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Sympathy, sensibility and the literature of feeling in the eighteenth century. Palgrave Macmillan, 2012.
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Csengei, Ildiko. Sympathy, sensibility and the literature of feeling in the eighteenth century. Palgrave Macmillan, 2012.
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Tellkamp, Joerg Alejandro. Sinne, Gegenstaende und Sensibilia: Zur Wahrnemungslehre des Thomas von Aquin. Brill, 1999.
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NATO Advanced Research Workshop on Modelling, Robustness, and Sensitivity Reduction in Control Systems (1986 Groningen, Netherlands). Modelling, robustness, and sensitivity reduction in control systems. Springer-Verlag, 1987.
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D'Arms, Justin, and Daniel Jacobson. Sensibility Theory and Projectivism. Oxford University Press, 2007. http://dx.doi.org/10.1093/oxfordhb/9780195325911.003.0008.
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Nuzzo, Angelica. Ideal Embodiment: Kant's Theory of Sensibility. Indiana University Press, 2008.
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Mercer, John, and Martin Shingler. Melodrama: Genre, Style and Sensibility. Columbia University Press, 2013.
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Kemmis, Stephen. A Practice Sensibility: An Invitation to the Theory of Practice Architectures. Springer, 2019.
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(Editor), Gunnar Foss, and Eivind Kasa (Editor), eds. Forms of Knowledge & Sensibility: Ernst Cassirer & the Human Sciences (Kulturstudier, 22). Norwegian Academic Pr, 2002.
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Forms of knowledge and sensibility: Ernst Cassirer and the human sciences. Program for kulturstudier, Norges forskningsråd : Høyskoleforlaget, 2004.
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Mercer, John, and Martin Shingler. Melodrama: Genre, Style and Sensibility (Short Cuts). Wallflower Press, 2004.
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Dalle Vacche, Angela. André Bazin's Film Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.001.0001.
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The best way to understand Bazin’s film theory is to pay attention to art, science, and religion, since spectatorship depends on perception, cognition, and hallucination. By arguing that this dissident Catholic’s worldview is anti-anthropocentric, Angela Dalle Vacche concludes that cinema recapitulates the history of evolution and technology inside our consciousness, so that we may better understand how we overlap with, but also differ from, animals, plants, objects, and machines. Whereas in “Art,” the author explains the difference between painting as a static object and the moving image as an event unfolding in time, in “Science,” she discusses Bazin’s dislike of classical geometry and Platonic algebra, his fascination with biology and modern calculus to underline his holistic Darwinism, and his anti-Euclidean mathematics of motion and contingency. Comparable to a religious practice, Bazin’s cinema is the only collective ritual of the twentieth century capable of fostering an emotional community by calling on critical self-interrogation and ethical awareness. Especially keen on Italian neorealism, Bazin argues that this sensibility thrives on beings and things displacing themselves in such a way as to turn the Other into a Neighbor. Bazin’s film theory acknowledges the equalizing impact of the camera lens, which is analogous to, but also different from, the human eye. In the cinema, two different kinds of eyes coexist: one is mechanical and objective, the other is human and subjective. By refusing to reshape the world according to an a priori thesis, Bazin’s idea of an anti-anthropocentric cinema seeks surprise, dialogue, risk, and experiment.
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Ferris, Ina. Authorizing the Novel. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.026.
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Walter Scott’s historical novel achieved unprecedented success, and almost single-handedly propelled the novel as a genre into the literary field. A potent synthesis of history, romance, theory, and antiquarianism, the Waverley Novels rewrote contemporary modes of historical and national romance through a thematic of the heterogeneity of historical time. They answered to a new historical sensibility in a post-Revolutionary era of expanding readership; helped to forge a new British national identity; and were instrumental in reconfiguring literary culture for their time.
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Sill, Geoffrey. Developments in Sentimental Fiction. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.019.
