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Textbook Ebook Affect Theory Genre and The Example of Tragedy Dreams We Learn 1St Ed Edition Duncan A Lucas All Chapter PDF
Textbook Ebook Affect Theory Genre and The Example of Tragedy Dreams We Learn 1St Ed Edition Duncan A Lucas All Chapter PDF
Series Editors
Adam Frank
University of British Columbia
Vancouver, BC, Canada
Joel Faflak
Western University
London, ON, Canada
The recent surge of interest in affect and emotion has productively crossed
disciplinary boundaries within and between the humanities, social sci-
ences, and sciences, but has not often addressed questions of literature and
literary criticism as such. The first of its kind, Palgrave Studies in Affect
Theory and Literary Criticism seeks theoretically informed scholarship
that examines the foundations and practice of literary criticism in relation
to affect theory. This series aims to stage contemporary debates in the
field, addressing topics such as: the role of affective experience in literary
composition and reception, particularly in non-Western literatures; exami-
nations of historical and conceptual relations between major and minor
philosophies of emotion and literary experience; and studies of race, class,
gender, sexuality, age, and disability that use affect theory as a primary
critical tool.
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Is all that we see or seem
But a dream within a dream?
Edgar Allan Poe
To my mother, Margaret, whose descent into degenerative dementia taught
me the tenuous tenacity of human cognition, and all of its failings, and still
her love’s beautiful beacon shone through the fog of forgetting.
To my father, Brian, whose too early demise disrupted my own affects. With
stillness, his relentless wisdom in fortitude, accepting and forgiving and
leading, lights my path to and through Life, Truth, Love, Spirit, Soul,
Principle, Mind.
Praise for Affect Theory, Genre, and the
Example of Tragedy
ix
Preface: A Too Brief Outline of Silvan
Tomkins’ Life
Silvan, or Silva as his mother called him, was born in Philadelphia on June 4,
1911, to Russian Jewish immigrants, Samuel and Rose (nee Novak). His
only sibling, Charlotte, was born in March of 1914.
At the age of only 16, Tomkins entered the University of Pennsylvania
to study playwriting and graduated in 1930. This early interest in script-
writing, and presumably the invention of characters in a scene-by-scene
progression, suggests an incipient interest in human motivation and his
major research question, “What do humans really want?”
He continued his education with graduate study at UPenn and com-
pleted a master’s in psychology in 1931, followed by a PhD in philosophy
in 1934. He began working as a handicapper for a horse racing syndicate
in 1934, reportedly earning a very good living despite the Depression,
before taking a post-doctoral fellowship in philosophy at Harvard in 1935,
followed by another post-doctoral fellowship at Harvard between 1937
and 1940, this one in psychology. This somewhat eclectic education
explains in part his ability to transgress academic boundaries in search of
novel answers to ancient questions.
By 1940, he had become a researcher at the Harvard Psychological
Clinic, where he began working with Henry Murray and Robert White,
and on ‘The Thematic Apperception Test.’ His first self-written book, The
Thematic Apperception Test: The Theory and Technique of Interpretation,
was published in 1947, which he wrote in collaboration with a former
student, Elizabeth Taylor, whom he married the same year. Their only
child, Mark, was born in 1955. After years of acrimony, they separated in
1975, the year he also retired, and they divorced in 1978. This was, in fact,
xi
xii PREFACE: A TOO BRIEF OUTLINE OF SILVAN TOMKINS’ LIFE
his second marriage, though little is known of his first wife, beyond the
name Mary Shoemaker, whom he married in 1936, much to his mother’s
disappointment, and quickly divorced.
In 1947, Tomkins joined the faculty at Princeton, first as an associate
professor (1947–1955) and then full professor (1955–1965), during
which time he was also director of the Clinical Training Program. He
edited two books on psychopathology (1943, 1958) and, with Jack Miner,
wrote two books dealing with the Tomkins-Horn picture arrangement
test (1957, 1959). Importantly, in 1955, he presented his first overt chal-
lenge to that time’s dominant drive theory in psychology at the 14th
International Congress of Psychology. That conference presentation set
the grounds for the first two volumes of his magnum opus Affect Imagery
Consciousness (AIC), published in 1962 and 1963, respectively, but it
would be almost 30 years before volumes three and four were published in
1991 and 1992, the latter posthumously.
