and the cognitive in the word ‘sense’, suggests the rich possibilities in a study of the senses. Moreover, it suggests that the senses ought properly to be a part of the history of emotions.
There have been significant inroads into the history of the senses, most of which connect to a history of the emotions, but seldom have historians of the emotions substantially noticed. In 1989, for example, David Howes made a strong case for the relationship of the senses to ‘affective mechanisms’ and demonstrated the extent to which certain senses, particularly the
politics more generally in the period. But it is Wotton's qualifier that I want to think about in this essay. What, then, of ‘affection’? While researchers have explored the political and social dynamics of late Elizabethan factionalism for many years, there has been little specific attention to the affective underpinnings of such interpersonal affinities: the fact that factional participation entailed significant psychic activity, through the generation of emotion. Despite the obvious emphasis on the material motives of factional identification, there were
Affective image operations
Images enter the interactional networks of political conflict in various ways. Often,
they motivate political action by evoking emotions and affects. This is evident, for
instance, in visual propaganda, images of terror, donation campaigns or activist
videos like Kony2012. Aiming to mobilise a movement against a brutal warlord,
the documentary made calculated use of cinematic techniques to maximise viewers’ emotional responses. It went viral on social media platforms and was soon
watched more than 100 million times. The
visionaries. Fairies and ghosts were often related; several visionaries had a ghost as a main spirit-guide, but the ghost associated with fairies and introduced the visionary to fairyland.
Here I am particularly interested in the emotions that were involved in the relationship. What emotions did the human experient feel, or express, towards the supernatural spirit? And what emotions did the spirit feel, or express, towards the human experient? Answers to the latter question depend, of course, upon how the human experienced or understood the spirit’s emotions. The story
This book explores the eight-month wave of mutinies in the French infantry and navy in 1919. This revolt stretched from France’s intervention against the Soviet Union through the Black Sea, into the Mediterranean and finally resulting in unrest in France’s naval ports. As a consequence, mutineers faced court martials, the threat of the death penalty and years of hard labour. This research is the result of careful scrutiny of official records and, more importantly, the testimony of dozens of mutineers. It is the first study to try to understand the world of the mutineers, assessing their own words for the traces of their sensory perceptions, their emotions and their thought processes. It shows that the conventional understanding of the mutinies as simple war-weariness and low morale as inadequate. It demonstrates that an emotional gulf separated officers and the ranks, who simply did not speak the same language. It reveals the soundscape (its silences, shouts and songs) and visual aspect of the mutiny. The revolt entailed emotional sequences ending in a deep ambivalence and sense of despair or regret. It also considers how mutineer memories persisted after the events in the face of official censorship, repression and the French Communist Party’s co-option of the mutiny. This text will interest students, general readers and scholars of the both Great War and its contentious aftermath. Setting the mutiny in the transnational context, it will contribute to the growing interest in 1919 as the twentieth century’s most unruly year.
Populism is very often associated with emotions, and particularly with negative emotions. We have already mentioned the anxiety of the populist voter. This anxiety is often multifaceted and can reflect a fear of economic breakdown of oneself or of one’s children, the fear of immigrants, the fear of losing one’s identity, or a fear of the future in general. 1 These negative emotions, which are multiple, are often shared equally by followers and leaders. A Dutch sociologist, for instance, describes the majority of the voters of the Freedom Party of Geert
Positive, negative, and political affects in Shakespeare’s first tetralogy
Paul Joseph Zajac
discontent that ran through the preceding plays in the tetralogy and through Renaissance and Reformation discourse more broadly.
As Steven Mullaney has recently argued, the Protestant Reformation had an enormous impact on the understanding, valuation, and experience of emotions in the early modern period.
Of these reformed emotions, contentment may be in especial need of reassessment today. Seemingly less interesting than melancholy, less productive than anger, and less sexy than joy, contentment has
What role does memory play in migrants’ adaption to the emotional challenges of migration? How are migrant selfhoods remade in relation to changing cultural myths? This book, the first to apply Popular Memory Theory to the Irish diaspora, opens new lines of critical enquiry within scholarship on the Irish in modern Britain. Combining innovative use of migrant life histories with cultural representations of the post-war Irish experience, it interrogates the interaction between lived experience, personal memory and cultural myth to further understanding of the work of memory in the production of migrant subjectivities. Based on richly contextualised case studies addressing experiences of emigration, urban life, work, religion and the Troubles in England, chapters illuminate the complex and contingent relationship between politics, culture and migrant identities, developing a dynamic view of the lived experience of British–Irish relations after 1945. Where memory is often regarded as a mechanism of antagonism within this relationship, Life History shows how migrants’ ‘recompose’ memories of migration as part of ongoing efforts to adapt to the transition between cultures and places. As well as shedding new light on the collective fantasies of post-war migrants and the circumstances which formed them, Life History thus illustrates the cultural and personal dynamics of subjective change over time: migrants located themselves as the subjects of a diverse and historically evolving repertoire of narratives, signalling adaption, difference and integration as co-articulating features of the Irish experience in post-1945 England.
We often think of emotion as simple or uniform. In fact, emotion is more commonly complex, changing, and ambivalent. Literary works typically manipulate or manage that complexity and ambivalence to produce emotionally pleasing results. However, problem plays, such as Shakespeare's All’s Well That Ends Well , maintain or even enhance ambivalence. We may explain this enhancement in part by reference to genre patterns, themselves understood as developing out of human emotion systems. The following essay begins with a treatment of ambivalence
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus
Living Research Two: Emotions and
Operation Vaken's posters, newspaper
adverts, immigration surgeries and mobile billboards were a dramatic display,
designed to reassure some citizens that the government was ‘getting
tough’ on irregular immigration. However, the campaign also increased
worries and anxiety. The survey carried out for us by Ipsos MORI of a
nationally representative sample of 2,424 people (for