Thesis--Ludwig-Maximilians-Universität München, 1993. / Includes footnotes and indexes. Includes bibliographical references (p. 209-221).

Thesis (M.A.)--Ohio University, June, 2005. / Title from PDF t.p. Includes bibliographical references (p. 85-92)

This dissertation makes a case for the Shakespearean stage in the modern Anglo-American tradition as a distinctive laboratory for producing and navigating theories of emotion. The dissertation brings together Shakespeare performance studies and the newer fields of the history of emotions and cultural emotion studies, arguing that Shakespeare’s enduring status as the playwright of human emotion makes the plays in performance critical sites of discourse about human emotion. More specifically, the dissertation charts how, since the late nineteenth century, Shakespeare performance has been implicated in an effort to understand emotion as it defines and relates to the “human” subject. The advent of scientific materialism and Darwinism involved a dethroning of emotion and its expression as a specially endowed human faculty, best evidenced by Charles Darwin’s 1871 The Expression of Emotion in Man and Animals. Shakespeare’s poetic, formal expression of the passions was seen as proof of this faculty, and nowhere better exemplified than in the tragedies and in the passionate displays of the great tragic heroes. The controversy surrounding the tragic roles of the famous Victorian actor-manager Henry Irving illustrates how the embodied, human medium of the Shakespearean stage served as valuable leverage in contemporary debates about emotion. The dissertation then considers major Shakespearean figures of the twentieth century, including Harley Granville Barker, Orson Welles, Laurence Olivier, and Peter Brook, whose “stages” similarly galvanize and reflect contestation and change in what William Reddy has called “emotional regimes” or Barbara Rosenwein “emotional communities.” For each of these figures, a specific emotional paradigm is at stake in staging Shakespeare and particularly Shakespearean tragedy. I engage with a range of sources, from performance reviews to popular psychology, to locate these canonical moments in Shakespearean performance history as flashpoints in a cultural history of emotion.

This study analyzes the verse created for and about children so that it can be determined how emotions are addressed. American and English poetry from between the years 1600 and 1800 served as the study focus.

The principal claim defended in this thesis is that for Aristotle arousing the emotions of others can amount to giving them proper grounds for conviction, and hence a skill in doing so is properly part of an expertise in rhetoric. We set out Aristotle’s view of rhetoric as exercised solely in the provision of proper grounds for conviction (pisteis) and show how he defends this controversial view by appeal to a more widely shared and plausible view of rhetoric’s role in the proper functioning of the state. We then explore in more detail what normative standards must be met for something to qualify as “proper grounds for conviction”, applying this to all three of Aristotle’s kinds of “technical proofs” (entechnoi pisteis). In the case of emotion, meeting these standards is a matter of arousing emotions that constitute the reasonable acceptance of premises in arguments that count in favour of the speaker’s conclusion. We then seek to show that Aristotle’s view of the emotions is compatible with this role. This involves opposing the view that in Rhetoric I.1 Aristotle rejects any role for emotion-arousal in rhetoric (a view that famously generates a contradiction with the rest of the treatise). It also requires rejecting the view of Rhetoric II.2-11 on which, for Aristotle, the distinctive outlook involved in emotions is merely how things “appear” to the subject.

This dissertation is a collection of poems preceded by a critical preface. The preface considers emotional immediacy—or the idea of enacting in readers an emotional drama that appears genuine and simultaneous with the speaker's experience—and furthermore argues against the common criticism that accessibility means simplicity, ultimately reifying the importance of accessibility in contemporary poetry. The preface is divided into an introduction and three sections, each of which explores a different technique for creating immediacy, exemplified by Robert Lowell’s "Waking in the Blue,” Sylvia Plath's "Lady Lazarus,” and Louise Gluck's "Eros." The first section examines "Waking in the Blue,” and the poem's systematic inflation and deflation of persona as a means of revealing complexity a ambiguity. The second section engages in a close reading of "Lady Lazarus,” arguing that the poem's initially deliberately false erodes into sincerity, creating immediacy. The third section considers the continued importance of persona beyond confessionalism, and argues that in "Eros," it is the apparent lack of drama, and the focus on the cognitive process, that facilitates emotional immediacy.

