Literatura científica selecionada sobre o tema "War Psychological aspects Fiction"

Traumatic experiences are characterized by its prelinguistic tendency. War fiction, however, refutes this statement when it reflects on the components of war so as to bear witness to its overwhelming nature as well as its ambiguous realities. Recalling the traumatic wounds of war, in this regard, is a testimonial avenue grounded on the desires of its narrators to be transformed from the confined scope of individuality into a more collective one. Written on the background of 2003 Iraq War, Mariette Kalinowski's "The Train" represents war's aftermath and the difficulty soldiers faced in adhering to ordinary life after being home. The conflict is a psychological one; it is shaped within the consciousness of a female soldier whose traumatized memory struggles against the ghost of past that haunts present. The study argues that Mariette Kalinowski's "The Train” follows the traumatized consciousness of an American veteran whose narrative line is marked by fragmentation, nonlinear plot, and the fluctuation between the past and the present. It also argues that the story itself is a testimonial narrative that aims at recordings individual suffering and thus placing it within a collective framework that motivates solidarity among wounded victims. The study relies on the psychological and literary aspects of trauma theory. It significantly draws on Cathy Caruth's Unclaimed Experiences, Ann Whitehead Trauma Fiction, Shoshana Felman's Crises of Witnessing in Literature, Psychoanalysis, and History, and other theorists in the field of trauma theory.

The present study aims to critically review the aspects of war in selected Iraqi war novels— Sinan Antoon, The Baghdad Eucharist (2017), Corpse Washer (2013) Zauhair Jabouri, The Corpse Hunter (2014)—that focus on depicting vividly the traumatic experiences of Iraqi, particularly after the US-led invasion of Iraq 2003 and how these novels could recur constantly to humanist themes and traumatized figures, the psychological suffering of minorities and the oppressed. In other words, it aims to make visible specific historical instances of trauma in Iraqi war fiction. The present study undertakes an in-depth investigation of the socio-political and historical dimensions of Cathy Caruth’s literary trauma simply because trauma experiences in Iraq were emanated from several causes such as social injustice, the oppression of minorities, political despotism, and the persecution of religious minorities, the displacement of Iraqis from the homeland, and the genocidal policies of jihadist. The study has found that Iraqi war fiction depends on the stylistic technique of repeating certain expressions, phrases, and lexical items to intensify the extraordinary events. It is a narrative of traumatic haunting known for its non-linear and circular style that often leads to ambiguity where readers are often unable to decode the authorial intentions, deriving its ambiguity from the traits of dreams and nightmares, the interpretations of which are continually and unredeemably haunted by the memory of loss.

Based on the novels of Sherkhan Murtaza - “The Moon and Aisha”, “The Red Arrow”, “War with no Weapons”, and “A Black Pearl”, the article discusses the concept-forming significance of the nature of colors in the narrative system. In the course of the analysis, the emotional, psychological, philosophical, and mythological foundations of colors in portraying the hero's spiritual world, the author's ideas, and historical reality are being comprehended. The analysis was carried out on the basis of textual and typological systemic functional techniKues. The research results reveal multifold prospects of the concept-forming potential of the array of colors in a semiotic aspect. The psychological and ideological conceptual significance of the color array in the piece of work was contemplated within the framework of the literary poetic style of Sherkhan Murtaza.

Associated with such life writing genres as (auto)biographies and memoirs, anecdotes are described as stories which “illustrate particular ideas, concepts, and views of the way a life is lived, making considerable editorial commentary on the nature of a particular ideological moment and the effect of that moment on individual lives.”(Encyclopedia of Life Writing) Anecdotes thus focus on, and highlight, episodes of a person’s life by transforming them into tales and stories using fictional narrative techniques and suspenseful plot twists. Having emigrated from Italy to Scotland at the beginning of the twentieth century and established his fish and chip shop in Glasgow, Joe Pieri was then interned and turned into an “enemy alien” on the day Italy declared war on Britain in 1940. In Isle of the Displaced, his book about this traumatic event, Pieri turns the most marking aspects of his journey to, and life in “Camp S” in Canada into a series of witty and comic anecdotes. This paper focuses on the definitions and history of anecdotal theory in order to analyse Pieri’s fictionalisation strategies and the way these stories function as a psychological dam in times of crisis, in addition to re-inscribing these important events in British and Italian histories. The main contention of this article is that the appeal of fiction increases during life’s most difficult times mainly thanks to the imaginative and tragic-comic powers of literariness.

