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In this ambitious and original study, Lynn Festa examines how and why sentimental fiction became one of the primary ways of representing British and French relations with colonial populations in the eighteenth century. Drawing from novels, poetry, travel narratives, commerce manuals, and philosophical writings, Festa shows how sentimentality shaped communal and personal assertions of identity in an age of empire. Read in isolation, sentimental texts can be made to tell a simple story about the emergence of the modern psychological self. Placed in conversation with empire, however, sentimentality invites both psychological and cultural readings of the encounter between self and other. Sentimental texts, Festa claims, enabled readers to create powerful imagined relations to distant people. Yet these emotional bonds simultaneously threatened the boundaries between self and other, civilized and savage, colonizer and colonized. Festa argues that sentimental tropes and figures allowed readers to feel for others, while maintaining the particularity of the individual self. Sentimental identification thus operated as a form of differentiation as well as consolidation. Festa contends that global reach increasingly outstripped imaginative grasp during this era. Sentimentality became an important tool for writers on empire, allowing conquest to be portrayed as commerce and scenes of violence and exploitation to be converted into displays of benevolence and pity. Above all, sentimental texts used emotion as an important form of social and cultural distinction, as the attribution of sentience and feeling helped to define who would be recognized as human.

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During the 1992 Democratic Convention and again while delivering Harvard University's commencement address two years later, Vice President Al Gore shared with his audience a story that showed the effect of sentiment in his life. In telling how an accident involving his son had provided him with a revelation concerning the compassion of others, Gore effectively reconstructed himself as a typical, middle-class American for whom sympathy can lead to salvation. This contemporary reiteration of mid-nineteenth-century American sentimental discourse proves to be a fruitful point of departure for Mary Louise Kete's argument that sentimentality has been an important and recurring form of cultural narrative that has helped to shape middle-class American life. Many scholars have written about the sentimental novel as a primarily female genre and have stressed its negative ideological aspects. Kete finds that in fact many men - from writers to politicians - participated in nineteenth-century sentimental culture. Importantly, she also recovers the utopian dimension of the phenomenon, arguing that literary sentimentality, specifically in the form of poetry, is the written trace of a broad cultural discourse that Kete calls sentimental - an exchange of sympathy in the form of gifts that establishes common cultural or intellectual ground. Kete reads the work of Ralph Waldo Emerson, Henry Wadsworth Longfellow, Mark Twain, Harriet Beecher Stowe, and Lydia Huntley Sigourney with an eye toward the deployment of sentimentality for the creation of Americanism, as well as for political and abolitionist ends. Finally, she locates the origins of sentimental collaboration in the activities of ordinary people who participated in mourning rituals - writing poetry, condolence letters, or epitaphs - to ease their personal grief. Sentimental Collaborations significantly advances prevailing scholarship on Romanticism, antebellum culture, and the formation of the American middle class. It will be of interest to scholars of American studies, American literature, cultural studies, and women's studies.

Sentimental value is a highly prevalent, yet largely understudied phenomenon. We introduce the construct of sentimental value and investigate how and why sentimental value influences hedonic adaptation. Across 7 studies, we examine the antecedents of sentimental value and demonstrate its effect on hedonic adaptation using both naturally occurring and experimentally manipulated items with sentimental value. We further test the underlying process linking sentimental value and hedonic adaptation by showing that whereas feature-related utility decreases for all items with time, sentimental value typically does not, and that sentimental value moderates the influence of the decrement in feature-related utility on hedonic adaptation. Moreover, this moderating effect of sentimental value is driven by a shift in focus from features of the item to the associations that item possess. We conclude with a discussion of related phenomena and implications for individuals.

