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.
The Case of a New Prayer Group in Contemporary Transcarpathia
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.
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
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
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
Emotion Concepts in Urdu, 1870—1920
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
Response to Carl Plantinga's Screen Stories
affect viewers’ emotions through a kind of moral persuasion, a process that involves comprehension, cognition, and sometimes critique and resistance. Plantinga's approach rests on two fundamental foundations: a sophisticated account of human emotions
Taking Hum Aapke Hain Koun . . . ! as an example, this article asks whether models that were developed for the analysis of narrative forms and their intended emotional effects in Hollywood cinema can be regarded as universal, and to what extent they may be reasonably applied to commercial Hindi films. The often voiced reproach that Hindi cinema lacks realism, usually accompanied by a critique of the excessive use of emotional cues, arises in part from the fact that scholars tend to view the narrative forms of Western mainstream cinema as the norm from which Hindi cinema deviates. By contrast, this article argues that we need to search for a proper understanding of a cinema whose films follow different rules. In so doing, this article also contributes to the debate on how cognitive models of film reception may be expanded to include culturalist elements of explanation.
. This is misleading as in most other places Carroll formulates his view in terms of evaluation or appropriateness. Although in many cases the cause of an emotion and its intentional object coincide, the two can also come apart. 5 Moreover, as expressed
Dueling in the Greek Capital, 1870–1918
only rational, civilized subjects possessed, as they could tame their violent instincts and subsume them under a set of acceptable rules. For others, their point of departure has been the various ways in which manly emotions were articulated, shaped