Men and women in early modern Europe experienced their bodies very differently from the ways in which contemporary men and women do. In this challenging and innovative book, Gail Kern Paster examines representations of the body in Elizabethan-Jacobean drama in the light of humoral medical theory, tracing the connections between the history of the visible social body and the history of the subject's body as experienced from within. Focusing on specific bodily functions and on changes in the forms of embarrassment associated with them, Paster extends the insights of such critics and theorists as Mikhail Bakhtin, Norbert Elias, and Thomas Laqueur. She first surveys comic depictions of incontinent women as "leaky vessels" requiring patriarchal management and then considers the relation between medical bloodletting practices and the gender implications of blood symbolism. Next she relates the practice of purging to the theme of shame and assays ideas about pregnancy, childbirth, and nursing in medical and other nonliterary texts. Paster then turns to the use of reproductive processes in the plot structures of key Shakespeare plays and in Dekker's, Ford's, and Rowley's Witch of Edmonton. Including twelve vivid illustrations, The Body Embarrassed will be fascinating reading for students and scholars in the fields of Renaissance studies, gender studies, literary theory, the history of drama, and cultural history.

Men and women in early modern Europe experienced their bodies very differently from the ways in which contemporary men and women do. In this challenging and innovative book, Gail Kern Paster examines representations of the body in Elizabethan-Jacobean drama in the light of humoral medical theory, tracing the connections between the history of the visible social body and the history of the subject's body as experienced from within. Focusing on specific bodily functions and on changes in the forms of embarrassment associated with them, Paster extends the insights of such critics and theorists as Mikhail Bakhtin, Norbert Elias, and Thomas Laqueur. She first surveys comic depictions of incontinent women as "leaky vessels" requiring patriarchal management and then considers the relation between medical bloodletting practices and the gender implications of blood symbolism. Next she relates the practice of purging to the theme of shame and assays ideas about pregnancy, childbirth, and nursing in medical and other nonliterary texts. Paster then turns to the use of reproductive processes in the plot structures of key Shakespeare plays and in Dekker's, Ford's, and Rowley's Witch of Edmonton. Including twelve vivid illustrations, The Body Embarrassed will be fascinating reading for students and scholars in the fields of Renaissance studies, gender studies, literary theory, the history of drama, and cultural history.

This classic book, written 17 years ago but still selling more than 13,000 copies every year, has been completely updated and expanded by the author. "I used to drink," writes John Bradshaw,"to solve the problems caused by drinking. The more I drank to relieve my shame-based loneliness and hurt, the more I felt ashamed." Shame is the motivator behind our toxic behaviors: the compulsion, co-dependency, addiction and drive to superachieve that breaks down the family and destroys personal lives. This book has helped millions identify their personal shame, understand the underlying reasons for it, address these root causes and release themselves from the shame that binds them to their past failures.

People who don't have embarrassing stories are untrustworthy. Or at the very least, they aren't telling the truth. -- Suzanne Guillette By your own definition, you are very, very trustworthy. After all, you are the kind of person who spills pasta sauce down the shirt of a famous writer you're trying to impress. You are the girl who, when taking a new mentor out for a fancy lunch, forgets to bring cash -- or a backup credit card. You are almost thirty, an unemployed writer, recently un-engaged from your fiancŽ of several years, and in all your naivetŽ can't foresee that mixing the personal and the professional will bring you mortifyingly disastrous results. You are Suzanne Guillette, the author of Much to Your Chagrin, a smart, hilarious memoir of how chronicling the humiliations of others helped her come to understand and accept herself. Guillette was twenty-nine and the proud owner of a freshly inked MFA when she began to work on her first book -- a collection of embarrassing moments gathered from family, friends, coworkers, and strangers on the street. Stories poured in about every possible type of gaffe, from wardrobe malfunctions (widespread) to romantic misunderstandings (ditto), and from office faux pas (common) to bodily fluid mishaps (distressingly common). Everyone Guillette talked to was enthusiastic about her clever project -- and no one more so than Jack, the wry, handsome literary agent who Guillette thought might just be her soul mate. But as time marched on, Guillette began to see that the tales she'd been gathering were nothing compared to her own moments of shame. Like her increasingly frequent need to sneak out of work (at a health agency, natch) for a "quick smoke" to settle her nerves. Or her stubborn ability to ignore the reality that her fairy-tale romance with Jack was imploding in a truly spectacular fashion. When Guillette accepted that the story she was meant to tell was not others' but her own, Much to Your Chagrin was born. Told in a unique and captivating voice, punctuated by the embarrassing stories she collected, Much to Your Chagrin follows one woman's discovery of what it's like to finally feel comfortable in your own skin (even while accidentally exposing yourself to your elderly neighbors). Raw, honest, and brilliantly funny, it is an extremely personal memoir about the lengths to which we human beings sometimes go to conceal the parts of ourselves that we are least willing to admit are true. Forget the stuff we keep from the world -- it's what we hide from ourselves that is of greatest consequence. What is your most embarrassing moment?

Help for social anxiety & social phobia. Clear, supportive instructions for assessing your fears, improving or developing new social skills, and changing self-defeating thinking patterns.

The Body and Shame: Phenomenology, Feminism, and the Socially Shaped Body investigates the concept of body shame and explores its significance when considering philosophical accounts of embodied subjectivity. Body shame only finds its full articulation in the presence (actual or imagined) of others within a rule and norm governed milieu. As such, it bridges our personal, individual and embodied experience with the social, cultural and political world that contains us. Luna Dolezal argues that understanding body shame can shed light on how the social is embodied, that is, how the body—experienced in its phenomenological primacy by the subject—becomes a social and cultural artifact, shaped by external forces and demands. The Body and Shame introduces leading twentieth-century phenomenological and sociological accounts of embodied subjectivity through the work of Edmund Husserl, Maurice Merleau-Ponty, Jean-Paul Sartre, Michel Foucault and Norbert Elias. Dolezal examines the embodied, social and political features of body shame. contending that body shame is both a necessary and constitutive part of embodied subjectivity while simultaneously a potential site of oppression and marginalization. Exploring the cultural politics of shame, the final chapters of this work explore the phenomenology of self-presentation and a feminist analysis of shame and gender, with a critical focus on the practice of cosmetic surgery, a site where the body is literally shaped by shame. The Body and Shame will be of great interest to scholars and students in a wide variety of fields, including philosophy, phenomenology, feminist theory, women’s studies, social theory, cultural studies, psychology, sociology, and medical humanities.