By Erika Kuijpers, Cornelis van der Haven
This ebook explores alterations in emotional cultures of the early sleek battlefield. army motion comprises impressive modes of emotional adventure and affective keep watch over of the soldier, and it inspires powerful emotional reactions in society at huge. whereas emotional studies of actors and observers could range extensively, they could even be tightly hooked up via social interplay, cultural representations and mediatisation. The e-book integrates mental, social and cultural views at the battlefield, emotional behaviour, expression and illustration in an excellent number of basic resource fabric. In 3 steps it discusses the emotional practices within the military, the emotional reports of the person combatant and the sentiments of the mediated battlefield within the visible arts.
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Additional resources for Battlefield Emotions 1500-1800: Practices, Experience, Imagination
Lynn, Giant of the ‘Grand Siècle’: The French Army, 1610–1715 (Cambridge: Cambridge University Press), 475. 12. Jean de Billon, Les Principes de l’Art Militaire (Rouen: Chez Jean Berthelin, 1633), 5. See also Walker, ‘Arms and the Man,’ 140. 13. ’ De Billon, Les Principes de l’Art Militaire, 12–13. 14. ’ Niccolò Machiavelli, The Art of War, trans. ]: The Library of Liberal Arts, 1965), 93. 15. Machiavelli, The Art of War, 75. 16. Walker, ‘Arms and the Man,’ 140. 17. Walker, ‘Arms and the Man,’ 143.
Favret, War at a Distance: Romanticism and the Making of Modern Wartime (Princeton: Princeton University Press, 2010). 46. Marian Füssel, ‘Theatrum Belli. Der Krieg als Inszenierung und Wissensschauplatz im 17. und 18. Jahrhundert,’ Metaphorik 14 (2008): 205–30. 47. Gillian Russell, The Theatres of War: Performance, Politics, and Society, 1793–1815 (Oxford: Clarendon Press, 1995). Marius Kwint, Christopher Breward and Jeremy Aynsley, eds, Material Memories (Oxford: Berg Publishers, 1999). 49. Ulrich Bräker, The Life Story and Real Adventures of the Poor Man of Toggenburg, trans.
As was common in the Dutch tradition of the so-called Senecan–Scaligerian type of tragedy, the drama defended the stoic ideal of emotional self-control. 33 DRILL AND ALLOCUTION AS EMOTIONAL PRACTICES... 35 The neo-stoic tragedy in the Dutch tradition was also rooted in the Aristotelian tradition, with its focus on the emotional impact on the audience caused by the tragic downfall of its main protagonist. 34 The tragic downfall of the hero had to evoke in the audience a sense of ‘pity’ and ‘fear’ during the Aristotelian process of catharsis (emotional purification).