手稿影印本. / Thesis (M.A.)--香港中文大學硏究院敎育學部. / Shou gao ying yin ben. / Includes bibliographical references (p. 360-396). / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue bu. / Chapter 第一章 --- 引言 / Chapter 一 --- 教育目標的分類 --- p.1 / Chapter 二 --- 過份重視智育引起的偏差 --- p.2 / Chapter 第二章 --- 研究緣起與目的 / Chapter 一 --- 文學作品的教育作用 --- p.7 / Chapter 1 --- 道德教育作用 --- p.8 / Chapter 2 --- 情感教育作用 --- p.19 / Chapter 3 --- 文學作品對情感的滋養作用 --- p.21 / Chapter 二 --- 中學中國文學科課程課文的規劃 --- p.27 / Chapter 三 --- 中學中國文學科教學目標的貫徹 --- p.30 / Chapter 第三章 --- 論題說明 / Chapter 一 --- 文學的定義與文學的特質 / Chapter 1 --- 文學的定義 --- p.32 / Chapter 2 --- 文學的特質 --- p.35 / Chapter 二 --- 中學中國文學科課文 --- p.36 / Chapter 三 --- 道德的定義與道德發展 / Chapter 1 --- 道德的定義 --- p.38 / Chapter 2 --- 道德的發展 --- p.38 / Chapter 四 --- 情感的定義與情感分類 / Chapter 1 --- 情感的定義 --- p.68 / Chapter 2 --- 情緒、情感和情操的分別 --- p.68 / Chapter 3 --- 情感的特質 --- p.72 / Chapter 4 --- 情感的分類 --- p.73 / Chapter 第四章 --- 理論說明 / Chapter 一 --- 文學作品中的道德成素 --- p.85 / Chapter 1 --- 文學作品中的道德成素的內涵 --- p.91 / Chapter 2 --- 文學作品中道德信息的特徵 --- p.103 / Chapter 3 --- 道德判斷與事實判斷的分別 --- p.105 / Chapter 4 --- 中國文學作品中的道德成素 / Chapter 二 --- 文學作品中的情感成素 / Chapter 1 --- 文學的內涵 --- p.115 / Chapter 2 --- 文學作品中情感信息的特徵 --- p.117 / Chapter 3 --- 中國文學作品中的情感成素 --- p.149 / Chapter 三 --- 文學作品內容分析的方法 / Chapter 1 --- 內容分析理論 --- p.266 / Chapter 2 --- 中國文學作品內容分析的方法 --- p.268 / Chapter 第五章 --- 研究設計 / Chapter 一 --- 研究對象 --- p.288 / Chapter 二 --- 研究假設 --- p.288 / Chapter 三 --- 研究工具 --- p.289 / Chapter 1 --- 課文元次的分類 --- p.289 / Chapter 2 --- 道德元次的分類 --- p.289 / Chapter 3 --- 情感元次的分類 --- p.290 / Chapter 四 --- 研究方法和步驟 --- p.298 / Chapter 五 --- 資料分析 --- p.301 / Chapter 六 --- 研究局限 --- p.301 / Chapter 第六章 --- 研究結果及討論 / Chapter 一 --- 研究結果 / Chapter 1 --- 類目的整理和分析 --- p.303 / Chapter 2 --- 道德成素在課文中的分佈 --- p.306 / Chapter 3 --- 情感成素在課文中的分佈 --- p.307 / Chapter 二 --- 討論 / Chapter 1 --- 道德成素含量及其意義 --- p.315 / Chapter 2 --- 道德教育的模式與文學科教材的規劃 --- p.322 / Chapter 3 --- 情感成素含量及其意義 --- p.319 / Chapter 4 --- 情感教育的模式與文學科教材的規劃 --- p.328 / Chapter 第七章 --- 摘要、結論及建議 --- p.332 / Chapter 一 --- 摘要 --- p.332 / Chapter 二 --- 結論 --- p.333 / Chapter 三 --- 建議 --- p.334 / 附錄 / Chapter 附錄一 --- 中學中國文學科課程內容 --- p.337 / Chapter 附錄二 --- 中學中國文學科課文內容分析藍圖 --- p.339 / Chapter 附錄三 --- 課文的道德及情感成素次數分配及差異分析表 --- p.341 / Chapter 附錄四 --- 中學中國語文科培養品德的資料 --- p.358 / Chapter 附錄五 --- 參考文獻 / 中文部份 --- p.360 / 英文部份 --- p.394

Texte remanié de : Thèse de doctorat : Lettres : Heidelberg : 1983. / Bibliogr. p. 243-252.

Thesis (Ph. D.)--University of Oregon, 2004. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.

It is widely accepted that description was used by eighteenth-century writers for the purposes of documentary or ornamentalization. That it was also used to manage the emotions of readers is less often discussed. “Dispassionate Descriptions” corrects this imbalance by attending to the ways in which descriptions in certain scientific and poetic works from the late seventeenth to the late eighteenth centuries were used to dampen the intense emotions that scenes of violence and death tend to inspire, be they sympathy, anger, or love. Writers ranging from William Harvey to James Thomson to John Gabriel Stedman, I argue, taught their readers how to remain dispassionate in the face of suffering and injustice by describing moving bodies and scenes in terms of their physical features alone. By presenting the blood spurting from the wounds of vivisected animals in relation to the regular beat of the heart, a drowning cat in terms of the movements of its head and paws, and the dance of enslaved persons in terms of its irregular beat, the writers I study demonstrated how the disorderly movements of pain or rebellion could be read as expressive of overarching classificatory schemes. Through cultivating dispassion for movements commonly thought to incite passionate responses, these writers worked to maintain the ethical and political status quo. By examining the emotional work descriptions of motion do, “Dispassionate Descriptions” traces an alternative history of how motion from the 1660s to the 1790s was understood outside of the predominant frameworks of mechanism and vitalism. While motion was regarded as inextricable from the literary and scientific discourses of this period, scenes of motion, as I demonstrate, were paradoxically also thought to facilitate emotional retreat. They were thus used by writers to advance a mode of ethics that prized non-interference and the disavowal of moral responsibility.