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Arjun Claire

been conceived as a triumph of reason and rationality over emotions. To the extent it relies on emotions, it carefully directs them through curated narratives deployed in the realisation of predetermined advocacy objectives ( Fernandes, 2017 : 2). With humanitarian actors increasingly engaging in specific thematic issues and policy changes, they have privileged authoritative facts that positions them as experts, enhancing their legitimacy in the eyes of decision

Journal of Humanitarian Affairs

Bringing together research on textual representations of various forms of positive feeling in early modern Europe, this collection of essays highlights the diverse and nuanced cultural meanings of happiness and well-being in this period, which is often characterized as a melancholy age. Interdisciplinary methodological approaches—informed by emotion studies, affect theory, and the contemporary cognitive sciences—provide various frames for understanding how the period cultivated and theorized positive emotions, as well as how those emotions were deployed in political, social, and intellectual contexts. Pointing to the ways the binary between positive and negative might be inadequate to describe emotive structures and narratives, the essays promote analysis of new archives and offer surprising readings of some texts at the center of the Renaissance canon. In addition to an introduction that provides an overview of work in contemporary studies of positive emotions and historical accounts of good feeling in early modern Europe, the book includes three sections: 1) rewriting discourses of pleasure, 2) imagining happy communities, and 3) forms, attachment, and ambivalence. The essays focus on works by such writers as Burton, Montaigne, Shakespeare, Traherne, and Webster, as well as on other kinds of texts circulating in the period. While focused on English writings, essays on continental writers contribute to a wider context for understanding these emotions as European cultural constructions. Finally, the volume offers windows onto the complex histories of happiness, well-being, humor, and embodiment that inform the ways emotions are experienced and negotiated in the present day.

Simon Mussell

4 Expectant emotion and the politics of hope ‘Hope’ is the thing with feathers. –​Emily Dickinson Without feathers. –​ Woody Allen On 13 March 1956, Max Horkheimer, in conversation with his friend and ­collaborator Theodor Adorno, made the following remark: ‘I do not believe that things will turn out well, but the idea that they might is of decisive importance.’ This double movement of thought, an open dialectic that abjures the false choice between optimism and pessimism, registers one of the core motivating affects of critical theory: hope. Indeed, there are

in Critical theory and feeling
Author: Rob Boddice

The history of emotions is the first accessible textbook on the theories, methods, achievements, and problems in this burgeoning field of historical inquiry. Historians of emotion borrow heavily from the disciplines of anthropology, psychology, philosophy and neuroscience, and stake out a claim that emotions have a past and change over time. This book introduces students and professional historians to the main areas of concern in the history of emotions, discussing how the emotions intersect with other lines of historical research relating to power, practice, society and morality. Providing a narrative of historical emotions concepts, the book is the go-to handbook for understanding the problems of interpreting historical experience, collating and evaluating all the principal methodological tools generated and used by historians of emotion. It also lays out an historiographical map of emotions history research in the past and present, and sets the agenda for the future of the history of emotions. Chiefly centring on the rapprochement of the humanities and the neurosciences, the book proposes a way forward in which disciplinary lines become blurred. Addressing criticism from both within and without the discipline of history, The history of emotions offers a rigorous defence of this new approach, demonstrating its potential to lie at the centre of historiographical practice, as well as the importance of this kind of historical work for our general understanding of the human brain and the meaning of human experience.

Maurice Pialat’s L’Amour existe
Elisabeth Cardonne-Arlyck

9 A crucible of emotions: Maurice Pialat’s L’Amour existe Elisabeth Cardonne-Arlyck Maurice Pialat was 36 years old when his first professionally produced documentary short, L’Amour existe, came out in 1961. His producer, Pierre Braunberger, who had helped finance Jean Renoir’s Nana (1926) and La Chienne (1931), and was becoming a major producer of the New Wave, found the never-satisfied Pialat impossible to work with and did not repeat the experience. The film was well received, however, and was awarded the Prix Louis-Lumière and the Lion of Saint-Marc at the

in Screening the Paris suburbs
Representing Africa through suffering
Graham Harrison

2 Putting images into (e)motion: representing Africa through suffering Africa, representation, and suffering There is another sense in which Africa is difficult to see. To see Africa one must first see oneself. (Okri, 2009: 8) Emotive images On 13 May 2000, The Economist carried a front page image of a young Sierra Leonean man with a gun. The lead title on the page was ‘Africa: the Hopeless Continent’. It provoked a strong response from African writers who despaired at the negative imagery and text. Previously, and equally infamously, writer Robert Kaplan on

in The African presence
Documentary form and audience response to Touching the Void
Thomas Austin

3 ‘Suspense, fright, emotion, happy ending’: documentary form and audience response to Touching the Void Film scholarship needs to take audiences seriously as a means of deepening, and offering some new angles on, debates over the form, ethics and impacts of screen documentary. This chapter uses a case study of the commercially and critically successful mountaineering documentary Touching the Void (UK, 2003) as a point of entry into further consideration of these and associated issues. Drawing on original qualitative research among cinemagoers, it follows two key

in Watching the world
Megan G. Leitch

Chardri’s thirteenth-century Anglo-Norman Life of the Seven Sleepers offers a striking focus on how emotions engender sleep. In Chardri’s description, when the Seven Sleepers of Ephesus fall asleep in the cave in which they are hiding from their persecutors, their emotions play a causal role: Ke par dolur, ke par penser Endormirent li set bacheler. Kar ceo avent, sachez, suvent Ke gent, quant il sunt trop dolent

in Sleep and its spaces in Middle English literature
Emotional Contagion Responses to Narrative Fiction Film
Amy Coplan

In this paper, I examine the role of emotional contagion in our affective engagement with narrative fiction film, focusing in particular on how spectator responses based on emotional contagion differ from those based on more sophisticated emotional processes. I begin by explaining emotional contagion and the processes involved in it. Next, I consider how film elicits emotional contagion. I then argue that emotional contagion responses are unique and should be clearly distinguished from responses based on other emotional processes, such as empathy. Finally, I explain why contagion responses are a significant feature of spectators engagement with narrative fiction film.

Film Studies
Emotions, Memory, and Memento
Karen Renner

Using the particular example of Memento (2001), this essay investigates the capacity for films to maintain emotional potency upon repeat viewings. Subtle emotion markers in the film - such as facial expressions and its score - collaborate with the plot to create a mood of sadness that may escalate into more powerful emotion. Because these same markers consistently appear during scenes of high emotion, the cues themselves become associated with sadness, leading the viewer to experience grief each time they are encountered more as an unconscious, learned response rather than a direct reaction to the film. As a result, though the film may have become familiar, it may retain its emotional potential on subsequent viewings.

Film Studies