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Because emotion is assumed to depend on subjectivity, the "death of the subject" described in recent years by theorists such as Derrida, de Man, and Deleuze would also seem to mean the death of feeling. This revolutionary work transforms the burgeoning interdisciplinary debate on emotion by suggesting, instead, a positive relation between the "death of the subject" and the very existence of emotion. Reading the writings of Derrida and de Man--theorists often seen as emotionally contradictory and cold--Terada finds grounds for construing emotion as nonsubjective. This project offers fresh interpretations of deconstruction's most important texts, and of Continental and Anglo-American philosophers from Descartes to Deleuze and Dennett. At the same time, it revitalizes poststructuralist theory by deploying its methodologies in a new field, the philosophy of emotion, to reach a startling conclusion: if we really were subjects, we would have no emotions at all. Engaging debates in philosophy, literary criticism, psychology, and cognitive science from a poststructuralist and deconstructive perspective, Terada's work is essential for the renewal of critical thought in our day.
"Youth and maturity, love and infatuation, memory, music, loss, landscape, Peter Rose exposes the human experience in poems that are gorgeously lucid and often profound. The Subject of Feeling reveals a fearless wisdom, a wry wit and a quiet depth. These poems stop you in your tracks." -- Andrea Goldsmith *** "The poetry of Peter Rose moves from classical Rome to contemporary Australia; from mordant comedy to moving elegy; from searing clarity to teasing obliquity. In his brilliant anatomies of the relationship between 'art' and 'life, ' the public and the private, Rose shows himself to be a master stylist. But style for Rose is not divorced from experience. Rather, experience is understood as, and through, style, a fact illustrated by the welcome new additions to the 'Catullan Rag, ' Rose's caustic and hilarious ongoing satire of Australian literary life." -- David McCooey *** "Peter Rose's poems encapsulate a passionate vision of life, fusing sardonic wit, sophisticated irony and unsettling gestures. Through their innovative imagery the poems repristinate the mundane and the quotidian, transforming their experience into a unique revelation of the uncanny and the miraculous. It is the poetry of the ultimate sensations, crystalised in lucid formal transparency and imperceptible rhythmic patterns. It is finally the space where words show their love for the real, and besiege its secrets, with intensity and empathy." -- Vrasidas Karalis *** Librarians: ebook available on ProQuest and EBSCO [Subject: Poetry]
This ambitious collection of work at the intersection of cultural studies and contemporary political theory brings together leading thinkers from both traditions. Challenging the terms that have shaped the last 20 years of culture wars, the essays in Cultural Studies and Political Theory reject the accusations of the right that everything is political and of the left that politics is everything. They respond with an alternative, with an exploration of processes of politicization and culturalization that asks, "what does it mean for something to be political?"In affirming that there are different answers to this question, the contributors to Cultural Studies and Political Theory expand definitions of politics in light of transformations in globally networked, consumer-driven, mediated technoculture. Comprehending the production of the political is crucial at a time when the political and the cultural can no longer be decoupled and when we cannot know in advance who "we" are. By gathering the work of theorists who are redefining approaches to politics and culture, Jodi Dean establishes a set of directives for theoretical work at a new crossroads.
Exploring the status of feminism in this "postfeminist" age, this sophisticated meditation on feminist thinking over the past three decades moves away from the all too common dependence on French theorists and male thinkers and instead builds on a wide-ranging body of feminist theory written by women. These writings address the question "Where are we going?" as well as "Where have we come from?" As evidenced in the essays compiled here, the multiplicity of directions available to this new feminism ranges from poststructuralist academic theory through cultural activism to re-readings of law, literature, and representation. Contributors include Mieke Bal, Lauren Berlant, Rosi Braidotti, Elisabeth Bronfen, Judith Butler, Rey Chow, Drucilla Cornell, Ann Cvetkovich, Jane Gallop, Beatrice Hanssen, Claire Kahane, Ranjana Khanna, Biddy Martin, Juliet Mitchell, Anita Haya Patterson, and Valerie Smith. Feminist Consequences, representing the forefront of international feminist thought, marks a new and long-desired stage of feminist criticism where women are themselves making theory rather than reacting to male production.
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.
Describes the origins and development of the military's "Don't Ask, Don't Tell" policy and analyzes its assumptions and implications.
