If we unpack what is happening in the situation, the level of complexity increases rapidly. The person in the example sees the dog: so far this happens at the level of sensory perception, a complex subject in itself.
Conceptualizing Mental Operations
Microstates of the Brain's Electric Field as Atoms of Thought and Emotion,” in The Unity of Mind, Brain and World. Sensory input arrives at all the demons simultaneously, and each demon emits a scream of a loudness proportional to the degree of similarity between the incoming input and the input it is tuned to.
Examining Emotions in a Literary Context
Approaching literary passages in the manner of this project - that is, as models of emotion - sheds light on questions about how emotions are constructed in readers, what. Cognitive approaches to literature are gaining ground, especially in the English-speaking world.
What Is an Emotion?
25 Large, interdisciplinary, government-funded centers for emotion studies are an indication of the strong contemporary interest in the subject. The exact nature of this difference will vary according to circumstances, some examples of which will be followed in the following chapters.
Concepts and Organization
The surprise signature structure is therefore explained to the reader in the structure of the text. Thus Scuderi finds herself somewhat by accident involved in the case of the murders.
Whom To Trust? — Questions of Intuition
Critics often describe Scuderi's process as "intuitive" but fail to analyze the nature of the intuition (see notes 9 and 19 below). King Louis XIV. hesitates at first to give free rein to the - in his eyes too zealous - Chambre ardente in the matter of murders; but the group.
The Guilty One
By providing extensive elaboration on Cardillac's various personal characteristics, what the narrative actually accomplishes is to share with the reader the information available to Scuderi, thereby providing an understanding of why she responds to him on the way she does. However, she is far too ready to believe Cardillac's lie that the jewelry has disappeared from his workshop.
The Innocent One
Scuderi not only listens to Madelon's account of the events on the night of Cardillac's death, but also makes inquiries of the servants and the neighbors. McGlathery for a discussion of the transference of desire for the jewels in the story about Cardillac's mother (Mysticism and sexuality, E.T.A.
The Suspicious One
- Whether to Pardon? — A Question of Sympathy
- Conclusion
This is especially true of the descriptions of the landscape in the two sections that make up the first half of the novella. The emotionally charged (perhaps even sentimental18) description of the deathbed scene makes a direct emotional appeal to the reader.
The Context of the Seduction
7 In "Søren Kierkegaard's Seducer's Diary: A history of its use and abuse in international print". Irony: A Comparison of the Irony Critique of Søren Kierkegaard and David Foster Wallace's Infinite Jest,” Studies in the Novel 44, no. Ardila, “The Origin of Unamuno's Mist: Unamuno's Copy of Kierkegaard's Diary of the Seducer,” Modern Philology: Critical and Historical Studies in Literature, Medieval Through.
The more interesting moments of the narrative bring elements of the aesthetic; this performatively demonstrates that a life lived "purely" in the ethical sphere is somehow lacking. The editor of The Seducer’s Diary – that is, A – remarks about Johannes: “His life was an attempt to accomplish the task of living poetically.” 304).
The Concept of Infatuation
John himself is the perfect illustration of the theme first introduced by Victor Eremita's thought “that the outward is certainly not the inward” (6). It will suffice to mention this distinction, as love is not the main focus here, but rather serves as a contrasting term, bracketing some things that are not part of the current discussion. The Seducer's Diary focuses heavily on the cognitive aspects of falling in love, which is not surprising given the non-physical nature of the literary medium.
This is just such an opportunity to arouse the interest of the aesthetic, since it would be much more complex and interesting than just a sensual seduction, so it is not so strange that A becomes entangled (to what extent one wants to believe) in the narrative of John the Seducer. The diversity of this list attests to the complexity of the set of evaluations that indicate whether or not a person is considered a good fit with one's romantic aspirations; when it is also considered that many of these evaluations.
The Methods of the Seducer
Since he believes that "mere possession is very little" (335), the additional psychological disappointment of the one being seduced compounds the problem. 30 For a discussion of the precise extent to which they align and where the alignment breaks down, see page 108. John's positive view of the infinite, which he associates with imagination, is consistent with his dismissive view of their opposites, the finite and actuality ; he plans to "escape all this finite nonsense" (427) regarding the social baggage surrounding broken engagements and causes Cordelia to "lose sight of marriage and the continent of actuality" (428).
