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How can we develop the sensitivity necessary for playing music or making crafts? How can teachers make their lessons interesting? In what ways can consumers avoid undue influence? How do we acquire refined tastes, or come to believe what we want to believe? Addressing these issues and providing an account for tackling personal and societal problems, Rolf Reber combines insights from psychology, philosophy, and education to introduce the concept of 'critical feeling'. While many people are familiar with the concept of critical thinking, critical feeling denotes the strategic use of feelings in order to optimize an outcome. Reber discusses the theoretical and empirical foundations of critical feeling and provides an overview of applications, including well-being, skill learning, personal relationships, business, politics, school, art, morality, and religion. This original and thought-provoking study will interest a broad range of researchers, students, and practitioners.
How can we develop the sensitivity necessary for playing music or making crafts? How can teachers make their lessons interesting? In what ways can consumers avoid undue influence? How do we acquire refined tastes, or come to believe what we want to believe? Addressing these issues and providing an account for tackling personal and societal problems, Rolf Reber combines insights from psychology, philosophy, and education to introduce the concept of 'critical feeling'. While many people are familiar with the concept of critical thinking, critical feeling denotes the strategic use of feelings in order to optimize an outcome. Reber discusses the theoretical and empirical foundations of critical feeling and provides an overview of applications, including well-being, skill learning, personal relationships, business, politics, school, art, morality, and religion. This original and thought-provoking study will interest a broad range of researchers, students, and practitioners.
New technologies, whether text message or telegraph, inevitably raise questions about emotion. New forms of communication bring with them both fear and hope, on one hand allowing us deeper emotional connections and the ability to forge global communities, while on the other prompting anxieties about isolation and over-stimulation. Feeling Mediated investigates the larger context of such concerns, considering both how media technologies intersect with our emotional lives and how our ideas about these intersections influence how we think about and experience emotion and technology themselves. Drawing on extensive archival research, Brenton J. Malin explores the historical roots of much of our recent understanding of mediated feelings, showing how earlier ideas about the telegraph, phonograph, radio, motion pictures, and other once-new technologies continue to inform our contemporary thinking. With insightful analysis, Feeling Mediated explores a series of fascinating arguments about technology and emotion that became especially heated during the early 20th century. These debates, which carried forward and transformed earlier discussions of technology and emotion, culminated in a set of ideas that became institutionalized in the structures of American media production, advertising, social research, and policy, leaving a lasting impact on our everyday lives.
Stop negative thoughts, assuage anxiety, and live in the moment with these fun, easy games from improv expert Clay Drinko. If you’ve been feeling lost lately, you’re not alone! Even before the Covid-19 pandemic, Americans were experiencing record levels of loneliness and anxiety. And in our current political turmoil, it’s safe to say that people are looking for new tools to help them feel more present, positive, and in sync with the world. So what better way to get there than play? In Play Your Way Sane, Dr. Clay Drinko offers 120 low-key, accessible activities that draw on the popular principles of improv comedy to help you tackle your everyday stress and reconnect with the people around you. Divided into twelve fun sections, including “Killing Debbie Downer” and “Thou Shalt Not Be Judgy,” the games emphasize openness, reciprocation, and active listening as the keys to a mindful and satisfying life. Whether you’re looking to improve your personal relationships, find new meaning at work, or just survive our trying times, Play Your Way Sane offers serious self-help with a side of Second City sass.
"Tom was a young engineer employed at one of the country's largest steel companies. He had been an outstanding individual performer, and now he was a new manager, leading a team responsible for producing steel for a major automobile company. After just one week on the job, Tom and his team met with over 20 engineers from that other company. It was a rude awakening. I sat in a room with maybe 20 or 25 of their engineers for the annual quality evaluation of suppliers. And I learned for the first time that we were in the bottom of the bottom quartile as a supplier. We had lousy quality, we had lousy invoicing, we had lousy on-time delivery. And this was my first general manager role! I had grown up as an engineer. And how did Tom respond to this unexpected shock? I had a holy shit moment! I had been in the job literally a week. So part of it was, 'Oh my God, what the hell am I going to do?' Also I thought about how my guys had been in the business for a while, and I thought, 'What the hell have you been doing?' And I was thinking, 'I'm going to clean house!' But then... I've learned that you just can't react viscerally every time something comes up because it just scares people away. So Tom listened attentively as the engineers from the auto company presented their litany of complaints. When they finally finished, he stood up and said, "I wouldn't blame you if you fired us as a supplier. But if you give us a chance to fix these problems, I guarantee you that that we will not have this kind of meeting next year." When Tom met with his team the next morning to discuss the situation, he started by just listening to them. They went on for some time complaining about how the company and their previous boss had made it impossible for them to provide good products and service. Rather than disagree with them or join in pointing fingers at others, Tom listened. "I didn't think about it at the time, but that first couple of hours was very cathartic for them. My focus was not on beating anyone up but rather, what can we do to fix this?" The team responded positively to Tom's approach. The next year when they met, the auto company told Tom that they "never saw any business turn around that quickly in one year." As a result, they began giving Tom's company more business, and Tom went on to a distinguished career, eventually becoming one of his company's top executives"--
Envy, irritation, paranoia—in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called “animatedness,” and a paradoxical synthesis of shock and boredom called “stuplimity.” She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening. Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature—with a particular focus on those inflected by gender and race—but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.
In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.
This book, stemming from an international conference, mainly explores the “private sphere” of minority cultures. To date, insufficient attention has been paid to ethnic minorities’ sense of subjecthood, e.g. their construction and articulation of self-understanding formed through lived experiences, sensibilities, emotions, sentiments, empathy, and even tempers and moods. Social misunderstanding, not to mention stereotyping, mystification and discrimination, often stems from neglecting the surprising and enlivening texture of minorities’ emotional world. Taking the important cue of the “affective turn” in cultural theory in recent years, the contributors address questions such as: what are the representations of affective/emotional energies and intensities surrounding the ethnic figures/strangers in visual culture (e.g. passivity, shame, anger, joy, empathy, charm, belonging, etc.)?; how do ethnic minorities respond to these visual narratives, and how can their self-representation through visual discourse reveal and transform their lived experiences?
In Depression: A Public Feeling, Ann Cvetkovich combines memoir and critical essay in search of ways of writing about depression as a cultural and political phenomenon that offer alternatives to medical models. She describes her own experience of the professional pressures, creative anxiety, and political hopelessness that led to intellectual blockage while she was finishing her dissertation and writing her first book. Building on the insights of the memoir, in the critical essay she considers the idea that feeling bad constitutes the lived experience of neoliberal capitalism. Cvetkovich draws on an unusual archive, including accounts of early Christian acedia and spiritual despair, texts connecting the histories of slavery and colonialism with their violent present-day legacies, and utopian spaces created from lesbian feminist practices of crafting. She herself seeks to craft a queer cultural analysis that accounts for depression as a historical category, a felt experience, and a point of entry into discussions about theory, contemporary culture, and everyday life. Depression: A Public Feeling suggests that utopian visions can reside in daily habits and practices, such as writing and yoga, and it highlights the centrality of somatic and felt experience to political activism and social transformation.