Pub Date : 2021-12-23DOI: 10.1163/2208522x-02010126
C. Zika, R. S. White
{"title":"Louis Charland (1958–2021)","authors":"C. Zika, R. S. White","doi":"10.1163/2208522x-02010126","DOIUrl":"https://doi.org/10.1163/2208522x-02010126","url":null,"abstract":"","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74873010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/2208522x-02010127
Lindsay M. Diggelmann
The death of King William Rufus while hunting in August 1100 is often acknowledged as a fitting end for an unpopular and ineffective monarch, based largely on descriptions of the event in several twelfth-century texts. While it will never be possible to arrive at a definitive explanation of what happened, near-contemporary representations of the king’s behaviour and death reveal much about perceptions and expectations of medieval kingship. By examining varying descriptions of the king’s laughter – sometimes cynical and manipulative, sometimes generous and inclusive – and the corresponding portrayals of the extent of his subjects’ grief at their monarch’s passing, it is possible to reconstruct the outlines of a debate over appropriate emotional performance and its contribution to successful – or unsuccessful – rulership. The very positive depiction of Rufus’s emotional regime in Gaimar’s Estoire des Engleis sits in stark contrast to the more negative mainstream view, represented especially in the Ecclesiastical History of Orderic Vitalis.
1100年8月，威廉·鲁弗斯国王在狩猎时去世，这通常被认为是一个不受欢迎和无能的君主的恰当结局，这主要是基于几个12世纪的文献对这一事件的描述。虽然永远不可能对所发生的事情做出明确的解释，但对国王的行为和死亡的近乎当代的再现揭示了人们对中世纪王权的看法和期望。通过研究对国王笑声的不同描述——有时是愤世嫉俗和操纵，有时是慷慨和包容——以及相应的对他的臣民对他们的君主去世的悲伤程度的描述，我们有可能重建关于适当的情感表现及其对成功或不成功统治的贡献的辩论的轮廓。在Gaimar的《Estoire des Engleis》中，对Rufus情绪的积极描述与主流的负面观点形成了鲜明的对比，尤其是在Orderic Vitalis的《教会史》中。
{"title":"Laughter and Grief in Twelfth-Century Accounts of the Death of William Rufus","authors":"Lindsay M. Diggelmann","doi":"10.1163/2208522x-02010127","DOIUrl":"https://doi.org/10.1163/2208522x-02010127","url":null,"abstract":"\u0000The death of King William Rufus while hunting in August 1100 is often acknowledged as a fitting end for an unpopular and ineffective monarch, based largely on descriptions of the event in several twelfth-century texts. While it will never be possible to arrive at a definitive explanation of what happened, near-contemporary representations of the king’s behaviour and death reveal much about perceptions and expectations of medieval kingship. By examining varying descriptions of the king’s laughter – sometimes cynical and manipulative, sometimes generous and inclusive – and the corresponding portrayals of the extent of his subjects’ grief at their monarch’s passing, it is possible to reconstruct the outlines of a debate over appropriate emotional performance and its contribution to successful – or unsuccessful – rulership. The very positive depiction of Rufus’s emotional regime in Gaimar’s Estoire des Engleis sits in stark contrast to the more negative mainstream view, represented especially in the Ecclesiastical History of Orderic Vitalis.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85010077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-23DOI: 10.1163/2208522x-02010133
P. Stearns, J. Ruys, Robert S. White, G. Moore, Merridee L. Bailey, Una McIlvenna, Kirk Essary
As we celebrate the tenth anniversary of the establishment of the CHE, the Australian Research Council Centre of Excellence for the History of Emotion (initially focusing on Europe 1100–1800 and with the late Professor Philippa Maddern as its founding Director) and the fifth anniversary of the launch of the journal Emotions: History, Culture, Society (founding Editors: Katie Barclay, Andrew Lynch, Giovanni Tarantino), it is only pertinent that we look back and assess our efforts by hearing from some prominent emotions scholars who contributed in different ways and capacities to this pathbreaking intellectual journey.
