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Edebiyatta Sanatta ve Popüler Kültürde Kıskançlık
Kıskançlık, "Üçüncü Şahsın Şiiri"dir!
Kıskançlık ve haset aynı anlama mı gelir?
Ya da gıpta?
Ya da imrenmek?
Kıskançlığı diğerlerinden ayıran şey nedir?
Peter Toohey'e kulak verecek olursak:
Aşk Üçgeni. Hani o "Üçüncü Şahsın Şiiri"ni acı, öfke ve çaresizlik hissiyle dolduran üçgen.
Toohey'in peşine takılıp edebiyatta, sanatta ve popüler kültürde aşk üçgeninin izini sürdüğünüzde göreceksiniz ki dünyanın en büyülü öykülerinin harcı aşk üçgeniyle atılıyor. Zaten sizi TV'de o diziye kilitleyen de bu değil mi?
Kıskançlık ve haset aynı anlama mı gelir?
Ya da gıpta?
Ya da imrenmek?
Kıskançlığı diğerlerinden ayıran şey nedir?
Peter Toohey'e kulak verecek olursak:
Aşk Üçgeni. Hani o "Üçüncü Şahsın Şiiri"ni acı, öfke ve çaresizlik hissiyle dolduran üçgen.
Toohey'in peşine takılıp edebiyatta, sanatta ve popüler kültürde aşk üçgeninin izini sürdüğünüzde göreceksiniz ki dünyanın en büyülü öykülerinin harcı aşk üçgeniyle atılıyor. Zaten sizi TV'de o diziye kilitleyen de bu değil mi?
200 pages, Paperback
First published November 25, 2014
2 people are currently reading
188 people want to read
About the author
Peter Toohey
11 books4 followersPeter Toohey, the author of Boredom: A Lively History and Melancholy, Love and Time, is professor of classics in the Department of Greek and Roman Studies at the University of Calgary with a special interest in the nature and history of the emotions. He lives in Calgary, Canada.
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Displaying 1 - 7 of 7 reviews
May 20, 2020
A considered and convincing about the role of jealousy in literature. Other sites and settings for jealousy are explored - including a small section on the workplace. But mostly the attention is on sexual jealousy. It is well written, but I did hanker for greater attention to popular culture. High cultural genres were rendered generalizable. They are not.
December 11, 2014
I received this book via First Reads...
Non-Fiction at its best...Illuminating and enlightening, interesting and informative. You learn more about yourself and others and how the emotion of Jealousy has such a big role in all our lives.
Non-Fiction at its best...Illuminating and enlightening, interesting and informative. You learn more about yourself and others and how the emotion of Jealousy has such a big role in all our lives.
February 19, 2020
3/5
Toohey's slim book is an interesting contribution to the philosophical literature on jealousy, with hints of scientific discussion, but it is ultimately sparse in analysis. The choice cuts of analysis are to be found in the initial chapters, where he states and defends a distinction between jealousy and envy which are similar but distinct aversive states. Envy is associated with feelings of privation from a good which another enjoys, jealousy is associated with feelings of displeasure from one's own loss of a good to a rival. Thus, Toohey argues, envy is a dyadic relation between the subject and the object of envy while jealousy is a triadic relation between the subject, object, and the good enjoyed by a rival. One artist may envy a superior and well-liked rival's talent without being jealous. They enter into the state of jealousy when they wish the rival to lose his talent and his adoring audience--even if it doesn't benefit them personally. The desire that harm befall the object of jealousy, with or without a corresponding gain for the subject, while taking joy in this harm marks an elaboration of jealousy into schadenfreude.
Toohey's examples of famous artistic jealousies are very interesting, and don't all receive the same attention in popular discussion as the famous jealousy of Salieri and Mozart, or the mythological jealousy of Medea and Jason's wife. Amongst the juciest jealousies, and most revelatory of the dynamics of the complex and bivalent emotion, put under a lens are those between Michelangelo and Leonardo da Vinci, Hemingway and Fitzgerald, and Serena and Venus Williams. “Every time a friend succeeds, I die a little” Gore Vidal notably said. From the battery of examples the reader discovers everyone is prone to jealousy, but some professions more likely than others tend to attract the most jealous of the lot. Artists, athletes, academics, and writers seem to be disproportionately jealous folk; though in these domains it is easier, if in principle but not practice, to use jealousy as a motivation to do the self-work that is a precursor of improved performance. By contrast, sexual jealousy is by its nature not amenable to elimination by self-help remedies.
Thankfully, jealousy isn't all bad and may be a part of any conceivable utopia. In its power to instigate betterment, innovation, and resilience guided by an internal locus of control, jealousy has a salutary effect on the creative potential of humanity. Jealousy has a lot in common with anger, for an excellent analysis of which see International Handbook of Anger: Constituent and Concomitant Biological, Psychological, and Social Processes edited by Potegal, Stemmler, & Speilberger (2010). Having plumbed the depth of the research on anger in that volume one comes to Toohey (2014) with high expectations, and is quickly let down.
Toohey's explorations into dominant ideas about jealousy cluster around a handful of famous paintings, and legends; and are limited by the data set generated by the received opinions about their by now overdiscussed themes and content. This is a shame because some examples he provides are from very distant history indeed, and could have under a more ambitious plan of action sought and found intimations of a universal lexicon of jealousy and its associated imagery. There exists stereotypic imagery expressing anger in most languages, e.g. hopping mad, boiling with anger etc. But the few expressions associated with jealousy enjoying currency, e.g. Shakespeare's all to well known 'green eyed monster', in English and other Romance languages seem to have very recent and socially contingent origins. As a namesake of Cain, the first murderer, indeed filicide, in Biblical history I would've liked to have found out if there is something to be gleaned from the letter and spirit of that tale of jealousy induced homicide.
