142 research outputs found

    The Witcraft of Seeing Things Differently : Hyperdetermined Humor, Unusual Viewpoints, and Narrative Rhetoric in Terry Pratchett's Discworld Novels

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    Sir Terry Pratchettin maineikasta ja menestynyttä Discworld-romaanisarjaa luonnehditaan yleensä koomiseksi fantasiaksi, ja vaikka sitä on aiemmin tutkittu etupäässä fantasiakirjallisuutena, niin fantasiamiljöön lisäksi toinen näiden kirjojen silmiinpistävä piirre on huumorin ylenpalttinen runsaus. Tässä väitöskirjassa olen valinnut harvinaisemman lähestymistavan tutkiessani Discworld-romaaneja ensisijaisesti humoristisena kirjallisuutena, ja sen mukaisesti väitöskirjani keskeisimpänä tavoitteena on tutkia Terry Pratchettin huumorin poetiikkaa. Tarkemmin sanottuna olen asettanut tässä väitöskirjassa tehtäväkseni kartoittaa Terry Pratchettin huumorille ominaisimmat komiikan keinot ja tutkia, mikä tekee Discworld-romaaneista hauskoja. Discworld-romaaneille ominainen huumorin runsaus koostuu humorististen kuvausten ja koomisten kohtausten tiheän esiintymisen lisäksi komiikan keinojen laajasta valikoimasta. Tässä väitöskirjassa väitän, että Terry Pratchettin huumori on hyperdeterminoitua, mikä tarkoittaa, että hän yhdistelee erilaisia komiikan keinoja samassa kuvauksessa tai kohtauksessa. Siksi Pratchettin huumorin poetiikkaa käsittelevä väitöskirjani on samalla myös tutkimus hyperdeterminoidun huumorin rakentumisesta. Selkeyttääkseni huumorin hyperdeterminaation rakentumista jaottelen komiikan keinot neljään kategoriaan: tilanteellisiin, kontekstuaalisiin, rakenteellisiin ja tyylillisiin. Sovellan tätä jaottelua väittämällä, että humoristista kuvausta tai koomista kohtausta voidaan perustellusti sanoa hyperdeterminoiduksi silloin, kun siinä yhdistellään komiikan keinoja useammasta kuin yhdestä kategoriasta. Pidän Pratchettin huumorille ominaisten komiikan keinojen kartoittamista yhtenä tämän väitöskirjan keskeisimmistä kontribuutioista kirjallisen huumorin tutkimukselle. Tilanteellisista komiikan keinoista tarkastelen Discworld-romaaneista löytämiäni esimerkkejä draamallisesta ironiasta ja absurdista logiikasta. Kontekstuaalisista komiikan keinoista käsittelen Pratchettin parodiaa ja satiiria, kun taas rakenteellisista komiikan keinoista tutkin, kuinka Pratchett käyttää paraprosdokiania, bathosta, toistuvia piloja (”figgin”) ja koomisia alaviitteitä. Tyylillisistä komiikan keinoista tutkailen Pratchettin koomisia kielikuvia (hyperbolia, metaforia, vertauksia ja personifikaatioita), hänen sanaleikkejään (paronomasia, antanaklasis, sanataskut ja kaksikieliset sanaleikit) sekä Pratchettin koomisia eufemismeja. Lisäksi osoitan väitöskirjassani, että Terry Pratchettin huumorille on ominaista kulttuuristen kliseiden (eli tuttujen kulttuuri-ilmiöiden, totunnaisten ajattelutapojen ja vakiintuneiden esittämisen konventioiden) esittäminen humoristisen epätavallisista näkökulmista käsin. Discworld-romaaneissa Pratchett siirtää erilaisia oman maailmamme kulttuuri-ilmiöitä Discworld-nimiseen (suom. Kiekkomaailma) fantasiamaailmaansa, ja tämän maailmojen törmäyttämisen seurauksena kulttuuriset kliseet näyttäytyvät lukijalle samanaikaisesti tuttuina ja koomisen outoina. Tällaiset humoristiset näkökulmat vahvistavat osaltaan huumorin hyperdeterminaatiota. Samalla kun fantasiamiljöö mahdollistaa kahden maailman koomisen törmäyttämisen ja oman maailmamme kulttuuristen kliseiden peilaamisen toisen maailman avulla, huumori toisaalta mahdollistaa Kiekkomaailmassa normaalia fantasiaa vapaamman mielikuvituksen lennon, eikä monia Discworld-romaaneissa kuvattuja asioita, tapahtumia ja ilmiöitä voisi esiintyä maailmoissa, jotka eivät rakennu absurdin logiikan, kulttuurisilla kliseillä leikittelyn ja koomisen liioittelun kaltaisten todellisuuta vääristävien periaatteiden luoman ”taikuuden” varaan. Komiikan keinojen moninaisuuden, hyperdeterminoidun huumorin ja epätavallisten näkökulmien lisäksi tutkin väitöskirjassani sitä, millaisia arvottavia asenteita kertojan humoristiset näkökulmat ja humoristisiin kuvauksiin sisältyvät henkilöhahmojen tunnereaktiot paljastavat. Tulkitsen tällaisen arvottavan huumorin kirjalliseksi retorisen vaikuttamisen keinoksi, jonka avulla kirjailija pyrkii ohjailemaan lukijansa hyväksyviä ja paheksuvia asenteita. Useimmiten Pratchettin huumori on kulttuurikriittistä, eli parodista ja satiirista, mutta toisinaan humoristiset näkökulmat esittävät todellisen maailman kulttuuri-ilmiöitä myönteisinä ja ihailtavina. Väitän tutkimuksessani, että