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Books on the topic 'Emotions expressed'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Violence expressed: An anthropological approach. Ashgate, 2010.

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2

Rienecke, Renee D., and Daniel Le Grange, eds. Eating Disorders and Expressed Emotion. Routledge, 2020. http://dx.doi.org/10.4324/9780429429484.

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3

Vostanis, Panos. The role of parental expressed emotion in conduct and emotional disorders of childhood. University of Birmingham, 1994.

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4

Nelis, Sharon Marie. Perceived expressed emotion, attachment and adjustment in adolescents. The Author), 2004.

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5

Christine, Vaughn, ed. Expressed emotion in families: Its significance for mental illness. Guilford Press, 1985.

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6

Hashemi, Amtul Habib. Schizophrenia, expressed emotion and ethnicity: A British Asian study. University of Birmingham, 1997.

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7

Steele, Janice D. Schizophrenia in children: The implications of symptom development and parental expressed emotion. University of Birmingham, 1993.

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8

Barnes, Daniel Montez. The Melody of Emotion: Poetry Expressed in the Changing with the Changing of Time. Barnes and Noble, 2019.

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9

De emotie verbeeld: Expressie in dans, toneel, beeld en verhaal. Dekker & Van de Vegt, 1989.

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10

Patient poets: Illness from inside out. University of California Medical Humanities Press, 2012.

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11

Cameron, David W. The level of expressed emotion in staff-client relationships of the severe and chronic mentally ill: A transactional model. The Author], 2002.

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12

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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13

Kutcher, Norman. The Skein of Chinese Emotions History. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038051.003.0004.

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This chapter draws out some common threads from the history of emotions in Chinese literature. The first of these threads is orthodoxy. Specific Chinese traditions—and here Confucianism is the case in point—dictated the rules of proper behavior: these rules were considered to regulate even the emotions. The second thread is context. Whether, or how, an emotion was expressed was a product of the venue (textual or otherwise) in which it was to be described or expressed. The third thread is the role of the formula (or, the formulaic) in emotion and its expression, or how we understand professions and descriptions of emotion that are expressed via stock phrases.
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14

Philip, Jennifer, and David W. Kissane. Responding to difficult emotions. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780198736134.003.0015.

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Patient distress can be acute or enduring, and contribute to the experience of a challenging consultation. Difficult emotions could include anger, resentment, morbid fear, intense grief, despair, or demoralization. A narrative approach is recommended involving active listening to the story, empathic acknowledgement of the emotions expressed, involvement of experienced clinicians, and reframing of the experience constructively to enable symptom relief and containment of the distress. When suffering persists, its further acknowledgement is warranted with efforts to promote adaptation and coping by exploration of the person and their life, sources of meaning, value and worth, and affirmation of these in the ill person. Role play in communication skills training involves the practice of a variety of empathic responses. Clinical scenarios for these difficult situations are provided in this chapter.
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15

Handbook of communication and emotion: Research, theory, applications, and contexts. Academic Press, 1998.

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16

(Editor), Peter A. Andersen, and Laura K. Guerrero (Editor), eds. Handbook of Communication and Emotion: Research, Theory, Application, and Contexts. Academic Press, 1998.

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17

Penner, Carey G. Emotional fainting to blood/injury stimuli: A function of fear and disgust expressed physically and cognitively. 1994.

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18

Winner, Ellen. Feeling From Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0004.

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This chapter addresses the emergence of feelings in the music listener. We hear a sad piece and feel sad, but we are not sad about the music, and nothing bad has happened to us. Some philosophers have therefore concluded that music cannot elicit emotion. Instead, perhaps we are confusing the emotion we hear expressed in the music with the emotion we feel. But research shows that people do feel emotions from music, and they distinguish the emotions they hear in the music from the emotions the music makes them feel. There is no empirical support for the philosophical position that we do not experience emotion from music. However, emotions from music are softened by aesthetic distance—we know these emotions are caused by the music and not by a life event. The chapter concludes with a consideration of some conflicting evidence about whether the emotional response to music is innate or influenced by one’s musical culture.
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19

Malinar, Angelika, and Helene Basu. Ecstasy. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0014.

