Bodies, Passions, and Humors in Early Modern England: Recommended Additional Readings
Katherine Armstrong, “Possets, Pills and Poisons: Physicking the Female Body in Early Seventeenth-Century Drama,” Cahiers Elisabéthains 61 (2002), 43-56.
Amanda Bailey, “Livery and Its Discontents: ‘Braving It’ in The Taming of the Shrew,” Renaissance Drama 33 (2004), 87-135.
Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Bloomington: Indiana U Press, 1984).
Gina Bloom, Voice in Motion: Staging Gender, Shaping Sound in Early Modern England (Philadelphia: U Penn P, 2007).
Maurizio Calbi, “‘That body of hers’: The Secret, the Specular, the Spectacular in The Duchess of Malfi and Anatomical Discourses,” Approximate Bodies: Gender and Power in Early Modern Drama and Anatomy (London: Routledge, 2005).
Katharine Craik, Reading Sensations in Early Modern England (Palgrave,
Mary Thomas Crane, “Roman World, Egyptian Earth: Cognitive Difference and Empire in Shakespeare’s Antony and Cleopatra,” Comparative Drama 43.1 (2009), 1-17.
Lynn Enterline, “‘Hairy on the In-Side’: The Duchess of Malfi and the Body of Lycanthropy,” TheYale Journal of Criticism 7.2 (1994), 85-129.
Lynn Enterline, The Rhetoric of the Body from Ovid to Shakespeare (Cambridge: CUP, 2000).
Norbert Elias, The Civilizing Process, trans. Edmund Jephcott (Oxford: Blackwell, 2000; Original work pub. 1939).
Laurie A. Finke, “Painting Women: Images of Femininity in Jacobean Tragedy,” Theatre Journal 36.3 (1984), 357-370.
Mary Floyd-Wilson, English Ethnicity and Race in Early Modern Drama (Cambridge: CUP, 2003).
Mary Floyd-Wilson and Garrett Sullivan Jr, eds., Environment and Embodiment in Early Modern England (Basingstoke: Palgrave, 2007).
Shirley Nelson Garner, “‘Let Her Paint an Inch Thick’: Painted Ladies in Renaissance Drama and Society,” Renaissance Drama 20 (1989), 123-139.
Lucy Gent and Nigel Llewellyn, ed, Renaissance Bodies: The Human Figure in English Culture c. 1540-1660 (London: Reaktion Books, 1997).
Matthew Greenfield, “Christopher Marlowe’s Wound Knowledge,” PMLA 119:2 (2004), 233–246.
Stephen Greenblatt, “Fiction and Friction,” in Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England (Berkeley: U California Press, 1989).
Judith Haber, “‘My Body Bestow upon My Women’: The Space of the Feminine in The Duchess of Malfi,” Renaissance Drama 28 (1999), 133-159.
Jonathan Gil Harris, Foreign Bodies and the Body Politic: Discourses of Social Pathology in Early Modern England (Cambridge: Cambridge UP, 1998).
Jonathan Gil Harris, Sick Economies: Drama, Mercantilism, and Disease in Shakespeare's England (Philadelphia: U Penn Press, 2004).
Elizabeth Harvey, ed., Sensible Flesh: On Touch in Early Modern Culture (Philadelphia: U Penn Press, 2002).
David Hillman and Carla Mazzio, eds, The Body in Parts: Fantasies of Corporeality in Early Modern Europe (New York: Routledge, 1997).
David Hillman, “Homo Clausus at the Theatre,” Rematerializing Shakespeare: Authority and Representation on the Early Modern English Stage, ed. Bryan Reynolds and William N. West (New York: Palgrave, 2005).
David Hillman, Shakespeare's Entrails: Belief, Scepticism, and the Interior of the Body (Basingstoke: Palgrave, 2007).
Lisa Hopkins, “With the Skin Side Inside: The Interiors of The Duchess of Malfi,” Privacy, Domesticity, and Women in Early Modern England, ed. Corinne S. Abate (Ashgate, 2003).
Heather James, “The Politics of Display and the Anamorphic Subjects of Antony and Cleopatra,” Shakespeare’s Late Tragedies, ed. Susanne L. Wofford (New Jersey: Prentice-Hall, 1996).
William Kerwin, Beyond the Body: The Boundaries of Medicine and English Renaissance Drama (Amherst: U Mass Press, 2005)
William Kerwin, “‘Physicians are like Kings’: Medical Politics and The Duchess of Malfi,” English Literary Renaissance 28.1 (1998), 95-117.
