Professional Documents
Culture Documents
Jonas Liliequist
The history of emotions is an expanding field of research, as the number of conferences, journals and even research centres of excellence attests. No longer treated as immutable constants of human nature, emotions have now become part of cultural history. Its practitioners are interested in emotional repertoires and styles, conventional forms of expressions, historical categorizations and conceptualizations, cultural and gendered meanings and the communicative uses and effects of emotions, analysed within a broad spectrum of cultural and social genres ranging from music and art to religion and politics. The present volume, which focuses on the medieval, renaissance and early modern periods, reflects this breadth. The modern term emotion is used here as a catch-all term for what were conceptualized as passions, affects and sentiments by contemporaries in the studied historical contexts. The aim has been not to write a coherent history of continuity and change, but rather to bring together a variety of sub-topics analysed from different disciplinary perspectives and research traditions.
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Theoretical Considerations
Change is nonetheless the very issue addressed in the opening essay by medieval historian Barbara H. Rosenwein, a pioneer and leading theorist in the field. Rosenwein brings a fresh perspective to current, dominant narratives of the history of emotions (including her own) and how they account for change. She considers the hypothesis that the appearance of new theories of emotions may have constituted turning points in the history of emotions, using thirteenth-century theologian Thomas Aquinas and his treatise on emotions as a test case. She concludes that, at least in this case, the theory ratified current norms and did not announce a moment of change. She then suggests how new, more satisfyingly comprehensive narratives of the history of emotions might be constructed. Critical and thought-provoking, Rosenweins approach raises the wider question of the possibility of writing a more general history of emotions taking into account both variety and change, while avoiding resort to a new Grand Narrative based on studies of a selective segment of the population in the West.
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The narrow scope of a strictly Western perspective is confronted by Walter Andrews, American literary scholar of Near Eastern languages and civilization, in the second essay. Starting from the idea of love as a central organizing and meaning-producing concept in Ottoman Turkish society, his aim is to demonstrate how an emotional vocabulary made up of not only words, but also images, music, and symbols as well as decoration, landscaping, ceremonies, and rituals is compiled over time, providing a basis for understanding and expressing the emotional content of a wide range of social relationships, from sexuality to religion, patronage to friendship and family life. Andrewss analytical framework not only breaks new ground for the history of emotions in Ottoman studies but also raises the further question of how to apply a comparative perspective that could account not only for differences and similarities but for the historical flows of cultural exchange and interaction as well. The history of emotions has hitherto been dominated by a Western, European perspective. A decentring (to use the term recently suggested by cultural historian Natalie Zemon Davis) of the history of emotions to include a broader geographical scope and new voices from other social classes and parts of the world will prove a most challenging task in any attempt to construct a new general narrative.1
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Emotional Repertoires
In this section, we return to the European scene and issues of emotional repertoires treated in three studies ranging from the High Middle Ages to the early nineteenth century. Repertoires represented by emotion words and rhetorical and performative expressions of emotions are important tools for the historical analysis of emotions, particularly in periods when few attempts were made to systematize theories of emotions. Using monastic texts from the twelfth century, Austrian historian Christina Lutter demonstrates in fascinating detail how representations of emotions in exemplary miracle stories played an important role in the spiritual lives of readers who incorporated the norms of the texts that they read. This instructive, affective pedagogy also provides a key to understanding how emotions were conceptualized in terms of internal and external sensation. Affective learning was, however, not restricted to religious texts. The overall impression of emotional representation in this era is one of diversity, complexity and even contradiction when different repertoires overlap. Emotional repertoires seem to have been open to a certain degree. An interesting question for future inquiry is if this open quality allowed individuals to draw on different repertoires depending on the socio-cultural context. Moving to seventeenth-century England and the Elizabethan and Stuart conversion narratives analysed by Italian historian Paola Baseotto, we find that what acted as the unifying factor in an otherwise heterogeneous group of sects
Introduction
labelled by contemporaries as Puritans was not fundamental doctrinal matters but a shared emotional repertoire or emotionology which is the concept applied by Baseotto. This is Baseottos main point and distinctive focus with respect to recent the historiographical trend which highlights differences in theological emphases and religious practices. Central to this emotionology was an emphasis on interiority and a progressive intensification of emotional states as signs of spiritual awakening. The author shows how this emotionology was carefully staged in ritualized practices described in guidebooks and autobiographies, while at the same time being derided by its critics as the disease of Enthusiasme. There is an obvious parallel between classifying Puritan emotionalism as a disease and characterizing an excessive passion for knowledge as a mania, as was done a little over 100 years later just across the Channel. In the final essay of this section, Anne Vila, American professor of French literature, studies the passions and pathologies attributed to French gens de lettres. Coeval with the well-known image of the highly socialized figure of the philosophe was the image of the impassioned knowledge-seeker in the grips of intellectual labour whose inwardness and absorption made him not only unfit for social life but also susceptible to all kinds of illness, according to contemporary medical theories of sensibility. Focusing on this less-known and often overlooked side of the culture of sensibility, Vila shows how these images and counter-images served as the basis of ambivalence and a general bifurcation within eighteenth-century French intellectual identity.
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Art and Music
The written text is but one source available to the historian of emotions and not always the best one. Compared to words, music and art have usually been perceived as having a capacity for a much more immediate and authentic expression of emotions. Art and music is the theme of the third section, starting with American art historian Pamela W. Whedons analysis of musical images in the paintings of the French artist Antoine Watteau (16841721). Whedon compares the technique of Watteaus crayon and brush with the timbre and tone colour of music in its ability to touch and arouse the senses. Her main interest, however, is how Watteau mixes French and Italian expressions of emotion, fusing their perceived high and low styles, refinement and zeal, politesse and sprezzatura; Watteau creates a new artistic and emotional style that employs both French and Italian traditions while at the same time repealing them and instilling them with modern resonance. Swedish musicologist Johanna Ethnersson Pontara asks how emotions were aroused and represented in early modern operas through musical effects. Challenging the view that the primary task of arousing wonder and delight distanced
the audience from the dramatic action, the author shows with examples from Handels opera Guilio Cesare (premiered in London 1724) how these very musical effects heightened attention and allowed for the representation of more specific emotions expressed by its main characters, which could be experienced and recognized by the audience in relation to the visual performance on stage. Music is here given prominence over text as a means for both emotional expression and the progress of dramatic action.
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Introduction
After anger and love comes fear in the last contribution to this section by cultural historian Marjo Kaartinen, also from Finland. In her essay on breast cancer and emotions in the early modern era, Kaartinen explores the many ways in which this dreaded affliction aroused fear. It was not just the horrible death that awaited the sufferer that spread fear, but the slow course of the disease and the unintentional cruelty of the various treatments. Even worse, fear of cancer was almost considered an illness in itself, capable of infecting the body with the disease. Fear was thus both caused by and the cause of bodily effects and suffering, a bodiliness or corporeality of emotions analysed in great detail in Kaartinens study of cases from late-seventeenth and eighteenth-century England.
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Thus the present volume could be said to start with the emotional styles and repertoires of Rosenweins emotional communities and end with the political and rhetorical implications of William Reddys analytical concept of emotives. In between, a broad range of studies are offered, covering mainly French and English history but with notable excursions to the northwestern periphery of Europe, central Europe and the Ottoman Empire as well. While a cultural history of emotions is still in its early, explorative stage, this anthology raises important analytical questions about historical change and perspectives of comparison and intercultural exchange.
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