The article has analyzed views of domestic and foreign authors on the essence and content of the concepts of "information warfare", "psychological war" and "information-psychological war" as components of a hybrid war. Within the psychological paradigm, information warfare is understood as the latent impact of information on individual, group and mass consciousness through methods of propaganda, misinformation, manipulation to form new views on the socio-political organization of society through changes in values and basic attitudes. The concept of "world psychological warfare", various theoretical approaches, tools of information and theoretical approach are considered. The tools of the information warfare against Ukraine are propaganda; manipulation; attempts to change public opinion; psychological and psychotropic pressure; spreading rumors, blocking TV and radio broadcasts; removal of Ukrainian channels in the occupied territories; disinformation and distribution of fake news; distribution of fake information. The defining features of the concepts of "information warfare" and "psychological war" are that information warfare is conducted mostly in cyberspace, while psychological – in social space. The organizational differences of the information influence of the Russian Federation in the basic training of law enforcement specialists are investigated. The main directions of work, forms of information warfare activities which were carried out by the Russian party are characterized. The main psychological challenges of modern information wars are shown. The psychological challenges caused by the war are identified, which are conditionally divided into the following four groups: challenges to Ukrainians as a community; challenges to the mental health of the individual; challenges to psychological well-being; challenges to Ukrainian psychologists as a professional community. In the course of the study, recommendations for confrontation in the information warfare were formed. The main necessary measures to counteract the information aggression of the Russian Federation against Ukraine are suggested.

Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.
Department of Architecture

A collection of short stories, All Begins to Bloom follows a range of young protagonists living in the greater Los Angeles area. In a time when even the most underground lifestyles are commodified, when Independent media is just another genre, when every mode of living has seemingly been exhausted, these characters struggle to forge an identity in the face of adulthood. From a group of surfers reeling from a careless death ("The Pier") to a young artistic couple brought together by the will to overcome an eating disorder ("All Begins to Bloom"), these stories explore the hollow promises among various subcultures. Instead of finding solace in the possibilities of the future, the narrators often gaze into the past, searching for a lost lesson inside the machinery of an old camera, or a neighbor's memory of the riots of 1992 ("Daydreamers"). Within the confining age of relentless digitization, the fight for human connection is waged. Two brothers, in a string of emails, attempt to make sense of their father's surprising infidelities, exposing the smothered confusions of childhood ("Things Emails Should Not Contain"). In the throes of withdrawal, a young pill-popper is forced to comfort his mother's best friend, a recent widow ("Pharm Boy"). These stories attempt to find an answer to apathy, the unwillingness to care, and to break apart all the defenses one uses to shelter oneself. Whether failing or succeeding, the striving to connect with one another proves to be invigorating.

August Diamond is left lost after the sudden death of her father. The stories in Dance Lessons explore the themes of loss and grief, retreat and return, and finding your true self. The collection is a novel in stories, each story exposing another layer of August's past, her family, and their complicated relationships.

