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The Medievalism of Emotions in King Lear

100%
Czarnowus A.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2021
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vol. 23
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issue 38
181-196
PL
  King Lear unaocznia dwie kultury uczuć, kulturę średniowieczną i renesansową. Jest to widoczne przy prezentacji zagadnienia, jak uczucia mają być wyrażane, gdyż w średniowieczu trzeba je było głośno wyrażać, ale w świecie przedstawionym w sztuce jest to trudne do zrobienia. Elementem wspólnym dla starożytności, średniowiecza i renesansu była teoria humoralna. Shakespeare omawia, jak renesans przepracowuje mediewalistyczne pojęcia honoru, złości, wstydu, dumy, a także w jaki sposób podchodzi do tematu uczuć jako czegoś mającego miejsce w ciele. Artykuł analizuje mediewalizm w uczuciach oraz przedstawia renesansową zmianę, która dotyczyła emocji średniowiecznych.
EN
King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.
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Representing the Phlegm: the Portrait of the Phlegmatic in Cesare Ripa’s Iconology

86%
Koźluk M.
Studia Ceranea
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2022
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vol. 13
491-505
EN
This article is the second in a series of works which aims to contribute to documenting the success of the medical theory of individual complexions, derived from the theory of the four humours, through the major work which constitutes the Iconologia of the Italian humanist Cesare Ripa (1555–1622). We analysed here the figure of the phlegmatic and undertook to determine the reasons which governed the choice of the attributes retained by Ripa (portliness, pallor of the skin, coat in badger furs, tilted head and girded with a black headband, turtle) to offer poets, painters and sculptors the archetype of a character dominated by cold and damp phlegm. To this end, we have been interested in the medical and iconographic sources on which the author was able to rely and have tried to identify the attributes which are part of tradition and those which testify to an inuentio of the author in the iconographic art.
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Représenter la flaua bilis: le portait du colérique dans l’Iconologia de Cesare Ripa

86%
Koźluk M.
Studia Ceranea
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2022
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vol. 12
633-650
EN
Representing the flaua bilis: the Portrait of the Choleric in Cesare Ripa’s Iconology. The theory of the four humours (blood, phlegm, yellow bile and black bile) forms the basis of ancient medicine. Coming from the Hippocratic corpus and completed by Galen of Pergamum (129–216 AD) in his De Temperamentis by means of individual complexions (blood, phlegmatic, angry, melancholic), this theory is essential in modern Europe after more than two thousand years of transmission, development and practice of medicine. Our article aims to examine its fortune in the Iconology of the Italian scholar Cesare Ripa (1555–1622). Starting with the Roman edition of 1603, he enriched his famous allegorical repertoire with a complex entry encoding the four temperaments: Collerico per il fuoco, Sanguigno per l’aria, Flemmatico per l’acqua, Malenconico per la terra. We work here only with the Choleric and undertake to determine the reasons which governed the choice of the attributes retained by C. Ripa (youth, nudity, sword, shield adorned with a flame, lion, fury in the gaze) to offer poets, painters and sculptors the archetype of a figure dominated by yellow, hot and dry bile. To this end, we analyze the medical, literary and iconographic sources on which the author relies, considering also the richness and complexity of the medical discourse he had at his disposal and the very purpose of his Iconology.
4
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Jak leczono choroby układu oddechowego w początkach XIX wieku? Analiza opisu leczenia chorego na zapalenie płuc

72%
Starzyk J., Starzyk-Łuszcz K.
Archiwum Historii i Filozofii Medycyny
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2013
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vol. 76/2
52-55
PL
Na podstawie archiwalnych materiałów źródłowych z 1801 r. przedstawiono przypadek leczenia ostrego schorzenia dróg oddechowych, prawdopodobnie zapalenia płuc, u 72-letniego mężczyzny. W skład zespołu leczącego wchodził doktor, cyrulik, ówczesna „pielęgniarka”, aptekarz, którzy praktykowali w 1801 r. w Koniecpolu. W leczeniu zastosowano leki mukolityczne, przeciwkaszlowe, nasercowe, przeciwgorączkowe, przeciwbólowe, poprawiające apetyt. Leczenie to z współczesnego medycznego punktu widzenia było prawidłowe. Zaordynowano także lekarstwa, które zalecała obowiązująca nadal od starożytności teoria humoralna. Teoria ta zakładała istnienie w ciele człowieka czterech płynów — humorów: krwi, śluzu, żółci, czarnej żółci. Brak proporcji i równowagi między płynami prowadził do choroby. Leczenie miało na celu przywrócenie zaburzonych proporcji i równowagi przez stosowanie leków przeczyszczających, moczopędnych, upustów krwi itp. Z współczesnego medycznego punktu widzenia było to leczenie szkodliwe, gdyż powodowało niedokrwistość, zaburzenia homeostazy wodnej, elektrolitowej i kwasowo-zasadowej. Leczenie zakończyło się zgonem chorego.
EN
According to archival sources from 1801 year treatment of acute respiratory disorder, probably pneumonia in 72 — year old man was presented. The patient was treated by a doctor, barber surgeon, so - called “nurse” and apothecary, who were practicing in 1801 year in Koniecpol. Mucokinetics, anti-cough, cardiac, antipyretic, analgesic and improving appetite medications were used. From the current medical point of view this treatment was correct. Moreover, the medications recommended by still actual from antiquity humoral theory were used. According to that theory the human body was thought to contain four humors: blood, phlegm, bile, black bile. Lack of proportion and balance between humors led to disease. The treatment was designed to restore the proper humoral balance by enemas, diuretics, bloodletting etc. From the current medical point of view the treatment was incorrect. It caused anaemia, disturbances in water, electrolyte and acid — base homeostasis. The treatment resulted in death of patient.
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