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Death, grief and bereavement in wartime Britain
Lucy Noakes

remark, ‘in a voice little more than a whisper’, that ‘the future seems so frighteningly empty, but I try not to think about it. If •1• Dying for the nation I give way to my feelings I feel that I should be letting the boys down.’2 Surrounded by material reminders of her sons’ lives, Mrs Lane faced a daily struggle not to yield to her feelings of loss, fear and grief, as such a capitulation risked not only undermining her efforts to make pride in their sacrifice her foremost emotion, but also ‘letting down’ their memory. If she surrendered to her grief, she felt, she

in Dying for the nation
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Reading, space and intimacy in Chaucer’s Troilus and Criseyde
Andrew James Johnston

, as I will show in the following, a question of the particular spaces where emotions are both gendered and engendered. The first of the two scenes that link acts of interpretation to Theban subject matter occurs at the beginning of Book II. It is the one where Pandarus encounters his niece and her ladies reading a version of Theban history. The second is placed at the beginning of Book V, where

in Love, history and emotion in Chaucer and Shakespeare
Constance Duncombe

representation can best be appreciated through a focus on emotions. Conceptualising emotions as part of the struggle for recognition provides a clear mechanism for understanding why states choose to act in defence of an identity, rather than accepting or rethinking how they are recognised. Engaging with the emotional issue of disrespect within the struggle for recognition offers a key for navigating the reasons behind specific foreign policy decisions. States respond to representations of themselves that do not fit with their own constructed image. How states represent and

in Representation, recognition and respect in world politics
Cerwyn Moore

7 The politics of emotionality This chapter seeks to offer a preliminary discussion of the recent turn to emotions in world politics. The first part of the chapter turns to the politics of emotionality, so as to shed light on how events helped to shape the descent to war in Kosovo and Chechnya. This is important because arguments put forward in theoretical circles, even by those deemed to be critical, often suggest that emotions and international politics pull in different directions. In order to demonstrate a different argument – that politics and emotions are

in Contemporary violence
An introduction
Joanne Begiato

that purpose; and who has likewise been the subject of the pencils of LAWRENCE, DAW. Strikingly, these corporeal accounts also attach emotions to bodies. The text chosen for Tom Johnson describes him as ‘extremely active, cheerful, 2 Manliness in Britain, 1760–1900 0.1  Lord Byron’s screen, after conservation by Britton & Storey Art Conservation, and before hinging, pugilists’ side shown. and good-tempered’, winning in 1789 although his opponent Isaac Perrins was three stone heavier. That for Richard Humphries ascribes to him ‘gaiety’ and ‘impetuosity’. Two

in Manliness in Britain, 1760–1900
Framing biblical emotions in the Book of Common Prayer and the Homilies
David Bagchi

model. 10 In order to adjudicate between the hegemonic and the reciprocal approach, more data are required. Data of a comparative nature are particularly valuable, for what do they know of the Church of England who only the Church of England know? Fortunately, the results of a recent ground-breaking study on religious emotions in early modern Germany, which can be applied

in The Renaissance of emotion
The book and the household in late medieval England
Author: Myra Seaman

Objects of affection recovers the emotional attraction of the medieval book through an extended engagement with a single fifteenth-century literary collection known as Oxford, Bodleian Library Manuscript Ashmole 61. Exploring how the inhabitants of the book’s pages – human and non-human, tangible and intangible – collaborate with its readers then and now, this book addresses the manuscript’s material appeal in the ways it binds itself to different cultural, historical, and material environments. This new materialist manuscript study traces the affective literacy training that the book, produced by a single scribe, provided to a late medieval English household. Its diverse inhabitants are incorporated into the ecology of the book itself as it fashions spiritually generous and socially mindful household members – in the material world they generate and that guides their living, and in the social and spiritual desires that shape their influences in that world.

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Matt Perry

them, Doux, was a law student, who was arrested but subsequently released.4 174 conclusion The slippery authenticity of the Odessa Waltz says much about mutineer subjectivity, blending the propositional reason of its words with the non-propositional elicitation of emotion of its music.5 As counterpoint to the ‘slow, muted, slightly discordant’ sadness of its melody, its lyrics opened with the joyous expectation of return to France and to family at war’s end. Addressing those classic emotional well springs of nationalism that Benedict Anderson identified, the song

in Mutinous memories
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The personal and the political
Lucy Noakes

to bring the three main arguments of this book together. First, in its mobilisation of the war’s dead for political ends, it reminds us of the importance to the wartime nation and state of the dead, and of the ways that the bereaved expressed their emotions in the aftermath of loss. In planning for the management of the war’s dead, both military and civilian, in the interwar period, and through its evolving response to the interment of casualties and to their eventual commemoration, the actions of the British state show how important emotions were in the ‘people

in Dying for the nation
Open Access (free)
Mia-Marie Hammarlin

project, which is a kind of extension of the one mentioned above and funded by the foundation Ridderstads Stiftelse (Hammarlin & Jönsson 2017:93–115). The orientation of the present book is ethnological and phenomenological. I want to bring out more or less forgotten universal human existential aspects of media scandals, among other things by paying attention to the emotions of the affected parties. They feel what most of us would have experienced if we had ended up at the centre of a scandal, that is, anything from shame and selfcontempt to grief, anxiety, fear, anger

in Exposed