Affective Narratology. The Emotional Structure of Stories by Patrick Colm Hogan

By Patrick Colm Hogan

Stories interact our feelings. We’ve identified this a minimum of because the days of Plato and Aristotle. What this publication is helping us to appreciate now's how our personal feelings essentially manage and orient tales. In mild of contemporary cognitive examine and extensive interpreting in several narrative traditions, Patrick Colm Hogan argues that the constitution of news is a scientific made of human emotion platforms. analyzing the ways that incidents, occasions, episodes, plots, and genres are a functionality of emotional strategies, he demonstrates that emotion platforms are completely an important for knowing tales.

Hogan additionally makes a case for the possibly critical function that tales play within the improvement of our emotional lives. He offers an in-depth account of the functionality of emotion inside story—in frequent genres with romantic, heroic, and sacrificial buildings, and extra constrained genres treating parent/child separation, sexual pursuit, criminal activity, and revenge—as those seem in various cross-cultural traditions. throughout the booklet Hogan develops interpretations of works starting from Tolstoy’s Anna Karenina to African oral epics, from Sanskrit comedy to Shakespearean tragedy.

Integrating the most recent examine in affective technological know-how with narratology, this e-book presents a robust explanatory account of narrative association.

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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.

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