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Sentimentality originally indicated the reliance on feelings as a guide to truth, but in current usage the term commonly connotes a reliance on shallow, uncomplicated emotions at the expense of reason. [1]
Sentimentalism in philosophy is a view in meta-ethics according to which morality is somehow grounded in moral sentiments or emotions. Sentimentalism in literature refers to techniques a writer employs to induce a tender emotional response disproportionate to the situation at hand [2] (and thus to substitute heightened and generally uncritical feeling for normal ethical and intellectual judgments). The term may also characterize the tendency of some readers to invest strong emotions in trite or conventional fictional situations. [3]
"A sentimentalist", Oscar Wilde wrote, "is one who desires to have the luxury of an emotion without paying for it." [4] In James Joyce's Ulysses , Stephen Dedalus sends Buck Mulligan a telegram that reads "The sentimentalist is he who would enjoy without incurring the immense debtorship for a thing done." [5] James Baldwin considered that "Sentimentality, the ostentatious parading of excessive and spurious emotion, is the mark of dishonesty, the inability to feel...the mask of cruelty". [6] This Side of Paradise by F. Scott Fitzgerald contrasts sentimentalists and romantics, with Amory Blaine telling Rosalind, "I'm not sentimental—I'm as romantic as you are. The idea, you know, is that the sentimental person thinks things will last—the romantic person has a desperate confidence that they won't." [7]
In the mid-18th century, a querulous lady had complained to Richardson: "What, in your opinion, is the meaning of the word sentimental, so much in vogue among the polite...Everything clever and agreeable is comprehended in that word...such a one is a sentimental man; we were a sentimental party". [8] What she was observing was the way the term was becoming a European obsession [9] —part of the Enlightenment drive to foster the individual's capacity to recognise virtue at a visceral level. [10] Everywhere in the sentimental novel or the sentimental comedy, "lively and effusive emotion is celebrated as evidence of a good heart". [11] Moral philosophers saw sentimentality as a cure for social isolation; [12] and Adam Smith indeed considered that "the poets and romance writers, who best paint...domestic affections, Racine and Voltaire; Richardson, Maurivaux and Riccoboni; are, in such cases, much better instructors than Zeno" [13] and the Stoics.
By the close of the century, however, a reaction had occurred against what had come to be considered sentimental excess, by then seen as false and self-indulgent [14] —especially after Schiller's 1795 division of poets into two classes, the "naive" and the "sentimental"—regarded respectively as natural and as artificial. [11]
In modern times [15] "sentimental" is a pejorative term that has been casually applied to works of art and literature that exceed the viewer or reader's sense of decorum—the extent of permissible emotion—and standards of taste: "excessiveness" is the criterion; [16] "Meretricious" and "contrived" sham pathos are the hallmark of sentimentality, where the morality that underlies the work is both intrusive and pat.[ citation needed ]
"Sentimentality often involves situations which evoke very intense feelings: love affairs, childbirth, death", but where the feelings are expressed with "reduced intensity and duration of emotional experience...diluted to a safe strength by idealisation and simplification". [17]
Nevertheless, as a social force sentimentality is a hardy perennial, appearing for example as "'Romantic sentimentality...in the 1960s slogans 'flower power' and 'make love not war'". [18] The 1990s public outpouring of grief at the death of Diana, "when they go on about fake sentimentality in relation to Princess Diana", [19] also raised issues about the "powerful streak of sentimentality in the British character"—the extent to which "sentimentality was a grand old national tradition". [20]
Baudrillard has cynically attacked the sentimentality of Western humanitarianism, suggesting that "in the New Sentimental Order, the affluent become consumers of the 'ever more delightful spectacle of poverty and catastrophe, and of the moving spectacle of our own attempts to alleviate it'". [21] There is also the issue of what has been called "indecent sentimentality...[in] pornographical pseudo-classics", so that one might say for example that " Fanny Hill is a very sentimental novel, a faked Eden". [22]
