The first book to put contemporary affect theory into conversation with early modern studies, this volume demonstrates how questions of affect illuminate issues of cognition, political agency, historiography, and scientific thought in early modern literature and culture. Engaging various historical and theoretical perspectives, the essays in this volume bring affect to bear on early modern representations of bodies, passions, and social relations by exploring: the role of embodiment in political subjectivity and action; the interactions of human and non-human bodies within ecological systems; and the social and physiological dynamics of theatrical experience. Examining the complexly embodied experiences of leisure, sympathy, staged violence, courtiership, envy, suicide, and many other topics, the contributors open up new ways of understanding how Renaissance writers thought about the capacities, pleasures, and vulnerabilities of the human body.

Autorentext
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. 

Inhalt
.-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