By Patrick Colm Hogan
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Extra info for Affective Narratology. The Emotional Structure of Stories
It is highly aversive. Thus his spontaneous impulse is to change the situation or his relation to it. This general response is particularized by the specific emotions involved—the shame, despair, and fear or anxiety. The difficulty for Stiva is that this combination of emotional responses does not point toward any clear actional outcome. Shame counsels concealment. 4 Our immediate response to this is the wish “to hide, disap36 Before Stories pear, or die” (as Lewis puts it in “Self-Conscious” 748).
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. In relation to this, our sense of normalcy, our expectations, our experience of other peoples’ emotional expressions, our attachment relations with those people, and our tacit possibility assessments are of particular importance in our organization of emotional geography and, even more, emotional Before Stories 41 history.
F. Husain’s film Meenaxi—to further examine the general organization of story structure and the nature of a work. The treatment of these narratives obviously allows the application of the theory to different literary traditions, different modes of presentation (prose, drama, film), and different contexts of orality and literacy. Chapter 3 considers the three main, prototypical genres, treating one or two works in depth for each genre. It first takes up a sacrificial narrative by the most important dramatist of Yüan dynasty China—Guan Hanqing’s Dou E yuan.