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"Dead in literature."
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Early Modern Corpse and Shakespeare's Theatre
Within a theoretical framework that makes use of history, psychoanalysis and anthropology, The Early Modern Corpse and Shakespeare's Theatre explores the relationship of the public theatre to the question of what constituted the 'dead' in early modern English culture.Susan Zimmerman argues that concepts of the corpse as a semi-animate, generative and indeterminate entity were deeply rooted in medieval religious culture. Such concepts ran counter to early modern discourses that sought to harden categorical distinctions between body/spirit, animate/inanimate - in particular, the attacks of Reformists on the materiality of 'dead' idols, and the rationale of the new anatomy for publicly dissecting 'dead' bodies. Zimmerman contends that within this context, theatrical representations of the corpse or corpse/revenant - as seen here in the tragedies of Shakespeare and his contemporaries - uniquely showcased the theatre's own ideological and performative agency. Features*Original in its conjunction of critical theory (Bataille, Kristeva, Lacan, Benjamin) with an historical account of the shifting status of the corpse in late medieval and early modern England.*The first study to demonstrate connections between the meanings attached to the material body in early modern Protestantism, the practice of anatomical dissection, and the English public theatre.*Strong market appeal to scholars and graduate students with interests in the theatre of Shakespeare and his contemporaries, early modern religion and science, and literary theory. *Relevant to advanced undergraduates taking widely taught courses in Shakespeare and in Renaissance drama.
eBook
Gothic Utterance Gothic Utterance: Voice, Speech and Death in the American Gothic
The Gothic has always been interested in strange utterances and unsettling voices - from half-heard ghostly murmurings and the admonitions of the dead, to the terrible cries of the monstrous nonhuman. Gothic Utterance is the first book-length study of the role played by such voices in the Gothic tradition, exploring their prominence and importance in the American literature produced between the Revolutionary War and the close of the nineteenth century. The book argues that the American Gothic foregrounds the overpowering affect and distressing significations of the voices of the dead, dying, abjected, marginalised or nonhuman, in order to undertake a sustained interrogation of what it means to be and speak as an American in this period. The American Gothic imagines new forms of relation between speaking subjects, positing more inclusive and expansive kinds of community, while also emphasising the ethical demands attending our encounters with Gothic voices. The Gothic suggests that how we choose to hear and respond to these voices says much about our relationship with the world around us, its inhabitants - dead or otherwise - and the limits of our own subjectivity and empathy.
eBook
Speaking Spirits
In classical and early modern rhetoric, to write or speak using the voice of a dead individual is known as eidolopoeia . Whether through ghost stories, journeys to another world, or dream visions, Renaissance writers frequently used this rhetorical device not only to co-opt the authority of their predecessors but in order to express partisan or politically dangerous arguments.
In Speaking Spirits , Sherry Roush presents the first systematic study of early modern Italian eidolopoeia . Expanding the study of Renaissance eidolopoeia beyond the well-known cases of the shades in Dante’s Commedia and the spirits of Boccaccio’s De casibus vivorum illustrium , Roush examines many other appearances of famous ghosts – invocations of Boccaccio by Vincenzo Bagli and Jacopo Caviceo, Girolamo Malipiero’s representation of Petrarch in Limbo, and Girolamo Benivieni’s ghostly voice of Pico della Mirandola. Through close readings of these eidolopoetic texts, she illuminates the important role that this rhetoric played in the literary, legal, and political history of Renaissance Italy.
eBook
The Dialogues of the Dead of the Early German Enlightenment
Starting from the little reliable information available, Riccarda Suitner conducts an exciting investigation of the authors, production, illustrations, circulation and plagiarism of a series of anonymous \"dialogues of the dead\" in the intellectual world of the early eighteenth century, proposing a new image of the German Enlightenment.
eBook
Gothic Utterance
The Gothic has always been interested in strange utterances and unsettling voices – from half-heard ghostly murmurings and the admonitions of the dead, to the terrible cries of the monstrous nonhuman. Gothic Utterance is the first book-length study of the role played by such voices in the Gothic tradition, exploring their prominence and importance in the American literature produced between the Revolutionary War and the close of the nineteenth century. The book argues that the American Gothic foregrounds the overpowering affect and distressing significations of the voices of the dead, dying, abjected, marginalised or nonhuman, in order to undertake a sustained interrogation of what it means to be and speak as an American in this period. The American Gothic imagines new forms of relation between speaking subjects, positing more inclusive and expansive kinds of community, while also emphasising the ethical demands attending our encounters with Gothic voices. The Gothic suggests that how we choose to hear and respond to these voices says much about our relationship with the world around us, its inhabitants – dead or otherwise – and the limits of our own subjectivity and empathy.
