in Chaucer” as an “exquisitely tender” poet, areading that would have been unrecognisable a hundred years earlier, and that is now markedprimarily by its own historicity as a “romantic” construction, or reading, of Chaucer. Suchshifts are usually read through the history of taste and changing fashions in medievalism andthe readerly constructions of different Chaucers. But this reception history might also functionas an important source for the history of emotions; and the representation in critical discourseof changing patterns of affect and feeling in response to literary texts. In this paper I will useColeridge’s reading of Chaucer to test ways in which the history of emotions and the study ofthese longer patterns of Chaucerian reception might inform and illuminate each other.TRIGG, StephanieUniversity of MelbourneTitle: Making FacesAbstract:This paper draws out some connections between CHE's research in the Faces of Emotionproject and some of the work of its Education and Outreach program. The Faces projectexamines the movement and expression of emotion on the human face, from 1100-1800, andinto later periods as well, through the Shaping the Modern program. At its 2012 collaboratoryat the University of Melbourne, a number of presentations reminded us that the face ofemotion is often a moving face, not just a static index of emotion. During this collaboratory,we also conducted a number of video interviews with participants, capturing scholarsspeaking about their research in a forum that is often more dynamic and immediate than aformal paper, and more suitable to share with a less specialised audience. Being recorded onfilm for possible dissemination and wider consumption via the web can be a nerve-wracking

and a downright emotional experience for some scholars. Whether it is because of thepolitical context of public scrutiny of humanities research or the temperament that oftencharacterises the scholar (i.e. ambitious, driven, self-critical, and hyper-conscious of nuance);being still and appearing in command of one’s ever-evolving work is not easy. This may beeven more pronounced for individual scholars within CHE, given the challenge of reexamininghistories so well-known to scholars, yet possibly disorientating in its newness.Through a collage of sound, images and the embodied face, a dynamic moment in time iscaptured and an image and history — both individual and collective — is constructed. In thispaper we will describe the process, and experience, of conducting video interviews, from bothsides of the camera. We will show some of our recorded material, illustrating examples ofboth edited and unedited content, hoping to demonstrate the value and usefulness of theseinterviews for(a) the Centre, as we make complex ideas accessible, disseminate our research and engagenew audiences to think about the histories of emotions;(b) the community, as we create “sources” for the history of emotions in the field of themoving image; and(c) scholars, as we provide a space to share, examine and reflect upon their work.Biography:Stephanie Trigg is CI in CHE and program leader for Shaping the Modern. Her most recentbook is Shame and Honor: A Vulgar History of the Order of the Garter (University ofPennsylvania Press, 2012).VAN GENT, JacquelineThe University of Western AustraliaTitle:Encountering emotions: cross-cultural contacts, historical sources and Moravian missionsAbstract:This paper will discuss how emotions were expressed, adapted and perhaps even understoodas a driving social force in cross-cultural encounters at Moravian missions along the Atlanticrim in the eighteenth century. The emotional regimes of Moravian missions came to impactlater directly on Australia when Moravians set up missions from the mid-nineteenth centuryin Victoria and Queensland and indigenous people had to engage with their social, genderedand emotional practices which have left a lasting legacy to this day.In this paper I am particularly interested in exploring the variety of extant early modernsources for Moravian emotions such as paintings, diaries, letters, material objects and thespiritual biographies of converts. How do these genres produce similar or different narrativesof emotions and how do we read them? Do we gain a deeper understanding of the complexnature of cross-cultural encounters and their emotional narratives if we expand our sourcesbeyond the traditional textual genres (letters, diaries, travel descriptions) to include visualmaterial and material objects? And how can we reconcile the study of emotions with thegendered nature colonial encounters? While I will restrict my paper to a discussion ofMoravian missions, I find it worthwhile to ponder the possibilities of extending thisperspective to include other “emotional communities” which were