Affect is not innocent: How affect can evolve into an ideological space.
While being affected, as the processural embodiment of emotions, is often seen with positive bias and as a literary or aesthetic quality, I will argue that affectivity is not restricted to emotive or aesthetical happenings, but that it opens ways to share ideologies through narratives. Due to affect...
| Publicado en: | Journal of European Popular Culture Vol. 11; no. 2; pp. 131 - 144 |
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| Formato: | Artículo |
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Intellect Ltd.
Oct2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=145985917&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 145985917 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20406134 90BD jtl: Journal of European Popular Culture issn: 20406134 maglogo: N pubinfo: dt: Oct2020 vid: 11 iid: 2 pid: 12270 pub: Intellect Ltd. artinfo: ui: 145985917 10.1386/jepc_00022_1 ppf: 131 ppct: 13 formats: fmt: – @attributes: type: T – @attributes: type: P size: 960KB tig: atl: Affect is not innocent: How affect can evolve into an ideological space. aug: au: Van Tourhout, Benjamin affil: University of Leuven su: Castellucci, Romeo, 1960- Performing arts Mirror neurons Audiences Ethics Ideology Space Ideological conflict sug: subj: Castellucci, Romeo, 1960- Performing arts Mirror neurons Audiences Ethics Ideology Space Ideological conflict keyword: Castellucci Grotowski heroism ideology moral ambiguity performing arts ab: While being affected, as the processural embodiment of emotions, is often seen with positive bias and as a literary or aesthetic quality, I will argue that affectivity is not restricted to emotive or aesthetical happenings, but that it opens ways to share ideologies through narratives. Due to affects that audiences experience, they can evolve into a state of being morally off-guard due to the profound emotive response to certain dramatic elements. Heroic elements in narratives seem to amplify such uncritical acceptance of both behaviour and ideologies. They allow audiences to embrace ideas they might otherwise reject because of their allegiance to heroized figures. The article elaborates on this specific ideological element of spectatorship and discusses it within the field of performing arts by making reference to the work of, among others, The Panic Movement, Jerzy Grotowski and Romeo Castellucci. I will analyse the strategies employed in performing arts to create affective experiences, such as mirror neurons, transparency, shock effects or alienating effects. The article combines insights from the research field of spectatorship and morality, as affect allows audiences to side with ideologies they would normally oppose. I argue that affect is not only a highway to the heart of audiences but can simultaneously be a silencer for the moral mind. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of European Popular Culture is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of European Popular Culture holder: Intellect Ltd. dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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