Books > Language & Literature > Literature: history & criticism > Literary studies > 16th to 18th centuries
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Sensory Experience and the Metropolis on the Jacobean Stage (1603-1625) (Hardcover, New Ed)
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Sensory Experience and the Metropolis on the Jacobean Stage (1603-1625) (Hardcover, New Ed)
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At the turn of the seventeenth century, Hristomir Stanev argues,
ideas about the senses became part of a dramatic and literary
tradition in England, concerned with the impact of metropolitan
culture. Drawing upon an archive of early modern dramatic and prose
writings, and on recent interdisciplinary studies of sensory
perception, Stanev here investigates representations of the five
senses in Jacobean plays in relationship to metropolitan
environments. He traces the significance of under-examined concerns
about urban life that emerge in micro-histories of performance and
engage the (in)voluntary and sometimes pre-rational participation
of the five senses. With a dominant focus on sensation, he argues
further for drama's particular place in expanding the field of
social perception around otherwise less tractable urban phenomena,
such as suburban formation, environmental and noise pollution,
epidemic disease, and the impact of built-in city space. The study
focuses on ideas about the senses on stage but also, to the extent
possible, explores surviving accounts of the sensory nature of
playhouses. The chapters progress from the lower order of the
senses (taste and smell) to the higher (hearing and vision) before
considering the anomalous sense of touch in Platonic terms. The
plays considered include five city comedies, a romance, and two
historical tragedies; playwrights whose work is covered include
Shakespeare, Jonson, Webster, Fletcher, Dekker, and Middleton.
Ultimately, Stanev highlights the instrumental role of sensory flux
and instability in recognizing the uneasy manner in which the
London writers, and perhaps many of their contemporaries,
approached the rapidly evolving metropolitan environment during the
reign of King James I.
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