The Novel

Topic : Novel

Name: Nasim r gaha

Roll no: 30

Year: 2018- 2020

Inrollment no: 20691084201914

M. A: sem-1

Email id: gahanasim786@gmail.com

Paper no: 4 ( Indian writing in English)

ubmitted to :  smt .S.B. gardi department of English, mharaja kusnakumar sihji  bhavnagar university

v Introduction

The Novel is a type of litreture that That we know.  This novel is a new trend to India. Novel is very new and recent form of literature. All other form  of literature like, epics ,short stories, poem, dramas, lyris, ballads and Etc......are very old and respected forms among arts And litetrature lovers. These all form off literature are very old and introduced befor many centuries in India. But novel is very new form of literature for India and it is only during a period of little more then a century. It has occurred and taken root in India now we have a small question that we are taking about novel but what is the novel  ? we all know about the novel  form of literature but very few among us know the proper definition of novel so we will begin with definition of novel

"  Novel means the long sustained piece of prope fiction "

Now we are going  to discuss about Indias literature of novel. We all know that novel is very new form of literature and it is Introduced  in India in near period of  time. But some scholars deny to it and they put some examples of Sanskrit works like. 

"  Bana's kadambari "

" Subandhu's vasavadutta "

" They all use to say  that these works of Sanskrit  are also novels and I think they are right at some extent but at the same time I believe that description given in all that works are not appropriate.  These work are proud of our regional literature it is like a marble stone or we can say it benchmark of our  literature but we can call it novel because it's formatting differs from  formatting of novel these. These works has long narration and store and plot and even sub - plot too but then even it is not pure form of novel in Indian literature. We have to wait for novel till half of the 19th  century.

 In our India first novel is written in Bengali and it was named as 'Alaler Ghare Dulal. This novel is published in 1858 Afterwards  it was translated in english as "spoilet Son a rich family" this novel is also noted by Jack  willton in the history of the novel in India. This novel is noted as a pioneer work.

  1) Bankim chandra chatterjee :

  We  have to note that real beginnings were with the work of the grat bankim chandra chatterjee.  His first novel was published in 1864 in english and it was named as''Rajmohan's wife" and in 1864 he wrote another novel in Bengali named "Durgeshnandine " but  afterward it was translated in english in 1890 his many others novels appeared betwen 1866 and 1886 . They all are as under

- v   kapalkundala

- v  vishvriksha   (The poison Tree A Tale  of Hindu Life Bengali)

-V  krishnakantar uyil (krishnakantar well )

-V Anandmath

- v Devi chaudhurani

2)  Rabinranath Tagore :

        Rabinranath Tagore is know  as  man of religion. He is always memorable for his work " Gitanjali" in Gitanjali poet tries to incarnating the spirit of India a prophet of the religion of man. But Tagor is very noticeable novelist also.  Tgore achieved his first succed with "chokes Bali" and it was published in 1902. That novel was translated in english as 'Binodini' by Krishna kriplani.

" Here for the first time in Indian litreture the actions and reactions arising out of the impact of the external happening "

             - Dr.  Sukumar Sen.

'Binodini' is also story of a young widow too But Tagor is different than Bankim and he was more convincing in storytelling and in psychological study of character of novel. So his skills give him new height as a novelist in Indian writing in english .Tagor 's  other work named 'yogayog' is also noticeable work. Its main character kumudini gives us remembrance of character,Nora in Ibsen's 'A Doll'S House ' like this Tagor was very great figure at that time and even in now days also.

3)  Sarah chandra chatterjee :

    Carat chandra was also famous during that era. He also started with imitating Tagore and Bankim but after that he also shows his real knowledge. He mostly wrote in last decket of 19th century and fits two dacet of 20th century Sarah also  passed from the stage of Tagore and Bankim and his experiences give him real identify of writer. His done famose best and noticeable works are

V  shrikanta

V  Grihadaha

V. Pather dabi

 V. Bipradas

V.  See prasna

He wrote all his works in regional languages but most of his works are translated by other scholars in english like shrikanta was translated by K. C Sen and  Theodosia Thompson. Sarah chandra tries to portray tears and sweat of lower class and poor class and even people who has no class with his literary works for sarat chandra we can easily say that he was complete novelist who use his art simultaneously as a camera as a surgeon's knife and also as  a chalice of hope  many other writers also wrote novels in that mean time like

