Claudia Siebrecht
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266663
- eISBN:
- 9780191905384
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266663.003.0005
- Subject:
- History, European Modern History
This chapter focuses on tearful reactions to the outbreak of war in 1939 as described and recalled by German women in diaries, memoirs, and oral histories. Women who were at different life stages in ...
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This chapter focuses on tearful reactions to the outbreak of war in 1939 as described and recalled by German women in diaries, memoirs, and oral histories. Women who were at different life stages in 1939 offer nuanced and explicit testimonies of their emotional responses, which were predominantly framed with references to the First World War. Retained memories of bereavement and hardship are particularly striking, and this chapter argues that both personal and familial experiences of the period between 1914 and 1918 were of key importance as they accumulated into an emotional archive. This emotional archive represented a crucial reference point for women to gauge a contemporaneous response to a political event—the outbreak of war in 1939. It also facilitated the construction of a personal stance and political positioning to war in a retrospective post-Second World War context. Women’s tears of 1939 were therefore about more than the outbreak of war; they were about owning and disowning different parts of their past.Less
This chapter focuses on tearful reactions to the outbreak of war in 1939 as described and recalled by German women in diaries, memoirs, and oral histories. Women who were at different life stages in 1939 offer nuanced and explicit testimonies of their emotional responses, which were predominantly framed with references to the First World War. Retained memories of bereavement and hardship are particularly striking, and this chapter argues that both personal and familial experiences of the period between 1914 and 1918 were of key importance as they accumulated into an emotional archive. This emotional archive represented a crucial reference point for women to gauge a contemporaneous response to a political event—the outbreak of war in 1939. It also facilitated the construction of a personal stance and political positioning to war in a retrospective post-Second World War context. Women’s tears of 1939 were therefore about more than the outbreak of war; they were about owning and disowning different parts of their past.
Michael Ward
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195313871
- eISBN:
- 9780199871964
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195313871.003.0009
- Subject:
- Religion, Religion and Literature
For the Augustans, Saturn was god of the Golden Age, and in that form he appears in certain of Lewis's early works. Soon, however, Lewis adopted the later Infortuna Major version of Saturn, treating ...
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For the Augustans, Saturn was god of the Golden Age, and in that form he appears in certain of Lewis's early works. Soon, however, Lewis adopted the later Infortuna Major version of Saturn, treating him in scholarship (where he is particularly associated with Donne), poetry, and That Hideous Strength. This grim and sour Saturn, also known as Father Time, provides the donegality of The Last Battle, a story of sorrow, disaster, treachery, coldness, ugliness, and death. But Lewis's cosmos turns out not to be Saturnocentric. For those who become patient of Saturnine constellation, who endure the cry of dereliction and become true contemplatives, there was a road to tread ‘beyond the tower of Kronos’.Less
For the Augustans, Saturn was god of the Golden Age, and in that form he appears in certain of Lewis's early works. Soon, however, Lewis adopted the later Infortuna Major version of Saturn, treating him in scholarship (where he is particularly associated with Donne), poetry, and That Hideous Strength. This grim and sour Saturn, also known as Father Time, provides the donegality of The Last Battle, a story of sorrow, disaster, treachery, coldness, ugliness, and death. But Lewis's cosmos turns out not to be Saturnocentric. For those who become patient of Saturnine constellation, who endure the cry of dereliction and become true contemplatives, there was a road to tread ‘beyond the tower of Kronos’.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0081
- Subject:
- Music, History, Western
The title A London Symphony may suggest to some hearers a descriptive piece, but this is not the intention of the composer. A better title would perhaps be “Symphony by a Londoner,”; that is to say, ...
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The title A London Symphony may suggest to some hearers a descriptive piece, but this is not the intention of the composer. A better title would perhaps be “Symphony by a Londoner,”; that is to say, the life of London has suggested to the composer an attempt at musical expression; but it would be no help to the hearer to describe these in words. The music is intended to be self-expressive, and must stand or fall as “absolute” music. Therefore, if listeners recognize suggestions of such things as the “Westminster Chimes” or the “Lavender Cry,” they are asked to consider these as accidents, not essentials of the music. The work consists of the usual four symphonic movements: Lento, leading to allegro risoluto, Lento, Scherzo (Nocturne), Maestoso alla marcia, leading to Epilogue in which the theme of the opening Lento recurs.Less
The title A London Symphony may suggest to some hearers a descriptive piece, but this is not the intention of the composer. A better title would perhaps be “Symphony by a Londoner,”; that is to say, the life of London has suggested to the composer an attempt at musical expression; but it would be no help to the hearer to describe these in words. The music is intended to be self-expressive, and must stand or fall as “absolute” music. Therefore, if listeners recognize suggestions of such things as the “Westminster Chimes” or the “Lavender Cry,” they are asked to consider these as accidents, not essentials of the music. The work consists of the usual four symphonic movements: Lento, leading to allegro risoluto, Lento, Scherzo (Nocturne), Maestoso alla marcia, leading to Epilogue in which the theme of the opening Lento recurs.
