Experience history in action, how human emotions have changed over the centuries, and the impact it has had on Australia today.

24 May 2017

From the Director

Andrew LynchHumanities academics are often asked to show how their work is ‘relevant’ to ‘today’s world’. The request sometimes goes along with an administrative mindset that identifies contemporary ‘big issues’ and asks scholars in various fields to get together and apply themselves to addressing them. As a member of CHE, I witness directly the great value of interdisciplinary collaborative research on a ‘big issue’: the study of emotions certainly fits that definition, and it has given great scope for hybrid and comparative approaches.

Yet I also see some potential problems for Humanities scholars in the ‘big issue’ approach. While we participate, we must reserve the right to question the terms in which big topics are proposed to us, to redefine conceptions of their forms, even to identify other topics as of equal or greater importance. We need to think carefully about how collaborative research in these areas will best engage, employ and value what we, as Humanities scholars, actually know and are good at doing. We should also insist that if good Humanities research takes other paths and comes up with other ideas, it has not therefore become less valuable, or smaller or less ‘relevant’.

The institutional ability to define ‘relevance’ is a major instrument of power. The term has long been a problem for the Humanities, especially for areas which seem further off in time, region, language or culture from the here and now. Arguments for their relevance often rely on generalities: learning to think critically and creatively; absorbing the great achievements of the human past; or helping us understand ourselves and plan the future. I agree with these statements, but it must be admitted that other non-Humanities studies could also claim similar benefits.

'Aged Ignorance' by William Blake, 1757-1827. Courtesy of the Library of CongressAnother approach to ‘relevance’ might be to note that its application as a standard of value can have deeply anti-intellectual and anti-educational tendencies. Reification of relevance offers shelter to lazy-mindedness, and encouragement to complacency in ignorance. One can see the fatal attraction in its simplicity. Like racial or religious prejudice, the belief that one knows in advance what is and is not ‘relevant’ forecloses curiosity, protects one’s favourite ideas from potential critique, and resists innovation. Things can only become relevant, or raise emotional attachments, if we are willing to learn about them. Pre-judgements of relevance are a form of sanctioned blindness, part of the frightening decreative process William Blake illustrated in ‘Aged Ignorance: Perceptive Organs Closed their Objects Close’. In Daniel Gross’s terms, ‘the contours of our emotional world … are shaped by a publicity that has nothing to do with the inherent value of each human life, and everything to do with technologies of social recognition and blindness’.

These thoughts have been stirred most recently by attendance at an event co-sponsored by CHE, the National Trust of WA and the City of Perth: ‘
Fanny Balbuk Yooreel: Life, Legacy and Emotions’.

Fanny Balbuk Yooreel was a Whadjuk Noongar woman who continued to walk her traditional country in colonial Perth, with no respect to the fences and walls of settler buildings. Often arrested, and regarded as a public nuisance, she remains a symbol of pride to contemporary Noongar people. The event began with a film of seven female Noongar Elders speaking of what Fanny means to them. Each Elder told her story in a different emotional register, but to all she was a continuing source of strength. For the non-Indigenous members of the film’s audience, privileged to hear their communication, the streets of inner Perth will never be the same. Respecting others’ emotion is a vital source of knowledge, and finding new knowledge is vitally relevant to our own emotional being – to what becomes ‘big’ for us.

Andrew Lynch

‘Love’ Exhibition and Events a Roaring Success'

By Emma Miller (Media Officer, The University of Melbourne)

CHE’s r
Image: Master of the Stories of Helen, Antonio Vivarini (studio of), The Garden of Love (c.1465-1470), National Gallery of Victoria, Melbourne, Felton Bequest, 1948, 1827-4.ecent collaboration with the National Gallery of Victoria (NGV) and The University of Melbourne, Love: Art of Emotion 1400–1800’, looks set to be one of the Centre’s biggest success stories, with the exhibition and associated public talks, masterclasses and events engaging thousands of people in both the public and academic spheres.

exhibition, curated by CHE Postdoctoral Research Fellow Angela Hesson over two years, features more than 200 items from the NGV’s permanent collection and includes artworks and everyday objects that illustrate the many facets of love, from religious devotion and patriotism to narcissism and nostalgia.