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The sentimental strain in English fiction, which represents men of feeling and women of sensibility engaging in acts of sympathy and benevolence, became prominent in the 1760s through the novels of Charlotte Lennox, Oliver Goldsmith, Laurence Sterne, Henry Mackenzie, and others, building primarily on the work of Samuel Richardson and Henry and Sarah Fielding. The reformation of male manners, the feminization of taste and consumption, the grounding of ethics in human nature rather than rationalism or faith, and the emergence of a theory of moral sensibility all contributed to the popular reception of sentimental fiction. Frances Burney’s first two novels, Evelina and Cecilia, successfully combined sentiment with the comedy of Fielding and the moral sententiousness of Richardson, but in the third, Camilla, Burney felt the pressure of an increasing taste for realism, which eventually lessened the predominance, though it did not entirely eliminate, the sentimental form.
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Noggle, James. Unfelt. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501747120.001.0001.
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This book offers a new account of feeling during the British Enlightenment, finding that the passions and sentiments long considered as preoccupations of the era depend on a potent insensibility, the secret emergence of pronounced emotions that only become apparent with time. Surveying a range of affects, including primary sensation, love and self-love, greed, happiness, and patriotic ardor, the book explores literary evocations of imperceptibility and unfeeling that pervade and support the period's understanding of sensibility. Each of the four sections of the book—on philosophy, the novel, historiography, and political economy—charts the development of these idioms from early in the long eighteenth century to their culmination in the age of sensibility. From Locke to Eliza Haywood, Henry Fielding, and Frances Burney, and from Dudley North to Hume and Adam Smith, the book's exploration of the insensible dramatically expands the scope of affect in the period's writing and thought. Drawing inspiration from contemporary affect theory, the book charts how feeling and unfeeling flow and feed back into each other, identifying emotional dynamics at their most elusive and powerful: the potential, the incipient, the emergent, and the virtual.
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Austen, Jane. Sense and Sensibility. Edited by John Mullan. Oxford University Press, 2019. http://dx.doi.org/10.1093/owc/9780198793359.001.0001.
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‘Pray, pray be composed,’ cried Elinor, ‘and do not betray what you feel to every body present. Perhaps he has not observed you yet.’ For Elinor Dashwood, sensible and sensitive, and her romantic, impetuous younger sister Marianne, the prospect of marrying the men they love appears remote. In a world ruled by money and self-interest, the Dashwood sisters have neither fortune nor connections. Concerned for others and for social proprieties, Elinor is ill-equipped to compete with self-centred fortune-hunters like Lucy Steele, whilst Marianne’s unswerving belief in the truth of her own feelings makes her more dangerously susceptible to the designs of unscrupulous men. Through her heroines’ parallel experiences of love, loss, and hope, Jane Austen offers a powerful analysis of the ways in which women’s lives were shaped by the claustrophobic society in which they had to survive.
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Trowler, Paul. Accomplishing Change in Teaching and Learning Regimes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198851714.001.0001.
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This book offers a new perspective on the professional world of higher education. Using social practice theory, it presents a practice sensibility rooted in concepts which illuminate teaching and learning contexts. The book takes the reader through the social processes occurring within higher education institutions which shape contexts and influence the direction of change; for leaders and managers, educational developers, change agents, and academics, this sensibility will help to identify the successful paths to changes for enhancement and the patterns of policy implementation likely to occur as teaching and learning is enhanced. For researchers of higher education, the practice sensibility offers new possibilities for meaningful research into teaching and learning issues. Teaching and learning regimes are a key focus of the book. As a family of practices performed by a workgroup in higher education over extended periods, they comprise a number of ‘moments’—characteristics derived from structural foundations which shape the workgroup’s practices and frameworks of meaning. These moments condition how teaching and learning is fundamentally understood, what its aims are thought to be, what is considered ‘normal’ practice, how individuals see themselves and others, and how power operates within the workgroup. The material context is significant in this, as are the backstories, personal histories, and institutional sagas. This book develops a completely new approach to Trowler’s concept of teaching and learning regimes. Using both his research and that of others in the field, it presents a more nuanced, fully developed, and sophisticated version of the concept which has great traction for empirical research, the management of change, and the enhancement of the student experience and learning outcomes.
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Choi, Jinhee. Ozuesque as a Sensibility. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0006.
