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This book examines depictions of the cosmos in
natural-philosophical poetry and love lyric in the Renaissance. It
argues that some poetic presentations of the cosmos offer
particular insight into possible conceptions of it, precisely
because of the generically specific ways in which it is explored.
The notion of « exposure underlies much modern thinking about
identity, representation, ethics, desire and sexuality. This
provocative notion is explored in a collection of essay selected
form, and inspired by, the proceedings of a conference held in the
Department of French at the University of Cambridge in 2002. The
authors engage with exposure as both object and mode of
representation in a range of cultural media: literature, critical
theory, visual art and film. They analyse a variety of works from
the medieval, early-modern, and modern periods, examining not only
canonical texts such as Montaigne's Essais but also lesser-studied
works such as the psychoanalytic theory of Didier Anzieu, the
photomontage self-portraits of Claude Cahun, and the novel La
Nouvelle Pornographie by Marie Nimier. This volume thus both
illustrates and, more importantly, interrogates the richness of the
term « exposure, in a way that is stimulating for students and
researchers alike.
This book investigates how writers and readers of Renaissance
literature deployed 'kinesic intelligence', a combination of
pre-reflective bodily response and reflective interpretation.
Through analyses of authors including Petrarch, Rabelais, and
Shakespeare, the book explores how embodied cognition, historical
context, and literary style interact to generate and shape
responses to texts. It suggests that what was reborn in the
Renaissance was partly a critical sense of the capacities and
complexities of bodily movement. The linguistic ingenuity of
humanism set bodies in motion in complex and paradoxical ways.
Writers engaged anew with the embodied grounding of language,
prompting readers to deploy sensorimotor attunement. Actors shaped
their bodies according to kinesic intelligence molded by theatrical
experience and skill, provoking audiences to respond to their most
subtle movements. An approach grounded in kinesic intelligence
enables us to re-examine metaphor, rhetoric, ethics, gender, and
violence. The book will appeal to scholars and students of English,
French, and Italian Renaissance literature and to researchers in
the cognitive humanities, cognitive sciences, and theatre studies.
This book investigates how writers and readers of Renaissance
literature deployed 'kinesic intelligence', a combination of
pre-reflective bodily response and reflective interpretation.
Through analyses of authors including Petrarch, Rabelais, and
Shakespeare, the book explores how embodied cognition, historical
context, and literary style interact to generate and shape
responses to texts. It suggests that what was reborn in the
Renaissance was partly a critical sense of the capacities and
complexities of bodily movement. The linguistic ingenuity of
humanism set bodies in motion in complex and paradoxical ways.
Writers engaged anew with the embodied grounding of language,
prompting readers to deploy sensorimotor attunement. Actors shaped
their bodies according to kinesic intelligence molded by theatrical
experience and skill, provoking audiences to respond to their most
subtle movements. An approach grounded in kinesic intelligence
enables us to re-examine metaphor, rhetoric, ethics, gender, and
violence. The book will appeal to scholars and students of English,
French, and Italian Renaissance literature and to researchers in
the cognitive humanities, cognitive sciences, and theatre studies.
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