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Abstract only
Matt Perry

2 Mutinous emotion The emotions of mutineers contributed to their subjectivity ‘from the inside out’, being their inner responses to the world around them, forming a circuit with their sensory experience and shaping the way that they interacted with their environment.1 The passage of time and the selection of words mediated the raw emotion of the mutiny, rendering historical analysis a fragile business. The difficulties of reading emotions from their retrospective literary expression notwithstanding, certain emotions emerge during the process of revolt with

in Mutinous memories
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.

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
Rob Boddice

things are . It enables us to ask ‘why?’ and ‘for how long?’ It permits us to posit other ways for things to be. Enter the history of emotions and a curious challenge. In general, and with some notable exceptions, historians have steered clear of historicising the human being itself. 1 Humans have been actors in shifting historical scenery, and it has sufficed to analyse that scenery and the drama within it. This has been at odds with the aforementioned tendency to reject what is . If historians have tended to reject transhistorical universals, they

in The history of emotions
Abstract only
Anna Green and Kathleen Troup

From the late twentieth century, historians have combined theoretical perspectives to tackle new topics or to revisit the old. One such amalgamation occurred in the history of emotions, in which historians have integrated ideas derived from psychology, sociology, anthropology, linguistics, and cultural studies. The Dutch medievalist Johan Huizinga (writing in 1919), the sociologist Norbert Elias (1939) and the Annaliste Lucien Febvre (1941) are frequently discussed as founders of emotions history. While Febvre made a general plea for the historical

in The houses of history
Constance Duncombe

Representations trigger emotions that drive the struggle for recognition and respect. How an entity is represented, or wishes to be represented, influences its actions. Desire to cultivate a certain image of the Self, to be recognised in a particular way, is driven by a feeling of disrespect that manifests as a social hurt. Such hurt fosters a preoccupation with seeking a particular form of recognition through foreign policy actions. 1 If we allow such a reading of Iran's actions to present itself alongside conventional accounts of Iranian

in Representation, recognition and respect in world politics
The crucial year
David Wallace

The Troilus and Criseyde/Cressida saga is a perfect vehicle for tracing the history of the emotions, in that it offers an unparalleled darkening of mood over time. This saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The conceit of the work, as laid out in its prose prologue, is that

in Love, history and emotion in Chaucer and Shakespeare
Leonie Hannan

5 Connecting reason and emotion W riting, like reading, was an activity that held a magnetic draw for some women of this period. Writing could be a strong impulse, a necessity that kept the mind free, the thoughts flowing and the writer psychologically stable. Eighteenth-century correspondents commonly spent many lines of ink on the very subject of how writing letters to their friends acted as an emotional salve. As Femke Molekamp has argued, ‘the lived approach to emotional life as expressed, and indeed negotiated, within a given relationship in correspondence

in Women of letters
Laurence Lux-Sterritt

5 • Taming worldly emotions and appetites In his Poetics, Aristotle (383–322 BC) stated that passions were an intrinsically human trait and could not be ignored; he c­ onsidered that, although some passions could be harmful, others might be acceptable in a good and virtuous life. Yet such was not the general view in seventeenth-century Europe. Early modern authors were more receptive to the Stoicism of Cicero (106–43 BC) and Seneca (c. 1–45) and to their much harsher judgement of pathos as perturbation, giving emotions a much more negative and disruptive

in English Benedictine nuns in exile in the seventeenth century
Jonathan Frome

This article addresses two questions about artworks. First, why do we emotionally respond to characters and stories that we believe are fictional? Second, why are some media better than others at generating specific types of emotions? I answer these questions using psychological research that suggests our minds are not unified, but are comprised of numerous subsystems that respond differently to various aspects of artworks. I then propose a framework to help us understand how films, videogames, and literature interact with our minds in different ways, which explains why they tend to excel at generating different types of emotions.

Film Studies