V Raj Lakshmi Devi's The  Hindu wife in 1876

V Tori Datt 's Bianca in 1878

V  khetrapal Chakravarti's sarata and Hingana  in 1895

The all novels were written in english have for us today no more than an  antiquarian or historical interest.  This  trio Bankim - Tagore sarat was known as ' triune glory ' or that time but some other outstanding novelists were also there in that time of era. Their names are only have been scouring the ocean of everyday life in Bengal. Their names are

Tarasankar Bandyopadhyaya

Manik Bandyopadhyaya

Nani Bhaumik

Gajendrakunar mitra

Manoj Basu

 Now a days novel is living and involving form of litreture It is the only form which is known as reader friendly form of literature and now in our India novel becomes more and more popular among the readers for our convenience we divided novels in some schools. These schools are based on theme of novel many novels have common theme but diffrent aspects. So this type of schooling helps us to understand about history time settings and etc. about history time settings and etc. about novels aenovel's background in Indian writing in english

:Rival novel

Our India is know as country of religion we are considering river as our life line and we all know that our life is gift from our mother so we always pray river as our mother and all river of India are very peas and holey for us. River is like a part of our life and we cannot imagine our life without river so this very important part of our life becomes part of our literature many novels have theme of river .  In many novels river plays vital role as it is also an important character of novel so that type of all novels is known as RIVER NOVEL in this type of novel action. takes place by the side of a river An Example.

v    In Rajanikanta Baradoloi's novel mirijiyari,  the river subansri is a participant in the action.

v    K. S. vankataramani's murugan: The Tiller,  evoking the village on the cauvery.

v    Humanyun kabir 's men and river's action takes place on the bank of the padma

v    R. K Nalayan's most of the novel take place in malgudi on the bank of the sarayu

v    Raja Rao's Kanthapura the river Hemavathy is a person and in novel The serpent and the rope the Ganges is almost a goddess.

All these as character show feminine power and personality of India.

Ø     Assam Novel:

 

     Assam's tea gardens and estate are very famous for their beauty and some novels are takes place in Assam. Those all novels describe beauty and situation of Assam so all those novels are knowns as ASSAM NOVEL. Assam's life of plantation is shown by the authors in this type of novels. As an example

v  Beena Barua's senji patar kahni the theme of novel  is life in tea gardens of Assam

v  Mulk  Raj Anand's Two Leaves and the a Bud is a strong study of life in tea -estate of ASSAM.

v  Raja rao's Kanthapura ' takes place in estate of coffee

v  Manohar malgonkar's combat of shadow also places in Assam tea - estate.

In all these novels main point is politics and human emotions and this theme  is shown in more sophisticated style

Ø     History Novel:

 Our  India has powerful past our history portion is quiet good and enough. So our many writers were fascinated towards our history and.  take some point or part of our history and elaborate in form of novel. History gives them challenge to show their creativity in limitations and that is  the real charm of writing so history is the most favorite part of our literature which writers want to retell in novel so this type of novels known as " HISTORY NOVEL"As an example

v  Hari Narayan Apte describes history of Maratha in novel ushakal.

v  T. Ramkrishna's padmini is shows  romance of 16th  century and leading us towards battle of talikote

v  Ramesh chander Dutt 's the slave Girl of Agra is historical romance.

v  Sir jogendar Singh's Nur jahan also based on romantic story of history

v  Vimala Raina's AMbapali takes us back in days of Ajat sharu and tells us story of dancer.

v  A. S. P.  Atyar 's Baladitya and chanakya and  chadragupta

          These all novels takes bake us in ancient time and place.  These novels give us knowledge of history with new operation and new significance and also new vision to book towards history and our past.

Ø     Modern Novel:

                   Some novels are shown political issues and time situation of that era. Those novels take part to bring revolution in society for the sake of society. Those novels are known as MODERN NOVEL. Some noticeable modern novels are

v     Rabindranath Tagore's The  home and the world and four chapters

v     Mulk Raj Anand's The sword and the sickel

v     K. A.  Abbas's Inqilab.

v     K. S venkataramani's kandan The patriot.

v     Raja Rao's Kanthapura

v     N. S phadke's Leaves

v     Bhabani Bhattacharya's so many hungers

v     R. K Narayan's waiting for the mahatma.

