Language Awareness and Emotion

Koven, Michèle

doi:10.1007/978-3-319-02240-6_5

Cited by 1 publication

(2 citation statements)

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“…"Emotional," "sad," "angry," and "cried" can be used to to one's own or others' past experiences or displays as well as to reflexively assess a current indexical display. This analysis thus contributes to previous discussions about how to understand the relationships between language and emotion referentially (Harkins & Wierzbicka, 2010;Lutz, 2011;Rosaldo, 1980;Rosenberg, 1990) or indexically (Besnier, 1990;Burger & Miller, 1999;Irvine, 1982;Koven, 2004Koven, , 2016Ochs, 1986;Ochs & Schieffelin, 1989;Wilce, 2009). Participants engaged in both describing and displaying emotion, using more explicit description to refer to past emotion in narrated chronotopes and more indexical display in narrating chronotopes as (re)activating emotion in the here-and-now.…”

Section: Discussionsupporting

confidence: 63%

“…Definitions of emotion and affect abound in the social sciences and in linguistic anthropology more specifically (see Besnier, 1990; Irvine, 1982, 1990; Koven, 2016; Ochs, 1986; Ochs & Schieffelin, 1989; Wilce, 2009). Emotion is multifaceted and may involve combinations of eliciting situations, appraisals, physiological changes, reflexive signals (verbal and nonverbal), subjective feelings, responses, and broader synthetic interpretations of the combinations (Irvine, 1982; Kockelman, 2003, 488).…”

Section: Introductionmentioning

confidence: 99%

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Affect in cross‐chronotope alignments in narrations about Aristides de Sousa Mendes and their subsequent circulations

Koven

2023

J Linguistic Anthropol

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This article analyzes the role of emotion in narrations about the past, understandable as familial, intergenerational, or national. I examine how participants report and display affect in narratives about Aristides de Sousa Mendes, the Portuguese consul of Bordeaux who issued thousands of lifesaving visas in June of 1940. Three sets of participants (descendants of visa recipients, Sousa Mendes' descendants, and Portuguese institutional representatives) each explicitly report and implicitly display how the Sousa Mendes story moves them emotionally. I then discuss how the emotion in these narratives may be circulated and taken up by broader audiences. Building on Irvine's discussion of the heteroglossia of affective expression (1990), participants may attribute emotion to others, signal emotion as occurring in the present or in a prior space–time, or merge emotional past and present in various types of emotional “reliving.” By treating emotion as eventlike, it can thus be considered chronotopic. I analyze the relationships between (re)presentation of emotion across multiple narrated and narrating chronotopes. This approach reveals how differently positioned participants' cross‐chronotope alignments yield particular types of affective displays and experiences that others can then take up and recontextualize.

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