Sets out to reconstruct and analyze the rationality of Phineas Fletcher's use of figurality in The Purple Island (1633) - a poetic allegory of human anatomy. This book demonstrates that the analogies and metaphors of literary works share coherence and consistency with anatomy textbooks.
Contemporary audiences are often shocked to learn that in the late 19th and early 20th centuries, medical students around the world posed for photographic portraits with their cadavers; a genre known as dissection photography. Featuring previously unseen images, stories, and anecdotes, this book explores the visual culture of death within the gross anatomy lab through the tradition of dissection photography, examining its historical aspects from both photographic and medical perspectives. The author pays particular attention to the use of dissection photographs as an expression of student identity, and as an evolving transgressive ritual intricately connected to, and eventually superseding, the act of dissection itself.
With the arrival of Puritan settlers in New England in the middle decades of the 17th-century, accounts of sickness, colonial violence, and painful religious transformation quickly emerged, enabling new forms of testimonial writing in prose and poetry. Investigating a broad transatlantic archive of religious literature, historical medical science, and philosophies of sensation, this book explores how Puritan America contemplated pain and ascribed meaning to it in writing. By weaving the experience of pained bodies into popular public discourse, Hardy shows how Puritans imagined the pained Christian body, whilst simultaneously marginalizing and vilifying those who expressed suffering by different measures, including Indigenous Americans and unorthodox colonists. Focusing on pain as it emerged from spaces of inchoate settlement and colonial violence, he provides new understandings of early American nationalism and connected racial tropes which persist today.
Secrets in all their variety permeated early modern Europe, from the whispers of ambassadors at court to the emphatically publicized books of home remedies that flew from presses and booksellers’ shops. This interdisciplinary volume draws on approaches from art history and cultural studies to investigate the manifestations of secrecy in printed books and drawings, staircases and narrative paintings, ecclesiastical furnishings and engravers’ tools. Topics include how patrons of art and architecture deployed secrets to construct meanings and distinguish audiences, and how artists and patrons manipulated the content and display of the subject matter of artworks to create an aura of exclusive access and privilege. Essays examine the ways in which popes and princes skillfully deployed secrets in works of art to maximize social control, and how artists, printers, and folk healers promoted their wares through the impression of valuable, mysterious knowledge. The authors contributing to the volume represent both established authorities in their field as well as emerging voices. This volume will have wide appeal for historians, art historians, and literary scholars, introducing readers to a fascinating and often unexplored component of early modern culture.
"Disknowledge": knowing something isn't true, but believing it anyway. In Disknowledge: Literature, Alchemy, and the End of Humanism in Renaissance England, Katherine Eggert explores the crumbling state of learning in the sixteenth and seventeenth centuries. Even as the shortcomings of Renaissance humanism became plain to see, many intellectuals of the age had little choice but to treat their familiar knowledge systems as though they still held. Humanism thus came to share the status of alchemy: a way of thinking simultaneously productive and suspect, reasonable and wrongheaded. Eggert argues that English writers used alchemy to signal how to avoid or camouflage pressing but discomfiting topics in an age of rapid intellectual change. Disknowledge describes how John Donne, George Herbert, Henry Vaughan, John Dee, Christopher Marlowe, William Harvey, Helkiah Crooke, Edmund Spenser, and William Shakespeare used alchemical imagery, rhetoric, and habits of thought to shunt aside three difficult questions: how theories of matter shared their physics with Roman Catholic transubstantiation; how Christian Hermeticism depended on Jewish Kabbalah; and how new anatomical learning acknowledged women's role in human reproduction. Disknowledge further shows how Shakespeare, Ben Jonson, and Margaret Cavendish used the language of alchemy to castigate humanism for its blind spots and to invent a new, posthumanist mode of knowledge: writing fiction. Covering a wide range of authors and topics, Disknowledge is the first book to analyze how English Renaissance literature employed alchemy to probe the nature and limits of learning. The concept of disknowledge—willfully adhering to something we know is wrong—resonates across literary and cultural studies as an urgent issue of our own era.
