Emilie K. M. Murphy

@emiliekmmurphy

🗃️ Director @CREMS-York.bsky.social ✊🏼 Sec for Advocacy & Public Engagement @royalhistsoc.org 🎶 Music & post-Ref Catholicism 🙏 English convents in Catholic Europe 👂 Listening to #EarlyModern Travel Writing 📚 Reviews Editor: sonancejournal.com 📢 Views own

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Emilie K. M. Murphy@emiliekmmurphy· 22d

out of office is on 🇫🇷

C18 townhouse, blue sky, swimming pool in the front of the photo. House covered in plants, lots of windows

Another view of the house w gravel drive

A chaise longue in a snug with dappled sunlight and where you'll find me w a book all week

Emilie K. M. Murphy@emiliekmmurphy· 27d

👀sure sure 😂

Emilie K. M. Murphy@emiliekmmurphy· 27d

from this beaut of a title page i'm discussing.

top panel of the title page of Purchas his Pilgrimes, paragraph in previous post describes part of it.

Emilie K. M. Murphy@emiliekmmurphy· 27d

LOL just reading through comments from the copy-editor and, well, let's just say I'm not convinced that the copy-editor has really been doing much actual reading of my text here with these queries.. Screenshot of my paragraph for context here... Snort.

Screenshot of copy-editor queries, where they ask:

AU: 'Armada (1588)' is cited in the text, but not provided in the list. Please provide complete reference details.

AU: 'Gunpowder Plot (1605)' is cited in the text, but not provided in the list. Please provide complete reference details.

The screenshot includes my replies, which explain that 'Ha, the Armada is an event, not an author. Readers will understand this'. And 'Another haha from me - the Gunpowder Plot is an event, not a reference.... Readers will understand this'.

This providential script is intensified in the central panel. Below, scenes of the Armada (1588) and the Gunpowder Plot (1605) figured national deliverance. Above, under the citation of Numbers 9:17, the Israelites are visualised as an early modern army wielding pikes and muskets. At the summit, Apocalypse 21 and Hebrews 11 (‘Thes were strangers and pilgrims on the earth. God hath prepared for them a city’) presented a New Jerusalem as the eschatological horizon. Read bottom to top, the central panel invited viewers to see recent English preservations and future arrival in the heavenly city as a

Emilie K. M. Murphy@emiliekmmurphy· Jul 9

Oh @erinmaglaque.bsky.social what a masterpiece of a book this is. If you all haven't bought Presence yet what are you waiting for! #earlymodern 🗃️

Photo of front page of ch 5: "i wake & it fleets: a history of sleep"

Title page of book, Presence, by Erin Maglaque

Emilie K. M. Murphy@emiliekmmurphy· Jul 7

ok gang what do we think this tiny note says then? i have "ms chrugs: " #earlymodern #paleography

Emilie K. M. Murphy@emiliekmmurphy· Jul 2

spent the last three hours assembling this terribly cheap garden furniture but now my boudoir is complete and can confirm that @erinmaglaque.bsky.social's presence is the perfect companion on this lovely evening

Beige and black rattan corner outdoor sofa on a silly little outdoor rug in the shady corner of our garden

Image of Erin Maglaque'a new book Presence: A Hidden History of the Female Body with garden jn background and some silly little roses i picked, sat on the coffee table in a vase because AESTHETIC

Emilie K. M. Murphy@emiliekmmurphy· Jun 30

absolute joy to hear about two brilliant first books from Chelsea Reutcke and @ewatson.bsky.social #EMBIC2026 can't wait to read them this summer!

Image of a wonderful book launch panel discussion with Elise Watson and Chelsea Reutcke chaired by Susannah Monta. At Notre Dame in London

Images of book covers - 50% off EMH26 Code for boydell

Emilie K. M. Murphy@emiliekmmurphy· Jun 26

told her to either embrace the new tech or enjoy the the absolute rollercoaster that is getting your photos from your random disposable camera developed- like a true millennial 😂

Emilie K. M. Murphy@emiliekmmurphy· Jun 17

cute

view out the window of a bedroom in corpus christi college oxford - lovely limestoney views with a hint of sun on the courtyard

Emilie K. M. Murphy@emiliekmmurphy· May 28

Just received this email, and honestly, what hellscape AI slop nightmare is this? Who does not understand who they are academically? What the hell is 'building presence'? It ends: "Places are limited and allocated on a first come, first served basis — we'd encourage you not to sit on this one." 🤮

Email:

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The most influential researchers in any field share something that has nothing to do with their publication count.

They are known for something specific. Their work has a recognisable point of view. When their name appears on a grant application, a paper, or an invitation, it carries weight.

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Building Your Academic Reputation is a new two-session programme at the University of York, open to researchers at every career stage. It's designed for academics who want the right people in their field to understand what their work stands for — and to build the kind of reputation that opens doors: collaborations, funding, invitations and influence.