Some investigators have argued that emotions, especially animal emotions, are illusory concepts outside the realm of scientific inquiry. However, with advances in neurobiology and neuroscience, researchers are demonstrating that this position is wrong as they move closer to a lasting understanding of the biology and psychology of emotion. In Affective Neuroscience, Jaak Panksepp provides the most up-to-date information about the brain-operating systems that organize the fundamental emotional tendencies of all mammals. Presenting complex material in a readable manner, the book offers a comprehensive summary of the fundamental neural sources of human and animal feelings, as well as a conceptual framework for studying emotional systems of the brain. Panksepp approaches emotions from the perspective of basic emotion theory but does not fail to address the complex issues raised by constructionist approaches. These issues include relations to human consciousness and the psychiatric implications of this knowledge. The book includes chapters on sleep and arousal, pleasure and fear systems, the sources of rage and anger, and the neural control of sexuality, as well as the more subtle emotions related to maternal care, social loss, and playfulness. Representing a synthetic integration of vast amounts of neurobehavioral knowledge, including relevant neuroanatomy, neurophysiology, and neurochemistry, this book will be one of the most important contributions to understanding the biology of emotions since Darwins The Expression of the Emotions in Man and Animals
Do you know your own feelings? Sometimes, we're happy, so we laugh and shout with glee. Other times, we're angry, and want to rage and roar. It is not easy to deal with our many contradictory emotions. To recognize our own feelings and deal with them responsibly is an important learning process for children, and a trial of limits. This vibrantly and expressively illustrated book invites children to talk about feelings. It takes readers through a range of potential emotions without ever calling them "good" or "bad," allowing children to recognize and examine their own emotional world.
National Bestseller – More than five million copies sold worldwide! From renowned psychiatrist Dr. David D. Burns, the revolutionary volume that popularized Dr. Aaron T. Beck’s cognitive behavioral therapy (CBT) and has helped millions combat feelings of depression and develop greater self-esteem. Anxiety and depression are the most common mental illnesses in the world, affecting 18% of the U.S. population every year. But for many, the path to recovery seems daunting, endless, or completely out of reach. The good news is that anxiety, guilt, pessimism, procrastination, low self-esteem, and other "black holes" of depression can be alleviated. In Feeling Good, eminent psychiatrist, David D. Burns, M.D., outlines the remarkable, scientifically proven techniques that will immediately lift your spirits and help you develop a positive outlook on life, enabling you to: Nip negative feelings in the bud Recognize what causes your mood swings Deal with guilt Handle hostility and criticism Overcome addiction to love and approval Build self-esteem Feel good every day This groundbreaking, life-changing book has helped millions overcome negative thoughts and discover joy in their daily lives. You owe it to yourself to FEEL GOOD! "I would personally evaluate David Burns' Feeling Good as one of the most significant books to come out of the last third of the Twentieth Century."—Dr. David F. Maas, Professor of English, Ambassador University
I should say first of all that the only emotions I propose expressly to consider here are those that have a distinct bodily expression. That there are feelings of pleasure and displeasure, of interest and excitement, bound up with mental operations, but having no obvious bodily expression for their consequence, would, I suppose, be held true by most readers. Certain arrangements of sounds, of lines, of colours are agreeable, and others the reverse, without the degree of the feeling being sufficient to quicken the pulse or breathing, or to prompt to movements of either the body or the face. Certain sequences of ideas charm us as much as others tire us. It is a real intellectual delight to get a problem solved, and a real intellectual torment to have to leave it unfinished. The first set of examples, the sounds, lines, and colours, are either bodily sensations, or the images of such. The second set seem to depend on processes in the ideational centres exclusively. Taken together, they appear to prove that there are pleasures and pains inherent in certain forms of nerve-action as such, wherever that action occur. The case of these feelings we will at present leave entirely aside, and confine our attention to the more complicated cases in which a wave of bodily disturbance of some kind accompanies the perception of the interesting sights or sounds, or the passage of the exciting train of ideas. Surprise, curiosity, rapture, fear, anger, lust, greed, and the like, become then the names of the mental states with which the person is possessed. The bodily disturbances are said to be the "manifestation" of these several emotions, their "expression" or "natural language;" and these emotions themselves, being so strongly characterized both from within and without, may be called the standard emotions. --William James