This article reconsiders the connection between 'ritual' and 'emotion' from a pragmatic, relational perspective in which rituals are seen as dynamic interactive contexts and emotions as fairly short-lived emergent properties and integral components of these interactions. It emphasizes ritual's capacity to reallocate social positions by instantiating characteristic patterns of relationship, and the way particular emotions crystallize and express these patterns. In short, ritual emotions are treated as the sensate qualities of ritual relationships. From this standpoint, emotions feature in ceremonial settings not as striking experiences grafted onto practices and representations, but as constitutive aspects of ritual interactions themselves, whose properties of bodily salience and relational reflexivity both reflect and inflect the latter's course in a variety of sensory, expressive, moral, and strategic ways. Four issues relating to ritual and emotion are discussed within the framework of particular ceremonial practices that have been the object of much recent research: (1) the ritual expression of emotions in funerary laments, (2) the waning of cathartic models in the interpretation of rites of affliction, (3) the intense emotional arousal characteristic of initiatory ordeals, and (4) the self-constructive, affective dimensions of contemporary devotional practices.
Moving Relations, Patterned Effusions
François Berthomé and Michael Houseman
. New York : Oxford University Press . Ekman , Paul . 1992 . “ An Argument for Basic Emotions .” Cognition and Emotion 6 ( 3–4 ): 169 – 200 . 10.1080/02699939208411068 Ekman , Paul , and Wallace V. Friesen . 1969 . “ Nonverbal Leakage and
There is a striking divide, in the literature on comedy, between approaches that stress the social functions of humor, including social control and alleviation of social stresses, and approaches that focus on the psychological mechanisms of humor, including incongruity and arousal. These two kinds of approach have proven quite resistant to integration, because they are rooted in fundamentally different understandings of the pleasure of humor. Put simply, the pleasure of the put-down is hard to square with the pleasure of the pun. This article examines new scientific research on humor, including recent brain imaging studies, to see if there is any evidence for an empirical divide. The conclusion, in practical analytical terms, is that when, near the start of Shaun of the Dead (2004), Shaun fails to notice that he is surrounded by zombies, our perception of the inappropriateness of the character's actions and our perception of the playfulness of the depiction are both necessarily involved in our perception of the scene's funniness.
The article relates the study of mobility history to the fields of history of emotion and affect theory in the promotion of a cross-disciplinary research agenda. Taking as its point of departure a workshop in Copenhagen on feeling and space, the text draws lines and points of potential interface between historical mobility studies and the two related fields.
Patrick Colm Hogan
Our emotional responses are determined not only by actual experience, but also by anticipation. Indeed, we respond not only to anticipations per se, but to the relation between anticipations and experiences. Such anticipations operate on different time scales, linked with distinct neurological substrates. Some—such as those involving expectations about the immediate trajectory of objects—are very brief. The relations between experience and very short-term expectations can have significant emotional consequences. One purpose of the standard continuity editing system is to avoid disruptions in our short-term projections. However, the manipulation of discontinuities, thus the controlled disruption of short-term anticipations, can significantly contribute to the emotional impact of film. It is possible to isolate distinct varieties of anticipation and disruption, examining their emotional consequences in different cases. Muzaffar Ali's Umrao Jaan provides a virtual catalogue of such disruptions and their emotional effects.
Kata Szita, Paul Taberham, and Grant Tavinor
Bernard Perron and Felix Schröter, eds., Video Games and the Mind: Essays on Cognition, Affect and Emotion (Jefferson, NC: McFarland, 2016), 224 pp., $39.95 (softcover), ISBN: 9780786499090. Reviewed by Kata Szita Around the dawn of
-level interpretative judgments have a probabilistic character, whether these bear on culturally proximate or remote works . Fiction and Emotion I noted above an important assumption underlying Gallese’s application of ES to film spectatorship: ES is relevant to film
Creating Normative Arrangements of Bodies through Courtroom Talk
taking into account affect and emotion. By deploying the idea of sentimentalising in the context of the courtroom, I examine how affect and emotion operate in courtroom rhetoric to make the speakers’ arguments appear plausible and believable. In this
Accusations, Mutual Help and the Containment of Ugly Feelings in the Gusii Highlands, Kenya
's lesson for his son is a good illustration of what I refer to as ‘containment’, a semiotic ideology that binds speech, action and emotion in such a way as to repress negative emotions and thus sustain space for a shared intentionality of cooperation. When
many audiences. To do this, I will first discuss fascist art generally, then I will examine the moods and emotions that 300 attempts to elicit through the viewing of the film and in support of the fascist ideology that it exhibits. I call this