Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and ...
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In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and a man, John Keats was especially sensitive to, and morally intelligent about, embarrassment. This study demonstrates the particular direction of his insight and moral concern to acknowledge embarrassability and its involvement in important moral concerns.Less
In this book, the author argues for the importance of embarrassment in human life and for the value of works of art which help us deal with embarrassment by recognizing and refining it. As a poet and a man, John Keats was especially sensitive to, and morally intelligent about, embarrassment. This study demonstrates the particular direction of his insight and moral concern to acknowledge embarrassability and its involvement in important moral concerns.
John Sabini and Maury Silver (eds)
- Published in print:
- 1998
- Published Online:
- March 2012
- ISBN:
- 9780195121674
- eISBN:
- 9780199846931
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195121674.001.0001
- Subject:
- Psychology, Social Psychology
This book explores why emotions are important in our conception of a person's character, and in our own conception of self. Chapter topics include caring, loyalty, sincerity, shame, guilt, ...
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This book explores why emotions are important in our conception of a person's character, and in our own conception of self. Chapter topics include caring, loyalty, sincerity, shame, guilt, embarrassment, and self-deception.Less
This book explores why emotions are important in our conception of a person's character, and in our own conception of self. Chapter topics include caring, loyalty, sincerity, shame, guilt, embarrassment, and self-deception.
Eviatar Zerubavel
- Published in print:
- 2006
- Published Online:
- May 2012
- ISBN:
- 9780195187175
- eISBN:
- 9780199943371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195187175.003.0001
- Subject:
- Sociology, Culture
The famous fourteenth-century Castilian story about a Moorish king duped by three swindlers into believing that a dazzling new suit they are supposedly weaving for him is somehow invisible to any ...
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The famous fourteenth-century Castilian story about a Moorish king duped by three swindlers into believing that a dazzling new suit they are supposedly weaving for him is somehow invisible to any person of illegitimate birth was famously retold by Hans Christian Andersen, who basically kept it intact. “The Emperor's New Clothes” illustrates evocative commentary on social life. Denial is a product of individual and collective efforts. Conspiracies of silence are clearly socially patterned as the quintessential public manifestation of denial. Embarrassment, pain, fear, and shame can produce silence. Silence and denial involve active avoidance. The “elephant in the room” is metaphorically evocative of any object or matter of which everyone is definitely aware, yet no one is willing to publicly acknowledge. This book highlights the distinctly generic properties of conspiracies of silence. An overview of the chapters included in it is given in this chapter.Less
The famous fourteenth-century Castilian story about a Moorish king duped by three swindlers into believing that a dazzling new suit they are supposedly weaving for him is somehow invisible to any person of illegitimate birth was famously retold by Hans Christian Andersen, who basically kept it intact. “The Emperor's New Clothes” illustrates evocative commentary on social life. Denial is a product of individual and collective efforts. Conspiracies of silence are clearly socially patterned as the quintessential public manifestation of denial. Embarrassment, pain, fear, and shame can produce silence. Silence and denial involve active avoidance. The “elephant in the room” is metaphorically evocative of any object or matter of which everyone is definitely aware, yet no one is willing to publicly acknowledge. This book highlights the distinctly generic properties of conspiracies of silence. An overview of the chapters included in it is given in this chapter.
Kent Puckett
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780195332759
- eISBN:
- 9780199868131
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195332759.003.0003
- Subject:
- Literature, Criticism/Theory, 19th-century and Victorian Literature
This chapter begins with a reading of the famous description of Charles Bovary’s cap in the early pages of Madame Bovary. Although the moment has been rightly understood as embarrassing for Bovary, ...
