Protagonist Feels Research Articles

Literary Onomastics and Identity in Haruki Murakami’s and Easterine Kire’s Selected Novels

This paper attempts to study the significance of naming in the literary context of two selected works of Haruki Murakami and Easterine Kire respectively. Along with this, the study of the process of self-introspection that is revealed through the protagonists will also be undertaken. The blurring of the surreal and the real by Murakami, much like the magical realist novels, play a pivotal role in the formation of the protagonists’ selves. In Kire’s Son of the Thundercloud, the lack that the main protagonist feels is initiated by stories narrated to him during his childhood. This lack is subsequently intensified in the later years, when the protagonist’s family is wiped out when a drought affects their village. Like the Murakamian world, the world that Kire creates in her novel is a concoction of the surreal and the real. In the works of these authors, the fragmentation inherent in the characters is dealt with, often through the exodus of the main protagonists. This ‘reaching out’, more often than not, entails a re- telling of the past both literally and metaphorically. Reconciliation with the past is crucial for the future. In the course of this ordeal, the main protagonists’ search for meaning behind their names and the name of their acquaintances becomes a prerequisite for the formation of identity. This initially entails a process of disintegration of the ‘self’, or broadly, the ‘subject’. The paper will also lay emphasis on the study of how the protagonists try to attain integration from disintegration.

Fragmenting the Myth: Augusta Webster’s “Medea in Athens” and the Victorian Female Struggle

Augusta Webster’s poem “Medea in Athens” offers a dramatic interpretation of Medea’s psychological responses to Jason’s death. Using the technique of broken dramatic monologue, this poem allows the poet to offer a personal vision of a Medea in contention with her repressed emotions. Whilst the poem has been much studied by feminist scholars as a remarkable example of the struggle of the New Woman in Victorian England, this paper highlights the role played by the voice of Jason’s ghost that represents Medea’s unconscious, and that despite her desperate attempts reveals a strong patriarchal image of femininity. As the poem unfolds, it unveils how Jason’s ghost projects the intense love that the protagonist feels for him, a love from which she cannot free herself. This paper reads the poem to pinpoint contrasting issues between psychological subjectivity and agency that affected many new intellectual Victorian women in their battles against patriarchy, and their own selves.

RELIGIOUS OBLIGATIONS AND MORAL DILEMMAS: A FEMINISTIC PERSPECTIVE OF IBSEN’S PLAY A DOLL’S HOUSE

Purpose of the Study: This research paper attempts to examine the play A Doll’s House through the perspective of challenges faced by the protagonist against moral authority and censorship and her resilience in the face of difficulties.
 Methodology: The research paper proposes to make use of the secondary data including related articles and web sources. The data collected are words, phrases, clauses, and sentences related to women's problems and their struggles found in the play.
 Main Findings: Nora revolts against male-formulated social structure repressing women in the name of religion, conventions, and breaks the framework set up by men and she dashes for a liberated life. The finding of the study is that through the play, we learn how important the interplay of religion and free spirit is to Nora’s evolution.
 Applications: This paper can be used by literary scholars and students.
 Novelty/Originality of this study: This research paper has used the contrasting forces of moral obligation and the free spirit of Nora to see how they have helped Nora to come out from a rosy-colored view of her dream world. The present study demonstrates how the protagonist feels entrapped and suffocated in her home, forced to live a life of false hope due to the impositions placed on by her husband and the patriarchal society which resultantly creates a feeling of isolation.

The minor as major: Outsiderness and social class in Saara Turunen’s prose

Saara Turunen’s Sivuhenkilö is a work of autofiction, which tells the story of a year in its unnamed protagonist’s life. Despite her success as an author, the protagonist feels like a minor character in her own life: an outsider both because of her gender and her profession as a writer. In this article, I offer a critical reading of Turunen’s prose by asking what political implications are attached to her handling of outsiderness. I approach outsiderness not merely as a theme, but also as a genre-specific feature peculiar to the tradition of feminist rewriting. Based on my reading of Sivuhenkilö, I argue that regardless of its feminist potential, framing oneself as an outsider can function as a way of smoothing out differences and privileges, such as social class. Following this, I argue that the feminist stance explicitly presented in the novel is strongly connected to liberal and popular feminism.

