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Introduction: How Do We Study Religion and Emotion?
... 8 By elevating the role of affects vis-à-vis reason and knowledge, affect theorists deconstruct a powerful and persistent view of the hierarchical structure of the human being. This hierarchy certainly dates back millennia and posits our rational nature as superior and controlling and our affectual or 2 Schaefer, Religious, p. 23. 3 (Corrigan 2017). 4 Schaefer, Religious, p. 15. 5 Schaefer, Religious, p. 94. 6 Schaefer, Religious, p. 24. ...
Affect theory has made important contributions recently to the study of religion, particularly drawing our attention away from ideas and practices to the emotional or affectual experience of religion. However, there is a danger that affect theory may become yet another “protective strategy” (to use a term from philosopher of religion Wayne Proudfoot) in academic wars about the nature of religion. As a consequence, there is a danger that affect theory will become too restrictive in its scope, limiting our ability to use it effectively in investigating “religious” or “spiritual” affects in otherwise secular practices and institutions (such as sport). If we can avoid turning affect theory into a protective strategy, it can become a useful tool to provide insights into the “spirituality” of sport.
Zusammenfassung
‚Musik‘ ist ein elementarer, wenngleich wenig erforschter, Bestandteil religiöser Praxis. Daher wird in den aktuellen Stand der Religionsmusikologie als Teildisziplin der Religionswissenschaft sowie den neueren Forschungsstand eingeführt. Dieser wird anhand der zuvor aufgestellten Kriterien einer musikphilosophisch grundierten Arbeitsdefinition von Musik auf seine religionswissenschaftliche Haltbarkeit überprüft. Anhand der hierin festgestellten Desiderata sowie Monita wird daraufhin programmatisch entworfen, was die Religionsmusikologie für die Religionswissenschaft leisten kann. Hierfür wird die Bezugsdisziplin Musikwissenschaft sowie ihre relevanten Teildisziplinen inklusive der kulturwissenschaftlichen Atmosphärenforschung herangezogen, um einen Impuls für die religionswissenschaftliche Erforschung von Musik in religiöser Praxis zu liefern. Ausgehend von der Arbeitsdefinition von Musik als affektive Kommunikation, welche anhand etischer Termini intersubjektiv zugänglich gemacht und analysiert werden kann, wird dafür plädiert, einen diskursiven Ansatz zu wählen. Die intentionale Nutzung von Musik wird somit als klanglich-kommunikativer Aspekt religiöser Praxis anerkannt, dem – gemäß der Komplexität des Phänomens – mit einem breiten methodischen sowie theoretisch fundierten Instrumentarium begegnet werden muss, welches aus den musikwissenschaftlichen Bezugsdisziplinen geschöpft werden kann.
Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork—perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shift the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The “new fieldwork” moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts. In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of “the past” fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.
Philosophers since Aristotle have explored emotion, so the new emphasis on emotion in Anglo-American philosophy is the rediscovery of a discipline that is very old and has always been essential to the "love of wisdom." Today, it has become evident to most philosophers that emotions are ripe for philosophical analysis, a view supported by a considerable number of excellent publications. Emotions have now become mainstream. In this volume, I have tried to bring together some of the best Anglo-American philosophers now writing on the philosophy of emotion. I have solicited chapters from those philosophers who have already distinguished themselves in the field of emotion research and have interdisciplinary interests, particularly in the social sciences. It is impossible to study the emotions today without engaging with contemporary psychology and the neurosciences. Philosophy has always been (in its own mind, at least) "the queen of the sciences." Thus the essays included here should appeal to a broad spectrum of emotion researchers as well as philosophers interested or at least curious about their emotions.