If a person is too fragile to tolerate clarity and transparency, well, you enjoy what is unclear, but apparently she can stand it." (341f.) It is important for the development of the relationship that Cordelia possesses these qualities, as well as that Johannes notices them. His claim that he has managed "to plot with such complete accuracy the history of the development of a psyche" (359) is not only evidence of his own infatuation with her; it is a hint of , how he produces her infatuation so effectively.
Operations in the “Campaign”
These dynamics appear in the other stages of Johannes' plan, which also include an element of contradiction: “Contradiction in these movements will evoke and develop. Johannes tends to use military metaphors throughout the diary, especially when he describes the two stages: “The greater the abundance of strength she has, the more interesting to me. The idea is to produce the corresponding emotion of fascination by reproducing - on the other hand, so to speak - the structure that is typical of it.
One observation of Johannes would not be sufficient to produce "the first web in which she must be spun" (341), so he coordinates his movements toward hers: "today I met her three times." (341). She listens to another person's voice as it resonates within her; she understands this resonance as if it were her own voice revealing to her and to another.” (388) The repetitions of "listen" paired with "understand" are a representation of the mental process that takes place when one is receptive: one accepts what is heard, incorporates it into oneself.
Aesthetic Principles in Romantic Scripts
Almost all of the letters he writes to Cordelia are based on one of these scenarios, and they also appear elsewhere in the diary. Although many of these clichés are (or have become) clichés, the esthete deserves credit for using them only as a starting point for some rather thorough literary-artistic reflections. A typical form of letters is to place the text in the first or second sentence and then develop it further, often by introducing a metaphorically charged image.
In order not to make the letters too laudatory, it should be emphasized that, despite all their compositional qualities, they are nevertheless unusually impersonal. This idea reappears in the letter's later rhetorical suggestion that they use Johannes' chariot to fly "out of the world" (395).
Worlds Apart
- Pedagogical Considerations
- The Asymmetries of Seduction
- Conclusion
- An Instantaneous Superimposition of Narratives
- Paradigms of Rational Order
- Narrative Reflections
- Narrative Revisions
- Fast and Slow Processes
- Re-Evaluations of Surprise
- Conclusion
What is at stake in the secrecy of love is the private space of the two participants in the relationship. At the beginning of Brigitta, the narrator reflects explicitly on the overall narrative strategy of the text. Right from the beginning, Gräfin signals her identification with the 'protagonist' of the story being told to her.
6 The absence of names in an outline narrative contrasts with an outline narrative in which almost all characters have names. The textual evidence suggests that the similarities with Resel are not simply a figment of Gräfin's imagination. Although neither of Gräfin's assumptions is entirely correct, Resel's story contains elements of both.
It presents significant ambiguity - the suicide, the Gräfin as a character, and the effect of the experience on the Gräfin - without providing an interpretive foothold.
Framing Regret
The Gräfin's identity is hidden behind her title and her attempts to suppress her past, but Resel's story offers her the opportunity to face the circumstances of her life. The fact that the Gräfin reads into Resel's story a connection with her own history testifies to the persistence of counterfactual possibilities in her mind. The text shows that the Gräfin complied with this: the Graf is the socio-economically advantageous partner, not the man she loved.
Gräfin shares not only a romantic conflict with Resel, but also an energetic temperament. In light of these insights into Gräfin's psychology in moments of danger, it comes as no surprise that she and Resel also diverge on the very serious matter of marriage.
The Outer Frame: Attitudes of the Gräfin
Gräfinen represents herself as having had no choice regarding many aspects of the course of her life. Another dimension of Gräfin's character hinted at in this passage is that she seems a little too excited at the prospect of a sensational story. While Charlotte Woodford has read this as a sign that Gräfin's interest in Resel is little more than a desire to reap.
Woodford's claim that the Gräfin “has no real feeling for Resel”12 has a certain prima facie plausibility. The Gräfin's repeated insistence that the Oberförster continue with Resel's story could be taken as an indication that she is only interested in deriving entertainment from the story.
The Inner Frame: Religious Critique
- Subversion and Its Lookalikes
- Telling a Non-Story
- Conclusion
The story contains an implicit criticism that there seems to be no viable alternative for Resel in the mortal world. An important function of the framing device in Die Resel is to provide a subsidiary form of narrative movement to the plot. The final moment of the story, when Gräfin reflects on Toni's appearance, is quite ambiguous.
On the other hand, his current condition could be a result of the trauma that happened to him. The fact that Kierkegaard was Danish delayed the onset of his influence on the rest of the world – by decades, in the case of many languages.