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This chapter considers “Ozuesque” as an individual sensibility that could be rooted in and extrapolated from the thematic and stylistic traditions of both Japan and Hollywood. Ozu’s austere yet ludic constitution comprises his distinctive sensibility that is rarely emulated by any other director. In order to delineate Ozu’s aesthetic sensibility, the chapter turns to the conception of sensibility advanced by art historian Roger Fry, who argues for a need to distinguish between sensibility in design and the sensibility in texture, the latter of which he calls “surface sensibility.” Such a distinction not only helps identify Ozu’s sensibility, but further explains the uneasiness in loosely employing the term “Ozuesque” in the discussion of directors who are influenced by, or pay homage to, Ozu. The latter half of the chapter examines Kore-eda Hirokazu, who is often compared to Ozu, not through formal terms, but instead via their shared, muted sensibility.
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Coatsworth, John H., and William R. Summerhill. The New Economic History of Latin America: Evolution and Recent Contributions. Edited by Jose C. Moya. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195166217.013.0015.
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This article on economic history explores a scholarly corpus whose robust empiricism stands out from the general antipositivist trends in the historical field and thus contributes a healthy element of disciplinary pluralism. The field originally rested on two pillars, neoclassical economic theory and cliometrics—that is, the use of quantitative methods, models from applied economics, and counterfactuals to test falsifiable hypotheses. But, inspired by the work of scholars such as the Nobel laureate Douglass North, recent practitioners have added a “new institutionalism” that aims to incorporate an increased sensibility towards cultural norms.
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Järviluoma, Helmi, and Noora Vikman. On Soundscape Methods and Audiovisual Sensibility. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.019.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Soundscape concepts have been employed for more than 20 years to enrich audiovisual studies. They have also been debated extensively. This chapter addresses soundscape as shifting, processual, historical, and produced in contingent situations. It focuses on a specific aspect of methodology that is useful for considering how to advance research on the audiovisual: methods in motion. Soundscape studies have stressed that researchers sometimes need to leave the “laboratory” and venture into fieldwork. Some of the recent developments in the “marriage” of soundscape and audiovisual studies are described, with three goals: (1) to direct attention to soundscape studies as the art and scholarly study of listening, (2) to introduce the sensory memory walk, and (3) to introduce the listening walk. Sound studies are increasingly employed as a basis for developing multisensory methodologies of studying times, spaces, and materialities to relocate sensate users of space at the center of the researcher’s attention.
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Audi, Robert. Moral Perception Defended. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.003.0004.
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This chapter extends Robert Audi's theory of moral perception and answers some objections from the literature. It distinguishes the perceptible from the perceptual; develops a structural analogy between perception and action; explains how moral perception can be causal; clarifies respects in which moral perception is representational; and indicates how it can ground moral knowledge. The presentational character of moral perception is described, particularly the phenomenological integration between moral sensibility and non-moral perception of the natural properties that ground moral properties. The question whether moral perception is inferential is approached by clarifying the notion of inference and pursuing an analogy between moral perception and perception of emotion. Aesthetic perception is also considered as instructively analogous to moral perception. The final sections explore cognitive penetration in relation to moral perception, conceptual and developmental aspects of moral perception, and the latitude Audi’s account of it allows in the epistemology and ontology of ethics.
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Anderson, David. Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847199.001.0001.