similarly involved in crossculturalencounters such as East India Companies and especially the Dutch VOC/ WIC andthe Danish East India Company whose spheres of influence overlap politically with many ofthe early Moravian enterprises.Biography:Jacqueline Van Gent is a historian and teaches in Gender Studies and in Medieval and EarlyModern Studies at The University of Western Australia. She is also a Research Fellow withthe ARC Centre for the History of Emotions (Europe 1100-1800) at UWA and a VisitingProfessor at Umeå Centre for Gender Studies, Umeå University, in 2012-13. She haspublished on Swedish magic, the body and emotions, gender and colonial mission encountersin Australia and the Atlantic, and gender and emotions in the Nassau-Orange family. She isthe author of Magic, Body and the Self in Eighteenth-Century Sweden (Brill Academic

Publishers, 2009), and co-editor (with Susan Broomhall) of Governing Masculinities in theEarly Modern Period: Regulating Selves and Others (Ashgate, 2011). Her new researchproject “Early modern colonialism, objects and emotions” investigates the links between earlymodern colonial encounters, objects and emotions in diverse fields such as the Dutch andSwedish East India Companies, Moravian missions and Linnaeus students’ collections. Theproject pays particular attention to the representation of early modern colonial encounters incurrent museum exhibitions in the Netherlands, Sweden and Australia.VON GUETTNER, DariusUniversity of Melbourne & German Historical Institute, WarsawTitle:Travesty and skullduggery: sourcing emotions in the Chronica PolonorumAbstract:Bishop Vincentius of Cracow wrote the Chronica Polonorum in the late twelfth century andhis work was readily accessible to the learned elites in the ages to follow. The first nativechronicler of Poland, Vincentius was learned in Roman law and steeped in classical traditionand wrote a work which gave his recently Christianised countrymen an ancient heritage andplaced their roots within the framework of universal history. This paper will explore the useof emotions by Vincentius focusing on the public display of emotions.Biography:Darius Von Guettner started his academic engagement as a historian of the Middle Ages andhis research and teaching concentrated on cultural aspects of religious warfare, crusading,military orders and identity. In the recent years his interest shifted towards global history (ortransnational history or world history) mainly as a result of being involved in interdisciplinaryresearch and teaching subjects which examine history from a global perspective. He isinterested in the common patterns which emerged across all cultures, in aspects of worldhistory which have drawn people of the world together and the examinations of these patternswhich reveal the diversity of the human experience. Presently he is working on the firstcritical English edition of the Chronica Polonorum.WESTBROOK, VivienneNational Taiwan UniversityTitle:A doll’s eyes with a big white smile : Sharks in Popular CultureAbstractSHARKThe Oxford English Dictionary gives the first recorded usage of the work “sharke” in a reportof a “marveilous straunge fishe” that was caught accidentally in mackerel nets and broughtinto London, where it was wondered at and then eaten, in 1569. It is thought that this wouldhave been the first sight of a shark on English soil and the only marine context for the word“sharke” in the language at the time, but the work of poets like Richard Brathwait (1588-1673) demonstrates how quickly the shark became absorbed into the culture. Brathwait wasone of the earliest poets in the language to use “shark” across its several different meanings.In The Sequesteres Sonnet from The Captive-captain (1665), it is “State sharks [who]collect the rent of Subject” (19). In his A Tar-paulin from The honest ghost (1658) the fishyand the fleshy shark are elided to describe the man who preys on other men but seldom praysto heaven. The pun on preying and praying serves to endorse the damnable nature of the"sharke", thereby reflecting unfavourably upon the real shark in the process. In CharlesCotton’s (1630-1687)Scarronides (1667) Sharks are “greedy fishes” that Aeneas asks Jove toprotect him from as he finds himself in the middle of a tempest at sea. In William Diaper’s (d.1717) Nereides : or Sea-Eclogues (1712) sharks may be considered as friendly to men onlywhen compared to women: “Fierce Sharks by gentle Usage are reclaim'd/But Female Pride issavage, and untam'd”. (55-57). This paper explores the representation of sharks as ruthless

