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Les hommes dans leur grande majorité ne voient pas le monde tel qu'il est ; nombreuses sont leurs erreurs de perception : aussi ont-ils besoin qu'on leur dise quoi penser. Les faiseurs de l'histoire officielle tissent en surface une vérité étrangère à la réalité des faits, et dans la vie quotidienne les faux-semblants président aux rapports humains. À une époque, la nôtre tout particulièrement, où la totalité du sens, et sa cohérence, se défait, au profit d'une atomisation pernicieuse des contenus et des formes, une étude sur les dérives de la perception engage plus largement la question du sens. Que voient la plupart des hommes, et que ne voient-ils pas ? Pourquoi et comment leur perception est-elle gauchie, faussée, entravée, altérée ou aliénée, et quelles sont les conséquences de cette altération ? Si, selon la formule célèbre, la vérité est l'adéquation entre la réalité et l'entendement (rei et intellectus), quels sont pour l'individu et la communauté les effets d'une telle altération ou aliénation du sens ? Autrement dit, pourquoi les choses ne sont-elles pas données, ne se donnent-elles pas, ou ne sont-elle pas perçues comme formant un sens entier et partageable immédiatement par tous ? Une telle question trouve des réponses aussi bien dans la philosophie, la théologie ou l'esthétique, que dans la littérature, la musique et l'art, ou encore dans des sciences telles que la physique, la biologie et la psychiatrie. Les contributeurs réunis par Pascale Hummel et Frédéric Gabriel s'interrogent dans ce volume sur les formes que prend, dans un monde atomisé, le délitement de l'universel, et le gauchissement de l'idée même de perception.
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Joys and Sorrows of Imaginary Persons is a literary approach to consciousness where Donald Wesling denies that emotion is the scandal or handmaid of reason—rather emotion is the co-creator with reason of human life in the world. Discoveries in neuro-science in the 1990's Decade of the Brain have proven that thinking and feeling are wrapped with each other, and regulate and fulfill each other. Accepting this co-creative equality, we reveal a new role for literature, or a traditional role we’ve repressed: literature as a set of processes in time where we’ve thought feeling through stories about the lives of imaginary persons. We need these stories in order to practice emotions for when we return to the world from reading. Donald Wesling argues that to be more accurate in our dealings with stories, we require a grammar of this new recognition, where we build up traditional stylistics by a more careful tracking of emotion-states as these are set into writing. The first half of Joys and Sorrows of Imaginary Persons offers a creative stock-taking of the current state of scholarship on emotion, based on wide reading in several fields. The second half gives three focused studies, rich in examples, of emotion as cognition, as story, and as historical structure of feeling.
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Bildungsromans, English --- Books and reading --- English fiction --- English fiction --- Literature and society --- Senses and sensation in literature --- History and criticism --- Social aspects --- History --- Examinations --- History and criticism --- History
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Romantic poets, notably Wordsworth, Blake, Coleridge and Keats, were deeply interested in how perception and sensory experience operate, and in the connections between sense-perception and aesthetic experience. Noel Jackson tracks this preoccupation through the Romantic period and beyond, both in relation to late eighteenth-century human sciences, and in the context of momentous social transformations in the period of the French Revolution. Combining close readings of the poems with interdisciplinary research into the history of the human sciences, Noel Jackson sheds light on Romantic efforts to define how art is experienced in relation to the newly emerging sciences of the mind and shows the continued relevance of these ideas to our own habits of cultural and historical criticism today. This book will be of interest not only to scholars of Romanticism, but also to those interested in the intellectual interrelations between literature and science.
Aesthetics in literature --- English poetry --- Literature and science --- Mind and body in literature --- Perception in literature --- Poets, English --- Romanticism --- Senses and sensation in literature --- English poets --- Poetry and science --- Science and literature --- Science and poetry --- Science and the humanities --- History and criticism --- History --- Aesthetics --- Senses and sensation in architecture. --- Mind and body in literature. --- Perception in literature. --- Aesthetics in literature. --- Architecture --- History and criticism. --- Aesthetics. --- Senses and sensation in literature. --- Arts and Humanities --- Literature
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"This study of sensibility in the eighteenth-century novel discusses literary representations of suffering and responses to it, in the social and scientific context of the period. The reader of novels shares with some scientific observers the activity of gazing on suffering, leading Ann Van Sant to explore in the broader social context - specifically in the display of repentant prostitutes and the children of the vagrant and criminal poor and in certain scientific experiments - the coincidence between the rhetoric of pathos and scientific presentation. Showing that when sensibility becomes central to an understanding of psychology, it becomes the basis for an experimental approach to character, she argues that Samuel Richardson's method of revealing his heroine's heart in Clarissa is analogous to the enterprise of scientists creating and observing suffering in order to study interior physiological functions." "The book goes on to explore sensibility's location of psychological response in physical structures. Van Sant invokes eighteenth-century debates about the relative status of sight and touch in epistemology and psychology, as a context for discussing the "man of feeling," a spectator who reports on "touching" experiences. Focusing principally on Laurence Stern's A Sentimental Journey, she argues that the man of feeling's experience is located in the body - by definition both feminized and physiological, and therefore inherently parodic." "In a further note on readers of sensibility, she examines the relation between focusing on a physiologically defined moment and the fragmented, intensified episodes of the sentimental narrative."--Jacket.
Emoties. --- Emotions in literature. --- Emotions in literature. --- Empfindsamkeit. --- Engels. --- Englisch. --- English fiction --- English fiction. --- Geschichte (1700-1800). --- Geschichte (1730-1790). --- Leid --- Literature and science --- Literature and science. --- Literature and society --- Literature and society. --- Littérature et sciences --- Littérature et société --- Maatschappij. --- Roman anglais --- Roman. --- Roman. --- Romans. --- Sens et sensations dans la littérature. --- Sensation --- Senses and sensation in literature. --- Senses and sensation in literature. --- Sentimentalism in literature. --- Sentimentalism in literature. --- Sentimentalisme dans la littérature. --- Émotions dans la littérature. --- History and criticism --- History --- History --- Histoire --- Histoire --- Histoire et critique --- In literature. --- 1700-1799. --- Englisch. --- Great Britain. --- Gro�britannien.
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History of civilization --- Philosophy and psychology of culture --- anno 500-1499 --- Learning and scholarship --- Civilization, Medieval --- Senses and sensation --- Senses and sensation in literature. --- Literature, Medieval --- Savoir et érudition --- Civilisation médiévale --- Sens et sensations --- Sens et sensations dans la littérature --- Littérature médiévale --- History --- History. --- Religious aspects. --- History and criticism. --- Histoire --- Aspect religieux --- Histoire et critique --- Middle Ages --- Intellectual life. --- Savoir et érudition --- Civilisation médiévale --- Sens et sensations dans la littérature --- Littérature médiévale
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