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In this study, Stephanie Shirilan unearths and contextualizes the celebration of the powers of the melancholic imagination in Burton's Anatomy of Melancholy, thus rescuing it from the overly literal readings of contemporary historicism. Situating Burton's recognition of cognitive and spiritual impressionability in its physiological and theological contexts, Shirilan identifies overlooked echoes of his advice that melancholic readers cure themselves by unsealing their minds and hearts.
Few English books are as widely known, underread, and underappreciated as Robert Burton’s The Anatomy of Melancholy. Stephanie Shirilan laments that modern scholars often treat the Anatomy as an unmediated repository of early modern views on melancholy, overlooking the fact that Burton is writing a cento - an ancient form of satire that quotes and misquotes authoritative texts in often subversive ways - and that his express intent in so doing is to offer his readers literary therapy for melancholy. This book explores the ways in which the Anatomy dispenses both direct physic and more systemic medicine by encouraging readers to think of melancholy as a privileged mental and spiritual acuity that requires cultivation and management rather than cure. Refuting the prevailing historiography of anxious early modern embodiment that cites Burton as a key witness, Shirilan submits that the Anatomy rejects contemporary Neostoic and Puritan approaches to melancholy. She reads Burton’s erraticism, opacity, and theatricality as modes of resistance against demands for constancy, transparency, and plainness in the popular literature of spiritual and moral hygiene of his day. She shows how Burton draws on rhetorical, theological, and philosophical traditions that privilege the transformative powers of the imagination in order to celebrate melancholic impressionability for its capacity to inspire and engender empathy, charity, and faith.
Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Frankfurt (Main), course: Englische Prosa des 17. Jahrhunderts: Robert Burton und Sir Thomas Browne, language: English, abstract: The word 'imagination' has and had various meanings as this extract from The Oxford English Dictionary illustrates: 1. The action of imagining, or forming a mental concept of what is not actually present to the senses [...]; the result of this process, a mental image or idea (often with implication that the conception does not correspond to the reality of things, hence freq. vain (false, etc.) imagination [...] 2. The mental consideration of actions or events not yet in existence a. Scheming or devising; a device, contrivance, plan, scheme, plot, a fancyful project [...] b. Impression as to what is likely; expectation, anticipation. [...] These are the definitions that existed in the Renaissance period. But as I am going to show in my essay with the example of Robert Burton's The Anatomy of Melancholy (1621), imagination played a more influential role during that period and was believed to have and had a big impact on different spheres of life. Of course, there was no homogeneous opinion about its influence. As Katherine Park notes, the debate over the force of imagination 'was complicated by the fact that the most ardent defenders of the power of imagination included both the most credulous - writers like Paracelsus who would believe any story - as well as the least superstitious - writers like Pomponazzi and Montaigne for whom the imagination provided a credible and natural explanation for some of the more far-fetched claims of popular magic and religion.' (Huet 14) So I will point out to what extent Burton's ideas about it correspond to the views of his contemporaries and also how far they are more influenced by tradition. I am going to start with a passage about the contemporary development of the sci
"Taking on nothing less than the formation of modern genders and sexualities, Thomas A. King develops a history of the political and performative struggles that produced both normative and queer masculinities in the seventeenth and eighteenth centuries. The result is a major contribution to gender studies, gay studies, and theater and performance history. The Gendering of Men, 1600-1750 traces the transition from a society based on alliance, which had subordinated all men, women, and boys to higher ranked males, to one founded in sexuality, through which men have embodied their claims to personal and political privacy. King proposes that the male body is a performative production marking men's resistance to their subjection within patriarchy and sovereignty. Emphasizing that categories of gender must come under historical analysis, The Gendering of Men explores men's particpation in an ongoing struggle for access to a universal manliness transcending other biological and social differentials."--Pub. desc. v.1.
Offering a comprehensive analysis of newly-uncovered manuscripts from two English convents near Antwerp, this study gives unprecedented insight into the role of the senses in enclosed religious communities during the period 1600-1800. It draws on a range of previously unpublished writings-chronicles, confessions, letters, poetry, personal testimony of various kinds-to explore and challenge assumptions about sensory origins. Author Nicky Hallett undertakes an interdisciplinary investigation of a range of documents compiled by English nuns in exile in northern Europe. She analyzes vivid accounts they left of the spaces they inhabited and of their sensory architecture: the smells of corridors, of diseased and dying bodies, the sights and sounds of civic and community life, its textures and tastes; their understanding of it in the light of devotional discipline. This is material culture in the raw, providing access to a well-defined locale and the conditions that shaped sensory experience and understanding. Hallett examines the relationships between somatic and religious enclosure, and the role of the senses in devotional discipline and practice, considering the ways in which the women adapted to the austerities of convent life after childhoods in domestic households. She considers the enduring effects of habitus, in Bourdieu's terms the residue of socialised subjectivity which was (or was not) transferred to a contemplative career. To this discussion, she injects literary and cultural comparisons, considering inter alia how writers of fiction, and of domestic and devotional conduct books, represent the senses, and how the nuns' own reading shaped their personal knowledge. The Senses in Religious Communities, 1600-1800 opens fresh comparative perspectives on the Catholic domestic household as well as the convent, and on relationships between English and European philosophy, rhetorical, medical and devotional discourse.
This book explores literary culture in England between 1630 and 1700, focusing on connections between material, epistemic, and political conditions of literary writing and reading. In a number of case studies and close readings, it presents the seventeenth century as a period of change that saw a fundamental shift towards a new cultural configuration: neoclassicism. This shift affected a wide array of social practices and institutions, from poetry to politics and from epistemology to civility.
From government to literature to architecture, few fields in western culture are untouched by the influence of Ancient Greece and Rome. Even mores that may seem exclusively modern often have roots in the classical past. This book takes an in-depth look at the ancient roots of homophobia, including its Pythagorean origins and its eventual spread throughout the Roman Empire and, consequently, the rest of the world. Originally, male homosexuality occupied something of an honorable position in ancient Greece. By the end of the Roman period several centuries later, this attitude had changed so radically that to be found guilty of homosexual actions was punishable by death. This work investigates how such a shift occurred and traces the various cultural forces that brought about almost universal homophobia throughout western societies. Beginning with the earliest documented instance of homophobia in the teachings of Pythagoras (who was surrounded by mystery even in ancient times), the author examines its proliferation through various disciplines, citing sources from political history, anthropology, religion, and psychology as well as the analysis of ancient texts. Through extensive historical research, he follows the concept from Greece to Macedonia and finally to Rome, examining relevant religious attitudes including those of Christianity and Judaism. Finally, he discusses the ways in which homophobia was solidified in the legal legacy of the Roman Empire. An extensive bibliography provides additional resources regarding classical influence on modern culture.
A brilliant and comprehensive history of the creation of the modern Western mind. Soul Machine takes us back to the origins of modernity, a time when a crisis in religious authority and the scientific revolution led to searching questions about the nature of human inner life. This is the story of how a new concept—the mind—emerged as a potential solution, one that was part soul and part machine, but fully neither. In this groundbreaking work, award-winning historian George Makari shows how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind.
Neurologist Robert Burton challenges common notions about how people think about what they know, demonstrating how the feeling of certainty comes from a place beyond knowledge and control and is a mental sensation, not evidence of fact.