The ideological underpinnings of early modern theories of contagion are dissected in this volume by an integrated team of literary scholars, cultural historians, historians of medicine and art historians. Even today, the spread of disease inspires moralizing discourse and the ostracism of groups thought responsible for contagion; the fear of illness and the desire to make sense of it are demonstrated in the current preoccupation with HIV, SARS, 'mad cow' disease, West Nile virus and avian flu, to cite but a few contemporary examples. Imagining Contagion in Early Modern Europe explores the nature of understanding when humanity is faced with threats to its well-being, if not to its very survival.

This collection of essays considers what constituted contagion in the minds of early moderns in the absence of modern germ theory. In a wide range of essays focused on early modern drama and the culture of theater, contributors explore how ideas of contagion not only inform representations of the senses (such as smell and touch) and emotions (such as disgust, pity, and shame) but also shape how people understood belief, narrative, and political agency. Epidemic thinking was not limited to medical inquiry or the narrow study of a particular disease. Shakespeare, Thomas Middleton, Ben Jonson, Thomas Dekker and other early modern writers understood that someone might be infected or transformed by the presence of others, through various kinds of exchange, or if exposed to certain ideas, practices, or environmental conditions. The discourse and concept of contagion provides a lens for understanding early modern theatrical performance, dramatic plots, and theater-going itself.

Editor Joseph P. Byrne, together with an advisory board of specialists and over 100 scholars, research scientists, and medical practitioners from 13 countries, has produced a uniquely interdisciplinary treatment of the ways in which diseases pestilence, and plagues have affected human life. From the Athenian flu pandemic to the Black Death to AIDS, this extensive two-volume set offers a sociocultural, historical, and medical look at infectious diseases and their place in human history from Neolithic times to the present. Nearly 300 entries cover individual diseases (such as HIV/AIDS, malaria, Ebola, and SARS); major epidemics (such as the Black Death, 16th-century syphilis, cholera in the nineteenth century, and the Spanish Flu of 1918-19); environmental factors (such as ecology, travel, poverty, wealth, slavery, and war); and historical and cultural effects of disease (such as the relationship of Romanticism to Tuberculosis, the closing of London theaters during plague epidemics, and the effect of venereal disease on social reform). Primary source sidebars, over 70 illustrations, a glossary, and an extensive print and nonprint bibliography round out the work.

Pain studies, both in exact sciences and in the humanities, are a fast-shifting field. This volume condenses a spectrum of recent views of pain through the lens of humanistic studies. Methodologically, the volume is an interdisciplinary study of the questions pertaining to the accessibility of pain (physical or emotional) to understanding and of the possible influence of suffering on the enhancement of knowledge in private experience or public sphere. Undeterred by the widespread belief that pain cannot be expressed in language and that it is intransmissible to others, the authors of the essays in the collection show that the replicability of records and narratives of human experience provides a basis for the kind of empathetic attention, dialogue, and contact that can help us to register the pain of another and understand its conditions and contexts. Needless to say, the improvement of this understanding may also help map the ways for the ethics of response to (and help for) pain. Whereas the authors of the volume tend to share the view of pain as a totally negative phenomenon (the position taken in Elaine Scarry’s The Body in Pain), they hold this view applicable mainly to the attitudes to the pain of others and the imperative of minimise the causes of another’s suffering. They also consider this view to be culturally and temporally circumscribed. The volume suggests that one’s own personal experience of suffering, along with the awareness of the seriality of such experience among fellow sufferers, can be conducive to emotional and intellectual growth. The reading of literature dealing with pain can lead to similar results through vicariously experienced suffering, whose emotional corollaries and intellectual consequences may be conveyed through artistic rather than discursive means. The distinctive features of the volume are that it processes these issues in a historicising way, deploying the history of the ideas of pain from the Middle Ages to the present day, and that it makes use of the methodology of different disciplines to do so, arriving to similar conclusions through, as it were, different paths. The disciplines include analytic philosophy, historiography, history of science, oral history, literary studies, and political science.

