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1
Mills, Joy. Raw Emotion: When Time Stands Still. Lightsource, 2006.
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2
Bommarito, Nicolas. Emotion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673383.003.0004.
Повний текст джерелаАнотація:
After a brief discussion of the nature of emotion, I argue that emotions can be morally virtuous or vicious independently of their associated overt behaviors. They are relevant to moral character by manifesting our underlying moral cares and concerns. I then defend two important features of the account: First, though emotions play an important part of being a virtuous person, particular emotions are not necessary for being morally virtuous. In particular, I discuss the moral relevance of emotional defects associated with autism and psychopathy. Second, I argue that emotions can be morally virtuous even when they are irrational. This best explains cases where irrational emotions still reflect well on one’s moral character. These features allow for cultural and individual variation between morally virtuous people.
3
Hemingway, Style, and the Art of Emotion. Cambridge University Press, 2015.
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4
Wyatt, David. Hemingway, Style, and the Art of Emotion. Cambridge University Press, 2015.
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5
Wyatt, David. Hemingway, Style, and the Art of Emotion. Cambridge University Press, 2017.
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6
Bonini Baraldi, Filippo. Roma Music and Emotion. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.001.0001.
Повний текст джерелаАнотація:
By combining long-term field research with hypotheses from the cognitive sciences, this book proposes a groundbreaking anthropological theory on the emotional power of music. It hig hlights a human tendency to engage in empathic relations through and with the musical artifacts, veritable “sonic agents” for which we can feel pity, compassion, or sympathy. The theory originates from a detailed ethnography of the musical life of a small Roma community of Transylvania (Romania), where Filippo Bonini Baraldi lived several years, seeking an answer to intriguing questions such as: Why do the Roma cry while playing music? What lies behind their ability to move their customers? What happens when instrumental music and wailing voices come together at funerals? Through the analysis of numerous weddings, funeral wakes, community celebrations, and intimate family gatherings, the author shows that music and weeping go hand in hand, revealing fundamental tensions between unity and division, life and death, the self and others—tensions that the Roma enhance, overemphasize, and perceive as central to their identity. In addition to improving our understanding of a community still shrouded in stereotypes, this book is an important contribution for research on musical emotion, which thus far has focused almost exclusively on western classical music.
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Cumiskey, Kathleen M., and Larissa Hjorth. Affirmation and Intensification. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190634971.003.0004.
Повний текст джерелаАнотація:
In this chapter we focus on mobile-emotive rituals of affirmation and intensification. Loss can be viewed as a disruption in identity. Mobile media are used as a means to affirm the role that the deceased played in the bereaved person’s life. Mobile media are also used to intensify connections between people who share a common identity. The mobile phone itself serves as a linking object, in that the lost loved ones can seem as though they are still present. Mobile-emotive rituals are discussed as extensions of traditions and of self. This chapter draws on fieldwork in the United States to demonstrate the ways in which users utilize social and mobile media to express collective social identities and the significance of others.
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Freeden, Michael. 10. Conclusion: why politics can’t do without ideology. Oxford University Press, 2013. http://dx.doi.org/10.1093/actrade/9780192802811.003.0010.
Повний текст джерелаАнотація:
If discourse, emotion, criticism, culture all intersect with the concept of ideology and claim it for their own, can politics still declare a prior vested interest in ideology? Can ‘ideology’ still be employed as shorthand for political ideology? This ‘Conclusion: why politics can't do without ideology’ makes the case for its core role in political ideology. Why is ideology central to the domain of politics? Four features make it central: its typical forms in which ideologies are presented; its influential kinds of political thought; its instances of imaginative creativity; and the necessity that ideologies need to be communicable.
9
Thomason, Krista K. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843274.003.0007.
Повний текст джерелаАнотація:
The conclusion summarizes the main aims of the book. Even though shame can be a painful and damaging emotion, we would still not be better off without it. A continued liability to shame shows that we accept that we are not always the people we think we are, but accepting this fact is a sign of moral maturity. Additionally, this conclusion raises questions about moral philosophy’s commitment to positive moral psychology. Although some philosophers have defended negative emotions, the field as a whole still treats positive feelings as better and more desirable than negative feelings. But it is reasonable to ask whether moral agents should try to be “emotional saints.”
