International Educator of the Year

... is a title to which I have never aspired. But it seems I have been nominated for this "hand-crafted and prestigious Award". Sounds odd? Read on.

My mail box — email and pigeonhole — regularly receives notice of such nominations. Some of them seem legitimate. I've never checked the Who's Who of Australian Women but apparently I'm in it — or will be soon. I've certainly never forked out the money to the various organisations with more or less prestigious signifiers in their title — Princeton, Guinness — though I do know one colleague who very soon regretted giving her credit card details to one such. And in these days where your grant application is measured by your citations, who can blame him/her?

But this one takes the cake, I think. It's from the International Biographical Centre in Cambridge, England, and features an outline of King's College Chapel on its letterhead. It doesn't say how many people have been nominated, or when the award will finally be made; just that I've been selected as "one of a very limited number of individuals" to receive this accolade which "is bound to raise your status significantly in the international community."

Blah blah blah... I guess there must really be individuals or institutions for whom this would work the required social magic of authority. But what I really love about this is that for a mere US $325 each, I can buy (1) a full colour pictorial testimonial; (2) an official gold-gilt medal of excellence; and best of all (3) a "hand-finished official sash of office."

This silken sash, with golden tassels, has been commissioned by the IBC and is hand-finished by Toye, Kenning and Spencer, makers of Official Regalia worldwide. It is woven in a luxurious Blue and has the Legend of the IBC along with the words INTERNATIONAL EDUCATOR OF THE YEAR embroidered in a golden thread. The recipient's name will be added to the Sash below the Legend.

Oh yes, I can just see me turning up to the Vice-Chancellor's Christmas lunch wearing my sash. Sorry, my sash of office.

But don't you think it's a little uncanny this is sent to the person who writes on Wynnere and Wastoure, Sir Gawain and the Green Knight and the Order of the Garter, when all these texts feature sashes or girdles or belts and embroidery in gold and blue or green? Oh, and Ned Kelly, who wore the green and gold sash he received as a boy, for saving a drowning boy, to the fatal siege at Glenrowan? Or is it just that the symbolism and textile luxury of a sash of honour are further examples of the afterlife of conspicuous medieval consumption? Wonder if the girls in the Miss Universe contest have to pay $325 for their sashes?

What's that blue thing in the pond?

Little routines before settling to work involve stepping out into the garden to feed the fish. But what's that blue thing that looks like a ball or a toy that's fallen in? Oh! it's the head of a rainbow lorrikeet that has somehow fallen into the water. I don't have a working camera, so here's a picture from the web.

I pick up the bird. It's still warm, but clearly dead. Its colours are extraordinary and detailed; its black and green tail feathers elegantly splayed. I turn it over. Its belly is delicately speckled: each feather seems to have several different colours of flame and autumn leaf and blue sky. How did this poor creature come to this untimely end?

Hmm. Last night when I was bringing in the washing, I saw four large black crows in the lemon-scented gum, which the lorrikeets also like. Is this a territorial war in my back garden?

What is Wrong with This Picture ...

... when the teenager stays at home re-arranging his room and doing his music practice while his parents go out to see the new teenage sparklie vampire love storie movie. The movie was washed down with a bag of mixed lollies and some tall glasses of Westgarth's finest sangria. As Chaucer says, "This ys absolutelie the beste teenage sparklie vampyre love storye ich haue evir reade" and the same goes for the movies, too. I've now read the last two books and seen the first two movies, and so while I can't quite remember what happens in Volume 3, I think I have a reasonable grasp of the entire sorry trajectory.

I say "sorry", because although in the first movie I was completely entranced by the brooding mystery of Edward, this movie reminded me that I don't really like vampires very much, despite what Chaucer describes as the "fayre skyn and fashion-sprede slow-mocioun hotenesse of the Cu Chulainn clan, the which have all eaten long ago of the magical Irisshe Salmon of Really Good Hair (oon byte of this magical salmon and ye shal have good hair for evir)."

