By Patrick Colm Hogan
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Additional resources for Affective Narratology. The Emotional Structure of Stories
Sample text
Forgiveness is what rounds out this particular episode, turns it into a story, and brings the life of Stiva and Dolly back from this rift into normalcy. The normalcy is of course not untroubled. But that normalcy, and its troubles, are no longer part of this particular story. In sum, our experiences of both space and time are encoded nonhomogeneously. The principles by which objects and occurrences are selected, the principles by which they are segmented, and the principles by which they are structured, both internally and in embedded hierarchies, are crucially (though of course not exclusively) emotional.
It may be that stories are a key part of that realization and inflection. If so, the point only reveals once again the profound interconnection of emotions and stories. A Note on Ideology Since ideology is a recurring concern in the following chapters, it is useful to preface those chapters with a preliminary indication of just what I have in mind when speaking of ideology. First of all, I follow Raymond Geuss and others in distinguishing a descriptive and a pejorative sense of the term. ” It refers to a guiding set of ideas.
In some cases, that shift can be repeated until no options remain. Tolstoy is particularly sensitive to our experience of such complete impossibility. Thus, when Stiva first begins to recall his situation, he thinks of “his impossible position” (2). He experienced the first shift in the direction of such impossibility in relation to shame when he initially saw Dolly holding the letter, for he could not hide. This left an appeasement response as his only option. We will return to this below. Stiva finds himself in a similar position with regard to fear or anxiety.