This article examines how three classic Hindi films—Pyasaa, The Guide, and Jagate Raho—draw on Indic paradigms of devotional love and śānta rasa and how they use “wonder” as a resolution to distressing emotions experienced by the characters and elicited in the viewer. To this effect, the article emphasizes how socio-cultural models of appraisal elicit various kinds of emotion, and, from this culturally situated but broadly universalist perspective, it traces the journey of the protagonists from fear, dejection, and despair toward amazement and peace. Among contemporary cognitive theories of emotion, the article uses perspectives drawn from the appraisal theory.
fear and disgust. In his chapter on “Horror” in the Routledge Companion to Philosophy and Film , for instance, Aaron Smuts (2009, 505 ) presupposes, without ever questioning it, the view that horror fictions warrant fear and disgust. Or, to mention
A Case Study of Malmö
Vanessa Stjernborg, Mekonnen Tesfahuney, and Anders Wretstrand
This study focuses on Seved, a segregated and socioeconomically “poor” neighborhood in the city of Malmö in Sweden. It has attracted wide media coverage, a possible consequence of which is its increased stigmatization. The wide disparity between perceived or imagined fear and the actual incidence of, or exposure to, violence attests to the important role of the media in shaping mental maps and place images. Critical discourse analysis of daily newspaper articles shows that Seved is predominantly construed as unruly and a place of lawlessness. Mobility comprises an important aspect of the stigmatization of places, the politics of fear, and discourses of the “other.” In turn, place stigmatization, discourses of the other, and the politics of fear directly and indirectly affect mobility strategies of individuals and groups.
After presenting a brief summary of the events leading up to the German Autumn, this article offers a close analysis of media responses in major German newspapers and magazines in the months following these violent and confusing political developments. It compares these responses to reports in January 1980, where the events of the late 1970s serve as a catalyst for fears of global change. Media articulate these fears about the stability and identity of the West German nation state in increasingly vague and generalized terms and relate them to a global situation that is "out of control." The discussions in this article suggest that these expressed fears reveal tensions, interruptions, and gaps in the conservative fantasy of the secure and prosperous Western nation state.
A Phenomenological Proposal
A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
The Emotional Education of Boys in Mexico during the Early Porfiriato, 1876–1884
Carlos Zúñiga Nieto
Mexican emotional standard of child-rearing that promoted the individual cultivation of honor, the management of anger, and the use of fear as discipline, drawing on well-known European pedagogic theories on boyhood in late nineteenth-century Mexico
The Impact of Louis Napoleon Bonaparte on European Comic Art, 1848–1870
Louis Napoleon Bonaparte (1808-1873), one-time President of the Second French Republic (1848-1852) and Emperor of the French (as Napoleon III, 1852-1870) exercised a profound effect on European cartoonists and the comic art they produced during his lifetime. As a real historical personality, Louis Napoleon feared the power of the cartoon to make him appear ridiculous and instituted one of the most effective and heavy-handed regimes of censorship of comic art in all European history. Beyond the boundaries of the French Empire, he pressured neighbouring states to protect his image in similar fashion, but in Britain and Germany and beyond, the cartoon Napoleon III became not only ubiquitous in the satirical press, but also served as a powerful touchstone for emerging national identities. The real Louis Napoleon's political and military influence was felt throughout Europe for over two decades, but his cartoon self was even more of a European phenomenon. Usually studied within national contexts, the 'Cartoon Emperor' needs to be studied transnationally in order fully to grasp his importance for developments in European history, as in European comic art.
Race, Gender, and Reconfigurations of “Europe”
Introduction In the weeks following the New Year’s Eve sexualized violence reported at the Cologne train station, two images appeared in the German press that pointedly demonstrate the ways in which this violence played into racialized fears
Adolescence, Chivalry, and Turn-of-the-Century Youth Movements
. They, too, shape and direct fear, love, pity, anger, essentially aright. (1904: I:viii, II:443) Thus the stories, which grow “slowly and naturally in the soul of the race,” provide a code of behavior that will guide the developing adolescent in the
Refugees, Resentment and the Clash of Solidarities
singularly incapable of overcoming populist resentment towards foreigners (Arendt, Fassin, Ticktin). Disenchantment with government, fear of terrorism and resentment towards foreigners weaken European solidarity at a time when it is needed most. At the very