Rhetoric is an engine of social discourse and the art charged with generating and swaying emotion. The history of rhetoric provides a continuous structure by which we can measure how emotions were understood, articulated, and mobilized under various historical circumstances and social contracts. This book is about how rhetoric in the West, from Late Antiquity to the later Middle Ages, represented the role of emotion in shaping persuasions. It is the first book-length study of medieval rhetoric and the emotions, coloring that rhetorical history between about 600 CE and the cusp of early modernity. Rhetoric in the Middle Ages, as in other periods, constituted the gateway training for anyone engaged in emotionally persuasive writing. Medieval rhetorical thought on emotion has multiple strands of influence and sedimentations of practice. The earliest and most persistent tradition treated emotional persuasion as a property of surface stylistic effect, which can be seen in the medieval rhetorics of poetry and prose, and in literary production. But the impact of Aristotelian rhetoric, which reached the Latin West in the thirteenth century, gave emotional persuasion a core role in reasoning, incorporating it into the key device of proof, the enthymeme. In Aristotle, medieval teachers and writers found a new rhetorical language to explain the social and psychological factors that affect an audience. With Aristotelian rhetoric, the emotions became political. The impact of Aristotle's rhetorical approach to emotions was to be felt in medieval political treatises, in poetry, and in preaching.

Offering a re-reading of Erasmus's works, this book shows that emotion and affectivity were central to his writings. It argues that Erasmus's conception of emotion was highly complex and richly diverse by tracing how the Dutch humanist writes about emotion not only from different perspectives-theological, philosophical, literary, rhetorical, medical-but also in different genres. In doing so, this book suggests, Erasmus provided a distinctive, if not unique, Christian humanist emotional style. Demonstrating that Erasmus consulted multiple intellectual traditions and previous works in his thoughts on affectivity, The Renaissance of Feeling sheds light on how understanding emotions in late medieval and early modern Europe was a multi-disciplinary affair for humanist scholars. It argues that the rediscovery and proliferation ancient texts during the so-called renaissance resulted in shifting perspectives on how emotions were described and understood, and on their significance for Christian thought and practice. The book shows how the very availability of source material, coupled with humanists' eagerness to engage with multiple intellectual traditions gave rise to new understandings of feeling in the 16th century. Essary shows how Erasmus provides the clearest example of such an intellectual inheritance by examining his writings about emotion across much of his vast corpus, including literary and rhetorical works, theological treatises, textual commentaries, religious disputations, and letters. Considering the rich and diverse ways that Erasmus wrote about emotions and affectivity, this book provides a new lens to study his works and sheds light on how emotions were understood in early modern Europe.

Emotions in a Crusading Context is the first book-length study of the emotional rhetoric of crusading. It investigates the ways in which a number of emotions and affective displays — primarily fear, anger, and weeping — were understood, represented, and utilized in twelfth- and thirteenth-century western narratives of the crusades, making use of a broad range of comparative material to gauge the distinctiveness of those texts: crusader letters, papal encyclicals, model sermons, chansons de geste, lyrics, and an array of theological and philosophical treatises. In addition to charting continuities and changes over time in the emotional landscape of crusading, this study identifies the underlying influences which shaped how medieval authors represented and used emotions; analyzes the passions crusade participants were expected to embrace and reject; and assesses whether the idea of crusading created a profoundly new set of attitudes towards emotions. Emotions in a Crusading Context calls on scholars of the crusades to reject the traditional methodological approach of taking the emotional descriptions embedded within historical narratives as straightforward reflections of protagonists' lived feelings, and in so doing challenges the long historiographical tradition of reconstructing participants' beliefs and experiences from these texts. Within the history of emotions, Stephen J. Spencer demonstrates that, despite the ongoing drive to develop new methodologies for studying the emotional standards of the past, typified by experiments in 'neurohistory', the social constructionist (or cultural-historical) approach still has much to offer the historian of medieval emotions.

Offering insights on the wide range of sources that are available from across the globe and throughout history for the study of the history of emotions, this book provides students with a handbook for beginning their own research within the field. Divided into three parts, Sources for the History of Emotions begins by giving key starting points into the ethical, methodological and theoretical issues in the field. Part II shows how emotions historians have proved imaginative in their discovering and use of varied materials, considering such sources as rituals, relics and religious rhetoric, prescriptive literature, medicine, science and psychology, and fiction, while Part III offers introductions to some of the big or emerging topics in the field, including embodied emotions, comparative emotions, and intersectionality and emotion. Written by key scholars of emotions history, the book shows readers the ways in which different sources can be used to extract information about the history of emotions, highlighting the kind of data available and how it can be used in a field for which there is no convenient archive of sources. The focused discussion of sources offered in this book, which not only builds on existing research, but encourages further efforts, makes it ideal reading and a key resource for all students of emotions history.