There's been an awful lot written and said about Stephanie Meyer being a Mormon, and the programmatic chastity of the Twilight sage: no sex — or becoming a vampire — until you are married. Again, I'll quote Maister Chaucer (who's proving himself a most adept textual and cultural critic), when he remarks, "Ther is considerablie moore sexual tensioun than in Piers Plowman."  This is undeniably true. But there's something disturbing, and I would have thought rather un-Mormony about the idea that you might well have a soul; but that you would willingly destroy it for love. I can see romance fiction not being bothered with the idea of a soul, but once you invoke that metaphysic, don't you have to do something with it? Not easy, of course: and even Philip Pullman, for all his brilliance, couldn't quite bring it all off. If Meyer — and the films — get away with invoking the idea of a soul as a plot device, but countenancing perpetual everlasting romantic love and sexual desire and a prodigious child as sufficient compensation for its loss, it's not in any easy agreement with any model of Christianity I'm familiar with.

So the easy dismissive reading of Meyer — that she is somehow cynically exploiting teenage desires to push a Mormon model of sexual restraint— seems to me rather a thin one. Or perhaps it's true that for this religion, morality is more important than spirituality.

But where do we put it?

It's been raining all night. The gutters on the shed out the back are overflowing, but it's too wet to get up on the roof and clear them out. The two big water tanks are full. There are little runnels in the gravel path where rain is running out into the street. The upstairs windows are almost clean. The ponds are full to the brim. It's still raining, and the little frog is unaccustomedly croaking in the morning. The creek will be full and the bike paths flooded.

But now that all possible receptacles for water are full, what do we do with the stuff that keeps coming down? After training ourselves to use less and less, and to save every drop, it seems like a shocking waste. The bucket in the shower? I'm going to have to pour the water down the drain. Guess we just hope it's falling into the catchments, now. I bet I won't be the only one checking the dam storage levels when they're updated this afternoon.

Pressing "send"

Had you been close to my house ten minutes ago, you would have heard a loud "squeak". That was the sound of me pressing "Send" as I sent off the first six chapters of my book on the Order of the Garter to the very patient editor at the big US press I hope will publish this book. We've never signed a contract to publish, which was a good idea as I would never have met a deadline, and it would have just been a source of stress (as I'm writing this post, I can see in the email "progress" window that a quarter of the ms. has now been sent).

The deal is that these chapters can now go out to be read, while I finish the last, a third of which is drafted.

There are many stages to go, of course. If the reports are positive, I hope we'll then sign a contract; and while I secretly hope and believe the readers will think it's perfect as it is, there will certainly be changes to make. Then there's final approval, copy-editing (half of the message has now gone), tracking down of permissions for images, checking, and cross-checking of references, compilation of bibliography and all the rest of it.

Still, this is a big day: the first, very big milestone on the last stretch towards completion.

What am I going to do now?

I'm going to go outside and feed the goldfish, then come back in and work on a grant application for an hour or so. And then tonight, I am going to see this. How's that for timing?

And how's this? Entourage has just played its little chimes: message SENT.

Flirting with a Handkerchief

In a poem of 1620, Richard Johnson attributes the Honi soit qui mal y pense motto to the queen of France, in his “Gallant Song of the Garter of England.” When her garter falls during a feast, the snickering courtiers seem to accuse her of dropping it deliberately to attract the king’s attention, so it is actually the queen who coins the motto in their reproof:

But when she heard these ill conceits

And speeches that they made,

Hony soyt qui mal y pens,

                        the noble Princes said.

Ill hap to them that evill thinke,

In English it is thus

Which words so wise (quoth Englands King)

                                   shall surely goe with us …

This reminds me of those stupid scenes in Mickey Mouse-vintage cartoons, where a simpering female character would drop her lace handkerchief in front of a male she wanted to attract. He is supposed, gallantly, to return it, and thus start a conversation. 