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This chapter begins with a reading of the famous description of Charles Bovary’s cap in the early pages of Madame Bovary. Although the moment has been rightly understood as embarrassing for Bovary, this chapter asks if it should be read also as differently embarrassing for the voice that describes it. So great a performance might be taken as an awkward instance of overdoing it. In other words, unpacking the moment of the mistake helps us to see ways in which embarrassment tends to spread not only from character to character but also across formal boundaries (between character and narrator, reader and novel) that we tend to think of as secure. The chapter then moves on to account for a logic of incorporation that helps to demonstrate ways in which the novel not only generates embarrassment, but also needs it at several levels if it is to make the sense that it does.Less
This chapter begins with a reading of the famous description of Charles Bovary’s cap in the early pages of Madame Bovary. Although the moment has been rightly understood as embarrassing for Bovary, this chapter asks if it should be read also as differently embarrassing for the voice that describes it. So great a performance might be taken as an awkward instance of overdoing it. In other words, unpacking the moment of the mistake helps us to see ways in which embarrassment tends to spread not only from character to character but also across formal boundaries (between character and narrator, reader and novel) that we tend to think of as secure. The chapter then moves on to account for a logic of incorporation that helps to demonstrate ways in which the novel not only generates embarrassment, but also needs it at several levels if it is to make the sense that it does.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
This chapter provides three propositions. First, that embarrassment is very important in life. Second, that art helps in dealing with embarrassment by recognizing, refining, and putting it to good ...
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This chapter provides three propositions. First, that embarrassment is very important in life. Second, that art helps in dealing with embarrassment by recognizing, refining, and putting it to good human purposes; art offers a unique kind of human relationship freed from the possibility, which is incident to other human relationships, of an embarrassment that clogs, paralyses, or coarsens. Third, that John Keats as a man and a poet was especially sensitive to, and morally intelligent about, embarrassment. The particular direction of his insight and human concern is to insist upon raising the matter of embarrassability. It is noted that Keats does not manifest sensitivity to embarrassment but insensitivity in the direction of prurience.Less
This chapter provides three propositions. First, that embarrassment is very important in life. Second, that art helps in dealing with embarrassment by recognizing, refining, and putting it to good human purposes; art offers a unique kind of human relationship freed from the possibility, which is incident to other human relationships, of an embarrassment that clogs, paralyses, or coarsens. Third, that John Keats as a man and a poet was especially sensitive to, and morally intelligent about, embarrassment. The particular direction of his insight and human concern is to insist upon raising the matter of embarrassability. It is noted that Keats does not manifest sensitivity to embarrassment but insensitivity in the direction of prurience.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0003
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
Charles Darwin wrote at length about blushing and made it the concluding chapter of his book on The Expression of the Emotions in Man and Animals. For Darwin, it was the quintessential human ...
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Charles Darwin wrote at length about blushing and made it the concluding chapter of his book on The Expression of the Emotions in Man and Animals. For Darwin, it was the quintessential human expression, far more so than smiling or laughing: ‘Blushing is the most peculiar and the most human of all expressions’. Romanticism was naturally fascinated by the blush. Anybody who would write of love must deal intelligently and sensitively with the possibilities of embarrassment. The beauty of Byron's erotic poetry, as of Chaucer's, Marlowe's, and Dryden's (and of Samuel Beckett's prose), derives from coolness, from not raising the possibly torrid or hotly embarrassing any more than is necessary for a tacit recognition of its being elsewhere possible. John Keats is one of the very few erotic poets who come at embarrassment from a different angle of necessity: from the wish to pass directly through — not to bypass — the hotly disconcerting, the potentially ludicrous, distasteful, or blush-inducing.Less
Charles Darwin wrote at length about blushing and made it the concluding chapter of his book on The Expression of the Emotions in Man and Animals. For Darwin, it was the quintessential human expression, far more so than smiling or laughing: ‘Blushing is the most peculiar and the most human of all expressions’. Romanticism was naturally fascinated by the blush. Anybody who would write of love must deal intelligently and sensitively with the possibilities of embarrassment. The beauty of Byron's erotic poetry, as of Chaucer's, Marlowe's, and Dryden's (and of Samuel Beckett's prose), derives from coolness, from not raising the possibly torrid or hotly embarrassing any more than is necessary for a tacit recognition of its being elsewhere possible. John Keats is one of the very few erotic poets who come at embarrassment from a different angle of necessity: from the wish to pass directly through — not to bypass — the hotly disconcerting, the potentially ludicrous, distasteful, or blush-inducing.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
The letters of John Keats are full of mis-spellings. It is believed that Keats' mis-spellings are often indications of how his imagination was working, and are sometimes indications of an achieved ...