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Among the many emotions that may be evoked and sought after in religious practice, ecstasy is an emotional state reserved by definition for extraordinary occasions and fields of performance and discourse. Religious ecstasy is not only expressed in poetic language using erotic metaphors or at least metaphors of desire but also evoked in the context of textual recitations and musical performances. This inclusion of erotic and aesthetic aspects can be regarded as enhancing the potential attraction of this emotion for those who practice a religion. On the other hand, this is also one reason why the guardians of religious doctrines and ethics have tended to regard ecstatic practices with skepticism. This essay discusses ecstasy and religion, focusing on possession and shamanism, ecstasy as an emotional state, and the silent ecstasy of meditation. It also examines ecstasy as the embodiment of religious emotions in rituals such as the Caitanya tradition of the Hindus and the Rafa'i brotherhood of the Sufis.
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20

Trotzke, Andreas, and Xavier Villalba, eds. Expressive Meaning Across Linguistic Levels and Frameworks. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198871217.001.0001.

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The study of the language-emotion interface has so far mainly concentrated on the conceptual dimension of emotions as expressed via language. This volume is the first to exclusively focus on the exploration of the formal linguistic expressions of emotions at different linguistic complexity levels—and it does so by integrating work from different linguistic frameworks: generative syntax, functional and usage-based linguistics, formal semantics/pragmatics, and experimental phonology. This collection is both a timely and an original contribution to the growing field of research on the interaction between linguistic expressions and the so-called ‘expressive dimension’ of language. The contributions to this volume are thus of interest to researchers and graduate students who would like to learn more about state-of-the-art approaches to the language-emotion interface.
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21

Grange, Daniel Le, and Renee Rienecke. Expressed Emotion and Eating Disorders. Taylor & Francis Group, 2020.

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22

Grange, Daniel Le, and Renee Rienecke. Expressed Emotion and Eating Disorders. Taylor & Francis Group, 2020.

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23

Mealor, Megan Denese. Bipolar Lexicon: An Akathisia of Expressed Emotion. Unsolicited Press, 2018.

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24

Garrett, Don. Spinoza’s Ethics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195307771.003.0002.

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This chapter provides an introductory overview of Spinoza’s philosophy as expressed in his Ethics. It includes descriptions and analyses of his “rationalist” approach to philosophical understanding; his monistic substance/mode metaphysics and his naturalistic pantheism; his necessitarian account of the parallelism and identity between mind and body; his theory of the emotions and the universal striving for self-preservation; his ethical doctrines as expressed in propositions about virtue, reason, freedom, and the good; and his conceptions of blessedness, intellectual love, and the mind’s eternity. In doing so, it shows how each of these elements depends logically on those that come before it in the Ethics.
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25

van Kleef, Gerben. Emotions as Agents of Social Influence. Edited by Stephen G. Harkins, Kipling D. Williams, and Jerry Burger. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199859870.013.19.

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Emotion is part and parcel of social influence. The emotions people feel shape the ways in which they respond to persuasion attempts, and the emotions people express influence other individuals who observe those expressions. This chapter is concerned with the latter type of emotional influence. Such interpersonal effects of emotional expressions are quite different from the traditionally studied intrapersonal effects of emotional experience. This calls for a new theoretical approach that is dedicated specifically to understanding the interpersonal effects of emotional expressions. I summarize emotions as social information (EASI) theory, which posits that emotional expressions shape social influence by triggering affective reactions and/or inferential processes in observers, depending on the observer’s information processing and the perceived appropriateness of the emotional expression. I review supportive evidence from various domains of social influence, including negotiation, leadership, attitude change, compliance, and conformity in groups. Differences and commonalities with traditional intrapersonal frameworks are discussed.
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26

Bronner, Simon J., ed. Jews at Home. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781904113461.001.0001.

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The questions at the heart of this book are: what things make a home ‘Jewish’, and what is it that makes Jews feel ‘at home’ in their environment? The material dimensions are explored through a study of the symbolic and ritual objects that convey Jewishness and a consideration of other items that may be used to express Jewish identity in the home. The discussion is geographically and ethnically wide-ranging, and the transformation of meaning attached to different objects in different environments is contextualized. For diasporic Jewish culture, the question of feeling at home is an emotional issue that frequently emerges in literature, folklore, and the visual and performing arts. The phrase ‘at-homeness in exile’ aptly expresses the tension between the different heritages with which Jews identify, including that between the biblical promised land and the cultural locations from which Jewish migration emanated. The chapters take a closer look at the way in which ideas about feeling at home as a Jew are expressed in literature originating in Brazil, Argentina, and the United States, and also at the political ramifications of these emotions. The question is further explored in a series of exchanges on the future of Jews feeling ‘at home’ in Australia, Germany, Israel, and the United States. The book examines the theme of the Jewish home materially and emotionally from a variety of disciplinary perspectives. It uses the theme of home and the concept of domestication to revise understanding of the lived (and built) past, and to open new analytical possibilities for the future.
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27

Docherty, Nancy Marsh. Assessment of expressed emotion by questionnaire: A preliminary study. 1987.

