This volume explores boredom as a possible force for good in the Victorian novel. In Charlotte Bronte's Jane Eyre (1847), George Eliot's Middlemarch (1871-72), and Henry James's The Portrait of a Lady (1881), boredom is an important means through which female characters are able to achieve a greater sense of self-awareness. In her discussion of these works, the author examines both the deleterious and restorative aspects of boredom and shows how this subtle theme has continued to be used by more modern authors.
Learn to embrace and discover the benefits of boredom and realize your full potential. We all know what it's like to feel bored--you must be pretty bored if you're reading the back of this book! But did you know that being bored is actually one of the most wonderful and powerful things in life? Some of the best things ever created or discovered happened when someone was bored. It's true! With this book, kids can learn to embrace and discover the benefits of boredom and realize their full potential.
In the first book to argue for the benefits of boredom, Peter Toohey dispels the myth that it's simply a childish emotion or an existential malaise like Jean-Paul Sartre's nausea. He shows how boredom is, in fact, one of our most common and constructive emotions and is an essential part of the human experience. This informative and entertaining investigation of boredom--what it is and what it isn't, its uses and its dangers--spans more than 3,000 years of history and takes readers through fascinating neurological and psychological theories of emotion, as well as recent scientific investigations, to illustrate its role in our lives. There are Australian aboriginals and bored Romans, Jeffrey Archer and caged cockatoos, Camus and the early Christians, Durer and Degas. Toohey also explores the important role that boredom plays in popular and highbrow culture and how over the centuries it has proven to be a stimulus for art and literature. Toohey shows that boredom is a universal emotion experienced by humans throughout history and he explains its place, and value, in today's world. "Boredom: A Lively History "is vital reading for anyone interested in what goes on when supposedly nothing happens.
Boredom is a ubiquitous feature of modern life. Endured by everyone, it is both cause and effect of modernity, and of situations, spaces and surroundings. As such, this book argues, boredom shares an intimate relationship with architecture-one that has been seldom explored in architectural history and theory. Boredom, Architecture, and Spatial Experience investigates that relationship, showing how an understanding of boredom affords us a new way of looking at and understanding the modern experience. It reconstructs a series of episodes in architectural history, from the 19th century to the present, to survey how boredom became a normalized component of the everyday, how it infiltrated into the production and reception of architecture, and how it serves to diagnose moments of crisis in the continuous transformations of the built environment. Erudite and innovative, the work moves deftly from architectural theory and philosophy to literature and psychology to make its case. Combining archival material, scholarly sources, and illuminating excerpts from conversations with practitioners and thinkers-including Charles Jencks, Rem Koolhaas, Sylvia Lavin, and Jorge Silvetti-it reveals the complexity and importance of boredom in architecture.
Imperial Boredom offers a radical reconsideration of the British Empire during its heyday in the nineteenth century. Challenging the long-established view that the empire was about adventure and excitement, with heroic men and intrepid women eagerly spreading commerce and civilization around the globe, this thoroughly researched, engagingly written, and lavishly illustrated account suggests instead that boredom was central to the experience of empire. Combining individual stories of pain and perseverance with broader analysis, Professor Auerbach considers what it was actually like to sail to Australia, to serve as a soldier in South Africa, or to accompany a colonial official to the hill stations of India. He reveals that for numerous men and women, from explorers to governors, tourists to settlers, the Victorian Empire was dull and disappointing. Drawing on diaries, letters, memoirs, and travelogues, Imperial Boredom demonstrates that all across the empire, men and women found the landscapes monotonous, the physical and psychological distance from home debilitating, the routines of everyday life wearisome, and their work tedious and unfulfilling. The empires early years may have been about wonder and marvel, but the Victorian Empire was a far less exciting project. Many books about the British Empire focus on what happened; this book concentrates on how people felt.
Henri Lefebvre, Boredom, and Everyday Life culls together the scattered fragments of Henri Lefebvre’s (1901–1991) unrealized sociology of boredom. In assembling these fragments, sprinkled through Lefebvre’s vast oeuvre, Patrick Gamsby constructs the core elements of Lefebvre’s latent theory of boredom. Themes of time (modernity, everyday), space (urban, suburban), and mass culture (culture industry, industry culture) are explored throughout the book, unveiling a concealed dialectical movement at work with the experience of boredom. In analyzing the dialectic of boredom, Gamsby argues that Lefebvre’s project of a critique of everyday life is key for making sense of the linkages between boredom and everyday life in the modern world.
I Love To Be Bored is a game-changing book for children that celebrates boredom and the way it creates a much-needed pause and true mental freedom. My friends and I live to play, race, make up stories and invent things, like a rocket to go to the moon. We do lots of stuff together... ...But sometimes we also get bored. My friends hate being bored. So, the complain, grumble and sulk about it. Boredom can be a meditation. Boredom can be fun! Or, so thinks the main character of the picture book I Love to be Bored. When she's bored, she loves it - her mind wanders and she can notice the world with fresh eyes. This delightful book espouses the concept that boredom can equal mental freedom, an idea that is especially important for children whose over-scheduled lives and too much screen-time rarely allow time for much-needed, beautiful... boredom!
A Behavioral Scientist Notable Book of the Year A Guardian “Best Book about Ideas” of the Year No one likes to be bored. Two leading psychologists explain what causes boredom and how to listen to what it is telling you, so you can live a more engaged life. We avoid boredom at all costs. It makes us feel restless and agitated. Desperate for something to do, we play games on our phones, retie our shoes, or even count ceiling tiles. And if we escape it this time, eventually it will strike again. But what if we listened to boredom instead of banishing it? Psychologists James Danckert and John Eastwood contend that boredom isn’t bad for us. It’s just that we do a bad job of heeding its guidance. When we’re bored, our minds are telling us that whatever we are doing isn’t working—we’re failing to satisfy our basic psychological need to be engaged and effective. Too many of us respond poorly. We become prone to accidents, risky activities, loneliness, and ennui, and we waste ever more time on technological distractions. But, Danckert and Eastwood argue, we can let boredom have the opposite effect, motivating the change we need. The latest research suggests that an adaptive approach to boredom will help us avoid its troubling effects and, through its reminder to become aware and involved, might lead us to live fuller lives. Out of My Skull combines scientific findings with everyday observations to explain an experience we’d like to ignore, but from which we have a lot to learn. Boredom evolved to help us. It’s time we gave it a chance.
Boredom and Art examines the use of boredom as a strategy in modern and contemporary art to resist or frustrate the effects of consumerism and capitalism. This book traces the emergence of what Haladyn terms the will to boredom in which artists, writers and philosophers actively attempt to use the lack of interest inherent in the state of being 'bored' to challenge people. Instead of accepting the prescribed meanings of life given to us by consumer or mass culture, boredom represents the possibility of creating meaning: ‘a threshold of great deeds’ in Walter Benjamin’s memorable wording. It is this conception of boredom as a positive experience of modern subjectivity that is the main critical position of Haladyn's study, in which he proposes that boredom is used by artists as a form of aesthetic resistance that, at its most positive, is the will to boredom.