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The letters of John Keats are full of mis-spellings. It is believed that Keats' mis-spellings are often indications of how his imagination was working, and are sometimes indications of an achieved suggestiveness which works within the poem itself. It is also noted that Keats' hostility to Byron went deep. Though Byron's outbursts – ‘Johnny Keats' p-ss a bed poetry’ – are indeed astonishing, they are not surprising. The outbursts presented indicate more about Byron's imagination than about Keats', but Byron's violence of embarrassed disgust is a false reaction to something truly in Keats. Moreover, it is not an objection to Keats' erotic writing that it can cause a twinge of distaste, since the accommodation of distaste can be a humanly and artistically valuable thing, especially when it coexists with a frank delight.Less
The letters of John Keats are full of mis-spellings. It is believed that Keats' mis-spellings are often indications of how his imagination was working, and are sometimes indications of an achieved suggestiveness which works within the poem itself. It is also noted that Keats' hostility to Byron went deep. Though Byron's outbursts – ‘Johnny Keats' p-ss a bed poetry’ – are indeed astonishing, they are not surprising. The outbursts presented indicate more about Byron's imagination than about Keats', but Byron's violence of embarrassed disgust is a false reaction to something truly in Keats. Moreover, it is not an objection to Keats' erotic writing that it can cause a twinge of distaste, since the accommodation of distaste can be a humanly and artistically valuable thing, especially when it coexists with a frank delight.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0007
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
Blushes can be sexually attractive, and contagious like desire. For the poet, it can offer a glimpse, bizarre and even potentially fearful, of life stayed for ever in an eternal intensity of erect ...
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Blushes can be sexually attractive, and contagious like desire. For the poet, it can offer a glimpse, bizarre and even potentially fearful, of life stayed for ever in an eternal intensity of erect desire which is also an eternal intensity of sexual fulfillment. John Keats was sufficiently in favour of embarrassment, as humanizing, and as humanly revealing, to think it permissible sometimes deliberately to inflict it. Keats' sensitivity about letters could sometimes become too exacerbated. The desperate sadness of Keats' love for Fanny Brawne developed through illness, loneliness, torrid violence of emotion, and suspicion. His last surviving letter to her is discussed.Less
Blushes can be sexually attractive, and contagious like desire. For the poet, it can offer a glimpse, bizarre and even potentially fearful, of life stayed for ever in an eternal intensity of erect desire which is also an eternal intensity of sexual fulfillment. John Keats was sufficiently in favour of embarrassment, as humanizing, and as humanly revealing, to think it permissible sometimes deliberately to inflict it. Keats' sensitivity about letters could sometimes become too exacerbated. The desperate sadness of Keats' love for Fanny Brawne developed through illness, loneliness, torrid violence of emotion, and suspicion. His last surviving letter to her is discussed.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0008
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
For John Keats, eating was a natural metaphor not only for love but also for reading. Drama has an oddly equivocal relation to the blush. The most evident symmetry between blushing and the arts is ...
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For John Keats, eating was a natural metaphor not only for love but also for reading. Drama has an oddly equivocal relation to the blush. The most evident symmetry between blushing and the arts is the central equivocation or paradox of private and public, the belief that both blushing and the arts are at once intensely public and intensely private, in some way public expressions of privacy. The relation between literature and embarrassment is discussed. In addition, the connection of reading in a library to embarrassment is shown.Less
For John Keats, eating was a natural metaphor not only for love but also for reading. Drama has an oddly equivocal relation to the blush. The most evident symmetry between blushing and the arts is the central equivocation or paradox of private and public, the belief that both blushing and the arts are at once intensely public and intensely private, in some way public expressions of privacy. The relation between literature and embarrassment is discussed. In addition, the connection of reading in a library to embarrassment is shown.