kirjallisuuden retoriikka perustuu tällaisten kielteisten ja myönteisten asenteiden esittämiselle ja että huumori on yksi kertomuksen retoriikan vaikutuskeinoista.Sir Terry Pratchett’s bestselling Discworld series of novels has been commonly described as comic fantasy, and although it has been previously studied mainly as fantasy literature, another conspicuous feature in these novels, in addition to the fantasy milieu, is their rich and abundant humor. In this study, I have chosen the road less travelled by approaching the Discworld novels as humorous literature, and, consequently, my main goal here is to study the poetics of Terry Pratchett’s humor— his “witcraft”. To be more precise, in this dissertation I have set myself the task of mapping out the comic devices that are most characteristic for Terry Pratchett’s witcraft and investigating what makes the Discworld novels funny. The richness of humor that is characteristic for the Discworld novels consists partly of the frequent occurrences of humorous descriptions and comic scenes, but also of the numerous comic devices that Pratchett deploys. In this dissertation, I argue that Terry Pratchett’s humor is hyperdetermined, which means that he tends to combine numerous comic devices in the same description or scene. Consequently, this study on the poetics of Terry Pratchett’s humor is at the same time a study on the construction of hyperdetermined humor. To better understand how hyperdetermined humor is constructed, I have devised a taxonomy that divides comic devices into four categories: situational, contextual, structural, and stylistic. Based on this taxonomy, I argue that the humor of a humorous description or a comic scene can be said to be truly hyperdetermined whenever it combines comic devices from more than one of these categories. I consider mapping out the comic devices that are most characteristic for Terry Pratchett’s witcraft to be one of the major contributions of this dissertation to the academic study of humor in literature. Of situational comic devices, I discuss and analyze examples of dramatic irony and absurd logic that I have detected in the Discworld novels. Of contextual comic devices, I discuss Pratchett’s parody and satire; of structural comic devices, I study Pratchett’s use of paraprosdokian, bathos, figgins (or running gags), and comic footnotes. Of stylistic comic devices, I investigate Pratchett’s comic imagery (hyperboles, metaphors, similes, and personifications), his puns (paronomasia, antanaclasis, portmanteaux, and bilingual puns), as well as Pratchett’s comic euphemisms. In this dissertation, I also demonstrate that representing cultural clichés (i.e., familiar cultural phenomena, customary ways of thinking, and conventional ways of representing) from humorously unusual viewpoints is characteristic for Terry Pratchett’s witcraft. In the Discworld novels, Pratchett transfers various cultural phenomena from the real world, our “Roundworld”, to a fantasy world called the Discworld, and as a result of this interworldly resonance, the cultural clichés of our Roundworld appear to the reader simultaneously as familiar and comically strange. These humorous viewpoints can be viewed as an additional constituent of hyperdetermined humor. While the fantasy setting of the Discworld novels allows Pratchett to set up comic resonance between the worlds, Pratchett’s humor also makes the Discworld a more imaginative and fantastic place than typical fantasy worlds. Many events and phenomena that are represented in the Discworld novels can only exist in a world where reality is distorted and enhanced by the special “magic” of comically absurd logic, playing with cultural clichés, and humorous exaggerations. In addition to the abundance of comic devices, hyperdetermined humor, and humorously unusual viewpoints, I also study in this dissertation what kinds of evaluative attitudes the narrator’s humorous viewpoints and the characters’ emotional reactions reveal. According to my interpretation, such evaluative attitudes are means of narrative rhetoric, where the author attempts to guide the reader’s attitudes of approval or disapproval. Pratchett’s humor is often critical—parodical or satirical—although occasionally the narrator’s humorous viewpoints represent the cultural phenomena of our Roundworld in a positive light, as something admirable. In this dissertation, I argue that narrative rhetoric is based on representing negative and positive attitudes, and that humor is one possible means of narrative rhetoric

