Tag Archives: Japan

Burning emotions: Giovanni Tarantino at the Museo Italiano, Thursday 25 September 2014, at 6.30 pm

image001For about ten years now there has been talk of history having taken an “emotional turn”. If the scholars of the Annales School were aiming to write history from the bottom up, the historians of emotions aim “to write history from the inside out”. They try to recover the history of men and women’s subjectivity, focusing on diaries, private correspondence, gravestones, memorial monuments, ballads, relics, clothes, recipes, textiles, and visual sources. In Burning Emotions: Concepts, challenges, cases for the History of Emotions, a talk at the Museo Italiano in Carlton on Thursday 25 Sept at 6.30 pm, Giovanni Tarantino, from the ARC Centre of Excellence for the History of Emotions at the University of Melbourne, will discuss how different attempts to extinguish a fire consuming a multi-storey pagoda as represented in a late 18th century Japanese hanging silk scroll recently added to the permanent collection of the Minneapolis Institute of Arts reveal how cultural differences and cultural encounters deeply affected early modern emotional (and technical) responses to burning cityscapes and the enduring memories associated with them.

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Emotional geographies of Italian transnational spaces

Francesco Ricatti   University of the Sunshine Coast

CSR 19(2)The new issue of Cultural Studies Review (volume 19 issue 2) includes a section I have co-edited with Maurizio Marinelli on Emotional geographies of the uncanny: reinterpreting Italian transnational spaces. Our aim was to read transnational spaces constructed and inhabited by Italian migrants and settlers to Australasia as emotional spaces of uncanny perceptions, memories, narratives and identities. Drawing inspiration from the Freudian suggestions about the uncanny (das unheimliche), and later interpretations by Heiddeger, Derrida, Kristeva, Bhabha, Žižek, and Ahmed, we refer to the uncanny as the emotional reaction to something that is, at the same time, familiar and unfamiliar, homely and unhomely. The uncanny then becomes an aesthetic frame through which experiences of migration and colonialism can be read and interpreted. Continue reading

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