Podcast appearances and mentions of emily troscianko

The post Rebroadcast: Eating Disorder Recovery with Emily Troscianko appeared first on Seven Health: Eating Disorder Recovery and Anti Diet Nutritionist.

In this week's episode, Han is joined by Emily Troscianko. Emily is a writer and researcher about bodies, minds and health. Emily writes a blog on eating disorders called A Hunger Artist for Psychology Today, and her piece "The Seductions of Anorexa" is our topic of conversation today. In this week's episode, we discuss the following:Anorexia as an anaesthetic - making everything else mean less.Why does it feel more enticing or possible to follow the directions of an eating disorder, but not those around us and move away from it?Anorexia as a Rosette Stone - giving you ready-made meaning.Anorexia as a gold star: Giving you top marks in the little things.Anorexia as halo: Making you feel special.Anorexia as hunger strike: Letting you be other than what you're expected to be.Anorexia as partial suicide: Letting you live.When will it all be enough?How Emily overcame the seductions of anorexia to recover after 10 years of darkness.To find out more about Emily and her work, you can find her website at https://hungerartist.org/.Please note that this podcast discusses the seductions of anorexia which may be triggering for some individuals. This podcast is intended to unpick the reality behind anorexia and why it is difficult to escape from and is not a glorification of behaviours.

The post 244: Eating Disorder Recovery with Emily Troscianko appeared first on Seven Health: Intuitive Eating and Anti Diet Nutritionist.

This episode features Emily Troscianko (Oxford) from an episode of Mind Reading: Experts in Conversation on eating disorders and narrative.

In this episode I chat with Emily Troscianko about bibliotherapy and eating disorders in fiction. Heads up - this episode features discussion of eating disorders and mental health challenges. I chat with Emily about her research into the putative therapeutic benefits of reading when it comes to eating disorders, and why we should treat any assumptions about the efficacy of reading fiction to solve our problems with caution. She explains how she got into researching the subject after her own challenges with an eating disorder. If you'd like to support me, it'd be ace if you picked up a copy of my novels, THE HONOURS, & the new sequel THE ICE HOUSE. THE ICE HOUSE links: Wordery: https://wordery.com/the-ice-house-tim-clare-9781786894816#oid=1908_1 Mr B’s Emporium: https://mrbsemporium.com/shop/books/the-ice-house/ Forbidden Planet: https://forbiddenplanet.com/272064-the-ice-house-hardcover/ Amazon: https://www.amazon.co.uk/dp/1786894815/ THE HONOURS links: Wordery: https://wordery.com/the-honours-tim-clare-9781782114765#oid=1908_1 Mr B’s Emporium: https://mrbsemporium.com/shop/books/the-honours/ Amazon: https://www.amazon.co.uk/dp/1782114769/ Ko-fi page: www.ko-fi.com/timclare

In this podcast Tabs talks to Emily Troscianko about what we refer to as “overshoot” in eating disorder recovery. In this podcast we discuss: Why not to stop halfway in recovery What exactly overshoot is in eating disorder recovery The importance of fat as an organ Why overshoot is a natural part of recovering from an eating disorder Why trusting the body is so crucial … but so hard! The greatness of life without an eating disorder About Emily Troscianko Emily Troscianko does research on the psychological effects of reading fiction, especially as they relate to mental health. She also writes a blog about eating disorders and is coauthoring a textbook on consciousness. She suffered from anorexia between the ages of 16 and 26, and is thankful that it wasn't longer. http://www.troscianko.com, is where you can find out more about Emily, and her blog is at, https://www.psychologytoday.com/blog/hunger-artist. I you are interested in learning more about “overshoot” the following resources may be of interest to you. Overshoot Blog One Aim to Overshoot We want your feedback! Please take a second to fill out this survey with feedback so we can make these podcasts even better: https://www.surveymonkey.co.uk/r/BSQ7BBM Cheers!

