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Currents in popular scientific thought on emotions at the time suggested that affective registers were not bound to the specific individual, but were rather physically communicable, highly responsive to environmental and social features, and inextricable from the motions of the body. The text has feminist consequences, Thrailkill argues, not because it represents women in one way or another, but because it takes the reader through a series of physical sensations: anxiety that results from womens' positions in the home, the madness of the dissolution of sensory experience, and eventually the channeling of nervous effort into creative and scholarly work (144-46).