Through its examination of the nexus between the history of emotions and the social and cultural uses of colour in early modern drama, Shakespeare and Emotional Expression adds to our understanding of the expressive and affective possibilities in Shakespearean drama.
Through its examination of the nexus between the history of emotions and the social and cultural uses of colour in early modern drama, Shakespeare and Emotional Expression adds to our understanding of the expressive and affective possibilities in Shakespearean drama.
Bríd Phillips is a senior lecturer at Edith Cowan University, Australia. She has a PhD in Shakespearean Studies and her research has been supported by the Australian Research Council, Centre of Excellence for The History of Emotions. Recent publications include Hamlet and Emotions, edited with Paul Megna and Robert White (2019) and '"Devils Will the Blackest Sins Put On": The Emotional Register of Colour' in Matters of Engagement: Emotions, Identity, and Cultural Contact in the Premodern World (2020).
Inhaltsangabe
Introduction: The expression of emotion through systems of colour: Uncovering ways of feeling Chapter One: 'And weep to hear him speak': Colour, emotion, and rhetoric in Titus Andronicus Chapter 2: 'For blushing cheeks by faults are bred / And fears by pale white shown': Reading the face for colour and emotion in Love's Labour's Lost Chapter 3: 'There's something in his soul / O'er which his melancholy sits on brood': Senses, science, and the Imagination Chapter 4: 'Not black in my mind, though yellow in my legs': Bodies, clothes, colour, and passions in Twelfth Night Chapter 5: 'O well-painted passion': Cultural commonplaces of colour and affective patterns in Othello Afterword
Introduction: The expression of emotion through systems of colour: Uncovering ways of feeling
Chapter One: 'And weep to hear him speak': Colour, emotion, and rhetoric in Titus Andronicus
Chapter 2: 'For blushing cheeks by faults are bred / And fears by pale white shown': Reading the face for colour and emotion in Love's Labour's Lost
Chapter 3: 'There's something in his soul / O'er which his melancholy sits on brood': Senses, science, and the Imagination
Chapter 4: 'Not black in my mind, though yellow in my legs': Bodies, clothes, colour, and passions in Twelfth Night
Chapter 5: 'O well-painted passion': Cultural commonplaces of colour and affective patterns in Othello
Introduction: The expression of emotion through systems of colour: Uncovering ways of feeling Chapter One: 'And weep to hear him speak': Colour, emotion, and rhetoric in Titus Andronicus Chapter 2: 'For blushing cheeks by faults are bred / And fears by pale white shown': Reading the face for colour and emotion in Love's Labour's Lost Chapter 3: 'There's something in his soul / O'er which his melancholy sits on brood': Senses, science, and the Imagination Chapter 4: 'Not black in my mind, though yellow in my legs': Bodies, clothes, colour, and passions in Twelfth Night Chapter 5: 'O well-painted passion': Cultural commonplaces of colour and affective patterns in Othello Afterword
Introduction: The expression of emotion through systems of colour: Uncovering ways of feeling
Chapter One: 'And weep to hear him speak': Colour, emotion, and rhetoric in Titus Andronicus
Chapter 2: 'For blushing cheeks by faults are bred / And fears by pale white shown': Reading the face for colour and emotion in Love's Labour's Lost
Chapter 3: 'There's something in his soul / O'er which his melancholy sits on brood': Senses, science, and the Imagination
Chapter 4: 'Not black in my mind, though yellow in my legs': Bodies, clothes, colour, and passions in Twelfth Night
Chapter 5: 'O well-painted passion': Cultural commonplaces of colour and affective patterns in Othello
Afterword
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