Revisiting the shaman’s ecstasy: The intense emotion that ignites the performance of song and dance

2018 ◽  
Vol 5 (2) ◽  
pp. 183-205 ◽  
Author(s):  
Hillary Keeney ◽  
Bradford Keeney
Keyword(s):  
Intense Emotion

Introducing the Prose Poem

Prose Poetry ◽  
2020 ◽  
pp. 3-27
Author(s):  
Paul Hetherington ◽  
Cassandra Atherton
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
Literary Form ◽  
Prose Poetry ◽  
Literary Genre ◽  
Prose Poem ◽  
Nineteenth Century France ◽  
The Common ◽  
Common Observation ◽  
Intense Emotion

This chapter traces prose poetry's development in nineteenth-century France and its early reception and subsequent critical views about the form. The prose poem in English is now established as an important literary form in many countries at a time when the composition and publication of poetry is thriving. However, while poetry generally continues to be recognized as a literary genre highly suited to expressing intense emotion, grappling with the ineffable and the intimate, and while lineated lyric poetry is widely admired for its rhythms and musicality, the main scholarship written about English-language prose poetry to date defines the form as problematic, paradoxical, ambiguous, unresolved, or contradictory. The common observation that the term “prose poetry” appears to contain a contradiction is not surprising given that poetry and prose are often understood to be fundamentally different kinds of writing. The chapter then defines the prose poem's main features and discusses the challenge prose poetry presents to established ideas of literary genre.

scholarly journals EMOTIONAL REGULATION ON NEGATIVE AFFECT AND AGGRESSION: A REVIEW

2021 ◽  
Vol 4 (2) ◽  
pp. 29-44
Author(s):  
Nur Syafiqa Balqis Md. Din ◽  
Mahadir Ahmad
Keyword(s):  
Negative Affect ◽  
Emotional Regulation ◽  
Negative Emotion ◽  
Negative Mood ◽  
The Past ◽  
Negative Emotional State ◽  
Regulation Strategies ◽  
The Relationship ◽  
Intense Emotion

Abstract: The frustration-aggression theorists generally posit aggression based on the influence of negative emotion or affect. Recently, investigation on the principles that influence the tendencies for aggressive responses play out in the mediating pathway, with the context that negative affect may or may not directly lead to aggression. Within the exploration at modifying the frustration-aggression concept, emotional regulation is an identified mechanism that buffers aggression resulting from negative emotional experiences. In turn, this has challenged the traditional frustration-aggression theory that indicates frustration (negative affect) does not always lead to aggression, in the case where the intense emotion from the relevant external situation has a chance to be modulated. However, little studies have documented the role of emotional regulation on negative affect and aggression. Therefore, this paper presents the nature of negative affect and emotional regulation strategies on aggression, while relating their pathway based on the contemporary General Aggression Model (GAM). We utilised the Google Scholar as the database in locating the relevant articles, with the terms focused on “Emotional Regulation” AND “Negative Affect” OR “Negative Mood” OR “Negative Emotion” AND “Aggression”. Reviews on the past studies that have investigated the role of emotional regulation on the relationship between aspects of negative affect and aggression are also discussed.  Emotional regulation has been consistently identified as an important mechanism that mediates the effect on negative emotional state on aggressive behaviours. Future studies are suggested to further investigate the inherent strategies of emotional regulation and taps into different forms of negative affect, besides anger, on aggression.

