A Cultural History Of The Emotions In The Late Medieval Reformation And Renaissance Age

The period 1300-1600 CE was one of intense and far-reaching emotional realignments in European culture. New desires and developments in politics, religion, philosophy, the arts and literature fundamentally changed emotional attitudes to history, creating the sense of a rupture from the immediate past. In this volatile context, cultural products of all kinds offered competing objects of love, hate, hope and fear. Art, music, dance and song provided new models of family affection, interpersonal intimacy, relationship with God, and gender and national identities. The public and private spaces of courts, cities and houses shaped the practices and rituals in which emotional lives were expressed and understood. Scientific and medical discoveries changed emotional relations to the cosmos, the natural world and the body. Both continuing traditions and new sources of cultural authority made emotions central to the concept of human nature, and involved them in every aspect of existence.

This study addresses two desiderata of historical emotion research: reflecting on the interdependence of textual functions and the representation of emotions, and acknowledging the interdependence of studies on the premodern and modern periods in the history of emotion. Contemporary research on the history of emotion is characterised by a proliferation of studies on very different eras, authors, themes, texts, and aspects. The enthusiasm and confidence with which situations, actions, and interactions involving emotions in history are discovered, however, has led to overly direct attempts to access the represented objects (emotions/feelings/affects); as a result, too little attention has been paid to the conditions and functions of their representations. That is why this study engages with the emotion research of historians from an unashamedly philological perspective. Such an approach provides, among other things, insights into the varied, often contradictory, observations that can be made about the history of emotion in modernity and premodernity.

This book gives you the historical sensation of coming face to face with the bodily expression and regulation of children's emotions over time. The study does this by encouraging you to look through the eyes of well-known artists, like Albrecht Dürer, Domenico Ghirlandaio, Jan Steen, Antony van Dyck, Rembrandt, and Titian in early modern Europe, and Jean-Baptiste Siméon Chardin, Thomas Lawrence,Jean-Honoré Fragonard, Philipp Otto Runge, Willem Bartel van der Kooi, Paul Gauguin, Auguste Renoir, and Jozef Israëls in the late 18th and 19th centuries. These sources are supplemented by works from less-famous artists, as well as popular emblem books, child-advice manuals, observations from the emerging child sciences, and personal documents. Jeroen Dekker observes children's emotions mainly in the child's world and in the domestic emotional space, and connects them with history's ongoing, underlying discourse on education and the emotions. This discourse was developed by theologians, philosophers, and moralists like Augustine, Aquinas, Erasmus, Descartes, Jacob Cats, John Locke and Jean-Jacques Rousseau, by Romantic educationalists like Friedrich Fröbel and Ellen Key, and by scientists like Charles Darwin and William James who emphasized the biological instead of the moral fundament of children's emotions. The story of children's emotions is told in the context of cultural movements like the Renaissance, Humanism, the Reformation, the Enlightenment, Romanticism, and the starting Age of Child Science. Children's Emotions in Europe, 1500 – 1900 crucially highlights the continuous co-existence of regulation-oriented and child-oriented educational views on children's emotions.

Demonic possession was a spiritual state that often had physical symptoms; however, in Demonic Possession and Lived Religion in Later Medieval Europe, Sari Katajala-Peltomaa argues that demonic possession was a social phenomenon which should be understood with regard to the community and culture. She focuses on significant case studies from canonization processes (c. 1240-1450) which show how each set of sources formed its own specific context, in which demonic presence derived from different motivations, reasonings, and methods of categorization. The chosen perspective is that of lived religion, which is both a thematic approach and a methodology: a focus on rituals, symbols, and gestures, as well as sensitivity to nuances and careful contextualizing of the cases are constitutive elements of the argumentation. The analysis contests the hierarchy between the 'learned' and the 'popular' within religion, as well as the existence of a strict polarity between individual and collective religious participation. Demonic presence disclosed negotiations over authority and agency; it shows how the personal affected the communal, and vice versa, and how they were eventually transformed into discourses and institutions of the Church; that is, definitions of the miraculous and the diabolical. Geographically, the volume covers Western Europe, comparing Northern and Southern material and customs. The structure follows the logic of the phenomenon, beginning with the background reasons offered as a cause of demonic possession, continuing with communities' responses and emotions, including construction of sacred caregiving methods. Finally, the ways in which demonic presence contributed to wider societal debates in the fields of politics and spirituality are discussed. Alterity and inversion of identity, gender, and various forms of corporeality and the interplay between the sacred and diabolical are themes that run all through the volume.

By drawing on a broad range of disciplinary and cross-disciplinary expertise, this study addresses the history of emotions in relation to cross-cultural movement, exchange, contact, and changing connections in the later medieval and early modern periods. All essays in this volume focus on the performance and negotiation of identity in situations of cultural contact, with particular emphasis on emotional practices. They cover a wide range of thematic and disciplinary areas and are organized around the primary sources on which they are based. The edited volume brings together two major areas in contemporary humanities: the study of how emotions were understood, expressed, and performed in shaping premodern transcultural relations, and the study of premodern cultural movements, contacts, exchanges, and understandings as emotionally charged encounters. In discussing these hitherto separated historiographies together, this study sheds new light on the role of emotions within Europe and amongst non-Europeans and Europeans between 1100 and 1800. The discussion of emotions in a wide range of sources including letters, images, material culture, travel writing, and literary accounts makes Matters of Engagement an invaluable source for both scholars and students concerned with the history of premodern emotions.

Our period opens at the end of the Roman Empire when intellectual currents are indebted to the Greek philosophical inheritance of Plato and Aristotle, as well as to a Romanized Stoicism. Into this mix entered the new, and from 313CE imperially sanctioned, religion of Christianity. In art, literature, music, and drama, we find an increasing emphasis on the arousal of individual emotions and their acceptance as a means towards devotion. In religion, we see a move from the ascetic regulation of emotions to the affective piety of the later medieval period that valued the believer's identification with the Passion of Christ and the sorrow of Mary. In science and medicine, the nature and causes of emotions, their role in constituting the human person, and their impact on the same became a subject of academic inquiry. Emotions also played an increasingly important public role, evidenced in populace-wide events such as conversion and the strategies of rulership. Between 350 and 1300, emotions were transformed from something to be transcended into a location for meditation upon what it means to be human.

How did children feel in the Middle Ages and early modern times? How did adults feel about the children around them? This collection addresses these fundamental but rarely asked questions about social and family relations by bringing together two emerging fields within cultural history – childhood and emotion – and provides avenues through which to approach their shared histories. Bringing together a wide range of material and sources such as court records, self-narratives and educational manuals, this collection sheds a new light on the subject. The coverage ranges from medieval to eighteenth-century Europe and North America, and examines Catholic, Protestant, Puritan and Jewish communities. Childhood emerges as a function not of gender or age, but rather of social relations. Emotions, too, appear differently in source-driven studies in that they derive not from modern assumptions but from real, lived experience. Featuring contributions from across the globe, Childhood and Emotion comes a step closer to portraying emotions as they were thought to be experienced by the historical subjects. This book will establish new benchmarks not only for the history of these linked subjects but also for the whole history of social relations.

The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.