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Understanding affect in Shakespeare and his contemporaries

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of Emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine.

The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in the early modern period. The Renaissance of Emotion will be of particular interest to students and scholars of Shakespeare and Renaissance literature, the history of emotion, theatre and cultural history, and the history of ideas.

Troilus and Criseyde and Troilus and Cressida

For the last three decades or so, literary studies, especially those dealing with premodern texts, have been dominated by the New Historicist paradigm. This book is a collection of essays explores medieval and early modern Troilus-texts from Chaucer to Shakespeare. The contributions show how medieval and early modern fictions of Troy use love and other emotions as a means of approaching the problem of tradition. The book argues that by emphasizing Troilus's and Cressida's hopes and fears, Shakespeare sets in motion a triangle of narrative, emotion and temporality. It is a spectacle of which tells something about the play but also about the relation between anticipatory emotion and temporality. The sense of multiple literary futures is shaped by Shakespeare's Chaucer, and in particular by Troilus and Criseyde. The book argues that the play's attempted violence upon a prototypical form of historical time is in part an attack on the literary narratives. Criseyde's beauty is described many times. The characters' predilection for sententiousness unfolds gradually. Through Criseyde, Chaucer's Poet displaces authorial humility as arrogance. The Troilus and Criseyde/Cressida saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The poem appears to be linking an awareness of history and its continuing influence and impact on the present to hermeneutical acts conspicuously gendered female. The main late medieval Troy tradition does two things: it represents ferocious military combat, and also practises ferocious literary combat against other, competing traditions of Troy.

The crucial year
David Wallace

The Troilus and Criseyde/Cressida saga is a perfect vehicle for tracing the history of the emotions, in that it offers an unparalleled darkening of mood over time. This saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The conceit of the work, as laid out in its prose prologue, is that

in Love, history and emotion in Chaucer and Shakespeare
Abstract only
Richard Meek and Erin Sullivan

medical humoralism as a means of explaining mental and emotional processes, both those of Richard and early modern individuals more generally. For some recent critics of Renaissance literature and culture (and Shakespearian drama in particular), Richard’s comments might confirm the notion that humoral theory was the essential model for understanding the emotions in the period, rooting such phenomena in

in The Renaissance of emotion
Abstract only
James Doelman

book. The distracted elegy The immediacy of elegiac grief allowed the poet to claim licence for intense emotions and utterances beyond the norms of other contexts. As Peter Sacks notes, the elegy ‘is characterized by an unusually powerful intertwining of emotion and rhetoric’. 49 The very composition and circulation of a funeral elegy could be justified by the strong

in The daring muse of the early Stuart funeral elegy
James Doelman

presence is theologically rejected, it remains as part of the poetic process. As evident in the Chichester poem, fear was the usual early modern response to the ‘walking dead’, 46 but such is strikingly absent from elegiac invocations of the possibility. The implication, I believe, is that the strong emotion of grief both creates a desire for the revenant that overwhelms the usual response of fear and

in The daring muse of the early Stuart funeral elegy
Emulation, adaptation, and anachronism
M. L. Stapleton

, 1986); Gian Biagio Conte, The Rhetoric of Imitation: Genre and Poetic Memory in Virgil and Other Latin Poets , ed. and trans. rev. by Charles Segal (Ithaca, NY: Cornell University Press, 1986); Stephen Hinds, Allusion and Intertext: Dynamics of Appropriation in Roman Poetry (Cambridge: Cambridge University Press, 1998); Dale L. Sullivan, ‘Attitudes toward imitation: Classical culture and the modern temper’, Rhetoric Review , 8 (1989), 5–21; Lynn Enterline, Shakespeare’s Schoolroom: Rhetoric, Discipline, Emotion (Philadelphia: University of Pennsylvania Press

in Thomas Heywood and the classical tradition
Framing biblical emotions in the Book of Common Prayer and the Homilies
David Bagchi

model. 10 In order to adjudicate between the hegemonic and the reciprocal approach, more data are required. Data of a comparative nature are particularly valuable, for what do they know of the Church of England who only the Church of England know? Fortunately, the results of a recent ground-breaking study on religious emotions in early modern Germany, which can be applied

in The Renaissance of emotion
Sir Henry Sidney’s return to Dublin as depicted in Derricke’s Image of Irelande
Bríd McGrath

emotions. The most likely mayor portrayed in the woodcut is either Patrick or John Goghe who held the office in 1575–76 and 1576–77 respectively, or, less probably, John’s father-in-law Giles Allen, mayor in 1577–78. The sheriffs in 1575–76 were William Barnwall and Richard Fagan, and in 1576–77, Edward White and Edmond Devinish. The distinguished lawyer Henry Burnell was recorder until 1575; the identity of his replacement is unknown. 55 Dublin’s councillors are presented in Plate X as well dressed in

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
The open structure of The Silver Age
Yves Peyré

intellectual intent and theatrical emotion. The Silver Age is not structured by the concentration of a single plot but by a network of echoing analogues and divergences, which proceed from what Manfred Pfister referred to as an ‘open’ dramatic form. 72 Far from being so many disjecta membra haphazardly jumbled together, the various classical myths brought to the stage elicit the imaginative design of a multiperspective interplay between male heroic epic and female fecundity. The open character of the play’s structure is enhanced by the common early modern practice of

in Thomas Heywood and the classical tradition