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In accessible and impassioned discussions of literature and philosophy, this book reveals a surprising approach to the intractable problem of human contact. Nathaniel Hawthorne, Frederick Douglass, Harriet Beecher Stowe, and Emily Dickinson rethought the nature of human contact, turning away from transcendentalist approaches and towards sympathetic ones. Their second and third works portray social masks as insufficient, not deceptive, and thus human contact requires not violent striking through the mask but benevolent skepticism towards persons. They imagine that people feel real in a real world with real others when they care for others for the other's sake and when they make caring relationships the cornerstone of their own being. Grounded in philosophies of sympathy - including Adam Smith and J. G. Herder - and relational psychology - Winnicott and Benjamin - Rethinking Sympathy and Human Contact in Nineteenth-Century American Literature shows that antebellum literature rejects individualist definitions of the human and locates the antidote to human disconnection in sympathy.
Senses and sensation in literature. --- Sympathy in literature. --- American literature --- History and criticism. --- 1800-1899
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"Romantic Vacancy argues that, at the cult of sensibility's height, Romantic writers found alternative tropes of affect to express movement beyond sensation and the body. Grappling with sensibility's claims that sensation could be translated into ideas and emotions, poets of vacancy rewrote core empiricist philosophies that trapped women and men in sensitive bodies and, more detrimentally, in ideological narratives about emotional response that gendered subjects' bodies and minds. Kate Singer contends that affect's genesis occurs instead through a series of figurative responses and movements that loop together human and nonhuman movements of mind, body, and nature into a posthuman affect. This study discovers a new form of Romantic affect that is dynamically linguistic and material. It seeks to end the long tradition of holding women and men writers of the Romantic period as separate and largely unequal. It places women writers at the forefront of speculative thinking, repositions questions of gender at the vanguard of Romantic-era thought, revises how we have long thought of gender in the period, and rewrites our notions of Romantic affect. Finally, it answers pivotal questions facing both affect studies and Romanticism about interrelations among language, affect, and materiality. Readers will learn more about the deep history of how poetic language can help us move beyond binary gender and its limiting intellectual and affective ideologies" --
English literature --- Sentimentalism in literature. --- Senses and sensation in literature. --- Romanticism --- History and criticism.
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"Reading with the Senses shows how major Victorian novelists, aesthetes, and scientists dramatically revised their understanding of reading and sensory perception in light of nineteenth-century scientific work in psychology, physiology, and physics. This book argues that the rise of perception science led major Victorian writers--George Eliot, Thomas Hardy, Vernon Lee, and Walter Pater--to embrace a radical literary empiricism that had transformative effects on the novel and the Aesthetic Movement. Coombs shows how the effects of this radical literary empiricism continue to reverberate in our own moment, when a descriptive turn in the humanities has pushed literary critics to align their reading practices with scientific methods of observation"--
Criticism --- Senses and sensation in literature. --- Perception in literature. --- Literature and science --- English literature --- History --- History and criticism.
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Sound leaves no ruins and no residues, even though it is experienced constantly. It is ubiquitous but fleeting. Even silence has sound, even absence resonates. Sound and the Ancient Senses aims to hear the lost sounds of antiquity, from the sounds of the human body to those of the gods, from the bathhouse to the Forum, from the chirp of a cicada to the music of the spheres. Sound plays so great a role in shaping our environments as to make it a sounding board for thinking about the self and its connection to others, as well as about space and ecology, emotions and experience, mortality and the divine, orality and textuality. From antiquity to the present day, poets and philosophers have strained to hear the ways that sounds structure our world and identities. This volume looks at theories and practices of hearing and producing sounds in ritual contexts, medicine, mourning, music, poetry, drama, erotics, philosophy, rhetoric, linguistics, vocality, and on the page, and shows how ancient ideas of sound still shape how and what we hear today. As the first comprehensive introduction to the soundscapes of antiquity, this volume makes a significant contribution to the burgeoning fields of sound and voice studies and is the final volume of the Senses in Antiquity series.
Sound --- Senses and sensation --- Senses and sensation. --- Psychological aspects. --- Religious aspects. --- History. --- Oïda. --- So. --- Grècia. --- Roma. --- Psychological aspects --- Religious aspects --- History --- Sound in literature. --- Senses and sensation in literature. --- Classical literature --- Social aspects --- History and criticism. --- Sound - Psychological aspects --- Sound - Religious aspects --- Senses and sensation - History
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