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The article analyzes sentimentalist origins in the poetics of the novel Serotonin (2019) by M. Houellebecq. It considers realization of the sentimentalism traditions in the literature process at the turn of the 20th–21st centuries; the analysis is based on the studies of Russian and foreign scholars. The revival of interest in the inner world of a private person, sincerity of the words is considered to be one of the main reasons for developing 'new sentimentality'. The research is focused on J. J. Rousseau's traditions in sentimentalism. The paper provides a comparative analysis of the novel under study and autobiographic works by J. J. Rousseau such as The Confessions (Les Confessions, 1765–1770) and Reveries of the Solitary Walker (Les rêveries du promeneur solitaire, 1776–1778). The starting point of the plot in both Reveries of the Solitary Walker by Rousseau and Serotonin by Houellebecq is the narrator's statement of his absolute solitude and premonition of his coming death. In such tragic circumstances every person tries to say the last words about themselves. In both novels the theme of writing is of great importance and the narrator's own personality and destiny become an object of creative reflection. The main purpose of the narrator in Reveries of the Solitary Walker is to tell the truth about himself to himself. There is no companion in the person of a compassionate reader, which is important to the sentimentalist tradition, in the Rousseau's novel. The character of narrator in the novel by Houellebecq is focused on describing the circumstances which led him to the failure in the fight for survival. That is why his life ends in loneliness, sadness and suffering. Reflecting upon his own life, he offers the attentive reader to fill the gaps and establish a casual connection. The theme of memory is realized in relation to the process of self-description. In the Rousseau's novel, the narrator's diving into himself and writing about himself are done during his solitude walks full of dreaming and contemplation of nature, which helps him find peace and quiet. The Houellebecq's narrator compares his own experience with that of the Rousseau's character and admits the mediocrity and insignificance of his own existence. He is running on a sentimental journey to the places of the lost love and friendship but he is incapable of reaching unity with nature, which could be salvation for him. His lot is despair. Reproducing a significant number of motifs and images used by Rousseau in The Confession and Reveries of the Solitary Walker, Houellebecq reflects on the human and eternal values via the dialogue.

In 1862, a young woman from Oneida County, New York, was given a "friendship album" (an ornately-bound blank book designed to be filled with autographs, verses, and affectionate notes from relatives and friends) entitled The Token of Love. Over the next two years, dozens of the teenager's acquaintances, especially fellow students at the Utica Female Seminary, duly inscribed their signatures and sentiments onto the album's pages. After that initial flurry, however, no further entries were made until about 1936, when the volume somehow fell into the hands of the original owner's great-grandniece. Showing no reverence for the old artifact, the youngster and her friends defaced many of the original inscriptions and filled previously vacant pages with a hodge-podge of writings and drawings relating to personal health, fashion, and popular culture. Thus, a single volume came to juxtapose entries by two cohorts of girls from the same rural county in upstate New York, separated by more than seventy years. Those two groups—"sentimentalists" and "sophisticates," respectively—expressed dramatically different cultural experiences, attitudes, and values, inadvertently illuminating what historian Joan Jacobs Brumberg has described as a gradual, multi-generational transition from "good works" to "good looks" as the central priority in the lives of American girls.

The study provides a close analysis of literary works by women in late-18th- and early-19th-century Russia, with a focus on Anna Naumova, Mariia Pospelova, and Mariia Bolotnikova. Political, social and feminist theories are applied to examine restrictions imposed on women. Women authors in particular were fettered by a culture of feminisation strongly influenced by the French philosopher Jean-Jacques Rousseau. As Sentimentalism and its aesthetics began to give way to Romantic ideals, some provincial Russian women writers saw an opportunity to claim social equality, and to challenge traditional concepts of authorship and a view of women as mute and passive.

