Which the emotions, we assume, are part), it encouraged a delimited, Unreflective, common-sense way that assumed a universal human nature (of Historicism made it unthinkable to read a Shakespeare play in an
They might evoke in their readers or audiences. That made literary texts possible, also tended to disregard both whatĬharacters in those texts might be said to be feeling and the emotions Of the 1980s, concerned with the circulation of power in the contexts Peripheral, if not positively reactionary, concept. Marxist) that largely displaced it, human emotion was considered a Systems from which stories and speech are derived, and the radicallyĪnti-humanist poststructuralisms (psychoanalytic, deconstructive and Saussurean structuralism, which focused on the enabling, a personal
Movements that displaced the New Critical orthodoxy from the continentįrom the 1960s onwards were almost uniformly anti-humanist. Roles of literary texts is to evoke or represent emotion, but both itsįundamental concern with form and a concomitant disparagement ofĬharacter meant that emotion was never one of its central objects.Įmotion was, however, in for an ever leaner time. The 1950s and 60s, may have acknowledged implicitly that one of the The New Criticism, which displaced traditional historicism in In general) have paid little attention to emotion in the past halfĬentury. Shakespeare studies (and those of early modern English literature APA style: Is love an emotion? Shakespeare's Twelfth Night and Antony and Cleopatra.Is love an emotion? Shakespeare's Twelfth Night and Antony and Cleopatra." Retrieved from 2010 University of Nebraska Press 26 Jul.
The treatment of love in twelfth night elucidate free#
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