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Structures of Feeling in Seventeenth-Century Cultural Expression explores how artists made use of various cultural forms - notably the visual arts, poetry, theatre, music, and dance - to grapple with human values in the increasingly heterodox world of the 1600s. McClarySusan: Susan McClary is Professor of Music at Case Western Reserve University and Distinguished Professor Emerita at UCLA
Structures of Feeling in Seventeenth-Century Cultural Expression explores how artists made use of various cultural forms - notably the visual arts, poetry, theatre, music, and dance - to grapple with human values in the increasingly heterodox world of the 1600s.
McClarySusan:
Susan McClary is Professor of Music at Case Western Reserve University and Distinguished Professor Emerita at UCLA
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Autorenporträt
Edited by Susan McClary
Inhaltsangabe
Acknowledgments viii List of Illustrations ix Notes on Contributors xi Introduction: On Bodies, Affects, and Cultural Identities in the Seventeenth Century 1 SUSAN McCLARY (University of California Los Angeles, Musicology) I The Science of Affect 1 Disciplining Feeling: The Seventeenth-Century Idea of a Mathematical Theory of the Emotions DANIEL GARBER (Princeton University, Philosophy) 2 Clockwork or Musical Instrument? Some English Theories of Mind-Body Interaction Before and After Descartes PENELOPE GOUK (University of Manchester, History) 3 The Sound World of Father Mersenne THOMAS CHRISTENSEN (University of Chicago, Music) II Colonial Extensions 4 Transforming Amerindian “Savages” into Civilized French Catholics: The Art of “Voluntary Subjugation” as the French Colonial Ideal SARA MELZER (University of California Los Angeles, French and Francophone Studies) 5 Fear of Singing GARY TOMLINSON (Yale University, Music) 6 The Illicit Voice of Prophecy OLIVIA BLOECHL (University of California Los Angeles, Musicology) III The Politics of Opera 7 Daphne’s Dilemma: Desire as Metamorphosis in Early Modern Opera WENDY HELLER (Princeton University, Music) 8. A Viceroy Behind the Scenes: Opera, Production, Politics, and Financing in 1680s Naples LOUISE STEIN (University of Michigan, Musicology) IV Baroque Bodies 9 Crashaw and the Metaphysical Shudder; Or, How to Do Things with Tears RICHARD RAMBUSS (Emory University, English) 10 Cutting, Branding, Whipping, Burning: The Performance of Judicial Wounding in Early Modern England SARAH COVINGTON (Queens College of the City University of New York, History) 11 Excursions to See Monsters: Odd Bodies and Itineraries of Knowledge in the Seventeenth Century KATHRYN HOFFMAN (Northwestern University, Anthropology) V Toward a History of Time and Subjectivity 12 Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music SUSAN McCLARY (University of California Los Angeles, Musicology) 13 Temporal Interventions: Music, Modernity and the Presentation of the Self RICHARD LEPPERT (University of Minnesota, Cultural Studies and Comparative Literature) Index
Acknowledgments viii List of Illustrations ix Notes on Contributors xi Introduction: On Bodies, Affects, and Cultural Identities in the Seventeenth Century 1 SUSAN McCLARY (University of California Los Angeles, Musicology) I The Science of Affect 1 Disciplining Feeling: The Seventeenth-Century Idea of a Mathematical Theory of the Emotions DANIEL GARBER (Princeton University, Philosophy) 2 Clockwork or Musical Instrument? Some English Theories of Mind-Body Interaction Before and After Descartes PENELOPE GOUK (University of Manchester, History) 3 The Sound World of Father Mersenne THOMAS CHRISTENSEN (University of Chicago, Music) II Colonial Extensions 4 Transforming Amerindian “Savages” into Civilized French Catholics: The Art of “Voluntary Subjugation” as the French Colonial Ideal SARA MELZER (University of California Los Angeles, French and Francophone Studies) 5 Fear of Singing GARY TOMLINSON (Yale University, Music) 6 The Illicit Voice of Prophecy OLIVIA BLOECHL (University of California Los Angeles, Musicology) III The Politics of Opera 7 Daphne’s Dilemma: Desire as Metamorphosis in Early Modern Opera WENDY HELLER (Princeton University, Music) 8. A Viceroy Behind the Scenes: Opera, Production, Politics, and Financing in 1680s Naples LOUISE STEIN (University of Michigan, Musicology) IV Baroque Bodies 9 Crashaw and the Metaphysical Shudder; Or, How to Do Things with Tears RICHARD RAMBUSS (Emory University, English) 10 Cutting, Branding, Whipping, Burning: The Performance of Judicial Wounding in Early Modern England SARAH COVINGTON (Queens College of the City University of New York, History) 11 Excursions to See Monsters: Odd Bodies and Itineraries of Knowledge in the Seventeenth Century KATHRYN HOFFMAN (Northwestern University, Anthropology) V Toward a History of Time and Subjectivity 12 Temporality and Ideology: Qualities of Motion in Seventeenth-Century French Music SUSAN McCLARY (University of California Los Angeles, Musicology) 13 Temporal Interventions: Music, Modernity and the Presentation of the Self RICHARD LEPPERT (University of Minnesota, Cultural Studies and Comparative Literature) Index
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