Your use of the translations is subject to all use restrictions contained in your Electronic Products License Agreement and by using the translation functionality you agree to forgo any and all claims against ProQuest or its licensors for your use of the translation functionality and any output derived there from.Fours are self-aware, sensitive, and reserved. PROQUEST AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. The translations are automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems.
Neither ProQuest nor its licensors make any representations or warranties with respect to the translations. This functionality is provided solely for your convenience and is in no way intended to replace human translation. You have requested "on-the-fly" machine translation of selected content from our databases. The Berlin films of Wim Wenders and the desolate canvases of Anselm Kiefer and Cy Twombly come to mind in this connection, but the consuming. But the vocation of this book is larger, for it would draw attention to the social circulation of affect, and of affective disorders such as paranoia, trauma, and melancholia, far beyond the romantic horizon, in politics and public life and of course in the arts of the Age of Prozac, so typically afflicted with psychic disruption. He makes an original and compelling case for the bearing of German philosophy on Gefühl, Kant's equivalent term for feeling or emotion, peculiar synonyms perpetuated in this form by Martha Nussbaum, among others.
Working off an extensive range of sources in the period, as disparate as scripts of the treason trials of 1794 and Adam Muller's conservatively romantic Staatswissenschaft, Pfau restores a cast of German informants to the picture while remaining within the orbit of the familiar English story beginning from Burke. Thomas Pfau's new book is concerned to demonstrate why mood matters in ways that would reintegrate it with social and intellectual history, and with reading of the disciplinary, institutional kind that he practices. The construction of romantic ideology has upstaged the affective intensity of the best writing of this period, as characteristic as the minor key in Beethoven. Logan on hysteria, and Rei Terada on emotion in theory. Latter-day, rehistoricizing critics have not been very helpful in making the mood matter again for reading such texts despite suggestive work by Kay Redfield Jamison on manic depression, Peter M. The mood swing lies at the heart of the poem, but our critical condition is hardly equipped to grasp or respond to it. This antic turn was famously satirized by Lewis Carroll as terminal self-referentiality. But what mood does he mean? Melancholy is the period term for such undertow Wordsworth employs it memorably in "Resolution and Independence," in a voice that swings from dejection to elation. Mood was always romantic matter-Wordsworth's "sweet mood when pleasant thoughts / Bring sad thoughts to the mind" is representative of the self-absorption of the later poetry of sensibility. Romantic Moods: Paranoia, Trauma, and Melancholy, 1790-1840, Baltimore: The Johns Hopkins University Press, 2005.
0 kommentar(er)
