In Aging Gracefully in the Renaissance: Stories of Later Life from Petrarch to Montaigne Cynthia Skenazi explores a shift in attitudes towards aging and provides a historical perspective on a crucial problem of our time.

Cynthia Skenazi explores in this book a shift in attitudes towards aging and provides a historical perspective on a crucial problem of our time. In Aging Gracefully in the Renaissance: Stories of Later Life from Petrarch to Montaigne Cynthia Skenazi explores a shift in attitudes towards aging and provides a historical perspective on a crucial problem of our time. From the late fourteenth to the end of the sixteenth centuries, the elderly subject became a point of new social, medical, political, and literary attention on both sides of the Alps. A movement of secularization tended to dissociate old age from the Christian preparation for death, re-orienting the concept of aging around pragmatic matters such as health care, intergenerational relationships, and accrued insights one might wish to pass along. Such changes were accompanied by an increasing number of personal accounts of later life. This title was made Open Access by libraries from around the world through Knowledge Unlatched.

What is the role of disgust or revulsion in early modern English literature? How did early modern English subjects experience revulsion and how did writers represent it in poetry, plays, and prose? What does it mean when literature instructs, delights, and disgusts? This collection of essays looks at the treatment of disgust in texts by Spenser, Shakespeare, Donne, Jonson, Herrick, and others to demonstrate how disgust, perhaps more than other affects, gives us a more complex understanding of early modern culture. Dealing with descriptions of coagulated eye drainage, stinky leeks, and blood-filled fleas, among other sensational things, the essays focus on three kinds of disgusting encounters: sexual, cultural, and textual. Early modern English writers used disgust to explore sexual mores, describe encounters with foreign cultures, and manipulate their readers' responses. The essays in this collection show how writers deployed disgust to draw, and sometimes to upset, the boundaries that had previously defined acceptable and unacceptable behaviors, people, and literatures. Together they present the compelling argument that a critical understanding of early modern cultural perspectives requires careful attention to disgust.

Drawing on sixteenth- to twenty-first-century American, British, French, German, Polish, Norwegian and Russian literature and philosophy, this collection teases out culturally specific conceptions of old age as well as subjective constructions of late-life identity and selfhood. The internationally known humanistic gerontologist Jan Baars, the prominent historian of old age David Troyansky and the distinguished cultural historian and pioneer in the field of literature and science George Rousseau join a team of literary historians who trace out the interfaces between their chosen texts and the respective periods’ medical and gerontological knowledge. The chapters’ in-depth analyses of major and less-known works demonstrate the rich potential of fiction, poetry and autobiographical writing in the construction of a cultural history of senescence. These literary examples not only bear witness to longue durée representations of old age, and epochal transitions regarding cultural attitudes to the aged; they also foreground the subjectivities that produced some of these representations and that continue to communicate with readers of other times and places. By casting a net over a variety of authors, genres, periods and languages, the collection gives a broad sense of how literature is among the richest and most engaging sources for historicizing the ageing self.

In 1580, Michel de Montaigne (1533-1592) published a book unique by its title and its content: Essays"R. A literary genre was born. At first sight, the Essays resemble a patchwork of personal reflections, but they engage with questions that animate the human mind, and tend toward a single goal: to live better in the present and to prepare for death. For this reason, Montaigne's thought and writings have been a subject of enduring interest across disciplines. This Handbook brings together essays by prominent scholars that examine Montaigne's literary, philosophical, and political contributions, and assess his legacy and relevance today in a global perspective. The chapters of this Handbook offer a sweeping study of Montaigne across different disciplines and in a global perspective. One section covers the historical Montaigne, situating his thought in his own time and space, notably the Wars of Religion in France. The political, historical and religious context of Montaigne's Essays requires a rigorous presentation to inform the modern reader of the issues and problems that confronted Montaigne and his contemporaries in his own time. In addition to this contextual approach to Montaigne, the Handbook also establishes a connection between Montaigne's writings and issues and problems directly relevant to our modern times, that is to say, our age of global ideology. Montaigne's considerations, or essays, offer a point of departure for the modern reader's own assessments. The Essays analyze what can be broadly defined as human nature, the endless process by which the individual tries to impose opinions upon others through the production of laws, policies or philosophies. Montaigne's motto -- "What do I know?" -- is a simple question yet one of perennial significance. One could argue that reading Montaigne today teaches us that the angle defines the world we see, or, as Montaigne wrote: "What matters is not merely that we see the thing, but how we see it."