Alongside the exhibit, CHE has collaborated on a number of programs and events that have delved deeper into the emotion of love or been inspired by it. Education programs have engaged teachers, students and pre-schoolers, while workshops in Horsham, Hamilton and Warrnambool have taken love and emotions research to the regions. Three well-attended masterclasses teamed senior CHE scholars with academics from the NGV and The University of Melbourne to discuss love’s interplay with history, objects, literature, film and music.

Chief Investigator (CI) Jane Davidson’s stunning performance program
Passion, Lament, Glory, inspired by the exhibition theme and produced in conjunction with the Melbourne Conservatorium of Music, played to a remarkable 2,000 people over two nights at the iconic St Paul’s Cathedral. The fully realised enactment of Christ’s passion explored love, suffering and the maternal bond through the prism of Mary’s anguish and pain.

From 4 to 6 May a major symposium, ‘The Emotions of Love in the Art of Late Medieval and Early Modern Europe’, was organised by CI Charles Zika and Angela Hesson to complement the NGV exhibition. Over three days, CHE researchers from around the country joined academics from major institutions in Europe, the US and UK to discuss how visual artists, writers and composers expressed and aroused feelings of love through their work.

Media interest in ‘Love: Art of Emotion 1400‒1800’ and its related events has surpassed all expectations and has helped to raise the profile of CHE in the wider community. Coverage has included: a live television interview with Angela on ABC News Breakfast; radio interviews on ABC Melbourne and Radio National; a large feature in The Age’s Spectrum lift-out; an Italian-language radio interview and podcast featuring CHE Postdoctoral Research Fellow Lisa Beaven on SBS; and a feature article in The Conversation. Passion, Lament, Glory also drew the media’s attention, with favourable reviews published by Limelight Magazine and Classic Melbourne and a preview story running across pages two and three of The Age.

On the research front, CHE researcher Amanda Krause is working with Jane Davidson to track audience responses to ‘Love: Art of Emotion 1400‒1800’ via a short online survey. She is also recording visitor numbers at peak periods, to develop a sense of visitation figures.

Amanda says public attendance has been high, with up to 100 people in the gallery at any one time, and more than 300 people expected to answer the CHE survey by the time the show closes on 18 June.

An online version of the survey can be completed without visiting the NGV and more participants would be welcome! The survey asks respondents about visiting art galleries, about themselves, and to respond to eight key works that are part of the Love exhibition. The survey can be accessed at:

Fanny Balbuk Yooreel Remembered

Fanny Balbuk Yoreel walkBy Erika von Kaschke (National Communications Officer, CHE)

Aboriginal oral traditions form an integral part of long Australian histories of emotion. The role of emotions in the life and legacy of Fanny Balbuk Yooreel, a remarkable Whadjuk Noongar woman who died 110 years ago, was explored at the ‘Fanny Balbuk Yooreel: Life, Legacy and Emotions’ symposium at the City of Perth Library on Wednesday 17 May 2017.

This symposium is extremely timely because 2017 marks the 50th anniversary of the referendum that voted in favour of recognising Aboriginal people in the census and the theme of this year’s National Heritage Festival is ‘Having a Voice’.

Susan Broomhall, CHE Foundation Chief Investigator (CI) based at The University of Western Australia (UWA), believes that ‘listening to the knowledge of Noongar Elder women has given us new perspectives on Fanny Balbuk Yooreel’s life and legacy. The strong emotions that surround this important Whadjuk woman of the nineteenth century are palpable, and help us forge new ways to understand indigenous history and heritage in Australia, and in Perth specifically’.