In her first monograph, Kafka’s Cognitive Realism (Routledge, 2014), Emily Troscianko set out to answer a brief, cogent question: “Why is Kafka so brilliant? Why do I still want to read his work after all this time? It’s a good question. Even today, Kafka’s fiction retains a felt strangeness, the “Kafkaesque,” a quality Dr. Troscianko calls “both compelling and unsettling.” His stories have had an enduring readership, sustaining critical attention for over a century. This was what Troscianko wanted a better explanation for. In the book, Troscianko finds that explanation from theories current in the cognitive sciences. She approaches Kafkas fiction (and what is Kafkaesque about it) as a realistic depiction of visually perceived space. In other words, for Troscianko, Kafka’s fiction works by simulating fictional places, people and phenomena as real, as happening in real visual space, according to how vision actually works. This seems, in part at least, to explain Kafka’s hold on us. And think: If the fictional realities of Kafka are lifelike in their fidelity to real lived experience, how strange when they gradually warp, and shift to become something more dreamlike, or unbelievable. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her first monograph, Kafka’s Cognitive Realism (Routledge, 2014), Emily Troscianko set out to answer a brief, cogent question: “Why is Kafka so brilliant? Why do I still want to read his work after all this time? It’s a good question. Even today, Kafka’s fiction retains a felt strangeness, the “Kafkaesque,” a quality Dr. Troscianko calls “both compelling and unsettling.” His stories have had an enduring readership, sustaining critical attention for over a century. This was what Troscianko wanted a better explanation for. In the book, Troscianko finds that explanation from theories current in the cognitive sciences. She approaches Kafkas fiction (and what is Kafkaesque about it) as a realistic depiction of visually perceived space. In other words, for Troscianko, Kafka’s fiction works by simulating fictional places, people and phenomena as real, as happening in real visual space, according to how vision actually works. This seems, in part at least, to explain Kafka’s hold on us. And think: If the fictional realities of Kafka are lifelike in their fidelity to real lived experience, how strange when they gradually warp, and shift to become something more dreamlike, or unbelievable. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her first monograph, Kafka's Cognitive Realism (Routledge, 2014), Emily Troscianko set out to answer a brief, cogent question: “Why is Kafka so brilliant? Why do I still want to read his work after all this time? It's a good question. Even today, Kafka's fiction retains a felt strangeness, the “Kafkaesque,” a quality Dr. Troscianko calls “both compelling and unsettling.” His stories have had an enduring readership, sustaining critical attention for over a century. This was what Troscianko wanted a better explanation for. In the book, Troscianko finds that explanation from theories current in the cognitive sciences. She approaches Kafkas fiction (and what is Kafkaesque about it) as a realistic depiction of visually perceived space. In other words, for Troscianko, Kafka's fiction works by simulating fictional places, people and phenomena as real, as happening in real visual space, according to how vision actually works. This seems, in part at least, to explain Kafka's hold on us. And think: If the fictional realities of Kafka are lifelike in their fidelity to real lived experience, how strange when they gradually warp, and shift to become something more dreamlike, or unbelievable. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Short presentation by Dr Martyn Harry (Music) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Short presentation by Dr Jason Gaiger (Ruskin School) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Prof David Herman (Durham) on ‘Narrative and/as Heterophenomenology: Modelling Nonhuman Experiences in Storyworlds’ with responses from Dr Emily Troscianko (MML) and Dr James Carney (Social and Evolutionary Science Research Group) followed by refreshments Wednesday 20th November, 4-6.30pm, The Seminar Room, TORCH, Radcliffe Humanities Building with Prof David Herman (Durham) on ‘Narrative and/as Heterophenomenology: Modelling Nonhuman Experiences in Storyworlds’ with responses from Dr Emily Troscianko (MML) and Dr James Carney (Social and Evolutionary Science Research Group) followed by refreshments and discussion. David Herman is Professor of the Engaged Humanities in the Department of English Studies at Durham University. He is author of Storytelling and the Sciences of Mind (MIT Press, 2013) and many other books and articles working at the intersection of