By Susan McClary
Between the waning of the Renaissance and the start of the Enlightenment, many primary facets of human behaviour - from expressions of gender to the adventure of time - underwent radical alterations. whereas a few of these modifications have been recorded in phrases, others have survived in non-verbal cultural media, particularly the visible arts, poetry, theatre, tune, and dance. Structures of Feeling in Seventeenth-Century Cultural Expression explores how artists made use of those a number of cultural kinds to grapple with human values within the more and more heterodox international of the 1600s.
Essays from admired historians, musicologists, and artwork critics study equipment of non-verbal cultural expression throughout the wide issues of time, movement, the physique, and international kinfolk. jointly, they convey that seventeenth-century cultural expression used to be greater than simply an embryonic degree inside of Western inventive improvement. as an alternative, the members argue that this era marks essentially the most profound alterations in eu subjectivities.
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2). 10 And although my title refers to theories before and after Descartes, I propose to start with Fludd’s ideas, which are really in the middle. 12 After dealing with Bright, who died in 1615, I shall ruthlessly ‘fast forward’ right through the seventeenth century and end my essay with the first medical treatise in English to be wholly devoted to music and its therapeutic potential: A Mechanical Essay on Singing, Music and Dancing . . Demonstrating, by Clear and Evident Reasons, the Alterations They Produce in a Human Body (London, 1727) by Richard Browne.
To have knowledge through reason, as opposed to the imagination, means to see things as outside the temporal. Spinoza defines eternity at the very beginning of the Ethics : By eternity I understand existence itself, insofar as it is conceived to follow necessarily from the definition alone of the eternal thing. Disciplining Feeling 31 Exp: For such existence, like the essence of a thing, is conceived as an eternal truth, and on that account cannot be explained by duration or time, even if the duration is conceived to be without beginning or end.
39 inner transformations that singing, playing, and listening to music could work on the human machine. 13 One of the most vociferous critics of this particular interpretation of the Pythagorean myth was Mersenne, who smugly pointed out that Fludd’s divine monochord was flawed, partly because the F should be sharp for the tones and semitones to be correct. 14 Nevertheless, despite his apparent indifference to both musical or astronomical experience, Fludd principally intends in this image to portray an emanationist theory of creation, whereby each level of existence (empyrean, ethereal, elemental) emanates from a transcendent One, the God who appears to be keeping a strong grip on his creation via the monochord’s only peg.