Christopher Ricks
- Published in print:
- 1984
- Published Online:
- October 2011
- ISBN:
- 9780198128298
- eISBN:
- 9780191671654
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198128298.003.0010
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
‘To Autumn’ is a poem of parting: the parting of the day, the parting of the swallows, the parting of Autumn, the parting from life. Partings moved John Keats to special sympathy, tact, and pleasure. ...
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‘To Autumn’ is a poem of parting: the parting of the day, the parting of the swallows, the parting of Autumn, the parting from life. Partings moved John Keats to special sympathy, tact, and pleasure. He enjoyed the various associations of parting to embarrassment. There are partings where the unpleasantness is not tragic loss but commonplace embarrassment. The complex of feelings, so warmly and comically affectionate in that anecdote of Reynolds' departure, seemed alive in the last letter which he ever wrote. Moreover, a letter to Isabella Jones shows how Keats appreciates her, for it is one of the things for which Keats himself is greatly appreciated, and it is especially with regard to all such embarrassments as might otherwise make the readers shrink, or blush, or be glassy, that Keats is of service in matters of knowledge and taste.Less
‘To Autumn’ is a poem of parting: the parting of the day, the parting of the swallows, the parting of Autumn, the parting from life. Partings moved John Keats to special sympathy, tact, and pleasure. He enjoyed the various associations of parting to embarrassment. There are partings where the unpleasantness is not tragic loss but commonplace embarrassment. The complex of feelings, so warmly and comically affectionate in that anecdote of Reynolds' departure, seemed alive in the last letter which he ever wrote. Moreover, a letter to Isabella Jones shows how Keats appreciates her, for it is one of the things for which Keats himself is greatly appreciated, and it is especially with regard to all such embarrassments as might otherwise make the readers shrink, or blush, or be glassy, that Keats is of service in matters of knowledge and taste.
Kathryn D. Temple
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781479895274
- eISBN:
- 9781479832637
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479895274.001.0001
- Subject:
- Law, Legal History
How do people develop loyalty to the legal system they inhabit? This book focuses on legal emotions in William Blackstone's transformative, bestselling Commentaries on the Laws of England (1765–69), ...
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How do people develop loyalty to the legal system they inhabit? This book focuses on legal emotions in William Blackstone's transformative, bestselling Commentaries on the Laws of England (1765–69), a collection of volumes that deeply impacted English legal culture and became an icon for English common law values across the British Empire. Blackstone, not only a lawyer and judge, but a poet who believed that “the only true and natural foundations of society are the wants and fears of individuals,” was ideally situated to condense English law into a form that evoked emotions. Using a history of emotions and Law and Humanities approach, the book argues that in enlisting an affective aesthetics to invoke emotions such as desire, disgust, melancholia, embarrassment, terror, tenderness, and happiness, Blackstone encouraged readers to feel as much as reason their way to justice in ways that have continued to influence the Western world. This book treats the Commentaries—reinterpreted here in affective, aesthetic, and real-world contexts—as offering a complex map of our affective relationship to juridical culture, one that illuminates both individual and communal understandings of our search for justice and is crucial for understanding both justice and injustice today.Less
How do people develop loyalty to the legal system they inhabit? This book focuses on legal emotions in William Blackstone's transformative, bestselling Commentaries on the Laws of England (1765–69), a collection of volumes that deeply impacted English legal culture and became an icon for English common law values across the British Empire. Blackstone, not only a lawyer and judge, but a poet who believed that “the only true and natural foundations of society are the wants and fears of individuals,” was ideally situated to condense English law into a form that evoked emotions. Using a history of emotions and Law and Humanities approach, the book argues that in enlisting an affective aesthetics to invoke emotions such as desire, disgust, melancholia, embarrassment, terror, tenderness, and happiness, Blackstone encouraged readers to feel as much as reason their way to justice in ways that have continued to influence the Western world. This book treats the Commentaries—reinterpreted here in affective, aesthetic, and real-world contexts—as offering a complex map of our affective relationship to juridical culture, one that illuminates both individual and communal understandings of our search for justice and is crucial for understanding both justice and injustice today.
