Occult knowledge, science, and gender on the Shakespearean stage
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Bibliographic Information
Occult knowledge, science, and gender on the Shakespearean stage
Cambridge University Press, 2015
- : pbk
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Note
Originally published: 2013
"First paperback edition 2015"--T.p. verso
Includes bibliographical references and index
Description and Table of Contents
Description
Belief in spirits, demons and the occult was commonplace in the early modern period, as was the view that these forces could be used to manipulate nature and produce new knowledge. In this groundbreaking study, Mary Floyd-Wilson explores these beliefs in relation to women and scientific knowledge, arguing that the early modern English understood their emotions and behavior to be influenced by hidden sympathies and antipathies in the natural world. Focusing on Twelfth Night, Arden of Faversham, A Warning for Fair Women, All's Well That Ends Well, The Changeling and The Duchess of Malfi, she demonstrates how these plays stage questions about whether women have privileged access to nature's secrets and whether their bodies possess hidden occult qualities. Discussing the relationship between scientific discourse and the occult, she goes on to argue that as experiential evidence gained scientific ground, women's presumed intimacy with nature's secrets was either diminished or demonized.
Table of Contents
- Introduction: secret sympathies
- 1. Women's secrets and the status of evidence in All's Well That Ends Well
- 2. Sympathetic contagion in Arden of Faversham and A Warning for Fair Women
- 3. 'As secret as maidenhead': magnetic wombs and the nature of attraction in Shakespeare's Twelfth Night
- 4. Tragic antipathies in The Changeling
- 5. 'To think there's power in potions': experiment, sympathy, and the devil in The Duchess of Malfi
- Coda.
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