Time Narrative And Emotion In Early Modern England

Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

A study of English women's religious reading and writing in the sixteenth and seventeenth centuries.

Early Modern Histories of Time examines how a range of chronological modes intrinsic to the sixteenth and seventeenth centuries shaped the thought-worlds of those living during this time and explores how these temporally indigenous models can productively influence our own working concepts of historical period. This innovative approach thus moves beyond debates about where we should divide linear time (and what to call the ensuing segments) to reconsider the very concept of "period." Bringing together an eminent cast of literary scholars and historians, the volume develops productive historical models by drawing on the very texts and cultural contexts that are their objects of study. What happens to the idea of "period" when English literature is properly placed within the dynamic currents of pan-European literary phenomena? How might we think of historical period through the palimpsested nature of buildings, through the religious concept of the secular, through the demographic model of the life cycle, even through the repetitive labor of laundering? From theology to material culture to the temporal constructions of Shakespeare, and from the politics of space to the poetics of typology, the essays in this volume take up diverse, complex models of sixteenth- and seventeenth-century temporality and contemplate their current relevance for our own ideas of history. The volume thus embraces the ambiguity inherent in the word "contemporary," moving between our subjects' sense of self-emplacement and the historiographical need to address the questions and concerns that affect us today. Contributors: Douglas Bruster, Euan Cameron, Heather Dubrow, Kate Giles, Tim Harris, Natasha Korda, Julia Reinhard Lupton, Kristen Poole, Ethan H. Shagan, James Simpson, Nigel Smith, Mihoko Suzuki, Gordon Teskey, Julianne Werlin, Owen Williams, Steven N. Zwicker.

This collection of essays approaches the works of Shakespeare from the topical perspective of the History of Emotions. Contributions come from established and emergent scholars from a range of disciplines, including performance history, musicology and literary history.

This is the first collection to systematically combine the study of memory and affect in early modern culture. Essays by leading and emergent scholars in the field of Shakespeare studies offer an innovative research agenda, inviting new, exploratory approaches to Shakespeare's work that embrace interdisciplinary cross-fertilization. Drawing on the contexts of Renaissance literature across genres and on various discourses including rhetoric, medicine, religion, morality, historiography, colonialism, and politics, the chapters bring together a broad range of texts, concerns, and methodologies central to the study of early modern culture. Stimulating for postgraduate students, lecturers, and researchers with an interest in the broader fields of memory studies and the history of the emotions – two vibrant and growing areas of research – it will also prove invaluable to teachers of Shakespeare, dramaturges, and directors of stage productions, provoking discussions of how convergences of memory and affect influence stagecraft, dramaturgy, rhetoric, and poetic language.

Miton and Early Modern Devotional Culture analyses the representation of public and private prayer in John Milton’s poetry and prose, paying particular attention to the ways seventeenth-century prayer is imagined as embodied in sounds, gestures, postures, and emotional responses. Naya Tsentourou demonstrates Milton’s profound engagement with prayer, and how this is driven by a consistent and ardent effort to experience one’s address to God as inclusive of body and spirit and as loaded with affective potential. The book aims to become the first interdisciplinary study to show how Milton participates in and challenges early modern debates about authentic and insincere worship in public, set and spontaneous prayers in private, and gesture and voice in devotion.

Deploying literary analysis, theories of emotion from the sciences and humanities, and an archival account of Tudor history, Emotion in the Tudor Court examines how literature both reflects and constructs the emotional dynamics of life in the Renaissance court. In it, Bradley J. Irish argues that emotionality is a foundational framework through which historical subjects embody and engage their world, and thus can serve as a fundamental lens of social and textual analysis. Spanning the sixteenth century, Emotion in the Tudor Court explores Cardinal Thomas Wolsey and Henrician satire; Henry Howard, Earl of Surrey, and elegy; Sir Philip Sidney and Elizabethan pageantry; and Robert Devereux, Earl of Essex, and factional literature. It demonstrates how the dynamics of disgust,envy, rejection, and dread, as they are understood in the modern affective sciences, can be seen to guide literary production in the early modern court. By combining Renaissance concepts of emotion with modern research in the social and natural sciences, Emotion in the Tudor Court takes a transdisciplinary approach to yield fascinating and robust ways to illuminate both literary studies and cultural history.