man-eaters in early modern culture and its impact on subsequent representations to the presentday. By considering alternative ways of representing sharks in art it is hoped that morepositive attitudes may be fostered towards them in the wild.Biography:Dr. Vivienne Westbrook is an Associate Professor at National Taiwan University and aVisiting Research Fellow at the Centre for the History of Emotions. Her primary area ofresearch is the exploration of the afterlives of texts, figures and issues. Her current researchproject explores the ways in which sharks have been understood through time, across culturesand in a wide range of media.WHITE, BobThe University of Western AustraliaTitle:Describing emotions in drama - rasasOrWhy do Indians get more out of Shakespeare than Westerners?Abstract;One important link between the ancient and modern is the Indian theory of rasas inperformance art which dates back to before the time of Plato. The sophistication, flexibilityand subtlety of this approach puts to shame the western equivalent, Aristotle’s rather crudedivision of genres between epic, lyric and drama, and comedy, tragedy and pastoral. Forexample, in the Indian aesthetic theory of rasas the single western term “tragedy”, said to bethe medium inducing “pity and fear” in the audience and providing a catharsis, can bearticulated and expressed through not just one but a range of emotional states, each with itsown set of specific conventions. The crucial text is Bharata’s The Natyasastra: A Treatise onHindu Dramaturgy and Histrionics, often shortened to Natya Shastra, written in Sanskritsometime between 200 BC and 200 AD. This paper contemplates the observation made byJohn Russell Brown on visiting India:“… it seems at first that when watching some Asian performances theatre scholars feelstrangely at home and Shakespeare scholars, in particular, can get the impression that they arecloser than usual to the kind of experience that his plays gave to audiences when they werefirst performed”.Biography:Bob White is a CI in the ARC Centre of History of Emotions, and Winthrop Professor ofEnglish at UWA. His recent book, John Keats: A Literary Life (2010) has been reissued inpaperback.WILLIAMS, CarolMonash University(Co-written with Constant Mews, to be presented by Carol Williams)Title:Music is the …”exaltation of the mind derived from things eternal bursting forth in sound”Abstract:The musical aesthetic of Thomas Aquinas, though austere, reveals an intense sensitivity to theaffective power of music. As a result he found himself, like Augustine, caught betweenresponding positively and negatively to the use of music in the liturgy. On the one hand"vocal praise arouses the interior affection of the one praising and prompts others to praiseGod" [ST II ii question xci, article 1 ad 2] but music could also "move the soul to pleasurerather than create a good disposition in it." [ibid. article 2 ad 4] While it has been assumedthat the expression of emotion has little place in our understanding of chant of the medievalchurch, the work of Guy of St Denis can be seen to develop a contrary case. Was his exposéof the expressivity of modes in specifically named chants an outcome of the influence ofAquinas? This paper investigates the impact of Aquinas' Passions of the Soul on Parisian

chant theory of the late thirteenth and early fourteenth centuries.Biography:Carol Williams is a medievalist and early music performer associated with the Centre forMedieval and Renaissance Studies at Monash University. Recently her teaching has focusedon the Arthurian tales, using them to consider the fine line between history and myth; herresearch is mainly done collaboratively with the current project directed to an edition andtranslation of the Tractatus de tonis of Guy of Saint Denis.WILTON-GODBERFFORDE, EmiliaUniversity of Cambridge (Clare Hall)Title:Despair and the theatrical depiction of psychic disturbances: suicide in seventeenth-centuryFrench dramaAbstract:Research for this paper is part of a larger project which traces the representation of suicide inearly modern French theatre and locates this within the society of the time. Looking atwritings which approach the subject from theatrical, legal, theological and medicalperspectives, I examine how these texts find differing and complex ways of expressing or,indeed repressing, transhistoric issues at the heart of human experience ; namely desire,desperation, defiance, attitudes towards death and the after-life, and the power structures inwhich individuals exist. In this paper, however, I will be focusing on the depiction of suicideas spectacle within the genre of tragedy. Suicide, more than any other mode of dying, is ahistrionic display in which the individual seeks to express his/her feelings by attempting toformulate, order and act out his/her own departure. The choice to die can be invested with arange of meanings- the decision to take one’s own life can be viewed as deeply personal orpart of a collective movement, an act of