Emilie K. M. Murphy@emiliekmmurphy· May 21

OK who wants to have a crack at the crossed out lines? TIA! 🙏

Emilie K. M. Murphy@emiliekmmurphy· May 19

Shouting disagreement across time now (Large Writing = Clearly Cross) 😂

Marginal annotation "No we do not" alongside a part of the chronicle suggesting that the monastery acknowledges that the Jesuits were the "principal instruments" of the beginning of their community

Emilie K. M. Murphy@emiliekmmurphy· May 19

Some Views:

!
the Order observes the Rule. Not the Jesuits!

Written by a follish woman!

Some annotations by a cross C19 Benedictine nun

Emilie K. M. Murphy@emiliekmmurphy· May 19

absolutely obsessed with the later annotating hand of a member of this convent, who Had Some Views on this historical account of the house #nuntastic 🗃️

manuscript title page:

An |incorrect| [this word js added later in a different hand] Historical Account of the first Establishment of the Convent of the English Dames... at Bruxells

Emilie K. M. Murphy@emiliekmmurphy· May 15

Always nice* to read about what chaps in the 60s thought history is** and who historians*** are 🗃️ *jarring **written by men ***men, again, obvs

ALTHOUGH HISTORY HAS BEEN WRITTEN IN many ways and under
various titles, the aim of the honest historian has always been to
tell a true story of what men have thought and felt, done or left
undone in the course of time. The only witnesses of a remote age are
the records and remains which the living generation inherits from the
dead. Every historian must make use of those records and remains in
order to answer the questions he puts to himself. What questions the
historian asks, and what arguments and evidence he gives, betray
the nature of his interests and the extent of his skill, knowledge, and
taste. The skill he shows in questioning his evidence will help to
decide his stature as a scholar. But no matter what special techniques
he may use to elicit truth, he must ultimately rely on his own knowledge and understanding of men; without this, all interpretation is
crippled and limps.
Few historians have loved the past merely for its own sake, or for
the sake of its gross remains. It is what living men and women have
created or maintained or destroyed that lends to history all its poetry.
The past offers little escape or refuge from the present; it is the
reality of a once-present life that forms the subject matter of history.
The great writers of history have been creators and artificers, not
merely recorders and clerks for bygone generations. The best historical writers of the early seventeenth century were men of passion as
well as erudition. To them 'a society of the living and the dead' was
an unquestioned assumption. Their works may be found catalogued
under diverse titles, under headings from Antiquity to Topography,
but all have in common a lively interest in the relation of past to
present. All contributed, in various ways, to the modern idea of
history. The subject of this book is the way in which English historians
of the early seventeenth century wrote history, and their ideas about
their work.

Emilie K. M. Murphy@emiliekmmurphy· May 12

aberystwyth's a bit alright once you get here 😍

Gorgeous sunny beach in Aberystwyth with blue sea and sky

Emilie K. M. Murphy@emiliekmmurphy· May 12

when folks ask me why i can't give up spotify 🫶 OG baybeee

Emilie K. M. Murphy@emiliekmmurphy· May 12

#loser

Emilie K. M. Murphy@emiliekmmurphy· Apr 14

What a footnote! So helpful! 😂🗃️

Screenshot of a footnote to reference a point made in an academic journal article, "Data based on author's research".

Emilie K. M. Murphy@emiliekmmurphy· Apr 9

Title page of Purchas His Pilgrimes - top left of this third of it here. He is a cleric. I'd like to think preach based on what I know about him and the purpose of the volumes etc

Emilie K. M. Murphy@emiliekmmurphy· Mar 18

york really yorking today

Emilie K. M. Murphy@emiliekmmurphy· Mar 4

My special subject is on #earlymodern English nuns in Catholic Europe (it rocks!) This semester I handover to students to come up with a short activity for each seminar. Today we had to make front covers for chronicles! Thought I'd share some of my #nuntastic favourites here. See alt text for deets

Drawing of 7 migrating Poor Clare nuns in a wagon, one being sick over the side. Inspired by the Chronicle of Rouen (which includes the letter from the first Abbess, Mary Taylor, back to the mother house in Gravelines which is copied into the chronicle and describes their difficult journey)!

Another image to represent the migrating Poor Clare - a wagon being driven by a nun (! Lol) pulled by two horses. Inspired by the Chronicle of Rouen (which includes the letter from the first Abbess, Mary Taylor, back to the mother house in Gravelines which is copied into the chronicle and describes their difficult journey)!

Image of a cedar tree with five roots to represent the five Benedictine houses for English women on the continent. Inspires by Abbess Mary Neville's Annals.

Another image inspired by the experience of the Poor Clares establishing their convent in Rouen. This is an image imagined to be their first house, with broken windows and religious graffiti on the walls left by the previous occupant who was trying to ward off plague. The room was described by the nuns as having "nothing but two naked bedsteeds all ruin'd, the windows especially, so as the wind blew in on all sides, the walls were all adorn'd with... divine names... for a preservation from the plague... every one embrac'd their cobwebs, their dust, their ruines, & the wind whistling in every crevisse with thanks that yet He had given us a lodging, who had left none for himself.

