Events

Past Events

Wednesday 17th February, 2016

1-2, Bancroft 4.24

Lunchtime work-in-progress seminar – Jules Evans

Jules Evans will present a paper titled 'The decline and revival of ecstasy in Western culture'.

More Information …

Wednesday 10th February, 2016

12.45-2, Arts 2: room 3.16

Lunchtime work-in-progress seminars

The Centre for the History of the Emotions is pleased to announce the program for lunchtime work-in-progress seminars over the coming semester.

More Information …

Friday 5th February, 2016

19.00-23.00, Wellcome Collection 183 Euston Road, London NW1 2BE, UK.

Friday Late Spectacular: Feeling Emotional at Wellcome Collection

Join the Centre's Thomas Dixon, Elsa Richardson, Tiffany Watt Smith and Chris Millard to explore the art and science of human emotions on Friday 5th February.

More Information …

Tuesday 17th November, 2015

6.30pm, Arts One Lecture Theatre, Arts One Building, Queen Mary Mile End Campus.

Sarah McNamer: ‘The Poetics of Emotion in History’. Annual Lecture 2015.

Dr Sarah McNamer (Georgetown University) will deliver the fourth annual History of Emotions Lecture at Queen Mary University of London, to be followed by a drinks reception. Her topic will be 'The Poetics of Emotion in History'.

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Thursday 12th November, 2015

19.30-21.00, Senate House, London

Carnival of Lost Emotions at Being Human

On 12 November 2015 the Carnival of Lost Emotions will be at the Being Human Festival, Senate House, London. Come along to the Being Human reception & launch party – to see the Carnival of Lost Emotions alongside Aida Wilde: Print is Power pop-up screen printing workshops, hackable music, Senate House Revealed ‘armchair tours’ and more! Find out more at the Being Human webpages.

Saturday 7th November, 2015

9.30, Mason Theatre, Francis Bancroft Building, QMUL (Mile End)

STOICON 2015

Tickets are now available for STOICON 2015, the third annual conference from the Stoicism Today team.

More Information …

Thursday 29th October, 2015

20.00-21.00, Wellcome Collection Reading Room

Emotions at Wellcome Collection

Between 8-9pm on the 29th October the Reading Room at Wellcome Collection was given over to all things emotional in an event curated by Tiffany Watt Smith.

More Information …

Wednesday 7th October, 2015

9.30-18.00, The Court Room, Senate House, University of London

Tears and Smiles Conference

Hearaclitus and Democritus, the weeping and laughing philosophers, published by John Smith, after Egbert van Heemskerck the Elder, mezzotint, circa 1683-1729. National Portrait Gallery.

From this page you can find out more about the conference themes and speakers and preview the conference programme.

When: Wednesday 7th October, 9:30-6:00pm (followed by a drinks reception)

Where: The Court Room, Senate House, University of London

Fee: £15 waged, £10 unwaged (including MA and PhD students)

Registration: Online at the QMUL e-shop

Celebrating two recent Queen Mary publications: The Smile Revolution in 18th Century Paris, by Prof. Colin Jones and Weeping Britannia: Portrait of a Nation in Tears, by Dr Thomas Dixon, this conference invites expert speakers to consider the significance, representation and somatic expression of tears and smiles, laughter and weeping from 1100-1800. A collaborative event hosted by the School of English and Drama, the School of History, and the Centre for the History of the Emotions at Queen Mary University of London, the conference will draw on a number of different fields, including emotions history, physiognomy, art history, and theatre.

In the sixteenth century, the essayist Michel de Montaigne observed that we often ‘weep and laugh at the same thing.’ Although much independent research has been carried out on the role of tears and smiles in literary and historical culture individually, the two areas of enquiry are rarely considered alongside one another. This conference brings experts together to reflect on these two facial expressions independently but also their relationship to one another, and the myriad of emotions and contexts that can produce them.

Tears, smiles, weeping and laughter will all be discussed. Why is the medieval English poet so concerned with the face? How reliable did medieval scribes believe the face to be as an index of emotion? Why did some early modern writers sometimes argue for the avoidance of laughing in favour of the smile? How was laughter, in its various forms, used to legitimise the Republic during the French Revolution? These are just a few of the questions speakers will engage with.

