scholarly journals Empathy, More or Less: Scaling Intermediary Experiences of Emotion and Affect in Innovation

2020 ◽  
Vol 2020 (1) ◽  
pp. 243-262
Author(s):  
LORA V. KOYCHEVA
Keyword(s):  
Emotion And Affect

Of Children, Adults, and Tomorrow

2018 ◽  
Author(s):  
Jamal J. Elias
Keyword(s):  
Major Element ◽  
Visual Image ◽  
Social Unit ◽  
The Social ◽  
And Gender ◽  
Adult Society ◽  
Emotion And Affect

Continuing with the discussion of sacrifice and gender that was a major element of the previous chapter, this chapter argues that emotive constructs are moral contracts that both derive from and shape society as a pious community. As such, emotion is related to virtue and is therefore aspirational. In the makeup of the social unit, morale serves as an indicator of the condition and functioning of individual bodies within the group and of the collective disposition to which the group aspires in acknowledgment of morale’s social vitality. Morale becomes linked to aspiration for a better future, one populated by finer individuals, including oneself. As such, the quest for morale becomes imbricated in the desire to shape childhood and to use children to shape adult society. Drawing together the data, methodologies, and analysis of the previous chapters, the final chapter sharpens conclusions concerning the ways in which children stand in for adults in a variety of ways and how adult anxieties and aspirations are projected upon and experienced through children, transforming them into repositories of adult intentionalities. In the process, the visual image becomes the site of the performance, emotion, and affect.

Emotion and Its Affects

2018 ◽  
Author(s):  
Jamal J. Elias
Keyword(s):  
Cognitive Psychology ◽  
Visual Representation ◽  
Written Language ◽  
Social Constructivist ◽  
Shared Understanding ◽  
Semiotic Systems ◽  
History Of ◽  
Emotional Concepts ◽  
Emotion And Affect

This chapter has a detailed discussion of emotion and affect, outlining the history of scholarly treatments of both of these concepts. It distinguishes between universalist and social constructivist theories, pointing out the merits and shortcomings of each as they rely on research in fields as diverse as neuroscience, cognitive psychology, anthropology, and philosophy. It argues that there is no universal understanding of emotion and that emotional concepts such as shame and honor are culturally determined. Emotion exists in its expression and description, be it in spoken or written language, in a bodily enactment of it, or in a visual representation. Expressions of emotion rely on conventions and semiotic systems of shared understanding for them to possess meaning.

Between Erlebnis and Erfahrung: Cinema Experience with Benjamin

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 292-312 ◽  
Author(s):  
Thomas Elsaesser
Keyword(s):  
Media Studies ◽  
Walter Benjamin ◽  
Moving Images ◽  
Film And Media Studies ◽  
The Media ◽  
Bodily Sensations ◽  
Definition Of ◽  
Media Event ◽  
Sudden Motion ◽  
Emotion And Affect

The ‘turn’ to emotion and affect in film and media studies may take its distance from earlier ways of understanding spectatorial involvement (modelled on psychoanalytic notions of identification). But such approaches, whether cognitivist in intent, or inspired by phenomenology, also return to an earlier interest in bodily sensations and somatic responses when exposed to sudden motion and moving images (associated with ideas such as innervation, shock and over-stimulation). The essay proposes to bring Walter Benjamin into the debate, with a term central to his idea of modernity, namely ‘experience’, and to revive his distinction between Erfahrung and Erlebnis. Noting certain features of excess and liminiality in contemporary cinema, and mapping them across the three distinct domains of body, time and agency, Benjamin's own attempt to locate the emotional core of the technical media is reappraised. Grounded in the peculiar variability but also interdependence of place, narration and perception, the cinema would then appear to provide Erlebnis without Erfahrung, a state formerly associated with trauma, but now the very definition of the media event.

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