Affect Theory and Early Modern Texts

Amanda Bailey is Professor of English at the University of Maryland, USA. She is the author of Of Bondage: Debt, Property, and Personhood in Early Modern England, Masculinity and the Metropolis of Vice, 1550-1650, co-edited with Roze Hentschell, and Flaunting: Style and the Subversive Male Body in Renaissance England.Mario DiGangi is Professor of English at Lehman College and the Graduate Center, CUNY. He is the author of The Homoerotics of Early Modern Drama and Sexual Types: Embodiment, Agency, and Dramatic Character from Shakespeare to Shirley. He has edited Romeo and Juliet, A Midsummer Night’s Dream, and The Winter’s Tale.

• .-1 Introduction.-2 Speak What We Feel: Sympathy and Statecraft.-3 Affective Entanglements and Alternative Histories.-4 Weird Otium  Julian Yates.-5 Self-Killing and the Matter of Affect in Bacon and Spinoza.-6 Thinking-Feeling.-7 Crocodile Tears: Affective Fallacies Old and New.-8 The Feel of the Slaughterhouse: Affective Temporalities and Marlowe’s Massacre at Paris.-9 Spenser’s Envious History.-10 Affective Contagion on the Early Modern Stage.-11 Afterword

“The book focuses more on distilling an early modern theory of affect than on employing modern theories of affect aimed at reading manifestations of affective subjectivities engendered by different materialist phenomena, and corporeal and psychological responses to them. … The combination of new scholarship, original connections between ideas and texts, intellectually stimulating criticism, and elegant writing makes Affect Theory a volume of essays that will be read and re-read by anyone working on affect theory.” (Goran Stanivukovic, Renaissance and Reformation, Vol. 42 (1), 2019)“Affect Theory and Early Modern Texts successfully ‘use[s] affect as a prism through which to read early modern cultural, economic, and political phenomena’ … . In doing so, it contributes substantially to scholarly efforts to historicize affect and emotion, and to ongoing deliberations on the relationship betweenthinking and feeling.” (Ronda Arab, Renaissance Quarterly, Vol. 72 (1), 2019)