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Modernity theory approaches modern experience as it incorporates a
sense of itself as 'modern' (modernity), along with the
possibilities and limitations of representing this in the arts and
culture generally (modernism). The book interrogates modernity in
the name of a fluid, unsettled, unsettling modernism. As the
offspring of the Enlightenment and the Age of Sensibility,
modernity is framed here through a cultural aesthetics that
highlights not just an instrumental, exploitative approach to the
world but the distinctive configuration of embodiment, feeling, and
imagination, that we refer to as 'civilization', in turn both
explored and subverted through modernist experimentalism and
reflexive thinking in culture and the arts. This discloses the
rationalizing pretensions that underlie the modern project and have
resulted in the sensationalist, melodramatic conflicts of good and
evil that traverse our contemporary world of politics and popular
culture alike. This innovative approach permits modernity theory to
link otherwise fragmented insights of separate humanities
disciplines, aspects of sociology, and cultural studies, by
identifying and contributing to a central strand of modern thought
running from Kant through Benjamin to the present. One aspect of
modernity theory that results is that it cannot escape the
paradoxes inherent in reflexive involvement in its own history.
"Sympathetic Sentiments "develops an innovative interdisciplinary
framework to explore the implications of living in a 'culture of
feeling' that seems ill at ease with itself, one in which
'sentiments' are frequently denounced for being 'sentimental' and
self-indulgent. This is traced back to the inheritance of the
eighteenth century, enabling us to identify a distinctive
'spectacle of sympathy' in which sympathy seems inherently to
entail public forms of expression whereby being 'on show' is both a
condition of the authenticity of such affects "and" of their
capacity to be masked and simulated - hence stimulating
controversy, but also the exploration of the vicarious dimensions
of modern experience so central to modern literature, art and
culture. The implications of all this are further explored in the
context of current debates over the display of trauma as the
language of sympathetic engagement, and the alleged prevalence of
'compassion fatigue' in the era of media sensationalism. Overall,
the book uncovers the patterns that both reproduce our capacity for
'sympathetic sentiments' while revealing the inherent underlying
tensions.
This book is available as open access through the Bloomsbury Open
Access programme and is available on www.bloomsburycollections.com.
Under what conditions does 'sensation' become 'sensational'? In the
early nineteenth century murder was a staple of the
sensationalizing popular press and gruesome descriptions were
deployed to make a direct impact on the sensations of the reader.
By the end of the century, public concern with the thrills, spills,
and shocks of modern life was increasingly articulated in the
language of sensation. Media sensationalism contributed to this
process and magnified its impact, just as sensation was, in turn,
taken up by literature, art and film. In the contemporary world the
dramatization of these experiences in an era of media panics over
terrorism and paedophilia has taken an overtly melodramatic form,
in which battles of good and evil play out across the landscapes of
our lives. Sensational Subjects develops an innovative,
interdisciplinary approach to exploring these themes, their impact
and their implications for understanding the modern world. A
companion volume, Sympathetic Sentiments: Affect, Emotion and
Spectacle in the Modern World is published simultaneously by
Bloomsbury.
"Sympathetic Sentiments "develops an innovative interdisciplinary
framework to explore the implications of living in a 'culture of
feeling' that seems ill at ease with itself, one in which
'sentiments' are frequently denounced for being 'sentimental' and
self-indulgent. This is traced back to the inheritance of the
eighteenth century, enabling us to identify a distinctive
'spectacle of sympathy' in which sympathy seems inherently to
entail public forms of expression whereby being 'on show' is both a
condition of the authenticity of such affects "and" of their
capacity to be masked and simulated - hence stimulating
controversy, but also the exploration of the vicarious dimensions
of modern experience so central to modern literature, art and
culture. The implications of all this are further explored in the
context of current debates over the display of trauma as the
language of sympathetic engagement, and the alleged prevalence of
'compassion fatigue' in the era of media sensationalism. Overall,
the book uncovers the patterns that both reproduce our capacity for
'sympathetic sentiments' while revealing the inherent underlying
tensions.
This book is available as open access through the Bloomsbury Open
Access programme and is available on www.bloomsburycollections.com.
Under what conditions does 'sensation' become 'sensational'? In the
early nineteenth century murder was a staple of the
sensationalizing popular press and gruesome descriptions were
deployed to make a direct impact on the sensations of the reader.
By the end of the century, public concern with the thrills, spills,
and shocks of modern life was increasingly articulated in the
language of sensation. Media sensationalism contributed to this
process and magnified its impact, just as sensation was, in turn,
taken up by literature, art and film. In the contemporary world the
dramatization of these experiences in an era of media panics over
terrorism and paedophilia has taken an overtly melodramatic form,
in which battles of good and evil play out across the landscapes of
our lives. Sensational Subjects develops an innovative,
interdisciplinary approach to exploring these themes, their impact
and their implications for understanding the modern world. A
companion volume, Sympathetic Sentiments: Affect, Emotion and
Spectacle in the Modern World is published simultaneously by
Bloomsbury.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ The Tram Chronograph Frederick John Jervis-Smith Horace Hart,
1903 Chronograph
This is a reproduction of a book published before 1923. This book
may have occasional imperfectionssuch as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed
worksworldwide. We appreciate your understanding of the
imperfections in the preservation process, and hope you enjoy this
valuable book.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to ensure
edition identification: ++++ A Key To The Papers Which Have Been
Presented To The House Of Commons Upon The Subject Of The Charges
Preferred Against The Earl Of St. Vincent By Mr. Jeffry John Jervis
(earl of St. Vincent.)
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