{"title":"《埃德蒙顿女巫》中的情感","authors":"K. Prince","doi":"10.12745/ET.21.2.3607","DOIUrl":null,"url":null,"abstract":"Abstract:In The Witch of Edmonton, a diabolical dog escapes from the supernatural subplot to unleash mischief, madness, and murder in rural Middlesex. While the play’s emotional sophistication is easy to overlook because of the preposterousness of a costumed actor taking the stage as a talking dog, an analysis grounded in History of Emotions approaches and focusing on Dog reveals the extent to which this play, in dramatizing a society without charity, makes a convincing emotional plea centred on the emotions that mobilize, and are mobilized by, the uncanny character at its heart.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"10 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Emotions in The Witch of Edmonton\",\"authors\":\"K. Prince\",\"doi\":\"10.12745/ET.21.2.3607\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:In The Witch of Edmonton, a diabolical dog escapes from the supernatural subplot to unleash mischief, madness, and murder in rural Middlesex. While the play’s emotional sophistication is easy to overlook because of the preposterousness of a costumed actor taking the stage as a talking dog, an analysis grounded in History of Emotions approaches and focusing on Dog reveals the extent to which this play, in dramatizing a society without charity, makes a convincing emotional plea centred on the emotions that mobilize, and are mobilized by, the uncanny character at its heart.\",\"PeriodicalId\":422756,\"journal\":{\"name\":\"Early Theatre: A Journal associated with the Records of Early English Drama\",\"volume\":\"10 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-11-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Early Theatre: A Journal associated with the Records of Early English Drama\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.12745/ET.21.2.3607\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Early Theatre: A Journal associated with the Records of Early English Drama","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12745/ET.21.2.3607","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Abstract:In The Witch of Edmonton, a diabolical dog escapes from the supernatural subplot to unleash mischief, madness, and murder in rural Middlesex. While the play’s emotional sophistication is easy to overlook because of the preposterousness of a costumed actor taking the stage as a talking dog, an analysis grounded in History of Emotions approaches and focusing on Dog reveals the extent to which this play, in dramatizing a society without charity, makes a convincing emotional plea centred on the emotions that mobilize, and are mobilized by, the uncanny character at its heart.
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