Anger and fear: Separable effects of emotion and motivational direction on somatovisceral responses.

We studied whether emotion (anger vs. fear) and motivational direction (approach vs. withdrawal) have specific, separable, and independent somatovisceral response patterns. Imagination scripts about soccer game episodes with crossed Emotion x Motivational Direction content resulting in four experimental groups were presented to a total of N = 118 active soccer players. Self-reports reflected the emotion but not the motivational direction induction. Univariate and multivariate analyses of 24 somatovisceral variables and 2 a priori defined summary variables showed that anger and fear had specific response profiles with effect sizes correlating r = 0.53 with the respective effect sizes from a previous study. Approach and withdrawal profiles varied only in intensity. Emotion and motivational direction did not interact and had independent somatovisceral effects. Results suggest that anger and fear have separate underlying neurobiological organizations each capable of bi-directional motivational tuning of efferent pathways. Results support the Component Model of Somatovisceral Response Organization.

Take me to a Place Outside

The film is the result of a participatory media project with female offenders at HM Styal prison. Eight women present and represent an imagined outside through dimensions of the visual and aural offering alternative ways for understanding their realities. Focusing on the imagination shaped by the experience of absences and presences this film is a sensory journey into these women's worlds of desire, longing and relief.

Prometheus on Mars: Nineteenth-Century Science Fiction and the Language of Romanticism

The development of astrophysics in the nineteenth century drew mankind closer to the planets. For the first time, it was possible to give serious scientific consideration to the possibilities for life on other planets. The greatest leap, however, was in recognizing what was not known, and acknowledging the limits of human intuition. ‘Ideas,’ wrote Agnes M. Clerke, ‘have all at once become plastic’. As the scientific community tested the limits of scientific understanding, it became the role of science-fiction writers to imagine the universe beyond these limits. This paper will examine the ways in which nineteenth-century science fiction used the inheritance of the poetic language of Romanticism to reinstate the centrality of human being in the universe. I will explore the ways in which writers such as Edward Bulwer-Lytton (The Coming Race, 1871) and W. S. Lach-Szyrma (Aleriel, 1883) extended the Byronic hero to envisage extra-terrestrial utopias. The Hegelian systematic mythology described by Byron and Shelley had reimagined paradise and redemption on earth. Through science fiction, this mythology extended out towards the stars. A discourse on the possibilities of extra-terrestrial life became a Romantic discourse on the possibilities of being. The Byronic hero could now find a home not by escaping the shackles of religion, but as an angelic citizen of Venus or Mars. In this way, the paper will explore how science-fiction writers appropriated the language of Romantic poetry to build a bridge between the framework of scientific knowledge and the extent of human imagination.

“But look: we have sat here too long”: Hilary Mantel’s tightrope walk of present-tense usage

Even after Hilary Mantel has won the Man Booker prize two times in a row with Wolf Hall and Bring up the Bodies, her novelistic account of the life of Thomas Cromwell, her intriguing decision to write these historical novels in the present tense gave cause to surprisingly little extended comment beyond a perfunctory nod to its evocation of immediacy. This presents not only a lacunae in the discussion about Mantel’s novels, but is also symptomatic for a change in the contemporary critical evaluation of present-tense narration in general. If present-tense narration once used to be a marker for experimental daring and might even have implied a certain hostility towards fictionality, Mantel’s novels give ample evidence that literary sensibilities have changed. In order to understand the scope and nature of this change, my paper puts Mantel’s use of the present tense in the context of both the historical development of present-tense usage and the ample contemporary landscape of present-tense narration. This allows me to show that the complexities of present-tense usage belie a reduction of its effect to an evocation of immediacy. Rather, I argue, Mantel uses it for a delicate tightrope walk between proximity and distance, history and fiction, authenticity and imagination.

The Serious Business of Play

Most managers see strategy development as serious business. It is ironic, then, that some of the most remarkable strategic breakthroughs in organizations emerge not from well-ordered processes but from messy, ambiguous and sometimes irrational activities - pursuits that can best be described as play. Referring to research in the fields of developmental psychology and anthropology, the authors argue that play can stimulate the development of cognitive, interpretive skills and engender an emotional sense of fulfillment. It can help establish a safe environment for introducing new ideas about market opportunities, generating debate about important strategic issues, challenging old assumptions and building a sense of common purpose. The authors draw on their own experiences working with managers at the Imagination Lab Foundation and Templeton College, Oxford University, and they make sure to point out that play is no substitute for rational, conventional strategy development. Indeed, after the creative sessions are over, plenty of hard work remains to translate the ideas and insights into processes and actions.