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Much has been missed by social researchers in their attempt to understand the human experience as a series of rational, cognitive choices. What comes under the rubric of "lived experience" fits no researcher's model other than, in the words of one of the volume's contributors, "one damned thing after another." Human subjectivity in lived experience, both that of the subject and of the researcher, is the topic of Investigating Subjectivity, an important corrective to the cool, disdainful stance of most previous social research. The dozen contributors examine various aspects of subject--the emotions, the gendered nature of experiences, the body-mind relationship, perceptions of time, place and setting, understanding of the self--and how these elements provide a fuller understanding of the human condition, incorporating subjectivity into research requires a new set of methods--systematic introspection, self-ethnography, staged readings, poetry, stories--many of which are demonstrated in the book. It also requires a focus on mundane (minor ailments, media images, hobbies) and extraordinary (exotic trips, earthquakes, abortion experience), elements, which make up the bulk of lived experience, and how people react to these life events. Investigating Subjectivity stands out from any other books in the field because the emphasis is on research rather than theory or conceptualization. This outstanding volume is quality reading for academicians and undergraduate and graduate students in sociology, cultural studies, qualitative methods. and communication, especially those interested in emotions, narration, textual analysis, and symbolic interaction.
Investigating Subjectivity examines the importance of a phenomenological account of the subject for the nature and the status of phenomenology, for different themes from practical philosophy and in relation to issues from the philosophy of mind.
What is a self? Does it exist in reality or is it a mere social construct—or is it perhaps a neurologically induced illusion? The legitimacy of the concept of the self has been questioned by both neuroscientists and philosophers in recent years. Countering this, in Subjectivity and Selfhood, Dan Zahavi argues that the notion of self is crucial for a proper understanding of consciousness. He investigates the interrelationships of experience, self-awareness, and selfhood, proposing that none of these three notions can be understood in isolation. Any investigation of the self, Zahavi argues, must take the first-person perspective seriously and focus on the experiential givenness of the self. Subjectivity and Selfhood explores a number of phenomenological analyses pertaining to the nature of consciousness, self, and self-experience in light of contemporary discussions in consciousness research. Philosophical phenomenology—as developed by Husserl, Heidegger, Sartre, Merleau-Ponty, and others—not only addresses crucial issues often absent from current debates over consciousness but also provides a conceptual framework for understanding subjectivity. Zahavi fills the need—given the recent upsurge in theoretical and empirical interest in subjectivity—for an account of the subjective or phenomenal dimension of consciousness that is accessible to researchers and students from a variety of disciplines. His aim is to use phenomenological analyses to clarify issues of central importance to philosophy of mind, cognitive science, developmental psychology, and psychiatry. By engaging in a dialogue with other philosophical and empirical positions, says Zahavi, phenomenology can demonstrate its vitality and contemporary relevance.
Talks about the ways personal lives are being undone and remade today. This book examines the ethnography of the modern subject, probes the continuity and diversity of modes of personhood across a range of Western and non-Western societies. It considers what happens to individual subjectivity when environments such as communities are transformed.
The songs of the troubadour poets of the south of France were a pervasive influence in the development of the European lyric (and indeed other genres) from the twelfth century to the Renaissance and beyond. Much troubadour poetry is on the topic of love, and is composed from a first-person position. This book is a full-length study of this first-person subject position in its relation to language and society. Using theoretical approaches where appropriate, Sarah Kay discusses to what extent this first person is a 'self' or 'character', and how far it is self-determining. Dr Kay draws on a wide range of troubadour texts, and provides close readings of many of them, as well as translating all medieval quotations into English in order to make the discussion accessible to the non-specialist. Her book will be of interest both to scholars of medieval literature, and to anybody investigating subjectivity in lyric poetry.
Can neuroscience help explain the first-person perspective? The Science of Subjectivity delves into the nature of experience, arguing that unconscious subjectivity is a reality. Neisser identifies the biological roots of the first-person, showing how ancient systems of animal navigation enable creatures like us to cope with our worldly concerns.
There is currently a burgeoning interest in the relationship between the Western psychotherapeutic and Buddhist meditative traditions among therapists, researchers, and spiritual seekers. Psychotherapy and Buddhism initiates a conversation between these two modern methods of achieving greater self-understanding and peace of mind. Dr. Jeffrey B. Rubin explores how they might be combined to better serve patients in therapy and adherents to a spiritual way of life. He examines the strengths and limitations of each tradition through three contexts: the nature of self, conception of ideal health, and process of achieving optimal health. The volume features the first two cases of Buddhists in psychoanalytic treatment.
Why is voice so important to us? How does the concept of voice encompass such disparate practices as vocal sound, marks on a page, identity production and the execution of power? With these questions in mind, this book studies voice as both a textual and a bodily phenomenon. By using both drama and film, and by exploring the translation between the two, this study shows that voice can be placed in a grid where the subject, body, language and power interconnect in ways that question established ideas concerning voice – what it is and what it can do. The book investigates how voice, as an expression of the individual subject, is central in the fight for power in plays such as The Crucible by Arthur Miller, Amiri Baraka’s Dutchman and Ntosake Shange’s for colored girls who have considered suicide, where voice is seen as fundamental for political action. However, it also questions the seemingly failsafe connection between voice and the subject. In Eugene O’Neill’s Strange Interlude, the relation between voice and thought is neither harmonious nor given, and thus voice becomes something other than an expression of subjective interiority. The discussion of Clare Booth’s The Women highlights how voice in ironic discourse disrupts notions of intentionality, subjectivity and power in ways that destabilize preconceived notions of voice. Lastly, the chapter on David Mamet’s Glengarry Glen Ross asks if voice really can empower the subject in an age where processes of reification have invaded the subject’s consciousness, including the ability to communicate.
In the first comprehensive study of Virginia Woolf's Common Reader, Katerina Koutsantoni draws on theorists from the fields of sociology, sociolinguistics, philosophy, and literary criticism to investigate the thematic pattern underpinning these books with respect to the persona of the 'common reader'. Though these two volumes are the only ones that Woolf compiled herself, they have seldom been considered as a whole. As a result, what they reveal about Woolf's position with regard to the processes of writing, reading, and critical analysis has not been fully examined. Koutsantoni challenges the critical commonplace that equates Woolf's strategy of self-effacement and personal removal from her works as a necessary compromise that allowed her to achieve authorial recognition in a male-dominated context. Rather, Koutsantoni argues that an investigation of impersonality in Woolf's essays reveals the potential of the genre to function both as a vehicle for the subjective and dialogic expression of the author and reader and as a venue for exploring topics with which the ordinary reader can relate. As she explores and challenges the meaning of impersonality in Woolf's Common Reader, Koutsantoni shows how the related issues of subjectivity, authority, reader-response, intersubjectivity, and dialogism offer useful perspectives from which to examine Woolf's work.