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Situating Keiller, Sebald, and Sinclair as the three leading voices in ‘English psychogeography’, this book examines what, apart from a shared interest in English landscape and townscape, connects their work; it discovers this in the cultivation of a certain ‘affective’ mode or sensibility especially attuned to the cultural anxieties of the twentieth century’s closing decades. As it goes on, the book explores motifs including ‘essayism’, the reconciliation of creativity with ‘market forces’, and the foregrounding of an often agonised or melancholic subjectivity. It wonders whether the work it looks at can, collectively, be seen to constitute a ‘critical theory of contemporary space’. In the process, it suggests that Keiller, Sebald, and Sinclair represent a highly significant moment in English culture’s engagement with landscape, environment, and itself. There are six chapters in all, with two devoted to each subject: one to their early years and less well-known work; and another to their more famous later contributions, including important works such as Patrick Keiller’s London (1994), W.G. Sebald’s The Rings of Saturn (1995), and Iain Sinclair’s Lights Out for the Territory (1997). The book’s analyses are fuelled by archival and topographical research carried out in London and Germany and are responsive to various interdisciplinary contexts, including the tradition of the ‘English Journey’, the set of ideas associated with the ‘spatial turn’, critical theory, the so-called ‘heritage debate’ in Britain, and more recent theorization of the ‘anthropocene’. In all, the book suggests the various ways that a dialectical relationship between dwelling and displacement has been exploited as a means to attempt subjective reorientation within the axiomatically disorientating conditions of contemporary modernity.
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Beiser, Frederick C. Neo-Kantian Writings in Marburg, 1880–1889. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828167.003.0009.
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This chapter describes Cohen’s writings on philosophy in the 1880s, specifically his work on epistemology and aesthetics. It analyzes Cohen’s Das Princip der Unendliche Methode where Cohen advocates an analysis of sensibility into intelligible units called infinitesimals. This marks the beginning of his break with Kant’s dualism between understanding and sensibility. One section considers the second edition of Kants Theorie der Erfahrung, which brought many changes in his evolving philosophy. A final section deals with Cohen’s first foray into the field of aesthetics, his book Kants Begründung der Aesthetik. Cohen’s early aesthetics is interpreted as an attempt to reinstate classical aesthetic values against romanticism.
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Richardson, Louise. Odours as Olfactibilia. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722304.003.0005.
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It is natural to think that sight is distinctive amongst the senses in that we typically see ordinary objects directly, rather than seeing a visual equivalent to a sound or odour. It is also natural to think that sounds and odours (like rainbows and holograms) are sensibilia, in that they are each intimately related to just one of our senses. In this chapter, I defend these natural-seeming claims. I present a view on which odours are indeed sensibilia, a claim that is in need of defence when confronted with the suggestion that they are clouds of molecules. Furthermore, I argue that odours and rainbows, whilst both sensibilia, differ in ways that reflect their different roles for perceivers.
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Cabreira, Regina Helena Urias. Reflexões literárias sobre a mulher, o mito, o herói, a história e a sociedade. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-008-3.
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This work presents monographs from former students of the Letters Course – Portuguese/English and Letters Course – English at the Federal Technological University of Parana. These studies relie on the uniqueness of each approach and on the expression of young values and perceptions referring to women’s role in society, from the 18th through the 20th century; to an outstanding symbolic analysis of a renowned masterpiece; to the legitimacy mythology brings to a literary discussion on the hero’s journey; to the courage to cast the disconcerting gothic perspective on works considered only modernist and to the need to shed light on the meanders of human behaviour still considered as taboo. The seven English Language Literature texts include: three discussions on the female condition, analysed through novels (Sense and Sensibility ([1811]2012), by Jane Austen and A Game of Thrones (2012), by George R. R. Martin) and poetry (The Ruined Maid (1903), by Thomas Hardy; For the Gate of the Courtesans (1912) by Henri de Régnier, and Courtesans (1912), by Fernand Gregh). We also present Moby Dick or The Whale (1851), by Herman Melville and The Children of Hurin (2007) by J. R. R. Tolkien through a historic-mythic perspective. Three short stories by F. S. Fitzgerald: The Ice Palace (1920), Tarquin of Cheapside (1922) and A Short Trip Home (1935) are explored through the gothic literary theory. Finally, Call Me by Your Name (2018), by André Aciman, is discussed through the queer theory, emphasizing an important research on male sexuality according to contemporary views.
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Gray van Heerden, Chantelle, and Aragorn Eloff, eds. Deleuze and Anarchism. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439077.001.0001.
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Both the philosophy of Deleuze and Guattari, and anarchism, have gained more academic interest over the past decades. Many authors have also recognised an anarchist sensibility in Deleuze and Guattari’s philosophy, yet there has been no sustained or explicit discussion of anarchism in their work to date. This collection aims to provide readers with a map detailing Deleuze and Guattari’s anarchistic thought and the ways in which it intersects with classic and contemporary anarchist discourse and practices found both in academia and society at large.