Fellow CHE CI and UWA colleague, Shino Konishi, echoed this: ‘Focusing on Fanny Balbuk’s history not only reveals Noongar people’s heartfelt connections to country, but also provides new insights into Indigenous modes of resistance’.

In her talk, Konishi examined the early interactions between European explorers and Noongar people, highlighting the role of emotions in shaping cross-cultural understandings of one another.

‘This event commemorated the life of a passionate nineteenth-century woman who “raged and stormed” against the colonial “usurping of her beloved” homelands’, Konishi said.

CHE Associate Investigator (AI), Noongar Elder and Professor at the School of Indigenous Studies at UWA, Len Collard, believes that Fanny Balbuk Yooreel links the modern Noongar to the past. ‘This symposium celebrating her life is a recognition of our connection to country. It is such an emotional experience for us to “quop wiern” or talk up stories on country’. His talk ‘Ngulluckiny Nyungar koorndarn’ revealed more about Noongar emotions and ‘yarning up our feelings by stories’.

The symposium formed part of a series of events guided by Noongar women and their extended families in partnership with the National Trust of Western Australia, the City of Perth, CHE and the Department of Aboriginal Affairs, supported by Lotterywest. It included a screening of the short film, Fanny Balbuk Yooreel: Realising a Resistance Fighter, produced by the National Trust of Western Australia, and offered much to current dialogues about Australian heritage. Its focus on Fanny Balbuk Yooreel has much wider ramifications because it brought together leading scholars and practitioners from across Australia to consider the power of emotions ‒ in colonial contacts, in how Australian indigenous stories, biographies and histories are told and heard, and how we recognise Noongar heritage in Perth today.

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Drinking to Remember: History, Memory and the Story of South Australian Wine

Image: Mug shot of Valerie Lowe, 15 February 1922, Central Police Station, Sydney.By Amy Milka (Postdoctoral Research Fellow, The University of Adelaide)

This public lecture was held at The University of Adelaide as part of South Australia’s History Festival.

‘Drinking to Remember’ explored the various emotions and histories which are bound up in South Australia’s many wine regions, from family histories and migration stories to tradition and innovation in viticulture, and the way that these stories are narrated to create customer experiences at the cellar door. The panel of three speakers showcased the breadth of research conducted in this area at The University of Adelaide. The session opened with a paper by Barbara Santich (History), which explored cellar door sites across McLaren Vale as ‘palimpsests’ of memories. The past is embodied in historic buildings which predate the wineries and speak of the many uses of the land over time, as well as the changing face of the local community. The paper took us on a virtual tour of several wineries, explaining their layered histories and how these ‘add to the flavour’ of the wines we drink.

The early efforts of South Australian winemakers were largely dismissed by experts in Europe, but by the end of the nineteenth century the pest phylloxera had destroyed the majority of vines across Europe’s wine regions. William Skinner (Anthropology) explained how South Australian vines, grown from cuttings brought by European migrants, were suddenly among the oldest and most ‘authentic’ in the world. Old vines became integral to the identity of winemakers, who still express emotional attachment to these venerable plants as ‘part of the family’.

These histories are carefully packaged to appeal to customers, whose emotional attachment to brands and their stories was explored by the final paper. Steve Goodman (Marketing) introduced the audience to the basics of wine marketing, explaining the three desired attitudes created by the cellar door experience. The first is cognitive, engaging the customer by encouraging them to think about the way the wine is grown and blended. The second is affective, creating positive emotional responses by managing the cellar door environment, crafting memorable experiences that encourage attachment to the brand. The final is conative, encouraging the customer to direct their efforts to buying wine, joining wine clubs and committing to future purchases.

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‘Schubert and Songfulness: Love in the Age of Syphilis.’