Gary Kuchar, “Narrative and the Forms of Desire in Venus and Adonis,” Early Modern Literary Studies 5.2 (September, 1999), 4.1-24 http://purl.oclc.org/emls/05-2/kuchvenu.htm.
Thomas Laqueur, Making Sex: Body and Gender from the Greeks to Freud (Cambridge: Harvard U P, 1990).
Sheetal Lodhia, “‘The house is hers, the soul is but a tenant’: Material Self-Fashioning and Revenge Tragedy,” Early Theatre 12.2 (2009), 135-161.
Cynthia Marshall, "Bodies in the Audience," Shakespeare Studies
Cynthia Marshall, “Man of Steel Done Got the Blues: Melancholic Subversion of Presence in Antony and Cleopatra,” Shakespeare Quarterly 44:4 (1993), 385-408.
Lucy Munro, “The Knight of the Burning Pestle and Generic Experimentation,” in Early Modern English Drama: A Critical Companion, ed. Garrett A. Sullivan, Jr., Patrick Cheney, and Andrew Hadfield (Oxford: Oxford University Press, 2006), 189-199.
Gail Kern Paster, “The Body and Its Passions,” Shakespeare Studies 29 (2001), 44-50.
Gail Kern Paster, The Body Embarrassed: Drama and Disciplines of Shame in Early Modern England (Ithaca: Cornell, 1993).
Gail Kern Paster, Humoring the Body: Emotion and the Shakespearean Stage (Chicago: U Chicago Press), 2004.
Tanya Pollard, “Beauty’s Poisonous Properties,” Shakespeare Studies 27 (1999), 187-210.
Tanya Pollard, Drugs and Theater in Early Modern England (Oxford: OUP, 2005).
Richard Rambuss, “What It Feels Like for a Boy: Shakespeare’s Venus and Adonis,” A Companion to Shakespeare's Works, Volume IV: The Poems, Problem Comedies, Late Plays, ed. Richard Dutton and Jean E. Howard (Blackwell, 2006), 240-258.
James E. Robinson, “Bartholomew Fair: Comedy of Vapors,” SEL 1.2 (1961), 65-80.
Jonathan Sawday, The Body Emblazoned: Dissection and the Human Body in Renaissance Culture (London & New York, Routledge, 1995).
Michael C. Schoenfeldt, Bodies and Selves in Early Modern England: Physiology and Inwardness in Spenser, Shakespeare, Herbert, and Milton (Cambridge: CUP, 1999).
Bruce R. Smith, The Acoustic World of Early Modern England: Attending to the O-Factor (Chicago: University Chicago Press,1999).
Bruce R. Smith, Homosexual Desire in Shakespeare’s England (University of Chicago Press, 1991).
Bruce R. Smith, Phenomenal Shakespeare (Wiley Blackwell, 2010)
Peter Stallybrass, “Patriarchal Territories: The Body Enclosed,” in Rewriting the Renaissance, ed. Margaret Ferguson, Maureen Quilligan, and Nancy Vickers (Chicago: U Chicago Press, 1986), 123-144.
Matthew Steggle, Laughing and Weeping in Early Modern Theatres (Ashgate, 2007).
Garret A. Sullivan Jr., “Sleep, Epic, and Romance in Antony and Cleopatra,” Antony and Cleopatra: New Critical Essays, ed. Sara Munson Deats (New York: Routledge, 2005).
Richard Sugg, Murder after Death: Literature and Anatomy in Early Modern England (Ithaca: Cornell U P, 2007).
Ramie Targoff, John Donne: Body and Soul (Chicago: U Chicago Press, 2008).
Marguerite Tassi, “Scandalous Counterfeiting: Iconophobia, Poison, and Painting in Arden of Faversham, in The Scandal of Images (Selinsgrove: Susquehanna UP, 2005), 130-151 & 230-232.
Albert H. Tricomi, “The Severed Hand in Webster’s Duchess of Malfi,” SEL 44.2 (2004), 347-358.
Valerie Traub, Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London and New York: Routledge, 1992).
Valerie Traub, The Renaissance of Lesbianism in Early Modern England (Cambridge: CUP, 2002).
Linda Woodbridge, “Queen of Apricots: Duchess of Malfi, Hero of Desire,” in The Female Tragic Hero in the Renaissance, ed. Naomi Conn Liebler (Basingstoke: Palgrave, 2002).
Susan Zimmerman, The Early Modern Corpse and Shakespeare's Theatre (Edinburgh, Scotland: Edinburgh UP, 2005).
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