03735nam 2200685Ia 450 991045950870332120200520144314.01-282-93287-X97866129328780-226-64848-610.7208/9780226648484(CKB)2670000000059751(EBL)625216(OCoLC)692205232(SSID)ssj0000420113(PQKBManifestationID)11327372(PQKBTitleCode)TC0000420113(PQKBWorkID)10386448(PQKB)10344298(StDuBDS)EDZ0000115856(MiAaPQ)EBC625216(DE-B1597)523444(OCoLC)747946397(DE-B1597)9780226648484(Au-PeEL)EBL625216(CaPaEBR)ebr10433762(CaONFJC)MIL293287(EXLCZ)99267000000005975120040213d2004 uy 0engur|n|---|||||txtccrHumoring the body[electronic resource] emotions and the Shakespearean stage /Gail Kern PasterChicago University of Chicago Press20041 online resource (291 p.)Description based upon print version of record.0-226-64847-8 Includes bibliographical references (p. 247-259) and index.Frontmatter -- Contents -- Illustrations -- Acknowledgments -- A Note on Citations -- Introduction -- Chapter 1. Roasted in Wrath and Fire: The Ecology of the Passions in Hamlet and Othello -- Chapter 2. Love Will Have Heat: Shakespeare's Maidens and the Caloric Economy -- Chapter 3. Melancholy Cats, Lugged Bears, and Other Passionate Animals: Reading Shakespeare's Psychological Materialism across the Species Barrier -- Chapter 4. Belching Quarrels: Male Passions and the Problem of Individuation -- Epilogue -- Bibliography -- IndexThough modern readers no longer believe in the four humors of Galenic naturalism-blood, choler, melancholy, and phlegm-early modern thought found in these bodily fluids key to explaining human emotions and behavior. In Humoring the Body, Gail Kern Paster proposes a new way to read the emotions of the early modern stage so that contemporary readers may recover some of the historical particularity in early modern expressions of emotional self-experience. Using notions drawn from humoral medical theory to untangle passages from important moral treatises, medical texts, natural histories, and major plays of Shakespeare and his contemporaries, Paster identifies a historical phenomenology in the language of affect by reconciling the significance of the four humors as the language of embodied emotion. She urges modern readers to resist the influence of post-Cartesian abstraction and the disembodiment of human psychology lest they miss the body-mind connection that still existed for Shakespeare and his contemporaries and constrained them to think differently about how their emotions were embodied in a premodern world.DramaPsychological aspectsMind and body in literatureHuman body in literatureEmotions in literatureElectronic books.DramaPsychological aspects.Mind and body in literature.Human body in literature.Emotions in literature.822.309Paster Gail Kern792366MiAaPQMiAaPQMiAaPQBOOK9910459508703321Humoring the body2244557UNINA