David GrecoErin HelyardThe Salon, Melbourne Recital Centre, Thursday 11 May
David Greco (baritone) Erin Helyard (piano)

By David Greco (The University of Melbourne)

The provocative title of our recital aimed to remind the audience that Schubert’s deeply affective musical outpourings were shaped by a cruel, disfiguring and socially stigmatised disease that led to a painful death. For many in the early nineteenth century, to love at all involved high risk to physical and emotional health. Of course, such reflection brings to mind the analogous modern day situation with regard to HIV and AIDS.

Within this somewhat confronting socially informed context, the musical practices we deployed were also historically informed, and rather than tackling a song cycle (Schubert himself being largely regarded as the father of the genre), we chose to perform a variety of single songs, each gem enabling us to showcase the depth of Schubert’s emotional output.

We drew out a range of expressive devices to move the passions of our audience, exploring those echt Schubertian themes of wandering, evanescence, night, and lost and unattainable love. Our collaboration with the ARC Centre of Excellence for the History of Emotions facilitated this process greatly, providing a context for our archival and practice-led research as we prepared the program.

Since Erin Helyard and I returned to Australia from our respective careers in North America and Europe, we have been able to share our passion for historical enquiry through a number of performance research projects. Schubert’s repertoire has surprisingly escaped period-informed enquiry, thus being one of the last frontiers of classical music performance to be explored through a historical lens.

Erin and I developed our approach to emotional communication from the perspective of what had come before Schubert, that is, the legacy of the high Baroque and the performance practices Schubert would have heard around him. Thus, we approached Schubert’s music as if coming from Bach, rather than adopting a performance style more akin to more modern composers such as Brahms and Mahler whose reliance on a consistent vocal timbre and weight of voice to fill the large late nineteenth-century concert halls has sadly become the predominant style for classical voice and piano recitals, irrespective of the period from which they originate. Our research process involved us working through music in great expressive detail, always to clarify the micro-meaning of the poetic text.

Blessed with the availability of an original nineteenth-century piano, we were able to experiment with improvisation, ornamentation and rhetorical delivery – techniques that have mistakenly only been associated with musical practices and aesthetic of the eighteenth century. We used this recital to ‘push the musical envelope’ to present Schubert’s music in a style much more linked to its intimate original setting – often being delivered to audiences of no more than 40 people and in a domestic environment.

The Salon at the Melbourne Recital Centre provided the ideal intimate setting, enabling us the freedom to explore these forgotten techniques in a unique and, we hope, moving musical experiment.

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Heritage, Trauma and Displacement

Port ArthurBy Alicia Marchant (Project Officer, The University of Western Australia)

The role and importance of heritage as a means of coping with trauma and displacement was in the spotlight at the Worldwide Universities Network’s workshop held at the University of Massachusetts Amherst, USA, between 30 April and 2 May 2017.

The topics discussed included how to preserve and archive cultural memories and heritages left behind after displacement, as well as those that are transmitted to new places. Key too were questions regarding trauma and wellbeing, and the role that heritage can play in processes of healing and feelings of security.

My own paper focused on the historic site of Port Arthur in Tasmania and explored ways in which heritage hurts and heals. Port Arthur is an emotionally complex site, from its days as a harsh convict prison and regimes of physical and psychological punishment, through to its more recent horror of massacre in 1996 when 35 people were killed. Unpacking the multi-layered history of trauma using a history of emotions approach, I considered how emotions have driven and shaped the heritage of Port Arthur over time. In particular, I tracked the complex, changing emotional frameworks attached to the prison buildings to examine how a heritage site so linked to past and present trauma can play a role in the process of healing. This question had particular importance in the immediate aftermath of the 1996 massacre, when the Port Arthur Historic Site Management Authority had to negotiate the interwoven narratives of trauma for presentation as public history, and also to decide about the heritage value of the buildings where the massacre occurred, such as the Broad Arrow Café where 20 people were killed. Do you keep this building and, if so, how?

