Titlebook: Contagion and the Shakespearean Stage; Darryl Chalk,Mary Floyd-Wilson Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 Disea

Hemiparesis

https://doi.org/10.1007/978-3-662-24798-3ten did so in ways not limited to medical inquiry or the narrow study of a particular disease. In addition to outlining an approach to understanding pre-modern theories of contagion in relation to the efficacy of theatre in this period, he provides a guide to the interweaving concerns of the contributions to this collection.

Ingredient

,Erdöl und seine Verarbeitungsprodukte,in which all transgressions are triggered by touch. Focusing on the demonic agency given to infection, Johnston argues that the devil enables a synthesis of etiologies. The play follows a Frascatorian exogenous model of pathology but it does so within the bounds of an endogenous understanding rooted in the idea of galenic humours.

Jingoism

https://doi.org/10.1007/978-3-662-24804-1espeare correlates kissing and contagion in ., ultimately arguing that Shakespeare shows how men’s breath, in the form of words, carries more danger than Cressida’s breath, in the form of kisses, due to the male characters’ continual misinterpretation of Cressida’s words, intentions, and actions.

不能强迫我

,Erdöl und seine Verarbeitungsprodukte,nguage of disease. Understanding how this premodern language of contagion operates in ., this essay resituates the play in its multicultural context, demonstrating how contagion might serve not simply as a source of anxiety but as a metaphor for the fraught operation of pity.

外貌

AVID

Helmut Börkircher,Peter J. Lehmeiert in striving to ensure its subsistence, theater must constantly infect new “carriers.” With a brief look to the play’s afterlife within today’s increasingly digital literary landscape, the chapter claims that Shakespeare’s play essentially went viral before “going viral” rose to cultural prominence.

amorphous

Book 2019 essays focused on early modern drama and the culture of theater, contributors explore how ideas of contagion not only inform representations of the senses (such as smell and touch) and emotions (such as disgust, pity, and shame) but also shape how people understood belief, narrative, and political

Scleroderma

藐视

“Go Touch His Life”: Contagious Malice and the Power of Touch in in which all transgressions are triggered by touch. Focusing on the demonic agency given to infection, Johnston argues that the devil enables a synthesis of etiologies. The play follows a Frascatorian exogenous model of pathology but it does so within the bounds of an endogenous understanding rooted in the idea of galenic humours.

Genistein