... the emotive interiority of the feeling subject in medieval literature. The focus of the essay is thus on the modern reader's engagement with the medieval textual object d'art and the unique representation of medieval literary creativity as both a physical artefact (the manuscript) and an act of vocal...

... the figures of the spirit and specter to productively engage a melancholic “structure of feeling” to first critically reflect on the aftermath of the Russian and Mexican nations’ respective revolutions, and second, consider what a “new order” after upheaval would really involve. By melancholy , I mean...

...Brian McGrath Abstract Though the words impasse and impassive come to English from two different etymological sources— impasse from the French, meaning without a pass; impassive from the Latin, meaning without suffering or without feeling—English invites confusion. In part because one cannot write...

... writers are gazers at nature (in the sense that they situate action in a natural environment that they make visible), by adopting an “affective fallacy” (traditionally called the “pathetic fallacy”) they also convey the “feelings” of the natural world (in this case, its sorrow, suffering, and mourning...

...) and Field Work (1979). His view of Miłosz, however, is affected by associations against which Miłosz himself rebels. Most notable for this comparison is Miłosz's insistence that “noble feelings” are dangerous for literature and — in spite of his avowed anti-Romanticism — his bardic aura. Heaney's experience...

... . New York: HarperPerennial, 1998 . Williams, Raymond. “Structures of Feeling.” Marxism and Literature . Oxford: Oxford University Press, 1977 . 128 -35. DURAS’S MODERATO CANTABILE/165 PIPER MURRAY “What’s Written above...

... feel compelled to use materialist historicism, network analysis, and other narratives of circulation and synthesis to demonstrate the transmission of influence or else explain such coincidences as a parallel e orescence. The Bond of the Furthest Apart models a transcendentalist approach...

... a process of constantly losing, then regaining control of her self and the text in performance ( Levy 146 ). The experience of performing the play is notoriously physically and emotionally grueling: Levy reports a number of actors reporting “feelings of being used, misused, or even abused by Beckett’s...

... feel compelled to use materialist historicism, network analysis, and other narratives of circulation and synthesis to demonstrate the transmission of influence or else explain such coincidences as a parallel e orescence. The Bond of the Furthest Apart models a transcendentalist approach...

... from estrangement. If we shift over into psychology, we encounter words such as depersonalization, abjection, and anomie. Tolstoy’s What Is Art? treats the opposite danger: that of being infected with feelings that make one part of a hypocritical commu- nity of immorality. His infection theory...

... encounter words such as depersonalization, abjection, and anomie. Tolstoy’s What Is Art? treats the opposite danger: that of being infected with feelings that make one part of a hypocritical commu- nity of immorality. His infection theory opens a path back, via “empathy” and eighteenth- century...

... and clinical senses, lies just around the verbal corner from estrangement. If we shift over into psychology, we encounter words such as depersonalization, abjection, and anomie. Tolstoy’s What Is Art? treats the opposite danger: that of being infected with feelings that make one part of a hypocritical...

... into psychology, we encounter words such as depersonalization, abjection, and anomie. Tolstoy’s What Is Art? treats the opposite danger: that of being infected with feelings that make one part of a hypocritical commu- nity of immorality. His infection theory opens a path back, via “empathy” and eighteenth...

... around the verbal corner from estrangement. If we shift over into psychology, we encounter words such as depersonalization, abjection, and anomie. Tolstoy’s What Is Art? treats the opposite danger: that of being infected with feelings that make one part of a hypocritical commu- nity of immorality...

... through which Chughtai articulates female sexual desire throughout her writings is that of hunger and bodily appetites. The narrator’s own memory of Begum Jan is at times mediated by feelings of this intense hunger for her, thus triangulating the scene of homoeroticism; yet in other moments the narrator’s...

..., in Cinema 2 , when “Man . . . experiences the intolerable,” he “feels himself trapped” and immediately raises the question of the “way out” [170].) As a result, however, this phenomenon now looks more like an escape from, or a defense against, the intolerable, and the experience of the intolerable...

... conservatism here accompanies emotional repression, and that, in turn, produces complex, intricate, or ambiguous affect. She finds a great deal of proscription and uncertainty regarding feelings in German realism. Her main example for socially impermissible emotion in the bourgeois context is female aggression...

... comes from the fact that I saw independence. You know, for me, when people started saying that what I was doing was “postcolonial,” that’s what struck me then—now of course it feels much more complex—that, yes, I had seen independence. Actual legalized colo- nialism is a very peculiar thing because...

... that was specifically modernist in the poetics of mood lies precisely in what distinguishes moods from feelings and emotions. Ever since the ancient times, emotions and mental states have been imagined as entities inside us, whether they are believed to reside within the heart, brain, or stomach. But the phenomenology...

... amounts and non-negotiable terms involved, people feel trapped in a “nightmare” or “student debt hell” with no way out. Bill of Connecticut states: “The worst part is that there seems to be no end in sight.” Even with a decent job, Matt, a teacher from Ohio, confides, “I’m trapped. I was depressed...