{"title":"History of Emotions: Where Are We?","authors":"P. Stearns, J. Ruys, Robert S. White, G. Moore, Merridee L. Bailey, Una McIlvenna, Kirk Essary","doi":"10.1163/2208522x-02010133","DOIUrl":"https://doi.org/10.1163/2208522x-02010133","url":null,"abstract":"As we celebrate the tenth anniversary of the establishment of the CHE, the Australian Research Council Centre of Excellence for the History of Emotion (initially focusing on Europe 1100–1800 and with the late Professor Philippa Maddern as its founding Director) and the fifth anniversary of the launch of the journal Emotions: History, Culture, Society (founding Editors: Katie Barclay, Andrew Lynch, Giovanni Tarantino), it is only pertinent that we look back and assess our efforts by hearing from some prominent emotions scholars who contributed in different ways and capacities to this pathbreaking intellectual journey.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86799027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010113
Lise Waldek
Video platforms such as YouTube provide an environment where the blurred duality between content dissemination and creation facilitates the generation of social networks. Research into online violent extremist environments has often noted the prominence of video-sharing platforms as a means of distributing propaganda and cultivating social networks for purposes of recruitment. This paper draws from the study of emotion to examine three videos and associated comments that had high engagement, understood as the frequency of interactions, likes/upvotes and reposts in a given social network, in a right-wing extremist online milieu. This analysis highlights the important role emotions play in generating social connectedness and ultimately engagement and recruitment into online right-wing extremist milieus. Understanding the significance of emotions in online violent extremist video content can help to identify opportunities for moderation and/or the construction of alternative narratives.
{"title":"The Fission of the Forbidden: The Popularity of Video Content in an Online Right-Wing Extremist Environment","authors":"Lise Waldek","doi":"10.1163/2208522X-02010113","DOIUrl":"https://doi.org/10.1163/2208522X-02010113","url":null,"abstract":"\u0000Video platforms such as YouTube provide an environment where the blurred duality between content dissemination and creation facilitates the generation of social networks. Research into online violent extremist environments has often noted the prominence of video-sharing platforms as a means of distributing propaganda and cultivating social networks for purposes of recruitment. This paper draws from the study of emotion to examine three videos and associated comments that had high engagement, understood as the frequency of interactions, likes/upvotes and reposts in a given social network, in a right-wing extremist online milieu. This analysis highlights the important role emotions play in generating social connectedness and ultimately engagement and recruitment into online right-wing extremist milieus. Understanding the significance of emotions in online violent extremist video content can help to identify opportunities for moderation and/or the construction of alternative narratives.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85245844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010112
M. Harwood
This essay analyses the manifesto of terrorist Brenton Tarrant, the perpetrator of the 2019 Christchurch mosque shootings. Reading Tarrant’s manifesto (The Great Replacement) as a cultural artefact of digital white nationalism, it is possible to identify a specific worldview and emotional subjectivity that is also shared with the actions and writing of Anders Breivik, the perpetrator of the 2011 Oslo and Utøya massacre. After examining both terrorists’ manifestos, their biographical particulars and drawing from ethnographic research into the online communities that Tarrant frequented, a shared phenomenological framework emerges. This framework is presented as ‘the imagined past and present’ of the Replacement Theory terrorist. This essay will address these white nationalist imaginings via a cultural exegesis of Tarrant’s and Breivik’s manifestos, as well as an analysis of their comparable monastic aesthetic or ‘living death’ in the lead up to their attacks.
