A History o Emotions, 1200–1800
Te narrow scope o a strictly Western perspective is conronted by WalterAndrews, American literary scholar o Near Eastern languages and civilization,in the second essay. Starting rom the idea o ‘love’ as a central organizing andmeaning-producing concept in Ottoman urkish society, his aim is to demon-strate how an emotional vocabulary made up o not only words, but also images,music, and symbols as well as decoration, landscaping, ceremonies, and ritualsis compiled over time, providing a basis or understanding and expressing theemotional content o a wide range o social relationships, rom sexuality to reli-gion, patronage to riendship and amily lie. Andrews’s analytical ramework not only breaks new ground or the history o emotions in Ottoman studiesbut also raises the urther question o how to apply a comparative perspectivethat could account not only or diferences and similarities but or the historicalows o cultural exchange and interaction as well. Te history o emotions hashitherto been dominated by a Western, European perspective. A
(touse the term recently suggested by cultural historian Natalie Zemon Davis) o the history o emotions to include a broader geographical scope and new voicesrom other social classes and parts o the world will prove a most challenging task in any attempt to construct a new general narrative.
In this section, we return to the European scene and issues o emotional reper-toires treated in three studies ranging rom the High Middle Ages to the early nineteenth century. Repertoires represented by emotion words and rhetoricaland perormative expressions o emotions are important tools or the historicalanalysis o emotions, particularly in periods when ew attempts were made tosystematize theories o emotions. Using monastic texts rom the twelh century,Austrian historian Christina Lutter demonstrates in ascinating detail how rep-resentations o emotions in exemplary miracle stories played an important rolein the spiritual lives o readers who incorporated the norms o the texts that they read. Tis instructive, afective pedagogy also provides a key to understanding how emotions were conceptualized in terms o internal and external sensation.Afective learning was, however, not restricted to religious texts. Te overallimpression o emotional representation in this era is one o diversity, complexity and even contradiction when diferent repertoires overlap. Emotional reper-toires seem to have been open to a certain degree. An interesting question oruture inquiry is i this open quality allowed individuals to draw on diferentrepertoires depending on the socio-cultural context.Moving to seventeenth-century England and the Elizabethan and Stuartconversion narratives analysed by Italian historian Paola Baseotto, we nd that what acted as the uniying actor in an otherwise heterogeneous group o sects