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Wu, Yung-Hsing. Closely, Consciously Reading Feminism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039805.003.0005.
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This chapter considers the fate of close reading in second-wave reading and writing communities, through an analysis of memoirs, literary criticism, and a novel, Marilyn French's The Women's Room. It argues that just as feminist consciousness-raising believed that reading could generate closeness among women, and just as feminist fiction of the 1970s was regularly cited (and decried) for an intimacy of identification it was said to create for women readers, early feminist literary criticism was marked by an investment in the political promise of closeness. For feminist literary critics of that first academic generation, this sensibility marked a shift from closeness described as a familiar stance toward textuality to one with distinctive affective and political valences. In other words, this sensibility yoked the question of women reading to consciousness: to its nascence, whether sudden or gradual, and to its qualities of strangeness, pain, even joy. While their assumptions led them to find reading in very different places, their critical desires stemmed from the shared view that reading, wherever it is found, can be a place for politics.
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Cvejic, Bojana. Problem as a Choreographic and Philosophical Kind of Thought. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.43.
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This chapter accounts for a distinctive kind of thought, born in and through European dance since the mid-1990s, which has thoroughly transformed choreography and performance by reinventing performed relations between the body, movement, and time under the theme of “problems.” The practice of this thought is rooted in the problematization of specific concerns within contemporary theater dance, such as the body-movement bind with respect to expression and form, improvisation and processuality, or spectatorship. Most important, its forte lies in introducing a method of creation by way of problem-posing, which merits philosophical attention. Choreographing problems involves composing ruptures between movement, the body and duration in performance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems “force” thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza’s philosophy.
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Timmermann, Marybeth, trans. Women, Ads, and Hate. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039003.003.0042.
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If it weren’t so disturbing, the flood of misogyny set in motion by Ms. Yvette Roudy’s anti-sexist law would warrant peals of laughter.1 These gentlemen—and ladies—who reproach feminists for lacking a sense of humor are showing that they regrettably lack one themselves. With much pomp they call on their sense of responsibility and professional conscience in order to claim the right to cover the walls with images that—in their minds—will best fill their pockets! They are quick to invoke the highest cultural values: according to them, advertisements shower us with beauty, and it would take a complete lack of aesthetic sensibility to not compare these creations with the most famous paintings of the Louvre and their “messages” with the greatest works in French literature....
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Gill, Denise. Melancholic Genealogies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0004.
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Chapter 3 analyzes the pedagogical underpinnings of affective practice and melancholic musicking in the context of music transmission (meşk). The chapter argues that as meşk works to recreate a master’s sensibility and knowledge anew in the apprentice, master musicians inculcate feeling practices and spiritual discourses alongside music techniques in lessons with students. It is observed that students, in turn, validate their authentic experiences of melancholy through religious discourse and the memorializing of their musical lineage (meşk silsilesi). Chapter 3 also introduces the concept of bi-aurality as an approach for ethnomusicologists to develop new geographies of listening to musics outside of western canons.
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Haskell, John. The Religion/Secularism Debate in Human Rights Literature. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805878.003.0007.
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The tension between religion and secularism within the field of human rights is a popular topic in contemporary international legal scholarship. In the first section of the chapter, I map the arguments between Christianity, Islam, and liberal secular perspectives: on the one hand, exploring the different styles of treatment available within scholarship, and on the other hand, demonstrating how they bear a constitutive relationship to each other that reveals a common aesthetic sensibility and set of disciplinary assumptions among concerned scholars. Whatever differences exist in the texts, the paper seeks to show that authors only tend to produce four varieties of argument around the rhetorical trope law/religion/secularism, and that each of these four varieties are dependent upon their seemingly antagonistic counterparts.
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Fischer, Lucy. Generic Gleaning. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0008.
