Grunge lit is an Australian literary genre of fictional or semi-autobiographical writing in the early 1990s about young adults living in an "inner cit[y]" "...world of disintegrating futures where the only relief from...boredom was through a nihilistic pursuit of sex, violence, drugs and alcohol". Often the central characters are disfranchised, lacking drive and determination beyond the desire to satisfy their basic needs. It was typically written by "new, young authors" who examined "gritty, dirty, real existences" of everyday characters. It has been described as both a sub-set of dirty realism and an offshoot of Generation X literature. Stuart Glover states that the term "grunge lit" takes the term "grunge" from the "late 80s and early 90s—...Seattle [grunge] bands". Glover states that the term "grunge lit" was mainly a marketing term used by publishing companies; he states that most of the authors who have been categorized as "grunge lit" writers reject the label.
There are three types of boredom, all of which involve problems of engagement of attention. These include times when we are prevented from engaging in wanted activity, when we are forced to engage in unwanted activity, or when we are simply unable for some other reason to maintain engagement in an activity. Boredom proneness is a tendency to experience boredom of all types. This is typically assessed by the Boredom Proneness Scale. Recent research has found that boredom proneness is clearly and consistently associated with failures of attention. Boredom and its proneness are both theoretically and empirically linked to depression and similar symptoms. Nonetheless, boredom proneness has been found to be as strongly correlated with attentional lapses as with depression. Although boredom is often viewed as a trivial and mild irritant, proneness to boredom has been linked to a very diverse range of possible psychological, physical, educational, and social problems.
“When I have neither pleasure nor pain and have been breathing for a while the lukewarm insipid air of these so called good and tolerable days, I feel so bad in my childish soul that I smash my moldering lyre of thanksgiving in the face of the slumbering god of contentment and would rather feel the very devil burn in me than this warmth of a well-heated room. A wild longing for strong emotions and sensations seethes in me, a rage against this toneless, flat, normal and sterile life. I have a mad impulse to smash something, a warehouse, perhaps, or a cathedral, or myself, to commit outrages, to pull off the wigs of a few revered idols...”
The authors of this paper point to an interesting study by Robin Damrad-Frye and James Laird in the August 1989 issue of the Journal of Personality and Social Psychology. In this study, participants had to listen to a tape of a person reading a Psychology Today article. In the next room, there was a television soundtrack from a soap opera playing. For some groups listening to the article, the TV was very loud and distracting, for others it was barely noticeable, and for some it was not playing at all. After listening to the article, people rated their boredom during the study.
Martin Heidegger wrote about boredom in two texts available in English, in the 1929/30 semester lecture course The Fundamental Concepts of Metaphysics, and again in the essay What is Metaphysics? published in the same year. In the lecture, Heidegger included about 100 pages on boredom, probably the most extensive philosophical treatment ever of the subject. He focused on waiting at railway stations in particular as a major context of boredom. Søren Kierkegaard remarks in Either/Or that "patience cannot be depicted" visually, since there is a sense that any immediate moment of life may be fundamentally tedious.
The French loanword ennui comes from the very same Late Latin word that gave us annoy — inodiare ("to make loathsome"). We borrowed ennui several centuries after absorbing annoy into the language. Ennui deals more with boredom than irritation - and a somewhat specific sort of boredom at that. It generally refers to the feeling of jadedness that can result from living a life of too much ease. The poet Charles Lloyd described it well in his 1823 Stanzas to Ennui when he referred to that world-weary sensation as a "soul-destroying fiend" which visits with its "pale unrest / The chambers of the human breast / Where too much happiness hath fixed its home."