{"title":"Living Death: Imagined History and the Tarrant Manifesto","authors":"M. Harwood","doi":"10.1163/2208522X-02010112","DOIUrl":"https://doi.org/10.1163/2208522X-02010112","url":null,"abstract":"\u0000This essay analyses the manifesto of terrorist Brenton Tarrant, the perpetrator of the 2019 Christchurch mosque shootings. Reading Tarrant’s manifesto (The Great Replacement) as a cultural artefact of digital white nationalism, it is possible to identify a specific worldview and emotional subjectivity that is also shared with the actions and writing of Anders Breivik, the perpetrator of the 2011 Oslo and Utøya massacre. After examining both terrorists’ manifestos, their biographical particulars and drawing from ethnographic research into the online communities that Tarrant frequented, a shared phenomenological framework emerges. This framework is presented as ‘the imagined past and present’ of the Replacement Theory terrorist. This essay will address these white nationalist imaginings via a cultural exegesis of Tarrant’s and Breivik’s manifestos, as well as an analysis of their comparable monastic aesthetic or ‘living death’ in the lead up to their attacks.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83271713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010121
M. Cassidy-Welch
{"title":"Practising Shame: Female Honour in Later Medieval England, written by Flannery, Mary","authors":"M. Cassidy-Welch","doi":"10.1163/2208522X-02010121","DOIUrl":"https://doi.org/10.1163/2208522X-02010121","url":null,"abstract":"","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83659127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010123
Eduard Iricinschi
{"title":"Liturgy and the Emotions in Byzantium: Compunction and Hymnody, written by Mellas, Andrew","authors":"Eduard Iricinschi","doi":"10.1163/2208522X-02010123","DOIUrl":"https://doi.org/10.1163/2208522X-02010123","url":null,"abstract":"","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90919722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010117
Robert Sinnerbrink
The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this with Rithy Panh’s perpetrator/witness documentary, S21: The Khmer Rouge Killing Machine (2003), focusing on the mass killings perpetrated by the Pol Pot regime (1975–1979), which uses both visual representations and a more direct, bodily performative mode of re-enactment, to represent and communicate traumatic memory. Both films examine a range of moral emotions, solicited through interview sequences and different modes of cinematic re-enactment. These strategies enable the perpetrators to expose their traumatic violence and, in some cases, acknowledge the suffering of their victims, but also allow the perpetrators to be questioned and held to account, staging an ethical encounter wherein the social recognition of traumatic memory of political violence might become possible.
{"title":"Re-enactment and Traumatic Memory: Cinematic Ethics in The Act of Killing and S21: The Khmer Rouge Killing Machine","authors":"Robert Sinnerbrink","doi":"10.1163/2208522X-02010117","DOIUrl":"https://doi.org/10.1163/2208522X-02010117","url":null,"abstract":"\u0000The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this with Rithy Panh’s perpetrator/witness documentary, S21: The Khmer Rouge Killing Machine (2003), focusing on the mass killings perpetrated by the Pol Pot regime (1975–1979), which uses both visual representations and a more direct, bodily performative mode of re-enactment, to represent and communicate traumatic memory. Both films examine a range of moral emotions, solicited through interview sequences and different modes of cinematic re-enactment. These strategies enable the perpetrators to expose their traumatic violence and, in some cases, acknowledge the suffering of their victims, but also allow the perpetrators to be questioned and held to account, staging an ethical encounter wherein the social recognition of traumatic memory of political violence might become possible.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89278359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010116
T. Murray
The biography of Douglas Grant (c.1885–1951) has been publicly and popularly told in media since 1916. Interestingly, Grant’s unusual life-story has consistently been deployed to serve various political agendas. This essay examines the role of popular-media biographies of Douglas Grant and the emotions embedded in them, and utilises a documentary-film production as a case study to examine relations between these emotions, activist agendas and documentary-film storytelling. Additionally, given the consistent use of tragedy as a formal narrative structure employed in tellings of Douglas Grant’s story, this essay also describes how narrative structures are not culturally neutral, but are themselves emotionally suggestive cultural productions. Analysing a century of tellings of the Douglas Grant biography, this essay also offers insights into how conquest-colonial ideology is manifest in these often ‘tragic’ tales. As an attempt at decolonising scholarship, this essay also responds to insights by Indigenous commentators within the case-study text to reflect on Indigenous ontologies and the role of Country and Indigenous futurism as places/sites/histories of hope.