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This chapter examines Agnès Varda's The Gleaners and I (2000), an elision of documentary with autobiography that connects—through Varda's own working life, spanning feminist and postfeminist generations—to women's early film practice. The film depicts an extended “road trip” that Varda takes in order to encounter and film a variety of people who “glean” things—be their plunder the traditional rural harvest or urban garbage. In noting Varda's extension of the significance of “gleaning” for food to a woman's practice of collecting, the chapter delineates an encounter between a sensibility culturally defined as feminine with the feminized throwaway culture of mass consumerism. Authorship figures, then, as a form of creative recycling or bricolage.
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Macleod, Beth Abelson. Sigmund Zeisler. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039348.003.0004.
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This chapter takes a look at Sigmund Zeisler, a prominent Chicago attorney and one of the defenders of the anarchists in the Haymarket trial of 1886. Zeisler and Fanny Bloomfield advanced the friendship that had begun in Bielitz and were married in Chicago on October 18, 1885. Zeisler expressed the expectation that Fannie would give up performing when she married or had a child. By adapting to the reality of her wife's ambition and its impact on the potential success of their marriage, Zeisler was articulating a more unconventional and nuanced sensibility. This chapter provides a background on Zeisler's education, his ideas on marriage, and his influence on Fannie, as well as the roots of the Haymarket Riot.
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Roth, Benita. Intersectionality. Edited by Holly J. McCammon, Verta Taylor, Jo Reger, and Rachel L. Einwohner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190204204.013.42.
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Intersectionality has become the dominant form of feminist social science analysis. This chapter first examines the origins of intersectional analysis—which conceives of gender, race, class, and sexuality interacting forms of oppression—in the work of U.S. feminist academics in the 1980s, following the lead of feminists activists of color in the 1960s and 1970s who conceptualized their struggles in complex terms. The next section traces how intersectionality has widened into “intersectionality studies,” as the concept has traveled and definitions of intersectionality have proliferated. The author concludes that, despite its possible limitations, an intersectional sensibility is useful for those engaged in movement studies, because it helps scholars to conceptualize the relationships between voluntary action on the part of movement participants and social structures they inhabit/encounter, and because intersectionality’s view of oppositional communities as coalitions dovetails well with work that seeks to examine how movements are formed and operate as coalitions.
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Bader, Ralf M. Inner Sense and Time. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198724957.003.0007.
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This chapter explains how outer appearances end up in time, despite the fact that time is only the form of inner sense, on the basis that they are objects of representations of which we become aware in a temporal manner by means of an act of reflexive awareness. This temporalising function of inner sense is to be distinguished from the subjective temporal ordering that results from the reappropriation of mental states by means of inner intuition. Both these functions pertain to sensibility and are, in turn, to be distinguished from time determination, which is performed by the understanding. There is thus a three-fold progression: 1. the temporalising of appearances as a result of reflexive awareness (subjective simultaneity), 2. the subjective ordering of representings that occurs as part of the reappropriation of mental states (subjective succession), and 3. the objective ordering identified by means of time determination (objective simultaneity and succession).
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Burke, Megan M. Becoming A Woman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190608811.003.0010.
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The author argues that the exclusion of the indefinite article in Borde and Malovany-Chevallier’s translation of “the famous sentence” in The Second Sex obscures Beauvoir’s phenomenological account of feminine existence. While it is best to understand the recent translation as an informed, interpretative reading of Beauvoir, this essay suggests that reading the end of the sentence as “becoming a woman” undoes the common Anglo-American reading of Simone de Beauvoir as a social constructionist (for example, in the work of Judith Butler). This undoing is important for the way readers become oriented to Beauvoir’s phenomenological commitments. Thus the inclusion of the “a” gestures to a phenomenological sensibility. There is a sphere within the lived experience of femininity that the exclusion cannot capture.
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Solomon, William. The Rise of Slapstick Modernism; or, the Birth of the Uncool. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0008.