However, in sociology it is possible to see the "sentimental tradition" as extending into the present-day—to see, for example, "Parsons as one of the great social philosophers in the sentimental tradition of Adam Smith, Burke, McLuhan, and Goffman...concerned with the relation between the rational and sentimental bases of social order raised by the market reorientation of motivation". [23] Francis Fukuyama takes up the theme through the exploration of "society's stock of shared values as social capital ". [24]
In a "subjective confession" of 1932, Ulysses: a Monologue, the analytic psychologist Carl Jung anticipates Baudrillard when he writes: "Think of the lamentable role of popular sentiment in wartime! Think of our so-called humanitarianism! The psychiatrist knows only too well how each of us becomes the helpless but not pitiable victim of his own sentiments. Sentimentality is the superstructure erected upon brutality. Unfeelingness is the counter-position and inevitably suffers from the same defects." [Carl Jung: The Spirit in Man, Art and Literature, London: Routledge, 2003, p. 143]
Complications enter into the ordinary view of sentimentality, however, when changes in fashion and setting— the "climate of thought" [25] —intrude between the work and the reader. The view that sentimentality is relative is inherent in John Ciardi's "sympathetic contract", in which the reader agrees to join with the writer when approaching a poem. [26] The example of the death of Little Nell in Charles Dickens' The Old Curiosity Shop (1840–41), "a scene that for many readers today might represent a defining instance of sentimentality", [25] brought tears to the eye of many highly critical readers of the day. [27] The reader of Dickens, Richard Holt Hutton observed, "has the painful impression of pathos feasting upon itself." [28]
Recent feminist theory has clarified the use of the term as it applies to the genre "of the sentimental novel, stressing the way that 'different cultural assumptions arising from the oppression of women gave liberating significance to the works' piety and mythical power to the ideals of the heroines". [29]
The sentimental fallacy is an ancient rhetorical device that attributes human emotions, such as grief or anger, to the forces of nature[ citation needed ]. This is also known as the pathetic fallacy, "a term coined by John Ruskin ... for the practice of attributing human emotions to the inanimate or unintelligent world" [30] —as in "the sentimental poetic trope of the 'pathetic fallacy', beloved of Theocritus, Virgil and their successors" [31] in the pastoral tradition.
The term is also used more indiscriminately to discredit any argument as being based on a misweighting of emotion: "sentimental fallacies...that men, that we, are better—nobler—than we know ourselves to be"; [32] "the 'sentimental fallacy' of constructing novels or plays 'out of purely emotional patterns'". [33]
Charles John Huffam Dickens was an English novelist, journalist, short story writer and social critic. He created some of literature's best-known fictional characters, and is regarded by many as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime and, by the 20th century, critics and scholars had recognised him as a literary genius. His novels and short stories are widely read today.
A straw man fallacy is the informal fallacy of refuting an argument different from the one actually under discussion, while not recognizing or acknowledging the distinction. One who engages in this fallacy is said to be "attacking a straw man".
A Christmas Carol. In Prose. Being a Ghost Story of Christmas, commonly known as A Christmas Carol, is a novella by Charles Dickens, first published in London by Chapman & Hall in 1843 and illustrated by John Leech. It recounts the story of Ebenezer Scrooge, an elderly miser who is visited by the spirit of his former business partner Jacob Marley and the ghosts of Christmas Past, Present and Yet to Come. In the process, Scrooge is transformed into a kinder, gentler man.
The phrase pathetic fallacy is a literary term for the attribution of human emotion and conduct to things found in nature that are not human. It is a kind of personification that occurs in poetic descriptions, when, for example, clouds seem sullen, when leaves dance, or when rocks seem indifferent. The English cultural critic John Ruskin coined the term in the third volume of his work Modern Painters (1856).
Cherry picking, suppressing evidence, or the fallacy of incomplete evidence is the act of pointing to individual cases or data that seem to confirm a particular position while ignoring a significant portion of related and similar cases or data that may contradict that position. Cherry picking may be committed intentionally or unintentionally.
