Affective Narratology. The Emotional Structure of Stories - download pdf or read online

By Patrick Colm Hogan

Stories interact our feelings. We’ve identified this not less than because the days of Plato and Aristotle. What this booklet is helping us to appreciate now's how our personal feelings essentially set up and orient tales. In gentle of modern cognitive learn and large examining in numerous narrative traditions, Patrick Colm Hogan argues that the constitution of news is a scientific made from human emotion platforms. analyzing the ways that incidents, occasions, episodes, plots, and genres are a functionality of emotional methods, he demonstrates that emotion structures are completely an important for realizing tales.

Hogan additionally makes a case for the doubtless indispensable function that tales play within the improvement of our emotional lives. He offers an in-depth account of the functionality of emotion inside of story—in frequent genres with romantic, heroic, and sacrificial constructions, and extra restricted genres treating parent/child separation, sexual pursuit, criminal activity, and revenge—as those look in a number of cross-cultural traditions. during the e-book 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 learn in affective technology with narratology, this e-book presents a strong explanatory account of narrative association.

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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.

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