Peter N. Stearns
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780252041402
- eISBN:
- 9780252050008
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041402.001.0001
- Subject:
- Sociology, Social Psychology and Interaction
This book explores what we know about the history of shame, from early human societies onward, and explicitly links historical patterns and complexities to current issues surrounding shame. As both a ...
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This book explores what we know about the history of shame, from early human societies onward, and explicitly links historical patterns and complexities to current issues surrounding shame. As both a personal and a social emotion – individuals experience shame, but societies or social groups variously rely on shaming –shame is a particularly interesting candidate for historical analysis. A related analytical focus emerges from the tension between current psychological views on shame, which emphasize the destructive results of the emotion, and the wide reliance on shame in many past and contemporary societies. The most obvious historical target on shame involves the attacks on the emotion – after virtually universal acceptance in agricultural societies – in Western culture from the late 18th century onward. This book explores this change and its causes, tracing the impact but also the limitations of the shift, while also placing the new patterns in some comparative context regarding societies that remained less individualistic. Finally, the book picks up on several recent new developments, particularly in the United States, as shaming experiences a partial resurgence thanks to new partisan divides and the impact of social media. Shame, in some, offers a diverse and fascinating history, as part of the growing enthusiasm for exploring emotions in the past; and the history connects to a number of very real current issues about shame and shaming.Less
This book explores what we know about the history of shame, from early human societies onward, and explicitly links historical patterns and complexities to current issues surrounding shame. As both a personal and a social emotion – individuals experience shame, but societies or social groups variously rely on shaming –shame is a particularly interesting candidate for historical analysis. A related analytical focus emerges from the tension between current psychological views on shame, which emphasize the destructive results of the emotion, and the wide reliance on shame in many past and contemporary societies. The most obvious historical target on shame involves the attacks on the emotion – after virtually universal acceptance in agricultural societies – in Western culture from the late 18th century onward. This book explores this change and its causes, tracing the impact but also the limitations of the shift, while also placing the new patterns in some comparative context regarding societies that remained less individualistic. Finally, the book picks up on several recent new developments, particularly in the United States, as shaming experiences a partial resurgence thanks to new partisan divides and the impact of social media. Shame, in some, offers a diverse and fascinating history, as part of the growing enthusiasm for exploring emotions in the past; and the history connects to a number of very real current issues about shame and shaming.
Julien A. Deonna, Raffaele Rodogno, and Fabrice Teroni
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199793532
- eISBN:
- 9780199928569
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199793532.003.0005
- Subject:
- Philosophy, Moral Philosophy, General
We present in this chapter our own theory of shame. Shame, we argue, is the subject's painful sense of her own incapacity to live up to, even minimally, the demands consubstantial with one or some of ...
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We present in this chapter our own theory of shame. Shame, we argue, is the subject's painful sense of her own incapacity to live up to, even minimally, the demands consubstantial with one or some of the values she is attached to. This verdict of incapacity captures the distinctive sense in which an individual's identity is shaken in shame. Our theory is also pluralist in the sense that shame can arise as much in connection with the values manifested by an individual's pudeur as with those manifested by his dignity, decency or integrity. We then explain how this account is apt to illuminate some key aspects of shame, such as the distinction between rational and irrational shame, the phenomenology of shame, the distinctively self-relevant character of the evaluation it features and also show how it is apt to distinguish shame from other negative self-reflexive emotions such as self-disappointment, embarrassment and guilt.Less
We present in this chapter our own theory of shame. Shame, we argue, is the subject's painful sense of her own incapacity to live up to, even minimally, the demands consubstantial with one or some of the values she is attached to. This verdict of incapacity captures the distinctive sense in which an individual's identity is shaken in shame. Our theory is also pluralist in the sense that shame can arise as much in connection with the values manifested by an individual's pudeur as with those manifested by his dignity, decency or integrity. We then explain how this account is apt to illuminate some key aspects of shame, such as the distinction between rational and irrational shame, the phenomenology of shame, the distinctively self-relevant character of the evaluation it features and also show how it is apt to distinguish shame from other negative self-reflexive emotions such as self-disappointment, embarrassment and guilt.