The Junior Theatre Festival and Broadway Junior

2019 ◽  
pp. 35-66
Author(s):  
Stacy Wolf
Keyword(s):  
Middle School ◽  
Martin Luther ◽  
Musical Theatre ◽  
Immediate Feedback ◽  
Community Groups ◽  
School Aged Children ◽  
Broadway Musicals ◽  
Martin Luther King ◽  
Professional Artist ◽  
Intense Emotion

Since 2003, more than four thousand middle school–aged children and their teachers and directors have gathered in Atlanta, Georgia, each January during Martin Luther King Jr. weekend to celebrate musical theatre at the Junior Theatre Festival (JTF). Produced by iTheatrics (the company that adapts Broadway musicals for kids), Playbill, and Music Theatre International, the convention features ninety school or community groups who present a fifteen-minute segment from a show that they rehearsed or performed at home for professional artist adjudicators’ immediate feedback. The weekend also includes performance workshops for kids and producing workshops for adults, a showcase of musical numbers from new shows, and an elaborate distribution of awards, during which almost every group is publicly recognized. Fueled by progressive language and democratic affirmations, JTF is unabashedly profit-driven, since MTI licenses the very repertoire of musicals that the children perform. The kids who attend JTF find affirmation and community in an intense, emotion-filled weekend that celebrates musical theatre. JTF combines crass commercialism and heartfelt outreach in a seamless, exuberant event.

Affect Regulation Skills for Children

RAINBOW ◽  
2017 ◽  
pp. 41-46
Author(s):  
Amy E. West ◽  
Sally M. Weinstein ◽  
Mani N. Pavuluri
Keyword(s):  
Affect Regulation ◽  
Negative Emotion ◽  
Treatment Protocol ◽  
Key Skills ◽  
The Family ◽  
Intense Emotion

Session 4 of the RAINBOW treatment protocol is primarily conducted with the child and focuses on developing affect-regulation skills (ingredient A: Affect regulation of RAINBOW). Key skills developed in this session include recognizing and labeling emotions, identifying physiological cues of anger and other feelings, and recognizing triggers of anger. These skills are taught in order to help the child to normalize the experience of intense emotion, and to teach the child how to cope with intense negative emotion. In addition, the child’s completed mood charts are reviewed, and mood monitoring is assigned again as a between-session task for the child and the family.

Complexities of high profile interpreting

Interpreting ◽  
2012 ◽  
Vol 14 (2) ◽  
pp. 145-164 ◽  
Author(s):  
Anne Martin ◽  
Mustapha Taibi
Keyword(s):  
Working Conditions ◽  
Professional Role ◽  
Terrorist Attacks ◽  
Structured Interviews ◽  
International Media ◽  
Professional Performance ◽  
High Profile ◽  
Self Image ◽  
Intense Emotion

This paper examines the experience, perceptions and narratives of the interpreters who worked at the trial of the Madrid terrorist attacks of 11th March 2004. Using semi-structured interviews as an instrument, information was sought from the members of the interpreting team regarding their role and self-image, their relationship with other professionals during the trial, their management of emotions, pressure and possible conflict, as well as the effect of a high profile case such as this on their interpreting performance. The findings show that the interpreters were generally clear and confident about their professional role and capacity, that their working conditions were inadequate, especially at the beginning of the trial, and that the experience heightened the awareness of other court professionals with regard to interpreting. The nature of the trial, the presence of national and international media, as well as the immense responsibility the interpreters assumed in this case created an atmosphere of intense emotion and pressure. However, most of the participants in this study reported that this did not affect their professional performance.

scholarly journals Grief and mourning gone awry: pathway and course of complicated grief

2012 ◽  
Vol 14 (2) ◽  
pp. 119-128 ◽  
Keyword(s):  
Risk Factors ◽  
Anxiety Disorder ◽  
Diagnostic Criteria ◽  
Complicated Grief ◽  
Evidence Based ◽  
Know How ◽  
Basic Assumptions ◽  
Intense Emotion

Complicated grief is a recently recognized condition that occurs in about 7% of bereaved people. People with this condition are caught up in rumination about the circumstances of the death, worry about its consequences, or excessive avoidance of reminders of the loss. Unable to comprehend the finality and consequences of the loss, they resort to excessive avoidance of reminders of the loss as they are tossed helplessly on waves of intense emotion. People with complicated grief need help, and clinicians need to know how to recognize the symptoms and how to provide help. This paper provides a framework to help clinicans understand bereavement, grief, and mourning. Evidence-based diagnostic criteria are provided to help clinicians recognize complicated grief, and differentiate it from depression as well as anxiety disorder. We provide an overview of risk factors and basic assumptions and principles that can guide treatment.

