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>
>  >CALL FOR PAPERS
>>
>>Narrative Emotion: Feeling Form and Function
>>
>>Special Issue of JNT: The Journal of Narrative Theory
>>
>>Issue Editors: Ingrid Geerken and Jeffrey Pence
>>
>>Deadline: December 15, 2003
>>
>>Emotion is a vital and understudied aspect of aesthetic. We are drawn to
>>the aesthetic again and again because its impact is registered affectively
>>and somatically, as well as via rational cognition.  These emotional
>>responses are not merely secondary correlatives to more important and
>>intricate modes of thought.  Affective experiences of the aesthetic are
>>themselves complex phenomena with temporal and spatial structures that
>>deserve analyses in their own terms, as well as in relation to the various
>>specific modes (genre, media) and moments (historical, cultural) of their
>>articulation.
>>
>>Are emotions, experienced and recalled in time and space, inherently
>>narrative in character?  At the very least, expressed emotions become
>>narratives, and bear the imprint of the emotions that motivated their
>>production.  In turn, these narratives engender a variety of affective
>>responses in audiences.  Assessing the emotional response of an audience is
>>one way among many of discerning these embedded structures in narrative. In
>>this special issue, we are interested in collecting a body of work that
>>could establish the study of narrative emotion as an interdisciplinary
>>field, drawing from the diverse methods of such discourses as textual
>>criticism (of fiction, film, architecture, etc), philosophy, history and
>>psychology. At their intersections, these approaches may generate insights
>>into the history of the emotions, the viability of a poetics of feeling,
>>and the impact different media and narrative modes have upon affective
>>experience.
>>
>>We invite submissions that address the form and function of narrative
>>emotions from a variety of perspectives.  Emotions can be characterized by
>>a particular mental process: shame produces an obsessive recalling of the
>>unfortunate incident, regret an imaginative exploration of alternatives.
>>Such mental patterns might be seen to have a corollary in narrative
>>techniques (in, for example, flashback or conjecture). Alternately, the
>>affective economy of a text may appear blocked or redirected in unexpected
>>ways--such as the refusal of melancholy in a work dealing with an excess of
>>mourning. From other angles, the history of the senses could be re-examined
>>to explore how feelings are fashioned by the time, place and medium in
>>which they are expressed and encountered.  In addition, a study of
>>narrative emotions could be used to engage and intersect with recent
>>developments in narratology and cognitive science. An analysis of the
>>relation between feeling and form could even engender a new way of reading
>>texts; one, for example, that mediates between formalism and historicism by
>>privileging the phenomenological experiences of thinking and feeling
>>subjects.
>>
>>This special issue can begin to make visible a topology of narrative form
>>and affective function along these (or other) lines. As a whole, we hope
>>the special issue will answer larger questions related to these topics.
>>For example, how might textual criticism, philosophy, history and
>>psychology contribute to developing a poetics of feeling, a history of
>>emotion, or an account of narrative as emotion and emotion as narrative?
>>How might (or might not) an analysis of narrative emotion move from the
>>register of the idiosyncratic to the generalizable?  What contradictions or
>>challenges might a systematic approach to the study of affective experience
>>encounter within its own project?  What might such a systematic approach
>>have to offer to other humanistic disciplines?
>>
>>
>>
>>To submit:  Contributions should be between 3000 and 10000 words and
>>follow MLA style (5th edition).  Footnotes should be kept to a minimum and
>>incorporated into the text where possible.  Contributors may submit
>  >electronic or printed copies of their manuscripts.  The editors will not
>>return copies of submissions unless a stamped, self-addressed envelope is
>>enclosed.  Overseas authors may wish to submit disposable copies and so
>>indicate in an accompanying letter.
>>
>>Printed submissions should be addressed to:
>>
>>Jeffrey Pence
>>Department of English &
>>    Cinema Studies Program
>>Rice 130
>>Oberlin College
>>10 North Professor Street
>>Oberlin, OH  44074
>>
>>
>>Electronic submissions (Word attachment) should be addressed to:
>>
>>[log in to unmask]
>>
>>
>>Deadline for receipt of submissions:  December 15, 2003
>>
>>
>>For more information, consultation on manuscript ideas or any other
>>queries, contact either:
>>
>>Ingrid Geerken:  [log in to unmask]
>>
>>Or
>>
>>Jeffrey Pence:  [log in to unmask]
>
>--


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