desperation or a lucid and noble instance of rebellion.My critical approach concentrates, by means of close textual readings, on the aestheticexperience, namely, how the emotions of the stage characters are rendered by the playwrightsand how the enactment of suicide in tragedy is designed to elicit a powerful response from theaudience. Suspended between poles of utter despair and the possibility for escape, thecontemplation of suicide often pivots around juxtaposed contradictory perspectives, emotionsand means of expression. In case studies of three plays (Racine’s Phèdre; L’Hermite’s LaMariane and La Calprenède, La Mort de Mithridate), I intend to unravel the differingemotions expressed in the face of willing one’s own death.Biography:Dr. Emilia Wilton-Godberfforde MA (Oxon) MA (Diploma in Interpreting and Translation)(University of Bath), MPhil, PhD (Cantab) is currently a research fellow at Clare Hall at theUniversity of Cambridge where she teaches for the French department.Emilia Wilton-Godberfforde works on French theatre in the early modern period. Her book,Mendacity and the Figure of the Liar in Seventeenth-Century French Comedy is to befinished this spring. Her new project examines suicide in seventeenth-century drama. She haspublished articles on Molière, Rotrou and Tristan L'Hermite and is currently working on achapter on Bernard Lamy and Pierre Nicole for an edited collection entitled Guilty Pleasures:Theater, Piety and Morality in Seventeenth-Century France.She is Australian!WOODS, PenelopeThe University of Western AustraliaTitle:Emotions Backstage: the literal and imaginary space of the seventeenth century Tiring HouseAbstract:“my business here was to see the inside of the Stage and all the Tiringroomesand Machines; and endeed it was a sight worth seeing. But to see

their clothes and the various sorts, and what a mixture of things there was,here a wooden leg, there a ruff, here a hobby-horse, there a Crowne, wouldmake a man split himself to see with laughing” (19 March 1666).“.. she tooke us up to the Tireing-rooms [. . .] where Nell was dressingherself, and was all unready; and is very pretty” 5 October 1667This paper proposes that an understanding of emotion and playgoing in theseventeenth century requires consideration of the space in which this affectivesocial exchange took place. The space of performance is a significant source ofevidence of the emotion of early modern performance. Whilst the material andperformance space of the early modern English theatre has received sustainedcritical attention, the space of the Tiring House (what is known as “backstage” inmodern theatre auditoria) has not. The backstage and dressing space of the theatreexists in three distinct ways. Firstly it performs a function as the “off-stage”world of the play. The early modern tiring house was situated immediately on theother side of the stage, divided only by the backstage wall or frons scenae.Performers “entered” the Greek camp, a lunatic asylum, Friar Laurence’s cell, forinstance, by exiting the stage through a door of the frons scenae. The tiring houseexisted also as a material space for the everyday professional work of the actor,containing costumes, staged properties and promptbooks as well as personnel tohelp with dressing, applying makeup, and remembering lines and props. Thismaterial space would have been highly regulated in order to scaffold the smoothrunning of performances. Finally, the tiring house existed as a provocative site oftransformation in the imagination of the audience. As a liminal and exclusivespace of restricted access the tiring house had a potent force for the playgoingimagination. The entrance to the elite boxes on stage at the indoor theatres preand post restoration led through the tiring house. This arrangement stronglyproposes the cultural caché of this exclusive glimpse behind the scene. SamuelPepys’ diary accounts of his visits backstage offer first hand testimony of theerotic voyeurism afforded by the glimpse of undressed or pre-dressed actors forinstance, which subsequently informs the emotional engagement with theperformance. In this paper I work back from these post-restoration accounts toexplore the significance of the space of the tiring house in the intellectual andemotional experience of the seventeenth century playgoer.Biography:Penelope Woods is a Research Associate with the Centre of Excellence for the History ofEmotions working on audience and emotion in early modern performance history andcollaborating with UK and Australian theatres on research into audience and emotion intheatre spectatorship today. Penelope also works on crosscultural performance and theinternational theatre tour both now and historically. Penelope collaborated with Shakespeare’sGlobe and Queen Mary, University of London on a PhD project on spectatorship,reconstruction and audiences. She has a forthcoming chapter on seventeenth centuryaudiences in “The Indoor Theatre Audience: Pity and Wonder” in Moving ShakespeareIndoors edited by Andrew Gurr and Farah Karim-Cooper (Cambridge University Press, 2013)and a forthcoming chapter on young audiences today in “The Shakespeare Audience- Debateand Provocation” in Shakespeare in Practice: The Audience by Stephen Purcell (PalgraveMacmillan, 2013).YOUNG, SpencerThe University of Western AustraliaTitle:Looking for Love in All the Wrong Places: Avarice and the Emotions in Thirteenth andFourteenth Century Pastoral Sources