{"title":"Emotions, Activism and Documentary Storytelling: A Biographical Production-Based Case Study","authors":"T. Murray","doi":"10.1163/2208522X-02010116","DOIUrl":"https://doi.org/10.1163/2208522X-02010116","url":null,"abstract":"\u0000The biography of Douglas Grant (c.1885–1951) has been publicly and popularly told in media since 1916. Interestingly, Grant’s unusual life-story has consistently been deployed to serve various political agendas. This essay examines the role of popular-media biographies of Douglas Grant and the emotions embedded in them, and utilises a documentary-film production as a case study to examine relations between these emotions, activist agendas and documentary-film storytelling. Additionally, given the consistent use of tragedy as a formal narrative structure employed in tellings of Douglas Grant’s story, this essay also describes how narrative structures are not culturally neutral, but are themselves emotionally suggestive cultural productions. Analysing a century of tellings of the Douglas Grant biography, this essay also offers insights into how conquest-colonial ideology is manifest in these often ‘tragic’ tales. As an attempt at decolonising scholarship, this essay also responds to insights by Indigenous commentators within the case-study text to reflect on Indigenous ontologies and the role of Country and Indigenous futurism as places/sites/histories of hope.","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82423202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-13DOI: 10.1163/2208522X-02010110
Louise D’Arcens, Lise Waldek
This special issue, ‘Political Emotions and Ideological Performance’, emerges out of a series of workshops of the same name, held in 2020 and hosted by the Macquarie University node of the Australian Research Council Centre for the History of Emotions (CHE@MQ), with funding support from the Macquarie University Faculty of Arts. The idea for both the workshops and this special issue emerged in late 2019 out of conversations revealing the surprising number of CHE@MQ members who were currently undertaking research on political extremism, political violence and ideological identity formation. Because the node was only established in 2019, and its members hail from a wide range of disciplines, many had not yet had an opportunity to collaborate, but all were keen to learn from one another’s disciplinary approaches to the intersection of politics, ideology and emotion. The resulting collection of essays situates itself at the nexus of theoretical-textual research on emotions and data-driven sociological research, offering a novel consideration of political emotions: it explores how emotions sustain ideologies, as well as how they generate, and are generated by, political engagement. almost commonsense that to allows us to address the of how subjects become invested in particular structures’
{"title":"Introduction: Political Emotions and Ideological Performance","authors":"Louise D’Arcens, Lise Waldek","doi":"10.1163/2208522X-02010110","DOIUrl":"https://doi.org/10.1163/2208522X-02010110","url":null,"abstract":"This special issue, ‘Political Emotions and Ideological Performance’, emerges out of a series of workshops of the same name, held in 2020 and hosted by the Macquarie University node of the Australian Research Council Centre for the History of Emotions (CHE@MQ), with funding support from the Macquarie University Faculty of Arts. The idea for both the workshops and this special issue emerged in late 2019 out of conversations revealing the surprising number of CHE@MQ members who were currently undertaking research on political extremism, political violence and ideological identity formation. Because the node was only established in 2019, and its members hail from a wide range of disciplines, many had not yet had an opportunity to collaborate, but all were keen to learn from one another’s disciplinary approaches to the intersection of politics, ideology and emotion. The resulting collection of essays situates itself at the nexus of theoretical-textual research on emotions and data-driven sociological research, offering a novel consideration of political emotions: it explores how emotions sustain ideologies, as well as how they generate, and are generated by, political engagement. almost commonsense that to allows us to address the of how subjects become invested in particular structures’","PeriodicalId":29950,"journal":{"name":"Emotions-History Culture Society","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72448341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：