Gesa Stedman - Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872

Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872 — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

↓

↑

Georgia Tahoma Arial Verdana

Reset

Interval:

↓

↑

Bookmark:

Make

1234567...88

For my parents and for Nils

Thus passed the hours till I had reached my fourteenth year: thus grew up feelings, in our mutual hearts, which, had fate placed the barrier between us that at one time seemed inevitable, might but have been remembered in after years as the offspring of childish quarrels and idle jealousy. As it was, they were destined to go on like some mountain stream, which, gay and brawling in the summer sunshine, frets and foams in sparkling activity against every obstacle that it meets, but does harm to nothing; till, when the rain falls on the summits above, it is joined on its course by a thousand accessory streams, grows dark and furious, powerful and overwhelming, and rushes down, a torrent, over the land below, sweeping away peace, and happiness, and prosperity, in its angry course.

G.P.R. James, Remorse. A Book of the Passions (183839).

First published 2002 by Ashgate Publishing

Reissued 2018 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright Gesa Stedman 2002

The author has asserted her moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Publishers Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent.

Disclaimer
The publisher has made every effort to trace copyright holders and welcomes correspondence from those they have been unable to contact.

A Library of Congress record exists under LC control number: 2001099651

ISBN 13: 978-1-138-741560 (hbk)
ISBN 13: 978-1-138-741546 (pbk)
ISBN 13: 978-1-315-182797 (ebk)

Contents

In George Blacks The Family Health Book (1892), the passions can be found between the entries on partridges and pastry. This seems the most suitable place for them, since a lot of pastry was needed to produce the special kind of pie that I have been made to eat throughout the work for this study on the passions: humble pie. When I first started, I had no idea how much material and immaterial support would be needed to complete this book and it is with real gratitude and humility that I acknowledge my debt to the following people and institutions:

To the Deutsche Forschungsgemeinschaft, the Sonderforschungsbereich Literatur und Anthropologie (Konstanz) and the Berliner Senats-verwaltung fr Arbeit, Berufliche Bildung und Frauen (Frderprogramm Frauenforschung) for their generous funding.

To Professor Dr Jrgen Schlaeger (Berlin) for taking me on board in the first place and not making me walk the plank (although he probably sometimes wished he had), and most of all for teaching me to go beyond description.

To Professor Valentine Cunningham (Oxford) for much-needed advice and encouragement at the right moment.

To Professor Dr Christiane Eisenberg (Berlin), Dr Kate Hint (Oxford) and Professor Dr Walter Gbel (Stuttgart) for valuable bibliographical hints.

To the members of Professor Dr Margarete Zimmermanns research group (Berlin) for welcoming me among them, for many stimulating discussions and most of all for showing me the way when I had lost it.

To my research group on emotions, consisting of Dr Jana Gohrisch (Berlin), Dr Marion Mller (Oxford/Bonn) and Katharina Quabeck (Berlin), for insights, inspiration, laughter, proof-reading, re-ordering my sprawling material, generally putting up with me, each being indispensable in their own individual way and for proving that even in academia colleagues can turn into friends.

To Anke Brsel, Corinna Radke and Catherine Smith (Berlin) for their sense of humour, their careful proof-reading and their friendship; special thanks to Anke (and her student colleagues) for their patient book-carting. And thanks to everyone else at the Centre for British Studies for leaving me alone when I most needed it (most of the time), and showing an interest in spite of my frequent absences.

To Professor Joan DeJean (Pennsylvania), Professor Dr Peter Drexler (Potsdam) and to Professor Dr Gustav Klaus (Rostock) for their valuable advice on academic publishing.

To the staff at the Bodleian Library (Oxford) and the British Library (London) for their help and their kindness.

To my editor Erika Gaffney and all the staff at Ashgate for their patient support.

To my parents Monika Stedman and Michael Stedman, who each in their separate way let me get on with things and never stopped believing in my abilities. Their support has been invaluable in many ways.

To all my friends and family who have listened to my complaints and never lost hope that the book would be finished. Special thanks to Mary Lyons (Jersey/Oxford) for providing me with a home from home in Oxford, and for many enjoyable and stimulating discussions.

To two special people without whose help this project would have failed: to Margarete Zimmermann, whose generosity and unique combination of friendship and food for thought inspired me and made me go on when I had already given up (more than once), and to Nils Kummert who was intelligent enough to keep his sense of humour and set me right when the Victorian storms of passion threatened to capsize me, intellectually or otherwise.

For permission to reproduce images and texts, I thank the following publishers and institutions:

The British Library, London. Muse dart et dhistoire, Ville de Genve. Tate, London. The Walters Art Museum, Baltimore. AMS Press, New York. Blackwell Publishing, Oxford. Cambridge University Press, Cambridge. Clarendon Press, Oxford. Columbia University Press, New York. HarperCollins Publishers Ltd, London. Haynes Publishing, Sparkford. ITPS, Andover. Oxford University Press, Oxford. Palgrave Publishers Ltd., Basingstoke. Penguin, Harmondsworth. Rutgers University Press, Piscataway. Taylor and Francis, Andover. University of Wisconsin Press, Madison, Wisconsin. Virago Press, London. All efforts have been made to contact copyright holders.

G.S.

Paradigm scenarios: Emotions and Literature

According to John Kebles Lectures on Poetry (183241), poetry functions as a kind of medicine divinely bestowed upon man: which gives healing relief to secret mental emotion, yet without detriment to modest reserve: and, while giving scope to enthusiasm, yet rules it with order and due control.1 It is this dialectic of the expression of the emotions and the necessity to control them, of enthusiasm and reserve, of healing relief and order, and its relation to literature which is the focal point of this book.

The connection between emotions and literature is of course not a specifically Victorian concern, but one that had agitated generations of writers and thinkers before the advent of 19th-century mass culture. But although the problem seems to transcend historical periods,2 there seems little point in analysing the emotions outside their historical and discursive context since they and the debates concerning their adequate representation are both subject to historical change. Prior to entering the minefield of emotions theory and the history of feelings, some general remarks regarding texts and emotions are called for.3

Next page

1234567...88

Light

Font size:

↓

↑

Georgia Tahoma Arial Verdana

Reset

Interval:

↓

↑

Bookmark:

Make

Similar books «Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872»

Look at similar books to Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.

Darren Ellis

Emotion in the Digital Age: Technologies, Data and Psychosocial Life

Unknown

Language and Emotion: Volume 1

Margaret Mullett

Managing Emotion in Byzantium: Passions, Affects and Imaginings

Maria Elena Indelicato

Australias New Migrants: International Students’ History of Affective Encounters with the Border

Gesa Stedman

Cultural Exchange in Seventeenth-Century France and England

Laurence W. Mazzeno (editor)

Victorian Writers and the Environment: Ecocritical Perspectives

Ursula Hess

The Social Nature of Emotion Expression: What Emotions Can Tell Us About the World

Leah Olson

The Feeling Brain: The Biology and Psychology of Emotions

Ralph Adolphs

The Neuroscience of Emotion: A New Synthesis

Séverine Hubscher-Davidson

Translation and Emotion: A Psychological Perspective

Zembylas

Emotion and traumatic conflict : reclaiming healing in education

Angela Ackerman

The Emotion Thesaurus: A Writers Guide To Character Expression

Discussion, reviews of the book Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotion, 1830-1872 and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.