Titlebook: Affect Theory and Early Modern Texts; Politics, Ecologies, Amanda Bailey,Mario DiGangi Book 2017 The Editor(s) (if applicable) and The Auth

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2634-6311 exly embodied experiences of leisure, sympathy, staged violence, courtiership, envy, suicide, and many other topics, the contributors open up new ways of understanding how Renaissance writers thought about the capacities, pleasures, and vulnerabilities of the human body. .978-1-137-56126-8Series ISSN 2634-6311 Series E-ISSN 2634-632X

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Introduction,. explore the connections among the insights of affect theory into subjectivity and emotion and earlier ways of conceiving of materiality and embodiment. In this introduction, we reveal the relevance of early modern texts to the key analytic rubrics driving affect theory, and suggest how the confron

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Speak What We Feel: Sympathy and Statecraftding the migration of the word “nothing” throughout the play as an index of what Sianne Ngai calls a “minor affect” allows us to bypass moments of highly charged emotion in order to focus on political affiliations constituted by natural, mimetic, sympathetic bonds driven by impersonal and unconsciou

Traumatic-Grief

Affective Entanglements and Alternative Historiesepresentation of political agency in the English history play. Rowley characterizes Henry as an unpredictable amalgam of shifting moods and affective attachments. Henry’s passionate nature at times interferes with his judgment and duties as sovereign; nonetheless, his indulgence of mirth and his ope

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Weird ,r present moment. Tracking back to early modern texts by Thomas More (.) and Edmund Spenser (.), it reads Berlant’s book as offering the latest installment in a long story of . or leisure as an ambivalently valued state of being keyed to discourses of political sovereignty and personal well-being, w

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Thinking Feelinghe central focus is on the relationship between thinking and feeling in Thomas Wright’s . and the scholastic traditions Wright draws on and reformulates. The chapter also traces the beginnings, in the later seventeenth century, of a materialist psychology of the passions that is the distant ancestor

Ingredient

Crocodile Tears: Affective Fallacies Old and Newfect and the animal turn emerge new fallacies rendered particularly apparent in the proverbial .. Crocodile tears appear widely in Renaissance texts, denoting an entanglement of human and animal desires and affects—guile, compassion, and predation. These figures distill three fallacies: the ., presu

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The Feel of the Slaughterhouse: Affective Temporalities and Marlowe’s , through their appeals to the sensorium. Drawing on affect and performance theory, she shows how Marlowe’s . creates a visceral sensation of the ongoing presence of the past. Central to this argument is her observation that Marlowe’s play enacts the etymological origins of the word “massacre” throug