Open Access (free)
Lucy Munro

are always ‘fed’ a substitute experience. They see Theophilus eat the fruit, and perhaps smell it too; they hear Troilus complain that kisses taste salty when they are mingled with tears. As we have seen, the MUP_Smith_Printer.indd 35 02/04/2015 16:18 36 Tracing a sense potent associations of taste with both physical excess and spiritual endeavour, with cultivated appreciation and violent dislike, made it amenable to a wide range of dramatic uses, across innumerable styles and many genres. Like Acolastas, the embodiment of the sense with which I began this

in The senses in early modern England, 1558–1660
Antony and Cleopatra and visual musical experience
Simon Smith

very fact that their visual attention has been demanded so directly by the preceding use of the stage space, as the soldiers look outward. The playgoers’ unfulfilled desire to see and comprehend the hidden music would thus steer them towards an otherworldly explanation, supported by the music’s continuing lack of embodiment. It is significant that the hautboys (or shawms) play while generic soldiers stand watch, rather than alongside a previously characterized, noble personality. Instead of inviting empathetic engagement with a single, clearly defined character, the

in The senses in early modern England, 1558–1660
The pleasure of reading comedies in early modern England
Hannah August

final line and the play’s title), but, for the duration of the reading, to become him. This is more than assuming the ‘impressions of mind’ of the characters that one watches onstage, as Gosson feared audiences would do: this is a total abandonment of self enabled by complete engagement with the dramatic narrative, something that is, paradoxically, only enabled by the lack of an actor to personate Paris on stage. How can the spectator imagine himself Paris when confronted by an actor who is, for the duration of the performance, clearly the embodiment of the character

in The senses in early modern England, 1558–1660
Open Access (free)
Holly Dugan

the world without insisting on ahistorical, trans-historical, or universally able-bodied experiences of embodiment. To ‘see’ smell in this way is to engage with both multisensorial meanings of art and olfaction in the present and a synaesthetic approach to their meanings in the past. As both Hahn’s Galaxolide as well as The Art of Scent exhibition suggest, the art of olfaction and the olfactory components of art are not necessarily the same thing, which becomes immediately clear when one switches from modern or postmodern art objects to early modern examples

in The senses in early modern England, 1558–1660
An ‘aesthetics of care’ through aural attention
Sylvan Baker and Maggie Inchley

, involved a recalibration of bodily rhythm and breathing – a temporary rearrangement and reprioritisation of her own physiological needs. In the meticulous observance and re-embodiment of the verbatim somatic score, the ethical and aesthetic dimensions of performance converge. For Sid, whom we quoted above, this sense of using a practice of listening to exercise responsibility for the speaker seemed to intertwine profoundly with the mode and shape of his delivery, leading to a heightened awareness of the prolonged, bodily attentiveness and responsibility that care

in Performing care
Natalie K. Eschenbaum

that our post-Cartesian perspective makes it difficult to comprehend a time when selves were not separate from bodies. In seventeenth-century England, ‘embodiments of emotion [are] not […] enactments of dead metaphors but rather explorations of the corporeal nature of self ’.25 When Herrick’s narrator says he drowns in MUP_Smith_Printer.indd 123 02/04/2015 16:18 124 The senses in context the vision of Julia’s petticoat, Herrick probably does not use ‘drown’ as a simile. When he sees her petticoat, he does not feel like he is drowning. He is drowning. Schoenfeldt

in The senses in early modern England, 1558–1660
Peter H. Wilson

responsible for paying, feeding, and housing the troops throughout this first stage, and was also responsible for their command and for all disciplinary matters. The second stage began once the hirer formally mustered the troops who now entered the hirer’s service. This ceremony was much like those held to mark the embodiment of newly raised units in any army, except that auxiliaries remained bound by an oath to their provider and did not become a fully integrated part of the hirer’s army. In most cases, auxiliaries were already soldiers and had sworn to abide by the

in Subsidies, diplomacy, and state formation in Europe, 1494–1789
Beckett and the matter of language
Laura Salisbury

the paralysing holiness of language, whilst cleaving to the elision of word and flesh, is decidedly untranscendent, however; it seems more suggestive of sexual penetration, which would accord with the metaphorics of desire that runs throughout the text and Beckett’s insistence that his language must throw off the outdated modesty of ‘the Victorian bathing suit’.51 But if such metaphors return us to the space of language’s embodiment, perhaps it is not too tendentious to suggest that the instrument used to bore holes into the word made flesh need not simply be bound

in Beckett and nothing
Open Access (free)
Beckett and nothing: trying to understand Beckett
Daniela Caselli

points out to A, forcing him to take it from the top, hindering the progress toward the drinking of the goblet of poison.12 In line with much of the canon, the text exploits the fact that (as Denise Riley has pointed out in a book which characterises Beckett’s late monologues as ‘a stoical embodiment of sheer utterance set against pathos’) ‘there’s humour in the not quite dead. Out of a satirical weekly, Freud clipped a joke about the old adage: “Never to be born would be the best thing for mortal men.” – But, adds the philosophical comment in Fliegende Blätter, this

in Beckett and nothing
Open Access (free)
Kirsti Bohata, Alexandra Jones, Mike Mantin, and Steven Thompson

exploring attitudes to embodiment and structures of social relationships. While this study confirms that literature is a crucial source for the cultural historian and a means whereby the historicist literary critic can engage with contemporary ideological values, our approach to literature is also attentive to disability theorists such as David T. Mitchell, Sharon L. Snyder and Ato Quayson, who foreground literary aesthetics – that is, the particular formal and creative ways in which literature constructs and conveys meaning. In order to understand how coalfields

in Disability in industrial Britain