David Brown
- Published in print:
- 1999
- Published Online:
- November 2003
- ISBN:
- 9780198269915
- eISBN:
- 9780191600432
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198269919.003.0007
- Subject:
- Religion, Theology
Explores how a kenotic understanding of the incarnation might be used to bolster the general argument. If even in the case of christology, there was only a gradual disclosure of who Jesus was, ...
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Explores how a kenotic understanding of the incarnation might be used to bolster the general argument. If even in the case of christology, there was only a gradual disclosure of who Jesus was, particularly in the light of the resurrection, it would seem reasonable to expect a similar pattern of development elsewhere. In terms of Jesus’ perfection, a number of apparent limitations on his imagination are explored, including his attitude to the law, his belief in an imminent eschatology and the cry of dereliction, and a distinction drawn between perfection and sinlessness.Less
Explores how a kenotic understanding of the incarnation might be used to bolster the general argument. If even in the case of christology, there was only a gradual disclosure of who Jesus was, particularly in the light of the resurrection, it would seem reasonable to expect a similar pattern of development elsewhere. In terms of Jesus’ perfection, a number of apparent limitations on his imagination are explored, including his attitude to the law, his belief in an imminent eschatology and the cry of dereliction, and a distinction drawn between perfection and sinlessness.
Alexa Hepburn and Jonathan Potter
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195306897
- eISBN:
- 9780199867943
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195306897.003.0004
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter, written by Alexa Hepburn and Jonathan Potter, examines the use of tag questions by child protection officers (CPOs) in calls to a child abuse hotline. Hepburn and Potter find that tag ...
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This chapter, written by Alexa Hepburn and Jonathan Potter, examines the use of tag questions by child protection officers (CPOs) in calls to a child abuse hotline. Hepburn and Potter find that tag questions are particularly common during crying sequences in these calls, that is, when callers are crying and having a difficult time expressing the reasons for their call. CPOs typically adopt a neutral or even skeptical stance with respect to callers and their predicaments, but during crying sequences CPOs “sympathetically acknowledge” the (upset) mental state of the callers. Combined with other features of the CPOs' turn, Hepburn and Potter argue that tag questions during crying sequences have an affiliative function and a weak response requirement. The use of this particular type of question means that callers are not held strongly accountable for answering and are thus encouraged to stay on the phone even if they fail to participate.Less
This chapter, written by Alexa Hepburn and Jonathan Potter, examines the use of tag questions by child protection officers (CPOs) in calls to a child abuse hotline. Hepburn and Potter find that tag questions are particularly common during crying sequences in these calls, that is, when callers are crying and having a difficult time expressing the reasons for their call. CPOs typically adopt a neutral or even skeptical stance with respect to callers and their predicaments, but during crying sequences CPOs “sympathetically acknowledge” the (upset) mental state of the callers. Combined with other features of the CPOs' turn, Hepburn and Potter argue that tag questions during crying sequences have an affiliative function and a weak response requirement. The use of this particular type of question means that callers are not held strongly accountable for answering and are thus encouraged to stay on the phone even if they fail to participate.
Steven Belletto
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199826889
- eISBN:
- 9780199932382
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199826889.003.0004
- Subject:
- Literature, 20th-century and Contemporary Literature, American, 20th Century Literature
Beginning with a discussion of Colson Whitehead’s more recent novel The Intuitionist (1999), chapter four covers a range of works, from the most influential African-American novels of mid-century, ...
