{"id":59,"date":"2021-02-09T13:49:37","date_gmt":"2021-02-09T12:49:37","guid":{"rendered":"http:\/\/www.isfnr.org\/isfnrcongress2\/?page_id=59"},"modified":"2021-08-09T10:50:19","modified_gmt":"2021-08-09T08:50:19","slug":"call-for-papers","status":"publish","type":"page","link":"https:\/\/www.isfnr.org\/isfnrcongress\/topics\/call-for-papers\/","title":{"rendered":"Call for papers"},"content":{"rendered":"\t\t
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Emotions and other (un)palatable embodied experiences offer a platform for exploring the meaning and power of narratives in various parts and parcels of folklife. Emotions inspire creativity and symbolic expressions, they provide connections and attachments to peoples and things, both positive and negative. While humanities scholars often criticize the dissemination of excitable and contagious emotions in a globalised world, as well as the emotionalization of public discourses, we invite folklorists to focus their research on the resourcefulness of homo narrans and the universally recognized affective, emotional dimensions of storytelling.<\/p>

The focal point of the ISFNR 2021 congress in Zagreb will be the interdependence of emotion and narration. We ask how and to what extent emotions shape and figure the content and meaning of particular narratives and other (folk) performances, and how narratives and other performances produce emotional attachments, responses, and relations among people. The power of narration is always intertwined with emotional expression and response, but instead of offering ready-made answers, the \u201cemotional turn\u201d in folklore studies provokes a wide-range of questions: What kinds of emotions belong to different folk narratives and other expressions (dance, music, song, visual media)? Do emotions like fear and anxiety form the basis of folk beliefs and folk practices? How do emotionally charged interactions with an audience influence a performer and change the form, genre and meaning of the performance? How does the emotional register of narratives change when they circulate beyond their particular cultural group or move from a folk setting to the mass media and the web? Is there a difference in the ways that historical and contemporary \u201ccontagious emotions\u201d provoke collective fears, hysteria and paranoia as well as collective happiness, euphoria, and nostalgia?<\/p>

The research of digital technology as a tool of expressing and canalising emotions is also welcomed. Questions worth asking are: why and how do particular emotions emerge and circulate in a global social networking, how they (re)shape concept of self and other in communication, what narratives figure as a mode of \u201cemotional governance\u201d, gendered intimacies, therapeutic witnessing, and\/or moral conduct confirming both the promise of storytelling and its limitations.<\/p>

Suggested subtopics and\/or panels<\/strong><\/p>