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28

Winner, Ellen. Wordless Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0003.

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Philosophers have worried that music cannot be sad or happy. Only sentient creatures can have emotions. However, empirical studies show that people do perceive emotions in music, including music from unfamiliar traditions. The question then becomes how music conveys emotion. Research shows that structural features in music mirror how emotions are conveyed by prosodic features of speech. When we are sad we speak slowly, softly, and in a low register; and when music is slow and soft and low, we perceive it as sad. Other emotional properties (like the link between the minor mode and sadness, the major mode and happiness) may be learned, but this matter remains in dispute. The research provides no support for the claim that music does not express emotions. The conventional wisdom that music is the language of the emotions holds up very well.
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29

Owen-Anderson, Allison. "I know what he is feeling because it is like I am inside of him": Examining sensory sensitivities, empathy, and expressed emotion in boys with gender identity disorder and their mothers : a comparison to clinical control boys and community control boys and girls. 2006.

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30

Garrett, Don. Spinoza’s Ethical Theory. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195307771.003.0022.

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This chapter analyzes Spinoza’s ethical theory in the context of his philosophical naturalism, his doctrine that the actual essence of each thing is its striving for self-preservation (conatus), and his psychology of the emotions as it concerns both “bondage to the passions” and the active emotions such as intellectual joy. It explains how Spinoza’s ethical precepts are expressed chiefly through demonstrated propositions about good and evil, virtue, the guidance of reason, and “the free man.” Particular attention is given to questions about (1) the meaning of ethical language, (2) the nature of the good, (3) the practicality of reason, (4) the role of virtuous character, (5) the requirements for freedom and moral responsibility (especially in light of his necessitarianism), and (6) the possibility and moral significance of altruism. The chapter concludes by briefly assessing the significance of Spinoza’s ethical theory and its place in the history of ethics.
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31

Juslin, Patrik N. Musical Emotions Explained. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.001.0001.

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The emotional power of music has been much examined and discussed. Based on new research, this book takes a close look at how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. It asks: can music really arouse emotions? If so, which emotions? How, exactly, does music arouse such emotions? Why do listeners often respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictive events in art as if they were real, even though we know they are not? What is it that makes a performance of music emotionally expressive? Music is often regarded as consisting of abstract sequences of notes, which are devoid of meanings. This book argues that this is not true. Adopting an evolutionary perspective, the book shows how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states — from startle responses to profound aesthetic emotions. Finally, it asks: but why do these mechanisms respond to music?
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32

Grange, Daniel Le, and Renee Rienecke. Eating Disorders and Expressed Emotion: Integrating Treatment, Intervention, and a Positive Family Environment. Taylor & Francis Group, 2020.

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33

Grange, Daniel Le, and Renee Rienecke. Eating Disorders and Expressed Emotion: Integrating Treatment, Intervention, and a Positive Family Environment. Taylor & Francis Group, 2020.

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34

Eating Disorders and Expressed Emotion: Integrating Treatment, Intervention, and a Positive Family Environment. Taylor & Francis Group, 2020.

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35

Grange, Daniel Le, and Renee Rienecke. Eating Disorders and Expressed Emotion: Integrating Treatment, Intervention, and a Positive Family Environment. Taylor & Francis Group, 2020.

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36

Juslin, Patrik N. Emotion in music performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0035.

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There are several features that we have come to expect from an expert performance: technical mastery, confidence, originality, flexibility, and a true understanding of the musical style. Yet the feature that both performers and listeners appear to regard as the most important is that the performer is expressive. The most-loved artists are commonly the ones that are able to express and evoke emotions in listeners. Previous studies have mainly concerned how performers express emotions, and this article focuses on this question. The article first provides working definitions of key concepts (e.g. expression, communication), and considers how performers conceive of these issues. It then reviews up-to-date evidence on how performers express emotions. Finally, the article proposes directions for future research.
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37

Thorsteinsson, Runar M. Jesus as Philosopher in the Gospel of Mark. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815228.003.0003.

