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Convalescent care in early modern England
Hannah Newton

intimately connected to the ‘six Non-Natural things’: excretion, sleep, food, passions, air and exercise. Patients’ sleeping patterns, appetites for foods, and emotions, along with other inclinations and behaviours that related to the Non-Naturals, were used to track their progression on ‘the road to health’. Medical practitioners and the patient’s family sought to regulate each Non-Natural in order to promote the body’s restoration, and Convalescent care in early modern England 105 guard against possible relapse. I argue that this regulation, together with the

in Conserving health in early modern culture
New heart and new spirit
Editor: Wickham Clayton

The extreme profitability of Mel Gibson’s The Passion of the Christ in 2004 came as a great surprise to the Hollywood establishment, particularly considering its failure to find production funding through a major studio. Since then the biblical epic, long thought dead in terms of widespread marketability, has become a viable product. These screen texts, primarily film and television features adapting stories from both the Old and New Testaments, have seen production both inside and outside of Hollywood. Seeking both profits and critical acclaim, as well as providing outlets for auteurist ‘passion projects’ such as Gibson’s film, Darren Aronofsky’s Noah (2014) and Ridley Scott’s Exodus: Gods and Kings (2014), these texts both follow previous biblical epic traditions, as well as appear distinct stylistically and thematically from the biblical epic in its prime. With 2018 seeing the highly publicised release of Mary Magdalene, an attempt at a feminist take on this controversial figure, as well as Gibson’s announcement that he is in production on a follow-up to The Passion of the Christ, there is no clear evidence that the steady production of biblical media will abate anytime soon. Therefore, academic consideration of the modern biblical epic is both timely and highly relevant. With contributions from scholars such as Mikel J. Koven, Andrew B. R. Elliott and Martin Stollery, and a preface from Adele Reinhartz, this collection aims to be a starting point for initiating this discourse.

Spenser and Shakespeare

Thirteen writers have comprehensively explained the Renaissance scheme of physiology-psychology used for nosce teipsum, to ‘know oneself’, and other scholars have analysed key features like humours, bodily spirits, passions, reason, inner wits, soul and spirit, mystic apprehension. Only poets with epic scope, like Spenser and Shakespeare, depict human nature holistically, yet these finest poets have radically distinct psychologies. Spenser’s Christianised Platonism prioritises the soul, his art mirroring divine Creation as dogmatically and encyclopedically conceived. He looks to the past, collating classical and medieval authorities in memory-devices like the figurative house, nobly ordered in triadic mystic numerical hierarchy to reform the ruins of time. Shakespeare’s sophisticated Aristoteleanism prioritises the body, highlighting physical processes and dynamic feelings of immediate experience, and subjecting them to intense, skeptical consciousness. He points to the future, using the witty ironies of popular stage productions to test and deconstruct prior authority, opening the unconscious to psychoanalysis. This polarity of psychologies is radical and profound, resembling the complementary theories of physics, structuring reality either (like Spenser) in the neatly-contained form of particle theory, or (like Shakespeare) in the rhythmic cycles of wave theory. How do we explain these distinct concepts, and how are they related? These poets’ contrary artistry appears in strikingly different versions of a ‘fairy queen’, of humour-based passions (notably the primal passion of self-love), of intellection (divergent modes of temptation and of moral resolution), of immortal soul and spirit, of holistic plot design, and of readiness for final judgment.

Allan Chapman

particularly its engineering challenge – see Chapter 6), along with being a responsible and considerate Irish landlord (see Chapter 4), was his career, and certainly his intellectual passion. He addressed the big questions in contemporary astronomy and, after the manner of Sir John Herschel, felt his own instrumental needs and met them from his own technological and financial resources. The power of the spectroscope Within the last few years of Rosse’s life, another stunning new technology appeared which really would tell us much more about the chemistry and physics of

in William Parsons, 3rd Earl of Rosse
Abstract only
Clare Wilkinson and Emma Weitkamp

Communicating your research can feel like a new discovery. Many of the researchers we meet have found that their passion to engage and to discuss their subject matter has emerged as a mainly solo pursuit, perhaps inspired by a passionate colleague, favourite television programme or an exhibition visit that occurred by chance along the way. This can leave many researchers unaware that the communication of research to others and their engagement with it has been a long-standing issue within research professions. The history of communicating research is

in Creative research communication
Open Access (free)
Blasons d’un corps masculin, L’Ecrivaillon and La Ligne âpre by Régine Detambel
Marie-Claire Barnet

of language. It comes as no surprise that the writing of the writer’s vocation in the novel L’Ecrivaillon ou l’enfance de l’écriture is intermingled with the writing of body parts, focusing on the writer’s hands, the veins and the passion and pain flowing through the long apprenticeship of the literary profession.26 The stigmata are shown in the ‘poignets tellement simples, si bleus’ (wrists, so simple, so blue) of the ‘écorché vif ’ (p. ) (writer flayed alive), as well as in the books he wants to write, seen as ‘blue veins’ on the whiteness of church marble (p

in Women’s writing in contemporary France
Anne Byrne

, her inner feelings are kept in check, an acquiescent victim of circumstances. There is no opportunity given to her to speak out against the social norms that valorise marriage. There is no event in the story that might query the social blaming of single people for their singlehood. There is no moment for Bridie in which she might consider a meaningful life as a single woman. If spinsterhood was an acceptable alternative to marriage, perhaps its ‘deviant’ status might not have had such a strong pull. The Lonely Passion of Judith Hearne by Brian Moore (1955) begins

in Are the Irish different?
Jane Martin

there would be no peace until the religious question was buried once and for all. (Mary Bridges Adams, 1904)1 The London School Board This was fighting talk. Stimulated to passion in the face of Conservative government education policy, Mary’s plea to fellow members in the dying months of the LSB brings out the contemporary relevance of these events of a hundred and more years ago. An accomplished platform orator, after her speech on 30 January 1904 she moved and Stewart Headlam seconded the following resolution: ‘The School Board for London declares that, in the

in Making socialists
Scenes from Comus (2005)
Jeffrey Wainwright

Erewhile of music, and ethereal mirth, Wherewith the stage of air and earth did ring, And joyous news of heavenly infant’s birth, My muse with angels did divide to sing; But headlong joy is ever on the wing, In wintry solstice like the shorten’d light Soon swallowed up in dark and long out-living night. This is the first stanza of John Milton’s ‘The Passion’, a poem he probably began and abandoned in 1630 ( Complete Shorter

in Acceptable words
Abstract only
‘Experience, though noon auctoritee’
Robert Lanier Reid

passion in heart, and reason in brain); or is the castle based on Aristotle’s more complicated faculty psychology (vegetable principle in belly and loins, animal principle in both heart’s affections and head’s sensitive faculties, rational principle operating throughout the castle, but closely associated with the heart)? Spenser’s image of the natural body, by far the most complex

in Renaissance psychologies