The position of emotion in music has been a subject of considerable interest and debate. However emotional aspects of music have received surprising little attention in the 45 years since the publication of Leonard Meyer's classic work 'Emotion and meaning in music.' During that time, both 'music psychology' and 'emotion' have developed as lively areas of research, and the time is fitting therefore to try and bring together this multidisciplinary interest and take stock of what we now know about this important relationship. A new volume in the Series in Affective Science, Music and Emotion; Theory and Research brings together leading researchers interested in both these topics to present the first integrative review of this subject. The first section reflects the various interdisciplinary perspectives, taking on board views from philosophy, psychology, musicology, biology, anthropology, and sociology. The second section addresses the role of our emotions in the composition of music, the ways that emotions can be communicated via musical structures, the use of music to express emotions within the cinema. The third section looks at the emotions of the performer - how do they communicate emotion, how does their emotional state affect their own performance. The final section looks at the ways in which our emotions are guided and influenced while listening to music, whether actively or passively. Music and Emotion is a timely book, one that will interest psychologists, musicologists, music educators, and philosophers.
Brad Inwood presents a selection of his most influential essays on the philosophy of Seneca, the Roman Stoic thinker, statesman, and tragedian of the first century AD. Including two brand-new pieces, and a helpful introduction to orient the reader, this volume will be an essential guide for anyone seeking to understand Seneca’s fertile, wide-ranging thought and its impact on subsequent generations. In each of these essays Seneca is considered as a philosopher, but with as much account as possible taken of his life, his education, his intellectual and literary background, his career, and his self-presentation as an author. Seneca emerges as a discerning and well-read Stoic, with a strong inclination to think for himself in the context of an intellectual climate teeming with influences from other schools. Seneca’s intellectual engagement with Platonism, Aristotelianism, and even with Epicureanism involved a wide range of substantial philosophical interests and concerns. His philosophy was indeed shaped by the fact that he was a Roman, but he was a true philosopher shaped by his culture rather than a Roman writer trying his hand at philosophical themes. The highly rhetorical character of his writing must be accounted for when reading his works, and when one does so the underlying philosophical themes stand out more clearly. While it is hard to generalize about an overall intellectual agenda or systematic philosophical method, key themes and strategies are evident. Inwood shows how Seneca’s philosophical ingenium worked itself out in a fundamentally particularistic way as he pursued those aspects of Stoicism that engaged him most forcefully over his career.
Why are African Americans so underrepresented when it comes to interest in nature, outdoor recreation, and environmentalism? This study looks beyond the discourse of the environmental justice movement to examine how the natural environment has been understood, commodified, and represented by both white and black Americans. Bridging the fields of environmental history, cultural studies, critical race studies, and geography, it argues that the legacies of slavery, Jim Crow, and racial violence have shaped cultural understandings of the “great outdoors” and determined who should and can have access to natural spaces. Drawing on a variety of sources from film, literature, and popular culture, and analyzing different historical moments, including the establishment of the Wilderness Act in 1964 and the aftermath of Hurricane Katrina, the author reveals the perceived and real ways in which nature and the environment are racialized in America. Looking toward the future, she also highlights the work of African Americans who are opening doors to greater participation in environmental and conservation concerns.
In The Navigation of Feeling: A Framework for the History of Emotions, William M. Reddy offers a theory of emotions which both critiques and expands upon recent research in the fields of anthropology and psychology. Exploring the links between emotion and cognition, between culture and emotional expression, Reddy applies this theory of emotions to the processes of history. He demonstrates how emotions change over time, how emotions have a very important impact on the course of events, and how different social orders either facilitate or constrain emotional life. In an investigation of Revolutionary France, where sentimentalism in literature and philosophy had promised a new and unprecedented kind of emotional liberty, Reddy's theory of emotions and historical change is successfully put to the test.
Emotions shape the landscape of our mental and social lives. Like geological upheavals in a landscape, they mark our lives as uneven, uncertain and prone to reversal. Are they simply, as some have claimed, animal energies or impulses with no connection to our thoughts? Or are they rather suffused with intelligence and discernment, and thus a source of deep awareness and understanding? In this compelling book, Martha C. Nussbaum presents a powerful argument for treating emotions not as alien forces but as highly discriminating responses to what is of value and importance. She explores and illuminates the structure of a wide range of emotions, in particular compassion and love, showing that there can be no adequate ethical theory without an adequate theory of the emotions. This involves understanding their cultural sources, their history in infancy and childhood, and their sometimes unpredictable and disorderly operations in our daily lives.
