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"A collection of essays, written for this volume by leaders in the field, that study the emotional and cognitive significance of narrative and its implications for aesthetics and the philosophy of art"--Provided by publisher.
Introduced one hundred years ago, film has since become part of our lives. For the past century, however, the experience offered by fiction films has remained a mystery. Questions such as why adult viewers cry and shiver, and why they care at all about fictional characters -- while aware that they contemplate an entirely staged scene -- are still unresolved. In addition, it is unknown why spectators find some film experiences entertaining that have a clearly aversive nature outside the cinema. These and other questions make the psychological status of emotions allegedly induced by the fiction film highly problematic. Earlier attempts to answer these questions have been limited to a few genre studies. In recent years, film criticism and the theory of film structure have made use of psychoanalytic concepts which have proven insufficient in accounting for the diversity of film induced affect. In contrast, academic psychology -- during the century of its existence -- has made extensive study of emotional responses provoked by viewing fiction film, but has taken the role of film as a natural stimulus completely for granted. The present volume bridges the gap between critical theories of film on the one hand, and recent psychological theory and research of human emotion on the other, in an attempt to explain the emotions provoked by fiction film. This book integrates insights on the narrative structure of fiction film including its themes, plot structure, and characters with recent knowledge on the cognitive processing of natural events, and narrative and person information. It develops a theoretical framework for systematically describing emotion in the film viewer. The question whether or not film produces genuine emotion is answered by comparing affect in the viewer with emotion in the real world experienced by persons witnessing events that have personal significance to them. Current understanding of the psychology of emotions provides the basis for identifying critical features of the fiction film that trigger the general emotion system. Individual emotions are classified according to their position in the affect structure of a film -- a larger system of emotions produced by one particular film as a whole. Along the way, a series of problematic issues is dealt with, notably the reality of the emotional stimulus in film, the identification of the viewer with protagonists on screen, and the necessity of the viewer's cooperation in arriving at a genuine emotion. Finally, it is argued that film-produced emotions are genuine emotions in response to an artificial stimulus. Film can be regarded as a fine-tuned machine for a continuous stream of emotions that are entertaining after all. The work paves the way for understanding and, in principle, predicting emotions in the film viewer using existing psychological instruments of investigation. Dealing with the problems of film-induced affect and rendering them accessible to formal modeling and experimental method serves a wider interest of understanding aesthetic emotion -- the feelings that man-made products, and especially works of art, can evoke in the beholder.
This revised and expanded handbook concisely introduces narrative form to advanced students of fiction and creative writing, with refreshed references and new discussions of cognitive approaches to narrative, nonfiction, and narrative emotions.
John Chrysostom remains, along with Augustine, one of the most prolific witnesses to the world of late antiquity. As priest of Antioch and bishop of Constantinople, he earned his reputation as an extraordinary preacher. In this first unified study of emotions in Chrysostom’s writings, Blake Leyerle examines the fourth-century preacher’s understanding of anger, grief, and fear. These difficult emotions, she argues, were central to Chrysostom’s program of ethical formation and were taught primarily through narrative means. In recounting the tales of scripture, Chrysostom consistently draws attention to the emotional tenor of these stories, highlighting biblical characters’ moods, discussing their rational underpinnings, and tracing the outcomes of their reactions. By showing how assiduously Chrysostom aimed not only to allay but also to arouse strong feelings in his audiences to combat humanity’s indifference and to inculcate zeal, Leyerle provides a fascinating portrait of late antiquity’s foremost preacher.
This book examines the interactional management of emotionality in second language autobiographical interview research. Advancing a discursive constructionist approach, it offers a timely methodological and reflexive perspective that brings into focus the dynamic and dilemmatic aspects of interviewee and interviewer identities and experiences, and it makes visible the often unexpected and unseen consequences for the research project and beyond. The author weaves together critical discussion and empirical analysis based on longitudinal, narrative-based research with adult immigrants from Southeast Asia living in the US and Canada. This interdisciplinary book will be compelling reading for students, researchers, and others interested in emotion, narrative, discourse, identity, interaction, interviews, and qualitative research.
Engaging with the wide sociological literature on emotions, this book explores the social representation of emotions, their management and their effects by making reference to creative sources. With a specific focus on literary narrative, including the works of figures such as Dante, Austen, Manzoni, Tolstoy and Kundera, the author draws out the capacity of literary works to describe and represent both the external aspects of social relations and the inner motivations of the involved actors. An interdisciplinary study that combines sociology, narratology, philosophy, historical analysis and literary criticism, Emotions through Literature invites us to re-think the role of emotions in sociological analysis, employing literary narratives to give plausible intellectual responses to the double nature of emotions, their being both individual and social.