literary study and cognitive science. Emily Troscianko is a JRF in Modern Languages at St John’s College, Oxford. Her study of Kafka, Kafka’s Cognitive Realism, will be published early next year by Routledge. James Carney is a post-doctoral researcher in the Social and Evolutionary Science Research Group in Oxford. He is co-editor of Beckett Re-Membered: After the Centenary (2012) and is currently working on a monograph entitled: Life Stories: Towards a Biosemiotic Model of Narrative Signification to be published by de Gruyter. The seminar is the first organized as part of a new project with the working title: “Cultures of Mindreading: The novel and other minds” Report from Cultures of Mind-Reading: The Novel and Other Minds The session inaugurated a new thread in the Comparative Criticism and Translation Programme which will be investigating ways in which the novel as a form reflects on and contributes to a flexible understanding of how human beings interact with, understand and make sense of each other. David Herman’s presentation focused on the limit case: interacting with and understanding non-human animals, asking where and why we draw the limits of mutual understanding, and looking at the ways in which narratives which focus on animal consciousness can reflect on, expand and explore the limits of human self-understanding. Emily Troscianko, in her response, asked whether there was a lingering commitment in Herman’s otherwise very innovative approach to a model of consciousness as a representation of the world (agent-makes-representation-of-environment-in-its-mind). This is a crucial point. If we want to escape from the idea that literature ‘mirrors’ the world, it is probably helpful to give up the parallel trope that the mind ‘mirrors’ reality and to look to models, like that of Alva Noë, on whom David Herman drew in his presentation, which understand the mind not as a mirror or inner state but as a form of shared practice: a product of things people do together in a shared environment. James Carney emphasized the importance of checking the models of narrative we develop with what can be observed of the way people actually behave. He reminded us of the variety of narrative forms, not all of which we treat in the same way, and not all of which we have the same expectations of. Finally, he issued a caveat about anthropomorphism. However circumspect we are when approaching and trying to understand animal minds, it is all too easy to construct them in the end as nothing more than attenuated human minds. An element which strongly emerged from the discussion was the strength of the assumption that there will be one uniform human mind or one uniform animal mind. But the more we include culture and shared practices of interaction in our approach, the less tenable this will appear. Human beings and dogs learn to interact with each other in specific contexts, so there will be as many varieties of canine minds as there are cultures of dog-handling. The session opened the way for further study of the different cultures through which we learn to engage with other minded beings. (BM) Participants: Ben Morgan, James Carney, Emily Troscianko, David Herman, Céline Sabiron, K. Earnshaw, Yin Yin Zu, Laura Marcus, John Cook, Kirsten Shepherd-Barr, Laurence Mann, Matthew Reynolds, Stephen Harrison, Mohamed-Salah Omri, Simon Kemp, Xiaofan Amy Li, Lianjiang Yu, Kaitlin Standt, Foranzisha Kohlt, Ian Klinke, Anne Sommer, Rey Conquer, Lia Raitt Kaitt, Barry Murname, Christopher Cheung, San Verhauert, E. Cykoswke, L. Braddork, Alicia Gaj, Brooke Berdtson, Joanna Raisbeck, Benedict Morrison, Harriet Wragg. Prof David Herman (Durham) on ‘Narrative and/as Heterophenomenology: Modelling Nonhuman Experiences in Storyworlds’ with responses from Dr Emily Troscianko (MML) and Dr James Carney (Social and Evolutionary Science Research Group).

Short presentation by Andrew Klevan, followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Discussion of Kafka's Cognitive Realism At the TORCH Book at Lunchtime, author Emily Troscianko discussed her book Kafka's Cognitive Realism with a multi-disciplinary panel of scholars. Visit http://torch.ox.ac.uk/kafkas-cognitive-realism for the full-length discussion, or watch the video above for an introduction to the questions addressed by her book, which includes readers' experiences of Kafka.

An interdisciplinary discussion of Dr Emily Troscianko's book A discussion of Dr Emily Troscianko's "Kafka's Cognitive Realism", which uses insights from the cognitive sciences to illuminate Kafka’s poetics, exemplifying a paradigm for literary studies in which cognitive-scientific insights are brought to bear directly on literary texts. Commentators from English, Psychology and Modern Languages bring ingsights from a variety of perspectives.