THE EXISTENTIAL ALIENATION OF THE FEMININE SELF IN THIS HOUSE OF CLAY AND WATER BY FAIQA MANSAB

Purpose of the study: The present study aims to analyze the text This House of Clay and Water (2017) by Mansab, through the Existentialist Feminist lens in the light of Simone de Beauvoir’s theory as explained in her revolutionary work, The Second Sex (2009). The purpose of the study is not only to highlight women’s oppression/ othering in marriage due to patriarchy but also to mark the role of the ‘husband’ as crucial to the understanding of women’s emotional abandonment in marriage.
 Methodology: The study is qualitative and uses a descriptive analysis of the selected text. The method of literary analysis used in the text is based on a close reading of the narrative description and events of alienation of the identity persona of the protagonist in the text.
 Main Findings: The present study draws on Simone de Beauvoir’s ideas about how women are treated as others by the male subject in marriage resulting in a feeling of frustration, identity loss alienation, and existential crisis. Moreover, the role of the husband is crucial to avoid this crisis in women after marriage.
 Application of the study: This study can have many applications in various fields. The study demonstrates the impacts of social and cultural stereotypes on women as well as the role of patriarchy and resulting alienation. This study can have many applications in gender and feminist studies. This study can also be helpful in the academic setting for research purposes especially in feminism, gender studies, and female existentialism.
 The novelty of the study: The present study demonstrates how the protagonist feels entrapped and suffocated in her home, forced to live a life of false hope due to the impositions placed on her by her parents, her husband, her in-laws, and the patriarchal society which resultantly creates a feeling of alienation. The study concludes how dissuading a woman from her true self and forcing her to exist as an object results in a feeling of dissatisfaction, existential crisis, and alienation. The selected text has not been explored through the lens of Existential Feminism before.

The Fictional Minds of Modernism: Narrative Cognition from Henry James to Christopher Isherwood ed. by Ricardo Miguel-Alfonso

Reviewed by: The Fictional Minds of Modernism: Narrative Cognition from Henry James to Christopher Isherwood ed. by Ricardo Miguel-Alfonso Luke Mueller MIGUEL-ALFONSO, RICARDO, ed. The Fictional Minds of Modernism: Narrative Cognition from Henry James to Christopher Isherwood. New York: Bloomsbury Academic, 2020. 236 pp. $99.00 hardcover; $79.20 e-book. The story of the modernist novel usually involves an “inward turn”: against the nineteenth-century realists’ highly wrought social worlds, against their moral dilemmas and ostensibly objective descriptions, modernism (as the story goes) dramatizes private minds whose contacts with the world are perspectival, partial, and tenuous. It’s true that modernist novels are deeply concerned with the mind, but the inward turn offers a picture of mental experience that looks simplistic in the context of recent work in cognitive studies. This work examines how minds are always already in the world, and it has been the subject of seminal works such as Alan Palmer’s Fictional Minds (2004), Lisa Zunshine’s Why We Read Fiction: Theory of Mind and the Novel (2006), and David Herman’s collection The Emergence of Mind: Representations of Consciousness in Narrative Discourse in English (2011). Ricardo Miguel-Alfonso brings this broader picture of mind squarely into the realm of modernist narrative in The Fictional Minds of Modernism: Narrative Cognition from Henry James to Christopher Isherwood, a collection of essays that thoughtfully challenges the “inward turn.” Miguel-Alfonso begins The Fictional Minds of Modernism by arguing that modernist narrative (exemplified by Gertrude Stein’s work) is fundamentally about the “continuity between mind and world” (12). Narrative is both an act of mind, giving sequence and structure to phenomena, and also an act of mind made available to other minds. In other words, narrative is fundamentally public. But Miguel-Alfonso acknowledges this publicness is problematic, contending that modernist narratives engage in “relentless questioning of the relationship between mind, language, and reality” (9). The book’s contributors take up this relentless questioning, seeking a more nuanced picture of mind that is not simplistically bifurcated into “internal” and “external” aspects. In the second essay, Jukka Mikkonen warns against too quickly accepting fictional minds as means for learning “about the workings of the mind” (18). Mikkonen recognizes the propensity of readers to ascribe realistic qualities of mind to fictional characters, but he argues that fictional minds must also obey the demands of narrative necessity. Narrative minds have both mimetic and poetic aspects, and these poetic aspects make trouble for those who would claim modernist literature can faithfully represent minds. In Virginia Woolf’s Mrs. Dalloway, for example, Clarissa Dalloway’s ability to understand others borders on extraordinary, and the portrayal of the shell-shocked Septimus Warren Smith is haunted by the fact that Woolf may not be “a real expert of schizophrenia” (21). In other words, there is a difference between narrative minds feeling real and being real. While Mikkonen is sympathetic to those who would [End Page 192] claim “that literary narratives could widen our ‘mental universe’ or ‘the cognitive horizon of human awareness,’” he concludes that such claims “are not proportional to their supporting evidence—no matter how evidence is understood—and at times look even like dogmas” (25). While Mikkonen’s skepticism is warranted, it is somewhat tempered by two following essays that argue that normal presentations of mind are always already conceptual and linguistic—making poesis a crucial part of investigations of mental experience. Marco Caracciolo argues that metaphors for mind break down barriers between inner and outer life because they express what is “internal” in terms of “concrete things that we can directly perceive” (34). Caracciolo explores metaphors of mind in three novels: Kate Chopin’s The Awakening, Federigo Tozzi’s Con gli occhi chiusi (Eyes Shut), and in Mrs. Dalloway. He shows how mind is conceptualized in terms of sensory activities (perceiving, seeing, having illusions, etc.), in terms of space (Tozzi’s protagonist feels his mind is a “large hall” [42]), and in relation to physical things and processes (Tozzi’s narrator reports of the protagonist, “A familiar ache dashed his brain like a cold jet that never let him get anything done” [42]). Caracciolo believes that these metaphorical “mind styles...

