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Ritual and Emotions

Moving Relations, Patterned Effusions

François Berthomé and Michael Houseman

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.

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Diverse Driving Emotions

Exploring Chinese Migrants’ Mobilities in a Car-Dependent City

Sophie-May Kerr, Natascha Klocker and Gordon Waitt

driving with discomfort and fear. Her embodied response to driving presents a stark counterpoint to representations of Australia as a “nation of proud car owners.” 2 Chen’s words are illustrative of what we address in this article: that driving emotions

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Rainer Reisenzein

illustrates the proposed brand of naturalized aesthetics in a series of case studies that focus on the role of emotions. With these investigations, he continues a trend within film studies that he has himself helped to develop ( Smith 1995 ) and that

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Concepts of Emotions in Indian Languages

Margrit Pernau

Everyone can lay claim to inside knowledge in the field of emotions: everyone has emotions and has lived with emotions for many years, handling, controlling, and evoking them not only in him- or herself, but also recognizing and managing the

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

. The section I wish to address comes within a broader discussion of emotion as “an integral feature of ordinary existence” that is “central to our experience of most forms of art” ( Smith 2017: 154–155 ). Smith proposes that we should “steer a course

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Rethinking Adaptation

Emotions, Evolution, and Climate Change

Debra J. Davidson

following exploration into emotions makes clear. I fully agree with Paul McLaughlin (2012: 248) , who argues “for both theoretical and substantive reasons, the question of adaptation and how to integrate the environment into social theory has become, as it

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

refers to as a naturalized aesthetics of film, which sees cinema as a technocultural product of fundamental human capacities related to perception, cognition, and emotion. Taking a biocultural approach that examines the interrelationship between

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“Give Me Back My Son!”

Eleanor of Aquitaine, Emotion Talk, and the Gendering of Political Rhetoric

Linda E. Mitchell

, but that few discuss in detail: Eleanor’s rhetorical use of emotion in her letters, specifically those presumably written to Pope Celestine III during her son Richard I’s captivity in Germany in 1192–1194. The provenance and purpose of the letters has

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Carl Plantinga

In this overview and discussion of my recent book, I outline its major topics and arguments and ruminate on its purpose, its implications, and possible objections to the very idea of an ethics of screen stories. Screen stories are narratives that appear on screens, and in this book I focus on long-form screen stories. The book has three parts. Part I develops a theory of the persuasive or rhetorical power of screen stories. Part 2 argues that while one dominant response to that power in film and media studies has been what I call “estrangement theory,” it is in fact an “engagement theory” that offers more promise for the development of an ethics of screen storytelling. Part 3 examines some of the contours of engagement, or, in other words, some of the means by which screen stories engage the viewer in ethical thinking and moral persuasion. There, I focus on character engagement, narrative structure (and especially endings), and narrative paradigm scenarios.

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Sentimentalising Persons and Things

Creating Normative Arrangements of Bodies through Courtroom Talk

Jonas Bens

entire international community, in the belief that heritage is part of cultural life, is suffering as a result of the destruction of the protected sites. (JSH: 12) 5 The presence of emotion words in this passage is so striking that it raises the role