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Beginning with a discussion of Colson Whitehead’s more recent novel The Intuitionist (1999), chapter four covers a range of works, from the most influential African-American novels of mid-century, Richard Wright’s Native Son (1940) and Ralph Ellison’s Invisible Man (1952), to less frequently discussed works such as Wright’s own second novel, The Outsider (1953), and John A. Williams’ The Man Who Cried I Am! (1967). The chapter demonstrates how African Americans writers dramatized a sense of being caught between the competing systems of control represented by Communism on the one hand, and the promise of American democratic freedom on the other. Tracing an arc from Native Son to The Man Who Cried I Am!, the chapter demonstrates the ever-changing relationship between the individual and political rhetoric by showing how the denial of chance was first attributed to Communists, who in Invisible Man simply want to control African Americans for their own purposes, and then moves finally The Man Who Cried I Am!, which shows that, from a black perspective, American democracy masks a fantasy of complete control.Less
Beginning with a discussion of Colson Whitehead’s more recent novel The Intuitionist (1999), chapter four covers a range of works, from the most influential African-American novels of mid-century, Richard Wright’s Native Son (1940) and Ralph Ellison’s Invisible Man (1952), to less frequently discussed works such as Wright’s own second novel, The Outsider (1953), and John A. Williams’ The Man Who Cried I Am! (1967). The chapter demonstrates how African Americans writers dramatized a sense of being caught between the competing systems of control represented by Communism on the one hand, and the promise of American democratic freedom on the other. Tracing an arc from Native Son to The Man Who Cried I Am!, the chapter demonstrates the ever-changing relationship between the individual and political rhetoric by showing how the denial of chance was first attributed to Communists, who in Invisible Man simply want to control African Americans for their own purposes, and then moves finally The Man Who Cried I Am!, which shows that, from a black perspective, American democracy masks a fantasy of complete control.
Emma Dillon
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199732951
- eISBN:
- 9780199932061
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732951.003.0022
- Subject:
- Music, History, Western
This chapter explores the sound of medieval Paris as a sonic backdrop to the motet. It takes three case studies of representations of the city dating from the late thirteenth and early fourteenth ...
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This chapter explores the sound of medieval Paris as a sonic backdrop to the motet. It takes three case studies of representations of the city dating from the late thirteenth and early fourteenth century: the Vie de Saint-Denis manuscript; Guillot de Paris’s Dit des rues de Paris; Guillaume de Villeneuve’s Crieries de Paris. While previous scholars have focused on the visual representation of the city, this chapter listens to their conjuring of sound. It argues that the hubbub of the marketplace, urban clatter, and sacred chant provide an audible foil to the hubbub of the polytextual motet.Less
This chapter explores the sound of medieval Paris as a sonic backdrop to the motet. It takes three case studies of representations of the city dating from the late thirteenth and early fourteenth century: the Vie de Saint-Denis manuscript; Guillot de Paris’s Dit des rues de Paris; Guillaume de Villeneuve’s Crieries de Paris. While previous scholars have focused on the visual representation of the city, this chapter listens to their conjuring of sound. It argues that the hubbub of the marketplace, urban clatter, and sacred chant provide an audible foil to the hubbub of the polytextual motet.
Serap Erincin
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199586196
- eISBN:
- 9780191728754
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586196.003.0009
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Serap Erincin writes about Sahika Tekand's production Eurydice's Cry (2006), which commented on freedom and human rights in Turkey through a highly circumscribed movement vocabulary. The chorus's ...
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Serap Erincin writes about Sahika Tekand's production Eurydice's Cry (2006), which commented on freedom and human rights in Turkey through a highly circumscribed movement vocabulary. The chorus's movements consisted of a small number of repeated gestures performed at precise moments in response to text, and cued by lighting. The stationary chorus was not able to move at all on its own; their movements were dictated, so to speak, by Creon. As the play went on, the chorus became increasingly affected by Antigone's arguments, and began to take on gestures associated with her character. Thus, Antigone's effect on the chorus was visibly manifested through gesture. Eurydice, a silent character in Sophocles, finally found her voice in this production: her scream shattered the last of Creon's power. This production is ultimately triumphant: Creon is toppled by the collective movements of the chorus, and by the women who speak up.Less
Serap Erincin writes about Sahika Tekand's production Eurydice's Cry (2006), which commented on freedom and human rights in Turkey through a highly circumscribed movement vocabulary. The chorus's movements consisted of a small number of repeated gestures performed at precise moments in response to text, and cued by lighting. The stationary chorus was not able to move at all on its own; their movements were dictated, so to speak, by Creon. As the play went on, the chorus became increasingly affected by Antigone's arguments, and began to take on gestures associated with her character. Thus, Antigone's effect on the chorus was visibly manifested through gesture. Eurydice, a silent character in Sophocles, finally found her voice in this production: her scream shattered the last of Creon's power. This production is ultimately triumphant: Creon is toppled by the collective movements of the chorus, and by the women who speak up.
Elizabeth Couper-Kuhlen
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199730735
- eISBN:
- 9780199950034
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730735.003.0006
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter investigates the linguistic resources deployed by recipients of conversational complaint stories to show affiliation (or not) with the teller, affiliation being understood as the display ...
