By Patrick Colm Hogan
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Extra info for Affective Narratology. The Emotional Structure of Stories
Nonetheless, here one might ask—just how does this cognitive/affective account relate to the previous account in terms of false or unjustified belief or sets of beliefs and overly narrow aspirations? , a prototype does not seem to be true or false in the way a belief is true or false). To make matters worse, we may act on the basis of prototypes—for example, racist stereotypes—even when we do not hold racist beliefs. A more accurate account of my criteria for ideology would be as follows. The cognitive and motivational processes that produce an action are usually too complex to be represented simply in terms of beliefs and goals.
He said to himself in despair, without finding an answer” (3). The despair inhibits any possibilities for concealment, flight, conflict—or even much in the way of appeasement. It is most obviously compatible with submission, but submission of a very minimal sort—submission that does not really go beyond the absence of a refusal to submit. What, then, does Stiva do? What is the actional outcome of his emotion, his response to this provoking incident, the outcome that results from the interaction of these emotion systems and situational constraints?
Where would he go? He could not simply remove himself to another part of the house, since Dolly could follow. If he left the house, where would he spend the night? I do not believe that this is a matter of long-term calculations, as the preceding questions might suggest. The exclusion of flight as a possible response is much the same as would occur in cases of physical threat when all escape routes pose dangers (the predator could catch me if I go right, but there is a battlefield with landmines to left).