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Ehrlich, Matthew C., and Joe Saltzman. Image. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039027.003.0006.
Повний текст джерелаАнотація:
This chapter looks at image by focusing on the depiction of photojournalists and television journalists. Critiques of the press often warn of the dangers of manufactured image and spin, as with political events that are orchestrated for the camera. Still, others have pointed to the power of visual images to evoke empathy and emotion and appeal to the imagination, whereas many professionals and educators argue that photojournalism and TV journalism at their best serve journalism's self-proclaimed devotion to truth and social responsibility. Popular culture dramatizes both perspectives on those journalistic professions: they can either help present a picture of the world as it really is, or they can promote lies and fluff over reality and substance.
11
I'Anson, Mileece. Form, Chaos, and the Nuance of Beauty. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.33.
Повний текст джерелаАнотація:
In general, musical forms iterate from axioms of pitches and intervals organized by a set of principles, yet when describing music as ‘desirable’ or ‘effective’, we are pointing not to its form, but to our experience of it. In successful music, the composer moves the listener through a series of emotive states in some sense predetermined by the composer, but that are not reducible to the patterns and principles. The argument in this chapter concerns what makes some music capable of eliciting ‘exaltation’ rather than a routine response. Designing chaos into the musical patterns themselves is proposed as one such route. The author uses the evolution of the stochastic processes underlying her ‘aesthetic sonification’ of natural systems and the vocal variabilities of Emma Kirkby and Amy Winehouse to elucidate her thoughts on how chaos can interact with musical forms. Growth in natural systems, while still engaging with ‘choreographed chaos’ has particularly motivated the author.
12
Douglas, A. E. Cicero: Tusculan Disputations II and V. Liverpool University Press, 1989. http://dx.doi.org/10.3828/liverpool/9780856684333.001.0001.
Повний текст джерелаАнотація:
The Fifth Tusculan Disputation is the finest of the five books, its nearest rival being the First. The middle three books, represented in this edition by the Second, are, as the author clearly intended, less elevated, though still showing Cicero's flair for elegant and lively exposition, and providing much valuable information about the teaching of the main Hellenistic philosophical schools, especially the Stoics. They argue that the perfect human life, or complete human well-being, that of the 'wise man', is unaffected by physical and mental distress or extremes of emotion. Against this background, the Fifth puts the positive, mainly Stoic, case that virtue, moral goodness, is alone and of itself sufficient. The book presents Latin text with facing-page English translation, introduction and commentary.
13
Dukas, Reuven. Cognition and learning. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797500.003.0017.
Повний текст джерелаАнотація:
The traditional view of insects, as driven primarily by instinct, has changed dramatically in the past few decades. It begins with a brief review of insects’ sophisticated cognition, defined as the neuronal processes concerned with the acquisition, retention, and use of information. Three illuminating examples that illustrate adaptive aspects of cognitive traits in the context of night vision, memory and antipredatory decisions are given. Most insects possess good individual learning abilities and learning is positively associated with insect fitness. While social learning has been instrumental in social insects’ lives, its prevalence and importance in other insect taxa is still unknown. The chapter concludes by highlighting promising topics for future investigation, including research on heritable variation in insect cognitive traits and its association with fitness, expertise development, social learning in non-social insects, and the role of emotion in guiding insect decisions.
14
Scheer, Monique. Enthusiasm. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863595.001.0001.