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The chapter discusses the following aspects of the question of Jesus as philosopher in the Gospel of Mark: ascetic appearance, abandoning one’s family, attitude towards material possessions and outward appearance, Jesus and the philosophers as messengers of God, the wisdom of Jesus, the philosopher’s emotions, and the philosopher’s suffering and death. It is concluded that, in many respects, the figure of Jesus is consistent with contemporary philosophical figures, especially the Stoics, as regards his reported words and deeds. To be sure, there are some minor differences, particularly as regards the feelings of Jesus and the philosopher. In this case, Jesus showed and expressed feelings, like grief and anger, that were not considered characteristic of philosophical figures in general. However, most other features dealt with suggest that Mark may have benefited from contemporary discussions of the philosophical sage.
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38

Adams, Louise Helen. Expressed emotion, burden and coping in spousal caregivers caring for a partner with dementia. 1997.

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39

Bishop, Stephen L. Scripting Shame in African Literature. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348431.001.0001.

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- Shame is one of the most frequent underlying emotions expressed throughout sub-Saharan African literature, yet studies of such literature almost universally ignore the topic in favour of a focus on the struggle for independence and the postcolonial situation, encompassing a search for individual, national, and ethnic identities and questions of corruption, changing gender roles, and conflicts between so-called tradition and modernity. Shame, however, is not antithetical to these investigations and, in fact, the persistent trope of shame undergirds many of them. This book locates these expressions of shame in sub-Saharan African literature and shows how its diverse literary representations underscore shame’s function as a fulcrum in the mutual constitution of subject and community on the continent. Though shame research is dominated by Western definitions and theories, this study emphasizes the centrality of African conceptions of shame in ways that notions of Western subjectivity dismiss or cannot capture.
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40

Levene, Judith Elyse *. The influence of expressed emotion and family interaction on the course of illness in schizophrenia. 1991.

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41

Goethe, Johann Wolfgang von. The Sorrows of Young Werther. Translated by David Constantine. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780199583027.001.0001.

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‘I have so much and my feeling for her devours everything, I have so much and without her everything is nothing.’ The Sorrows of Young Werther propelled Goethe to instant fame when it first appeared in 1774. Goethe drew on his own unhappy experiences to tell the story of Werther, a young man tormented by his love for Lotte, a tender-hearted girl who is promised to someone else. Overwhelmed by his feelings, Werther begins to see only one way to escape from his anguish. Goethe's story of a sensitive young artist alienated from society channelled the Romantic sensibility of the day and led to a wave of imitations. Werther's searching introspection and the passionate intensity with which he bares his soul have an immediacy that is all the more powerful for being expressed in letters; charting the course of his emotions, they give added drama to the unfolding account. David Constantine's new translation captures the novel's lyric clarity, and his introduction and notes illuminate Goethe's achievement.
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42

Knudsen, Jan Sverre. Music in the Aftermath of the 2011 Utøya Massacre. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.14.

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This chapter is an analysis of the music performed at the memorial ceremony following the 2011 massacre where national extremist Anders Breivik killed 77 people, most of them young delegates at a summer camp of the Labour Party. Following an introductory discussion of theory of music, emotion, and nationhood, the chapter analysis takes the reader deep into a moment of emotional nationalism, just one month after the attack, providing a detailed description of the repertoire, production, and the performances at the ceremony. Knudsen argues that the ceremony expressed desires to rebuild national community and tolerance.
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43

Allchin, Douglas. Sacred Bovines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190490362.001.0001.

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Some assumptions about biology are so deeply rooted in our thinking that they seem beyond question. These concepts - expressed in playful jargon - are our sacred bovines. With a light-hearted spirit, Douglas Allchin sets out to challenge many of these common beliefs about science and life. Allchin draws on fascinating insights from science to illustrate the ironies in many widespread beliefs. Be prepared to challenge the notion that male and female are fixed natural categories. Or that evolution implies cutthroat competition in human society. Or that we struggle against a fundamental immoral nature. Or that genes establish our identity. Or that science progresses through rare leaps of genius. Or that politics and emotions inevitably taint good science. Sacred Bovines revels in revelations about the nature of science. Reflecting on the many errors in commonly accepted, everyday ideas also fosters creative thinking. How do we challenge assumptions? How do we "think outside the box"? The many examples here provide inspiration and guidance, further elaborated in a retrospective epilogue. An additional "Afterword for Teachers" highlights how the essays can foster learning about the nature of science and describes some practical classroom strategies.
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44

Fernández-Dols, José-Miguel, and James A. Russell. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.003.0001.

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One of the purposes of the present book is to provide an updated review of the current psychology of facial expression and to acknowledge the growing contribution of neuroscientists, biologists, anthropologists, linguists, and other scientists to this field. Our aim was to allow the readers—from lay to practitioners to research scientists—to discover the most recent scientific developments in the field and its associated questions and controversies. As will become obvious, the most fundamental questions, such as whether “facial expressions of emotion” in fact express emotions, remain subjects of great controversy. Just as important, readers will find that new research questions and proposals are animating this field.
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45

Wright, Samuel. A Time of Novelty. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197568163.001.0001.

