In Absolutist Attachments, Chloé Hogg uncovers the affective and media connections that shaped Louis XIV’s absolutism. Studying literature, painting, engravings, correspondence, and the emerging periodic press, Hogg diagnoses the emotions that created absolutism’s feeling subjects and publics.
Louis XIV’s subjects explored new kinds of affective relations with their sovereign, joining with the king in acts of aesthetic judgment, tender feeling, or the “newsiness” of emerging print news culture. Such alternative modes of adhesion countered the hegemonic model of kingship upheld by divine right, reason of state, or corporate fidelities and privileges with subject-driven attachments and practices. Absolutist Attachments discovers absolutism’s alternative political and cultural legacy—not the spectacle of an unbound king but the binding connections of his subjects.
Passion and emotion run deep in politics, but researchers have only recently begun to study how they influence our political thinking. Contending that the long-standing neglect of such feelings has left unfortunate gaps in our understanding of political behavior, The Affect Effect fills the void by providing a comprehensive overview of current research on emotion in politics and where it is likely to lead.
In sixteen seamlessly integrated essays, thirty top scholars approach this topic from a broad array of angles that address four major themes. The first section outlines the philosophical and neuroscientific foundations of emotion in politics, while the second focuses on how emotions function within and among individuals. The final two sections branch out to explore how politics work at the societal level and suggest the next steps in modeling, research, and political activity itself. Opening up new paths of inquiry in an exciting new field, this volume will appeal not only to scholars of American politics and political behavior, but also to anyone interested in political psychology and sociology.
What happens when the cerebral--that is, theories of literature and of affect--encounters the corporeal, the human body? In this study by Jane Thrailkill, what emerges from the convergence is an important vision of late-nineteenth-century American realist literature and the role of emotion and physiology in literary criticism.
Affecting Fictions offers a new understanding of American literary realism that draws on neuroscience and cognitive psychology. Thrailkill positions herself against the emotionless interpretations of the New Critics. Taking as her point of departure realist works of medicine, psychology, and literature, she argues that nineteenth-century readers and critics would have taken it for granted that texts engaged both mind and body. Feeling, she writes, is part of interpretation.
Examining literary works by Henry James, Kate Chopin, Charlotte Perkins Gilman, and Oliver Wendell Holmes, Thrailkill explores the connections among the aesthetic, emotion, consciousness, and the body in readings that illuminate lesser-known works such as "Elsie Venner" and that resuscitate classics such as "The Yellow Wallpaper."
Focusing on pity, fear, nervousness, pleasure, and wonder, Thrailkill makes an important contribution to the growing body of critical work on affect and aesthetics, presenting a case for the indispensability of emotions to the study of fiction.
Affective Ecologies: Empathy, Emotion, and Environmental Narrative explores our emotional engagement with environmental narrative. Focusing on the American cultural context, Alexa Weik von Mossner develops an ecocritical approach that draws on the insights of affective science and cognitive narratology. This approach helps to clarify how we interact with environmental narratives in ways that are both biologically universal and culturally specific. In doing so, it pays particular attention to the thesis that our minds are both embodied (in a physical body) and embedded (in a physical environment), not only when we interact with the real world but also in our engagement with imaginary worlds.
How do we experience the virtual environments we encounter in literature and film on the sensory and emotional level? How do environmental narratives invite us to care for human and nonhuman others who are put at risk? And how do we feel about the speculative futures presented to us in ecotopian and ecodystopian texts? Weik von Mossner explores these central questions that are important to anyone with an interest in the emotional appeal and persuasive power of environmental narratives.
The contributors to Affective Trajectories examine the mutual and highly complex entwinements between religion and affect in urban Africa in the early twenty-first century. Drawing on ethnographic research throughout the continent and in African diasporic communities abroad, they trace the myriad ways religious ideas, practices, and materialities interact with affect to configure life in urban spaces. Whether examining the affective force of the built urban environment or how religious practices contribute to new forms of attachment, identification, and place-making, they illustrate the force of affect as it is shaped by temporality and spatiality in the religious lives of individuals and communities. Among other topics, they explore Masowe Apostolic Christianity in relation to experiences of displacement in Harare, Zimbabwe; Muslim identity, belonging, and the global ummah in Ghana; crime, emotions, and conversion to neo-Pentecostalism in Cape Town; and spiritual cleansing in a Congolese branch of a Japanese religious movement. In so doing, the contributors demonstrate how the social and material living conditions of African cities generate diverse affective forms of religious experiences in ways that foster both localized and transnational paths of emotional knowledge.