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This chapter investigates the linguistic resources deployed by recipients of conversational complaint stories to show affiliation (or not) with the teller, affiliation being understood as the display of support and endorsement for a conveyed affective stance, here typically anger and/or indignation. Among the verbal means for affiliative reception are claims of understanding, congruent negative assessments and by-proxy justifications, while factual follow-up questions, minimal responses and withholdings are shown to be non-affiliative. As a rule, affiliative verbal devices are accompanied by prosodic matching or upgrading, while non-affiliative ones have prosodic downgrading. The affiliative import of response cries is shown to depend even more heavily on prosodic matching or upgrading, although the transitoriness of prosody makes verbal reinforcement a desideratum. All in all, the data discussed here present a complex picture of what it takes to come across as affiliative in response to a conversational complaint story, but one not lacking in systematicity.Less
This chapter investigates the linguistic resources deployed by recipients of conversational complaint stories to show affiliation (or not) with the teller, affiliation being understood as the display of support and endorsement for a conveyed affective stance, here typically anger and/or indignation. Among the verbal means for affiliative reception are claims of understanding, congruent negative assessments and by-proxy justifications, while factual follow-up questions, minimal responses and withholdings are shown to be non-affiliative. As a rule, affiliative verbal devices are accompanied by prosodic matching or upgrading, while non-affiliative ones have prosodic downgrading. The affiliative import of response cries is shown to depend even more heavily on prosodic matching or upgrading, although the transitoriness of prosody makes verbal reinforcement a desideratum. All in all, the data discussed here present a complex picture of what it takes to come across as affiliative in response to a conversational complaint story, but one not lacking in systematicity.
Auli Hakulinen and Marja-Leena Sorjonen
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199730735
- eISBN:
- 9780199950034
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730735.003.0007
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter explores the Finnish expression /voi että/, which is used as a response cry. It lacks referential meaning but is not devoid of meaning: it has become conventionalized as an index of ...
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This chapter explores the Finnish expression /voi että/, which is used as a response cry. It lacks referential meaning but is not devoid of meaning: it has become conventionalized as an index of affect display. /Voi että/ is part of a larger paradigm of phrasal affective responses. It is the most “open” one initiated with the interjection /voi/: there is no characterizing element but the interjection is followed by /että/, used elsewhere e.g. as a subordinating connective (’that’). This response merely voices recognition of the co-participant’s prior turn as one that has made an affective response relevant and that displays attunement to that affect. The chapter argues that by deploying a response type that expresses an affective stance but does not make the stance lexically explicit, the recipient orients to the ambivalence of the sequential implications and/or affective character of the prior talk.Less
This chapter explores the Finnish expression /voi että/, which is used as a response cry. It lacks referential meaning but is not devoid of meaning: it has become conventionalized as an index of affect display. /Voi että/ is part of a larger paradigm of phrasal affective responses. It is the most “open” one initiated with the interjection /voi/: there is no characterizing element but the interjection is followed by /että/, used elsewhere e.g. as a subordinating connective (’that’). This response merely voices recognition of the co-participant’s prior turn as one that has made an affective response relevant and that displays attunement to that affect. The chapter argues that by deploying a response type that expresses an affective stance but does not make the stance lexically explicit, the recipient orients to the ambivalence of the sequential implications and/or affective character of the prior talk.
Alexa Hepburn and Jonathan Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199730735
- eISBN:
- 9780199950034
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730735.003.0009
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter focuses on crying as an interactional phenomenon. It overviews traditional work on crying, highlighting its limitations, and contrasts an interactional approach illustrated with material ...
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This chapter focuses on crying as an interactional phenomenon. It overviews traditional work on crying, highlighting its limitations, and contrasts an interactional approach illustrated with material from both mundane and institutional telephone calls. Crying on the telephone is characterised in terms of a collection of loosely associated and sometimes escalating practices: silences, sniffs, elevated pitch, tremulous or creaky delivery, reduced volume, increased aspiration and sobbing. This chapter documents the delicate interactional challenges involved in recognizing and responding to crying, and how these are fitted to the ongoing projects of the participants. The use of sympathy tokens, sympathetically inflected news receipts and turns that normalize the actions of the person crying are common. The complex practice of displaying empathy is discussed and its procedural and epistemic aspects highlighted.Less
This chapter focuses on crying as an interactional phenomenon. It overviews traditional work on crying, highlighting its limitations, and contrasts an interactional approach illustrated with material from both mundane and institutional telephone calls. Crying on the telephone is characterised in terms of a collection of loosely associated and sometimes escalating practices: silences, sniffs, elevated pitch, tremulous or creaky delivery, reduced volume, increased aspiration and sobbing. This chapter documents the delicate interactional challenges involved in recognizing and responding to crying, and how these are fitted to the ongoing projects of the participants. The use of sympathy tokens, sympathetically inflected news receipts and turns that normalize the actions of the person crying are common. The complex practice of displaying empathy is discussed and its procedural and epistemic aspects highlighted.
