By Jeff Rider, Jamie Friedman

Fresh study means that feelings are mostly built and played and that narrative is among the most vital practices during which humans turn into emotionally aware.  Narrative literature hence bargains a privileged technique of exploring the emotional criteria and forms of the earlier. The essays accumulated right here discover medieval, romance emotional groups via either fictional and non-fictional narratives in French, Spanish, and Italian texts starting from the 12th via 15th centuries. via following those ladies characters of their issues, we will be able to desire either to benefit whatever concerning the instances the ladies have been writing in, whereas to enriching and enlarging our personal emotionologies.

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Extra info for The Inner Life of Women in Medieval Romance Literature: Grief, Guilt, and Hypocrisy (New Middle Ages)

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Et lors refist un sospir faus,/Et por son dit miauz afermer/Comança des iauz a lermer/ Par barat et par renardie (241; l. 904–09, 926–29)]. indd 34 7/18/2011 5:36:29 PM O R D E R , A N A R C H Y, A N D E M O T I O N 35 tragic accident, but Chrétien’s insistence on the rhetorical response to grief implies that Tereus’s emotions do not ref lect genuine sentiment. His bowed head (l. 904), false sighs (l. 908, 926), and tears (l. 928) create a credible illusion, but the king has already employed the rhetoric of tears when he secured Pandion’s permission to bring Philomena to Thrace (l.

62. 63. 25 the degree it is true, would also explain the overrepresentation of shame, guilt, and hypocrisy (an effort to avoid shame and contempt) in the narrative representation of emotions. The Navigation of Feeling, 135; cf. 130–137. Reddy cites a specific case of goal conf lict and emotional suffering occasioned by a mid-nineteenthcentury French marriage, at a time when ideas about marriage, “due to Christian teaching, to the circulation of sentimental novels, and the popularity of innumerable melodramas and songs, .

40. 41. scene; we cease being spectators and ourselves become what one might call emotive beneficiaries”]. The ability of stories to provoke feelings (and thus teach emotionologies) was recognized in the Middle Ages. Peter of Blois, for example, wrote: “A prudent, honorable, strong, friendly man, agreeable in all things, is often described in tragedies and other songs of the poets, in the ditties of jongleurs. The vicissitudes and wrongs inf licted cruelly on this same man are also recounted, just as performers report fabulous things about Arthur and Gawain and Tristan, hearing which, the hearts of the listeners tremble with compassion and are even driven to tears” (De confessione sacramentali, PL 207, 1088; my translation).

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