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This chapter follows the full-fledged rise of slapstick modernism in the late 1950s and 1960s. After surveying this field with help from Jack Kerouac's tribute to the Three Stooges in Visions of Cody, the chapter examines Joseph Heller's Catch-22 for insight into the sociopolitical importance of technically mastering the rhetorical dimensions of language—verbal tropes in particular. Heller's humor made an essential contribution to the development of a countercultural sensibility. In his novel, jokes serve as the means of carving out a space for alternative attitudes toward ideologically coercive notions such as patriotism and sacrifice. The clever deployment of figures of speech thus seeks to generate a skeptical intelligence, as well as to contest the dreadful impact of military officers' demands on their naïve subordinates.
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McDowell, Nicholas. Rabelaisian Comedy and Satire. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0018.
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This chapter discusses the influence of François Rabelais in English literary culture. It looks at this impact on earlier English prose narrative and fiction of Rabelais' loosely related tales of gluttonous, bibulous giants and their fantastic adventures, collectively known as Gargantua and Pantagruel (1532–64). ‘Rabelaisian’ is of course an adjective which in both criticism and common linguistic currency has become detached from its literary and authorial origins to become an alternative term for the ‘bawdy’, the ‘vulgar’, and the ‘earthily humorous’. The chapter shows the process beginning from the moment the term is coined to describe an author's character rather than appraise their literary style, evoking a sensibility healthily drawn to festivity and indulgence but also somewhat at odds with Christian decency. The generality of the term has doubtless contributed to the vagueness of much critical discussion.
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Federico, Lenzerini. Part VI International Assistance, Reparations, and Redress, Ch.19 Reparations, Restitution, and Redress: Articles 8(2), 11(2), 20(2), and 28. Oxford University Press, 2018. http://dx.doi.org/10.1093/law/9780199673223.003.0020.
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This chapter examines rights to reparations, restitution, and redress in Articles 8(2), 11(2), 20(2), and 28. The need of taking into proper account the cultural specificity of indigenous peoples, in establishing the forms of reparation to be used with the purpose of redressing violations of their reorganized collective and/or individual human rights, seems to be adequately considered by the relevant provisions included in the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). In fact, those provisions are inspired by a clear culturally driven rationale, providing a good basis for the setting up of reparatory measures which are adequate to actually restore the wrongs suffered by indigenous peoples in light of their specific expectations and needs. However, the said provisions are only written on paper, and their actual translation into concrete effective measures of reparation ultimately depends on the sensibility of the legal operators who are entrusted with their actual application and implementation in the real world.
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Lawal, Babatunde. Signifying Jars, Resonating Like a Banjar. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0006.
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This chapter glosses the major couplets and inscriptions, connecting formal matters of allusion, symbolism, tone, absence—in short, the poetics of the jars and pots—to their socio-historical, political, and philosophical contexts. Beginning with an investigation of the African roots of Dave the Potter’s practice, Lawal links Dave’s pottery to the tradition of colonoware and his cryptic marks to the cosmogram of the Kongo people. He proceeds to examine Dave’s inscriptions as an illustration of “the double-edged tendency in African American signifying,” which he positions in the religious and historical contexts of black theology and nineteenth-century evangelicalism. Lawal discovers in the couplets a rich vision of Dave the Potter’s poetic milieu and sensibility, one that puts him at the center rather than the margins of antebellum American culture.
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Ronge, Bastian. Towards a System of Sympathetic Law. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198768586.003.0015.
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This chapter argues that Adam Smith shows us that the original and last foundation of law and order is the practice of making moral judgments—our emotional reactions to injustice and suffering we observe. The real substance of law is our moral sensibility and affectivity; a substance, which turns out to be highly contingent, since it is shaped by various socio-historical, cultural, and subjective conditions that change over time. Therefore, the question of internationalization or even universalization of rights is not a matter of careful reasoning and convincing argumentation; it is a matter of Sentimental Education. It depends on our ability to push the limits of sympathy and to establish a common language of emotions which allows us to treat even strangers as if they were fellow citizens.
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Stevenson, Jane. Streams of Consciousness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0006.