The psychological sequelae of being involved in combat are only recently coming to be understood. Most of the available data are from research conducted on help-seeking Vietnam veterans in the United States, and very little work has been done in South Africa. There does not as yet appear to be any instrument designed specifically to detect combat-related psychopathologies amongst soldiers who are still in active service, either in the USA or in South Africa. Combat involvement has been shown to lead to a high incidence of combat stress reaction. This in turn has shown that it can predispose sufferers to the development of a Post-traumatic Stress Disorder. It is thus expected that there would be significantly higher incidences of reported symptoms of stress disorders amongst soldiers exposed to high levels of combat as compared with a similar group of soldiers who had no combat involvement. This study used a self-reporting questionnaire, developed in the USA but adapted for use in South Africa, to allow the soldiers in the study to rate the severity of various symptoms derived from the DSM-III criteria for Post-traumatic Stress Disorder. A Beck Depression Inventory was also administered to eliminate any persons who nay have been exhibiting symptoms of depression, as this would have confounded the results. Both questionnaires were administered to serving members of the Permanent Force of the South African Defence Force, with one group being members of various high-combat units based in what was then South West Africa, and the other group being non-combat or Headquarters elements. As a precondition of the study, absolute confidentiality of the respondents and their units was maintained. The study found the expected higher scores in the high-combat group, and also showed that the Keane questionnaire has a good coefficient alpha in South Africa. The study closes with several recommendations for further research, especially in the light of the new PTSD criteria in the DSM-IIIR.

