By Eleanor Decamp (auth.)
Through a wealthy foray into well known literary tradition and scientific background, this publication investigates representations of normal and abnormal scientific perform in early glossy England, exploring what it intended to the early sleek inhabitants for a bunch of practitioners to be linked to either the exchange guilds and an rising specialist clinical world.
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2 The threat of unlicensed practice lay in its material manifestation as much as in the figure of the practitioner and was dealt with as such. 6 This chapter is an examination of barbery and surgery gear in early modernity, and investigates how the practices were classified and labelled: the cultural identity of both was embedded in their material properties. Here we find that references to surgery are often without material sense or technicality, and cannot provide stable content for a scene. Instead, the appearance of surgical tools signals short-lived crisis moments, sometimes coaxed by a barbery context’s insistence on the material.
Inventory as cataplexis in Epicoene The barber is a prominent and coherent character in two of Ben Jonson’s plays, Epicoene and Staple of News (both of which I examine in detail in this book), through whom Jonson shapes the meaning of his drama. 63 Morose marries Epicoene not realizing that she is a he and that s/he can, contrary to Cutbeard’s guarantee, talk (more on this in Chapter 4). At the end of the play, a disguised Cutbeard spawns confusion when Morose seeks a legal way out of his marriage.
34 The terms of 34 Civic and Medical Worlds in Early Modern England barbery are in open circulation in the shop before a clientele: writers often portray the barber giving instructions to his boy and requesting certain instruments. Moreover, barbery equipment found its place in the household for ablutionary purposes. When Preist and Sweetball depart from the stage to shave their scholars, they leave behind certain instruments of which they decide ‘There’s inough all ready att ye Colledge’ (line 79): ‘Comb[s]’ and ‘Raysours’ (see lines 78–82).