Emotion in the Rhetorical Arts and Literary Culture c.1070–c.1400

Chapter 3 explores how style itself became an explosive field in the professional rhetorics of the eleventh through thirteenth centuries, the ars dictaminis and the ars poetriae. These new pragmatics of rhetorical theory trace their roots back to the epideictic teaching of late antiquity, where the whole range of emotions is a property of style. The arts of poetry and of letter-writing have proved extremely resistant to modern theoretical probing of their affective and aesthetic principles, because they stress the technical dimension of composition. But they also see rhetoric as a performance-oriented enterprise, and for them the obvious resource for generating strong emotion lies in style. This apotheosis of style is the most durable medieval tradition of teaching how to respond affectively to texts and to write affectively oneself. It manifests itself with joyful zeal in all quarters, from lowly classroom poetry and exemplary anthologies to Petrarch’s commanding high style and Chaucer’s parodies of emotive style.

Pumping Up the Base: Deployment of Strong Emotion and Simple Language in Presidential Nomination Acceptance Speeches

Background and Method: This research examines the nomination acceptance speeches of US presidential candidates from Republican and Democratic parties in the post-WWII mass communication era (1948–2020, 38 speeches). Variables studied are the emotional tone of the speeches, their abstractness, their Grade Level, their employment of personal pronouns and their mentions of “America”. Speeches were scored with the Dictionary of Affect in Language (a sentiment analysis tool).Predictions: On the basis of functionalist theories of political discourse, it was predicted that the speeches would have a pleasant and active or celebratory emotional tone. Based on related research that focused on the effects of mass distribution on presidential communications, it was predicted that the speeches would increase in pleasantness, arousal and linguistic simplicity across years.Results: As predicted, speeches were pleasant and active in tone. Across years, speeches became significantly more arousing, less abstract, simpler, and longer. When individual speeches were divided into five equal portions, a strong significant quadratic trend was observed for pleasantness, which started high at the beginning of a speech, fell in the center, and rose again at the end.Conclusions: Presidential nomination acceptance speeches are emotionally pleasant and active and linguistically simple (Grade 8 level). Between 1948 and 2020, they remained pleasant, and became more active and simpler. In service of their aim to “pump up the base” individual speeches began on a pleasant, nationalistic and personal note, encompassed duller and more impersonal material in their centers, and became positive again at the end.

Emotional Analysis of G. M. Hopkins’ Spring and Fall

This article critically focuses on the emotions created in the poetry of Gerard Manley Hopkins. It explores the various features responsible for creating feelings in poetry. Among them are word choice, sound choice and imagery. Moreover, it delves into the poem to anayse how devices such as alliteration, simile, metaphor, diction, and symbolism play a vital role. Appropriate implementation of these features create strong emotions in poetry. In most of his poems, Hopkins employed coinage words. In “Spring and Fall”, he doubly used coinage words in a single – line. In the second line of the poem, he coined ‘Goldengroove’ and ‘unleaving’ and in the eighth line ‘wanwood’ and ‘leafmeal’. The word ‘Goldengroove’ is not used for a place in reality yet, and it is a place that represents autumn’s beauty. ‘Golden groove also refers to the ‘Garden of Paradise’. It indicates the four seasons of the year and the chronological phases of human life too. The words ‘golden’ and ‘groove’ are combined to form a single word. The word ‘unleaving’ encapsulates the noun ‘leaf’ employed as a verb possessing a negative prefix ‘un’, which means ‘leaving leaves’. The coinage word ‘unleaving ' is an Anglo-Saxon and comes in the category of pun. Another word, 'wanwood', is also a compound word. ‘Wanwood’ explains the pale condition of trees that have shed their leaves, so they seem to become ‘wan’ or pale. Initially, the word ‘leafmeal’ appears to be ambiguous, yet this ambiguity is expelled immediately.’Leafmeal’ refers to the phrase ‘leaf by leaf’. The two words ‘wanwood’ and ‘leafmeal’ are originated from Anglo- Saxon ring. Hopkins entitled the poem” Spring and Fall”, which itself enhances strong emotion. The rhyme scheme's alteration in this innovative poem, “Spring and Fall”, exhibits the speaker's feelings.

Therapist Materials for the Three Parts of Emotions (3-Component Model)

The session covered in this chapter looks at the three components of emotions, which are thoughts, physical sensations, and behaviors/urges. These components interact and unfold over time. With regard to thoughts, clients frequently know that they have thoughts, but they have difficulty putting the thoughts into specific words. With regard to physical sensations, clients are often least familiar with thinking about physical sensations as a part of emotion. With regard to behaviors, it is useful to think of urges as well as behaviors, and also to broaden thinking to a wide range of behaviors, including not doing certain things. It is particularly useful to identify the three components of emotion in different, recent situations where they experienced strong emotion or behavioral symptoms, such as binge eating, compensatory behavior, driven exercise, body checking, or skipping a meal.

