Titlebook: Affect Theory, Genre, and the Example of Tragedy; Dreams We Learn Duncan A. Lucas Book 2018 The Editor(s) (if applicable) and The Author(s)

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Case Study One: Sophocles’ ger plays a crucial role in his script development, disgust legislates his tragedy. Prone to shame insult, the warrior Oedipus must respond with anger when his identity is threatened. He moves from ultimate respect as a warrior-ruler, as ., to his rejection as both a social- and self-disgusting obje

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Case Study Two: Shakespeare’s is inaction become increasingly toxic, shame intrudes to catalyse decontaminating action. Analysing his personality’s affect-script structure and interactions with others reveals contrasting and often competing aspects of Hamlet, especially in opposition to Claudius’ toxicity, Gertrude’s contaminati

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Case Study Three: Arthur Miller’s ,st’s personality with the play’s dramatic structure. Despite radical cultural-historical differences, tragedy again depends on disgust-shame scripts in the protagonist’s personality structure. Miller provides context in justifying the “tragedy of the common man.” Willy and Biff Loman’s mutually refl

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Conclusions: Dreams We Learn of his affect-scripts as a literary hermeneutic in character criticism and genre, and tests his ideas as a critical discourse to reveal little noticed emotional content in tragedy, notably disgust and shame. The aim is more expository than argumentative, more descriptive than controversial. To be p

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The Information Content of Dividendsotional experiences of fictional personalities can inform descriptions of the foundational literary categories of tragedy and comedy, romance, and irony-satire, and ultimately explores unacknowledged emotional content in tragedy with three case studies. The introduction looks at Tomkins’ relationshi

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https://doi.org/10.1007/978-3-319-67355-4being theory” as a rejection of the once dominant drive theory of human motivation, which leads to defining the primary terms necessary for understanding Tomkins’ ideation, such as affect, feeling, emotion, before moving on to introduce the language of literature in the expression of human affect-fe

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Matteo Pozzoli,Francesco Paolone case studies. Disgust-contamination scripts are proposed as ubiquitous and formative but unacknowledged emotional experiences in tragedy. Shame plays a significant role in tragedy, primarily as a “catalyst for change” in character behaviour. The chapter considers tragedy in human life to show how a

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https://doi.org/10.1007/978-3-319-78500-4ger plays a crucial role in his script development, disgust legislates his tragedy. Prone to shame insult, the warrior Oedipus must respond with anger when his identity is threatened. He moves from ultimate respect as a warrior-ruler, as ., to his rejection as both a social- and self-disgusting obje

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?nder Kaymaz,?zgür Kaymaz,A. R. Zafer Sayaris inaction become increasingly toxic, shame intrudes to catalyse decontaminating action. Analysing his personality’s affect-script structure and interactions with others reveals contrasting and often competing aspects of Hamlet, especially in opposition to Claudius’ toxicity, Gertrude’s contaminati