Ø   Partition Novel:

 

  Our India is parted with Pakistan in 1947 and afterwards partition becomes the main theme for novel because partition creates very strong image on mind of people. People had to suffer a lot during the time of partition many families were ruined because of it partition creates a horror on mind of people so that time is also known as partition horror our writers try to draw real picture of partition with the help of literature. Those novels are known as PARTITION NOVEL:some examples are

v     Balachandra Raman's The Dark Dancer.

v     Manohar malgonkar's A Bend  in the Ganges.

v     Khushwant sigh'S train to Pakistan we can find horror in this novel but good point is that we can find humanity also. This work is perfect balance of both.

         These all novels show horror of partition during than time. We cannot even imagine the situation of that time "    DEvendra satyarthi  " quoted that " NO literature based on hate and prejudice can.  Really be great. It. Was  a drama of  degradation and shame a drama of human decay showing how the minds of the two communities were poisoned by the dogma of two -nation theory.

   And personally I think that he is right.

Ø     Novel of social critism :

                   We all know that literature is just a mirror of the society. We can find all those things in literature which we can feel around us. We also can say that.

Ø     "Literature is criticism of the society "

     Because our authors criticize our society with their writings. Novel is very famous form of literature so to reach to more people. Writers chooses to criticize society. Those novels are knows as.

Ø     Novels of social criticism

       Let's see some examples of it

v  Ramesh chunder Duty's The lake of palms, is a critical study of social life in bengal

v  T. Ramkrishna's The give of death , takes place around  superstition and which makes people cowards.

v  S. K ghost'The prince of destiny the  new Krishna portrays utopian east and west.

.

      

v Introduction

              

Explain Aristotle's theory of catharsis

Topic :Expain Aristotal 'S theory of catharsis

Name :Nasim r. Gaha

Enrollment no :2069108420190014

M. A:  sem- 1

Yer :2018-2020

Email id:  gahanasim786@gmail.com

Paper no: 3 ( literary theory and criticism westrn-1)

Submitted To: smt. S. B. Gardi Department of mharaja krishkumarshihji Bhavna. University

          Introduction

Aristotle (/ˈærɪˌstɒtəl/;[3] Greek: Ἀριστοτέλης Aristotélēs, pronounced [aristotélɛːs]; 384–322 BC)[n 1] was an ancient Greek philosopher and scientist born in the city of Stagira, Chalkidiki, in the north of Classical Greece. Along with Plato, he is considered the "Father of Western Philosophy". Aristotle provided a complex and harmonious synthesis of the various existing philosophies prior to him, including those of Socrates and Plato, and it was above all from his teachings that the West inherited its fundamental intellectual lexicon, as well as problems and methods of inquiry. As a result, his philosophy has exerted a unique influence on almost every form of knowledge in the West and it continues to be central to the contemporary philosophical discussion.

 Like many important documents in the history of philosophy and literary theory, Aristotle's Poetics, composed around 330 BCE, was most likely preserved in the form of students' lecture notes. This brief text, through its various interpretations and applications from the Renaissance onward, has had a profound impact on Western aesthetic philosophy and artistic production.

The Poetics is in part Aristotle's response to his teacher, Plato, who argues in The Republic that poetry is representation of mere appearances and is thus misleading and morally suspect. Aristotle's approach to the phenomenon of poetry is quite different from Plato's. Fascinated by the intellectual challenge of forming categories and organizing them into coherent systems, Aristotle approaches literary texts as a natural scientist, carefully accounting for the features of each "species" of text. Rather than concluding that poets should be banished from the perfect society, as does Plato, Aristotle attempts to describe the social function, and the ethical utility, of art.

It is important to remember that Aristotle, and the Greek world as a whole, viewed art as essentially representational. Although we certainly have examples of Greek patterns and decorations that are "abstract," nothing indicates that the Greeks recognized such a category as "abstract art."