    Silence and writing: the voices that inhabit us (Woolf, Duras, Perec, Celati)

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    My thesis investigates the forms, modalities and issues related to the notion of 'silence' in the texts and poetics of Virginia Woolf, Marguerite Duras, Georges Perec and Gianni Celati. This study relates to the 20th century European context and is set within the framework of music-literary studies, since silence is an acoustic phenomenon that concerns the whole word, thus also the written word. The material is structured according to a distribution that firstly involves the construction of a methodological framework that employs music-literary studies, the philosophy of language, the aesthetics of reception and psychoanalytic trauma studies; secondly, an analysis of some of the autobiographical works of the mentioned writers was undertaken, with a particular focus on the notion of trauma associated with silence; thirdly, the focus was placed on the theme of silence in the novelistic and fictional writings of the same authors; finally, a reflection on the poetics and aesthetics of silence was proposed. This study, which brings together several perspectives on silence, aims to shed light, through a comparative and transmedial approach, on the necessity of silence that is inherent in the word, and not a phenomenon opposed to it

    Animate Being: Extending a Practice of the Image to New Mediums via Speculative Game Design

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    This post-disciplinary practice as research thesis examines the potential of Carl Jung's therapeutic method of active imagination as a strategy for engaging with an increasingly complex and interconnected technological reality. Embracing a non-clinical, practice-driven approach, I harness James Hillman’s notion of the image and the imaginal to investigate the interdisciplinary capacity and ethical dimensions of an expansive mode of image-work. My approach to practice theoretically and practically intertwines analytical psychology, feminist worlding and design speculation. Building upon Susan Rowland’s work, I study image-work as an ecological alchemical craft that seeks to matter the immaterial. Through the cyclic iterative design of a video game, I mobilise and respond to image-work as a mode of myth-making that may facilitate dialogue between human and non-human intelligences. Departing from the essentialism of the hero's journey, I adopt Le Guin's Carrier Bag (1986/2019) as a feminist video game form and by utilising the framework of a video game (Bogost, 2007; Flannigan, 2013), the alchemical processes of image-work are transformed into novel interactive game mechanics. The game I design is both a vessel and a portal to an imaginal ecological realm, an open-world, procedurally generated ‘living world’ sandbox exploration game. This game integrates real-time, real-world data streams to invite the non-human to enter into play as player two, facilitating experimentation with possible new forms of cross-species dialogue, collaboration, and healing

    Poetry and Industrialism in Liverpool, Sheffield, and Manchester, 1770-1842

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    This thesis seeks to view the effects of industrial development in the years 1770-1842 in the cities of Manchester, Liverpool, and Sheffield through the lens of their literary output. While the majority of critical responses to urban poetry in this period have centred around London, this project attempts, within these cities, to examine a distinct poetic register reflective of urbanism and local identity, with the focus removed from the capital. Taking into account the social and professional interconnectivity that existed between these three centres, as well as the commercial interests, local history, and political contexts of each site, this thesis offers a complex portrait of the literary worlds that were active, and in some cases significantly influential and commercially successful, within the transpennine region. In doing so, I will demonstrate that the industrialisation, social transformations, and urbanisation that impacted the north of England at this time were not a peripheral presence in what constitutes Romantic-era poetry, but rather central to it, participant in the wider trends that characterise it as a literary movement. Most importantly, this thesis will make a case for these neglected areas as sites of vital poetic innovation, examining an underutilised resource for the conception of the role of literature within this socially, politically, and economically tumultuous period

