School of Culture and Communication - Research Publications

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Author: Trigg, Stephanie × Type: Journal Article ×

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Now showing 1 - 10 of 42
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    Book Review: Mary C. Flannery, ed. Emotion and Medieval Textual Media
    Trigg, S (Brill Academic Publishers, 2020-09-14)
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    Facing Up to the History of Emotions
    Downes, S ; Trigg, S (Palgrave Macmillan (part of Springer Nature), 2017-02-01)
    This special issue of postmedieval brings together several strands of medieval and medievalist work in the history of emotions, with a special focus on literary, historical and cinema studies. It asks how we may best ‘face up’ to work that has been done already in these fields, and speculates about work that might yet be done, especially by medievalists working across medieval and postmedieval sources. In the idiom, ‘facing up,’ we evoke the impulse to assess and realise the place of medieval studies in the burgeoning field of emotions research. We also conjure our conceptual focus -- the expressive human face -- as a complex and intriguing source for reading emotions in the past. Whether the face is taken as textual or visual, literal or conceptual, represented or embodied, it is, like the emotions, critical in Western understandings of humanity itself.
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    "A good hater”: Writing about the Emotions with George Eliot and A. S. Byatt
    Trigg, S (Brill on behalf of Society for the History of Emotions, 2017-03)
    This essay takes as its starting point a reflection of a character in A.S. Byatt’s Still Life: ‘George Eliot, Stephanie thought, was a good hater.’ This comment refers to Eliot’s satirical analysis of middle-class sensibilities and emotional affectations in The Mill on the Floss. This essay explores the emotional resonances of this phrase that links these two very different novels, written in different centuries and structured around very different thematic concerns. Nevertheless, this connection between them, and the way a small modern community of readers responded to this connection on social media helps us theorise the distinctive contribution literary studies can make to the history of emotions. Literary texts, and perhaps especially the novel, offer complex multiple perspectives on the performance of emotions in social contexts. In such texts, passionate emotions extremes and everyday emotions are treated with equal seriousness and subtlety, while the diachronic histories of literary reception and response offer rich narratives and material for the study of emotional history.
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    Bluestone and the City: Writing an Emotional History
    TRIGG, S (University of Melbourne, Department of History, 2017)
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    Magna Carta in Print and in English Translation
    TRIGG, S (Department of the Se, 2016)
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    Fire
    Cohen, JJ ; Trigg, S (Palgrave Macmillan, 2013-03-01)
    This essay follows the complicated aftermath of the agency of fire in medieval Iceland and contemporary Australia. Through a close reading of two Norse sagas, we argue that despite fire's ephemeral nature its material effects are as evident in texts as they are in landscapes.
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    Blogging, Time and Displacement
    Trigg, SJ (Wiley, 2012)
    This essay examines the relationship between blogging and other ostensibly more ‘‘serious’’ forms of writing, such as academic work. It explores the behavioural patterns known as ‘‘displacement activity’’ to describe the relationship between different kinds of writerly activity; and discusses the potential of blogging to break down some of the conventions of formal academic writing. It discusses the author’s Humanities Researcher blog.
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    The injuries of time: Geoffrey Chaucer, Thomas Speght, and Wade’s boat
    TRIGG, STEPHANIE ( 2008)
    The State Library at Melbourne holds a wonderful collection of early Chaucer editions: two leaves from William Caxton’s editions of The Canterbury Tales (from 1478 and 1483), and a more substantial group of relatively rare sixteenth- and seventeenth-century editions. Starting with this impressive group, it is possible to use the Melbourne collection to track the major stages in the long history of editing and printing Chaucer, through John Urry’s lavish but inaccurate edition of 1721, the more scholarly text of Thomas Tyrwhitt in five volumes (1775-78), the numerous texts of various works produced by Frederick J. Furnivall for the Chaucer Society in the late nineteenth century, and the beautiful Kelmscott Chaucer of 1896, printed by William Morris and incorporating wood-cuts designed by Edward Burne-Jones, through to the scholarly and student editions of the twentieth and twenty-first centuries. These editions often differ considerably from each other. Not only have critical opinions varied substantially over the centuries as to the best manuscripts and the best methods of presenting Chaucer’s work, but the audience and the use anticipated for each edition (for different generations of general readers, scholars or students) also affects the nature of the prefatory material and the commentaries, notes and glossaries that surround the text.