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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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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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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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Alexandra Schneider

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.

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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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Torben Grodal

The narrative flow in mainstream films is driven by emotional engagement. The neurologist Jaak Panksepp (1998 ; Pankseep and Biven 2012 ) has described how human emotions are controlled by seven basic emotional systems (that he writes in capital

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Anne Bartsch

This article outlines a conceptual framework for analyzing meta-emotions in audiovisual media. Meta-emotions are evaluative thoughts and feelings about emotions that are represented and/or elicited in the viewer. Based on a conceptual analysis of meta-emotion in terms of current emotion theory the essay concludes that meta-emotions are communicated on different levels of cognitive complexity. Cues to meta-emotion can be present in (1) the aesthetic representation of emotions; (2) the narrative context of emotions; and (3) symbolic elements that refer to cultural norms and values concerning emotions. The essay exemplifies this three-level framework using a film scene and a music video. Specifically, the essay analyzes the communication of meta-emotions about anger in Fight Club, and meta-emotions about sadness in Frozen.

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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.