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In private life, we try to induce or suppress love, envy, and anger through deep acting or "emotion work," just as we manage our outer expressions of feeling through surface acting. In trying to bridge a gap between what we feel and what we "ought" to feel, we take guidance from "feeling rules" about what is owing to others in a given situation. Based on our private mutual understandings of feeling rules, we make a "gift exchange" of acts of emotion management. We bow to each other not simply from the waist, but from the heart. But what occurs when emotion work, feeling rules, and the gift of exchange are introduced into the public world of work? In search of the answer, Arlie Russell Hochschild closely examines two groups of public-contact workers: flight attendants and bill collectors. The flight attendant's job is to deliver a service and create further demand for it, to enhance the status of the customer and be "nicer than natural." The bill collector's job is to collect on the service, and if necessary, to deflate the status of the customer by being "nastier than natural." Between these extremes, roughly one-third of American men and one-half of American women hold jobs that call for substantial emotional labor. In many of these jobs, they are trained to accept feeling rules and techniques of emotion management that serve the company's commercial purpose. Just as we have seldom recognized or understood emotional labor, we have not appreciated its cost to those who do it for a living. Like a physical laborer who becomes estranged from what he or she makes, an emotional laborer, such as a flight attendant, can become estranged not only from her own expressions of feeling (her smile is not "her" smile), but also from what she actually feels (her managed friendliness). This estrangement, though a valuable defense against stress, is also an important occupational hazard, because it is through our feelings that we are connected with those around us. On the basis of this book, Hochschild was featured in Key Sociological Thinkers, edited by Rob Stones. This book was also the winner of the Charles Cooley Award in 1983, awarded by the American Sociological Association and received an honorable mention for the C. Wright Mills Award.

Emotions -- Economic aspects. --- Employee motivation. --- Work -- Psychological aspects. --- Social Sciences --- Psychology --- Emotions --- Work --- Economic aspects. --- Psychological aspects. --- Motivation in industry --- Work motivation --- Work, Psychology of --- Feelings --- Human emotions --- Passions --- Motivation (Psychology) --- Personnel management --- Psychology, Industrial --- Goal setting in personnel management --- Affect (Psychology) --- Affective neuroscience --- Apathy --- Pathognomy --- Arbeitnehmer. --- Gefühl. --- Kommerzialisierung. --- Manipulation. --- Selbstentfremdung.

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Emotions are as old as humankind. But what do we know about them and what importance do we assign to them? 'Emotional Lexicons' is a cultural history of terms of emotion found in German, French, and English language encyclopaedias since the late 17th century.

Affective and dynamic functions --- Language and emotions --- Emotions --- Émotions --- Passions (philosophie) --- History. --- Langage. --- Dans la littérature. --- Histoire. --- Deutsch. --- Englisch. --- Französisch. --- Gefühl. --- Lexikon. --- Wortschatz. --- Emotions. --- Language and emotions. --- German language. --- Ashkenazic German language --- Hochdeutsch --- Judaeo-German language (German) --- Judendeutsch language --- Judeo-German language (German) --- Jüdisch-Deutsch language --- Jüdischdeutsch language --- Germanic languages --- Feelings --- Human emotions --- Passions --- Psychology --- Affect (Psychology) --- Affective neuroscience --- Apathy --- Pathognomy --- Émotions --- Dans la littérature.

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Woran bindet sich die Emotion des Zuschauers im Kino? Und wie lässt sich eine Geschichte dieser Bindung schreiben? Mit Blick auf diese Fragen konzipiert die Arbeit von Hauke Lehmann die filmhistorische Periode des New Hollywood als einen Moment der Krise, der sich weder auf ökonomisch bedingte Anpassungsprozesse noch auf eine Ansammlung von Meisterwerken reduzieren lässt. Vielmehr gelangt in der detaillierten Analyse repräsentativer Filme die Kraft filmischer Bilder in den Blick, ihre Zuschauer zu affizieren: sie mit dem Neuen zu konfrontieren. Die Filme des New Hollywood vermessen das Feld der alten poetischen Einteilungen - wie es sich im klassischen Genresystem manifestiert - radikal neu und verändern dadurch die Art und Weise, wie die Zuschauer im Kino emotional adressiert werden. Die Arbeit beschreibt ein komplexes Zusammenspiel dreier filmischer Modi von Affektivität - Suspense, Paranoia und Melancholie - welche die Zuschauer auf je besondere Weise in die Widersprüche ihrer emotionalen Weltbezüge verwickeln. Auf dieser theoretischen Grundlage entwirft die Arbeit das Projekt einer Neukonzeption von Filmgeschichte: als eine Geschichte des Fühlens, die sich bis in die Gegenwart neu schreiben lässt.