For generations, critics have noticed in nineteenth-century American women's sentimentality a streak of masochism, but their discussions of it have over-simplified its complex relationship to women's power. Marianne Noble argues that tropes of eroticized domination in sentimental literature must be recognized for what they were: a double-edged sword of both oppression and empowerment. She begins by exploring the cultural forces that came together to create this ideology of desire, particularly Protestant discourses relating suffering to love and middle-class discourses of "true womanhood." She goes on to demonstrate how sentimental literature takes advantage of the expressive power in the convergence of these two discourses to imagine women's romantic desire. Therefore, in sentimental literature, images of eroticized domination are not antithetical to female pleasure but rather can be constitutive of it. The book, however, does not simply celebrate that fact. In readings of Warner's The Wide Wide World , Stowe's Uncle Tom's Cabin , and Dickinson's sentimental poetry, it addresses the complex benefits and costs of nineteenth-century women's literary masochism. Ultimately it shows how these authors both exploited and were shaped by this discursive practice. The Masochistic Pleasures of Sentimental Literature exemplifies new trends in "Third Wave" feminist scholarship, presenting cultural and historical research informed by clear, lucid discussions of psychoanalytic and literary theory. It demonstrates that contemporary theories of masochism--including those of Deleuze, Bataille, Kristeva, Benjamin, Bersani, Noyes, Mansfield--are more relevant and comprehensible when considered in relation to sentimental literature.

In the middle of the eighteenth century, something new made itself felt in European culture - a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people's very structures of feeling, their ways of doing and being. In what is sure to become a critical classic, An Archaeology of Sympathy challenges Sergei Eisenstein's influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. James Chandler begins with a look at Frank Capra and the Capraesque in American public life, then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, he reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra's It Happened One Night, Mr. Deeds Goes to Town, and It's a Wonderful Life. Chandler then moves forward to romanticism and modernism - two cultural movements often seen as defined by their rejection of the sentimental - examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work. Reaching from Laurence Sterne to the Coen brothers, An Archaeology of Sympathy casts new light on the long eighteenth century and the novelistic forebears of cinema and our modern world.

Most discussions of sentimental literature, taking their lead from Goldsmith's Comparison between Laughing and Sentimental Comedy, center on matters of content and atmosphere-especially the prevalence of tears, whether those of the characters or the audience. But sentiment on stage is not equivalent to sentiment in the novel, nor can the most striking formal characteristics of the fiction being written in the 1760's and 1770's be illuminated by invocations of such philosophic doctrines as Shaftesbury's benevolism. Through a discussion of the form of sentimental fiction, I would like to suggest that such works as Tristram Shandy, The Man of Feeling, and The Sorrows of Young Werther were neither the resurgence of a cultural stream that had somehow gone underground for almost half a century, nor part of an essentially discontinuous novelistic tradition. They show instead both a structural and a thematic continuity with earlier eighteenthcentury novelists, and with the work of Pope and Swift, that is more central to the best of sentimental literature than any continuity with the themes, plot turns, and moral atmosphere of late seventeenthand early eighteenth-century drama. A convenient foil to my view is the frequent assertion, however qualified, that the form of the novel had become so established in the little more than twenty-five years between Pamela and Tristram Shandy that Sterne could already freely experiment with all the givens of the well-made novel, including its typographical conventions. In this literary-historical commonplace, formal balance and circumstantial realism are the assumed standards; sentiment, gothidsm, and Sterne are the deviations, to be explained more by reference to the history of ideas than the history of the novel. At best the change is explained as a revolt against realism: the critic defines sub-genres and asks us to sit back and wait for Jane Austen. But I would like to argue that Sterne, among others, is not upending but extending the essential self-definition of the novel in England, and I would like to show how a literary form whose first appearance trailed banners of fidelity to real life and moral correctness could metamorphose into Sterne's elaborate formal games and the discovered manuscripts of Walpole and Mackenzie. Structure in the sentimental novel strives to imitate feeling rather than intellect, and to embody direct experience rather than artistic premeditation; this basic imperative of the novel from Defoe on is only made a little more apparent in the works of Sterne, Mackenzie, and others. The form of the sentimental novel, the gothic novel, and eighteenth-century fiction in general never seriously imitates such non-literary fictions as the order of providence, philosophic system, or social hierarchy, no matter how it may comment on them or include their patterns

In this discerning study of sentimental discourse of the late eighteenth century, David J. Denby sheds new light on Enlightenment thought and sensibility. He reveals how sentimental sub-literature reflects the social attitudes of the emerging bourgeoisie, and how its formal structures are reflected in contemporary theories concerning the nature of society, morality, and politics. Denby explores how the language and forms of sentimental narratives were adopted and exploited by political and social writers, and how sentimentalism provided a theme of continuity underlying the dominant sense of change brought about by the Revolution. In this interdisciplinary book Denby argues that sentimentalism is central to the culture of late eighteenth-century France. Texts discussed include works by Rousseau and de Stael.