Contributors. Astrid Bochow, Marian Burchardt, Rafael Cazarin, Hansjörg Dilger, Alessandro Gusman, Murtala Ibrahim, Peter Lambertz, Isabelle L. Lange, Isabel Mukonyora, Benedikt Pontzen, Hanspeter Reihling, Matthew Wilhelm-Solomon
In Angry Public Rhetorics, Celeste Condit explores emotions as motivators and organizers of collective action—a theory that treats humans as “symbol-using animals” to understand the patterns of leadership in global affairs—to account for the way in which anger produced similar rhetorics in three ideologically diverse voices surrounding 9/11: Osama bin Laden, President George W. Bush, and Susan Sontag.
These voices show that anger is more effective for producing some collective actions, such as rallying supporters, reifying existing worldviews, motivating attack, enforcing shared norms, or threatening from positions of power; and less effective for others, like broadening thought, attracting new allies, adjudicating justice across cultural norms, or threatening from positions of weakness. Because social anger requires shared norms, collectivized anger cannot serve social justice. In order for anger to be a force for global justice, the world’s peoples must develop shared norms to direct discussion of international relations. Angry Public Rhetorics provides guidance for such public forums.
The Asian Migrant’s Body: Emotion, Gender and Sexuality brings together papers that investigate the way Asian migrants experience, think about, perceive and utilize their bodies as part of the journeys they have embarked on. In exploring how bodies are physically and symbolically marked by migration experiences, this edited volume seeks to move beyond the immediate effects of hard labour and (potentially) exploitative or abusive situations. It shows that migrants are not only on the receiving end where it concerns their bodies, nor are their bodies only utilized for their work as migrants: they also seek control over their bodies and to make them part of strategies to express themselves. The collective papers in The Asian Migrant’s Body argue that the body itself is a primary site for understanding how migrants reflect on and experience their migration trajectories.
During World War II and the early Cold War period, factors such as race, gender, sexual orientation, or class made a number of American writers feel marginalized in U.S. society. Cosmopolitan Minds focuses on a core of transnational writers—Kay Boyle, Pearl S. Buck, William Gardner Smith, Richard Wright, and Paul Bowles—who found themselves prompted to seek experiences outside of their home country, experiences that profoundly changed their self-understanding and creative imagination as they encountered alternative points of views and cultural practices in Europe, Asia, and Africa.
Alexa Weik von Mossner offers a new perspective on the affective underpinnings of critical and reflexive cosmopolitanism by drawing on theories of emotion and literary imagination from cognitive psychology, philosophy, and cognitive literary studies. She analyzes how physical dislocation, and the sometimes violent shifts in understanding that result from our affective encounters with others, led Boyle, Buck, Smith, Wright, and Bowles to develop new, cosmopolitan solidarities across national, ethnic, and religious boundaries. She also shows how, in their literary texts, these writers employed strategic empathy to provoke strong emotions such as love, sympathy, compassion, fear, anger, guilt, shame, and disgust in their readers in order to challenge their parochial worldviews and practices. Reading these texts as emotionally powerful indictments of institutionalized racism and national violence inside and outside of the United States, Weik von Mossner demonstrates that our emotional engagements with others—real and imagined—are crucially important for the development of transnational and cosmopolitan imaginations.
Both a symbol of the Mubarak government’s power and a component in its construction of national identity, football served as fertile ground for Egyptians to confront the regime’s overthrow during the 2011 revolution. With the help of the state, appreciation for football in Egypt peaked in the late 2000s. Yet after Mubarak fell, fans questioned their previous support, calling for a reformed football for a new, postrevolutionary nation.