NEGATIVE EMBODIMENT OF THE PROTAGONIST’S INTERNAL CONFLICT IN NANG SYAMSUDIN’S NOVEL MENGURAI RINDU

This study talks about the protagonist’s internal conflict in Mengurai Rindu written by Nang Syamsudin. This study only focuses on the negative embodiment of the Protagonist, internal conflict, and the positive one is not discussed. The theory used in this study is the theory of psychological conflicts; while, the method is descriptive method. The negative embodiment of the protagonist’s internal conflict which can be found in the novel are sadness, and disappointment. First, the protagonist often feels sad. Such feeling falls down on the protagonist’s mind. There are some characters who cause the protagonist’s sadness. Even, the protagonist feels distressed because of improper treatments from the other characters. Her sadness proves that there is an internal conflict which happens to her. The second is disappointment. Besides sadness, the protagonist also looks disappointed with those characters. Their reaction to the protagonist leaves her disappointment. In conclusion, some characters contribute conflicts for the protagonist. It can be said that external factors can result in internal conflict to anyone.

A Translation into English of Khalil I. Al-Fuzai’s1 “A Point of Change”2

Like other main characters in this collection, the nameless protagonist of this story has to take care of his mother and brother for no other reason than that he is the elder male in the family. Culturally an elder son should carry his father’s economic responsibilities after the father’s death, as is the case in this story. Yet, at the same time that the society requires the elder son to take care of his family, it does not take into consideration his physical and mental condition. Khalil I. Al-Fuzai explores this issue with the son’s vision that: “all his life is a waste . . . and all his days are boring.” A chance takes place towards the middle of the story and leads to the recovery of the protagonist’s identity. Children playing soccer and successive incidents help him to reconcile his identity with a tradition that requires him to live a tragic life for no reason except he is the elder son in the family. Trying to rescue a child, the main character throws himself into the water before the boy drowns in the sea. Through this action, he regains his confidence in the meaning of his life. The seawater that he dives into gives birth to a new feeling about and understanding of his life. This story shows how one action may change a person and give him honor. The protagonist feels he has done something significant. Hence his life has meaning. Thus, self-distrust, disappointment, and self- depreciation should not prevail in the lives of individuals who face discouraging, frustrating, and disappointing troubles. 3

Temporal lobe epilepsy in The Passion According to GH

Clarice Lispector was an iconic Brazilian writer who was known for her strange, almost mystical writings. Her novel, The Passion According to GH, 1 Lispector C The Passion according to GH. University Of Minnesota Press, Minneapolis, MN1988 Google Scholar has long been considered to describe the internal workings of a woman (GH), who suddenly and unexpectedly finds herself in the midst of a spiritual crisis that is triggered by the sight of a cockroach in a clean room. During her crisis, the protagonist reports feeling disoriented and irritated, with subsequent auditory and visual hallucinations, and a range of symptoms including screaming, dry mouth, clenching of the jaw, intense sweating, and sudden vomiting. Additionally, the protagonist experiences a feeling of intense unfamiliarity with her surroundings (jamais vu), dissociation, and derealisation, and displays signs of hyper-religiosity. Finally, the protagonist feels dizzy and falls unconscious for a few moments.

