Structures of Feeling in Seventeenth-Century Cultural Expression

Structures of Feeling in Seventeenth-Century Cultural Expression

by Susan McClary

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Overview

Between the waning of the Renaissance and the beginning of the Enlightenment, many fundamental aspects of human behaviour - from expressions of gender to the experience of time - underwent radical changes. While some of these transformations were recorded in words, others have survived in non-verbal cultural media, notably the visual arts, poetry, theatre, music, and dance. Structures of Feeling in Seventeenth-Century Cultural Expression explores how artists made use of these various cultural forms to grapple with human values in the increasingly heterodox world of the 1600s.

Essays from prominent historians, musicologists, and art critics examine methods of non-verbal cultural expression through the broad themes of time, motion, the body, and global relations. Together, they show that seventeenth-century cultural expression was more than just an embryonic stage within Western artistic development. Instead, the contributors argue that this period marks some of the most profound changes in European subjectivities.

Product Details

ISBN-13: 9781442669512
Publisher: University of Toronto Press, Scholarly Publishing Division
Publication date: 03/04/2013
Series: UCLA Clark Memorial Library Series
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 400
File size: 19 MB
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About the Author

Susan McClary is Professor of Music at Case Western Reserve University and Distinguished Professor Emerita at UCLA

Table of Contents

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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