By Kirsty Martin
How will we suppose for others? needs to we strive to appreciate different minds? can we need to recognize others' autonomy, or maybe their individuality? Or may perhaps 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 exploit the notice 'empathy'), Kirsty Martin explores how modernist writers considered questions of sympathetic reaction. Attending heavily to literary depictions of gesture, stream and rhythm; and to literary explorations of the physically and of transcendence; this booklet argues that valuable to modernism used to be an incredible of sympathy that used to be morally advanced, yet that used to be pushed through a choice to be precise to what it's to feel.
Offering new readings of significant literary texts, and unique study into their old contexts, Modernism and the Rhythms of Sympathy units modernist texts along fresh discussions of emotion and cognition. It deals a clean examining of literary modernism, and indicates how modernism may proceed to unsettle our wondering feeling this day.
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Extra resources for Modernism and the Rhythms of Sympathy: Vernon Lee, Virginia Woolf, D.H. Lawrence
Example text
Rhythm itself can moreover be seen as central to thinking about sympathy because it can create sympathy. As will be explored, rhythm can draw us into synchronicity with each other, connecting our energies to 106 See Faith Binckes, Modernism, Magazines, and the British Avant-Garde (Oxford: Oxford University Press, 2010), 62 and 61–6 for discussion of rhythm in modernism more generally. 28 Modernism and the Rhythms of Sympathy those outside us. 107 How we understand rhythm can also be connected up to questions of sympathy.
199. 15 Lee, then, explores a form of sympathy which is important not because it provides detailed cognitive insight into the complexity of things, but because it is somehow integral to the body, and somehow—according to James—at once sexual and spiritual. What this type of spiritual, sexual, and bodily form of communion might involve can be seen when one returns to Lee’s novel. In Miss Brown it would seem that the alternative to the emotionless morality of Miss Brown is the passion of the aesthetes.
81 Nussbaum, Upheavals, 58. 79 Introduction 19 What element in me is it that experiences the terrible shock of grief? I think of my mother; I embrace in my mind the fact that she will never be with me again—and I am shaken. How and where? Do we imagine the thought causing a fluttering in my hands, or a trembling in my stomach? 82 Nussbaum is drawn to bodily description when it comes to the question: ‘what element in me is it’. Yet the phrasing: ‘element in me’ (my emphasis) implies that Nussbaum hopes to contain the influence of the body within an overarching conception of a controlling self.