    Real-time generation and adaptation of social companion robot behaviors

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    Social robots will be part of our future homes. They will assist us in everyday tasks, entertain us, and provide helpful advice. However, the technology still faces challenges that must be overcome to equip the machine with social competencies and make it a socially intelligent and accepted housemate. An essential skill of every social robot is verbal and non-verbal communication. In contrast to voice assistants, smartphones, and smart home technology, which are already part of many people's lives today, social robots have an embodiment that raises expectations towards the machine. Their anthropomorphic or zoomorphic appearance suggests they can communicate naturally with speech, gestures, or facial expressions and understand corresponding human behaviors. In addition, robots also need to consider individual users' preferences: everybody is shaped by their culture, social norms, and life experiences, resulting in different expectations towards communication with a robot. However, robots do not have human intuition - they must be equipped with the corresponding algorithmic solutions to these problems. This thesis investigates the use of reinforcement learning to adapt the robot's verbal and non-verbal communication to the user's needs and preferences. Such non-functional adaptation of the robot's behaviors primarily aims to improve the user experience and the robot's perceived social intelligence. The literature has not yet provided a holistic view of the overall challenge: real-time adaptation requires control over the robot's multimodal behavior generation, an understanding of human feedback, and an algorithmic basis for machine learning. Thus, this thesis develops a conceptual framework for designing real-time non-functional social robot behavior adaptation with reinforcement learning. It provides a higher-level view from the system designer's perspective and guidance from the start to the end. It illustrates the process of modeling, simulating, and evaluating such adaptation processes. Specifically, it guides the integration of human feedback and social signals to equip the machine with social awareness. The conceptual framework is put into practice for several use cases, resulting in technical proofs of concept and research prototypes. They are evaluated in the lab and in in-situ studies. These approaches address typical activities in domestic environments, focussing on the robot's expression of personality, persona, politeness, and humor. Within this scope, the robot adapts its spoken utterances, prosody, and animations based on human explicit or implicit feedback.Soziale Roboter werden Teil unseres zukünftigen Zuhauses sein. Sie werden uns bei alltäglichen Aufgaben unterstützen, uns unterhalten und uns mit hilfreichen Ratschlägen versorgen. Noch gibt es allerdings technische Herausforderungen, die zunächst überwunden werden müssen, um die Maschine mit sozialen Kompetenzen auszustatten und zu einem sozial intelligenten und akzeptierten Mitbewohner zu machen. Eine wesentliche Fähigkeit eines jeden sozialen Roboters ist die verbale und nonverbale Kommunikation. Im Gegensatz zu Sprachassistenten, Smartphones und Smart-Home-Technologien, die bereits heute Teil des Lebens vieler Menschen sind, haben soziale Roboter eine Verkörperung, die Erwartungen an die Maschine weckt. Ihr anthropomorphes oder zoomorphes Aussehen legt nahe, dass sie in der Lage sind, auf natürliche Weise mit Sprache, Gestik oder Mimik zu kommunizieren, aber auch entsprechende menschliche Kommunikation zu verstehen. Darüber hinaus müssen Roboter auch die individuellen Vorlieben der Benutzer berücksichtigen. So ist jeder Mensch von seiner Kultur, sozialen Normen und eigenen Lebenserfahrungen geprägt, was zu unterschiedlichen Erwartungen an die Kommunikation mit einem Roboter führt. Roboter haben jedoch keine menschliche Intuition - sie müssen mit entsprechenden Algorithmen für diese Probleme ausgestattet werden. In dieser Arbeit wird der Einsatz von bestärkendem Lernen untersucht, um die verbale und nonverbale Kommunikation des Roboters an die Bedürfnisse und Vorlieben des Benutzers anzupassen. Eine solche nicht-funktionale Anpassung des Roboterverhaltens zielt in erster Linie darauf ab, das Benutzererlebnis und die wahrgenommene soziale Intelligenz des Roboters zu verbessern. Die Literatur bietet bisher keine ganzheitliche Sicht auf diese Herausforderung: Echtzeitanpassung erfordert die Kontrolle über die multimodale Verhaltenserzeugung des Roboters, ein Verständnis des menschlichen Feedbacks und eine algorithmische Basis für maschinelles Lernen. Daher wird in dieser Arbeit ein konzeptioneller Rahmen für die Gestaltung von nicht-funktionaler Anpassung der Kommunikation sozialer Roboter mit bestärkendem Lernen entwickelt. Er bietet eine übergeordnete Sichtweise aus der Perspektive des Systemdesigners und eine Anleitung vom Anfang bis zum Ende. Er veranschaulicht den Prozess der Modellierung, Simulation und Evaluierung solcher Anpassungsprozesse. Insbesondere wird auf die Integration von menschlichem Feedback und sozialen Signalen eingegangen, um die Maschine mit sozialem Bewusstsein auszustatten. Der konzeptionelle Rahmen wird für mehrere Anwendungsfälle in die Praxis umgesetzt, was zu technischen Konzeptnachweisen und Forschungsprototypen führt, die in Labor- und In-situ-Studien evaluiert werden. Diese Ansätze befassen sich mit typischen Aktivitäten in häuslichen Umgebungen, wobei der Schwerpunkt auf dem Ausdruck der Persönlichkeit, dem Persona, der Höflichkeit und dem Humor des Roboters liegt. In diesem Rahmen passt der Roboter seine Sprache, Prosodie, und Animationen auf Basis expliziten oder impliziten menschlichen Feedbacks an