Introduction to Focus: Graphic Fiction

Introduction to Focus:Graphic Fiction Frederick Luis Aldama (bio) and Katie Skelly At the click over into the twenty-first century, French comic book publisher L'Association released a one-shot, two-thousand-page behemoth, Comix 2000. Magisterial in scope—imagine 324 authors from 29 different countries—and astute in vision, it identified comic books then and now as a "major and universal means of expression and maybe even the most apt communicative medium of our times." Today, we no longer qualify such statements with a "maybe." In the order of things, comics exist as arguably the most apt communicative medium of our times—said from someone clearly without bias. They are everywhere—and we expect it to be so. Along with alphabetic luminaries, today we expect that a Gene Luen Yang, a Nate Powell, a Chris Ware, a Thi Bui, a Ta-Nehisi Coates will also pick up one of those prestigious national literary book awards; their art as covers to issues of The Atlantic and The New Yorker. And, of course, today we see the transmutation of comics constantly, appearing not only on the silver screen but also as plays, music performances, and Broadway musicals. The ubiquity of comics as an important form of communication didn't happen ex nihilo nor only in the US. Comic making and consuming has been a planetary activity long before our twenty-first century. Long-standing, complex traditions can be seen in Japan with manga, in Korea with manhwa, in China with lianhuanhua, in France and Belgium with bande dessinée, in Spain with tebeos, in Mexico and Latin America with historietas, and in the Philippines with komiks, to name but a few. And, with the global distribution and consumption of comics (intensified by today's internet), these traditions have vitally informed one another, evolving new cross- pollinated styles and forms. The creating and consuming of comics is a planetary phenomenon—and one that has been going on for some time; some even trace this back to those Paleolithic paintings in Dordogne, France. There is something compelling about creating stories with visuals—and then adding space and time complexity with words. Perhaps, as some argue, the gravitation toward comic book storytelling goes hand in hand with the rise to dominance of visually-driven cultural phenomena. Perhaps, as some have also argued, it's that we more willingly step into visually constructed story-worlds to experience ideas, actions, and behaviors—other ways of life. Speculation aside, we know for a fact that the visual (and verbal) medium of comics can and do powerfully make new our perception, thought, and feeling about us and the world we inhabit. The incisive reviews that make up this special issue wonderfully and variously put into words how the careful (or not) use of visual (and verbal) shaping devices are used to create fictional stories that invite and guide our imaginative re-construction. We come to understand how Adrian Tomine uses such shaping devices (framing, line, and layout, for instance) to distill and then reconstruct with aplomb the aesthetic realization of our fear and embrace of mortality. We gain insight into how in Bottled Chris Gooch's use of an accumulation of minimalist mise-en-scenes (sparse interiors) and a trichromatic color scheme (black, white, and rust-red) conveys a potent sense of a young woman's malaise—a social suffocation. We begin to understand why we feel so much unease when immersed in Jillian Tamaki's Boundless—a comic that disrupts our expectations of visual and verbal word placement to intensify our sense of the racialized protagonist's feelings of dis-belonging. We are attuned to how the bullet flies through those first pages of I Am Alfonso Jones, streaking a path of destruction through the many young African American and Latinx men that we lose every minute of every day to racial injustices. Comic book creators across the globe choose to dedicate their intelligence, skill, time, energy, and physical labor to create graphic fiction. Unlike, say, the other visually dominant storytelling mode of film, while the creating of graphic fictions takes a lot of time and labor, it is relatively inexpensive; the internet along with social...

The Great Automatic Grammatizator: writing, labour, computers

What does it mean when we say that computers can ‘write’ and how are recent developments in neural networks and machine learning changing this capacity? This article examines the long-standing literary fear of authorship being replaced by machines while also interrogating the labour and credit implications that sit behind widely used structures of authorship in a technological age. The argument makes reference to one work of computer-generated writing – Johannes Helden & Hakan Jonson’s Evolution [2014] – and to one software paradigm (a character-based recurrent neural networks for language acquisition trained on the corpus of the journal Textual Practice). I here argue that unless we conceive more broadly of the criteria for ‘authorship’ as a labour function, and unless we take seriously the need to see textual production as social production, hybridized (but predominantly) machine identities will come to dominate a literary landscape.