Повний текст джерелаАнотація:
Enthusiasm seeks to contribute to a culturally and historically nuanced understanding of how emotions secure and ratify the truth of convictions. More than just pure affective intensity, enthusiasm is about something: a certainty, clarity, or truth. Neither as clearly negative as “fanaticism” nor as general as “passion,” “enthusiasm” specifically entails belief. For this reason, Enthusiasm takes its starting point in religion, the social arena in which the concept was first debated and to which the term still gestures. Empirically based in modern German Protestantism, where religious emotion is intensely cultivated but also subject to vigorous scrutiny, this book combines historical and ethnographic methods to show how enthusiasm has been negotiated and honed as a practice in Protestant denominations ranging from liberal to charismatic. The nexus of religion and emotion and how it relates to central concepts of modernity such as rationality, knowledge, interiority, and sincerity are key to understanding why moderns are so ambivalent about enthusiasm. Grounded in practice theory, Enthusiasm assumes that emotions are not an affective state we “have” but mind–body activations we “do,” having learned to perform them in culturally specific ways. This book shows that, when understood as an emotional practice, enthusiasm has different styles, inflected by historical traditions, social milieus, and knowledge (even ideologies) about emotions and how they work. Finally, Enthusiasm also provides insight into how this feeling works in secular humanism as well as in politics, and why it is so contested as a practice in any context.
15
Moss, Gemma. Modernism, Music and the Politics of Aesthetics. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474429900.001.0001.
Повний текст джерелаАнотація:
Why was music so prominent in modernist literature? Why did so many modernist writers turn to an abstract art form like music to help them explore politics, gender, war, capitalism, technology and the social functions of art? Using an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms. Re-assessing music in James Joyce, Ezra Pound and Sylvia Townsend Warner, this book re-shapes temporal, aesthetic and political understandings of modernism by arguing that music plays a crucial role in on-going attempts to investigate language, rational thought and ideology using aesthetic forms. Finally, through an analysis of twenty-first-century novelists who have returned to modernist music and methods of formal innovation, this book argues that we need a new account of modernism, which is still being produced today. Since contemporary writers continue to ask what can be achieved by combining musical and literary forms, and to debate the value of linguistic and rational meaning against music’s non-referential, emotive communicative capacities, this book provides a methodology that offers a purchase on matters we have not yet found our way out of.
16
Whitehouse, Harvey. Terror. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0015.
Повний текст джерелаАнотація:
This article examines ritual ordeals that inspire terror regardless of the participants' preexisting beliefs. In such traditions, the relationship between belief and emotion is more or less the converse of that entailed by fears of supernatural punishment. Fear is a major part of the psychological processes that give rise to the gradual formation of mystical knowledge. Focusing on terrifying rituals has the advantage of picking out a generalizable feature of religion—not a feature of all religions, to be sure, but a “mode of religiosity” that is probably as ancient as our species and is still found in every corner of the globe. Given the shocking nature of the rituals in question, it is not unreasonable to refer to these practices as “rites of terror.” Two strategies, broadly speaking, have been developed in an attempt to understand the nature and origins of rites of terror. The first strategy is sociological in orientation, while the second is a psychological one. This article also discusses the rituals, memories, and motivations associated with rites of terror.
17
Wenk, Gary L. The Brain. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190603403.001.0001.
Повний текст джерелаАнотація:
What is the principle purpose of a brain? A simple question, but the answer has taken millennia for us to begin to understand. So critical for our everyday existence, the brain still remains somewhat a mystery. Gary L. Wenk takes us on a tour of what we do know about this enigmatic organ, showing us how the workings of the human brain produce our thoughts, feelings, and fears, and answering questions such as: How did humans evolve such a big brain? What is an emotion and why do we have them? What is a memory and why do we forget so easily? How does your diet affect how you think and feel? What happens when your brain gets old? Throughout human history, ignorance about the brain has caused numerous non-scientific, sometimes harmful, interventions to be devised based on interpretations of scientific facts that were misguided. Wenk discusses why these neuroscientific myths are so popular, and why some of the interventions based on them are a waste of time and money. With illuminating insights, gentle humor, and welcome simplicity, The Brain: What Everyone Needs to Know makes the complex biology of our brains accessible to the general reader.
18
Zieger, Susan. The Mediated Mind. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.001.0001.