The period 1300-1600 CE was one of intense and far-reaching emotional realignments in European culture. New desires and developments in politics, religion, philosophy, the arts and literature fundamentally changed emotional attitudes to history, creating the sense of a rupture from the immediate past. In this volatile context, cultural products of all kinds offered competing objects of love, hate, hope and fear. Art, music, dance and song provided new models of family affection, interpersonal intimacy, relationship with God, and gender and national identities. The public and private spaces of courts, cities and houses shaped the practices and rituals in which emotional lives were expressed and understood. Scientific and medical discoveries changed emotional relations to the cosmos, the natural world and the body. Both continuing traditions and new sources of cultural authority made emotions central to the concept of human nature, and involved them in every aspect of existence.

During the period of the Baroque and Enlightenment the word “emotion”, denoting passions and feelings, came into usage, albeit in an irregular fashion. “Emotion” ultimately emerged as a term in its own right, and evolved in English from meaning physical agitation to describe mental feeling. However, the older terminology of “passions” and “affections” continued as the dominant discourse structuring thinking about feeling and its wider religious, political, social, economic, and moral imperatives. The emotional cultures described in these essays enable some comparative discussion about the history of emotions, and particularly the causes and consequences of emotional change in the larger cultural contexts of the Baroque and Enlightenment. Emotions research has enabled a rethinking of dominant narratives of the period-of histories of revolution, state-building, the rise of the public sphere, religious and scientific transformation, and more. As a new and dynamic field, the essays here are just the beginning of a much bigger history of emotions.

This study brings together medieval studies and cognitive methodologies in a study specifically aimed at medievalists. It presents a longer history of certain mental health conditions and locates contemporary debates about the mind in a broader historical framework. It considers both the benefits of incorporating insights from contemporary neuroscientific and cognitive studies into the exploration of the past, and the benefits of employing historical models and case studies in order to reflect on modern methods.

Exploring a wide range of material including dramatic works, medieval morality drama, and lyric poetry this book argues for the central significance of literary material to the history of emotions. Early modern English writing about pity evidences a social culture built specifically around emotion, one (at least partially) defined by worries about who deserves compassion and what it might cost an individual to offer it. Pity and Identity in the Age of Shakespeare positions early modern England as a place that sustains messy and contradictory views about pity all at once, bringing together attraction, fear, anxiety, positivity, and condemnation to paint a picture of an emotion that is simultaneously unstable and essential, dangerous and vital, deceptive and seductive. The impact of this emotional burden on individual subjects played a major role in early modern English identity formation, centrally shaping the ways in which people thought about themselves and their communities. Taking in a wide range of material - including dramatic works by William Shakespeare, Thomas Heywood, Ben Jonson, Thomas Middleton, and William Rowley; medieval morality drama; and lyric poetry by Philip Sidney, Thomas Wyatt, Samuel Daniel, Thomas Lodge, Barnabe Barnes, George Rodney and Frances Howard - this book argues for the central significance of literary material to the broader history of emotions, a field which has thus far remained largely the concern of social and cultural historians. Pity and Identity in the Age of Shakespeare shows that both literary materials and literary criticism can offer new insights into the experience and expression of emotional humanity.

6 Mixed Feelings in the Middle English Charlemagne Romances: Emotional Reconfiguration and the Failures of Crusading Practices in the Otuel Texts -- 7 Circularity and Linearity: The Idea of the Lyric and the Idea of the Book in the Cent Ballades of Jean le Seneschal -- 8 'What shal I calle thee? What is thy name?': Thomas Hoccleve and the Making of 'Chaucer'

The notion of adab is at the very heart of the Islamicate cultures. Born in the crucible of the Arabic and Persian civilisations of the Late Antiquity period, nourished by Greek, Syriac and Indian influences, this polysemic notion could cover a variegated range of meanings, ranging from good behaviour, good manners, etiquette, proper knowledge of the rules, to belles-lettres, and finally, literature. This volume addresses the notion of adab through four perspectives, which correspond to the four parts into which it is divided: “Origins”; “Transmissions”; “Metamorphosis” of the “Origins” and finally “Origins” through the lens of modernity.