One of the most difficult concepts introduced in the Poetics is catharsis, a word which has come into everyday language even though scholars are still debating its actual meaning in Aristotle's text. Catharsis is most often defined as the "purging" of the emotions of pity and fear that occurs when we watch a tragedy. What is actually involved in this purging is not clear. It is not as simple as getting an object lesson in how to behave; the tragic event does not "teach us a lesson" as do certain public-information campaigns on drunk driving or drug abuse. Hans-Georg Gadamer's attempt to describe catharsis in his study Truth and Method can serve both as a working definition and an introduction into the problem of establishing any determinate definition of this elusive concept:

What is experienced in such an excess of tragic suffering is something truly common. The spectator recognizes himself [or herself] and his [or her] finiteness in the face of the power of fate. What happens to the great ones of the earth has exemplary significance. . . .To see that "this is how it is" is a kind of self-knowledge for the spectator, who emerges with new insight from the illusions in which he [or she], like everyone else, lives. (132)

The practical and formal concerns that occupy Aristotle in the Poetics need to be understood in relation to a larger concern with the psychological and social purpose of literature. Criticism, according to Aristotle, should not be simply the application of unexamined aesthetic principles, but should pay careful attention to the overall function of a any feature of a work of art in its context within the work, and should never lose sight of the function of the work of art in its social context.

The guide provided here takes you through each of the twenty-six books of the Poetics and attempts to give a summary of Aristotle's arguments. This resource should not be used as a substitute for a careful reading of Aristotle's text, but might help you to review and clarify your understanding of the terms, concepts, categories, and interrelationships that Aristotle introduces.

Texts quoted in this resource:

Forster, E. M. Aspects of the Novel. New York: Harcourt, Brace, Jovanovich, 1955.

Gadamer, Hans-Georg. Truth and Method. Revised translation Joel Weinsheimer and Donald G. Marshall. New York: Continuu

Catharsis is the Greek word for cleansing and is used in psychology to explain the process of rapidly releasing negative emotions. In this lesson, you will learn about catharsis theory and take a quiz.

Definition of Catharsis

Catharsis is the process of venting aggression as a way to release or get rid of emotions. Have you ever been so angry that you went outside and yelled or hit a pillow? Psychologists call this method catharsis. You may have heard someone say something was 'cathartic,' meaning it released emotion. For example, if you are angry you might hit something or scream, and that might make you feel better.

Theory

The thought behind catharsis theory is that feelings build up and create pressure if not vented, in the same way air builds up in a balloon until it bursts. Releasing emotions decreases the pressure or tension in the person so they have fewer negative emotions and are less aggressive.

Sigmund Freud was the first to use catharsis theory in psychological therapy, although he gave up on cathartic therapy and spent more time on psychoanalysis. The theory states that expressing or getting out one's aggression and anger should reduce the feeling of aggression.

The bulk of research on catharsis theory hasn't done much to back it up. Venting aggression does not appear to reduce future aggression. In fact, it might actually make a person angrier. Studies have demonstrated that expressing anger created more anger or hostility when compared to groups that were not permitted to express anger. Despite the opposing evidence, many people still do believe aggression reduces frustration and future aggression.

In therapy settings, catharsis is more than just venting anger. Instead, it's a re-experiencing of a traumatic event and expressing the strong emotions that are associated with them. Therapies that emphasize emotions, such as Gestalt therapy, create role-play simulations to facilitate safe expression of emotions.

Examples of Catharsis

Though little research has supported the efficacy of catharsis, here are some examples of it being put into practice, some of which you might even find familiar:

Aristotle writes that the function of tragedy is to arouse the emotions of pity and fear, and to affect the Katharsis of these emotions. Aristotle has used the term Katharsis only once, but no phrase has been handled so frequently by critics, and poets. Aristotle has not explained what exactly he meant by the word, nor do we get any help from the Poetics. For this reason, help and guidance has to be taken from his other works. Further, Katharsis has three meaning. It means ‘purgation’, ‘purification’, and ‘clarification’, and each critic has used the word in one or the other senses. All agree that Tragedy arouses fear and pity, but there are sharp differences as to the process, the way by which the rousing of these emotions gives pleasure.

Katharsis has been taken as a medical metaphor, ‘purgation’, denoting a pathological effect on the soul similar to the effect of medicine on the body. This view is borne out by a passage in the Politics where Aristotle refers to religious frenzy being cured by certain tunes which excite religious frenzy. In Tragedy:

“…pity and fear, artificially stirred the latent pity and fear which we bring with us from real life.”

In the Neo-Classical era, Catharsis was taken to be an allopathic treatment with the unlike curing unlike. The arousing of pity and fear was supposed to bring about the purgation or ‘evacuation’ of other emotions, like anger, pride etc. As Thomas Taylor holds:

“We learn from the terrible fates of evil men to avoid the vices they manifest.”

F. L. Lucas rejects the idea that Katharsis is a medical metaphor, and says that:

“The theatre is not a hospital.”

