By Patrick Colm Hogan

Stories have interaction our feelings. We’ve identified this at the least because the days of Plato and Aristotle. What this e-book is helping us to appreciate now could be how our personal feelings essentially manage and orient tales. In mild of contemporary cognitive learn and broad interpreting in several narrative traditions, Patrick Colm Hogan argues that the constitution of reports is a scientific made from human emotion platforms. analyzing the ways that incidents, occasions, episodes, plots, and genres are a functionality of emotional techniques, he demonstrates that emotion structures are totally an important for realizing tales.

Hogan additionally makes a case for the doubtless essential 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 common 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. during the publication Hogan develops interpretations of works starting from Tolstoy’s Anna Karenina to African oral epics, from Sanskrit comedy to Shakespearean tragedy.

Integrating the newest examine in affective technological know-how with narratology, this ebook presents a strong explanatory account of narrative association.

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Extra resources for Affective Narratology. The Emotional Structure of Stories

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It is difficult to say how long this sequence took. There is a “torrent” of words that may have lasted ten seconds or ten minutes. Either way, the entire matter is reduced to the key emotional moments isolated above. ” Incidents, as I am using the term, are the focal points of emotional response, the minimal units of emotional temporality. Moreover, they seem to operate through something akin to lateral inhibition. Specifically, the isolation of an incident appears to reduce the saliency of surrounding occurrences.

As Stiva recalls this highly emotional experience (or sequence of experiences), a few components stand out sharply. The first is the image of Dolly with the letter, “looking at him with an expression of horror, despair, and fury” (2). What is striking here is that this immediately divides the experience into an almost atemporal focus and a broader periphery. The focal moment is in some way the key experience. It is the point that defines the emotion, or that crystallizes it. There is of course a larger event here.

In terms of the preceding discussion, it seems that theorists who focus on episodes and particularly on stories are likely to view emotion in terms of appraisal. In contrast, theorists who focus on events and particularly on incidents are likely to view emotion in terms of perception. The remainder of this chapter considers these two alternative approaches to emotion, developing a possible synthesis that brings together the benefits of each, and examining the relation of the resulting account to subnarrative temporal encoding.

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