Debates and questions regarding the preservation of buildings imbued with trauma are not new to Port Arthur; in fact, there is a long history of questioning how people relate to the material culture of the site. In the 1880s and 1890s, a series of bushfires left Port Arthur in a state of picturesque ruin. At the time there was a sense that the fires had softened its emotionality, and cleansed the horrid institution that had inflicted such misery. It was only fitting, then, that the reconfiguration of Port Arthur’s material fabric post-massacre once more played a pivotal role in the process of healing. It was decided that the destruction of the Broad Arrow Café would aid in recovery, just as the bushfires had done; and so today, facing the Penitentiary ruins across a grassy field, the Broad Arrow Café also stands as a ruined shell. Through its missing elements it commemorates those who are gone.

My case study of Port Arthur demonstrated the scholarly benefits of a history of emotions approach as an analytical tool for heritage studies, and the need to place heritage within longer historical and transnational genealogies of understanding and practice.

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Spotlight on New CHE Research

By Emma Miller (Media Officer, The University of Melbourne)

Research has always been integral to the work of the Centre and with every passing year the bank of fascinating academic projects investigating the full spectrum of emotions history continues to grow.

Our website has recently been updated with a swathe of new work just completed or currently in train, ranging across the four research programs (Meanings, Change, Performance and Shaping the Modern) and emanating from scholars around the country.

The diverse new projects being undertaken this year range from investigations of major historical events to more intimate local or domestic histories that have quietly shaped the cultural narrative.

New Chief Investigator Shino Konishi will examine the emotional lives of Indigenous Australians before and immediately following European colonisation via seventeenth- and eighteenth-century written accounts. The project, ‘
Indigenous Australians and Emotional Pasts (Meanings and Shaping the Modern Programs, UWA), aims to trace both the continuity and the change in feelings towards country, culture, European arrival and the legacy of the past.

Associate Investigator Kate Darian-Smith’s
‘Commemoration, Emotion and the Bombing of Darwin, 1942‒2017’ (Shaping the Modern Program, UMelb) will examine the emotive and performative ways in which Australia’s northern frontline history has been reported and commemorated, with a focus on the interplay between emotions and national and individual memories in museums and other memory sites.

Project-to-Publication Fellow Joanne McEwan’s 2017 project
‘Women’s Crime and the Changing Role of Sympathy and Support in Eighteenth-Century London’ (Change Program, UWA), interrogates the link between public discourse and criminal prosecution during the eighteenth century, the role that the press played in shaping social anxieties and concerns within the public sphere, and the impact this had in practice.

Associate Investigator Helen English from The University of Newcastle is looking at
‘Blackface at Work and Play: Amateur Minstrel Troupes in Colonial Newcastle, NSW’ (Performance Program). The research draws on contemporary newspaper reports to investigate the significance and impact of amateur minstrelsy in the Newcastle district from the 1870s and the effect this entertainment had on the ‘sooty-faced’ miners of the colonial coalmining community.

For a full list of CHE research projects, both past and present, see:

Book Review

By Stephanie Tarbin (The University of Western Australia)

Disaster, Death and Emotions in the Shadow of the ApocalypseJennifer Spinks and Charles Zika, eds. Disaster, Death and the Emotions in the Shadow of the Apocalypse, 1400–1700. Palgrave Studies in the History of Emotions. London: Palgrave Macmillan, 2016.

XXII + 364 pages; 37 colour + 18 b/w illustrations
ISBN: 978-1-137-44270-3
Languages: English

In this volume, the contributors demonstrate the depth, range and coherence of analyses that can be produced within the conceptual framework of the history of emotions. The essays in this collection emerged from a 2012 symposium and exhibition of images of apocalypse, death and disaster in print culture, allowing authors to draw out common themes between the diverse subjects and materials treated in the volume, despite the diverse disciplinary approaches (history, literature and art history) of the authors. As the editors point out, disaster in the early modern period was always understood within the compass of a providential design, in which modern distinctions between ‘human-induced’ and ‘natural’ causes of catastrophe collapse. Consequently, the essays show how civil war, religious martyrdom, military actions and family violence coexisted in the spectrum of divinely ordained disasters with phenomena such as earthquakes, floods, fire, famine and plague, as well as wondrous signs and natural prodigies such as comets and monstrous births, all of which could be understood with reference to the Apocalypse foretold in the Book of Revelation. Further, disasters did not need to be large-scale or dramatic: local upheavals caused destruction, trauma and suffering, and were equally explicable in religious terms and as productive of heightened emotional responses, whether at the immediate point of impact, or in the ensuing stages of appraisal and response, or the longer-term process of recovery and healing.

