Melancholy Men and English Renaissance Drama: from Marlowe to Ford.

我的研究考察了文艺复兴时期的作家，以及他们对忧郁的态度，是如何受到那个时期男子气概和心理概念化的启发和启发的。被认为是“忧郁的黄金时代”(Starobinski，1960)，文艺复兴时期丰富的情感已经在最近的学术中得到了充分的证实，但这类工作缺乏通过男性研究的镜头对忧郁的细微差别的具体洞察。对1586年至1638年--从蒂莫西·布莱特的《忧郁论》首次出版到罗伯特·伯顿生前的《忧郁的解剖》--之间的经典和较少研究的戏剧的仔细解读，揭示了一系列涉及文艺复兴时期忧郁含义的重要戏剧和非文学出版物。通过发展BroomHall和Van Gent(2011)的关系型男性理论，我的研究将戏剧作品与一系列医学文本和论文配对，以阐明文艺复兴时期对忧郁男性气质的理解的新视角。将这一有效的文本分析范畴与希尔兹(2002)关于性别对情感的持续影响的理论相结合，我的研究为日益增长的男性研究领域提供了独特的贡献。在当代性别理解的关键时刻，我的研究质疑围绕我选择的文学的历史环境中的相关变化如何影响文艺复兴时期对忧郁男子气概的态度。

My research examines the ways in which Renaissance writers, and their approaches to melancholy, were informed and inspired by conceptualisations of masculinity and psychology in the period. Considered the "golden age of melancholy" (Starobinski, 1960), the emotional richness of the Renaissance has been well-established in recent scholarship, yet such work lacks specific insight into nuances of melancholy through the lens of masculine studies. Close interpretive readings of canonical and lesser-studied plays written between 1586 and 1638 - the period spanning the first publication of Timothie Bright's 'Treatise of Melancholy' to the final publication of Robert Burton's 'Anatomy of Melancholy' before his death - have uncovered a range of important dramatic and non-literary publications engaging with Renaissance meanings of melancholy. By developing Broomhall and Van Gent's (2011) theory of relational masculinity, my study pairs dramatic works with a range of medical texts and treatises to illustrate new perspectives on Renaissance understandings of melancholic masculinity. Pairing this effective category of textual analysis with Shields' (2002) theory of the continuing influence of gender upon emotion, my research provides a unique contribution to the growing field of masculine studies. At a critical moment for contemporary understandings of gender, my study questions how relevant changes within the historical milieu surrounding my chosen literature affected Renaissance attitudes towards melancholic masculinity.