Refreshments will be provided throughout the day, including lunch, and we are also pleased to be launching Dr Thomas Dixon’s new book, Weeping Britannia: Portrait of a Nation in Tears, at a wine reception after the conference (included in the registration cost). This will take place  6-7:30pm in the Jessel Room, Senate House, University of London.

Keynotes:

Professor Colin Jones
“The Smile and the Selfie: Some Pre-modern Perspectives”

Dr Thomas Dixon
“William Hogarth’s Sigismunda: A Tragicomic Tale”

 

We hope many of you will join us to reflect on the role of tears and smiles in medieval and early modern cultures. For updates in the meantime you can follow us on Twitter:  @tears_smiles2015

Friday 19th June, 2015

1pm, Room 136, Arts 1 Building, Mile End Campus

Lunchtime Seminar: ‘Exploring A(h)ware and (W)okashi, or the Exquisite in the Trivial: An Attempt to Identify Far-Eastern Sensibilities and Aesthetics in Virginia Woolf’s Writings’, Yukiko Kinoshita

In 1925, Virginia Woolf reviewed Arthur Waley’s translation of Lady Murasaki’s The Tale of Genji, a Japanese classic supposedly written around 1000. The second chapter of Murasaki’s novel reveals to the reader her aesthetics and aesthetic of novel-writing, which, I would like to suggest, appealed to Woolf’s pacifism, feminism and aesthetics and encouraged her to explore her own themes and Modernist method of writing. Lady Murasaki’s aesthetic sensibilities were shared by her contemporary and rival, Sei Shonagon, well known for her masterpiece, The Pillow-Book, part of which Waley translated in 1927. Theirs could be summarized as heightened sensibilities which perceive the exquisite in the trivial or the ordinary. The attitude to discover things that matter in the seemingly trivial and common, poetic prose style, keen sensibilities and pictorial descriptions conscious of colour scheme—these characteristics are something in common between the two female Japanese authors, although Lady Murasaki’s characteristics lie in her sense of “a(h)ware” —an impassioned response to beauty—whereas Sei Shonagon’s in her sense of “(w)okashi”—an intellectual response to beauty.

The two authoresses’ aesthetics or approach to beauty is subjective, and I would like to suggest that it is, in nature, close to what Walter Pater termed as “strangeness in beauty” and “sweet strangeness,” and, therefore, something that Woolf as well as other Western readers can identify. My presentation is an attempt to introduce to the audience the aesthetics and sensibilities which the two terms—aw(h)re and (w)okashi—represent, to clarify the connection between Woolf’s and the two Japanese authoresses’ sensibilities, aesthetic and aesthetics, and to throw light on the development of Woolf’s Modernist aesthetics and method.

Friday 12th June, 2015

1pm, Room 136, Arts 1 Building, Mile End campus

Lunchtime Seminar: ‘Shame in Early Modern Public Execution’, Una McIlvenna (Queen Mary University of London)

‘Do you know what the world will do to you? It will make you understand that these things bring you great shame and wrong you: the tolling of the bell, the reading of the condemnation, your being tied and led before the people…’

Bologna Comforters’ Manual in The Art of Executing Well, ed. Nicholas Terpstra (Kirksville, MO: Truman State University Press, 2008)

This paper looks at how the emotion of shame was conceived around early modern public execution, and further, how shame was then portrayed in the broadside ballads that broadcast information about executions. It seems paradoxical that in the moments before their death condemned criminals were deeply concerned about the shame their punishment would create. Why would a person about to die care about feeling shame? I explore how, in contrast to our current understanding of it as a private, personal emotion, shame was conceived as a communal emotion in the early modern period, one that people shared, and which had tangible consequences for one’s family and friends. In that sense, can shame even be considered an emotion in early modern thought? I discuss these issues from the perspective of the ballads that were sung about these executions. How did balladry perpetuate – or subvert – the message of shame that was central to the purpose of execution?