"The question of affect is central to critical theory, psychology, politics, and the entire range of the humanities; but no discipline, including psychoanalysis, has offered a theory of affect that would be rich enough to account for the delicacy and power, the evanescence and durability, the bodily rootedness and the cultural variability of human emotion. "Silvan""Tomkins (1911-1991) was one of the most radical and imaginative psychologists of the twentieth century. In "Affect, Imagery, Consciousness," a four-volume work published over the last thirty years of his life, Tomkins developed an ambitious theory of affect steeped in cybernetics and systems theory as well as in psychoanalysis, ethology, and neuroscience. The implications of his conceptually daring and phenomenologically suggestive theory are only now--in the context of postmodernism--beginning to be understood. With "Shame and Its Sisters," editors Eve Kosofsky Sedgwick and Adam Frank make available for the first time an engaging and accessible selection of Tomkins's work.
Featuring intensive examination of several key affects, particularly shame and anger, this volume contains many of Tomkins's most haunting, diagnostically incisive, and theoretically challenging discussions. An introductory essay by the editors places Tomkins's work in the context of postwar information technologies and will prompt a reexamination of some of the underlying assumptions of recent critical work in cultural studies and other areas of the humanities. The text is also accompanied by a biographical sketch of Tomkins by noted psychologist Irving E. Alexander, Tomkins's longtime friend and collaborator.
2 有用 L. 2013-09-10 10:08:12
总体的理论我还蛮喜欢的,就是有两点我不太满意 第一是各种批评弗爷爷阿很闹心,第二是逻辑太花哨了自圆其说有时候都有点问题。想法复杂不复杂不重要,脑子要灵活才可以阿。
1 有用 岁华可读 2023-06-11 21:43:49 北京
感谢有你,真了不起(此为反话) 哈哈哈哈哈,主要读shame相关章节,读过就忘,但对目光禁忌和共同眼际交流那几段很认同,强调建构weak shame theory也挺有趣。一方面羞耻涉及到千百次的往复练习,在每一次场合感受到的羞耻各不相同,但需要识别出什么是羞耻,什么会带来羞耻;一方面需要通过经验积累,在之后的场景中用合理行动避免羞耻,文中用了避让车子过马路的例子。
1 有用 祝梨 2024-04-07 16:52:29 上海
主要细读了第一第六部分,了解塞吉维克是怎么在汤姆金斯的基础上进一步阐释情感结构,还有凭奥斯丁的操演句框架分析“shame on you”中一个隐匿的无人称“我”是如何把羞辱投射到一个本身延宕着却因受辱而成形的第二人称“我”身上。这种情感的生产性在于消解自我的同时又重建了自我,它把目光转向脸以及脸背后的主体,通过滚烫的面部反应意识到自身存在,在孤立中加深酷儿间的情感认同。信息量略大(逐渐沦为了辗转于... 主要细读了第一第六部分,了解塞吉维克是怎么在汤姆金斯的基础上进一步阐释情感结构,还有凭奥斯丁的操演句框架分析“shame on you”中一个隐匿的无人称“我”是如何把羞辱投射到一个本身延宕着却因受辱而成形的第二人称“我”身上。这种情感的生产性在于消解自我的同时又重建了自我,它把目光转向脸以及脸背后的主体,通过滚烫的面部反应意识到自身存在,在孤立中加深酷儿间的情感认同。信息量略大(逐渐沦为了辗转于zlibrary和翻译器的语言笨蛋),匆匆扫过的愤怒篇抑郁篇感觉也挺精彩 (展开)
1 有用 乱哥哥 2013-03-12 09:19:16
關於弗洛伊德 “內驅力” 觀點的質疑以及思考情感與認知,情感與慣習,情感與媒體之間的關係的理論依據。