Three essays in the first section (Walsham, Schenk, Zika) trace the conceptual connections between disaster, providence, apocalypse and emotions in early modern Europe. Against this backdrop, the following essays provide nuanced readings of the ways that emotions were expressed, represented and regulated in specific case studies. Part II focuses on the emotions generated by warfare (Kuijpers, Haude), religious conflict (Spinks) and inundation (MacKinnon), and strategies for coping and recovery. Part III examines visual representations of disaster, finding a range of responses and dissonant readings in relation to historic events (Marshall, Chipps Smith) and to biblical subjects (Simons, Eichberger). Part IV focuses on particular kinds of sources and the communication of meaning: ballads (McIlvenna), broadsheets (Lederer) and diaries (Broomhall, Trigg). Throughout this collection, the authors identify how hope, gratitude, determination and rejoicing emerged in the wake of the fears, horror, grief, suffering and anger caused by disasters. They are adept at reading their sources – textual and visual – for individual experiences and meanings as well as the ways that their particular case studies resonate with more general cultural patterns. The volume is generously illustrated to support the analyses, and the writing throughout is clear and engaging. The title accurately describes the subject matter of the volume, but readers will derive much pleasure from the experience of reading these essays.

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Staff News

Bríd Phillips (UWA) received advice on 10 May 2017 that her PhD thesis ‘Colour in (E)motion: Emotion, Affect and Colour in the Drama of William Shakespeare’ has been passed.

Keagan Brewer’s PhD from The University of Sydney was conferred on 3 May 2017. Some of Keagan’s research was published as a book in 2016: Brewer, K. Wonder and Skepticism in the Middle Ages. London and New York: Routledge, 2016.

Makoto Harris Takao’s PhD from UWA, ‘The Glocal Mirror: The Role of the Performing Arts in Japan's Christian Century and Its Reflection in Early Modern Europe, 1549–1783’, was conferred on 20 April 2017.

Kirk Essary has received official notice from the UWA Academic Promotions Committee that he has been promoted in status to level B, as of 11 April 2017. The assessors noted Kirk's 'substantial research achievements, outstanding publication record, and national and international recognition'. His book Erasmus and Calvin on the Foolishness of God: Reason and Emotion in the Christian Philosophy (Toronto: University of Toronto Press, 2017) was also recently published.

Religion and Belief Under the Microscope at UQ Seminar Seriess

God, the Geometer.By Emma Miller (Media Officer, The University of Melbourne)

An upcoming series of seminars at The University of Queensland node of CHE will explore the concept of religious belief through the lens of writers from the Middle Ages, many of whom produced fascinating analyses of faith.

The four-part ‘Belief’ series will examine the nature and psychology of belief, asking what thoughts and feelings it might enable, provoke or shut down; its relationship to spiritual practice and ecclesiastical censure; and the role of faith in the production of scientific knowledge, literature and histories of modernity.

On 2 June, Associate Professor Chris Martin will reveal some late thirteenth-century discussions of the nature of self-awareness, and show that the distinction between the internal world of the mind and the external world of the body was certainly investigated. Assoc. Prof. Martin has taught medieval philosophy at the State University of New York and The University of Auckland, and specialises in the history of logic in the Middle Ages.