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A number of modernist writers are profoundly engaged with the classical tradition (or traditions) and the relevance of the past to the present. Writers singled out include Djuna Barnes, expressing a modern sensibility through a fantastical neo-Elizabethan prose style, and the way Woolf in Orlando also patched the Elizabethan era onto the present: in both cases, the obliquity of their narrative relates to the problem of expressing a lesbian viewpoint without provoking censorship. The chapter examines the camp streak in interwar literature and its debt to Saki and Ronald Firbank. Also explored is the importance of fantasy: not just Tolkien together with his friends C. S. Lewis and Charles Williams, a nexus of mutually connected writers who reacted to modernity by going somewhere else entirely, but the writers of many contemporary bestsellers and critically successful books.
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Hindmarsh, D. Bruce. Evangelicals and the Rise of Science. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190616694.003.0005.
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The evangelical devotional attitude passed over into their view of the natural world as radiant with God’s presence. The God of nature and grace invited a response of “wonder, love, and praise”; this led them to perceive God as immediately present in the material world revealed by Newtonian science and described by mechanical philosophy. This is evident in John Wesley’s multifaceted interaction with science as a popular disseminator of natural knowledge, and Jonathan Edwards’s probing of the meaning of the Newtonian postulates. The attitude of worship, recalling the older “harmony of all knowledge,” was manifest especially in the Wesleyan and Edwardsian view of the spiritual senses and their profound rejection of dualism. In Charles Wesley’s poetry too we witness a devout response to the Holy Spirit’s presence in the material world. Instead of reflecting the reductionist “quantifying spirit” of the age, he responded to the world described by science with a unified sensibility.
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Brown, Deborah J. Animal Souls and Beast Machines. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0013.
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Descartes’ long-standing interest in animals had many motivations—to reinforce his dualism of mind and body; to demonstrate the completeness of his physics; and to resolve what he considered to be inconsistent metaphysical and theological positions on the status of animal souls. Thus, the subject of animals serves to unite the various strands of Cartesian philosophy, whilst posing some of the deepest and most persistent challenges to that philosophy. Whether or not we agree with Descartes’s notorious view that animals are mere machines lacking all thought and sensibility, it is important to recognize that Descartes established the terms of a debate which continues to shape our thinking about animals, their cognitive capacities and their relationship to us. This chapter locates Descartes’ position within the scientific and moral debates of his time, emphasizing the sophistication of his attempts to explain animal life and behavior and the challenge he throws down to nonmechanistic explanations.
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Sloniowski, Jeannette, and Marilyn Rose. Popular Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0028.
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This chapter examines the history of popular fiction in Canada. In Canada, popular culture reflects not only Canadian experience but also cultural anxieties as they have permeated and shaped the national imaginary since the days of settlement. The most significant component of that national imaginary in relation to popular narrative is probably what might be called an evolving Gothic sensibility. Gothicism refers to the portrayal of strange or frightening experiences in mysterious and daunting places and spaces. The chapter considers a number of earlier Canadian novels that stand out in the Canadian popular imagination, including L. M. Montgomery's Anne of Green Gables (1908), Margaret Laurence's The Diviners (1974). It also discusses genre fiction in the modern and contemporary periods, such as Harlequin Enterprises (founded Winnipeg 1949) and women's romances, crime fiction, fantasy, and speculative fiction, notably William Gibson's cyberpunk novel Neuromancer (1984).
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Coen, Lisa. Urban and Rural Theatre Cultures. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.20.
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By the 1950s, distinct strands of rural and urban Irish theatre were prompted by the clash of traditional mores with major social and political changes in Ireland. Three playwrights, M. J. Molloy, John B. Keane, and Hugh Leonard, came to represent the rural and urban sensibility of theatre at that time. All three were interested in how traditional Irish values and practices fitted in with the Ireland emerging around them. The ways in which the three playwrights reacted to an urbanizing, modernizing culture illustrates how the theatre of their generation was conditioned by a national perspective that was failing to assimilate profound societal change. Molloy, essentially conservative, promoted ideas of self-sacrifice, while Keane implicitly endorsed a liberal humanist protest against repression. Hugh Leonard’s satires on suburbia wrote out rural Ireland as a thing of the past, although he retained some vestiges of the country kitchen play in his work.