Titlebook: Humorality in Early Modern Art, Material Culture, and Performance; Amy Kenny,Kaara L. Peterson Book 2021 The Editor(s) (if applicable) and

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Folklore

Humoural VersificationWhat happens to the humors in verse, especially dramatic verse? This chapter advances the notion of a “humoral versification” or “humoral prosody,” in which particular features of verse (caesura, stress) interanimate humoral mechanisms and properties. It concludes by questioning how this would play out in an early modern actor’s body.

recession

Amy Kenny,Kaara L. PetersonExplores how Galenic humorality extends to early modern art, dramatic performance, and material objects.Contributes to the study of early modern material culture, medical humanities, affect studies, a

丑恶

狂热文化

978-3-030-77620-6The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

合适

Humorality in Early Modern Art, Material Culture, and Performance978-3-030-77618-3Series ISSN 2634-6435 Series E-ISSN 2634-6443

收集

Seeing Saints in the Forest of Arden: Melancholic Vision in —and Shakespeare’s presentation of a specific type of spiritual vision associated with melancholics, such as Jaques, and their animal companions. This novel approach, strongly informed by art history, yields a reading of the play that encompasses religious notions of loss and Catholic memory in the wake of the Reformation.

包租车船

Humors, Fruit, and Botanical Art in Early Modern Englandy contends that a confluence of scientific exploration; advancements in botany and the classification of plants tied to the publications of household manuals; and the burgeoning of botanical and “market” genre paintings in the seventeenth century altered the perception of fruit’s effect on the body’s humors.

Palter

吹气

Like Furnace: Sighing on the Shakespearean Stageion of sighing on the Shakespearean stage in relation to medical and philosophical writings on the phenomenon. Visceral, vital, non-verbal, and affective, sighing was more than merely metaphorical: its use in Shakespeare often signifies the physicality and theatricality of the passions as necessarily performative phenomena.