    Examples of works to practice staccato technique in clarinet instrument

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    Klarnetin staccato tekniğini güçlendirme aşamaları eser çalışmalarıyla uygulanmıştır. Staccato geçişlerini hızlandıracak ritim ve nüans çalışmalarına yer verilmiştir. Çalışmanın en önemli amacı sadece staccato çalışması değil parmak-dilin eş zamanlı uyumunun hassasiyeti üzerinde de durulmasıdır. Staccato çalışmalarını daha verimli hale getirmek için eser çalışmasının içinde etüt çalışmasına da yer verilmiştir. Çalışmaların üzerinde titizlikle durulması staccato çalışmasının ilham verici etkisi ile müzikal kimliğe yeni bir boyut kazandırmıştır. Sekiz özgün eser çalışmasının her aşaması anlatılmıştır. Her aşamanın bir sonraki performans ve tekniği güçlendirmesi esas alınmıştır. Bu çalışmada staccato tekniğinin hangi alanlarda kullanıldığı, nasıl sonuçlar elde edildiği bilgisine yer verilmiştir. Notaların parmak ve dil uyumu ile nasıl şekilleneceği ve nasıl bir çalışma disiplini içinde gerçekleşeceği planlanmıştır. Kamış-nota-diyafram-parmak-dil-nüans ve disiplin kavramlarının staccato tekniğinde ayrılmaz bir bütün olduğu saptanmıştır. Araştırmada literatür taraması yapılarak staccato ile ilgili çalışmalar taranmıştır. Tarama sonucunda klarnet tekniğin de kullanılan staccato eser çalışmasının az olduğu tespit edilmiştir. Metot taramasında da etüt çalışmasının daha çok olduğu saptanmıştır. Böylelikle klarnetin staccato tekniğini hızlandırma ve güçlendirme çalışmaları sunulmuştur. Staccato etüt çalışmaları yapılırken, araya eser çalışmasının girmesi beyni rahatlattığı ve istekliliği daha arttırdığı gözlemlenmiştir. Staccato çalışmasını yaparken doğru bir kamış seçimi üzerinde de durulmuştur. Staccato tekniğini doğru çalışmak için doğru bir kamışın dil hızını arttırdığı saptanmıştır. Doğru bir kamış seçimi kamıştan rahat ses çıkmasına bağlıdır. Kamış, dil atma gücünü vermiyorsa daha doğru bir kamış seçiminin yapılması gerekliliği vurgulanmıştır. Staccato çalışmalarında baştan sona bir eseri yorumlamak zor olabilir. Bu açıdan çalışma, verilen müzikal nüanslara uymanın, dil atış performansını rahatlattığını ortaya koymuştur. Gelecek nesillere edinilen bilgi ve birikimlerin aktarılması ve geliştirici olması teşvik edilmiştir. Çıkacak eserlerin nasıl çözüleceği, staccato tekniğinin nasıl üstesinden gelinebileceği anlatılmıştır. Staccato tekniğinin daha kısa sürede çözüme kavuşturulması amaç edinilmiştir. Parmakların yerlerini öğrettiğimiz kadar belleğimize de çalışmaların kaydedilmesi önemlidir. Gösterilen azmin ve sabrın sonucu olarak ortaya çıkan yapıt başarıyı daha da yukarı seviyelere çıkaracaktır