In Egypt’s Football Revolution, Carl Rommel examines the politics of football as a space for ordinary Egyptians and state forces to negotiate a masculine Egyptian chauvinism. Basing his discussion on several years of fieldwork with fans, players, journalists, and coaches, he investigates the increasing attention paid to football during the Mubarak era; its demise with the 2011 uprisings and 2012 Port Said massacre, which left seventy-two fans dead; and its recent rehabilitation. Cairo’s highly organized and dedicated Ultras fans became a key revolutionary force through their antiregime activism, challenging earlier styles of fandom and making visible entrenched ties between sport and politics. As the appeal of football burst, alternative conceptions of masculinity, emotion, and politics came to the fore to demand or prevent revolution and reform.
What is the meaning of strong emotions? What is emotion itself? What is really happening in therapy when people "express their emotions?"
As James Hillman writes in his new preface to this sweeping study, he intends nothing less than "to vitalize a standard topic of academic psychology by making the theory of emotion as crucial as is emotion itself in our lives." Hillman offers an informative and readable survey of a range of theories of emotion, focusing on the twentieth century but moving also from Greek thought to early Christianity to nineteenth-century German physiology. The work challenges readers to rethink our concepts and thereby to re-experience emotional phenomena.
Hillman's study contributes to today's renewed interest in the history of the body. Furthermore, his understanding of emotions in terms of epiphany makes a stimulating contribution to phenomenology. It is equally thought-provoking for the therapist, the philosopher, the intellectual historian, and the general reader.
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory
"This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor
"It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist
"A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
Deploying literary analysis, theories of emotion from the sciences and humanities, and an archival account of Tudor history, Emotion in the Tudor Court examines how literature both reflects and constructs the emotional dynamics of life in the Renaissance court. In it, Bradley J. Irish argues that emotionality is a foundational framework through which historical subjects embody and engage their world, and thus can serve as a fundamental lens of social and textual analysis.
Spanning the sixteenth century, Emotion in the Tudor Court explores Cardinal Thomas Wolsey and Henrician satire; Henry Howard, Earl of Surrey, and elegy; Sir Philip Sidney and Elizabethan pageantry; and Robert Devereux, Earl of Essex, and factional literature. It demonstrates how the dynamics of disgust,envy, rejection, and dread, as they are understood in the modern affective sciences, can be seen to guide literary production in the early modern court.
By combining Renaissance concepts of emotion with modern research in the social and natural sciences, Emotion in the Tudor Court takes a transdisciplinary approach to yield fascinating and robust ways to illuminate both literary studies and cultural history.
This literary-historical study seeks to dismantle the prevailing notion that Germany, in the period following the Second World War, exhibited an “inability to mourn,” arguing that in fact this period experienced a surge of affect. Anna Parkinson examines the emotions explicitly manifested or addressed in a variety of German cultural artifacts, while also identifying previously unacknowledged (and undertheorized) affective structures implicitly at work during the country’s national crisis. Much of the scholarship in the expanding field of affect theory distrusts Freudian psychoanalysis, which does not differentiate between emotion and affect.
One of the book’s major contributions is that it offers an analytical distinction between emotion and affect, finding a compelling way to talk about affect and emotion that is informed by affect theory but that integrates psychoanalysis. The study draws on the psychoanalytic writings of Freud, Margarete and Alexander Mitscherlich, and André Green, while engaging with interdisciplinary theorists of affect including Barbara Rosenwein, Lauren Berlant, Ann Cvetkovich, and Eve Kosofsky Sedgwick among many others.
Do women express their feelings more than men? Popular stereotypes say they do, but in this provocative book, Leslie Brody breaks with conventional wisdom. Integrating a wealth of perspectives and research--biological, sociocultural, developmental--her work explores the nature and extent of gender differences in emotional expression, as well as the endlessly complex question of how such differences come about.
Nurture, far more than nature, emerges here as the stronger force in fashioning gender differences in emotional expression. Brody shows that whether and how men and women express their feelings varies widely from situation to situation and from culture to culture, and depends on a number of particular characteristics including age, ethnicity, cultural background, power, and status.
Especially pertinent is the organization of the family, in which boys and girls elicit and absorb different emotional strategies. Brody also examines the importance of gender roles, whether in the family, the peer group, or the culture at large, as men and women use various patterns of emotional expression to adapt to power and status imbalances.