It is easy to forget how deeply embedded in social hierarchy was the literature and learning that has come down to us from the early modern European world. From fiction to philosophy, from poetry to history, works of all kinds emerged from and through the social hierarchy that was a fundamental fact of everyday life. Paying attention to it changes how we might understand and interpret the works themselves, whether canonical and familiar or largely forgotten. But a second, related fact is much overlooked too: works also often emanated from families, not just from individuals. Families were driving forces in the production--that is, in the composing, editing, translating, or publishing--of countless works. Relatives collaborated with each other, edited each other, or continued the unfinished works of deceased family members; some imitated or were inspired by the works of long-dead relatives. The reason why this second fact (about families) is connected to the first (about social hierarchy) is that families were in the period a basic social medium through which social status was claimed, maintained, threatened, or lost. So producing literary works was one of the many ways in which families claimed their place in the social world. The process was however often fraught, difficult, or disappointing. If families created works as a form of socio-cultural legacy that might continue to benefit their future members, not all members benefited equally; women sometimes produced or claimed the legacy for themselves, but they were often sidelined from it. Relatives sometimes disagreed bitterly about family history, identity (not least religious), and so about the picture of themselves and their family that they wished to project more widely in society through their written works, whether printed or manuscript. So although family was a fundamental social medium out of which so many works emerged, that process could be conflictual as well as harmonious. The intertwined role of family and social hierarchy within literary production is explored in this book through the case of France, from the late fifteenth to the mid-seventeenth century. Some families are studied here in detail, such as that of the most widely read French poet of the age, Clément Marot. But the extent of this phenomenon is quantified too: some two hundred families are identified as each containing more than one literary producer, and in the case of one family an extraordinary twenty-seven.

This collective volume arises from a Wellcome-funded conference held at the University of Warwick in 2014 about the “new” Galen discovered in 2005 in a Greek manuscript, De indolentia. In the wake of the latest English translation published by Vivian Nutton in 2013, this book offers a multi-disciplinary approach to the new text, discussing in turn issues around Galen’s literary production, his medical and philosophical contribution to the theme of avoiding distress (ἀλυπία), controversial topics in Roman history such as the Antonine plague and the reign of Commodus, and finally the reception of the text in the Islamic world. Gathering eleven contributions by recognised specialists of Galen, Greek literature and Roman history, it revisits the new text extensively.

Welcome to a new and exciting concept: Aging Gracefully with Dignity, Integrity & Spunk Intact: Aging Defiantly! Yes, the dawn of a new age is here. Along with the Age of Life Sciences (extending both life and health opportunities for those "entering that age"), new possibilities are on the horizon, limitless boundaries beckons, and a new age dawns: The Age of the Silver Generation. Explore your strengths, develop your hidden treasures, and explore the endless opportunities of your Personal Retrieval System (PRS) within the self. The sum total of knowledge and experience gained over a lifetime may well be available to you for most of the rest of your life. Empower yourself; let no one hold you back. Become the trail blazers and pathfinders. Science, medicine and technology are on your side: EMPOWER YOURSELF... and join in the glitter and sparkle of a rapidly developing new generation. Read this book -- baby boomers too -- and see what is in store for The Age of the Silver Generation and remember: the only person you are destined to become is the person you decide to be. (Ralph Waldo Emerson).

Miguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.