The Worlds of Renaissance Melancholy: Robert Burton in Context (Ideas in Context)

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We ca not Want the widget you try according for. In medical theory, for example, the Galenic humoral model was challenged by chemically-based systems of medicine such as that of Paracelsus. Sullivan therefore stresses the importance of a context-dependent approach to representations of sadness, an approach also that takes into account the way these ideas were used in personal practice. After the first chapter has thus mapped these overlapping discourses of grief, the following four chapters each deal with a different aspect of grief in the early modern period.

He uses these words as he ponders the ways in which mind, body, and soul affect each other in the experience of emotion.

The Worlds of Renaissance Melancholy

Rather, she underlines that this material view of the passions circulated alongside discourses that situated the passions in the mind, and which questioned the extent to which they materially altered the body. On the one hand, this type of humoral sadness caused by a surplus of black bile is associated with self-obsession and self-indulgence, while it is on the other hand also seen as conducive to intellectual and artistic creativity.


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Sullivan discovered that doctors tend to associate the condition with rather mundane physical complaints, and that patients often turned to religion as a framework to explain their suffering and healing. The final two chapters of the thesis explore the ways in which Protestant religious practice shaped new understandings of grief in post-Reformation England.

She shows that in contrast to the prevalent conception of grief in medical and philosophical discourse, religious practice shaped a more positive experience of grief. Interestingly, she also argues that in Protestant religious practice, the bodily aspects of grief were not eschewed: its understanding of grief was heavily based in notions of physical affliction. Religious despair, if moderate, could be read as a sign of the elect, but in excessive form it was an emotion that pointed to the opposite. In an entertaining example, Sullivan shows that attempts to relieve religious despair did not always have the intended effect.

Set to the tune of Tom of Bedlam, the speaker of the poem complains p.