By Kirsty Martin
How can we believe for others? needs to we attempt to appreciate different minds? can we need to appreciate others' autonomy, or maybe their individuality? Or may possibly sympathy be essentially extra intuitive, physically and troubling?
Taking as her concentration the paintings of Virginia Woolf, D.H. Lawrence, and Vernon Lee (the first novelist to take advantage of the observe 'empathy'), Kirsty Martin explores how modernist writers considered questions of sympathetic reaction. Attending heavily to literary depictions of gesture, flow and rhythm; and to literary explorations of the physically and of transcendence; this e-book argues that critical to modernism used to be an amazing of sympathy that was once morally advanced, yet that was once pushed via a choice to be precise to what it really is to feel.
Offering new readings of significant literary texts, and unique examine into their old contexts, Modernism and the Rhythms of Sympathy units modernist texts along contemporary discussions of emotion and cognition. It deals a clean interpreting of literary modernism, and indicates how modernism may well proceed to unsettle our puzzling over feeling today.
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Extra resources for Modernism and the Rhythms of Sympathy: Vernon Lee, Virginia Woolf, D.H. Lawrence (Oxford English Monographs)
X in The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. under the general editorship of James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Hogarth Press and the Institute of Psycho-Analysis, 1953–74), 176. All subsequent references to Freud are to this edition of the Complete Works. Proust records, referring to M. de Charlus, how ‘Love can thus be responsible for veritable geological upheavals of the mind’: Marcel Proust, Remembrance of Things Past (1913–27), trans.
Evolutionary critics have not always fully recognized what might be lost in their view of emotion. , Times Literary Supplement (7 May 2010), 11. 90 Brian Boyd, On the Origin of Stories: Evolution, Cognition, and Fiction (Cambridge, MA: Belknap Press of Harvard University Press, 2009), 103–4. 91 Ibid. 23–4. 22 Modernism and the Rhythms of Sympathy or mind can be disquieting is sensitively explored by Lee, Woolf, and Lawrence’s work. Evolutionary biology suggests that we might be moved in ways which have their origin in our deep past, or in ways which take place automatically, below consciousness.
For Anne, the overwhelmingly passionate and ecstatically empathetic connections offered by mesmerism seem to mean a surrender of autonomy. This form of sympathy, she feels, does not respect the separateness, the agency of people—it undermines character and undermines morality. She declares herself resistant to any idea that she might be a ‘creature of impulse and passion’, ‘with a kind of sham character, like the backbones of cartilage or jelly of some lower creatures’ (II: 281). By threatening Anne’s ideas of character, such passionate interactions threaten what Anne sees as integrity.