For the past decade or so, a shaky aura of respectability has surrounded the genre of science fiction. Recognition as a branch of literature was late coming to what was, and to some extent still is, a confused form of fiction. Critics are still unable to agree on a definition of science fiction; they are no longer even sure what the letters 'SF' should stand for; they argue about its role, relevance and historical origins, and debate its relationship with 'mainstream' literature. What they do seem to agree on, however, is that science fiction is a form of popular literature that offers an alternative approach to the common concerns of the dominant mode of narrative - realist fiction. Having been relegated to the periphery of 'literature' for so long, the realm of science fiction has been largely unmediated by academic criticism and there is still a tendency for some literary critics to dismiss science fiction as childish, escapist and generally unimportant. Kirpal Singh (1983) explains: Various factors have conspired - and I use the term deliberately - to create problems for sf. As is usual in most areas of human intercourse whenever an apparently new and vigorous subject offers itself for exploration, human beings are wont to put up resistance. The literary fraternity ... have time and again given scant attention to sf. Some critics see sf as an inferior form of literary expression and so do not think it worth their time and energy; sf in their minds is associated with Superman, Bug-Eyed Monsters, and Spaceships. They find all this irritating, or at best amusing. There is a tendency - very often expressed in no uncertain terms - to regard sf as juvenile ... not quite the thing for adults and certainly not suitable for the literary critic. (p.106) Not only science fiction, however, has suffered at the hands of literary critics as has been indicated by Stephen Knight in his book, Form and Ideology in Crime Fiction (1980): Literary criticism has shied away from commercial success as a ground for taking a book seriously. Literary critical skills have not been used to study the interests and needs of mass society: they have been turned inwards in a fully ideological way to gratify and ratify the taste - and needs to - of the highly educated minority who validate their position by displaying a grasp of complicated cultural artifacts. (p.2) Marc Angenot has described 'paraliterature' as occupying "the space outside the literary enclosure, as a forbidden, taboo, and perhaps degraded product; against which the 'self' of literature is forged". (in Parrinder, 1980, p.46) Despite the discriminatory 'high' versus 'low' literary dichotomy, it is becoming less necessary to justify the study of popular literary forms. Recent years have seen a stretching of boundaries resulting in a proliferation of essays that address various forms of popular literature, science fiction included, by people from a wide variety of disciplinary perspectives. Most of these studies have approached popular literature as bodies of fictional works with similar themes. They typically focus on such textual elements as plot formula, narrative, characterisation, style and symbolism. Derek Longhurst ( 1989) identifies "a range of largely formalist strategies designed to demonstrate that unlike 'literature', popular fiction was standardized and formulaic, a debased coinage of little 'moral' value, distorting the truths of 'lived experience', time-bound rather than addressing the transhistorical and universal territory of the 'human condition"'. (p.1) Such strategies ignore the actual readers of popular literature and as a result the cultural roles of such texts are not well understood. "A good literary critic should be able to say why a mass-seller works, and how it works. The dismissive certainties of most comments on popular culture do not satisfy these requirements." (Knight, p.2) Popular culture audiences have received quite condescending treatment as many studies have assumed them to be a passive and receptive body upon which ideological content is inflicted. In 1981, Janice Radway, writing about Gothic romances, expressed concern at the lack of theories connecting popular literature and culture: " ... studies characterized by considerable variety in subject matter and method are united by their common assumption that popular literature tends only to reconfirm cultural convention". (p.140) Radway's insistence on shifting attention from isolated texts 'to the complex social event of reading' culminated in her development of an innovative methodology for analysing popular literature and its application to romantic fiction (1984). Having concluded that 'ethnographies of reading' were what was required, Radway set out to discover what it is about romantic fiction that captivates millions of female readers. In Reading the Romance (1984), Radway describes how, instead of focusing on the romantic text alone, she concentrated on the readers' perspective. In distinguishing between the event of reading and the actual text, Radway draws heavily on the work of Stanley Fish (1980) who challenges the notion of text as a fixed object. Although Fish's views imply an impotency of the actual text that deserves to be questioned, his identification of the informed reader as part of an interpretive community that agrees upon interpretive conventions is extremely important. Richard Johnson (1986) advocates the connection of readings with 'lived culture' and the necessity to study the readers' milieu (p.285). While acknowledging the importance of textual analysis, Johnson questions its competence to handle an 'inter-discursive reality of reading'. Longhurst describes this emergence of involvement of the reader as an emphasis on reading 'textuality' rather than the reading of self-contained texts (p.5). It is Radway's model for popular literature analysis that lays the groundwork for this present study, which focuses on the nature of the relationship between science fiction readers and the science fiction text. The objective of this research is to gain a greater understanding of what motivates people to read a particular type of text and to strive toward an explanation for the genre's popularity. Some of the questions to be explored are: what do the readers find particularly interesting and enjoyable about these texts?; what are their criteria for distinguishing between 'good' and 'bad' texts?; and to what extent does the collective enthusiasm exhibited by some readers of science fiction affect the content of science fiction texts? For Radway's Smithton readers, the event of reading was considered more important than any particular novel encountered in the process. Similarly, this study will reveal that reading texts as a member of the science fiction community is more important to the readers than are the individual texts themselves. 'Fandom' is central to science fiction. In a genre long neglected by outside commentators, science fiction fandom has established its own standards of quality (Lundwall, 1971, p.227). Commenting on the social universe of fandom, author Roger Zelazny (1975) writes: ... science fiction is unique in possessing a fandom and convention system which make for personal contacts between authors and readers, a situation which may be of peculiar significance. When an author is in a position to meet and speak with large numbers of his readers he cannot help, at least for a little while, feeling somewhat as oldtime story-tellers must have felt in facing the questions and the comments of a live audience. The psychologbe given some consideration as an influence on the field. (p.11) This subculture of fandom peculiar to science fiction attracts hordes of devotees world-wide. They set up clubs, edit magazines, share a shorthand language of fandom, attend science fiction conventions and take their place in a vast network of correspondence. Ursula Le Guin identifies "a ready audience - ready to discuss and to defend and to attack and to argue with each other and with the artist, to the irritation of and the entertainment and the benefit of them all" (1975). Bob Tucker describes the science fiction phenomenon as "a network of infinite self-analysis and mutual support which is quite unparalleled even in Alcoholics Anonymous" (1975). Such descriptions highlight the existence of an active, socially important subculture. The very nature and extent of communication within the science fiction community, particularly the relatively enormous amount of feedback science fiction writers receive from readers, makes it appear simplistic to explain the proliferation of the different variations of the science fiction literary form as a preoccupation of writers alone. "In the democratic, if incestuous, processes of this subculture, SF readers are more vocal than those of other popular forms, and as a consequence, exercise some influence over writers and publishers." (Mellor, 1984) According to Linda Fleming (1978), in an article titled "The American SF Subculture", A SF subculture originated, developed, and exists today because of the enthusiasm SF arouses in some people, the subsequent commercial exploitation of that enthusiasm, and because both professionals and readers have found belonging to a group a socially rewarding experience for brief or long periods of their lives. (p.290) Fleming prompts the investigation of this network which mediates the reading experience for so many readers and has done so for many years. Sheical process involved in this should poses questions about fandom and the nature of people's involvement in science fiction that have yet to be answered adequately by research. This study will illuminate several of these, accepting Fleming's assertion that modern science fiction cannot be fully understood without understanding the subculture in which so much of it evolved. In order to account for the existence of modern science fiction and its many themes, a review of the field of science fiction will include a brief history of the genre and its followers. The Australian science fiction scene will be examined so that the primary research can be considered in context. Central to this study are the members of the Melbourne Science Fiction Club who, as survey respondents, have expressed what it is to be part of Australian science fiction fandom as no external critic can. The Melbourne Science Fiction Club was chosen to take part in the survey for several reasons: Melbourne is recognised as the centre of Australian science fiction fandom; the Club has a history longer than most others in Australia (it was formed in 1953); the Club meets every week and produces a bimonthly publication; it is a 'general' club, that is, not concerned solely with one particular strand of science fiction, like Star Trek movies; and, most importantly, the members were willing participants. Obviously, members of the Melbourne Science Fiction Club do not constitute a random representative sample of readers of the science fiction genre. They did, however, present an excellent opportunity to test questionnaire design and sample a slice of science fiction's active readership. The survey of readers is supplemented with content analysis of their Club 'fanzine', Ethel the Aardvark, and science fiction texts are discussed as the products of interpretation. Of the great variety of science fiction narrative types, disaster novels are identified as possessing a formula that has proved particularly durable. Discussion of several disaster texts that illustrate the modern evolution of this formula reveals many of science fiction's icons and oppositions that promote regularities in textual readings. While the questionnaire follows a similar format to that designed by Radway, it has proved more appropriate to tap science fiction fandom's correspondence and fanzine network than to hold in-depth discussions with Club members as Radway was able to arrange with the Smithton readers. Science fiction fandom's preference and, indeed, exuberance, for written communication has compensated for some of the problems inherent in being distanced from survey respondents. The reason for choosing to follow Radway's method, aside from its wide acclaim as a useful model for future literary research, is an interest in applying her approach to another genre of popular literature. Radway offers a way of connecting the analysis of texts and structural insights with study of the readers in the texts' wider socio-cultural context. The nature of repetitive reading of various types of science fiction texts becomes particularly interesting when it is considered that fans may be equally, if not more, submerged in science fiction fandom than they are in science fiction.