Both Lucas and Herbert Reed regard it as a kind of safety valve. Pity and fear are aroused, we give free play to these emotions which is followed by emotional relief. I. A. Richards’ approach to the process is also psychological. Fear is the impulse to withdraw and pity is the impulse to approach. Both these impulses are harmonized and blended in tragedy and this balance brings relief and repose.

The ethical interpretation is that the tragic process is a kind of lustration of the soul, an inner illumination resulting in a more balanced attitude to life and its suffering. Thus John Gassner says that a clear understanding of what was involved in the struggle, of cause and effect, a judgment on what we have witnessed, can result in a state of mental equilibrium and rest, and can ensure complete aesthetic pleasure. Tragedy makes us realize that divine law operates in the universe, shaping everything for the best.

During the Renaissance, another set of critics suggested that Tragedy helped to harden or ‘temper’ the emotions. Spectators are hardened to the pitiable and fearful events of life by witnessing them in tragedies.

Humphrey House rejects the idea of ‘purgation’ and forcefully advocates the ‘purification’ theory which involves moral instruction and learning. It is a kind of ‘moral conditioning’. He points out that, ‘purgation means cleansing’.

According to ‘the purification’ theory, Katharsis implies that our emotions are purified of excess and defect, are reduced to intermediate state, trained and directed towards the right objects at the right time. The spectator learns the proper use of pity, fear and similar emotions by witnessing tragedy. Butcher writes:

“The tragic Katharsis involves not only the idea of emotional relief, but the further idea of purifying the emotions so relieved.”

The basic defect of ‘purgation’ theory and ‘purification’ theory is that they are too much occupied with the psychology of the audience. Aristotle was writing a treatise not on psychology but on the art of poetry. He relates ‘Catharsis’ not to the emotions of the spectators but to the incidents which form the plot of the tragedy. And the result is the “clarification” theory.

The paradox of pleasure being aroused by the ugly and the repellent is also the paradox involved in tragedy. Tragic incidents are pitiable and fearful.

They include horrible events as a man blinding himself, a wife murdering her husband or a mother slaying her children and instead of repelling us produce pleasure. Aristotle clearly tells us that we should not seek for every pleasure from tragedy, “but only the pleasure proper to it”. ‘Catharsis’ refers to the tragic variety of pleasure. The Catharsis clause is thus a definition of the function of tragedy, and not of its emotional effects on the audience.

Imitation does not produce pleasure in general, but only the pleasure that comes from learning, and so also the peculiar pleasure of tragedy. Learning comes from discovering the relation between the action and the universal elements embodied in it. The poet might take his material from history or tradition, but he selects and orders it in terms of probability and necessity, and represents what, “might be”. He rises from the particular to the general and so is more universal and more philosophical. The events are presented free of chance and accidents which obscure their real meaning. Tragedy enhances understanding and leaves the spectator ‘face to face with the universal law’.

Thus according to this interpretation, ‘Catharsis’ means clarification of the essential and universal significance of the incidents depicted, leading to an enhanced understanding of the universal law which governs human life and destiny, and such an understating leads to pleasure of tragedy. In this view, Catharsis is neither a medical, nor a religious or moral term, but an intellectual term. The term refers to the incidents depicted in the tragedy and the way in which the poet reveals their universal significance.

The clarification theory has many merits. Firstly, it is a technique of the tragedy and not to the psychology of the audience. Secondly, the theory is based on what Aristotle says in the Poetics, and needs no help and support of what Aristotle has said in Politics and Ethics. Thirdly, it relates Catharsis both to the theory of imitation and to the discussion of probability and necessity. Fourthly, the theory is perfectly in accord with current aesthetic theories.

According to Aristotle the basic tragic emotions are pity and fear and are painful. If tragedy is to give pleasure, the pity and fear must somehow be eliminated. Fear is aroused when we see someone suffering and think that similar fate might befall us. Pity is a feeling of pain caused by the sight of underserved suffering of others. The spectator sees that it is the tragic error or Hamartia of the hero which results in suffering and so he learns something about the universal relation between character and destiny.

