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Affective Intensity and Children’s Embodiment 情感强度与儿童的体现
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0002
Jane Juffer
This chapter establishes the theoretical framework, using Brian Massumi’s theory of affect to elaborate the differences between emotions and affect. This chapter also reviews some of the media studies literature on children to show how my argument is both indebted to and departs from this scholarship. It argues for attending to children’s physiological differences from adults, while at the same time not positing an essentialized category of children.
本章建立理论框架,运用Brian Massumi的情感理论阐述情绪与情感的区别。本章还回顾了一些关于儿童的媒体研究文献,以表明我的论点是如何既得益于这些学术研究,又偏离了这些学术研究。它主张关注儿童与成人的生理差异,但同时又不假设儿童的本质类别。
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引用次数: 0
The Steven Universe, Where You Are an Experience 史蒂文的宇宙,你是一种体验
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0007
Jane Juffer
This chapter analyzes the Cartoon Network series Steven Universe, demonstrating that it is possible for television programming to valorize neurodiversity. The show and its fandom speak to the creativity of kids who occupy precarious positions in the contemporary U.S.—mixed-race, mixed-legal-status, gender-nonconforming, and blended families. The show’s hero is a young boy whose superpowers are explicitly linked to his ability to express (rather than control) his emotions. Kids also say they love the show because it allows them to process mixed-identity categories in complex ways, especially through the show’s notion of “fusion,” in which characters who are emotionally in accord with each other fuse into a hybrid identity. This fusion is illustrated in numerous examples of fanart, especially on the Tumblr platform, which markets itself as a safe space for young people who are struggling with depression and loneliness.
本章分析了卡通网络系列史蒂芬宇宙,证明了电视节目有可能使神经多样性增值。这部剧和它的粉丝们讲述了那些在当代美国处于不稳定地位的孩子们的创造力——混合种族、混合法律地位、不符合性别标准和混合家庭。这部剧的男主角是一个小男孩,他的超能力显然与他表达(而不是控制)自己情绪的能力有关。孩子们还说,他们喜欢这部剧,因为它让他们能够以复杂的方式处理混合身份类别,尤其是通过节目的“融合”概念,即情感上彼此一致的角色融合成一种混合身份。这种融合在许多同人画的例子中得到了体现,尤其是在Tumblr平台上,该平台将自己定位为一个为正在与抑郁和孤独作斗争的年轻人提供的安全空间。
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引用次数: 0
From Memes to Logos 从表情包到商标
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0009
Jane Juffer
This chapter analyzes the popular game Roblox, which also serves as the basis for community building. However, in the Roblox world, kids’ movements through the various game spaces are frequently interrupted by images of the consumer world, such as fast-food signs and branded logos. While the movement is somewhat similar to the Minecraft world, consumerism shapes a different kind of space for kids’ expressions.
本章分析了热门游戏Roblox,这也是社区建设的基础。然而,在《Roblox》世界中,孩子们在各种游戏空间中的活动经常被消费者世界的图像打断,比如快餐标志和品牌标志。虽然这个运动有点类似于《我的世界》的世界,但消费主义为孩子们的表达塑造了一种不同的空间。
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引用次数: 0
The Production of Fear 恐惧的产生
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0003
Jane Juffer
This chapter analyzes the situation of Central American children seeking refuge in the U.S.; for them, the gap between adult impositions and their own experiences means that their emotions—namely, their fears of bodily harm—are not taken seriously as they proceed through the immigration system seeking relief from deportation to dangerous homelands. I present as well an exhibit of drawings by children just released from detention to illustrate an alternative range of feelings.
本章分析了中美洲儿童在美国寻求庇护的情况;对他们来说,成人强加的东西和他们自己的经历之间的差距意味着他们的情感——也就是他们对身体伤害的恐惧——在他们通过移民系统寻求免于被驱逐到危险的家园时没有得到认真对待。同时,我还展出了刚从拘留所释放出来的孩子们的绘画作品,以说明另一种不同的感受。
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引用次数: 0
Minecraft’s Affective World Building 《我的世界》的情感世界建筑
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0008
Jane Juffer
The internet and gaming offer considerable potential for kids’ affective expression, a realm that has been largely ignored in the valorization of digital literacy and its focus on technological skills. In this chapter, I argue that the popular game Minecraft exhibits a Deleuzian kind of becoming, in which subjects are constantly maneuvering and experimenting as they construct their own worlds as well as collaborative spaces. Because the game has sprawled across technologies and led to the creation of so many spin-off products, it provides a unique space for seeing how children construct themselves through their relationship to this broadly defined “text.” In addition to the games and their products, I rely on commentary by children: my son Ezra, his friends, and YouTube users, all of whom contribute to the construction of an “archive of feelings” that is largely unregulated by adult efforts to name and govern. This archive is also part of the construction of a community of kids who, although often not physically in the same space, form social relationships.
