Hurt(Ful) Body

Tomas Macsotay is Research Lecturer in Art History at Pompeu Fabra University, BarcelonaCornelis van der Haven is Senior Lecturer in Dutch Literature at Ghent UniversityKarel Vanhaesebrouck is Professor of Theatre and Performance Studies at the Université Libre de Bruxelles

• Introduction – Tomas Macsotay, Cornelis van der Haven and Karel VanhaesebrouckPart I: Performing bodies1 Spectacle and martyrdom: bloody suffering, performed suffering and recited suffering in French tragedy (late sixteenth and early seventeenth centuries) – Christian Biet2 The Massacre of the Innocents: infanticide and solace in the seventeenth-century Low Countries – Stijn Bussels and Bram Van Oostveldt 3 To travel to suffer: towards a reverse anthropology of the early modern colonial body – Karel VanhaesebrouckPart II: Beholders4 ‘I feel your pain’: some reflections on the (literary) perception of pain – Jonathan Sawday5 Masochism and the female gaze – John Yamamoto-Wilson6 Epicurean tastes: towards a French eighteenth-century criticism of the image of pain – Tomas Macsotay7 Wounding realities and ‘painful excitements’: real sympathy, the imitation of suffering and the visual arts after Burke’s sublime – Aris Sarafianos8 Forced witnessing of pain and horror in the context of colonial and religious massacres: the case of the Irish Rebellion, 1641–53 – Nicolás Kwiatkowski Part III: Institutions9 Theatrical torture versus dramatic cruelty: subjection through representation or praxis: Frans-Willem Korsten10 Palermo’s past public executions and their lingering memory – Maria Pia Di Bella 11 The economics of pain: pain in Dutch stock trade discourses and practices 1600–1750 – Inger LeemansEpilogue – Javier MoscosoIndex

'This edited volume is critical for anyone working on the representations and functions of the suffering body, its effects on the onlooker, and the ways in which the hurt(ful) body is inscribed and deployed in various political, judicial, and economic institutions of the early modern period. The diverse methodological approaches to the study of the body in pain illustrate the complexity of the topic, and the book will surely inspire scholars to continue their reflection on the roles and stakes of the harmed body and the body that harms.'Michael Meere, Wesleyan University, Bulletin of the Comediantes volume 70.2