The Body of Emotions, the Emotions of the Body: Embodied Emotions in Literature

In the latest book by Vittorio Gallese and Ugo Morelli, Cosa significa essere umani? (‘What Does It Mean to Be Human?’, 2024), it is clarified how the emotions and decision-making abilities of human beings are inseparable from bodily experience. Using the term ‘emotion,’ we are, after all, using a term etymologically linked to the Latin word emovere, meaning ‘to move, to stir up.’ Implicitly, we therefore attribute to the expression of emotions a close connection with the body, which is ‘moved’ by some event that triggers what we define with terms like ‘fear,’ ‘anger,’ ‘joy,’ ‘shame,’ and so forth.

In recent decades, neuroscience research has highlighted how the expression of emotions passes through the body: by activating certain behaviours, we express emotions and make them understandable to others. It is important not to overemphasize the importance of facial expressions alone, as has been done by scientists in the past and as is also common in the now widespread use of emoticons in written communication. A whole constellation of behaviours and physiological states contributes to expressing what we then summarize with a verbal label, such as ‘fear’ or ‘anger.’

Neurophysiological states concern not only the external aspects of humans but also the internal ones. In the ‘underground of the organism’s machinery’ (Gallese-Morelli), we activate a series of mechanisms, some of which are fundamental because they relate to the struggle for survival of our ancestors. Recent studies have highlighted how, in mammals, the vagus nerve plays a fundamental role both in positioning ourselves well in relation to others and when we are under stress or threat. There are, therefore, many ‘vital forms’ (Daniel Stern), such as prosody of voice, gesture, and mannerisms—in short, all the non-verbal characteristics that enrich our interpersonal relationships and thus serve to express emotions. Therefore, the experience and expression of a given emotional state are two sides of the same coin.

To the externally visible parts of our body which we use to express our emotions, we must add the interoceptive dimension. Interoception concerns what happens inside our body at the level of the heart, blood vessels, respiratory, and digestive systems. This ‘internal world’ is also an integral part of the emotional experience that invades us with every encounter with reality. This internal world not only allows us to be alive but also contributes to constituting the very experience of reality, constantly giving it an emotional tone.

Given these premises, our question is:

How have the physical processes related to emotions been represented in literature throughout the ages? What is the relationship between the representation of emotions as bodily expressions and different cultural contexts? To which different conceptions of 'man' and 'humanity' do these representations correspond?

For a special issue of Archives of Emotions. Research on Emotional Components in Literature, Art, and Material Culture, we are seeking contributions on these topics, with a focus on ancient literature, but also on modern and contemporary literatures. Abstracts and articles can be written in Italian, English, German, French, and Spanish. Methodological or research contributions from scholars of all disciplines, including neuroscience, psychology, and philosophy, are also gladly accepted. Please submit an abstract of no more than 1000 words to soterafornaro@gmail.com or tkuhntr@uni-heidelberg.de by September 30, 2024. Articles accepted for publication must be submitted by Januar 15, 2025, and will undergo a peer review process. The publication is scheduled for March 30, 2025.