Lucid and level-headed, Gender, Emotion, and the Family offers an unusually rich and nuanced picture of the great range of male and female emotional styles, and the variety of the human character.
In Hold It Against Me, Jennifer Doyle explores the relationship between difficulty and emotion in contemporary art, treating emotion as an artist's medium. She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art.
Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.
Donald Lateiner, in his groundbreaking work The Sardonic Smile, presented the first thorough study of nonverbal behavior in Homeric epics, drawing a significant distinction between ancient and modern gesture and demonstrating the intrinsic relevance of this “silent language” to psychological, social, and anthropological studies of the ancient world.
Using Lateiner’s work as a touchstone, the scholars in Kinesis analyze the depiction of emotions, gestures, and other nonverbal cues in ancient Greek and Roman texts and consider the precise language used to depict them. Individual contributors examine genres ranging from historiography and epic to tragedy, philosophy, and vase decoration. They explore evidence as disparate as Pliny’s depiction of animal emotions, Plato’s presentation of Aristophanes’ hiccups, and Thucydides’ use of verb tenses. Sophocles’ deployment of silence is considered, as are Lucan’s depiction of death and the speaking objects of the medieval Alexander Romance.
This collection will be valuable to scholars studying Greek and Roman society and literature, as well as to those who study the imitation of ancient literature in later societies. Jargon is avoided and all passages in ancient languages are translated, making this volume accessible to advanced undergraduates.
Contributors in addition to the volume editors include Jeffrey Rusten, Rosaria Vignolo Munson, Hans-Peter Stahl, Carolyn Dewald, Rachel Kitzinger, Deborah Boedeker, Daniel P. Tompkins, John Marincola, Carolin Hahnemann, Ellen Finkelpearl, Hanna M. Roisman, Eliot Wirshbo, James V. Morrison, Bruce Heiden, Daniel B. Levine, and Brad L. Cook.
Focusing on the Summa theologiae, Nicholas Lombardo contributes to the recovery, reconstruction, and critique of Aquinas's account of emotion in dialogue with both the Thomist tradition and contemporary analytic philosophy
From the sculptured peaks of Mount Rushmore to the Coloradan prairie lands at Sand Creek to the idyllic islands of the Pacific, the West’s signature environments add a new dimension to the study of memorials. In such diverse and often dramatic landscapes, how do the natural and built environments shape our emotions?
In Memorials Matter, author Jennifer Ladino investigates the natural and physical environments of seven diverse National Park Service (NPS) sites in the American West and how they influence emotions about historical conflict and national identity. Chapters center around the region’s diverse inhabitants (Mexican, Chinese, Japanese, African, and Native Americans) and the variously traumatic histories these groups endured—histories of oppression, exploitation, incarceration, slavery, and genocide. Drawing on material ecocritical theory, Ladino emphasizes the ideological and political importance of memorials and how they evoke visceral responses that are not always explicitly “storied,” but nevertheless matter in powerful ways.
In this unique blend of narrative scholarship and critical theory, Ladino demonstrates how these memorial sites and their surrounding landscapes, combined with written texts, generate emotion and shape our collective memory of traumatic events. She urges us to consider our everyday environments and to become attuned to features and feelings we might have otherwise overlooked.
Moving beyond the traditional boundaries of sociological investigation,
Thomas J. Scheff brings together the study of communication and the social
psychology of emotions to explore the microworld of thoughts, feelings,
and moods. Drawing on strikingly diverse and rich sources—the findings of
artificial intelligence and cognitive science, and examples from literary
dialogues and psychiatric interviews—Scheff provides an inventive account
of the nature of social life and a theory of motivation that brilliantly
accounts for the immense complexity involved in understanding even the most
"A major contribution to some central debates in social theory at the
present time. . . . What Thomas Scheff seeks to develop is essentially a
quite novel account of the nature of social life, its relation to language
and human reflexivity, in which he insists upon the importance of a theory
of emotion. . . . A work of true originality and jolting impact. . . . Microsociology is of exceptional interest, which bears witness to the
very creativity which it puts at the center of human social contact."
