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Emotions and Authority in Religious Organisations

The Case of a New Prayer Group in Contemporary Transcarpathia

Agnieszka Halemba

This article reflects on the place of emotionally arousing ex- periences within religious organisations. Using data obtained through participant observation and interviews, it outlines a research approach for investigations of the interrelationships between particular features of religious practices. Those features have been pointed out in many previous anthropo- logical and sociological works, but few works attempted to analyse connections and interdependencies between con- crete features of religious traditions. The present article takes inspiration from contemporary 'modes of religiosity' theory to explore further the relationships between highly emotion- ally arousing religious experiences and centralised religious authority. Going beyond Whitehouse's theory, it is argued that centralised religious organisations can influence the so- cial features of a religious movement through management of emotionality in ritual practice.

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Ordinary Violence, Emotion, Information, and Anxiety

Some Themes in Recent Work on Colonial Violence

William Palmer

The study of violence has emerged as an important analytical category for historical analysis, especially in the areas where Europeans attempted to establish either dominance or colonies, such as Ireland, North America, Asia, and the Middle East. This article surveys some recent work on colonial violence, in which historians have tried to distinguish between different types of violence and have pointed to the importance of intelligence gathering, fear, and emotion as analytical tools for understanding the nature of colonial violence.

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Lalita Pandit Hogan

This article discusses filmic emotion by focusing on how the dominant color (blue in Gabbeh and Meenaxi; red in Mirch Masala) is used to elicit emotion. Through alienation effect, the viewer is distanced from the aims and goals of characters, and is less likely to experience the sorts of emotions that result from identification. The first two films use multiple frames of narration leading to character(s) in the outer frame becoming like spectators, invested in, for instance, fortune of others emotions that are central to the enjoyment of movies. In Mirch Masala, narration focuses on class struggle; there is minimal engagement with characters' individual aims, goals, and desires. While the red film foregrounds social anger, the blue films foreground consciousness. The three films together ask questions about what makes war and what makes peace, and how human action and human consciousness, represented through colors, figures in all this.

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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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Valeria V. Vasilyeva

Professor Nikolai Ssorin-Chaikov who gave an extensive introduction to the anthropology of emotions. He analyzed his field data from the north of Krasnoiarskii krai from the perspective of affective turn, and argued that observation of affect may serve as

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How Many Emotions Does Film Studies Need?

A Phenomenological Proposal

Julian Hanich

We don't discriminate carefully enough, you know, between things that seem alike but are different. You should always do that. —Richard Ford, Canada It was a success story. Since the 1990s emotion research has been not only “one of

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Military Violence in Its Own Right

The Microsocial Foundations of Physical Military Violence in Noncombat Situations

Nir Gazit and Eyal Ben-Ari

behaviors. 2 Second, it involves a much wider array of emotions than those found in combat: not only fear and tension, but also boredom and dullness, anger and hate, excitement and thrill, or tautness and numbness. Data are taken from our work on the

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From Morality to Psychology

Emotion Concepts in Urdu, 1870—1920

Margrit Pernau

If we look at photos of the protagonists of Urdu debates in the last decades of the nineteenth century, we mostly see stern-looking figures who look at us without any trace of emotion, much less a smile, their bodily posture as rigid as their facial

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Feelings in the Field

The Emotional Labour of the Ethnographer

Maria Concetta Lo Bosco

describe our thoughts, questions, concerns and emotions ( Emerson et al. 2011 ), capturing – sometimes in detail and extensively, other times in a haphazard and confusing way – the frankest picture of our field experience. The purpose of this article is

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Eloise Grey

right balance of control and expression of emotion was a component of these social skills. For a young man, social recognition may also have included him experiencing premarital sex. 23 Theodore Forbes's time was one of demographic growth in the