Ad Vingerhoets
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780198570240
- eISBN:
- 9780191744723
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198570240.001.0001
- Subject:
- Psychology, Social Psychology, Evolutionary Psychology
This book addresses the question why humans are the only animal species that produce emotional tears. The book brings together relevant theories and research from very different disciplines varying ...
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This book addresses the question why humans are the only animal species that produce emotional tears. The book brings together relevant theories and research from very different disciplines varying from clinical psychiatry to evolutionary biology and even the neurosciences and anthropology. Specific attention is devoted to the evolutionary origins of crying, the (neuro)biological aspects, antecedents, intra- and interpersonal differences, individual and gender differences in crying, cultural and art historical aspects, as well as the relation between crying and health. Several popular myths concerning this topic are disproved, while new challenging hypotheses are put forth.Less
This book addresses the question why humans are the only animal species that produce emotional tears. The book brings together relevant theories and research from very different disciplines varying from clinical psychiatry to evolutionary biology and even the neurosciences and anthropology. Specific attention is devoted to the evolutionary origins of crying, the (neuro)biological aspects, antecedents, intra- and interpersonal differences, individual and gender differences in crying, cultural and art historical aspects, as well as the relation between crying and health. Several popular myths concerning this topic are disproved, while new challenging hypotheses are put forth.
Emmanuel Falque
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780823281961
- eISBN:
- 9780823284917
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823281961.003.0007
- Subject:
- Philosophy, Philosophy of Religion
It is not enough just to remain fearful in the face of death, or to draw back before “the cup.” Christ, like all humankind, passed from fear to anxiety. From a recoil before what is imminent (fear), ...
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It is not enough just to remain fearful in the face of death, or to draw back before “the cup.” Christ, like all humankind, passed from fear to anxiety. From a recoil before what is imminent (fear), he goes on to pose the question of nothingness and of the possibility of meaning (anxiety). But he does not remain simply in this position of taking what is human in charge. Far from simply shutting himself up in his anxiety, he addresses the Father in a cry of dereliction. The Son is he who suffers from anxiety and passes it to the Father.Less
It is not enough just to remain fearful in the face of death, or to draw back before “the cup.” Christ, like all humankind, passed from fear to anxiety. From a recoil before what is imminent (fear), he goes on to pose the question of nothingness and of the possibility of meaning (anxiety). But he does not remain simply in this position of taking what is human in charge. Far from simply shutting himself up in his anxiety, he addresses the Father in a cry of dereliction. The Son is he who suffers from anxiety and passes it to the Father.
John Ibson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226576541
- eISBN:
- 9780226576718
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226576718.003.0003
- Subject:
- Society and Culture, Gender Studies
Disrepute, then obscurity, were the eventual fate of John Horne Burns, despite the considerable acclaim that greeted The Gallery, his first published novel, in 1947. This chapter describes and ...
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Disrepute, then obscurity, were the eventual fate of John Horne Burns, despite the considerable acclaim that greeted The Gallery, his first published novel, in 1947. This chapter describes and interprets how that came about, challenging the conventional narrative regarding Burns: essentially a story of how his talent deteriorated. The Mourning After links the decline in the reputation of John Horne Burns more to postwar America’s irresolution on the issue of men’s intimacy than to a failure of Burns’s talent. Lucifer with a Book and A Cry of Children, the two novels by Burns that followed The Gallery, were not necessarily less artful than their predecessor, but did differ in their setting for male affection and sexual activity: the postwar United States, not Italy during wartime. The Mourning After maintains that the harsh treatment of Burns, who died at only 36 in 1953, was essentially a penalty for his domesticating affection and sex between men and for further developing the penetrating critique of American culture begun in The Gallery. John Horne Burns and his reputation were casualties of the era’s lavender scare, and of his criticizing so harshly basic features of modern American life.Less
Disrepute, then obscurity, were the eventual fate of John Horne Burns, despite the considerable acclaim that greeted The Gallery, his first published novel, in 1947. This chapter describes and interprets how that came about, challenging the conventional narrative regarding Burns: essentially a story of how his talent deteriorated. The Mourning After links the decline in the reputation of John Horne Burns more to postwar America’s irresolution on the issue of men’s intimacy than to a failure of Burns’s talent. Lucifer with a Book and A Cry of Children, the two novels by Burns that followed The Gallery, were not necessarily less artful than their predecessor, but did differ in their setting for male affection and sexual activity: the postwar United States, not Italy during wartime. The Mourning After maintains that the harsh treatment of Burns, who died at only 36 in 1953, was essentially a penalty for his domesticating affection and sex between men and for further developing the penetrating critique of American culture begun in The Gallery. John Horne Burns and his reputation were casualties of the era’s lavender scare, and of his criticizing so harshly basic features of modern American life.