—Anthony Giddens, from the Foreword
"Scheff provides a rich theory that can easily generate further exploration. And he drives home the message that sociological work on interaction, social bonds, and society cannot ignore human emotionality."—Candace Clark, American Journal of Sociology
"This outstanding and ground-breaking little volume contains a wealth of original ideas that bring together many insights concerning the relationship of emotion to motivation in a wide variety of social settings. It is strongly recommended to all serious students of emotion, of society, and of human nature."—Melvin R. Lansky, American Journal of Psychiatry
In the late 1980s, after a decade spent engaged in more routine interest-group politics, thousands of lesbians and gay men responded to the AIDS crisis by defiantly and dramatically taking to the streets. But by the early 1990s, the organization they founded, ACT UP, was no more—even as the AIDS epidemic raged on. Weaving together interviews with activists, extensive research, and reflections on the author’s time as a member of the organization, Moving Politics is the first book to chronicle the rise and fall of ACT UP, highlighting a key factor in its trajectory: emotion.
Surprisingly overlooked by many scholars of social movements, emotion, Gould argues, plays a fundamental role in political activism. From anger to hope, pride to shame, and solidarity to despair, feelings played a significant part in ACT UP’s provocative style of protest, which included raucous demonstrations, die-ins, and other kinds of street theater. Detailing the movement’s public triumphs and private setbacks, Moving Politics is the definitive account of ACT UP’s origin, development, and decline as well as a searching look at the role of emotion in contentious politics.
On any given night in living rooms across America, women gather for a fun girls’ night out to eat, drink, and purchase the latest products—from Amway to Mary Kay cosmetics. Beneath the party atmosphere lies a billion-dollar industry, Direct Home Sales (DHS), which is currently changing how women navigate work and family.
Drawing from numerous interviews with consultants and observations at company-sponsored events, Paid to Party takes a closer look at how DHS promises to change the way we think and feel about the struggles of balancing work and family. Offering a new approach to a flexible work model, DHS companies tell women they can, in fact, have it all and not feel guilty. In DHS, work time is not measured by the hands of the clock, but by the emotional fulfillment and fun it brings.
The Performer-Audience Connection is a pioneering foray into one of the major puzzles of human communication: the communication of emotion in dance. It is the first attempt of its kind systematically to investigate what performers wish to convey and what audiences perceive in the performance of dance. The centerpiece of this provocative book is an examination of performer intentions and audience response at eight dance performances in Washington, D.C. Part of the Smithsonian Institution Division of Performing Arts Dance Series, these concerts featured a variety of dance genres and cultures: American tap dance, Kathakali dance-drama from Kerala, India, Japanese Kabuki, contemporary avant-garde dance, Philippine folk dance, the Indian classical tradition of Kuchipudi, and modern dance to an AfroAmerican spiritual. How did dancer and audience interact at the emotional level on these eight occasions? What affected performer-audience rapport? Through interviews of both spectators and dancers, Judith Lynne Hanna explores the performers' ways of imparting emotion through movement and audience members' expectations and responses. In doing so she casts new light on important issues of cultural identity, sex role, historic attitudes toward dance, and even marketing the arts today. A landmark work not only for performers who wish to reach their audiences more effectively but also for choreographers, anthropologists, specialists in nonverbal communication, behavioral scientists, educators, and all who are fascinated by the arts and the special magic of the "performer-audience connection."
Powers of the Real analyzes the cultural politics of cinema's persuasive sensory realism in interwar Japan. Examining cultural criticism, art, news media, literature, and film, Diane Wei Lewis shows how representations of women and signifiers of femininity were used to characterize new forms of pleasure and fantasy enabled by consumer culture and technological media. Drawing on a rich variety of sources, she analyzes the role that images of women played in articulating the new expressions of identity, behavior, and affiliation produced by cinema and consumer capitalism. In the process, Lewis traces new discourses on the technological mediation of emotion to the 1923 Great Kanto Earthquake and postquake mass media boom. The earthquake transformed the Japanese film industry and lent urgency to debates surrounding cinema's ability to reach a mass audience and shape public sentiment, while the rise of consumer culture contributed to alarm over rampant materialism and "feminization."
