This article examines how three classic Hindi films—Pyasaa, The Guide, and Jagate Raho—draw on Indic paradigms of devotional love and śānta rasa and how they use “wonder” as a resolution to distressing emotions experienced by the characters and elicited in the viewer. To this effect, the article emphasizes how socio-cultural models of appraisal elicit various kinds of emotion, and, from this culturally situated but broadly universalist perspective, it traces the journey of the protagonists from fear, dejection, and despair toward amazement and peace. Among contemporary cognitive theories of emotion, the article uses perspectives drawn from the appraisal theory.
Dushanbe's affective spatialities
ongoing reconstruction of Dushanbe from the perspective of the affective registers it has elicited, from the despair of those who fondly remember its earlier Soviet oblique to those who have benefitted from the expansion of housing stock and green space
Dina Gusejnova and Felix Ringel
Serguei Alex Oushakine, The Patriotism of Despair: Nation, War, and Loss in Russia. Ithaca and London: Cornell University Press, 2009
Alexander Etkind, Internal Colonization. Russia’s Imperial Experience. Cambridge: Polity Press, 2011
Stephen J. Collier, Post-Soviet Social: Neoliberalism, Social Modernity, Biopolitics. Princeton: Princeton University Press, pp. 304, 2011
Priscilla Parkhurst Ferguson, Jane Mayo Roos, Robin Walz, and Tamara Chaplin Matheson
Priscilla Parkhurst Ferguson Paris: Capital of the World, trans. Arthur Goldhammer by Patrice Higonnet
Jane Mayo Roos Paris in Despair: Art and Everyday Life under Siege 1870-71 by Hollis Clayson
Robin Walz Genre, Myth, and Convention in the French Cinema, 1929-1939 by Colin Crisp
Tamara Chaplin Matheson The de Gaulle Presidency and the Media: Statism and Public Communications by Jean K. Chalaby
Sartre's Resistance myth, The Flies (1943), and Camus's contemporaneous modern tragedy, The Misunderstanding (1944), show remarkable similarities in conception, composition, themes, characters, relationships and intrigue. However, from the moment when the plots converge—each protagonist choosing to remain in his precarious new situation—they also diverge diametrically: Camus's Jan is doomed to reified passivity and death; Sartre's Oreste is galvanised into decisive action and new life. Does Camus's orientation toward nihilistic despair translate a negative assessment of his war-time role as an intellectual, and Sartre's much more positive disposition equally represent his affirmation of writing as a valid resistance activity?
The Treaty of Versailles: A Reassessment
After 75 Years edited by Manfred E. Boemeke, Gerald D. Feldman, and Elisabeth Glaser
Pädagogik im Spannungsfeld von Eugenik und Euthanasie: Die “Euthanasie”-Diskussion in der Weimarer Republik und zu Beginn der neunziger Jahre. Ein Beitrag zur Faschismusforschung und zur Historiographie der Behindertenpädagogik by Werner Brill
The Challenge of Globalization for Germany’s Social Democracy: A Policy Agenda for the 21st Century edited by Dieter Dettke
Robert Gerald Livingston
Fragments of Our Time: Memoirs of a Diplomat by Martin J. Hillenbrand
Germans into Nazis by Peter Fritzsche
Robin E. Judd
Between Dignity and Despair: Jewish Life in Nazi Germany by Marion A. Kaplan
This article deals with the Judeo-Spanish musico-poetic repertoire narrating the emigration of Sephardi Jews to Israel. These events find their expression either in original musico-poetic compositions or in melodies borrowed from well known popular songs but with the addition of new words in Judeo-Spanish. The repertoire encompasses various phases of the migration phenomenon including the problem of obtaining official entry to Palestine during the British Mandate, the despair of those left behind in the Sephardi diaspora and the difficulties associated with new trades, both rural and urban. This repertoire of migration songs shows, once again, the creative vitality of the Sephardi Jews.
Cultural Approaches to the Modern City
Victoria E. Thompson
Hollis Clayson, Paris in Despair: Art and Everyday Life under Siege (1870-71) (Chicago: The University of Chicago Press, 2002).
Mary Gluck, Popular Bohemia: Modernism and Urban Culture in Nineteenth-Century Paris (Cambridge, MA: Harvard University Press, 2005).
Patrice Higonnet, Paris: Capital of the World, translated by Arthur Goldhammer (Cambridge, MA: Harvard University Press, 2002).
Alistair Horne, Seven Ages of Paris: Portrait of a City (London: Macmillan, 2002).
Colin Jones, Paris: The Biography of a City (New York: Viking, 2004).
Nicholas Papayanis, Planning Paris before Haussmann (Baltimore: The Johns Hopkins University Press, 2004).
Pierre Pinon, Paris, biographie d’une capitale (Paris: Hazan, 1999).
"The Invention of Culture" and After
At the beginning of the Winnebago trickster cycle, trickster fails as a chief by repeatedly calling a war party (which chiefs never do) each time only to be found cohabiting with a woman (which war leaders never do). Eventually leading his warriors, trickster utterly alienates them by smashing his own canoe and sacred war bundle. Finally left entirely alone, he then uses straw dummies to trick a buffalo into a quagmire, but as he carves the meat, his left and right arms fight over it; his right arm, holding the knife, butchers his left arm, leaving trickster to despair.
Forty years later, I am asked – as a rabbi, a psychotherapist and, I suppose, as a longstanding (and, I now realise, embarrassingly frequent) contributor to the journal – to offer an overview of the way in which the theme of Judaism and Psychotherapy has been reflected within its pages over these years. And as I look back, imagining that this topic emerged only during the 1980s when three editions of the journal were dedicated to it, I open up again that first edition, from the summer of 1966, and read how Leslie Shepard, in his text Religion and the Affluent Society, is already writing about the shadow side of 'modern society' where 'the sweets have lost their flavour. There is fear, loneliness, frustration, emptiness, bitterness and despair. The psychoanalyst hears more of these things that the priest …' (Vol. 1, No. 1, p.13).