In psychotherapy, as in life, all significant emotions are embedded in important stories, and all significant stories revolve around important emotional themes. Yet, despite the interaction between emotion and narrative processes, emotion-focused therapy (EFT) and narrative-informed therapies have evolved as separate clinical approaches. In this book, Lynne Angus and Leslie Greenberg address this gap and present a groundbreaking, empirically based model that integrates working with narrative and emotion processes in EFT. According to Angus and Greenberg's narrative-informed approach to EFT, all successful psychotherapy entails the articulation, revision, and deconstruction of clients' maladaptive life stories in favor of more life-enhancing alternatives. Because emotions and narratives interact to form meaning and sense of self, the evocation and articulation of emotions is critical to changing life narratives. Individual chapters describe how the interaction between emotion and narrative creates a constantly evolving sense of self; how clinicians can address both narrative and emotion processes to help clients create more adaptive, empowering meanings and sense of self; and the importance of a strong therapeutic alliance. Engaging, in-depth case studies at the end of the book illustrate how the model can be applied to treatment of depression and emotional trauma.
Introduced one hundred years ago, film has since become part of our lives. For the past century, however, the experience offered by fiction films has remained a mystery. Questions such as why adult viewers cry and shiver, and why they care at all about fictional characters -- while aware that they contemplate an entirely staged scene -- are still unresolved. In addition, it is unknown why spectators find some film experiences entertaining that have a clearly aversive nature outside the cinema. These and other questions make the psychological status of emotions allegedly induced by the fiction film highly problematic. Earlier attempts to answer these questions have been limited to a few genre studies. In recent years, film criticism and the theory of film structure have made use of psychoanalytic concepts which have proven insufficient in accounting for the diversity of film induced affect. In contrast, academic psychology -- during the century of its existence -- has made extensive study of emotional responses provoked by viewing fiction film, but has taken the role of film as a natural stimulus completely for granted. The present volume bridges the gap between critical theories of film on the one hand, and recent psychological theory and research of human emotion on the other, in an attempt to explain the emotions provoked by fiction film. This book integrates insights on the narrative structure of fiction film including its themes, plot structure, and characters with recent knowledge on the cognitive processing of natural events, and narrative and person information. It develops a theoretical framework for systematically describing emotion in the film viewer. The question whether or not film produces genuine emotion is answered by comparing affect in the viewer with emotion in the real world experienced by persons witnessing events that have personal significance to them. Current understanding of the psychology of emotions provides the basis for identifying critical features of the fiction film that trigger the general emotion system. Individual emotions are classified according to their position in the affect structure of a film -- a larger system of emotions produced by one particular film as a whole. Along the way, a series of problematic issues is dealt with, notably the reality of the emotional stimulus in film, the identification of the viewer with protagonists on screen, and the necessity of the viewer's cooperation in arriving at a genuine emotion. Finally, it is argued that film-produced emotions are genuine emotions in response to an artificial stimulus. Film can be regarded as a fine-tuned machine for a continuous stream of emotions that are entertaining after all. The work paves the way for understanding and, in principle, predicting emotions in the film viewer using existing psychological instruments of investigation. Dealing with the problems of film-induced affect and rendering them accessible to formal modeling and experimental method serves a wider interest of understanding aesthetic emotion -- the feelings that man-made products, and especially works of art, can evoke in the beholder.
Stories engage our emotions. We?ve known this at least since the days of Plato and Aristotle. What this book helps us to understand now is how our own emotions fundamentally organize and orient stories. In light of recent cognitive research and wide reading in different narrative traditions, Patrick Colm Hogan argues that the structure of stories is a systematic product of human emotion systems. Examining the ways in which incidents, events, episodes, plots, and genres are a function of emotional processes, he demonstrates that emotion systems are absolutely crucial for understanding stories. Hogan also makes a case for the potentially integral role that stories play in the development of our emotional lives. He provides an in-depth account of the function of emotion within story?in widespread genres with romantic, heroic, and sacrificial structures, and more limited genres treating parent/child separation, sexual pursuit, criminality, and revenge?as these appear in a variety of cross-cultural traditions. In the course of the book Hogan develops interpretations of works ranging from Tolstoy?s Anna Karenina to African oral epics, from Sanskrit comedy to Shakespearean tragedy. Integrating the latest research in affective science with narratology, this book provides a powerful explanatory account of narrative organization.