Toohey's slim book is an interesting contribution to the philosophical literature on jealousy, with hints of scientific discussion, but it is ultimately sparse in analysis. The choice cuts of analysis are to be found in the initial chapters, where he states and defends a distinction between jealousy and envy which are similar but distinct aversive states. Envy is associated with feelings of privation from a good which another enjoys, jealousy is associated with feelings of displeasure from one's own loss of a good to a rival. Thus, Toohey argues, envy is a dyadic relation between the subject and the object of envy while jealousy is a triadic relation between the subject, object, and the good enjoyed by a rival. One artist may envy a superior and well-liked rival's talent without being jealous. They enter into the state of jealousy when they wish the rival to lose his talent and his adoring audience--even if it doesn't benefit them personally. The desire that harm befall the object of jealousy, with or without a corresponding gain for the subject, while taking joy in this harm marks an elaboration of jealousy into schadenfreude.
Toohey's examples of famous artistic jealousies are very interesting, and don't all receive the same attention in popular discussion as the famous jealousy of Salieri and Mozart, or the mythological jealousy of Medea and Jason's wife. Amongst the juciest jealousies, and most revelatory of the dynamics of the complex and bivalent emotion, put under a lens are those between Michelangelo and Leonardo da Vinci, Hemingway and Fitzgerald, and Serena and Venus Williams. “Every time a friend succeeds, I die a little” Gore Vidal notably said. From the battery of examples the reader discovers everyone is prone to jealousy, but some professions more likely than others tend to attract the most jealous of the lot. Artists, athletes, academics, and writers seem to be disproportionately jealous folk; though in these domains it is easier, if in principle but not practice, to use jealousy as a motivation to do the self-work that is a precursor of improved performance. By contrast, sexual jealousy is by its nature not amenable to elimination by self-help remedies.
Thankfully, jealousy isn't all bad and may be a part of any conceivable utopia. In its power to instigate betterment, innovation, and resilience guided by an internal locus of control, jealousy has a salutary effect on the creative potential of humanity. Jealousy has a lot in common with anger, for an excellent analysis of which see International Handbook of Anger: Constituent and Concomitant Biological, Psychological, and Social Processes edited by Potegal, Stemmler, & Speilberger (2010). Having plumbed the depth of the research on anger in that volume one comes to Toohey (2014) with high expectations, and is quickly let down.
Toohey's explorations into dominant ideas about jealousy cluster around a handful of famous paintings, and legends; and are limited by the data set generated by the received opinions about their by now overdiscussed themes and content. This is a shame because some examples he provides are from very distant history indeed, and could have under a more ambitious plan of action sought and found intimations of a universal lexicon of jealousy and its associated imagery. There exists stereotypic imagery expressing anger in most languages, e.g. hopping mad, boiling with anger etc. But the few expressions associated with jealousy enjoying currency, e.g. Shakespeare's all to well known 'green eyed monster', in English and other Romance languages seem to have very recent and socially contingent origins. As a namesake of Cain, the first murderer, indeed filicide, in Biblical history I would've liked to have found out if there is something to be gleaned from the letter and spirit of that tale of jealousy induced homicide.
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January 30, 2022Okudukça kıskançlık üstüne ne kadar çok çalışma ve yazı yapıldığı ve hâlâ da yapılabileceğini fark ettim. Peter Toohey kıskançlığı birçok açıdan farklı sanat eserlerini kullanarak anlatmış. Doğan Kitap’ın Renkli Tarih Serisi hem keyifli hem de düşündürücü. Oldukça sevdim.
December 18, 2017
AN INDIVIDUAL WHO PRACTICES SELF-CONTROL AND MODERATION HAS A BETTER CHANCE OF RELIABLY UTILISING REASON IN HELPING TO CHART THE RIGHT COURSE.
Emotions are a reasonable prompt for human behaviour, but they should never be acted upon without reflection.
Envy is a unique emotion - the only emotion we dont want to admit to others or to ourselves.
Envy - a feeling of discontented or resentful longing aroused by someone else's possessions, qualities or luck.
In art the jealous stare is often sideways.
The jealous person continually seeks visual evidence to confirm the truth of the way they are feeling.
The unconscious mind is where the real activity of life takes place, where the outside world is registered through the internal and external interplay of drives and instincts.
Emotions are a reasonable prompt for human behaviour, but they should never be acted upon without reflection.
Envy is a unique emotion - the only emotion we dont want to admit to others or to ourselves.
Envy - a feeling of discontented or resentful longing aroused by someone else's possessions, qualities or luck.
In art the jealous stare is often sideways.
The jealous person continually seeks visual evidence to confirm the truth of the way they are feeling.
The unconscious mind is where the real activity of life takes place, where the outside world is registered through the internal and external interplay of drives and instincts.
December 26, 2014
Research reading. Incredibly easy to read, spends a lot of time historicising the emotion and cultural expectations and understanding of it.
April 8, 2016
Ja si iba želám, aby takéto knihy vznikali aj v Československu. Boli originálne a pôvodné.
Displaying 1 - 7 of 7 reviews