Jennifer C. Vaught illustrates how architectural rhetoric in Shakespeare and Spenser provides a bridge between the human body and mind and the nonhuman world of stone and timber. The recurring figure of the body as a besieged castle in Shakespeare’s drama and Spenser’s allegory reveals that their works are mutually based on medieval architectural allegories exemplified by the morality play The Castle of Perseverance. Intertextual and analogous connections between the generically hybrid works of Shakespeare and Spenser demonstrate how they conceived of individuals not in isolation from the physical environment but in profound relation to it. This book approaches the interlacing of identity and place in terms of ecocriticism, posthumanism, cognitive theory, and Cicero’s art of memory. Architectural Rhetoric in Shakespeare and Spenser examines figures of the permeable body as a fortified, yet vulnerable structure in Shakespeare’s comedies, histories, tragedies, romances, and Sonnets and in Spenser’s Faerie Queene and Complaints.
Theatrical Milton brings coherence to the presence of theatre in John Milton through the concept of theatricality. In this book, 'theatricality' identifies a discursive field entailing the rhetorical strategies and effects of framing a given human action, including speech and writing, as an act of theatre. Political and theological cultures in seventeenth-century England developed a treasury of representational resources in order to stage-to satirize and, above all, to de-legitimate-rhetors of politics, religion, and print. At the core of Milton's works is a contradictory relation to theatre that has neither been explained nor properly explored. This book changes the terms of scholarly discussion and discovers how the social structures of theatre afforded Milton resources for poetic and polemical representation and uncovers the precise contours of Milton's interest in theatre and drama.
Anxieties of Interiority and Dissection in Early Modern Spain brings the study of Europe’s “culture of dissection” to the Iberian peninsula, presenting a neglected episode in the development of the modern concept of the self. Enrique Fernandez explores the ways in which sixteenth and seventeenth-century anatomical research stimulated both a sense of interiority and a fear of that interior’s exposure and punishment by the early modern state. Examining works by Miguel de Cervantes, María de Zayas, Fray Luis de Granada, and Francisco de Quevedo, Fernandez highlights the existence of narratives in which the author creates a surrogate self on paper, then “dissects” it. He argues that these texts share a fearful awareness of having a complex inner self in a country where one’s interiority was under permanent threat of punitive exposure by the Inquisition or the state. A sophisticated analysis of literary, religious, and medical practice in early modern Spain, Fernandez’s work will interest scholars working on questions of early modern science, medicine, and body politics.
The period 1300-1600 CE was one of intense and far-reaching emotional realignments in European culture. New desires and developments in politics, religion, philosophy, the arts and literature fundamentally changed emotional attitudes to history, creating the sense of a rupture from the immediate past. In this volatile context, cultural products of all kinds offered competing objects of love, hate, hope and fear. Art, music, dance and song provided new models of family affection, interpersonal intimacy, relationship with God, and gender and national identities. The public and private spaces of courts, cities and houses shaped the practices and rituals in which emotional lives were expressed and understood. Scientific and medical discoveries changed emotional relations to the cosmos, the natural world and the body. Both continuing traditions and new sources of cultural authority made emotions central to the concept of human nature, and involved them in every aspect of existence.
Each of the book's five chapters evokes a colonial Mexican cultural and intellectual sphere: the library, anatomy and medicine, spirituality, classical learning, and publishing and printing. Using an array of literary texts and historical documents and alongside secondary historical and critical materials, the author Stephanie Kirk demonstrates how Sor Juana used her poetry and other works to inscribe herself within the discourses associated with these cultural institutions and discursive spheres and thus challenge the male exclusivity of their precepts and precincts. Kirk illustrates how Sor Juana subverted the masculine character of erudition, writing herself into an all-male community of scholars. From there, Sor Juana clearly questions the gender politics at play in her exclusion, and undermines what seems to be the inextricable link previously forged between masculinity and institutional knowledge. Sor Juana Inés de la Cruz and the Gender Politics of Knowledge in Colonial Mexico opens up new readings of her texts through the lens of cultural and intellectual history and material culture in order to shed light on the production of knowledge in the seventeenth-century colonial Mexican society of which she was both a product and an anomaly.