Demonstrating how ideas about emotion and sexual difference played a crucial role in popular discourse on cinema’s reach and its sensory-affective powers, Powers of the Real offers new perspectives on media history, the commodification of intimacy and emotion, film realism, and gender politics in the “age of the mass society” in Japan.
The nature of Puritanism in America and the role of emotion in religion is the subject of this important and useful collection of five religious orations, discussed and appraised by Professor White for students of Puritanism and rhetoric. The five orations presented here consist of three by Jonathan Edwards, “Future Punishment,” “Distinguishing Marks,” and “The Nature of the Affections”; one by Charles Chauncy, “Enthusiasm Described and Caution’d Against”; and one by Ebenezer Gay, “Natural Religion, as Distinguished from Revealed.”
In the first or introductory part of the book, Professor White discusses in considerable detail the broader implications of the confrontation between rationalists and revivalists in New England, represented by the following orations, during this most important upheaval in the Colonies prior to the Revolution. The orations themselves are arranged to represent the force and counterforce of reason versus emotionalism and the precarious balance maintained momentarily and, eventually, lost. And in the third part of the book Professor White provides critical analysis and suggested appraisal for further interpretation and inquiry.
In Racial Feelings, Jeffrey Santa Ana examines how Asian American narratives communicate and critique—to varying degrees—the emotions that power the perception of Asians as racially different.
Santa Ana explores various forms of Asian American cultural production, ranging from literature and graphic narratives to film and advertising, to illuminate the connections between global economic relations and the emotions that shape aspirations for the good life. He illustrates his argument with examples including the destitute Filipino immigrant William Paulinha, in Han Ong’s Fixer Chao, who targets his anger on the capitalist forces of objectification that racially exploit him, and Nan and Pingpin in Ha Jin’s A Free Life, who seek happiness and belonging in America.
Racial Feelings addresses how Asian Americans both resist and rely on stereotypes in their writing and art work. In addition, Santa Ana investigates how capitalism shapes and structures an emotional discourse that represents Asians as both economic exemplars and threats.
In Rethinking Racism: Emotion, Persuasion, and Literacy Education in an All-White High School, Jennifer Seibel Trainor proposes a new understanding of the roots of racism, one that is based on attention to the role of emotion and the dynamics of persuasion. This one-year ethnographic study argues against previous assumptions about racism, demonstrating instead how rhetoric and emotion, as well as the processes and culture of schools, are involved in the formation of racist beliefs.
Telling the story of a year spent in an all-white high school, Trainor suggests that contrary to prevailing opinion, racism often does not stem from ignorance, a lack of exposure to other cultures, or the desire to protect white privilege. Rather, the causes of racism are frequently found in the realms of emotion and language, as opposed to rational calculations of privilege or political ideologies. Trainor maintains that racist assertions often originate not from prejudiced attitudes or beliefs but from metaphorical connections between racist ideas and nonracist values. These values are reinforced, even promoted by schooling via "emotioned rules" in place in classrooms: in tacit, unexamined lessons, rituals, and practices that exert a powerful—though largely unacknowledged—persuasive force on student feelings and beliefs about race.
Through in-depth analysis of established anti-racist pedagogies, student behavior, and racial discourses, Trainor illustrates the manner in which racist ideas are subtly upheld through social and literacy education in the classroom—and are thus embedded in the infrastructures of schools themselves. It is the emotional and rhetorical framework of the classroom that lends racism its compelling power in the minds of students, even as teachers endeavor to address the issue of cultural discrimination. This effort is continually hindered by an incomplete understanding of the function of emotions in relation to antiracist persuasion and cannot be remedied until the root of the problem is addressed.
Rethinking Racism calls for a fresh approach to understanding racism and its causes, offering crucial insight into the formative role of schooling in the perpetuation of discriminatory beliefs. In addition, this highly readable narrative draws from white students' own stories about the meanings of race in their learning and their lives. It thus provides new ways of thinking about how researchers and teachers rep- resent whiteness. Blending narrative with more traditional forms of ethnographic analysis, Rethinking Racism uncovers the ways in which constructions of racism originate in literacy research and in our classrooms—and how these constructions themselves can limit the rhetorical positions students enact.