My question is this: what's the oldest known reference to this kind of behaviour? I did a quick google search and found an allusion, but it was a website selling a C19 French lace handkerchief. http://www.rubylane.com/shops/nicole-la-bay/item/1208LAC: 

At a time when women were not allowed to talk to a stranger, handkerchiefs were literally a means of communication, as ladies would drop these precious pieces of lace on the sidewalk, whenever they wanted to attract the attention of a gentleman.
Gentlemen were of course extremely flattered to pick them up and give them back to their owners.

I've no idea if this is just made up or refers to a "real" C19 practice. So, dear readers, from your wide reading in history, fiction, poetry, textile history, etc., can you think of any examples? I guess Johnson's poem suggests an early suspicion of feminine wiles, but it's the handkerchief that has become the iconic object here. But since when?

Australian undergraduate essay prize: Medieval and Early Modern Studies

A note about a neat essay prize open to Australian undergraduate students...

National Undergraduate Essay Competition 2009: Medieval and Early Modern Studies

The UWA Centre for Medieval and Early Modern Studies (CMEMS) is sponsoring a National Medieval and Early Modern Studies (MEMS) Undergraduate Essay Competition in 2009.

The Competition will recognise and encourage excellence in the MEMS area of study at the undergraduate level. The writer of the winning essay will be presented with a $1000 cash prize at an award ceremony at UWA; be offered a two-week research-intensive internship with CMEMS; and be invited to present their essay as part of a CMEMS seminar. Financial assistance with travel and accommodation will be provided where required.

The judging panel will be made up of three CMEMS senior academic staff members, representing different MEMS-related disciplines. Essays will be submitted to the judging panel anonymously. The judges¹ decision is final and no correspondence will be entered into concerning the correctness of their decision.

Eligibility:
The Competition is open to students enrolled full time or part time in an undergraduate degree in an Australian university, who:
* are undertaking the second or third year level of their degree in 2009,
* enrolled in a unit during 2009 relevant to medieval and early modern studies,
* are available to spend two weeks at UWA at a time to be negotiated.

The Essay:
Students who meet the eligibility requirements are invited to submit an essay:
* of between 3000 and 5000 words on a medieval or early modern topic (defined for this purpose as being between the 5th and 18th centuries).
* The essay may be, or be based on, an essay submitted as part of the student's current course of study, or it may be written specifically for the competition.
* All primary and secondary sources used in preparing the entry must be acknowledged using an appropriate citation system. A bibliography must be included.


The Rules:

Submitting An Entry:
Before submitting their essay, students should ensure they adhere to the
following requirements-:
· The essay should be typewritten in 12 point Times New Roman font.
- Double-spacing should be used.
· Do NOT put your name anywhere on the essay itself. Your name should only appear on the cover sheet.
· Ensure the cover sheet is completed, signed and attached.
· Ensure you have a copy of the essay.
· Emailed documents should preferably be sent as a pdf file

When submitting their essay students should:
* Sign the declaration on the cover sheet provided certifying that the entry is his or her own and unaided original work.
* Ensure their essays have been submitted (either by registered mail or electronically) by Monday 30th November 2009, 5pm WST. No late entries will be accepted.

Each candidate can only submit one essay.

Entry is free.

Submit your essay to CMEMS by 5pm WST on Monday 30th November, by either of
the following two methods:

Email as a pdf file to: cmems-arts@uwa.edu.au

- or -

Send by Registered mail to:
CMEMS Essay Competition
UWA Centre for Medieval and Early Modern Studies M208
University of Western Australia
35 Stirling Highway, Crawley, WA, 6009

For further information please contact Pam Bond (pam.bond@uwa.edu.au)

Pam Bond
Administrative Assistant
Centre for Medieval and Early Modern Studies, Faculty of Arts, Humanities &
Social Science
Administrative Assistant
ARC Network for Early European Research, School of Humanities

University of Western Australia
M208 / 35 Stirling Highway
Crawley WA 6009
Australia

email: pam.bond@uwa.edu.au
tel: + 61-8-6488 3858
fax: + 61-8-6488 1069
http://www.neer.arts.uwa.edu.au/
http://www.mems.arts.uwa.edu.au/
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