This article approaches a range of contemporary Scottish fiction: Iain Banks‘s Complicity and A Song of Stone, Irvine Welsh‘s Filth, Michel Faber‘s Under the Skin, James Robertson‘s Joseph Knight, Alan Guthrie‘s Savage Night and selected stories from Alan Bissett‘s Scottish Gothic anthology, Damage Land. The theme the article traces is pity, whether seen in a national or historical context, or as part of a wider panoply of what one might think of as ‘Gothic emotions’. The main contention is that it is possible that we reduce the scope of Gothic when we think of it as merely conducing to terror; whether we think of the earliest Gothic novels or of contemporary writing, there are often other feelings being stirred, a wider range of sensibilities being explored.
Trauma realities defy easy access to comprehension and thus require alternative discourses to understand them. This article looks at Pat Barkers employment of the Gothic tropes in the examination and explication of war trauma in her Regeneration trilogy. More pertinently, it scrutinizes the complex relation between Gothicized landscapes and trauma by analyzing three specific sites – Craiglockhart War Hospital, trenches and England as ‘Blighty’ – in the Regeneration trilogy. This article shows traumas destabilizing impact by examining how landscapes become imprinted with trauma. The physical disempowerment of landscapes is further complemented by a psychological disempowerment by examining traumatized patient-soldiers mindscapes and dreamscapes. It further examines how Barker employs tropes of haunting, dreams and nightmares, staple Gothic emotions of fear, terror and horror, Freuds Unheimlich to dispossess the owners control and locates trauma realities lurking therein. Thus Barkers Regeneration narrative bears witness to the phantom realities of war trauma by privileging the uncanny personal histories of traumatized soldiers.
This paper attempts to trace the psychological routes to empathy by assessing the
relative merits of three alternatives. Traditionally, empathy has been explained in
terms of two psychological processes: association and simulation. After concurring
that associative connections play a significant role in generating empathy, the paper
focuses on the imaginative activity of simulation, arguing that many of our
empathetic responses to film characters can be spelt out in the alternative terms of
emotion related appraisal. In order to demonstrate this point, the paper analyses an
example of empathy from Hitchcock‘s Psycho (1960), concluding that the term
‘simulation’ should be reserved for those instances in which we deliberately attempt
to imaginatively entertain a characters thoughts and feelings.
-called evidence-based advocacy, that seems to leave little room for emotion and
compassion, in similar ways has disempowered affected populations and ignored their
aspirations. In demonstrating the various forms these real or imagined tensions between
reason and emotion have taken in the history of témoignage , the
article advances the argument that témoignage still has the
potential to show real solidarity with affected populations and take their own life
worlds and aspirations seriously – and in doing
German Responses to the June 2019 Mission of the Sea-Watch 3
Mission Lifeline’s Lifeline , who was tried in a Maltese court in 2018–19, seemed to be in a much better position to appeal to mainstream Germans, being middle-aged, male and a self-confessed conservative who used to vote for the Christian Social Union; however, his court case had not attracted nearly as much attention as Rackete’s. Third, particularly vulnerable, innocent and/or deserving victims, whose mediatised suffering often prompts an outpouring of public emotion, were never the focus of the narrative about the Sea-Watch 3 . By the time the boat entered the
that novel information is both more
surprising and more valuable to the one who possesses it. A further explanation
for the more rapid spread of falsehoods is connected to the emotions it evokes:
not only greater surprise but also greater disgust, while truth more evokes
stronger emotions of sadness, anticipation, joy and trust. As a result, even
ideas which might once have been considered ‘fringe’ or
‘extreme’ can benefit mightily in the current
modernism. Computers would, it was argued, allow the design capabilities and expertise of
professionals to be transferred to the popular masses ( Turner, 2006 ).
In the mid 1970s, the architect Nicholas Negroponte 11 sought to eliminate professional privilege by facilitating public
participation and ownership of the architectural design process through computer programming.
The intention was to create ‘soft architectural machines’ that could translate
human imperfections, anxieties and emotions into the rich architectural designs of a ‘new
How do secular Jewish-Israeli millennials feel about the Israeli–Palestinian conflict, having come of age in the shadow of the failed Oslo peace process, when political leaders have used ethno-religious rhetoric as a dividing force? This is the first book to analyse blowback to Palestinian and Jewish-Israeli religious nationalism among this group in their own words. It is based on fieldwork, interviews and surveys conducted after the 2014 Gaza War. Offering a close reading of the lived experience and generational memory of participants, it offers a new explanation for why attitudes to Occupation have grown increasingly conservative over the past two decades. It examines the intimate emotional ecology of Occupation, offering a new argument about neo-Romantic conceptions of citizenship among this group. Beyond the case study, it also offers a new theoretical framework and research methods for researchers and students studying emotion, religion, nationalism, secularism and political violence around the world.
How can one know if a woman is honourable? In medieval culture, female honour
rested most heavily on one thing: sexual continence, or chastity. But how could
one be absolutely sure if a given woman was chaste? Practising Shame
demonstrates how, in the literature of later medieval England, female honour is
a matter of emotional practice and performance – it requires learning how to
‘feel’ in a specific way. In order to safeguard their chastity, women were
encouraged to cultivate hypervigilance against the possibility of sexual shame
through a combination of inward reflection and outward comportment. Often termed
‘shamefastness’, this practice was believed to reinforce women’s chastity of
mind and body, and to communicate that chastity to others through a combination
of conventional gestures. At the same time, however, medieval anxiety concerning
the potentially misleading nature of appearances rendered these gestures suspect
– after all, if good conduct could be learned, then it could also be
counterfeited. Practising Shame uncovers the paradoxes and complications that
emerged out of the emotional practices linked to female honour, as well as some
of the unexpected ways in which those practices might be reappropriated by male
authors. Written at the intersection of literary studies, gender studies, and
the history of emotions, this book transforms our understanding of the ethical
construction of femininity in the past and provides a new framework for thinking
about honourable womanhood now and in the years to come.