This article explores examples of emotion and perception in a number of Shakespearean dramas. It discusses compassionate perception as a process of synaesthesia, referring to recent theoretical strands from fields such as the cultural history of emotions and historical phenomenology, and consults early modern sources, such as Thomas Wright's The Passions of the Minde in Generall (first published in 1601). Focusing especially on the relation between compassion – here literally defined as shared emotion – and tactility, it discusses what the familiar notion of being emotionally 'touched' (or 'moved') implies in an early modern context. Locating 'touching experiences', potentially produced by performances of plays such as Titus Andronicus, the article, at the same time, places such experiences in the context of contemporaneous contesting cultural discourses on whether such experiences might be considered beneficial and instructive to the minds and bodies in the auditorium or whether they might have the reverse effect as both morally and physically corruptive.
Anne Sophie Refskou
Malin Wahlberg, Documentary Time: Film and Phenomenology; Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience; Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear
Malin Wahlberg, Documentary Time: Film and Phenomenology (Minneapolis and London: University of Minnesota Press, 2008), xvii + 170 pp., $22.50 (paperback).
Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009), xii + 196 pp., $24.95 (paperback).
Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear (New York and London: Routledge, 2010), xi + 301 pp., $118 (cloth).
Margrethe Bruun Vaage and Gabriella Blasi
Jason Mittell, Complex TV: The Poetics of Contemporary Television Storytelling (New York: New York University Press, 2015), x + 390 pp., $27 (paperback). ISBN: 978-0-8147-6960-7.
Alexa Weik von Mossner, ed. Moving Environments: Affect, Emotion, Ecology, and Film (Waterloo, ON: Wilfrid Laurier University Press, 2014), vii + 287 pp., $42.99 (paperback). ISB: 978-1-7711-2002-9.
Abstract: Using an analysis of two of Sartre's biographies, and , I will show how freedom can be inverted into captivity in order to constitute an affective destiny. If every choice, act and affect of an individual is, through its “original project,” confined to a specific framework, the schema of freedom positing its choice of existence seems to resemble a circle of captivity: total freedom at the outset, and then a trapped freedom, limited by itself. At the basis of this alienating circle lie original emotions: consciousness reacts affectively to its initial situation, before even constituting itself as a , and adopts these emotions as integral parts of its project, as the structure of its relationship to the world. But the empirical affects which follow are then captured in the vortex of captivity, in accordance with a two-fold criterion: participating in the ultimate end of the individual while at the same time being inscribed in the affective structure which follows from it. Originally the very source of the original project, emotion then becomes its slave.
French À travers l'analyse de deux biographies sartriennes, Baudelaire et Mallarmé, nous mettons en évidence la manière dont la liberté s'inverse en captivité pour se constituer un destin affectif. Si tout choix, acte et affect de l'individu est, par son projet originel, circonscrit à un cadre d'action précis, le schéma de la liberté posant son choix d'existence paraît assimilable au cercle de la captivité : une liberté totale à l'origine, une liberté piégée, limitée par elle-même, ensuite. Au fondement même de ce cercle aliénant, des émotions originelles : la conscience réagit affectivement à sa situation initiale, avant même de se constituer en personne, et assume ces émotions comme partie intégrante de son projet, comme structure de son rapport au monde. Mais les affects empiriques qui s'ensuivent sont alors pris dans le tourbillon de la captivité, devant répondre à un double critère : participer à la fin ultime de l'individu tout en s'inscrivant dans la structure affective qui en découle. Source même du projet originel, l'émotion en devient l'esclave.
This essay explores the differences between a practice called body modification and the behaviour known as self-injury (or self-harm, self-inflicted injury, self-mutilation, etc.), in which individuals purposefully harm themselves to get relief from strong emotion or in an attempt to gain control over themselves or their emotions. Although some consider both self-injury and body modification to be synonymous, I argue that self-injury is more like an addiction to many sufferers, making it like a mental illness or a disease. I use a narrative interview with a friend called 'Eva' to illustrate these differences from a self-harmer's point of view, and hope to show that while body modifiers are often proud of their transformations and view the process as a rite, self-harmers, in contrast, are often secretive and ashamed of their behaviour or addiction.
