Politics, Protest, Emotion: Interdisciplinary Perspectives (original) (raw)

Emotion, memory and re-collective value: shared festival experiences

International Journal of Contemporary Hospitality Management

Purpose This study aims to explore how emotionally rich collective experiences create lasting, shareable memories, which influence future behaviours. In particular, the role of others and of music in creating value through memories is considered using the concept of socially extended emotions. Design/methodology/approach Over 250 narratives were gathered from festival attendees in the UK and Finland. Respondents completed a writing task detailing their most vivid memories, what made them memorable, their feelings at the time and as they remembered them, and how they shared them. The narratives were then analysed thematically. Findings Collective emotion continues to be co-created long after the experience through memory-sharing. The music listened to is woven through this extension of the experience but is, surprisingly, not a critical part of it. The sociality of the experience is remembered most and was key to the memories shared afterwards. The added value of gathering memorable ...

Emotion, Affective Practices, and the Past in the Present

https://www.routledge.com/Emotion-Affective-Practices-and-the-Past-in-the-Present/Smith-Wetherell-Campbell/p/book/9781138579293 Emotion, Affective Practices, and the Past in the Present is a response to debates in the humanities and social sciences about the use of emotion. This timely and unique book explores the ways emotion is embroiled and used in contemporary engagements with the past, particularly in contexts such as heritage sites, museums, commemorations, political rhetoric and ideology, debates over issues of social memory, and touristic uses of heritage sites. Including contributions from academics and practitioners in a range of countries, the book reviews significant and conflicting academic debates on the nature and expression of affect and emotion. As a whole, the book makes an argument for a pragmatic understanding of affect and, in doing so, outlines Wetherell’s concept of affective practice, a concept utilised in most of the chapters in this book. Since debates about affect and emotion can often be confusing and abstract, the book aims to clarify these debates and, through the use of case studies, draw out their implications for theory and practice within heritage and museum studies. Emotion, Affective Practices, and the Past in the Present should be essential reading for students, academics, and professionals in the fields of heritage and museum studies. The book will also be of interest to those in other disciplines, such as social psychology, education, archaeology, tourism studies, cultural studies, media studies, anthropology, sociology, and history.

Politics, Emotion and Protest Workshop reflection

2015

What follows is a very personal and emotional response to my participation in the Politics, Emotion and Protest workshop, coordinated by the social movements groups within the Media, Communications and Cultural Studies Association. Whilst it is neither a piece of research, nor an outline of my previous or current research activity, it does – polemically – reflect the impact the workshop had on how I conceptually orientate myself to my working practice as an academic researcher within the field of critical event studies.

Critical Incidents, Emotions and Value-Added Moments: The London 2012 Spectator Experience

2016

In an increasingly complex and demanding sport event environment, spectators expect to fulfill their insatiable hedonistic needs through engaging in memorable customer experiences. However, experience creation and management suffer poor conceptualization and contextualization. Using the case study of London 2012 Olympic spectator experiences and applying a range of mixed-methods tools, this exploratory study advances the emerging research agenda on understanding the nature of critical incidents and accompanying emotions, as well as the value-added moments of a memorable hedonistic sport spectator experience. The study findings reveal the valence of critical incidents and emotions, identify when and where they occur, and suggest that spectators want to engage with a series of highly interactive and multimoments that include building, watching, being in, capturing, and sharing the moment. Determining the value-added and value-destructive drivers of memorable consumption encounters can help event managers exceed desired levels of service expectation, and facilitate the delivery of superior customer experiences.

CFP: Emotion in the Museum: 13th-14th March 2020, University of York

How do museums feel? Which of their histories are emotive, for whom, and why? What kinds of emotions could or should be represented -- and evoked -- by engaging with history? How should emotional experiences be facilitated in museum and heritage spaces, and to what ends? Emotion in the Museum will explore the changing role of emotion in the experiences of museums and heritage, from the perspectives of both the visitor and the practitioner. We will consider the meaning and usefulness of ‘emotion’ in its broadest sense, and explore emotions which aren’t typically attended to in academic or practitioner literature, such as joy, boredom, ‘flat affect’ (Smith and Campbell, 2017), disgust and fear. We are especially interested in hosting conversations around the emotional well-being of museum staff in times of economic and social crisis, as well as the impact that researching emotional histories can have on researchers and curators, and would welcome papers on this theme. The two-day conference is a collaborative event organised by the Institute for the Public Understanding of the Past (IPUP) at the University of York and York Museums Trust. It aims is to facilitate cross-sector conversations among academic researchers and museum professionals about the role that emotions across the spectrum might play in unlocking renewed understanding of personal and collective pasts, presents and futures. We invite contributions from museum and heritage professionals in any area, from researchers in disciplines across the arts, humanities and social sciences, and from special interest and community groups, including contributions which represent different national perspectives and case-studies. Although we invite contributions primarily in the form of 20-minute presentations, we are also keen to develop alternative formats and would welcome suggestions for plenaries, fringe workshops and facilitated sessions across the two days. To submit a proposal, please send an abstract of 250-300 words (including an indication of the preferred format of your contribution), together with a brief biographical note of no more than 150 words, to emotioninthemuseum@gmail.com by Thursday 12th December 2019. Queries can be addressed to the conference organisers Dr Geoff Cubitt and Dr Catherine Oakley via the email address above.