Affekt. --- Film history/ in the USA. --- Filmgeschichte/US-amerikanisch. --- Zeitlichkeit. --- affect. --- temporality. --- Melancholie --- Film --- Rezeption --- Zuschauer --- Spannung --- Gefühl --- Ästhetik --- Paranoia --- PERFORMING ARTS / Film & Video / History & Criticism. --- Motiv --- Künste --- Kunstästhetik --- Kunstphilosophie --- Kunsttheorie --- Philosophische Ästhetik --- Kunstanschauung --- Kunstauffassung --- Philosophie --- Ästhetizismus --- Ästhetisches Handeln --- Ästhetisches Verhalten --- Ästhetisches Ideal --- Ästhetisches Objekt --- Ästhetisches Urteil --- Affektleben --- Emotion --- Emotionalität --- Fühlen --- Gemütsbewegung --- Gefühlsleben --- Gefühle --- Affektivität --- Emotionales Verhalten --- Suspense --- Betrachter --- Publikum --- Fortwirken --- Nachwirkung --- Nachleben --- Wirkungsgeschichte --- Aneignung --- Auswirkung --- Fortleben --- Kino --- Spielfilm --- Filmaufnahme --- Filme --- Spielfilme --- Audiovisuelles Material --- Videokassette --- Saudade --- Ästhetik --- Theorie --- Zuschauerin --- Emotionalität --- Fühlen --- Gemütsbewegung --- Gefühlsleben --- Gefühle --- Affektivität

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This strong and timely collection provides fresh insights into how Shakespeare's plays and poems were understood to affect bodies, minds and emotions. Contemporary criticism has had surprisingly little to say about the early modern period's investment in imagining literature's impact on feeling. Shakespearean Sensations brings together scholarship from a range of well-known and new voices to address this fundamental gap. The book includes a comprehensive introduction by Katharine A. Craik and Tanya Pollard and comprises three sections focusing on sensations aroused in the plays; sensations evoked in the playhouse; and sensations found in the imaginative space of the poems. With dedicated essays on Hamlet, Macbeth, Othello and Twelfth Night, the collection explores how seriously early modern writers took their relationship with their audiences and reveals new connections between early modern literary texts and the emotional and physiological experiences of theatregoers.

Shakespeare, William --- English literature --- Reading --- Senses and sensation in literature. --- Reader-response criticism. --- Theater audiences --- Mind and body. --- Literary criticism --- Rezeption --- Gefühl --- History and criticism --- Theory, etc. --- Psychological aspects. --- Physiological aspects. --- History --- European --- English, Irish, Scottish, Welsh. --- Shakespeare, William, --- Criticism and interpretation --- Rezeption. --- Gefühl. --- Criticism and interpretation. --- Body and mind --- Body and soul (Philosophy) --- Human body --- Mind --- Mind-body connection --- Mind-body relations --- Mind-cure --- Somatopsychics --- Brain --- Dualism --- Philosophical anthropology --- Holistic medicine --- Mental healing --- Parousia (Philosophy) --- Phrenology --- Psychophysiology --- Self --- Reader-oriented criticism --- Reception aesthetics --- Criticism --- Psychological aspects --- Shakespear, William, --- Shakspeare, William, --- Šekʻspiri, Uiliam, --- Saixpēr, Gouilliam, --- Shakspere, William, --- Shikisbīr, Wilyam, --- Szekspir, Wiliam, --- Šekspyras, --- Shekspir, Vilʹi︠a︡m, --- Šekspir, Viljem, --- Tsikinya-chaka, --- Sha-shih-pi-ya, --- Shashibiya, --- Sheḳspir, Ṿilyam, --- Shaḳspir, Ṿilyam, --- Syeiksŭpʻio, --- Shekspir, V. --- Szekspir, William, --- Shakespeare, Guglielmo, --- Shake-speare, William, --- Sha-ō, --- Şekspir, --- Shekspir, Uiliam, --- Shekspir, U. --- Šekspir, Vilijam, --- Ṣēkspiyar, Viliyam, --- Shakspir, --- Shekspyr, Vyli︠e︡m, --- Şekspir, Velyam, --- Ṣēkspiyar, Villiyam, --- Shēkʻspʻiyr, Vlilliam, --- Ṣēkspiyar, --- Ṣēkspiyar Mahākavi, --- Ṣēkspiyar Mahākaviya, --- Sheḳspier, Ṿilyam, --- Shēkʻspir, --- Shakespeare, --- Śeksper, --- Шекспир, Вильям, --- Шекспир, Уильям, --- שייקספיר, וויליאם, --- שייקספיר, וו., --- שיקספיר, וויליאם --- שיקספיר, ויליאם --- שיקספיר, ויליאם, --- שכספיר, ויליאם, --- שכספיר, וילים, --- שכספיר, ו׳ --- שעפקספיר, וויליאם, --- שעקספיער, וויליאם --- שעקספיער, וויליאם, --- שעקספיער, ווילליאם --- שעקספיער, וו., --- שעקספיר --- שעקספיר, וו --- שעקספיר, וויליאם, --- שעקספיר, וויליאמ --- שעקספיר, ווילליאם --- שעקספיר, ווילליאם, --- שעקספיר, וו., --- שעקספיר, װיליאם, --- שעקספיר, װילליאם, --- שעקספיר, װ., --- שעקספער --- שעקספער, וויליאמ --- שקספיר --- שקספיר, וו --- שקספיר, וויליאם --- שקספיר, וויליאם, --- שקספיר, ווילים, --- שקספיר, וילאם --- שקספיר, ויליאם --- שקספיר, ויליאם, --- שקספיר, ויליים, --- שקספיר, וילים --- שקספיר, וילים, --- شاكسبير، وليم --- شاكسپير، وليم --- شكسبير، وليام --- شكسبير، وليم --- شكسبير، وليم، --- شكسبير، و. --- شكسپير، وليم --- شكسپير، ويليام --- شيكسبير، وليام --- شيكسبير، وليام.، --- شيكسبير، وليم --- شکسبير، وليم --- وليم شکسبير --- 沙士北亞威廉姆, --- 沙士比亞威廉姆, --- 莎士比亞威廉姆, --- 莎士比亞威廉, --- 莎士比亞, --- Arts and Humanities --- Literature