Katharine A. Craik – författare

''Now the sport begins!''An Essay on the Art of Ingeniously Tormenting is the first English book on the craft of nagging. A bitingly funny social satire, it is also an advice book, a handbook of anti-etiquette, and a comedy of manners. Collier describes methods for ''teasing and mortifying'' one''s intimates and acquaintances in a variety of social situations by taking advantage of their affections and goodwill. Written primarily for wives, mothers, and the mistresses of servants, The Art suggeststhe difficulties women experienced exerting their influence in private and public life - and the ways they got round them. In anatomizing the art of emotional abuse Collier piques readers into acknowledging their own faults, and persuades them that tormenting is a useful skill, even as she censures its effects.The Art provides a fascinating glimpse into eighteenth-century daily life, the treatment of servants and dependants and the bringing up of children, and is a thrilling precursor to the art of Jane Austen.

''Now the sport begins!''An Essay on the Art of Ingeniously Tormenting is the first English book on the craft of nagging. A bitingly funny social satire, it is also an advice book, a handbook of anti-etiquette, and a comedy of manners. Collier describes methods for ''teasing and mortifying'' one''s intimates and acquaintances in a variety of social situations by taking advantage of their affections and goodwill. Written primarily for wives, mothers, and the mistresses of servants, The Art suggeststhe difficulties women experienced exerting their influence in private and public life - and the ways they got round them. In anatomizing the art of emotional abuse Collier piques readers into acknowledging their own faults, and persuades them that tormenting is a useful skill, even as she censures its effects.The Art provides a fascinating glimpse into eighteenth-century daily life, the treatment of servants and dependants and the bringing up of children, and is a thrilling precursor to the art of Jane Austen.

Who is really there, and how do we know that they are so? Lifelike Shakespeare offers a new account of Shakespeare's creativity by exploring what lies at the margins of humanness in his works. Shakespeare often summons absent, remembered, or imagined people into lively presence---unborn children spring into being, forgotten voices are recovered, and the dead are quickened. Shakespeare was working closely with the quality of artistic 'liveliness' which brings people surprisingly and vividly into presence. But rather than following the standard rules of mimesis, Shakespeare's lifelike people instead challenge, disturb, and re-imagine natural life. The once living, the seemingly living, and the potentially living finally get their due as Shakespeare unsettles the boundaries between life and art, and between reality and unreality. In poems such as Venus and Adonis and the Sonnets, writing comes close to generating new life. Shakespeare's theories about creativity and vitality develop further in plays including Love's Labour's Lost, Measure for Measure, Julius Caesar, Coriolanus, King Lear, Macbeth, Hamlet, and The Winter's Tale. These works shed fresh light on our own living present at a time when life has become startlingly proximate to lifelike representation, and physical and virtual reality seem more or less inseparable. Lifelike Shakespeare ultimately reveals Shakespeare as a thinker profoundly attuned to the fragile thresholds between presence and absence, animation and stillness, continually probing what it means for a figure---or an idea---to come vividly to life.

This strong and timely collection provides fresh insights into how Shakespeare's plays and poems were understood to affect bodies, minds and emotions. Contemporary criticism has had surprisingly little to say about the early modern period's investment in imagining literature's impact on feeling. Shakespearean Sensations brings together scholarship from a range of well-known and new voices to address this fundamental gap. The book includes a comprehensive introduction by Katharine A. Craik and Tanya Pollard and comprises three sections focusing on sensations aroused in the plays; sensations evoked in the playhouse; and sensations found in the imaginative space of the poems. With dedicated essays on Hamlet, Macbeth, Othello and Twelfth Night, the collection explores how seriously early modern writers took their relationship with their audiences and reveals new connections between early modern literary texts and the emotional and physiological experiences of theatregoers.

This strong and timely collection provides fresh insights into how Shakespeare's plays and poems were understood to affect bodies, minds and emotions. Contemporary criticism has had surprisingly little to say about the early modern period's investment in imagining literature's impact on feeling. Shakespearean Sensations brings together scholarship from a range of well-known and new voices to address this fundamental gap. The book includes a comprehensive introduction by Katharine A. Craik and Tanya Pollard and comprises three sections focusing on sensations aroused in the plays; sensations evoked in the playhouse; and sensations found in the imaginative space of the poems. With dedicated essays on Hamlet, Macbeth, Othello and Twelfth Night, the collection explores how seriously early modern writers took their relationship with their audiences and reveals new connections between early modern literary texts and the emotional and physiological experiences of theatregoers.

Shakespeare and Emotion devotes sustained attention to the emotions as a novel way of exploring Shakespeare''s works in their original contexts. A variety of disciplinary approaches drawn from literary, theatrical, historical, cultural and film studies brings the recent upsurge of interest in affect into conversation with some of the most urgent debates in Shakespeare studies. The volume provides both a comprehensive account of the current state of scholarship and a speculative forum for new research. Its chapters outline some important contexts for understanding Shakespeare''s creativity through an emotional lens – from religion, rhetoric, and medicine, to language, acting and Bollywood – and offer a range of case studies which reveal particular emotions at work. Considering emotional and passionate experience as an animating and sometimes alienating force within the plays and poems, the volume highlights the continuing importance of Shakespeare today: for our sense of who we are and who we might become.

Shakespeare and Emotion devotes sustained attention to the emotions as a novel way of exploring Shakespeare's works in their original contexts. A variety of disciplinary approaches drawn from literary, theatrical, historical, cultural and film studies brings the recent upsurge of interest in affect into conversation with some of the most urgent debates in Shakespeare studies. The volume provides both a comprehensive account of the current state of scholarship and a speculative forum for new research. Its chapters outline some important contexts for understanding Shakespeare's creativity through an emotional lens - from religion, rhetoric, and medicine, to language, acting and Bollywood - and offer a range of case studies which reveal particular emotions at work. Considering emotional and passionate experience as an animating and sometimes alienating force within the plays and poems, the volume highlights the continuing importance of Shakespeare today: for our sense of who we are and who we might become.