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By James M. Wilce

Language is a method we use to speak emotions; we additionally mirror emotionally at the language we and others use. James Wilce analyses the indications humans use to specific emotion, taking a look at the social, cultural and political capabilities of emotional language all over the world. The publication demonstrates that talking, feeling, reflecting, and selecting are interrelated procedures and exhibits how wish or disgrace are connected to language. Drawing on approximately 100 ethnographic case reports, it demonstrates the cultural variety, historic emergence, and political value of emotional language. Wilce brings jointly insights from linguistics and anthropology to survey a really large variety of genres, cultural suggestions, and social capabilities of emotional expression.

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Extra info for Language and Emotion (Studies in the Social and Cultural Foundations of Language)

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Y ies. The sounds of speech only arrive in our ears because of their physical effects, carried through the air or some other vibratory medium. Nor is language the exclusive product of the brain’s neocortex (and particular Broca’s 36 Language and Emotion and Wernicke’s areas), associated with abstract thought and reason rather than instinct. New research on brain, language, and evolution indicates a greater role for subcortical regions of the brain in speech production (Lieberman 2007). One of the implications of this is that it grounds in neuroanatomy the anthropological assertion (Duranti 1997: 1–2) that speech is action (social action).

Cultural anthropologists tend to be relativists, and have typically taken a “cultural constructionist” approach to emotion, asserting that something fundamental about it is culturally, and not just biologically, determined. Thus they see more variability in “the emotions” than universalists do . In the 1990s Tomkins’ 1960s work on affect resurfaced in a surprising quarter, attracting some in cultural studies. , some in cultural studies continue to engage Tomkins’ model . Sedgwick and Frank appreciate both the embodiment and the tidy distinctions Tomkins’ set of evolved affects captures .

Caton learned that the warrior who could channel his passions into highly stylized rhyming couplets was regarded with at least as much honor as the crack shot whose self-control meant that the apparent combatants’ bullets flew at “a respectful distance of at least two feet” over the heads of Caton and his hosts (Caton 1990: 12). It was in such settings, for which we use the somewhat sanitized adjective “ethnographic,” that Caton learned what Aristotle had argued two millennia earlier: “Emotions … are made governable by their transmutation 26 Language and Emotion into aesthetic form or the stylized release of passion” (Caton 1990: 31).

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