Set in rural Kansas, this story follows the lives of Jonathan Tate, his sister Lily Anne Tate, and their father, up until his death, Hershall Tate. They are an isolated family, seemingly living outside of time. John opens the novel with a walk into town to set the contrast between him and the rest of the world. Time is the theme and essence, because every scene and the tone of the scenes are weighted by the imminence of Hershall's death. He is dying slowly and so their lives move slowly. Lily can't help but be ornery, while John, assuming all the chores and anxiety of the future without his father, is reserved and reluctant. Hershall is set in his ways and not in a hurry to get the house in order before his death. There is the old-fashioned nature of Hershall, the isolated nature of the whole family, and the rest of the modern world to contend with. These beginning pages are setting up the next stage of the novel where Lily and John begin their journey after their father's death.

There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

This thesis describes the development of psychological operations capabilities, introduction of forces, and the employment in Vietnam during the period 1960-1965. The complex interplay of these activities is addressed, as well as the development of PSYOP doctrine and training in the period prior to the introduction of ground combat forces in 1965. The American PSYOP advisory effort supported the South Vietnamese at all levels, providing access to training, material support, and critical advice. In these areas the American effort was largely successful. Yet, instability in the wake of President Ngo Dinh Diem's overthrow created an impediment to the ability of psychological operations to change behaviors and positively affect the outcome.

While the motivations for waging war may not have changed significantly over time, the strategies and methodologies employed by humans that may have resulted in genocide and unilateral annihilation certainly have changed. The tenets purported by Sun Tzu in his classic The Art of War remain as relevant today as they were when he wrote this ancient military treatise; however, the introduction of advanced technologies and training strategies have drastically altered the ways in which humans currently engage in conflict. The long-term effects of utilizing these advanced technologies and training strategies have yet to be completely realized, and research suggests that the impact that these effects are having is not only relegated to the devastation of the enemy, but they are also having unanticipated psychological and cognitive effects on the initiators of the action. When science fiction becomes reality and the basis of how wars are fought, the determination of the ethics, laws, economics, and politics surrounding those wars presents humans with new challenges.