Between attraction and aversion: How designers can use the concept of disgust to influence food consumption

Disgust is a strong emotion of aversion. In the context of food, it is often referred to as a guardian of the mouth, preventing close contact with pathogens and the accidental consumption of poisons. However, disgust can also create a certain level of attraction and be part of positive experiences, even in the context of food. In this article, we discuss different ways of using disgust to influence eating behaviour and contribute to healthier food consumption. We outline ten different bridging concepts accompanied by various design exemplars on how to use disgust in the context of critical food design. In addition, we present four different lenses that can help to refine the design concepts.

A Comparative Analysis of Muhammad and Oe’s Novels

This is a comparative analysis of two novels entitled “The Son of Mad Mat Lela,” which is written by Ishak Hadji Muhammad, a famous Malaysian writer and the other one is “Teach us to Outgrow our Madness,” by a Japanese novelist Kenzaburo Oe. This study compared the literary styles of Muhammad and Oe through the lens of their vocabulary and language use. Muhammad’s literary styles is simple, clear and vivid. One reads the story with delight because the words that strung together sound on the air like music. He does not use metaphor; his style is still striking in his own way. Many readers still notice his style no matter how plain it is. This is to say that Muhammad could write lucidly, simply and lively by observing grammar rules in writing. He uses common phrases of the day not with artificially but with naturalness. While, Oe’s literary style is more of long and complex sentences or two that occupy a paragraph. Most of his passages convey strong emotion describing an intimate knowledge of the lives of the characters.

CODE-SWITCHING IN INDONESIAN POPULAR SONGS AND THE IMPLICATIONS FOR ENGLISH LANGUAGE TEACHING

Code-switching is a common phenomenon in a bilingual and multilingual society. People utilize codes in different forms of interactions for various reasons and functions. This paper investigates the types and functions of code-switching between English and Bahasa Indonesia that occur in lyrics. Fifteen Indonesian songs produced from 2009 to 2019 were examined. This analysis reveals that four types of code-switching occur in the lyrics of Indonesian popular songs: code-switching between sentences (intersentential), code-switching within sentences (intrasentential), code-switching involving changes of pronunciation, and emblematic code-switching. It further reveals that the functions of code-switching in the lyrics vary from discussing particular topics, lexical needs and availability, being emphatic, expressing group identity, simplifying words and expressions, and conveying a strong emotion/gaining attention.

An Analysis Of Words Whose Emotional Meaning Changes In Modern English Linguistics

The article is devoted to the problems of interdependence of concepts and lexical meanings. Here are examples of changes in the meaning of emotional words and how these words come in different meanings. It is known from history that words change their emotional meaning entirely by chance, that is, they show that people are changing their views as social or political events change. Words that describe a person’s state of mind, their inner mood, no matter how strong or affective they are, gradually begin to lose their power and eventually lose any sensitivity and become obsolete. But that doesn’t mean they’re out of the emotional vocabulary. They simply point out that it has lost its effectiveness and is often an emotional phenomenon. Words that express the same strong emotion gradually weaken the zeal of that emotion.

The Asterisk; or, the Gnomic Page

Like the blank and the etcetera, the asterisk is a typographical sign that draws attention to what it professes to conceal. But although the asterisk represents absence it also does the opposite: it is the thing it represents—a star. Part I of this chapter looks at this paradox in representation. It shows the asterisk as a stand-in for consciousness, for sexual terms, for strong emotion and for swearing, as well as for its look-alikes: stars and flowers. However, where early modern readers most often encountered the asterisk was in the margin and so Part II looks at early modern systems of navigating books, the material around the text (notes and indexes and stage directions), in all of which the asterisk has a role to play.

Συναίσθημα και διαπροσωπικές σχέσεις: Μια γόνιμη διαλεκτική

Emotion and relationships are involved in an intricate dialectic. Relational contexts can influence the perception, experience and communication of strong emotion, and conversely, emotion and affective processes within close relationships can influence the quality of the relationship between two persons. The present paper discusses central approaches to emotion in interpersonal relationships from a socio-cognitive, relational and behavioral perspective. Through a critical evaluation of those approaches the importance of focusing on emotional and affective processes in interpersonal interaction is underlined. These processes are suggestive of the interdependent nature of interpersonal interaction in relationships. Research and theory on emotion and affect in interpersonal interaction can provide the basis of a multilevel model that can explain how intrapersonal and relationally situated processes (including factors outside the relationship) can influence emotion in highly interdependent contexts, and conversely, how emotional and affective processes in interpersonal interaction can determine relational schemas.