Ad Vingerhoets
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780198570240
- eISBN:
- 9780191744723
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198570240.003.0012
- Subject:
- Psychology, Social Psychology, Evolutionary Psychology
This chapter specifically focuses on brain disorders and crying. A significant minority of patients with brain disorders (e.g., stroke, dementia, MS, ALS, etc.) suffers from what is called ...
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This chapter specifically focuses on brain disorders and crying. A significant minority of patients with brain disorders (e.g., stroke, dementia, MS, ALS, etc.) suffers from what is called pathological crying (or laughing). This term refers to the occurrence of crying (or laughing) spells, without any apparent reason. Some neurologists assert that there is absolutely no affect — that it is a mere motoric reaction, whereas others argue that the crying threshold is extremely low, but that there is always a, not always easily identifiable, trigger. The chapter criticizes the use of the term ‘pathological’ because this term can only be used, when one has sufficient knowledge about ‘normal’ crying and because neurologist seem to be insufficiently aware of the fact that excessive crying can also be observed in non-neurological serious diseases (heart infarction, cancer), where it reflects the suffering and struggling with the major losses. There is further attention to the social consequences of the condition and which possibilities for treatment exist.Less
This chapter specifically focuses on brain disorders and crying. A significant minority of patients with brain disorders (e.g., stroke, dementia, MS, ALS, etc.) suffers from what is called pathological crying (or laughing). This term refers to the occurrence of crying (or laughing) spells, without any apparent reason. Some neurologists assert that there is absolutely no affect — that it is a mere motoric reaction, whereas others argue that the crying threshold is extremely low, but that there is always a, not always easily identifiable, trigger. The chapter criticizes the use of the term ‘pathological’ because this term can only be used, when one has sufficient knowledge about ‘normal’ crying and because neurologist seem to be insufficiently aware of the fact that excessive crying can also be observed in non-neurological serious diseases (heart infarction, cancer), where it reflects the suffering and struggling with the major losses. There is further attention to the social consequences of the condition and which possibilities for treatment exist.
Ad Vingerhoets
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780198570240
- eISBN:
- 9780191744723
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198570240.003.0007
- Subject:
- Psychology, Social Psychology, Evolutionary Psychology
This chapter addresses how others react to tears and crying. These reactions of others can be studied at different levels and in different ways. For example, some studies have investigated brain ...
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This chapter addresses how others react to tears and crying. These reactions of others can be studied at different levels and in different ways. For example, some studies have investigated brain responses and physiological reactions to crying, whereas others have focused on feelings in the observer, his or her perceptions, and how he or she behaves. Although there is certainly evidence that tears seems to elicit social support and may reduce aggression, this is certainly not the complete story. Crying infants are at increased risk of physical abuse, in children it may elicit bullying, and the image of celebrities may be seriously damaged by public crying. This is why this chapter calls for an approach that takes into account the specific context, the perceived appropriateness of crying, how one cries, the mutual relationship between crier and observer, and further characteristics of the observer. Since no studies until now have adopted this approach, it is too early to draw any definitive conclusions, but anecdotal evidence suggests that each of these factors may be considered as a co-determinant of crying.Less
This chapter addresses how others react to tears and crying. These reactions of others can be studied at different levels and in different ways. For example, some studies have investigated brain responses and physiological reactions to crying, whereas others have focused on feelings in the observer, his or her perceptions, and how he or she behaves. Although there is certainly evidence that tears seems to elicit social support and may reduce aggression, this is certainly not the complete story. Crying infants are at increased risk of physical abuse, in children it may elicit bullying, and the image of celebrities may be seriously damaged by public crying. This is why this chapter calls for an approach that takes into account the specific context, the perceived appropriateness of crying, how one cries, the mutual relationship between crier and observer, and further characteristics of the observer. Since no studies until now have adopted this approach, it is too early to draw any definitive conclusions, but anecdotal evidence suggests that each of these factors may be considered as a co-determinant of crying.
