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Writing Emotions Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Lettre 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Ingeborg Jandl, Susanne Knaller, Sabine Schönfellner, Gudrun Tockner (eds.) Writing Emotions Theoretical Concepts and Selected Case Studies in Literature 2017-05-15 15-01-57 --- Projekt: transcript.titeleien / Dokument: FAX ID 0247461218271772|(S. 1- 4) TIT3793_KU.p 461218271780 Printed with the support of the State of Styria (Department for Health, Care and Science/Department Science and Research), the University of Graz, and the Faculty of Arts and Humanities University of Graz. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3793-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivs 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de © 2017 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Facsimile of a text of Jean-Jacques Rousseau (Sur la mort) Typeset by Mario Huber Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-3793-9 PDF-ISBN 978-3-8394-3793-3 Contents PREFACE ........................................................................................................... 9 Writing Emotions/Reading Emotions SUSANNE KNALLER Emotions and the Process of Writing ............................................................. 17 VERA NÜNNING The Affective Value of Fiction Presenting and Evoking Emotions ....................................................................... 29 GESINE LENORE SCHIEWER The Author – “Specialize[d] in Having Fun”? Cognitive Theories of Emotion and Literary Studies in the Context of Two Interviews with Michael Stavarič ................................................................. 55 ANGELA LOCATELLI Emotions and/in Religion Reading Sigmund Freud, Rudolph Otto, and William James ................................... 77 Emotions Mediated INGEBORG JANDL Autism, Love, and Writing in and around Russian Literature On Feeling, Non-Feeling and Writing as a Communicative Medium to Express Emotions ...................................................... 99 NORA BERNING Riding Emotions The Motorcycle as a Vehicle of Political E/Motions in Rachel Kushner’s Novel The Flamethrowers ...................................................... 123 JULIA GRILLMAYR “[…] which approximates ‘I love you’.” Jonathan Safran Foer’s Punctuation of Emotions ................................................. 137 MARIE DÜCKER Form and Emotion in Stephen Chbosky’s The Perks of Being a Wallflower .................................................................. 159 SILKE JANDL The Intermediality of Emotion Representations of Emotionality and Fear in YouTube Vlogs and Beyond ............. 175 Emotions on Stage and in Literary Texts GUDRUN TOCKNER “’Tis Magic, Magic that Hath Ravished Me” Passionate Conjuring in Doctor Faustus and The Devil’s Charter ......................... 197 EMANUEL STELZER Passionate Writing The Rhythms of Jealousy in Early Modern English Texts and Drama .................... 215 YULIA MARFUTOVA When the Author Is Not the Author of Passions J.J. Engel’s Herr Lorenz Stark and the Pathognomy of Style ................................ 233 PIRJO LYYTIKÄINEN How to Study Emotion Effects in Literature Written Emotions in Edgar Allan Poe’s “The Fall of the House of Usher” .............. 247 SABINE SCHÖNFELLNER Posthuman Nostalgia? Re-Evaluating Human Emotions in Michel Houellebecq’s La possibilité d’une île .. 265 Writing Wounds RIIKKA ROSSI Writing Disgust, Writing Realities The Complexity of Negative Emotions in Émile Zola’s Nana ............................... 277 ELISE NYKÄNEN Breaking the Ice, Freezing the Laughter Authorial Empathy, Reader Response, and the Kafkaesque Poetics of Guilt and Shame ............................................................. 295 TOM VANASSCHE Hiding One’s Feelings ‘Emotionless’ Rhetoric in Raul Hilberg’s The Destruction of the European Jews and Peter Weiss’s Die Ermittlung ............... 311 LAURA OULANNE Writing Wounded Reading Djuna Barnes’s Writership as Affective Agency ..................................... 331 HETA PYRHÖNEN Love under Threat The Emotional Valences of the Twilight Saga ..................................................... 347 ANNA OVASKA Detuned Selves Evoking and Conveying Affects and Emotions in Depression Writing ................... 363 AUTHORS ...................................................................................................... 379 Preface After a long period of neglect, emotions have become an important topic in literary studies, although literature is not the only field of interest when dealing with the question of emotion. Within the humanities, disciplines such as film studies, history, anthropology and philosophy have made influential contribu- tions, while in the realm of the natural and social sciences the topic of emotions has been widely discussed in neurology, biology, sociology and psychology. This considerable involvement of such a great variety of disciplines led to the assumption of an “emotional turn” (Anz 2006). But one could also pose the challenging question of whether it is appropriate to speak rather of an “affective (re)turn” (Keen 2011), given the fact that emotions have been a topic in philoso- phy and the arts since antiquity. Emotions were, for example, also broadly treat- ed in the discourses on affect and passion in the 16th and 17th century, in the 18th century’s aesthetic of sentiment or, with the concept of empathy (Einfüh- lung), in the 19th and early 20th century. These observations provided the starting point for this volume and the inter- national conference preceding it. The symposium “Writing Emotions. Literature as Practice (19th to 21st Century)” was held at the University of Graz from 18 to 20 May 2016. It was organized by the Center for Cultural Studies and the doc- toral programme “Culture – Text – Act(ion)” at the University of Graz in coop- eration with the European PhDnet “Literary and Cultural Studies”. International PhD students, postdoc researchers and senior researchers from various disci- plines, such as English and American Studies, German Studies, Slavic Studies and Comparative Literature, came together to present and discuss their newest findings and theoretical models concerning emotions and literature, with a spe- cial focus on the practice of writing. In their papers, they drew on theoretical concepts and studies from fields such as philosophy and cognitive studies and transferred these to cultural and literary analyses. The conference opened up an interdisciplinary dialogue to pose questions and formulate theoretical models from which the various disciplines could then profit in turn. 10 | WRITING EMOTIONS The central questions addressed at the conference as well as in the contributions in this volume are the following: • Which roles do emotions play within writing as an aesthetic process? • Where and how do emotional moments of the practice of writing leave traces within the text? • How do authors play with this emotional impact? • Where and how do authors explicitly deal with emotion and writing or with writing as an emotional practice within the texts? • What kind of role do intermedial strategies play? • Where does intertextuality come in? • How is the topic and context of media devices incorporated (language, writing tools, photography, film, the digital etc.)? • What theoretical models do we have for analysing forms of emotion in modern literature? • What are the interfaces and borders between sociocultural and scientific con- cepts of emotion and aesthetic emotions in the context of writing as agency? • Which types of emotion and which forms of literary emotions can be found in the context of writing as agency? The contributions, grouped into four thematic sections, ponder these questions and their implications. The first section is conceived as a theoretical introduction. In her programmatic proposal, Susanne Knaller presents the interconnections between emotions and the process of writing, summing up the core questions of the volume and estab- lishing a theoretical basis for it. Drawing on recent scholarship on emotions and literature, she particularly highlights the complex role of literature/written texts as both the result of and the trigger for emotional patterns and as potentially enforcing and/or challenging norms.
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