Download Free A Bond Of Sympathy Book in PDF and EPUB Free Download. You can read online A Bond Of Sympathy and write the review.

This study examines the various means of becoming empathetic and using this knowledge to explain the epistemic import of the characters’ interaction in the works written by Chaucer, Shakespeare, and their contemporaries. By attuning oneself to another’s expressive phenomena, the empathizer acquires an inter- and intrapersonal knowledge that exposes the limitations of hyperbole, custom, or unbridled passion to explain the profundity of their bond. Understanding the substantive meaning of the characters’ discourse and narrative context discloses their motivations and how they view themselves. The aim is to explore the place of empathy in select late medieval and early modern portrayals of the body and mind and explicate the role they play in forging an intimate rapport.
The Nature of Sympathy explores, at different levels, the social emotions of fellow-feeling, the sense of identity, love and hatred, and traces their relationship to one another and to the values with which they are associated. Scheler criticizes other writers, from Adam Smith to Freud, who have argued that the sympathetic emotions derive from self-interested feelings or instincts. He reviews the evaluations of love and sympathy current in different historical periods and in different social and religious environments, and concludes by outlining a theory of fellow-feeling as the primary source of our knowledge of one another.A prolific writer and a stimulating thinker, Max Scheler ranks second only to Husserl as a leading member of the German phenomenological school. Scheler's work lies mostly in the fields of ethics, politics, sociology, and religion. He looked to the emotions, believing them capable, in their own quality, of revealing the nature of the objects, and more especially the values, to which they are in principle directed.
In Kyle McCord's mercurial and visionary new book, Sympathy from the Devil, we see a bold refiguring of the moral imagination that, like a Dante without a Beatrice, wanders hell bereft of the traditional compass that would clarify the archetypes. Here the eye opens wide its compassion in the dark. Play transgresses and so, in opposition to the self-servitude of sublimity and rapture, sheds light on cruelties and exclusions suffered in the name of the ideal. Everywhere we look in this book, we find the generosity and precision of paradox. The pleasure of absurdity may distance heartbreak, but it likewise binds us to it, such that the poet's lightness of touch and ranginess of sensibility becomes indistinguishable from his vision, the sense that one half of sympathy is always the embrace, the other the letting go. A stunning collection. --Bruce Bond, Author of The Visible// In Kyle McCord's new book Gabriel empathizes, the Devil sympathizes, and an exhausted God watches a televangelist. Moving, imaginative and full of surprising turns, McCord's poems are alive with both the world and the dead who "have no word for intimate, and a thousand words for blind." I love the abundance of these poems, their humor, the music that made my ears howl and purr. When I dream about McCord's poems dreaming of me, I ride an aging mechanical bull, werewolves take over the city, Abraham Lincoln begs to rip off my blouse, God's love vanishes into my body like bread. I wake up hungry, afraid, laughing. --Traci Brimhall, Author of Our Lady of the Ruins// "What do you want from any of us, reader?" asks the first poem in Kyle McCord's Sympathy from the Devil, bristling a bit, cocking its chin, letting us know that what follows will never be exactly what we expect. The book brims with wily intelligence and unsettling humor that challenge and surprise and thrill and move us so that in the end what we want is everything this terrific book has to give. -Corey Marks, Author of The Radio Tree
"Sheppard Lee, Written By Himself" is a satirical work from the early years of the American Republic. It was written in the form as an autobiography and acquired wide acclaim after publishing. The story tells about a young man wishing to find a buried treasure. Instead, he finds the power to transfer his soul into other men's bodies. This results in a picaresque journey through early American pursuits of happiness. But every new form disappoints him. Lee comes to the conclusion that everything in America, even virtue and vice, are interchangeable; everything is an object and has its price.
First published in 1931, the underlying assumption of The Will to Live is that of a psychological evolution in which mind is regarded not merely as developing in association with nervous and cerebral development, but as being itself the most important factor in the process. It is this assumption which gives meaning to the title that has been chosen for the book. It brings themes like is psychology a science; impulse and growth; the rise of consciousness; the three main lines of instinct; the variability of habit; development of intelligence; thought as judgment and reflection; the critical faculty; simple and complex emotions; ideals and idealization; voluntary activity; sex and conflict; and buried complexes and dreams. This is an interesting historical document for the students of psychology.
“Anyone who reads her will never forget her voice.” - Biographile Mary MacLane (1881-1929) was the first of the modern media personalities: a pioneer in self-revelation, in defiance of established rules, in living on her own terms - and writing it in brilliant style. At age 19 she burst upon the world out of Butte, Montana with a journal of private thoughts and longings that incited national then international attention. In the books and newspaper articles that followed she evolved a completely new, individual voice decades ahead of its time. She influenced Gertrude Stein, inspired F. Scott Fitzgerald, and was hotly discussed by everyday people - and America’s biggest writers. Yet despite sparking film, stage, and music projects today - and being endlessly quoted on the Internet - the writer behind the writing has remained unknown until now. HUMAN DAYS: A MARY MACLANE READER features the complete texts of all her books (with expurgated passages restored), her colorful newspaper articles (much never before reprinted), an intriguing 1902 interview, the first viewing ever of her striking personal letters, illuminating introductions to each era in her life, and comprehensive notes that open the door to her influences and the age she came from and impacted so profoundly. A foreword from actress Bojana Novakovic provides a contemporary artist’s creative appreciation of the author’s still-powerful effect upon readers. “Mary MacLane comes off the page quivering with life. Moving.” - London Times “She reminds us of the power of personal narrative, honestly told.” - The Atlantic “In a pre-soundbite age she already knew how to draw blood in one direct sentence.” - The Awl “She had a short but fiery life of writing and misadventure, and her writing was a template for the confessional memoirs that have become ubiquitous.” - The New Yorker “One of the most fascinatingly self-involved personalities of the 20th century.” - The Age “A girl wonder.” - Harper’s “Confessional journalists have people like Mary MacLane to thank.” - Flavorwire “Her diaries ignited a national uproar, ushering in a new era for women’s voices. Her elegant, ambitious embrace of full-disclosure opened a door to what was possible for women.” - The Atlantic “Fiery frankness made her a pioneer.” - Time Out Chicago “Her poetry is one of extremes: lust for happiness, despair for life.” - Hairy Dog Review “Riveting.” - N.H. Public Radio “I Await The Devil’s Coming is a small masterpiece, full of camp and swagger.” - Parul Sehgal, NPR “Pioneering newswoman, later silent-screen star, considered the veritable spirit of the iconoclastic Twenties.” - Boston Globe “A pioneering feminist - a sensation.” - Feminist Bookstore News “First of the self-expressionists, and the first of the Flappers.” - Chicagoan Check www.marymaclane.com for exclusive content, news, and previews.
As interest in aesthetic experience evolved in the eighteenth century, discussions of the sublime located two opposed accounts of its place and use. Ferguson traces these two positions - the Burkean empiricist account and the Kantian formalist one - to argue that they had significance of aesthetics, including recent deconstructive and New Historicist criticism.