eBook
Das Bild und seine Körper
Bilder des menschlichen Körpers als Substitute von Verstorbenen
ermöglichen diesen durch ihre sich immer weiter entwickelnde
Medialität ein Nachleben auf der Grenze und im
Dazwischen, das im schroffen Gegensatz zur Bildmagie des
Totenkultes steht. Aus literaturwissenschaftlicher und kulturwissenschaftlicher
Sicht untersucht der Autor, wie das Personalbild
die Berührung zwischen dem Heiligen und dem Profanen
ermöglicht in einer Kultur, in der das Heilige „absinkt“.
Dadurch wird ein neuer Blick möglich auf die Transgression
des Bildes, das in unterschiedlichen Körpern, insbesondere
im medialen Ersatzkörper des Porträts erscheinen kann.
Durch die Inversionserfahrung in der Bildnisbegegnung lösen
sich in der säkularen Kultur Personalbilder aus dem traditionellen
Totenkult und führen in neuen Kontexten durch die
inhärente Bildaktivität zum ereignishaften Widerfahrnis der
Wiedererscheinung
eines Toten, von der insbesondere in der
Literatur des 19. Jahrhunderts erzählt wird.
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Dickens's Forensic Realism
Dickens's Forensic Realism: Truth, Bodies, Evidence by Andrew Mangham is one of the first studies to bring the medical humanities to bear on the work of Dickens. Turning to the field of forensic medicine (or medical jurisprudence), Mangham uncovers legal and medical contexts for Dickens's ideas that result in new readings of novels, short stories, and journalism by this major Victorian author.Dickens's Forensic Realism argues that the rich and unstable nature of truth and representation in Dickens owes much to the ideas and strategies of a forensic Victorian age, obsessed with questioning the relationship between clues and truths, evidences and answers. As Mangham shows, forensic medicine grew out of a perceived need to understand things with accuracy, leaning in part on the range of objectivities that inspired the inorganic sciences. At the same time, it had the burden of assisting the law in convicting the guilty and in exonerating the innocent. Practitioners of forensic medicine were uniquely mindful of unwanted variables such as human error and the vagaries of interpretation. In readings ofOliver Twist, Our Mutual Friend, Bleak House, The Pickwick Papers, Great Expectations, and Dickens's early journalism, Mangham demonstrates that these questions about signification, perception, and reality are central to the stylistic complexities and playful tone often associated with Dickens. Moreover, the medico-legal context of Dickens's fiction illuminates the richness and profundity, style and impact of Dicken's narratives.
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The Modernist Corpse
An unconventional take on the corpse challenges traditional conceptions of who-and what-counts as human, while offering bold insights into the modernist projectToo often regarded as the macabre endpoint of life, the corpse is rarely discussed and largely kept out of the public eye. InThe Modernist Corpse, Erin E. Edwards unearths the critically important but previously buried life of the corpse, which occupies a unique place between biology and technology, the living and the dead. Exploring the posthumous as the posthuman, Edwards argues that the corpse is central to understanding relations between the human and its \"others,\" including the animal, the machine, and the thing.
From photographs of lynchings to documentation of World War I casualties, the corpse is also central to the modernist project. Edwards turns critical attention to the corpse through innovative, posthumanist readings of canonical thinkers such as William Faulkner, Jean Toomer, W. E. B. Du Bois, Mina Loy, Djuna Barnes, and Gertrude Stein, offering new insights into the intersections among race, gender, technical media, and matter presumed to be dead. Edwards's expansive approach to modernism includes diverse materials such as Hollywood film, experimental photography, autopsy discourses, and the comic stripKrazy Kat, producing a provocatively broad understanding of the modernist corpse and its various \"lives.\"
The Modernist Corpseboth establishes important new directions for modernist inquiry and overturns common thought about the relationship between living and dead matter.
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