Police Beat: The Emotional Power of Music in Police Work
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Police Beat: The Emotional Power of Music in Police Work By Simon ...

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Scholars such as Lutz (1982), and M. Rosaldo (1983, 1984) following Solomon (1976) have moved away from the analysis of emotions as material things that are influenced by cultural forces, to focus on the notion that emotions are equally or more about ideas. The consequence of this, as noted by Lyon and Barbalet (1994), is that the body is very often ignored or sidelined in these kinds of accounts; this can perhaps be understood as a kind of guard against biological reductionism. Lutz and White noted in their review that, very often, the relationship between body and emotion is taken to be metaphoric, ‘with cultural ramifications’ (see Holland and Kipnis, 1995; Strathern, 1975). The strength of these accounts is in the linkage made in them between emotion, power and social structure. Typically in such accounts, ‘emotional judgments are seen to require social validation or negotiation for their realization’ (Lutz and White, 1986, p. 407). As Lyon and Barbalet (1994) imply, however, the absence of the body in these accounts significantly weakens the connections between power, social structure and emotion:

Accounts in which social relations are the basis of emotion …in which particular configurations of practical power or status, for example, are associated with particular patterns of emotional expression [the very concern of the aforementioned ‘ideal’ theorists], offer a very different appreciation of the bodily dimension of emotion [as opposed to those who would connect it peripherally]. In this latter perspective bodily processes are centrally implicated in emotion, as the social–relational formation of emotion is a relation of embodied agents (Lyon and Barbalet, 1994, p. 58; see also de Riviera, 1977; de Rivera and Grinkas, 1986 Kemper, 1978, Scheff, 1988).

Feminist theories have also dealt with the notion of power as related to emotion, according to Jenkins and Valiente (1994, p. 163), feminist theorists are typically engaged in:

[d]econstructing the ideology inherent in symbolic representations of emotion within dichotomous realms of the devalued natural, dangerous, and female, on the one hand, and the more esteemed cultural, controlled and male, on the other’ (see Haraway, 1991, Ortner, 1976, M. Rosaldo, 1984, Lutz, 1988, 1990).