Belief in spirits, demons and the occult was commonplace in the early modern period, as was the view that these forces could be used to manipulate nature and produce new knowledge. In this groundbreaking study, Mary Floyd-Wilson explores these beliefs in relation to women and scientific knowledge, arguing that the early modern English understood their emotions and behavior to be influenced by hidden sympathies and antipathies in the natural world. Focusing on Twelfth Night, Arden of Faversham, A Warning for Fair Women, All's Well That Ends Well, The Changeling and The Duchess of Malfi, she demonstrates how these plays stage questions about whether women have privileged access to nature's secrets and whether their bodies possess hidden occult qualities. Discussing the relationship between scientific discourse and the occult, she goes on to argue that as experiential evidence gained scientific ground, women's presumed intimacy with nature's secrets was either diminished or demonized.

During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance's reliance upon and implication in the air from and through which its staged fictions were presented and received, plays written for performance at open-air venues frequently draw attention to the nature and significance of that elemental relationship. Aerial Environments on the Early Modern Stage considers the various ways in which the air is brought into presence within early modern drama, analyzing more than a hundred works that were performed at the London open-air playhouses between 1576 and 1609, with reference to theatrical atmospheres and aerial encounters. It explores how various theatrical effects and staging strategies foregrounded early modern drama's relationship to, and impact on, the actual playhouse air. In considering open-air drama's pervasive and ongoing attention to aerial imagery, actions, and representational strategies, the book suggest that playwrights and their companies developed a dramaturgical awareness that extended from the earth to encompass and make explicit the space of air.

A unique study of how syphilis, better known as the French disease in the sixteenth and seventeenth centuries, became so widespread and embedded in the society, culture and institutions of early modern Venice due to the pattern of sexual relations that developed from restrictive marital customs, widespread migration and male privilege.

This book develops a new multimodal theoretical model of contagion for interdisciplinary scholars, featuring contributions from influential scholars spanning the fields of medical humanities, philosophy, political science, media studies, technoculture, literature, and bioethics. Exploring the nexus of contagion's metaphorical and material aspects, this volume contends that contagiousness in its digital, metaphorical, and biological forms is a pervasively endemic condition in our contemporary moment. The chapters explore both endemicity itself and how epidemic discourse has become endemic to processes of social construction. Designed to simultaneously prime those new to the discourse of humanistic perspectives of contagion, complicate issues of interest to seasoned scholars of science and technology studies, and add new topics for debate and inquiry in the field of bioethics, Endemic will be of wide interest for researchers and educators.

The idea of contagious transmission, either by material particles or by infectious ideas, has played a powerful role in the development of the Western World since antiquity. Yet it acquired quite a precise signature during the process of scientific and cultural differentiation in the 19th and early 20th centuries. This volume explores the significance and cultural functions of contagionism in this period, from notions of infectious homosexuality and the concept of social contagion to the political implications of bacteriological fieldwork. The history of the concept ‘microbe’ in aesthetic modernism is adressed as well as bacteriological metaphors in American literary historiography. Within this broad framework, contagionism as a literary narrative is approached in more focussed contributions: from its emotional impact in literary modernism to the idea of physical or psychic contagion in authors such as H.G. Wells, Kurt Lasswitz, Gustav Meyrinck, Ernst Weiss, Thomas Mann and Max Frisch. This twofold approach of general topics and individual literary case studies produces a deeper understanding of the symbolic implications of contagionism marking the boundaries between sick and healthy, familiar and alien, morally pure and impure.

The metaphor of contagion pervades critical discourse across the humanities, the medical sciences, and the social sciences. It appears in such terms as 'social contagion' in psychology, 'financial contagion' in economics, 'viral marketing' in business, and even 'cultural contagion' in anthropology. In the twenty-first century, contagion, or 'thought contagion' has become a byword for creativity and a fundamental process by which knowledge and ideas are communicated and taken up, and resonates with André Siegfried's observation that 'there is a striking parallel between the spreading of germs and the spreading of ideas'. In Contagious Metaphor, Peta Mitchell offers an innovative, interdisciplinary study of the metaphor of contagion and its relationship to the workings of language. Examining both metaphors of contagion and metaphor as contagion, Contagious Metaphor suggests a framework through which the emergence and often epidemic-like reproduction of metaphor can be better understood.