Humoring the Body: Emotions and the Shakespearean StageUniversity of Chicago Press, 15. 11. 2010. - 288 страница Though modern readers no longer believe in the four humors of Galenic naturalism—blood, choler, melancholy, and phlegm—early modern thought found in these bodily fluids key to explaining human emotions and behavior. In Humoring the Body, Gail Kern Paster proposes a new way to read the emotions of the early modern stage so that contemporary readers may recover some of the historical particularity in early modern expressions of emotional self-experience. Using notions drawn from humoral medical theory to untangle passages from important moral treatises, medical texts, natural histories, and major plays of Shakespeare and his contemporaries, Paster identifies a historical phenomenology in the language of affect by reconciling the significance of the four humors as the language of embodied emotion. She urges modern readers to resist the influence of post-Cartesian abstraction and the disembodiment of human psychology lest they miss the body-mind connection that still existed for Shakespeare and his contemporaries and constrained them to think differently about how their emotions were embodied in a premodern world. |
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... Reason, and also their measure, bounds, continuance limited by Reason” (49). Christ embodies temperance, then, not by avoiding emotions alto- gether but by keeping his emotions within the bounds of moderation. While this perfect ...
... Reason, and also their measure, bounds, continuance limited by Reason” (49). Christ embodies temperance, then, not by avoiding emotions alto- gether but by keeping his emotions within the bounds of moderation. While this perfect ...
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... reason and passion may fight for predominance within the souls of other men, in Christ the passions are not opposed to rea- son but apparently an instrument of it.2 Even more crucially for Reynolds, the mere existence of passions in ...
... reason and passion may fight for predominance within the souls of other men, in Christ the passions are not opposed to rea- son but apparently an instrument of it.2 Even more crucially for Reynolds, the mere existence of passions in ...
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1 | |
The Ecology of the Passions in Hamlet and Othello | 25 |
Shakespeares Maidens and the Caloric Economy | 77 |
Reading Shakespeares Psychological Materialism across the Species Barrier | 135 |
Male Passions and the Problem of Individuation | 189 |
Epilogue | 243 |
Bibliography | 247 |
261 | |
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affective analogy anger animal appetite argues beasts becomes behavior blood bodily Body without Organs body’s brain Burton Cambridge University Press chapter choler Cleopatra cognitive cold comedy cosmology cultural describes Desdemona desire difference discourse disease Duchess of Malfi embodied emotional environment especially expression Falstaff fear female flesh fluids Folger Shakespeare Library function Galenic gender green sickness Hamlet hath heart heat Henry Peacham hierarchy horse human body humoral subject Iago imagined individual Jonson language London male Malvolio marriage means melancholy metaphorical metonymically mind mood narrative natural ODEP organs Othello passions Paster Petruchio physical physiological play play's psychological psychophysiological puddle Pyrochles Pyrrhus Pyrrhus’s quoted reciprocal recognize relation Renaissance Rosalind sense sexual Shakespeare Shylock sions social spirits suggest temper temperature texts things thinking Thomas Dekker Thomas Wright thou thought tion Topsell transformation tropes Twelfth Night vapors virgins Wellbred wind wolf women wrath Yellowhammer