Abstract:This paper focuses on the role of the emotions in pastoral writings on avarice during thethirteenth and fourteenth centuries. In the wake of Lateran IV and the “pastoral revolution”that followed, late medieval moralists concentrated a great deal of their efforts on the deadlysin of avarice in the proliferating literature they provided for those responsible for preachingand other duties of pastoral care. Frequently identified (with biblical warrant, under therubric of “the love of money”) as the root of all evils, this sin seemed ubiquitous and uniquelydisruptive of the social fabric. This paper explores the implications of this source type for thehistory of emotions from two angles. First, it looks at the ways in which moralists appealedto emotions through a variety of techniques (such as the use of exempla) aimed at eliminatingavaricious behaviours. Second, it explores how avarice itself was linked to the emotions,including the implications of this vice upon various emotional communities (for example, thefamily). Together, these two perspectives enable a deeper understanding of the attention paidin these sources to emotional regulation as part of the effort to eradicate vice from LatinChristian society.Biography:Spencer Young received his PhD in medieval history at the University of Wisconsin-Madisonin December 2009. He has since held positions at the University of Notre Dame, thePontifical Institute of Mediaeval Studies and the University of Western Australia, where he iscurrently a Research Associate with the ARC Centre of Excellence for the History ofEmotions. He is the editor of Crossing Boundaries at Medieval Universities, which appearedwith Brill in 2011, and the author of Scholarly Community at the Early University of Paris:Theologians, Education and Society, 1215-1248, forthcoming with Cambridge UniversityPress.ZHELEZCHEVA, TanyaQueensborough Community CollegeTitle:The Ascesis and Poetics of Happiness in the Works of Thomas TraherneAbstract:Thomas Traherne’s works which have come to us after a series of chance discoveries are onlynow being read more fully for the first time. His works draw their audiences with acharacteristic emphasis on joy. They lie on the verge of the transition between unrestrainedenthusiasm evident in the sect of the enthusiasts and the self-imposed sobriety of theenlightenment. I argue that Traherne’s exuberant joy is an ascetic discipline rather than anattempt to avoid the harsh reality of life: to be happy, one needs to focus on God’s createdworld; one cannot contemplate on anything which falls in the realm of negativity. Thisascetic feat is complicated by personal and social norms: on the other hand the display ofemotion comes with reservation on the part of Traherne and on the part of his eighteencenturyreaders. Yet Traherne’s exuberance has a dangerous and more popular cousin in thesect of the enthusiasts which Traherne’s brother, Philip, has attempted to address in hisrevision of Poems of Felicity. I argue that Traherne’s works demonstrate that early modernemotions of joy could circulate in manuscript form among a limited group of scribes and thatthe public discourse would not admit wider circulation because joy was presumably alreadyappropriated by the sect of the enthusiasts. If Traherne did want to publish his works, hischallenge—perhaps an impossible one—lay in removing the social stigma of exuberant joy, achallenge with which he does not seem address adequately. Finally, I will demonstrate thatthe stylistic devices which Traherne uses in order to encode the infinite potential of joyinclude admiration, repetition, and untraceable thematic trajectories. I will show that thetextual manifestation of joy is evident in a proliferation of unfinished and copious texts.Biography:Tanya Zhelezcheva teaches College Writing and Introduction to Literature courses atQueensborough Community College since the Fall 2012 semester. She obtained her doctoratefrom Northeastern University in January 2012. Her scholarly work focuses on the problem

of the unfinished in the works of Thomas Traherne and extends to issues related to the digitalhumanities.