Emilie K. M. Murphy@emiliekmmurphy· Feb 12

Uh oh 👀 😂

An email I just received from work:
Dear Emilie
As part of the University's ongoing commitment to cyber security, you've been assigned a short mandatory training course:
Course title: Social Media Smarts: Are you Oversharing Online?
Duration: Under 5 minutes

Emilie K. M. Murphy@emiliekmmurphy· Jan 20

this, this was the vessel of my youthful escapades

South-eastern slam door train at Waterloo East in February 2003 - https://en.wikipedia.org/wiki/Slam-door_train#/media/File:3445_at_Waterloo_East.jpg

Emilie K. M. Murphy@emiliekmmurphy· Dec 19

out of office about to be switched on, and i've sent my lil book off into the world AT LAST!! i swear nobody has ever taken this long to write 30,000 words but there we are 🤣 HAPPY HOLIDAYS Y'ALL #earlymodern 🗃️

Abstract: This Element demonstrates that the epistemic value of sound and listening (real and
imagined) was central to early modern travel writing. The Element argues that traveller-
writers and their editors, in this case Samuel Purchas, intentionally stimulated the ears
and auditory imaginations of their listener-readers. By Listening to Early Modern Travel
Writing, we hear a vast range of sounds that connote more than straightforward
descriptive detail; taken together, sounds added credibility and veracity to the
narratives, and aural, embodied, proof of the travellers’ personal experiences. The
study also uncovers the layers of sound and its interpretation that were fundamental to
the accounts and their reception, demonstrating that at every stage the body
functioned as a vital site in both the pursuit and articulation of religious and scientific
knowledge, and how such sensory and embodied practices contributed to English
Protestant imperial hierarchies.

Table of Contents
Listening to Early Modern Travel Writing: Sound, Bodies and Purchas His Pilgrimes1
Abstract ............................................................................................................................................. 1
Introduction ............................................................................................................................. 3
Chapter 1: Earwitnessing and the Authentication of Experience ................................ 10
1. Knowledge and Experience ................................................................................................. 10
2. Teaching the Ear to Hear ...................................................................................................... 13
3. Reliable Earwitnesses .......................................................................................................... 17
4. Textual Earwitnesses ............................................................................................................ 21
Chapter 2: Embodied Travellers ........................................................................................ 27
1. Collective Auditory Knowledge .......................................................................................... 27
2. Wonder and the Natural World ........................................................................................... 30
3. Listening to the Other ........................................................................................................... 34
4. Listening to Themselves....................................................................................................... 40
5. Alternative Acoustemologies .............................................................................................. 47
Chapter 3: Embodied Readers ........................................................................................... 54
1. Bodies and Books ......................................................…

Emilie K. M. Murphy@emiliekmmurphy· Dec 9

post your favourite work of art from fifty years before you were born

frida kahlo's 1937 self portrait dedicated to leon trotsky

Emilie K. M. Murphy@emiliekmmurphy· Dec 1

aaand she has a full first draft! this silly little book has taken me far too long, but i'm finally starting to think it'll be set free soon! huzzah.

Table of contents for my forthcoming short monograph 'Listening to Early Modern Travel Writing: Sound, Bodies and Purchas His Pilgrimes'.

Introduction 3
Chapter 1: Earwitnessing and the Authentication of Experience 10
1. Knowledge and Experience 10
2. Teaching the Ear to Hear 14
3. Reliable Earwitnesses 18
4. Textual Earwitnesses 22
Chapter 2: Embodied Travellers 31
1. Collective Auditory Knowledge 31
2. Wonder and the Natural World 34
3. Listening to the Other 40
4. Listening to Themselves 46
5. Alternative Acoustemologies 55
Chapter 3: Embodied Readers 60
1. Bodies and Books 61
2. Purchas’s Labouring Body 63
3. Managing the Reader’s Body 69
4. Staging Traveller’s Bodies 77
Epilogue: Embodied Empire 82
References 88
Manuscripts 88
Printed Primary Sources 88
Secondary Sources 89

Emilie K. M. Murphy@emiliekmmurphy· Nov 23

Calling all #nuntastic folks, I just discovered this and WOW I have questions (that will soon be answered with next day delivery.....!) LOL #earlymodern 🗃️

Title page of a book by Ana Garriga and Carmen Urbita called 'Convent Wisdom: How Sixteenth Century Nuns Could Save your Twenty-First century Life'. The book cover is mainly yellow, the nun in a habit is in pink.

Emilie K. M. Murphy@emiliekmmurphy· Oct 21

Prizes for a PTA raffle at a primary school in SE London everyone 🤣 #kindawantatattootho