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This book argues that a philosophical community emerged in sixteenth- and seventeenth-century India that crafted an intellectual life on the basis of intellectual and emotional responses to novelty in Sanskrit logic (nyāya-śāstra). As the book demonstrates, novelty was a primary concept used by Sanskrit logicians during this period to mark the boundaries of a philosophical community in both intellectual and emotional terms. This concept was expressed in their texts through the use of terms such as “old” and “new” when discussing certain philosophical opinions, signaling that periodization was a major component of their philosophy. By retaining space for emotion when studying intellectual thought, this book recovers not only what it means to “think” novelty but also what it means to “feel” novelty. Studying little-known essays by Sanskrit logicians in early modernity, the book explores the contours of what is termed “intellectual novelty” and “affective novelty” in Sanskrit logic—expressions of novelty in which is contained both cognitive and emotional content that, taken together, constitute intellectual life. As these expressions ultimately collapse into each other, the book argues that what emerges is an imaginative process that brings into being a new philosophical community.
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46

McCleary, Mary Lynn. Family burden and expressed emotion in the parents of adults with schizophrenia: A critique and empirical test of an integrated model. 2001.

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47

Dubreuil, Raphaëla. The Orator in the Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198748472.003.0012.

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This chapter explores the image Plutarch created of the end of Athenian Democracy. Its aim is to show that Plutarch conceived of this end through the lens of the theatre, and to explore the origins of this portrayal. It makes this argument through close study of the intersection of theatre and politics in Plutarch’s Life of Phocion. Plutarch expresses the political significance of crucial moments by drawing attention to their theatrical dimension. Theatrical venues, self-presentation, staging, speech, and props are used in order to create an emotional impact on an Athenian audience. Since Plutarch understood theatre in (mostly) Platonic terms, this evaluation is negative. He wishes to depict an Athenian society predisposed to strong emotion, ready to welcome an exuberant tyrant with open arms despite its previous democratic values.
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48

Risse, Guenter B. Location. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039843.003.0005.

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This chapter discusses the problems of pesthouse siting. For more than half a century, strong, collective feelings of fear, anger, and disgust drove the relentless opposition to the various sites suggested for San Francisco's pesthouse. San Franciscans continued to appeal to miasmatic theories of disease to justify threatening to burn down and destroy existing structures. Political decisions about “place making” for an institution housing “loathsome” bodies were always highly emotional, contentious, and bitterly fought. Eloquently expressed at neighborhood meetings and in lobbying efforts, these sentiments suggest the presence of an emotional climate that developed within the context of nineteenth-century dangers associated with urbanization and industrialization in San Francisco.
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49

Macnaughton, Jane, and Havi Carel. Breathing and Breathlessness in Clinic and Culture: Using Critical Medical Humanities to Bridge an Epistemic Gap. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474400046.003.0016.

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A central tenet of critical medical humanities is the claim that biomedicine does not hold all the keys to understanding the experience of illness, how responses to treatment are mediated, or how outcomes and prognosis are revealed over time. We further suggest that biomedicine cannot wholly explain how illness may be expressed physiologically. So much that influences that expression derives from cultural context, emotional response, and how illness is interpreted and understood that this knowledge cannot be exhausted with the tools of biomedicine.
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50

Guidotti-Hernández, Nicole M. Archiving Mexican Masculinities in Diaspora. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021469.

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In Archiving Mexican Masculinities in Diaspora, Nicole M. Guidotti-Hernández challenges machismo—a shorthand for racialized and heteronormative Latinx men's misogyny—with nuanced portraits of Mexican men and masculinities along and across the US-Mexico border. Guidotti-Hernández foregrounds Mexican men's emotional vulnerabilities and intimacies in their diasporic communities. Highlighting how Enrique Flores Magón, an anarchist political leader and journalist, upended gender norms through sentimentality and emotional vulnerability that he performed publicly and expressed privately, Guidotti-Hernández documents compelling continuities between his expressions and those of men enrolled in the Bracero program. Braceros—more than 4.5 million Mexican men who traveled to the United States to work in temporary agricultural jobs from 1942 to 1964—forged domesticity and intimacy, sharing affection but also physical violence. Through these case studies that reexamine the diasporic male private sphere, Guidotti-Hernández formulates a theory of transnational Mexican masculinities rooted in emotional and physical intimacy that emerged from the experiences of being racial, political, and social outsiders in the United States.
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