The Brazilian Portuguese idea of saudade is often translated as a powerful relative of nostalgia, which brings together love and grief, a melancholia and a longing focused on a memory, an absence. Saudade in Brazilian Cinema looks specifically at how this emotion is imagined on the screen. Analyzing over sixty years of Brazilian cinema, Jack A. Draper III uses the idea of saudade to create an analytical framework within the field of emotion studies. Draper places insights on saudade on screen in dialogue with theoretical studies of emotion and affect as well as film theory. The result is a new way of understanding saudade and the representation of emotion in twentieth and twenty-first century Brazilian cinema.
Princess Diana’s death was a tragedy that provoked mourning across the globe; the death of a homeless person, more often than not, is met with apathy. How can we account for this uneven distribution of emotion? Can it simply be explained by the prevailing scientific understanding? Uncovering a rich tradition beginning with Aristotle, The Secret History of Emotion offers a counterpoint to the way we generally understand emotions today.
Through a radical rereading of Aristotle, Seneca, Thomas Hobbes, Sarah Fielding, and Judith Butler, among others, Daniel M. Gross reveals a persistent intellectual current that considers emotions as psychosocial phenomena. In Gross’s historical analysis of emotion, Aristotle and Hobbes’s rhetoric show that our passions do not stem from some inherent, universal nature of men and women, but rather are conditioned by power relations and social hierarchies. He follows up with consideration of how political passions are distributed to some people but not to others using the Roman Stoics as a guide. Hume and contemporary theorists like Judith Butler, meanwhile, explain to us how psyches are shaped by power. To supplement his argument, Gross also provides a history and critique of the dominant modern view of emotions, expressed in Darwinism and neurobiology, in which they are considered organic, personal feelings independent of social circumstances.
The result is a convincing work that rescues the study of the passions from science and returns it to the humanities and the art of rhetoric.
Stoicism and Emotion
Margaret Graver University of Chicago Press, 2007 Library of Congress B528.G73 2007 | Dewey Decimal 128.37093
On the surface, stoicism and emotion seem like contradictory terms. Yet the Stoic philosophers of ancient Greece and Rome were deeply interested in the emotions, which they understood as complex judgments about what we regard as valuable in our surroundings. Stoicism and Emotion shows that they did not simply advocate an across-the-board suppression of feeling, as stoicism implies in today’s English, but instead conducted a searching examination of these powerful psychological responses, seeking to understand what attitude toward them expresses the deepest respect for human potential.
In this elegant and clearly written work, Margaret Graver gives a compelling new interpretation of the Stoic position. Drawing on a vast range of ancient sources, she argues that the chief demand of Stoic ethics is not that we should suppress or deny our feelings, but that we should perfect the rational mind at the core of every human being. Like all our judgments, the Stoics believed, our affective responses can be either true or false and right or wrong, and we must assume responsibility for them. Without glossing over the difficulties, Graver also shows how the Stoics dealt with those questions that seem to present problems for their theory: the physiological basis of affective responses, the phenomenon of being carried away by one’s emotions, the occurrence of involuntary feelings and the disordered behaviors of mental illness. Ultimately revealing the deeper motivations of Stoic philosophy, Stoicism and Emotion uncovers the sources of its broad appeal in the ancient world and illuminates its surprising relevance to our own.
The Butterfly Lovers Story, sometimes called the Chinese Romeo and Juliet, has been enduringly popular in China and Korea. In Transforming Gender and Emotion, Sookja Cho demonstrates why the Butterfly Lovers Story is more than just a popular love story. By unveiling the complexity of themes and messages concealed beneath the tale’s modern classification as a tragic love story, this book reveals the tale as a rich academic subject for students of human emotions and relationships, comparative geography and culture, and narrative adaptation. By examining folk beliefs and ideas that abound in the narrative—including rebirth and a second life, the association of human souls and butterflies, and women’s spiritual power—this book presents the Butterfly Lovers Story as an example of local religious narrative. The book’s cross-cultural comparisons, best manifested in its discussion of a shamanic ritual narrative version from the Cheju Island of Korea, frame the story as a catalyst for inclusive, expansive discussion of premodern Korean and Chinese literatures and cultures. This scrutiny of the historical and cultural background behind the formation and popularization of the Cheju Island version sheds light on important issues in the Butterfly Lovers Story that are not frequently discussed—either in past examinations of this particular narrative or in the overall literary studies of China and Korea. This new, open approach presents an innovative framework for understanding premodern literary and cultural space in East Asia.