Chapter 7 examines the CIA espionage and psychological-warfare operations against the USSR that involved the most important and most controversial Russian exile organization, the People’s Labor Alliance. Operations to infiltrate agents directly into the USSR by plane ended in fiasco due to Soviet counterintelligence, which thwarted the NTS operations and pursued measures to penetrate and subvert the émigré organization from within. In response, the CIA turned to a strategy of utilizing the NTS as an instrument of psychological warfare, spreading disinformation about the exiles in order to incite the Soviet state into costly countermeasures. Such an effort to manipulate the fiction of émigré political influence demonstrated the increasingly complex and marginal-gains nature of Cold War competition between intelligence agencies.

This chapter addresses the debates about the future of the British novel in the years leading up the First World War. The initial focus is Ford Madox Ford’s English Review. By reading the magazine forward from the ‘Art of Fiction’ debates of the 1880s, rather than—as is usual—back through canonical modernism, we see how Ford deliberated staged comparisons between what he saw as the two distinct possibilities for the future of modern British literature: the ‘artists’ drawing on a French, specifically Flaubertian, tradition with which Ford aligned his own ‘impressionism’, and the ‘propagandists’ deriving from English and Russian nineteenth-century novels. The literary relevance of the anti-tsarist politics of the magazine is discussed, and the chapter concludes by analysing Joseph Conrad’s work of the period.

This chapter analyzes the different Iraqi elements that participated in the war and the way they performed in the war in different aspects in general. This includes general doctrinal aspects in the activation of the Iraqi forces, especially to deal with the large Iranian offensive, as well as the Iraqi offensive operations in 1988. It describes the activation of the main elements of the Iraqi ground forces, air force and air defense, army aviation and the navy. It deals also with special topics like the use of the Popular Army, Intelligence and psychological warfare, the logistic system, surface-to-surface missile operation and the use of chemical weapons during the war.

Historical empathy has increasingly been recognized as a multidimensional construct that involves both cognitive and affective dimensions. Research suggests that engaging learners with diverse historical perspectives in activities like debate, writing, and role play can be more effective for historical empathy than traditional instruction. Although several studies have investigated the effectiveness of these strategies, little is known about the effectiveness of games in promoting historical empathy. Through observation, recorded game play, and semi-structured interviews, this chapter examined how historical empathy manifested as eighth graders played a videogame about World War I (Valiant Hearts). The findings indicate that specific elements of game play may foster particular dimensions of historical empathy better than others, and that some dimensions tend to arise spontaneously while others require (or even resist) prompting.

Contemporary situational circumstances, with the global Covid-19 pandemic crisis and the ongoing war that has resulted from Russia’s invasion of Ukraine, have brought about social, cultural, and psychological transformations that are, as of yet, little understood but already affecting different aspects of the contemporary school learning processes. Rational, analytical, cognitive, reflexive, and emotional experience are needed to ensure that difficulties within the crisis ecosystem do not cause a lessening of the human emotional experience in difficult times. Diverse emotional experiences are especially needed, the supply of which is reduced by both the limitations of interactivity imposed by the specifics of the media information space, which mostly reflects the realities of the crisis and are predominantly negative. In the face of this protracted crisis and the implications of new communication technologies, the article explores some ways to manage emotional experiences, so as not to lose sight of the diversity of human relations. It looks to address how we can compensate for the minimization of diverse emotional experience in teaching and learning in situations of social crises. The article pays attention to the potential role of literature as a way to build sustainable post-crisis social relationships. It proposes to reevaluate the role of literature in education and explore its use not only as a cognitive source for rational and critical thinking but its potential for cultivating moral emotions that enhance social solidarity and civility. The case studies it presents evaluate the interpretation and misinterpretation of some classical works of Latvian literature in schools and beyond, in the media and society.