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What happens when tourists scream with fear, shout with anger and frustration, weep with joy and delight, or even faint in the face of revealed beauty? How can certain sites affect some tourists so deeply that they require hospitalisation and psychiatric treatment? What are the inner contours of tourist experience and how does it relate to specific emotional cultures? What are the consequences of the emotional cultures of tourists upon destinations? How are differences in emotional culture mobilized and played out in the transnational contact zones of international tourism? While many books have engaged with the structural frames of tourist practice and experience, this is the first to deal with the emotional dimensions of tourism, travel and contact and the ways in which they can transform tourists, destinations and travel cultures through emotional engagements. The book brings together an international array of scholars from anthropology, psychiatry, history, cultural geography and critical tourism studies to explore how the movement to, and through, the realms of exotic people, wild natures, subliminal art, spirit worlds, metropolitan cities and sexualised 'others' variably provoke emotions, peak experiences, travel syndromes and inner dialogues. The authors show how tourism challenges us to engage with concepts of self, other, time, nature, sex, the body and death. Through a set of ethnographic and historic cases, they demonstrate that such engagements usually have little to do with the actual destination but rather, are deeply anchored in personal memories, repressed fears and desires, and the collective imaginaries of our societies.
What happens when tourists scream with fear, shout with anger and frustration, weep with joy and delight, or even faint in the face of revealed beauty? How can certain sites affect some tourists so deeply that they require hospitalisation and psychiatric treatment? What are the inner contours of tourist experience and how does it relate to specific emotional cultures? What are the consequences of the emotional cultures of tourists upon destinations? How are differences in emotional culture mobilized and played out in the transnational contact zones of international tourism? While many books have engaged with the structural frames of tourist practice and experience, this is the first to deal with the emotional dimensions of tourism, travel and contact and the ways in which they can transform tourists, destinations and travel cultures through emotional engagements. The book brings together an international array of scholars from anthropology, psychiatry, history, cultural geography and critical tourism studies to explore how the movement to, and through, the realms of exotic people, wild natures, subliminal art, spirit worlds, metropolitan cities and sexualised 'others' variably provoke emotions, peak experiences, travel syndromes and inner dialogues. The authors show how tourism challenges us to engage with concepts of self, other, time, nature, sex, the body and death. Through a set of ethnographic and historic cases, they demonstrate that such engagements usually have little to do with the actual destination but rather, are deeply anchored in personal memories, repressed fears and desires, and the collective imaginaries of our societies.
"Emotions in Motion" is ideal for parents and educators who wish to encourage conversations about feelings and emotions.
This book illustrates the clinical interface between neurology and psychiatry by focusing on neuropsychiatric conditions characterised by alterations at the level of both motor function and behaviour. The neuropsychiatric approach to movement disorders and epilepsy is of key importance in clinically assessing and treating these common and often disabling conditions. While addressing the clinical challenges posed by the behavioural aspects of movement disorders and epilepsy, it invites readers on a journey through the evolving discipline of neuropsychiatry / behavioural neurology – both in the past and today. This discipline has an illustrious history, and continues its ascending trajectory in the new millennium through the activity of long-established national organisations (British Neuropsychiatry Association, BNPA, and American Neuropsychiatric Association, ANPA) as well as newly developed strategic research initiatives (Michael Trimble Neuropsychiatry Research Group, MTNRG).
The close relationship between motion (bodily movement) and emotion (feelings) is not an etymological coincidence. While moving ourselves, we move others; in observing others move – we are moved ourselves. The fundamentally interpersonal nature of mind and language has recently received due attention, but the key role of (e)motion in this context has remained something of a blind spot. The present book rectifies this gap by gathering contributions from leading philosophers, psychologists and linguists working in the area. Framed by an introducing prologue and a summarizing epilogue (written by Colwyn Trevarthen, who brought the phenomenological notion of intersubjectivity to a wider audience some 30 years ago) the volume elaborates a dynamical, active view of emotion, along with an affect-laden view of motion – and explores their significance for consciousness, intersubjectivity, and language. As such, it contributes to the emerging interdisciplinary field of mind science, transcending hitherto dominant computationalist and cognitivist approaches. Now Open Access as part of the Knowledge Unlatched 2017 Backlist Collection.
Emotion in Action: Thucydides and the Tragic Chorus offers a new approach to the tragic chorus by examining how certain choruses ‘act’ on their shared feelings. Eirene Visvardi redefines choral action, analyzes choruses that enact fear and pity, and juxtaposes them to the Athenian dêmos in Thucydides’ History. Considered together, these texts undermine the sharp divide between emotion and reason and address a preoccupation that emerges as central in Athenian life: how to channel the motivational power of collective emotion into judicious action and render it conducive to cohesion and collective prosperity. Through their performance of emotion, tragic choruses raise the question of which collective voices deserve a hearing in the institutions of the polis and suggest diverse ways to envision passionate judgment and action.
Ranging from blockbuster movies to experimental shorts or documentaries to scientific research, computer animation shapes a great part of media communication processes today. Be it the portrayal of emotional characters in moving films or the creation of controllable emotional stimuli in scientific contexts, computer animation’s characteristic artificiality makes it ideal for various areas connected to the emotional: with the ability to move beyond the constraints of the empirical "real world," animation allows for an immense freedom. This book looks at international film productions using animation techniques to display and/or to elicit emotions, with a special attention to the aesthetics, characters and stories of these films, and to the challenges and benefits of using computer techniques for these purposes.
Inspired by the idea that emotion(s) and motion(s) constitute profoundly intertwined dimensions of physical and cultural embodiment reflected in language, this volume comprises nineteen contributions presenting exploratory and applicative accounts of (e)motion(s) situated across a range of topical research areas.
Taren Murdoch is a guardian and protector by nature. He’s also a husband, an investigator for the Idaho State police, and most importantly, his husband’s Dom. Being the Dom Ian deserves is Taren’s top priority. He’s planned a trip, some special time away where the two of them can live out some of their fantasies in a fun and safe environment. Ian Groden is the CEO of his family business, but at home he relinquishes control to Taren. He loves that Taren is his Dom, and more so when they combine pain with pleasure in their sexual play. Taking their trip requires time away from work. Despite Ian’s efforts, he wasn’t able to take as much time as Taren asked. Now it’s time to face his punishment. They’ll be spending four glorious nights at an adult resort. Before that can happen, a few details need to be ironed out. The first is to ensure neither has any hard feelings about their late start. Does Taren have the skills as Ian’s Dom to deliver discipline and well as pleasure?