Intervening in the multidisciplinary debate on emotion, Tropes of Transport offers a fresh analysis of Hegel’s work that becomes an important resource for Pahl’s cutting-edge theory of emotionality. If it is usually assumed that the sincerity of emotions and the force of affects depend on their immediacy, Pahl explores to what extent mediation—and therefore a certain degree of manipulation but also of sympathy—is constitutive of emotionality. Hegel serves as a particularly helpful interlocutor not only because he offers a sophisticated analysis of mediation, but also because, rather than locating emotion in the heart, he introduces impersonal tropes of transport, such as trembling, release, and shattering.
In this bold new way of looking at dramatic structure, Jim Linnell establishes the central role of emotional experience in the conception, execution, and reception of plays. Walking on Fire: The Shaping Force of Emotion in Writing Drama examines dramatic texts through the lens of human behavior to identify the joining of event and emotion in a narrative, defined by Linnell as emotional form.Effectively building on philosophy, psychology, and critical theory in ways useful to both scholars and practitioners, Linnell unfolds the concept of emotional form as the key to understanding the central shaping force of drama. He highlights the Dionysian force of human emotion in the writer as the genesis for creative work and articulates its power to determine narrative outcomes and audience reaction.Walking on Fire contains writing exercises to open up playwrights to the emotional realities and challenges of their work. Additionally, each chapter offers case studies of traditional and nonlinear plays in the known canon that allow readers to evaluate the construction of these works and the authors’ practices and intentions through an xamination of the emotional form embedded in the central characters’ language, thoughts, and behaviors. The plays discussed include Henrik Ibsen’s A Doll’s House, William Shakespeare’s Hamlet, Athol Fugard’s “MASTER HAROLD”. . .and the boys, Donald Margulies’s The Loman Family Picnic, Harold Pinter’s The Birthday Party, and Tony Kushner’s Angels in America.
Walking on Fire opens up new conversations about content and emotion for writers and offers exciting answers to the questions of why we make drama and why we connect to it. Linnell’s userfriendly theory and passionate approach create a framework for understanding the links between the writer’s work in creating the text, the text itself, and the audience’s engagement.
Who Am I? is the bittersweet memoir of a Chinese American who came to this country as a twenty-year-old graduate student and stayed to become one of America’s most innovative intellectuals, whose work has explored the aesthetic and moral dimensions of human relations with landscape, nature, and environment. This unusually introspective autobiography mixes Yi-Fu Tuan’s reflections on a life filled with recognition, accolades, and affection with what he deems moral failings, his lack of courage—including the courage to be open about his homosexuality.
Women’s persuasion and performance in the Age of Enlightenment
Over a century before first-wave feminism, British women’s Enlightenment rhetoric prefigured nineteenth-century feminist arguments for gender equality, women’s civil rights, professional opportunities, and standardized education. Author Elizabeth Tasker Davis rereads accepted histories of seventeenth- and eighteenth-century British rhetoric, claiming a greater variety and power of women’s rhetoric. This recovery of British women’s performative and written roles as speakers, spectators, authors, and readers in diverse venues counters the traditional masculine model of European Enlightenment rhetoric. Davis broadens women’s Enlightenment rhetorics to include highly public venues such as theaters, clubs, salons, and debating societies, as well as the mediated sites of the periodical essay, the treatise on rhetorical theory, and women’s written proposals, plans, defenses and arguments for education. Through these sites, women’s rhetorical postures diverged from patriarchal prescriptions rather to deliver protofeminist persuasive performances of wit, virtue, and emotion.
Davis examines context, the effects of memory and gendering, and the cultural sites and media of women’s rhetoric to reveal a fuller ecology of British Enlightenment rhetoric. Each chapter covers a cultural site of women’s rhetorical practice—the court, the stage, the salon, and the printed page. Applying feminist rhetorical theory, Davis documents how women grasped their rhetorical ability in this historical moment and staged a large-scale transformation of British women from subalterns to a vocal counterpublic in British society.