To conclude, Aristotle's conception of Catharsis is mainly intellectual. It is neither didactic nor theoretical, though it may have a residual theological element. Aristotle's Catharsis is not a moral doctrine requiring the tragic poet to show that bad men come to bad ends, nor a kind of theological relief arising from discovery that God’s laws operate invisibly to make all things work

Aristotle’s conception of ‘Catharsis’ is purely intellectual. It is neither didactic nor theological nor is it a moral doctrine. Read More Criticism Aristotle lays it down that Tragedy at all times makes its appeal through emotions- through pity and fear. It can succeed only when it arouses the pity and fear proper to it. The doctrine of Catharsis has been interpreted in many ways. Since ‘Catharsis’ is a Greek word, and every language has its own nature, its own Grammar, and since every word of every language has its own syntax and meaning, the debate over the meaning of ‘Catharsis’ will continue.‘Catharsis’ is a Greek word. It means “purgation”, “purification” and “clarification”. It has been used only once by Aristotle in his ‘Poetics’ while defining Tragedy, “Tragedy then is an imitation of an action that is serious, complete, and of a certain magnitude through pity and fear effecting the proper ‘Catharsis’ of these emotions” Based on the three meanings of the word, ‘Catharsis’ different theories have been evolved to explain Aristotle’s conception of tragic ‘Catharsis. Read More Criticism

Catharsis" before tragedy            Edit

Catharsis before the sixth-century rise of tragedy is, for the Western World, essentially a historical footnote to the Aristotelian conception. The practice of purification had not yet appeared in Homer, as later Greek commentators noted:[17] the Aithiopis, an epic set in the Trojan War cycle, narrates the purification of Achilles after his murder of Thersites. Catharsis describes the result of measures taken to cleanse away blood-guilt—"blood is purified through blood",[18] a process in the development of Hellenistic culture in which the oracle of Delphi took a prominent role. The classic example—Orestes—belongs to tragedy, but the procedure given by Aeschylus is ancient: the blood of a sacrificed piglet is allowed to wash over the blood-polluted man, and running water washes away the blood.[19] The identical ritual is represented, Burkert informs us, on a krater found at Canicattini, wherein it is shown being employed to cure the daughters of Proetus from their madness, caused by some ritual transgression.[20] To the question of whether the ritual obtains atonement for the subject, or just healing, Burkert answers: "To raise the question is to see the irrelevance of this distinction".[20]

Social catharsis 

Emotional situations can elicit physiological, behavioral, cognitive, expressive, and subjective changes in individuals. Affected individuals often use social sharing as a cathartic release of emotions. Bernard Rimé studies the patterns of social sharing after emotional experiences. His works suggest that individuals seek social outlets in an attempt to modify the situation and restore personal homeostatic balance.

Rimé found that 80–95% of emotional episodes are shared. The affected individuals talk about the emotional experience recurrently to people around them throughout the following hours, days, or weeks. These results indicate that this response is irrespective of emotional valence, gender, education, and culture. His studies also found that social sharing of emotion increases as the intensity of the emotion increases.

1) Positive emotion

A study by Langston[32] found that individuals share positive events to capitalize on the positive emotions they elicit. Reminiscing the positive experience augments positive affects like temporary mood and longer-term well-being. A study by Gable et al.[33] confirmed Langston's "capitalization" theory by demonstrating that relationship quality is enhanced when partners are responsive to positive recollections. The responsiveness increased levels of intimacy and satisfaction within the relationship. In general, the motives behind social sharing of positive events are to recall the positive emotions, inform others, and gain attention from others. All three motives are representatives of capitalization.

(2) Negative emotion

Rimé studies suggest that the motives behind social sharing of negative emotions are to vent, understand, bond, and gain social support. Negatively affected individuals often seek life meaning and emotional support to combat feelings of loneliness after a tragic event.

Collective catharsis         

Collective emotional events share similar responses. When communities are affected by an emotional event, members repetitively share emotional experiences. After the 2001 New York and the 2004 Madrid terrorist attacks, more than 80% of respondents shared their emotional experience with others.[34] According to Rimé, every sharing round elicits emotional reactivation in the sender and the receiver. This then reactivates the need to share in both. Social sharing throughout the community leads to high amounts of emotional recollection and "emotional overheating".

Pennebaker and Harber[35] defined three stages of collective responses to emotional events.

In the first stage, a state of "emergency" takes place in the first month after the emotional event. In this stage, there is an abundance of thoughts, talks, media coverage, and social integration based on the event.

In the second stage, the "plateau" occurs in the second month. Abundant thoughts remain, but the amount of talks, media coverage, and social integration decreases.

In the third stage, the "extinction" occurs after the second month. There is a return to normalcy.