Rebecca Olson - Böcker

This international collection discusses how the individualised, reflexive, late modern era has changed the way we experience and act on our emotions. Divided into four sections that include studies ranging across multiple continents and centuries, Emotions in Late Modernity does the following: Demonstrates an increased awareness and experience of emotional complexity in late modernity by challenging the legal emotional/rational divide; positive/negative concepts of emotional valence; sociological/ philosophical/psychological divisions around emotion, morality and gender; and traditional understandings of love and loneliness. Reveals tension between collectivised and individualised-privatised emotions in investigating ‘emotional sharing’ and individualised responsibility for anger crimes in courtrooms; and the generation of emotional energy and achievement emotions in classrooms. Debates the increasing mediation of emotions by contrasting their historical mediation (through texts and bodies) with contemporary digital mediation of emotions in classroom teaching, collective mobilisations (e.g. riots) and film and documentary representations. Demonstrates reflexive micro and macro management of emotions, with examinations of the ‘politics of fear’ around asylum seeking and religious subjects, and collective commitment to climate change mitigation.The first collection to investigate the changing nature of emotional experience in contemporary times, Emotions in Late Modernity will appeal to students and researchers interested in fields such as sociology of emotions, cultural studies, political science and psychology.

This international collection discusses how the individualised, reflexive, late modern era has changed the way we experience and act on our emotions. Divided into four sections that include studies ranging across multiple continents and centuries, Emotions in Late Modernity does the following:Demonstrates an increased awareness and experience of emotional complexity in late modernity by challenging the legal emotional/rational divide; positive/negative concepts of emotional valence; sociological/ philosophical/psychological divisions around emotion, morality and gender; and traditional understandings of love and loneliness.Reveals tension between collectivised and individualised-privatised emotions in investigating ‘emotional sharing’ and individualised responsibility for anger crimes in courtrooms; and the generation of emotional energy and achievement emotions in classrooms.Debates the increasing mediation of emotions by contrasting their historical mediation (through texts and bodies) with contemporary digital mediation of emotions in classroom teaching, collective mobilisations (e.g. riots) and film and documentary representations.Demonstrates reflexive micro and macro management of emotions, with examinations of the ‘politics of fear’ around asylum seeking and religious subjects, and collective commitment to climate change mitigation.The first collection to investigate the changing nature of emotional experience in contemporary times, Emotions in Late Modernity will appeal to students and researchers interested in fields such as sociology of emotions, cultural studies, political science and psychology.Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Who do we imagine we are reading 'with' when we read alone? Early Modern Reading and the Imagined Self proposes that we cannot responsibly read early modern texts without self-awareness of our own reading habits. Moreover, we cannot be fully self-aware of our own reading habits if we do not understand the ways they continue to be shaped by the social dynamics supported and proliferated by early modern texts. Analysing key sixteenth-century printed editions, including Utopia, The Boke of the Cyte of Ladyes, Titus Andronicus, and Politeuphuia, this study provides examples of how printed Tudor fiction encourages readers to position themselves in relation to imagined others, often in ways that critique the exclusive communities associated with Tudor humanism. Subsequent editions also encouraged audiences to read 'with' a wide range of speculative fellow readers, yet also created new opportunities to exercise implicit bias against people of their own making.

Textiles have long provided metaphors for storytelling: a compelling novel "weaves a tapestry" and we enjoy hearing someone "spin" a tale. To what extent, however, should we take these metaphors seriously? Arras Hanging: The Textile That Determined Early Modern Literature and Drama reveals that in the early modern period, when cloth-making was ubiquitous and high-quality tapestries called arras hangings were the most valuable objects in England, such metaphors were literal. The arras in particular provided a narrative model for writers such as Edmund Spenser and William Shakespeare, who exploited their audience's familiarity with weaving to engage them in highly idiosyncratic and "hands on" ways. Specifically, undescribed or "blank" tapestries in the period's fiction presented audiences with opportunities to "see" whatever they desired, and thus weave themselves into the story. Far more than background objects, literary and dramatic arras hangings have much to teach us about the intersections between texts and textiles at the dawn of print, and, more broadly, about the status of visual art in post-Reformation England. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Textiles have long provided metaphors for storytelling: a compelling novel "weaves a tapestry" and we enjoy hearing someone "spin" a tale. To what extent, however, should we take these metaphors seriously? Arras Hanging: The Textile That Determined Early Modern Literature and Drama reveals that in the early modern period, when cloth-making was ubiquitous and high-quality tapestries called arras hangings were the most valuable objects in England, such metaphors were literal. The arras in particular provided a narrative model for writers such as Edmund Spenser and William Shakespeare, who exploited their audience's familiarity with weaving to engage them in highly idiosyncratic and "hands on" ways. Specifically, undescribed or "blank" tapestries in the period's fiction presented audiences with opportunities to "see" whatever they desired, and thus weave themselves into the story. Far more than background objects, literary and dramatic arras hangings have much to teach us about the intersections between texts and textiles at the dawn of print, and, more broadly, about the status of visual art in post-Reformation England. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.