A Naturalized Aesthetics of Film—Précis
In this overview of my recent book, I outline its main themes, questions, and arguments. Part 1 explores the applicability of philosophical naturalism to aesthetics and the arts. Searching for the principles that might undergird a naturalistic or “third cultural” approach to the arts, I defend a model of “triangulation” that seeks consilience among phenomenological, psychological, and neurophysiological evidence and that relates to two further strategies: “thick explanation,” combining personal and “subpersonal” levels of analysis, and “theory construction,” conceived as an empirically oriented alternative to conceptual analysis. Part 2 examines emotion in the arts and in film as a relevant and fertile territory for a naturalized aesthetics, in relation to Charles Darwin’s account of the expression of the emotions, niche construction, and the theory of the “extended mind.”
This article illustrates the impact of generic differences and changes in the social and political context on the use of emotion concepts such as love and passion in selected Urdu novels from 1869 until 1945. While Nazir Ahmad (1830/31–1912) and Rashid-ul Khairi (1868–1936) in their domestic novels tend to stress the control of passions, particularly in familial relationships, Abdul Halim Sharar (1860–1926) in his Islamic novels/historical romances allows for romantic attraction and propagates religious fervor, bringing him closer to the emotion vocabulary used in contemporary Urdu journalism. This format was later expanded by Nasim Hijazi (1914–1996), who sought to strengthen the enthusiasm of fellow Muslims in their fight for Pakistan. In this highly popular genre strong feelings and passions serve to arouse intense feeling for the Muslim community.
The Microsocial Foundations of Physical Military Violence in Noncombat Situations
Nir Gazit and Eyal Ben-Ari
In this article, we use the case of the Israeli military occupation of the Palestinian territories to offer a microsociological analysis of military violence in noncombat situations. Utilizing the insights of Randall Collins, we suggest that in order understand these encounters, the emotional dimensions of violent behaviors must be linked to the interactional dynamics that trigger the transformation of these emotions into violent actions. We review the emotional configurations that characterize military occupations and discuss a range of violent behaviors initiated by these emotions. Finally, our analysis goes beyond the microsociological level to complement Collins’s model by showing the trans-situational implications of our analysis. We focus on the emergence of violence leaders (the “violent few”), the importance of actual and real audiences, and the development of a violent military habitus.
In this article, I draw on ethnographic data from previous fieldworks among Turkish immigrant families in a Norwegian suburb (2008–2009) and, more recently, on preventative actions against radicalization (2015–2016). As point of departure, I outline two events considered morally outrageous by many of my interlocutors: the Gaza War (2008–2009) and the repression of the Syrian civil uprising in 2011. By contextualizing moral outrage and analyzing certain incidents as “triggers” among people who are already outraged, I aim at providing a better understanding of that emotion’s generic power. I will also give an example of how a “trigger” incident can provide an emotional outlet. In seeing moral outrage as a kind of “prism” through which people negotiate values around right and wrong, good and bad, I will argue that these negotiations might as well result in generating emotional relief and to restored integrity.
Insights from Modern Greece
Thomas W. Gallant, Experiencing Dominion. Culture, Identity and Power in the British Mediterranean (Notre Dame, Indiana: University of Notre Dame Press, 2002), 252 pp., $19.00 (pb). ISBN 0-268-02802-8
Efi Avdela, ‘Dia logous timis’. Via, Sinesthimata ke Axies sti Metemfiliaki Ellada (‘For the sake of honour’: Violence, emotions, and values in post-Civil War Greece) (Athens: Nefeli Publications, 2002), 257 pp., n15.00 (pb). ISBN 960-211-656-0