Erin K. Hogan
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474436113
- eISBN:
- 9781474453622
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474436113.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter Three further elaborates ventriloquism as, firstly, an expression of Francoist anxiety of subaltern rebellion by children and colonial subjects and, secondly, as a tool for the transmission ...
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Chapter Three further elaborates ventriloquism as, firstly, an expression of Francoist anxiety of subaltern rebellion by children and colonial subjects and, secondly, as a tool for the transmission of traditional gender roles. Tómbola (Lucía 1962) is a retelling of Aesop’s ‘The Boy Who Cried Wolf’ with a sinister subtext that reveals the ideological function of the cine con niño and Francoism’s political use of children, both of which reverberate extra-diegetically in the biography of its star Marisol (Pepa Flores). This chapter explores the appropriative ventriloquism in the abduction of Marisol’s voice and body, a result of her short-lived carnivalesque resistance, followed by Pepa Flores’ star-text and its portrayal in a 2009 biopic mini-series. Marisol’s paternalism towards her Spanish-African best friend, likely from the territory of Equatorial Guinea, supports an allegorical analysis of the biopolitics of Spanish colonialism in Africa. The Two cines understands colonialism as another form of appropriation; Marisol’s sidekick María Belén is, effectively, the dummy’s dummy.Less
Chapter Three further elaborates ventriloquism as, firstly, an expression of Francoist anxiety of subaltern rebellion by children and colonial subjects and, secondly, as a tool for the transmission of traditional gender roles. Tómbola (Lucía 1962) is a retelling of Aesop’s ‘The Boy Who Cried Wolf’ with a sinister subtext that reveals the ideological function of the cine con niño and Francoism’s political use of children, both of which reverberate extra-diegetically in the biography of its star Marisol (Pepa Flores). This chapter explores the appropriative ventriloquism in the abduction of Marisol’s voice and body, a result of her short-lived carnivalesque resistance, followed by Pepa Flores’ star-text and its portrayal in a 2009 biopic mini-series. Marisol’s paternalism towards her Spanish-African best friend, likely from the territory of Equatorial Guinea, supports an allegorical analysis of the biopolitics of Spanish colonialism in Africa. The Two cines understands colonialism as another form of appropriation; Marisol’s sidekick María Belén is, effectively, the dummy’s dummy.
Laura Otis
- Published in print:
- 2019
- Published Online:
- April 2019
- ISBN:
- 9780190698904
- eISBN:
- 9780190698935
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190698904.001.0001
- Subject:
- Psychology, Cognitive Psychology, Social Psychology
Who benefits, and who loses, when emotions are described in particular ways? How can metaphors such as “hold on” and “let go” affect people’s emotional experiences? Banned Emotions draws on the ...
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Who benefits, and who loses, when emotions are described in particular ways? How can metaphors such as “hold on” and “let go” affect people’s emotional experiences? Banned Emotions draws on the latest research in neuroscience and psychology to challenge popular ideas about emotions that should supposedly be suppressed. This interdisciplinary book breaks taboos by exploring emotions in which people are said to “indulge”: self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions reveals patterns in the ways emotions are represented that can make people so ashamed of feelings, they may stifle emotions that they need to work through. By analyzing the ways that physiology and culture combine in emotion metaphors, Banned Emotions shows that emotion regulation is a political as well as a biological issue. Banned Emotions considers the emotions of women abandoned by their partners and asks whether the psychological “attachment” metaphor is the best way to describe human relationships. Recent studies of emotion regulation indicate that reappraisal works better than suppression, which over time can damage a person’s health. Socially discouraged emotions such as self-pity emerge from lived experiences, often the experiences of people who hold less social power. Emotion metaphors like “move on” deflect attention from the social problems that have inspired emotions to the individuals who feel them—people who need to think about their emotions and their causes in the world.Less
Who benefits, and who loses, when emotions are described in particular ways? How can metaphors such as “hold on” and “let go” affect people’s emotional experiences? Banned Emotions draws on the latest research in neuroscience and psychology to challenge popular ideas about emotions that should supposedly be suppressed. This interdisciplinary book breaks taboos by exploring emotions in which people are said to “indulge”: self-pity, prolonged crying, chronic anger, grudge-bearing, bitterness, and spite. By focusing on metaphors for these emotions in classic novels, self-help books, and popular films, Banned Emotions exposes their cultural and religious roots. Examining works by Dante, Dickens, Dostoevsky, Kafka, Forster, and Woolf in parallel with Bridesmaids, Fatal Attraction, and Who Moved My Cheese?, Banned Emotions reveals patterns in the ways emotions are represented that can make people so ashamed of feelings, they may stifle emotions that they need to work through. By analyzing the ways that physiology and culture combine in emotion metaphors, Banned Emotions shows that emotion regulation is a political as well as a biological issue. Banned Emotions considers the emotions of women abandoned by their partners and asks whether the psychological “attachment” metaphor is the best way to describe human relationships. Recent studies of emotion regulation indicate that reappraisal works better than suppression, which over time can damage a person’s health. Socially discouraged emotions such as self-pity emerge from lived experiences, often the experiences of people who hold less social power. Emotion metaphors like “move on” deflect attention from the social problems that have inspired emotions to the individuals who feel them—people who need to think about their emotions and their causes in the world.