Various notions of virtue ethics are used to create a framework for analyzing the ethics of war crimes. Although Aristotle's understanding of virtue ethics is deemed inadequate for such a project because it emphasizes what individuals deserve for committing such violations, Francis Hutcheson's & David Hume's moral sentimentalist perspectives are perceived as providing a more agent-based ethical perspective. In addition, Friedrich Nietzsche's notion of inner strength is viewed as offering an agent-based understanding of virtue ethics. Specifically, Nietzsche's notion of inner strength implies that powerful nations will not seek retribution against other countries that launch unsuccessful attacks. Despite the potential of Nietzsche's virtue ethics, it is suggested that a moral sentimentalist perspective is better suited to explicate why defender nations would not seek vengeance against aggressor countries. J. W. Parker

This book takes an unflinching look at the difficult, often emotional issues that arise when egalitarianism collies with individual liberties, ultimately showing why the kind of egalitarianism preached by socialists and other sentimentalists is not an option in a free society.

The focus of the following work is the Russian author N.M. Karamzin (1766-1826), who is still known in Russia today for his sentimentalist narrative "Bednaja Liza" and the twelve-volume "Istorija gosudarstva rossijskogo". At the end of the 18th and in the first third of the 19th century, at the time of their creation, his works were widely read, Karamzin, as a sentimentalist writer as well as a historiographer, had some success in the contemporary reading public. The work is chronological, beginning with Karamzin's early work, Pisma Russkogo putešestvennika (1791-92), then examining a selection of sentimentalist narratives that appeared in the period 1792-1803 and ending with Istorija gosudarstva rossijskogo ", whose first eight volumes were published in 1818. Examined are the different discourses, which are assigned to the text categories travel writing, sentimentalistische povest 'and historiography, and others. in terms of narrative linkage. - Im Mittelpunkt der folgenden Arbeit steht der russische Autor N.M. Karamzin (1766-1826), der heute in Rußland noch durch seine sentimentalistische Erzählung "Bednaja Liza" sowie die zwölfbändige "Istorija gosudarstva rossijskogo" bekannt ist. Ende des 18. und im ersten Drittel des 19. Jahrhunderts, zur Zeit ihres Entstehens, wurden seine Werke viel gelesen, hatte Karamzin sowohl als sentimentalistischer Schriftsteller wie als Historiograph einigen Erfolg beim zeitgenössischen Lesepublikum. Die Arbeit geht chronologisch vor, sie beginnt mit dem Frühwerk Karamzins, den "Pisma russkogo putešestvennika" (1791-92), untersucht dann eine Auswahl der sentimentalistischen Erzählungen, die in der Zeit von 1792-1803 erschienen, und endet mit der "Istorija gosudarstva rossijskogo" , deren erste acht Bände 1818 veröffentlicht wurden. Untersucht werden die unterschiedlichen Diskurse, die den Textgattungen Reisebriefe, sentimentalistische povest' und Geschichtsschreibung zuzuordnen sind, und zwar u.a. im Hinblick auf narrative Verknüpfung.

A contradiction, not an ambiguity -- Validity and the 'moderate' version -- Metaphysics and the 'extreme' version -- Sentimentalists, secondary qualities and sensations -- The inconsolable sceptic -- Morality's dynamism -- Desires, beliefs, and 'direction of fit' -- A riddle and a buried assumption -- The case of Owen Wingrave.

Rationalists, the most famous of whom was Kant, posited a mind that was hierarchically arranged, with reason sitting atop of the passions. Yet as Michael Frazer argues, there were in fact two enlightenments - the sentimentalist enlightenment and the rationalist one - and this book reclaims the importance of the former.

This article defends a sentimentalist cosmopolitan approach to international ethics against the rationalist cosmopolitan claim that emotions ought to be subjugated by their master, reason, and in processes of ethical deliberation. It argues that emotions play an indispensable role in making moral judgements and help to motivate ethical actions. Drawing on elements of 18th century moral sentiment theory and recent advances in neuroscience and psychology, the article demonstrates that reason and emotion are intimately linked forms of reflective thought, that emotion is central to reason and, far from disrupting processes of ethical deliberation, may actually enhance our ability to make moral judgements. Focusing on the problem of global poverty, the article shows that a sentimentalist cosmopolitan ethic provides a holistic approach to moral dilemmas in world politics that is capable of identifying injustices, prescribing how we ought to respond to them, and motivating ethical action in response to the injustices we observe.