1. Sensibility, history and the novel 2. 'The house of bondage': sentimentalism and the problem of slavery 3. 'Delight in misery': sentimentalism, amelioration and slavery 4. 'An easy, speedy and universal medium': canals, commerce and virtue 5. 'Recovering the path of virtue': the politics of prostitution and the sentimental novel 6. 'The dangerous tendency of novels' and the controversy of sentimentalism.

The beliefs both that sentimental education is a vital part of moral education and that habituation is a vital part of sentimental education can be counted as being at the 'hard core' of the Aristotelian tradition of moral thought and action. On the basis of an explanation of the defining characteristics of Aristotelian habituation, this paper explores how and why habituation may be an effective way of cultivating the sentimental dispositions that are constitutive of the moral virtues. Taking Aristotle's explicit remarks on ethismos as a starting point, we present habituation as essentially involving (i) acting as virtue requires, (ii) both frequently and consistently, and (iii) under the supervision of a virtuous tutor. If the focus is on the first two characteristics, habituation seems to be a proper method for acquiring skills or inculcating habits, rather than an effective way of cultivating virtuous sentimental dispositions. It will be argued, however, that even if only the first two characteristics are taken into account, habituation may be an efficacious means of moderating, reducing or restricting the child's affective dispositions where these are somehow excessive. But contrary to Aristotle's view, the effectiveness of processes of habituation that are directed at strengthening, deepening or broadening the child's sentimental dispositions where these are somehow deficient seems to be a function of the third characteristic, especially of the affective responses of the virtuous tutor to the child's behaviour. At the end of the paper, this predominantly non-cognitive account of the workings of Aristotelian habituation will be compared with Nancy Sherman's primarily cognitive view.

Perhaps the most surprising fact about the "sentimental novel" of the eighteenth century is that the category is not just the useful invention of literary historians. The declaration "A Sentimental Novel" actually appeared on the title pages of many works of fiction of this period, and was particularly common during the 1770s and 1780s. Yet the novels that advertised themselves in this way are no longer read, even if they might once have been largely responsible for the poor reputation that "sentiment" earned, and for a change in the meaning of the word "sentimental" recorded by the Oxford English Dictionary. At the end of the eighteenth century the use of "sentimental" turned from the approbatory to the pejorative; from "exhibiting refined and elevated feelings" to "addicted to indulgence in superficial emotion." Yet clearly this change cannot have been certain even by the 1790s, when some novels were still willing to declare themselves "sentimental."

Abstract The analysis of sentiments is essential in identifying and classifying opinions regarding a source material that is, a product or service. The analysis of these sentiments finds a variety of applications like product reviews, opinion polls, movie reviews on YouTube, news video analysis, and health care applications including stress and depression analysis. The traditional approach of sentiment analysis which is based on text involves the collection of large textual data and different algorithms to extract the sentiment information from it. But multimodal sentimental analysis provides methods to carry out opinion analysis based on the combination of video, audio, and text which goes a way beyond the conventional text‐based sentimental analysis in understanding human behaviors. The remarkable increase in the use of social media provides a large collection of multimodal data that reflects the user's sentiment on certain aspects. This multimodal sentimental analysis approach helps in classifying the polarity (positive, negative, and neutral) of the individual sentiments. Our work aims to present a survey of recent developments in analyzing the multimodal sentiments (involving text, audio, and video/image) which involve human–machine interaction and challenges involved in analyzing them. A detailed survey on sentimental dataset, feature extraction algorithms, data fusion methods, and efficiency of different classification techniques are presented in this work. This article is categorized under: Commercial, Legal, and Ethical Issues > Social Considerations