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Translated by Cunnison , Ian. Martino Fine Books , Meek , Richard , and Sullivan , Erin , eds.


The Renaissance of Emotion: Understanding Affect in Shakespeare and His Contemporaries. Manchester University Press , Montaigne , Michel de. Edited by Stewart , J. Translated by Florio , John. The Modern Library , Montrose , Louis Adrian. Social Process and Comic Form.

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In the Middle: "Refuse the assumption of immutability": Will Stockton, Playing Dirty

The Navigation of Feeling: A Framework for the History of Emotions. Rivlin , Elizabeth J. Rose , Mary Beth. The Expense of Spirit: Love and Sexuality in English Renaissance Drama.

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Cornell University Press , Shakespeare and the Traditions of Comedy. Sanchez , Melissa E. Oxford University Press , Schachter , Marc D. Voluntary Servitude and the Erotics of Friendship: Literature and the Touch of the Real.

University of Delaware Press , Shakespeare, Love and Service. Schoenfeldt , Michael C. Bodies and Selves in Early Modern England: Othello, the Moor of Venice. Edited by Neill , Michael. Edited by Booth , Stephen. Yale University Press , The Nature of Love: Smith , Bruce R. Critical Essays , edited by Andrews , John F , — Sexuality and Waste in Early Modern Comedy. University of Minnesota Press , Playing Dirty offers a highly readable, smart, and engaging intervention into the role of the history of sexuality in Renaissance studies, psychoanalysis, and in the burgeoning field of waste studies.

Playing Dirty translates well across many literary, cultural, and theoretical registers as it presents a unique view of what it means to be queer.

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Wide-ranging and theoretically sophisticated. University of Minnesota Press Coming soon. Home Current Catalogs Blog. Search Site only in current section. I do not mean to downplay the seriousness of its critique or the weight of the revelations contained within it. Stockton has done an admirable job of elaborating upon the role--symbolic, sexual, and otherwise--of the anus and its outcomes in literary texts by Jonson, Shakespeare, Nashe, Chaucer, and others.

The book successfully performs the difficult feat of engaging with both historicism and psychoanalytic theory, shifting ideas about both, even as it juxtaposes early modern texts against medieval and postmodern ones. In the process, it sets out a deeply smart, immensely readable addition to the growing corpus of early modern queer studies and to studies of comedy more generally.

All that said, as an expression of its own observations, it is also quite funny. Before I delve into the more weighty bits of this review, I think it is only fair to begin, as Stockton does, with his cover's floral, typeset version of a Kurt Vonnegut asterisk joke.