SMF - Just Installed!
Started by droqen, November 06, 2022, 02:39:49 AM
Quote from: p39[In the case of a body such as the stock market which is sensitive to affective factors,] a panic "contrived by artful alarmists" can generate repercussions identical to those of a genuine panic [..] Such "spurious" emotions and their real effects[.]
Quote from: Webster's 1913SpuriousNot proceeding from the true source, or from the source pretended; not genuine; false[.]
Quote from: p40[Melville's book] The Confidence-Man might be described as an exploration of the new emotional economy produced by the general migration of "trust" from personal relationships to abstract systems, [..which] becomes predominantly preoccupied with how "confidence" and other feelings might be artfully created.[..F]eeling slips in and out of subjective boundaries, at times becoming transformed into psychic property, but at other times eluding containment.
Quote[The] "attitudes" [I. A. Richards, in Practical Criticism,] classifies under "Feeling" apply specifically to "the state of affairs" created by the poem, whereas those classified under "Tone" apply to the relationship between the speaker and the implied listener--as if the latter relation could be neatly separated from the former, which is often not the case.
Quote from: p43[..] by "tone" I mean [..] the formal aspect of a work that has made it possible for critics of all affiliations [..] to describe a work or class of work as "paranoid", "euphoric", or "melancholic"; and, much more importantly, the formal aspect that enables these affective values to become significant with regard to how each critic understands the work as a totality within an equally holistic matrix of social relations.
QuoteThe mood of a landscape appears to us as objectively given [..] the mood belongs to our total impression of the landscape and can only be distinguished as one of its components by a process of abstraction
Quote from: p45-46"[..] in which the factor of significance is not logically discriminated, but is felt as a quality rather than recognized as a function" (FF, 32, Langer)"Affect is .. a-signifying .. But this does not mean that affect is some ineffable experience or a purely subjective feeling." (OTP, 80, Grossman)
Quote from: p364, footnote 20Langer rejects a privileging of "medium" as the criterion for distinguishing the various arts [..] their specificity resides less in the materials or techniques "used" than in the nature of the "primary illusion" or semblance (Schein) that each art creates: "virtual time" in the case of music, "virtual memory" in the case of narrative fiction, and so on.
Quote from: p76tone is a feeling which is perceived rather than felt and whose very nonfeltness is perceived
Quote from: p71Langer: "It takes precision of thought not to confuse an imagined feeling, or a precisely conceived emotion that is formulated in a perceptible symbol, with a feeling or emotion actually experienced in response to real events."
Quote from: p75Tomkin: "Scenes are magnified not by repetition, but by repetition with a difference . . . Sheer repetition of experience characteristically evokes adaptation, which attenuates, rather than magnifies, the connected scenes"
Quote from: p76what Jean-Christophe Agnew calls the "placeless market," a market which is dependent on a virtual feeling that cannot be felt and whose power to lubricate nonaffective [i.e. material?] exchanges rests precisely on [its unfeltness] [..] that system requires each transaction to "place the [real feeling] farther out of reach."
Quote from: p86how dangerously close this disinterestedness always comes to sliding into noninterest in a society where art's narrowly delimited agency allows it to be safely ignored.