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Cultural Histories of Law, Media and Emotion: Public Justice explores how the legal history of long-eighteenth-century Britain has been transformed by the cultural turn, and especially the associated history of emotion. Seeking to reflect on the state of the field, 13 essays by leading and emerging scholars bring cutting-edge research to bear on the intersections between law, print culture and emotion in Britain across the eighteenth and nineteenth centuries. Divided into three sections, this collection explores the ‘public’ as a site of legal sensibility; it demonstrates how the rhetoric of emotion constructed the law in legal practice and in society and culture; and it highlights how approaches from cultural and emotions history have recentred the individual, the biography and the group to explain long-running legal-historical problems. Across this volume, authors evidence how engagements between cultural and legal history have revitalised our understanding of law’s role in eighteenth-century culture and society, not least deepening our understanding of justice as produced with and through the public. This volume is the ideal resource for upper-level undergraduates, postgraduates and scholars interested in the history of emotions as well as the legal history of Britain from the late seventeenth to the nineteenth century.
Emotions work to define who we are as well as shape what we do and this is no more powerfully at play than in the world of politics. Ahmed considers how emotions keep us invested in relationships of power, and also shows how this use of emotion could be crucial to areas such as feminist and queer politics. Debates on international terrorism, asylum and migration, as well as reconciliation and reparation, are explored through topical case studies. In this book the difficult issues are confronted head on. The Cultural Politics of Emotion is in dialogue with recent literature on emotions within gender studies, cultural studies, sociology, psychology and philosophy. Throughout the book, Ahmed develops a theory of how emotions work, and the effects they have on our day-to-day lives. New for this editionA substantial 15,000-word Afterword on 'Emotions and Their Objects' which provides an original contribution to the burgeoning field of affect studiesA revised BibliographyUpdated throughout.
Analyses how bankruptcy was litigated within the court to gain a more nuanced understanding of early modern bankruptcy. This book examines cases involving bankruptcy brought before the court of Chancery - a court of equity which dealt with civil disputes - between 1674 and 1750. It uncovers the numerous meanings attached to financial failure in early modern England. In its simplest sense, personal financial failure occurred when an individual defaulted on their debts. Because they had not fulfilled their responsibilities and behaved in a trustworthy and credible manner, bankrupt individuals were seen to be immoral. And yet bankruptcy was linked to wider notions of credibility, trustworthiness, and morality. Financial failure was described and debated not just in economic terms, but came to rely on a combination of social, community, and religious values. Bankruptcy cases involved an interconnected network of indebtedness, often including relatives, neighbours, and traders from the local community. As such, conceptions of failure implicated individuals beyond just the bankrupt. As people began to look back and appraise the actions and words of those involved in trade, a far wider network of creditors, debtors, and middlemen were blamed for the knock-on effect of an individual failure. Ultimately, the book investigates the negative aspects of early modern trade networks and the active role of the court when such networks broke down, providing unique access to contemporary understandings of what was considered right and wrong, honourable and deceitful, and criminal and compassionate within the moral landscape of debt recovery during the seventeenth and eighteenth centuries.
An exploration of links between opinion and governance in Early Modern England, studying moral panics about crime, sex and belief. Hypothesizing that media-driven panics proliferated in the 1700s, with the development of newspapers and government sensibility to opinion, it also considers earlier panics about cross-dressing and witchcraft.
This illuminating Research Handbook analyses the role that emotions play and ought to play in legal reasoning and practice, rejecting the simplistic distinction between reason and emotion.
An engaging and original study of current research on television audiences and the concept of emotion, this book offers a unique approach to key issues within television studies. Topics discussed include: television branding; emotional qualities in television texts; audience reception models; fan cultures; 'quality' television; television aesthetics; reality television; individualism and its links to television consumption.The book is divided into two sections: the first covers theoretical work on the audience, fan cultures, global television, theorising emotion and affect in feminist theory and film and television studies. The second half offers a series of case studies on television programmes such as Wife Swap, The Sopranos and Six Feet Under in order to explore how emotion is fashioned, constructed and valued in televisual texts. The final chapter features original material from interviews with industry professionals in the UK and Irish soap industries along with advice for students on how to conduct their own small-scale ethnographic projects.
Philosophy, Music and Emotion explores two issues which have been intensively debated in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two topics are related and provides a radically new account of what it means to say that music 'expresses emotion'. Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also to the dominant 'cognitivist' approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgements and beliefs of a certain sort, an account very much in accord with Hanslick's position. Such an approach results either in the unpersuasive view that musical expressiveness is somehow akin to human expressive gesture, or in the view that music arouses feelings which have no specific object and, unavoidably, no necessary connection with the music.The book argues that the 'cognitivist' account of the nature of emotion is quite false and that it needs to be replaced with a conception of emotions as states of feeling towards - states of intentional feeling - whose objects are often evaluatively characterised states of affairs; however, in the context of the emotions that are aroused by music these objects are always musical events or states. Central to this bold analysis of emotion is a new account of two closely connected mental states, those of desire and of pleasure, and of what role these states have in human motivation and value.
This pivotal Research Handbook analyses the interconnectedness of family property and the law through historical, contemporary, comparative and jurisdiction-specific lenses. Authors analyse some of the most well-known, contested and politicised legal developments in the field of family property law.
This book explores the ways which people navigated the emotions provoked by the mad in Britain across the long eighteenth century. Building upon recent advances in the historical study of emotions, it plots the evolution of attitudes towards insanity, and considers how shifting emotional norms influenced the development of a ‘humanitarian’ temperament, which drove the earliest movements for psychiatric reform in England and Scotland. Reacting to a ‘culture of sensibility’, which encouraged tears at the sight of tender suffering, early asylum reformers chose instead to express their humanity through unflinching resolve, charging into madhouses to contemplate scenes of misery usually hidden from public view, and confronting the authorities that enabled neglect to flourish. This intervention required careful emotional management, which is documented comprehensively here for the first time. Drawing upon a wide array of medical and literary sources, this book provides invaluable insights into pre-modern attitudes towards insanity.
The Erotics of Grief considers how emotions propagate power by exploring whose lives are grieved and what kinds of grief are valuable within and eroticized by medieval narratives. Megan Moore argues that grief is not only routinely eroticized in medieval literature but that it is a foundational emotion of medieval elite culture. Focusing on the concept of grief as desire, Moore builds on the history of the emotions and Georges Bataille's theory of the erotic as the conflict between desire and death, one that perversely builds a sense of community organized around a desire for death. The link between desire and death serves as an affirmation of living communities. Moore incorporates literary, visual, and codicological evidence in sources from across the Mediterranean—from Old French chansons de geste, such as the Song of Roland and La mort le roi Artu and romances such as Erec et Enide, Philomena, and Floire et Blancheflor; to Byzantine and ancient Greek novels; to Middle English travel narratives such as Mandeville's Travels. In her reading of the performance of grief as one of community and remembrance, Moore assesses why some lives are imagined as mattering more than others and explores how a language of grief becomes a common language of status among the medieval Mediterranean elite.