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according to Good,Good, and Moradi which emotions are readily portrayed In Iranian culture
according to Good,Good, and Moradi which emotions are readily portrayed In Iranian culture his paper explores the social and cultural organization of Iranian emotional discourse and its transformation in post-revolutionary Iran. [ First, the Moharram dramas we participated in during field research are described, indicating how these performances organized a ‘prototypical’ view of the social
order, the self, and the passions. Using Kapferer's distinction between “transcendental” and “transformative” rituals, we argue that these dramas were traditionally organized as “transcendental” rites. Second, data on grieving rituals and depressive illness among Iranians is introduced, focusing on the “transformative” qualities of mourning rites and suggesting an interpretation of depression as a failure of the “work of culture.” Third, the appropriation of these symbolic forms of society, self, and the emotions by the current Iranian Islamic state and the role of the state in defming the meaning and legitimacy of emotions and their expression is analyzed.Although the cross-cultural study of depression and depressive affect invariably presupposes a theory of emotion, it is by no means certain that emotions are constituted the same way in different cultures. We begin this section by briefly summarising an anthropological perspective on emotion, and then set forth issues central to the cross-cultural study of depression: ( 1) the ethnopsychology of emotion; and (2) culturally distinctive meanings associated with dysphoric emotions. To the extent that emotions have been considered shared or common experiences of individuals across culturally distinct settings, they have generally been assumed similar on the basis of universal, innate human propensities (Ekman, 1982; Isard, 1977; Plutchik, 1980; Wierzbicka, 1986). If culture is acknowledged as a factor in emotional life, it is only as a second-order interpretation of such innate qualities (Levy, 1984). In addition, thought and emotion are cast as largely separate, mutually exclusive categories: "the cultural/ideational and individual/ affective have been construed as theoretically, and empirically, at odds" (Rosaldo, 1984, p. 139). ]
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according to Good,Good, and Moradi which emotions are readily portrayed In Iranian culture
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