In the mid-1960s, he met Paul Ekman and Carroll Izard, both of whom
he would mentor as they pursued similar lines of scientific inquiry into
human emotional expressions, but all the while keeping the two relatively
unaware of one another’s research details, presumably in the interest of
independent scientific verification.
He won the immensely prestigious National Institute of Mental Health
Career Scientist Award in 1965, which could have released him from all
duties save research. But a bitter dispute with the leadership at Princeton
over their requirement that all faculty teach undergraduates led to his
being unable to accept the award, and he subsequently left Princeton for
the City University of New York where he founded a Center for Cognition
and Affect, though that project would prove disappointing for him. He
then moved to Livingstone College at Rutgers in 1968, where he finished
his professional career when he formally retired in 1975. Retirement,
however, allowed him time to continue developing his ideas about human
motivation, particularly in what he would come to call “script theory,” for
which he published two significant papers in 1978 and 1987, as well as
large sections of AIC volume three.
His goal with script theory was a holistic personality theory that would
organize discussion between the too often competing disciplines of biol-
ogy, psychology, and sociology in the history of humanity’s personal and
cultural development. There is clear evidence in his notes that he had
much more to say about script theory, including an entire book devoted
PREFACE: A TOO BRIEF OUTLINE OF SILVAN TOMKINS’ LIFE
xiii
to the topic. That missing volume must now be viewed as a loss of valuable
scholarship, but it is also an opportunity for scholars to continue his work.
Silvan Tomkins died on June 10, 1991 of non-Hodgkin’s lymphoma.
I want to thank:
Trish: you make my life better, not least for the amazing ways you chal-
lenge me and consequently for forcing me to explore an awesome range of
emotions, and because you fully reflect my love for you.
Joe Adamson: for first introducing me to Tomkins’ work, and without
whose provocative conversations about the experiences of human affective
life none of this would have been possible.
Phil Rose: a marvellous intellectual compatriot who has shown me new
ways to apply Tomkins’ ideas to a range of cultural concerns, particularly
in the area of media ecology. He is also a great conference travelling com-
panion and road trip deejay.
Gary David: the first member of the Silvan Solomon Tomkins Institute
to make contact with me, he has continually challenged me to refine
both my understanding of Tomkins’ work and my writing.
David McShane: a close personal friend of Silvan, he welcomed me into
his home “sight unseen” for extensive and illuminating conversations
about Silvan the thinker and Silvan the man. Dave is the best of men. He
is Grace incarnate.
Lauren Abramson: another close friend of Silvan, she has become my
friend as she continues to encourage and push me to explore a range of
ideas derived from Tomkins’ work. I equally appreciate how Lauren’s
amazing work in restorative practice applies Silvan’s ideas to the real lives
of troubled people as they find their way to wholeness.
Mark Tomkins: I like this man. He is a warm, open, and generous per-
son, and, not unlike David McShane, welcomed me into his home for
xv
xvi ACKNOWLEDGEMENTS
extended conversations about his father. I hope with you Mark to propa-
gate your father’s extraordinary insights into human beingness.
Maria Lamia: she keeps asking me questions, which at first glance
appear simple, but which inevitably lead a blossoming of intellectual
creativity.
I wish also, and not least, to thank my sisters: Fiona Lucas, for her
detailed editing of my manuscript. Her comments were extremely helpful.
Sandra Lucas, for her ongoing commitment to maintaining our family’s
loving bonds.
Part I Theory 1
1 Introduction 3
Part II Application 149
xvii
xviii Contents
Glossary for Tomkins’ Affect, Script, and Human Being
Theories 289
Works Cited 315
Index 317
List of Figures
xix
xx List of Figures
Theory
CHAPTER 1
Introduction
1
I am adopting the simple title Oedipus rather than Oedipus Rex, Oedipus the King, or
Oedipus Tyrannus due to critical confusion concerning the most appropriate form. See
Bernard Knox’s (1989) “Sophocles’ Oedipus” for an exposition of connotations of tyrannus
(sometimes tyrannos) and Charles Segal’s (2001) Oedipus Tyrannus (6).
INTRODUCTION 5