互联网和游戏为孩子们的情感表达提供了巨大的潜力,而这一领域在数字素养的增值和对技术技能的关注中基本上被忽视了。在这一章中,我认为流行的游戏《我的世界》呈现出一种德勒兹式的成长,即主体在构建自己的世界和协作空间时不断地进行操作和实验。因为这款游戏跨越了各种技术,并创造了许多衍生产品,所以它提供了一个独特的空间来观察孩子们如何通过他们与这个广泛定义的“文本”的关系来构建自己。除了游戏及其产品,我还依赖孩子们的评论:我的儿子Ezra,他的朋友和YouTube用户,他们都为构建一个“情感档案”做出了贡献,这在很大程度上不受成年人命名和管理的约束。这个档案也是孩子们社区建设的一部分,尽管他们经常不在同一个空间,但他们形成了社会关系。
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引用次数: 0
TV’s Narratives for Emotional Management 情感管理的电视叙事
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0006
Jane Juffer
This chapter argues that much programming for younger children on Nick Jr., Disney Jr., and PBS encourages them to manage their emotions and limit their affective, bodily responses through a focus on problem solving. These shows also advocate empathy and tolerance, teaching kids how to recognize and respond to others’ feelings. Many shows segue from emotional management to an appreciation of difference, thus contributing to the wider discourse of diversity management. In a stark shift from the years when television was seen as harming children’s development, many therapists now urge parents to use television to help their children learn prosocial behavior. However, television cannot be homogenized; a genre of “sideways growth” programming encourages kids to defy proper behavior, to revel in their bodies, and to occupy spaces of intensely affective pleasure. These shows interrupt the linear narratives that characterize problem-solving approaches and thus introduce the idea of alternative modes of communication.
本章认为,在小尼克、小迪斯尼和公共广播公司(PBS)上,许多针对年幼儿童的节目都鼓励他们通过专注于解决问题来管理自己的情绪,限制自己的情感和身体反应。这些节目还提倡同理心和宽容,教孩子们如何认识和回应他人的感受。许多节目从情绪管理延伸到对差异的欣赏,从而促进了多样性管理的更广泛讨论。过去人们认为电视会损害孩子的成长,而现在,许多治疗师敦促父母利用电视来帮助孩子学习亲社会行为,这是一个明显的转变。然而,电视不能同质化;一种“横向成长”类型的节目鼓励孩子们无视适当的行为,陶醉于自己的身体,并占据强烈情感愉悦的空间。这些节目打断了解决问题方法的线性叙述,从而引入了交流的替代模式。
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引用次数: 0
“I Hate You, Dunel Trump” “我恨你,唐纳·特朗普”
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0004
Jane Juffer
This chapter analyzes the discourse of civility—which goes under the name of “niceness” in elementary schools—as it appears in kids’ letters to Trump during the campaign and immediately following the election. In this version of the emotional intelligence paradigm, teachers and parents advocate writing letters as an exercise to help kids process and name their emotions in a manner that makes them feel like they can do something within the system. These “proper” modes of expression inevitably involve conforming to standards and rules and bodily comportment. The chapter then turns to examples of kids’ artwork from three locations in which teachers gave kids the opportunity to say and especially draw whatever they wanted; in these cultural productions, there is a much greater affective range, illustrating feelings of anger, fear, and hatred in a manner that does not adhere to the discourse of niceness.
这一章分析了文明的话语——在小学以“友善”为名——在竞选期间和大选后孩子们给特朗普的信中出现的文明话语。在这个版本的情商范式中,老师和家长提倡把写信作为一种练习,帮助孩子们处理和命名他们的情绪,让他们觉得他们可以在这个系统中做些什么。这些“适当的”表达方式不可避免地涉及遵守标准、规则和身体举止。然后,这一章转向三个地方的孩子们的艺术作品的例子,老师给孩子们机会说,特别是画他们想要的东西;在这些文化作品中,有一个更大的情感范围,以一种不坚持美好话语的方式来说明愤怒、恐惧和仇恨的感觉。
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引用次数: 0
“Criss-Cross Applesauce” “纵横交错的苹果酱
Pub Date : 2019-05-28 DOI: 10.18574/nyu/9781479831746.003.0005
Jane Juffer
This chapter analyzes how the discourse of emotional intelligence intersects with national curriculum efforts such as No Child Left Behind and Common Core, as well as how these discourses play out in an actual kindergarten classroom. Emotional management dovetails with physical regulation to teach young children how to manage themselves for their own success; the chapter shows how this involves the expression rather than suppression of emotions and thus intersects with neoliberal notions of self-management. This chapter lays the groundwork for the later argument about educational media, showing how kids’ television programming prepares kids for a successful school experience.
本章分析了情商的话语如何与国家课程的努力(如“不让一个孩子掉队”和“共同核心”)相交叉,以及这些话语如何在实际的幼儿园课堂上发挥作用。情绪管理与身体调节相结合,教会幼儿如何为自己的成功管理自己;本章展示了这如何涉及情感的表达而不是抑制,从而与新自由主义的自我管理概念交叉。本章为后面关于教育媒体的争论奠定了基础,展示了儿童电视节目如何为孩子们成功的学校经历做准备。
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引用次数: 0
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Don't Use Your Words!
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