Between 1996 and 2014, Mark Driscoll's Mars Hill Church multiplied from its base in Seattle into fifteen facilities spread across five states with 13,000 attendees. When it closed, the church was beset by scandal, with former attendees testifying to spiritual abuse, emotional manipulation, and financial exploitation. In Biblical Porn Jessica Johnson examines how Mars Hill's congregants became entangled in processes of religious conviction. Johnson shows how they were affectively recruited into sexualized and militarized dynamics of power through the mobilization of what she calls "biblical porn"—the affective labor of communicating, promoting, and embodying Driscoll's teaching on biblical masculinity, femininity, and sexuality, which simultaneously worked as a marketing strategy, social imaginary, and biopolitical instrument. Johnson theorizes religious conviction as a social process through which Mars Hill's congregants circulated and amplified feelings of hope, joy, shame, and paranoia as affective value that the church capitalized on to grow at all costs.
Lauren Berlant explores individual and collective affective responses to the unraveling of the U.S. and European economies by analzying mass media, literature, television, film, and video.
Book synopsis: For the Pre-Socratic philosophers the soul was the source of movement and sensation, while for Plato it was the seat of being, metaphysically distinct from the body that it was forced temporarily to inhabit. Plato's student Aristotle was determined to test the truth of both these beliefs against the emerging sciences of logic and biology. His examination of the huge variety of living organisms - the enormous range of their behaviour, their powers and their perceptual sophistication - convinced him of the inadequacy both of a materialist reduction and of a Platonic sublimation of the soul. In De Anima, he sought to set out his theory of the soul as the ultimate reality of embodied form and produced both a masterpiece of philosophical insight and a psychology of perennially fascinating subtlety.
In the 1960s, Jewish music in America began to evolve. Traditional liturgical tunes developed into a blend of secular and sacred sound that became known in the 1980s as “American Nusach.” Chief among these developments was the growth of feminist Jewish songwriting. In this lively study, Sarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe the multiple roots and development of feminist Jewish music in the last quarter of the twentieth century. Focusing on the work of prolific songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael, Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume illuminates the biographies and oeuvres of innovators in the field, and shows how this new musical form arose from the rich contexts of feminism, identity politics, folk music, and Judaism. In addition to providing deep content analysis of individual songs, Ross examines the feminist Jewish music scene across the United States, the reception of this music, challenges to disseminating the music beyond informal settings, and the state of Jewish music publishing. Rounding out the picture of the transformation of Jewish music, the volume contains appendixes of songs and songwriters a selection of musical transcriptions of feminist Jewish songs, and a comprehensive discography. This book will interest scholars and students in the fields of American Jewish history, women’s studies, feminism, ethnomusicology, and contemporary popular and folk music.
This paper addresses the role of emotion in the qualitative research process and in particular, the effects of emotional experiences on the researcher. Drawing briefly on the literature, we show the importance of emotion for understanding the research process. Whilst this literature acknowledges the emotional risk for research respondents, there is little evidence providing in-depth understanding of the emotions of the researcher. We consider theoretically and empirically, the significance of emotion throughout the duration of a research project. Using our own personal experiences in the field, we present a range of emotional encounters that qualitative researchers may face. We offer suggestions for research teams who wish to develop strategies for ‘managing’ emotion and effectively utilizing ‘emotionally-sensed knowledge’. We conclude that unless emotion in research is acknowledged, not only will researchers be left vulnerable, but also our understandings of the social world will remain impoverished. The challenge therefore is how to construct meaning and develop understanding and knowledge in an academic environment that, on the whole, trains researchers to be rational and objective, and ‘extract out’ emotion.
This chapter is a shortened version of the essay “Taking Subjectivity into Account,” in Lorraine Code’s (1995) book Rhetorical spaces: Essays on gendered locations (New York: Routledge, pp. 23–57). Code argues that the subjectivity of the knower in the well-known epistemological formulation “S knows that p” matters a great deal more than the dominant positivist-empiricist perspective suggests. In spite of the appearance of neutrality and universalizability of the knowing or knowledge-producing subject “S,” Code argues that most knowledge production is politically invested, and that the social and historical locations of “S” (such as gender, race, and class) affect the range of topics likely to be selected for investigation. Moreover, taking subjectivity into account also means examining political and other structures for the ways in which they direct research to focus on certain lines of inquiry rather than others.