Hugh Epstein
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474449861
- eISBN:
- 9781474477086
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474449861.003.0005
- Subject:
- Literature, Criticism/Theory
The chapter opens by contrasting the human capacities for audition as opposed to vision, and the qualities conveyed by sound as opposed to those by light. Despite the general acceptance of wave ...
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The chapter opens by contrasting the human capacities for audition as opposed to vision, and the qualities conveyed by sound as opposed to those by light. Despite the general acceptance of wave theory, from the nineteenth century through to today issues of auditory location, transmission and reception remain contested. The ‘auditory scene analysis’ conducted by the novels in this study sees/hears them as participating in this ontological and epistemological uncertainty. Both The Return of the Native and ‘Heart of Darkness’ powerfully evoke densely enveloping closed systems that are examined in terms of their circulating sounds, ‘acoustic pictures’ raised upon the air by sighs in Hardy and whispers in Conrad. Whilst the discussion of ‘Heart of Darkness’ shows that it is an individual voice, and particularly its ‘cry’, which provides a guiding thread for Marlow, when the chapter moves on to sound in Nostromo it is the ambient noise of a historically evolving modernity that carries the theme of the reach of ‘material interests’. Sounds, conceived as units of shock, provide the agitated fabric of this novel of jolts and collisions.Less
The chapter opens by contrasting the human capacities for audition as opposed to vision, and the qualities conveyed by sound as opposed to those by light. Despite the general acceptance of wave theory, from the nineteenth century through to today issues of auditory location, transmission and reception remain contested. The ‘auditory scene analysis’ conducted by the novels in this study sees/hears them as participating in this ontological and epistemological uncertainty. Both The Return of the Native and ‘Heart of Darkness’ powerfully evoke densely enveloping closed systems that are examined in terms of their circulating sounds, ‘acoustic pictures’ raised upon the air by sighs in Hardy and whispers in Conrad. Whilst the discussion of ‘Heart of Darkness’ shows that it is an individual voice, and particularly its ‘cry’, which provides a guiding thread for Marlow, when the chapter moves on to sound in Nostromo it is the ambient noise of a historically evolving modernity that carries the theme of the reach of ‘material interests’. Sounds, conceived as units of shock, provide the agitated fabric of this novel of jolts and collisions.
Daniel Karlin
- Published in print:
- 2018
- Published Online:
- December 2018
- ISBN:
- 9780198792352
- eISBN:
- 9780191834363
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198792352.001.0001
- Subject:
- Literature, Poetry, World Literature
The Introduction presents an overview of the topic of street song and summarizes the main chapters of the book. It begins by discussing poems by Robert Herrick and Thomas Campion based on the ...
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The Introduction presents an overview of the topic of street song and summarizes the main chapters of the book. It begins by discussing poems by Robert Herrick and Thomas Campion based on the traditional street-vendor’s cry of ‘Cherry Ripe’ as an example of the way in which writers appropriate street songs for their own purposes, and includes discussions of other images and texts such as Donald Davie’s poem ‘Cherry Ripe’. ‘Cherrie-ripe’ traces an arc from the sixteenth century to the twentieth, encompassing literature, art, music, and social history. It suggests the broad scope of the subject, but although attention is paid to its rich and varied contexts, the focus of this book is on the ways in which street song has found its way into works of literature.Less
The Introduction presents an overview of the topic of street song and summarizes the main chapters of the book. It begins by discussing poems by Robert Herrick and Thomas Campion based on the traditional street-vendor’s cry of ‘Cherry Ripe’ as an example of the way in which writers appropriate street songs for their own purposes, and includes discussions of other images and texts such as Donald Davie’s poem ‘Cherry Ripe’. ‘Cherrie-ripe’ traces an arc from the sixteenth century to the twentieth, encompassing literature, art, music, and social history. It suggests the broad scope of the subject, but although attention is paid to its rich and varied contexts, the focus of this book is on the ways in which street song has found its way into works of literature.