Robert DiYanni, Anton Borst, Robert DiYanni, and Anton Borst
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780691183800
- eISBN:
- 9780691202006
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691183800.003.0006
- Subject:
- Education, Higher and Further Education
This chapter focuses on discussion-based teaching. It is about discussion-based learning as much as discussion-based teaching. Because discussion and lecture are the two most common forms of college ...
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This chapter focuses on discussion-based teaching. It is about discussion-based learning as much as discussion-based teaching. Because discussion and lecture are the two most common forms of college classroom instruction, it is essential to consider the merits, value, and benefits of each when planning and delivering instruction for students. The chapter explains why discussion is used in teaching and how it can be used to promote student learning. It explores the types of challenges teachers confront in using discussion-based teaching, and how to address those challenges. The chapter also considers ways to begin discussions in class and then sustain and conclude them, and it provides general guidelines for class participation in both small and large classes.Less
This chapter focuses on discussion-based teaching. It is about discussion-based learning as much as discussion-based teaching. Because discussion and lecture are the two most common forms of college classroom instruction, it is essential to consider the merits, value, and benefits of each when planning and delivering instruction for students. The chapter explains why discussion is used in teaching and how it can be used to promote student learning. It explores the types of challenges teachers confront in using discussion-based teaching, and how to address those challenges. The chapter also considers ways to begin discussions in class and then sustain and conclude them, and it provides general guidelines for class participation in both small and large classes.
Dacher Keltner
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780195179644
- eISBN:
- 9780199847044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195179644.003.0007
- Subject:
- Psychology, Cognitive Psychology
This chapter addresses whether embarrassment has a distinct nonverbal display and, by design, gathers similar evidence for amusement and shame. It tests the hypothesis that the nonverbal display of ...
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This chapter addresses whether embarrassment has a distinct nonverbal display and, by design, gathers similar evidence for amusement and shame. It tests the hypothesis that the nonverbal display of embarrassment is distinct. In Study 1, the nonverbal behaviors associated with individuals' experiences of embarrassment and amusement were compared. The remaining studies determined whether observers could distinguish between the spontaneous displays of embarrassment and (a) amusement (Studies 2 through 5); (b) shame (Study 5); and (c) other emotions with identified displays, including anger, disgust, and enjoyment (Study 5). Analyses showed that both the morphology and dynamic patterns of the behavior associated with embarrassment and amusement were distinct, differentially related to self-reports of emotion, and emotion-like in their onset and duration. The forms and functions of embarrassment are also discussed.Less
This chapter addresses whether embarrassment has a distinct nonverbal display and, by design, gathers similar evidence for amusement and shame. It tests the hypothesis that the nonverbal display of embarrassment is distinct. In Study 1, the nonverbal behaviors associated with individuals' experiences of embarrassment and amusement were compared. The remaining studies determined whether observers could distinguish between the spontaneous displays of embarrassment and (a) amusement (Studies 2 through 5); (b) shame (Study 5); and (c) other emotions with identified displays, including anger, disgust, and enjoyment (Study 5). Analyses showed that both the morphology and dynamic patterns of the behavior associated with embarrassment and amusement were distinct, differentially related to self-reports of emotion, and emotion-like in their onset and duration. The forms and functions of embarrassment are also discussed.
Dacher Keltner, Terrie E. Moffitt, and Magda Stouthamer-loeber
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780195179644
- eISBN:
- 9780199847044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195179644.003.0026
- Subject:
- Psychology, Cognitive Psychology
This chapter tests the three hypotheses concerning the relations between facial expressions of emotion and adolescent psychopathology. First, it is expected that externalizing adolescents, who are ...