    The effect of brand names and logos’ figurativeness on memory: an experimental approach

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    This paper explores the opposition between abstract and figurative names and logos, considered together in a single stimulus. We created three experimental scenarios of fictitious names and logos, ranging from very abstract to very figurative stimuli. Findings show that figurativeness, and organicity as its extreme form, are key determinants of cognitive responses to names and logos. However, our most relevant finding is the crucial importance of the interaction between the figurativeness of the name and the logo. Results show that semantic repetition is beneficial for creating recall and generating associations, and semantic dispersion is advantageous for ensuring recognition. Nevertheless, there are exceptions. The originality of this paper lies in the fact that it allows to say that figurativeness is not a sacrosanct solution to good name and logo performance, it largely depends on the type of interaction between these two central brand identity signs.info:eu-repo/semantics/publishedVersio

    Bindings, boundaries and cuts: relating agency and ontology in photobook encounters

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    PhD ThesisThe artwork and commodity known as a “photobook” is gaining visibility as an object of creative practice and cultural economy. It has generally been studied within photographic histories. This thesis builds alternative ontologies of the photobook as an experiential, social artefact using a unique methodological assemblage that responds to the object’s hybrid nature. The enquiry posits that encounters with photobooks are “material-discursive configurations” of matter, materiality, meaning and context, in which the photobook-object is actualised in relation to its surroundings and the reader’s sensations and interpretations. The study foregrounds situated moments of “encounter” between humans and photobooks, which are simultaneously texts, images, actants and phenomena, to question what roles photobooks perform in different circumstances – what they do. The research identifies photobook agencies including: affecting aesthetic art experiences, mediating social and economic relations, and pushing back against established epistemic regimes. The study of this messy, boundary object employs counter-hegemonic techniques such as autoethnography alongside ethnographic data to uncover relational insight into photobook encounters, analysed through a combined lens of Actor-Network Theory, New Materialism and Phenomenology. The iterative methodology reveals the research process’ own agency, advancing the thesis’ argument that more-than-human entities co-produce diverse knowledges. This original theoretical position produces a multi-faceted analysis of an under-researched artistic medium, form and genre, which is novel for studies of photographic history and culture, as well as interdisciplinary object studies. Through exploring the complexities of a seemingly quotidian book-shaped thing in wide-ranging personal and institutional encounters, the study fosters a profound, felt awareness of relationalities between humans and non-humans. This alternative approach shows how encounters with art objects present new, pluralistic ways of knowing that disrupt habitual schematic modes of cutting or limiting our experiences of phenomena and things, with meaningful consequences for rethinking our modes of acting, consuming, feeling and being in the world.Northern Bridge Doctoral Training Partnershi

    Feelings as Heraldic Devices in Late Middle English Chivalric Romance

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    This project argues that we can read feelings in medieval chivalric romance the same way one reads conventional heraldic imagery, and doing so shows us how feelings are a site for identity construction in ways that align with our understanding of identity today. The project finds clear evidence that late medieval romance writers thought of feelings as functioning similar to more conventional elements of heraldry, like a knight’s coat of arms, his device, his colors, or his battle cries, in the sense that feelings typically attach to specific knights but are also shared by knights within the same chivalric community. The dual nature of the chivalric device—both a stable, abstracted indication of allegiance and malleable ornament of individual identity—is what makes it productive for understanding how social selfhood is constructed in romance, and the project proposes the term ‘feeling-emblem’ to describe the highly public way in which emotional expressions are used to communicate different aspects of that selfhood. The project mainly tracks a category of weak negative emotions which Sianne Ngai calls “ugly feelings,” and it does so for two reasons: (1) these kinds of emotions are well-represented in the battlefield romances of late medieval Britain which I study most closely, and (2) emotions like irritation, anxiety, envy, and disgust are historically stable in a way that other emotions of medieval romance are not, meaning that focusing on ugly feelings helps us find lines of continuity between medieval and modern identity constructions. By focusing on feeling-emblems of weak negativity, then, the project aims both to better understand how medieval audiences imagined themselves through their period’s most popular literary genre and to explore how our own discourses around identity today are shaped and challenged by that process
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