Повний текст джерелаАнотація:
The latter half of the nineteenth century witnessed a mass media revolution in the widespread explosion of print; this book shows how the habits of consuming printed ephemera are still with us, even as pixels supersede paper. Trivial, disposable printed items, from temperance medals and cigarette cards to cartoons and even novels tell us much about nineteenth-century mediated experience, and our own. For a fresh perspective on media consumption, the book examines affect, a dynamic quality of human mind and body that links emotion to cognition, self to other, and self to environment. Affect shows how mass-mediated material began to dwell in the mind – less so the rational mind of egoistic cognition, than the embodied mind of daydreaming, reverie, and feeling. In such fugitive spaces, the sovereign individual gives way to community and inter-subjectivity as he or she recreates the social body. The book makes visible an array of positions, habitable by people of different classes, genders, ages, and sexualities, such as the mass live audience member, the enchanted viewer, the information “addict,” the self-fashioner, the collector, and the re-player of experience. These positions characterize an earlier moment in a genealogy of media consumption that endures today. The book describes them by putting disposable print forms into conversation with performance, visual culture, literary fantasy, and media theories. Demonstrating the recursive relations between affects and mass media, it reveals the cultural and psychological contours of ephemeral experience.
19
Wilson, Emma. The Reclining Nude. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.001.0001.
Повний текст джерелаАнотація:
The figure of a woman reclining, in repose, displayed, abandoned, fallen, asleep, or dreaming, returns in the work of women filmmakers and photographers in the twentieth and twenty-first centuries. Filmmakers Agnès Varda and Catherine Breillat, and American photographer working in Paris, Nan Goldin, return to the paintings of Titian, Velázquez, Goya, Courbet, and others, re-imagining, and re-purposing, their images of female beauty, display, (auto)eroticism, and intimacy. This book, a sensuous evocation of these feminist works, claims a female-identified pleasure in looking. The artists explored align images of repose and sensuality with other images of horizontality and proneness, of strong emotional content, images of erotic involvement, of vulnerability, of bodily contortion, of listlessness, grief, and depression. The reclining nude is for all three artists a starting point for a reflection on the relation of film, projections, and still photography, to painting, and a sustained re-imagining of the meanings conjured through serial returns to a particular pose. This book claims that the image of the reclining nude is compelling, for female-identified artists – and for all allied in feeling and picturing femininity – in the sensitive, ethically adventurous, politically complex feminist issues it engages. The reclining nude is an image of passivity, of submission, of hedonism. It allows thought about passivity as pleasure, about depression and grief figured posturally, about indolence as a form of resistance and anarchy. Through this image, female-identified artists have claimed freedom to offer new focus on these extremes of emotion. They are re-imagining horizontality.
20
Dadlez, E. M., ed. Jane Austen's Emma. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689414.001.0001.
Повний текст джерелаАнотація:
Legend has it that, when asked whether he still read novels, the philosopher Gilbert Ryle responded “Yes, all six, every year,” referring to Jane Austen’s six completed works. Her novels have invited an unusual degree of explicitly philosophical attention from scholars, none more so than Emma. That is unsurprising, given that Austen’s writing invariably addresses questions about virtue and vice, human interaction and rivalry, motivation and commitment, presenting readers with ethical and other dilemmas set in a variety of naturalistic contexts. Questions about social and economic class and social obligations are raised. Austen reflects on self-knowledge and self-awareness, considers how it is that people justify their convictions, and investigates both the nature and the effects of imagination and emotion on human conduct and choices. She dwells on the ways in which evidence is taken note of or disregarded, and the effects of biases on decision and action. Accordingly, many philosophers have a decided soft spot for Austen, and reading Austen is often held to promote philosophical reflection. Emma offers particular opportunities for such reflection, evident when style as well as content is considered. Emma’s radically experimental presentation of events through the distorting lens of the protagonist’s mind, what is now referred to as free indirect style, foregrounds Austen’s then-unique blending of third- and first-person points of vantage. Such narratival perspective-shifting presents unique opportunities for insight and reflection. Among Emma’s manifold stylistic innovations are also the hilariously Joycean stream-of-consciousness monologues, capturing in an instant a portrait of character, state of mind, and motivations.