Reading Sensations in Early Modern England

Craik, Katharine A.

doi:10.1057/9780230206083

Cited by 102 publications

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“…28 There is a significantly different emphasis in the collection of essays by Katharine Craik and Tanya Pollard, Reading Sensations in Early Modern England. 29 The very transatlantic group of writers represented here (breaking down any simple binary between American and British scholars) concentrates on the medium of drama itself and what it can do in terms of changing audiences as they watch, hear, 'feel' and experientially encounter Shakespeare in the theatre, and 'moving' readers -all that is suggested by the word 'sensations', which can be construed as involving the body, the mind and the emotions in tandem. A passage which, it is suggested, explicitly draws on humour theory while also directing attention to theatre as offering an emotionally mobile and even medicinally transformative experience comes from the mouth of a humble messenger who could almost stand as the dramatist himself, in the Induction to The Taming of the Shrew:…”

Section: Reclaiming Heartlandsmentioning

confidence: 99%

Reclaiming Heartlands: Shakespeare and the History of Emotions in Literature

White¹

2015

Shakespeare and Emotions

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Section: Reclaiming Heartlandsmentioning

confidence: 99%

Reclaiming Heartlands: Shakespeare and the History of Emotions in Literature

White¹

2015

Shakespeare and Emotions

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“…4 On anti-theatricality and the debates about the theatre, see Levine 1994. On a related subject, Katherine Craik (2007) has recently given a wonderful analysis of early modern thinking on the effects of the reading of literature on masculinity in early modern England. 5 With the word poetry, Sidney refers not only to poems, but also to all f ictional works, including romances and plays.…”

Section: Notesmentioning

confidence: 99%

Emotion, Performance and Gender in Shakespeare’s Hamlet

Steenbergh¹

2011

Sexed Sentiments

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the prince makes an often-quoted distinction between the external signs of grief and the inner self. On the other hand, the play also problematizes the effeminizing effects that the performance of emotion and the imitation of signs of anger have on the self. This chapter relates the play's representation of the relation between the performance of emotion and the self both to early modern debates about the effects of acted passion and to current (cultural-historical) theory on the transmission and effects of emotion.'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspirations of forced breath, No, nor the fruitful river in the eye, Nor the dejected havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly. These indeed seem, For they are actions that a man might play, But I have that within which passes show, These but the trappings and the suits of woe. (Shakespeare 1982, 1.2.77-86)

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“…The concept of energeia has received little attention in recent early modern criticism. Katharine Craik presents one of the few exceptions in her monograph, Reading Sensations in Early Modern England. “The most moving passages in literature and rhetoric were those marked by energeia , or energy, a textual property connected to kinesis or movement” (5).…”

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confidence: 99%

“…For more on Puttenham's interest in energeia, see Craik, “The Material Point of Poesy,” and her Reading Sensations in Early Modern England , esp. 41 and 136.…”

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“To Move the Spirits of the Beholder to Admiration”: Lively Passionate Performance on the Early Modern Stage

Holmes

2017

Literature Compass

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This article examines the meaning of terms such as “lively” and “to the life” in early modern plays and in commentary on dramatic performance. Scholars have tended to interpret these terms as praise for a naturalistic acting style, one that values actors' realistic portrayals of their characters. Conversely, this article argues that liveliness meant energeia, an Aristotelian term for the aspect of language that moves an audience. Early modern poets and playwrights frequently expressed a strong desire to move their audiences, and the playwright Thomas Heywood claimed that drama was particularly well suited to achieve that goal. By attending to new research on Renaissance emotion, the article considers how a revised understanding of the passions should affect our understanding of dramatic performance. It goes on to demonstrate that liveliness required excessive passion, and though a performance could go too far and, as Hamlet says, “tear a passion to tatters,” the calibration of passion required of actors encouraged excess nonetheless. Not all acting was excessive because not all acting was lively, and it was possible for a performance to become too passionate. But acting was frequently praised as lively, and lively performance required an excess of passion that was considered unnatural.

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Reading Sensations in Early Modern England

Cited by 102 publications

References 0 publications

Reclaiming Heartlands: Shakespeare and the History of Emotions in Literature

Reclaiming Heartlands: Shakespeare and the History of Emotions in Literature

Emotion, Performance and Gender in Shakespeare’s Hamlet

“To Move the Spirits of the Beholder to Admiration”: Lively Passionate Performance on the Early Modern Stage

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