On 9 June, honorary CHE Associate Investigator and Senior Lecturer in Modern History at Macquarie University, Dr Clare Monagle, looks at changing perspectives on human rights history and the highly influential role played by neo-Thomist thinkers, such as Jacques Maritain, in the drafting of the Universal Declaration of Human Rights in 1948. “Rather than being seen as a triumph of secularism, modern human rights theory can be traced back to the third-way ideology of personalism, based on the writings of medieval theologian Thomas Aquinas”, Dr Monagle argues.

Chantelle Saville from The University of Auckland will present the third seminar on 1 September, entitled ‘The Will to Believe: Freedom of Thought in Late Medieval Philosophy and Literature’. The series will conclude with a masterclass and seminar on natural philosophy by Associate Professor Kellie Robertson (University of Maryland) on 23 and 24 November 2017.

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Selected Forthcoming Events

Image: Multicultural Arts Victoria Emerge in the West Festival 2013, photo by DWV Photography.
The Judgement of Paris
Dates: Thursday 1 June, Friday 2 June 2017
Times: Thu 1 June:12.30pm, 7.30pm
Fri 2 Jun: 8.30pm
Denmark Civic Centre, Denmark, Western Australia

Tickets: denmarkfestivalofvoice.com.au

Work-in-progress Seminar

Frog Cities: Emotion and Conservation in Urban Australia, 1900-2010
Date: Wednesday 7 June 2017
Time: 11am
Venue: Old Arts, Room 224 (South Theatre), The University of Melbourne, Parkville

Public Lecture

The History of the Person: Scholasticism and Human Rights
Speaker: Clare Monagle (Macquarie University)
Date: Friday 9 June 2017
Time: 45:30pm
Venue: Boardroom (Room 601), Advanced Engineering Building (Building 51), UQ St Lucia
uqche@uq.edu.au, or phone (07) 3365 4913. All welcome.


Fears and Angers: Historical and Contemporary Perspectives
Dates: 19–20 June 2017
Venue: Arts Two Building, Mile End Campus, Queen Mary University of London
emotions@qmul.ac.uk and pam.bond@uwa.edu.au.
here by 12 June 2017.

International Seminar
A Society for the History of Emotions event

Cultures in Movement: New Visions, New Conceptual Paradigms
Date: Monday 26 June 2017
Time: 9am‒6pm
Venue: Società Nazionale di Scienze, Lettere e Arti in Napoli, Naples, Italy, Via Mezzocannone, 8
Convenors: Luisa Simonutti (
luisa.simonutti@ispf.cnr.it) and Giovanni Tarantino (giovanni.tarantino@uwa.edu.au)

International Conference

Powerful Emotions/ Emotions and Power c.400-1850
Dates: 28‒29 June 2017
Venue: Humanities Research Centre, Berrick Saul Building, University of York, Heslington Campus, York, UK

2017 Meanings Collaboratory

Art and Affect
Date: 12‒14 July 2017
Venue: Toowong Rowing Club, 37 Keith St, The University of Queensland, St Lucia
Enquiries: Xanthe Ashburner

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

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Call for Papers

Mapping the Emotional Cityscape: Spaces, Performances and Emotion in Urban Life
Submission Deadline: Thursday 1 June 2017
Event Date: Monday 18 September 2017
Venue: TBA at The University of Adelaide
Enquiries: Jade Riddle (

Peace, Empathy and Conciliation through Music: A Collaboratory
Submission Deadline: Thursday 1 June 2017
Event Date: 21‒22 September 2017
Venue: The University of Melbourne, Parkville VIC 3052
Event Registration Deadline: Saturday 1 July 2017
Enquiries: Samantha Dieckmann (

Emotions of Cultures/Cultures of Emotions – Comparative Perspectives
Society for the History of Emotions Conference
Submission deadline: Monday 31 July 2017
Event Dates: 11‒12 December 2017
Venue: The University of Western Australia, Perth
Jacqueline Van Gent
Submissions and enquiries: societyhistoryemotions@gmail.com

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