The Theory of Moral Sentiments is a 1759 book by Adam Smith. It provided the ethical, philosophical, economic, and methodological underpinnings to Smith's later works, including The Wealth of Nations (1776), Essays on Philosophical Subjects (1795), and Lectures on Justice, Police, Revenue, and Arms (1763).
Lauren Gail Berlant was an American scholar, cultural theorist, and author who is regarded as "one of the most esteemed and influential literary and cultural critics in the United States." Berlant was the George M. Pullman Distinguished Service Professor of English at the University of Chicago, where they taught from 1984 until 2021. Berlant wrote and taught issues of intimacy and belonging in popular culture, in relation to the history and fantasy of citizenship.
Our Mutual Friend, published in 1864–1865, is the last novel completed by English author Charles Dickens and is one of his most sophisticated works, combining savage satire with social analysis. It centres on, in the words of critic J. Hillis Miller, quoting the book's character Bella Wilfer, "money, money, money, and what money can make of life".
Pathos appeals to the emotions and ideals of the audience and elicits feelings that already reside in them. Pathos is a term most used often in rhetoric, as well as in literature, film and other narrative art.
The Cricket on the Hearth: A Fairy Tale of Home is a novella by Charles Dickens, published by Bradbury and Evans, and released 20 December 1845 with illustrations by Daniel Maclise, John Leech, Richard Doyle, Clarkson Stanfield and Edwin Henry Landseer. Dickens began writing the book around 17 October 1845 and finished it by 1 December. Like all of Dickens's Christmas books, it was published in book form, not as a serial.
Sensibility refers to an acute perception of or responsiveness toward something, such as the emotions of another. This concept emerged in eighteenth-century Britain, and was closely associated with studies of sense perception as the means through which knowledge is gathered. It also became associated with sentimental moral philosophy.
The sensation novel, also sensation fiction, was a literary genre of fiction that achieved peak popularity in Great Britain in between the early 1860s and mid to late 1890s, centering taboo material shocking to its readers as a means of musing on contemporary social anxieties.
The sentimental novel or the novel of sensibility is an 18th- and 19th-century literary genre which presents and celebrates the concepts of sentiment, sentimentalism, and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction beginning in the eighteenth century in reaction to the rationalism of the Augustan Age.
Quoting out of context is an informal fallacy in which a passage is removed from its surrounding matter in such a way as to distort its intended meaning. Context may be omitted intentionally or accidentally, thinking it to be non-essential. As a fallacy, quoting out of context differs from false attribution, in that the out of context quote is still attributed to the correct source.
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As a literary mode, sentimentalism, the practice of being sentimental, and thus tending towards making emotions and feelings the basis of a person's actions and reactions, as opposed to reason, has been a recurring aspect of world literature. Sentimentalism includes a variety of aspects in literature, such as sentimental poetry, the sentimental novel, and the German sentimentalist music movement, Empfindsamkeit. European literary sentimentalism arose during the Age of Enlightenment, partly as a response to sentimentalism in philosophy. In eighteenth-century England, the sentimental novel was a major literary genre. The genre developed in England between 1730 and 1780 at the time of high enlightenment from where it spread to other European literatures. Its philosophical basis primarily came from Anthony Ashley Cooper, 3rd Earl of Shaftesbury, a pupil of John Locke.
Spoilt Rotten: The Toxic Cult of Sentimentality is a non-fiction book by the British writer and retired doctor and psychiatrist Theodore Dalrymple, originally published in 2010. Polemical in nature, the book contends that sentimentality has become culturally entrenched in British society, with harmful consequences. The author uses a range of cultural, educational, political, media and literary issues—including falling standards in education, UK aid policies for African development, the death of Diana, Princess of Wales, the disappearance of Madeleine McCann, and the work and life of Sylvia Plath—to illustrate what he sees as the danger of abandoning logic in favour of sentimentality, which he describes as "the progenitor, the godparent, the midwife of brutality". Much of Dalrymple's analysis is underpinned by his experience of working with criminals and the mentally ill.
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