Song

2020 ◽  
Author(s):  
Stephanie Burt ◽  
Jenn Lewin
Keyword(s):  
Early Modern ◽  
Lyric Poetry ◽  
Early Modern Period ◽  
Musical Language ◽  
Literary Works ◽  
Modern Period ◽  
The Everyday ◽  
Intense Emotion

Ideas about song, and actual songs, inform literary works in ways that go back to classical and to biblical antiquity. Set apart from non-musical language, song can indicate proximity to the divine, intense emotion, or distance from the everyday. At least from the early modern period, actual songs compete with idealized songs in a body of lyric poetry where song is sometimes scheme and sometimes trope. Songs and singers in novels can do the work of plot and of character, sometimes isolating songwriter or singer, and sometimes linking them to a milieu beyond what readers are shown. Accounts of song as poetry’s inferior, as its other, or as its unreachable ideal—while historically prominent—do not consider the variety of literary uses in English that songs—historically attested and fictional; popular, vernacular, and “classical”— continue to find.

Co-Imagination of Fictional Worlds in Film Viewing

2018 ◽  
Vol 22 (2) ◽  
pp. 230-244 ◽  
Author(s):  
Eduard Sioe-Hao Tan ◽  
Valentijn Visch
Keyword(s):  
Real World ◽  
Actual World ◽  
Emotional Experiences ◽  
Popular Film ◽  
Fictional Worlds ◽  
Typical Experience ◽  
Film Experience ◽  
First Time ◽  
Film Viewing ◽  
Intense Emotion

The typical experience of narrative film is characterized by a remarkable intensity as to absorption and emotion. Current explanations attribute the experience to the realistic perceptual impact of the film. This theoretical article sets out to explain the experience as the result first of the film-viewer's acts of imagination of fictional worlds. More specifically, it seems suitable to conceptualize the film experience as arising from pretense play. Pretense play can afford room for free imagination leading to intense emotion, as well as restrictions to the imagination “quarantining” ( Leslie, 1987 ) pretended fictional worlds from the real world, thus safeguarding the enjoyability and adaptiveness of the experience. Applying the concept of joint pretense for the first time to film, we follow Walton (1990) in his account of fiction as an institutionalized form of pretense play enabling intense emotional experiences in the cinema, including unpleasant ones to be appreciated by film-viewers. Thus, the model of co-imagination has as components (a) the generation of fictional film worlds—the acts of pretense in the narrower sense; (b) the participation in; and (c) the appreciation of these. We argue that the account of the experience can be improved if it is conceived as the outcome of joint pretense, in which film-viewers in their imagination activity team up with filmmakers—experts by eminence in prompting the viewers’ imagination. Finally, in our model of co-imagination in popular film joint pretense acts are layered ( Clark, 1996 ) as to the contents of the fictional worlds, with the lowest layer representing the collaboration for imagination between filmmaker and film-viewer in the actual world and the higher ones representing fictional worlds of increasing depth of imagination. Because of asymmetric access relations among layers, returns to the actual world in advanced pretense are difficult, which helps quarantining and the sense of absorption.

“Look At It Carefully Now”: Athenian Tragedy And The “Talking Cure”

2020 ◽  
Vol 57 (6) ◽  
pp. 753-762
Author(s):  
Sophie Mills
Keyword(s):  
Fifth Century ◽  
Psychological Effects ◽  
Close Reading ◽  
Psychological Dimension ◽  
Mental Disturbance ◽  
Rational Thought ◽  
Talking Cure ◽  
Medical Writers ◽  
Intense Emotion ◽  
The Way

It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides’ Bacchae with modern psychotherapy. But a reading of medical writers’ views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more “scientific cures” based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides’ Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

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