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This chapter tests the three hypotheses concerning the relations between facial expressions of emotion and adolescent psychopathology. First, it is expected that externalizing adolescents, who are prone to aggressive and delinquent behavior, show more anger. Second, it is expected that internalizing adolescents, who are prone to anxiety, depression, withdrawn behavior, and somatic complaints, show more fear and sadness. The last hypothesis referred to embarrassment, which is believed to contribute to psychological adjustment by motivating people to avoid social-moral transgressions and to apologize for transgressions that have occurred. The results provide the first evidence for the claim that different adolescent disorders are manifest in distinct facial expressions of emotion. Furthermore, it documented links between adolescent psychopathology and emotional expression even though the measures of emotion and psychopathology came from two sources (the child's teacher and the child) rather than one, and emotional responses were assessed in one brief situation.Less
This chapter tests the three hypotheses concerning the relations between facial expressions of emotion and adolescent psychopathology. First, it is expected that externalizing adolescents, who are prone to aggressive and delinquent behavior, show more anger. Second, it is expected that internalizing adolescents, who are prone to anxiety, depression, withdrawn behavior, and somatic complaints, show more fear and sadness. The last hypothesis referred to embarrassment, which is believed to contribute to psychological adjustment by motivating people to avoid social-moral transgressions and to apologize for transgressions that have occurred. The results provide the first evidence for the claim that different adolescent disorders are manifest in distinct facial expressions of emotion. Furthermore, it documented links between adolescent psychopathology and emotional expression even though the measures of emotion and psychopathology came from two sources (the child's teacher and the child) rather than one, and emotional responses were assessed in one brief situation.
Michael T Compton and Beth Broussard
- Published in print:
- 2010
- Published Online:
- November 2020
- ISBN:
- 9780195372496
- eISBN:
- 9780197562659
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195372496.003.0022
- Subject:
- Clinical Medicine and Allied Health, Psychiatry
Mental health professionals now understand more about mental illnesses than ever before. Effective treatments are available that support many people with ...
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Mental health professionals now understand more about mental illnesses than ever before. Effective treatments are available that support many people with mental illnesses living full and productive lives. Despite this and the general public’s broader understanding of mental illnesses, negative and incorrect beliefs about these disorders continue. These incorrect beliefs include that mental illnesses are moral failures and that people with mental illnesses are dangerous, incompetent, and unable to function in the community. This can cause persons with mental illnesses and their families to delay seeking treatment in an attempt to avoid being labeled with a mental illness diagnosis. Once diagnosed, they may worry about people finding out and treating them differently. They may experience discrimination in various parts of their lives. This is due to the stigma of mental illness. The traditional definition of stigma is a mark of shame that usually lasts forever. Stigma can have negative effects on both the affected person and his or her family. The stigma related to mental illnesses often begins when doctors diagnose the patient with a mental illness. This diagnosis, or label, sometimes links the patient to stereotypes, or negative ideas, about people with a mental illness. However, stigma can also begin even before a diagnosis, when the affected person begins to display signs and symptoms of an illness. These signs and symptoms (such as talking to oneself or having unusual beliefs) may link the person to negative ideas about those with a mental illness. The stereotypes that society holds about people with mental illnesses are usually wrong. Examples of such ideas are that a person with a mental illness is dangerous, not very intelligent, and unable to work. Other false ideas are that the person has no self-control and will never recover. Stereotypes can cause others to view people with mental illnesses as different and less human. Not understanding these disorders, others may look down upon or think less of those with a mental illness. As a result, patients and their families may feel that they are less important, or they may feel discriminated against. They also may feel that the stereotypes about those with a mental illness are in some way true.
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Mental health professionals now understand more about mental illnesses than ever before. Effective treatments are available that support many people with mental illnesses living full and productive lives. Despite this and the general public’s broader understanding of mental illnesses, negative and incorrect beliefs about these disorders continue. These incorrect beliefs include that mental illnesses are moral failures and that people with mental illnesses are dangerous, incompetent, and unable to function in the community. This can cause persons with mental illnesses and their families to delay seeking treatment in an attempt to avoid being labeled with a mental illness diagnosis. Once diagnosed, they may worry about people finding out and treating them differently. They may experience discrimination in various parts of their lives. This is due to the stigma of mental illness. The traditional definition of stigma is a mark of shame that usually lasts forever. Stigma can have negative effects on both the affected person and his or her family. The stigma related to mental illnesses often begins when doctors diagnose the patient with a mental illness. This diagnosis, or label, sometimes links the patient to stereotypes, or negative ideas, about people with a mental illness. However, stigma can also begin even before a diagnosis, when the affected person begins to display signs and symptoms of an illness. These signs and symptoms (such as talking to oneself or having unusual beliefs) may link the person to negative ideas about those with a mental illness. The stereotypes that society holds about people with mental illnesses are usually wrong. Examples of such ideas are that a person with a mental illness is dangerous, not very intelligent, and unable to work. Other false ideas are that the person has no self-control and will never recover. Stereotypes can cause others to view people with mental illnesses as different and less human. Not understanding these disorders, others may look down upon or think less of those with a mental illness. As a result, patients and their families may feel that they are less important, or they may feel discriminated against. They also may feel that the stereotypes about those with a mental illness are in some way true.
