The Decline of Sentiment seeks to characterize the radical shifts in taste that transformed American film in the jazz age. Based upon extensive reading of trade papers and the popular press of the day, Lea Jacobs documents the films and film genres that were considered old-fashioned, as well as those dubbed innovative and up-to-date, and looks closely at the works of filmmakers such as Erich von Stroheim, Charlie Chaplin, Ernst Lubitsch, and Monta Bell, among many others. Her analysis—focusing on the influence of literary naturalism on the cinema, the emergence of sophisticated comedy, and the progressive alteration of the male adventure story and the seduction plot—is a comprehensive account of the modernization of classical Hollywood film style and narrative form.

How can we account for the persistent appeal of glossy commercial pop music? Why do certain performers have such emotional power, even though their music is considered vulgar or second rate? In The Persistence of Sentiment, Mitchell Morris gives a critical account of a group of American popular music performers who have dedicated fan bases and considerable commercial success despite the critical disdain they have endured. Morris examines the specific musical features of some exemplary pop songs and draws attention to the social contexts that contributed to their popularity as well as their dismissal. These artists were all members of more or less disadvantaged social categories: members of racial or sexual minorities, victims of class and gender prejudices, advocates of populations excluded from the mainstream. The complicated commercial world of pop music in the 1970s allowed the greater promulgation of musical styles and idioms that spoke to and for exactly those stigmatized audiences. In more recent years, beginning with the "Seventies Revival" of the early 1990s, additional perspectives and layers of interpretation have allowed not only a deeper understanding of these songs' function than when they were first popular, but also an appreciation of how their significance has shifted for American listeners in the succeeding three decades.

Spengler's work describes how we have entered into a centuries-long "world-historical" phase comparable to late antiquity, and his controversial ideas spark debate over the meaning of historiography.

This cutting-edge book brings together experts in the field to provide a multidimensional perspective on sentiment analysis, covering both foundational and advanced methodologies. Readers will gain insights into the latest natural language processing and machine learning techniques that power sentiment analysis, enabling the extraction of nuanced emotions from text. Key Features: •State-of-the-Art Techniques: Explore the most recent advancements in sentiment analysis, from deep learning approaches to sentiment lexicons and beyond. •Real-World Applications: Dive into a wide range of applications, including social media monitoring, customer feedback analysis, and sentiment-driven decision-making. •Cross-Disciplinary Insights: Understand how sentiment analysis influences and is influenced by fields such as marketing, psychology, and finance. •Ethical and Privacy Considerations: Delve into the ethical challenges and privacy concerns inherent to sentiment analysis, with discussions on responsible AI usage. •Future Directions: Get a glimpse into the future of sentiment analysis, with discussions on emerging trends and unresolved challenges. This book is an essential resource for researchers, practitioners, and students in fields like natural language processing, machine learning, and data science. Whether you’re interested in understanding customer sentiment, monitoring social media trends, or advancing the state of the art, this book will equip you with the knowledge and tools you need to navigate the complex landscape of sentiment analysis.

Sentimentalism, Ethics and the Culture of Feeling defends feeling against customary distrust or condescension by showing that the affective turn of the eighteenth-century cult of sentiment, despite its sometimes surreal manifestations, has led to a positive culture of feeling. The very reaction against sentimentalism has taught us to identity sentimentality. Fiction, moreover, remains a principal means not just of discriminating quality of feeling but of appreciating its essentially imaginative nature.

In a moving intervention into Romantic-era depictions of the dead and wounded, Philip Shaw's timely study directs our gaze to the neglected figure of the common soldier. How suffering and sentiment were portrayed in a variety of visual and verbal media is Shaw's particular concern, as he examines a wide range of print and visual media, from paintings to sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. Whilst classical portraiture and history painting certainly conspired with official ideologies to deflect attention from the true costs of war, other works of art, literary as well as visual, proffered representations that countered the view that suffering on and off the battlefield is noble or heroic. Shaw uncovers a history of changing attitudes towards suffering, from mid-eighteenth century ambivalence to late eighteenth- and early nineteenth-century concepts of moral sentiment. Thus, Shaw's story is one of how images of death and wounding facilitated and queried these shifts in the perception of war, qualifying as well as consolidating ideas of individual and national unanimity. Informed by readings of the letters and journals of serving soldiers, surgeons' notebooks and sketches, and the writings of peace and war agitators, Shaw's study shows how an attention to the depiction of suffering and the development of 'liberal' sentiment enables a reconfiguring of historical and theoretical notions of the body as a site of pain and as a locus of violent national imaginings.

With v. 35 is bound: The Yale potpourri, v. 5; 1869/70.

This 1995 book is a detailed study of Sicilian life and economy in the 'transitional' reign of Frederick III (1296-1337).