E. S. Burt
- Published in print:
- 2009
- Published Online:
- March 2011
- ISBN:
- 9780823230907
- eISBN:
- 9780823235575
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823230907.003.0003
- Subject:
- Philosophy, Philosophy of Language
This chapter considers embarrassment in Rousseau and the thwarted language—a language incompletely freed from reference and yet dogged by a fictionality inappropriate to the context—that ...
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This chapter considers embarrassment in Rousseau and the thwarted language—a language incompletely freed from reference and yet dogged by a fictionality inappropriate to the context—that distinguishes the speaker in that predicament. It argues that embarrassment is not a defense only in the sense that it protects the self against a threat. As verbal blockage, it also inhibits the self from embarking on the trajectory of desire; it defends in the French sense of défender: That is, it forbids the self from communicating or carrying out its own latent wishes. That becomes apparent when the role of writing is considered, well known since Starobinski as the route Rousseau takes to circumvent embarrassment.Less
This chapter considers embarrassment in Rousseau and the thwarted language—a language incompletely freed from reference and yet dogged by a fictionality inappropriate to the context—that distinguishes the speaker in that predicament. It argues that embarrassment is not a defense only in the sense that it protects the self against a threat. As verbal blockage, it also inhibits the self from embarking on the trajectory of desire; it defends in the French sense of défender: That is, it forbids the self from communicating or carrying out its own latent wishes. That becomes apparent when the role of writing is considered, well known since Starobinski as the route Rousseau takes to circumvent embarrassment.
Christopher Grobe
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781479829170
- eISBN:
- 9781479839599
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479829170.003.0003
- Subject:
- Film, Television and Radio, Television
Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the ...
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Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.Less
Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.
Kathryn D. Temple
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781479895274
- eISBN:
- 9781479832637
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479895274.003.0004
- Subject:
- Law, Legal History
This chapter shifts registers to focus on Blackstone's own embarrassment as marking the importance of the Commentaries as a written text, a materialized object that came to symbolize the permanence ...
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This chapter shifts registers to focus on Blackstone's own embarrassment as marking the importance of the Commentaries as a written text, a materialized object that came to symbolize the permanence and reliability of written law. Blackstone's “diffidence,” his deficiencies as an orator, operated as legible affective signs of discomfort with the orally based theatricality of legal practice. Reading Blackstone's expressive body as a text in itself available for scrutiny in the famous libel case Onslow v. Horne (1770) suggests that although Blackstone's “stuttering” affect in Westminster Hall may have seemed to undermine his authority, it instead played a symbolic role in the global dissemination of the print text Commentaries. The inadequacy of his authentic but imperfect performance shifted attention to the perfectible text where Blackstone could perfect his style, if not always his content.Less
This chapter shifts registers to focus on Blackstone's own embarrassment as marking the importance of the Commentaries as a written text, a materialized object that came to symbolize the permanence and reliability of written law. Blackstone's “diffidence,” his deficiencies as an orator, operated as legible affective signs of discomfort with the orally based theatricality of legal practice. Reading Blackstone's expressive body as a text in itself available for scrutiny in the famous libel case Onslow v. Horne (1770) suggests that although Blackstone's “stuttering” affect in Westminster Hall may have seemed to undermine his authority, it instead played a symbolic role in the global dissemination of the print text Commentaries. The inadequacy of his authentic but imperfect performance shifted attention to the perfectible text where Blackstone could perfect his style, if not always his content.