The possibilities and pitfalls of a Jewish cosmopolitanism: reading Natan Sznaider through Russian-Jewish writer Olga Grjasnowa’s German-language novel Der Russe ist einer, der Birken liebt (All Russians Love Birch Trees)

In his Jewish Memory and the Cosmopolitan Order (2011), Natan Sznaider shows how Jewish thinkers both before and after the Holocaust have advanced universalist ideas out of their particularist Jewish identities, connecting the Jewish experience to contemporary cosmopolitan concerns such as Human Rights, genocide prevention and international justice. Sznaider focuses on Hannah Arendt and illustrates how this post-Holocaust Jewish thinker both defended her rootedness in her Jewish identity and drew universalising conclusions from it. This article explores Sznaider’s notion of a ‘Jewish cosmopolitanism’ in tandem with a close reading of Russian-Jewish writer Olga Grjasnowa’s 2012 German-language novel Der Russe ist einer, der Birken liebt (All Russians Love Birch Trees). The empathy Grjasnowa’s protagonist feels for the plight of Palestinians reveals her commitment to a universalist ideal of Human Rights even as she remains rooted in her Jewish identity: her activism draws on the transmission of the trauma of the Holocaust down through the different generations of her family. At the same time, Grjasnowa’s novel also suggests some of the limitations – and indeed problems – of Sznaider’s conceptualisation of a Jewish cosmopolitanism.

Emotion and false memory: How goal-irrelevance can be relevant for what people remember

ABSTRACTElaborating on misleading information concerning emotional events can lead people to form false memories. The present experiment compared participants’ susceptibility to false memories when they elaborated on information associated with positive versus negative emotion and pregoal versus postgoal emotion. Pregoal emotion reflects appraisals that goal attainment or failure is anticipated but has not yet occurred (e.g., hope and fear). Postgoal emotion reflects appraisals that goal attainment or failure has already occurred (e.g., happiness and devastation). Participants watched a slideshow depicting an interaction between a couple and were asked to empathise with the protagonist's feelings of hope (positive pregoal), happiness (positive postgoal), fear (negative pregoal), or devastation (negative postgoal); in control conditions, no emotion was mentioned. Participants were then asked to reflect on details of the interaction that had occurred (true) or had not occurred (false), and that were relevant or irrelevant to the protagonist's goal. Irrespective of emotional valence, participants in the pregoal conditions were more susceptible to false memories concerning goal-irrelevant details than were participants in the other conditions. These findings support the view that pregoal emotions narrow attention to information relevant to goal pursuit, increasing susceptibility to false memories for irrelevant information.

Online Persona as Hybrid-Object: Tracing the Problems and Possibilities of Persona in the Short Film Noah

Online Persona as Hybrid-Object: Tracing the Problems and Possibilities of Persona in the Short Film Noah

Tomboy by Nina Bouraoui (review)

Book Reviews179 marriage to her soon-to-be prominent Catholic doctor husband, though he still remained attached to his provincial milieu (a fact that created an uneasiness between Jeanne and his religious, lower-class mother). The intellectual, sensitive, inner-looking Jeanne with her extrovert, optimistic, scientifically trained husband formed a very complementary, ambitious and successful couple in spite of their outward differences. Typical of many in the Third Republic, they combined political liberalism (they supported Dreyfus, for example) with an optimistic belief in the success of human endeavors. Religiously, their mostly agnostic views of the world joined them and softened their differences within the Jewish and Catholic traditions, rites they outwardly followed. AU readers, Proust neophytes, students and specialists alike will appreciate this biography that reads like a novel. It is definitely a necessary companion, for pleasure or for research, to any part of A la recherche du temps perdu. It sheds light on the "leading mama's boy of the canon" according to Bloch-Dano's own words in her preface. It explains famous passages such as the protagonist's feelings waiting for his mother's kiss in Combray, those of the Venice trip, of the Cabourg and Trouville vacations and of other Proustian descriptions. The reader's voyage into the psyche ofJeanne Weil Proust from cradle to grave—we can see Marcel's mother in full mourning after the death of her own mother then that of her husband—illuminates Marcel's own voyage of the mind, of his memories and of his masterful oeuvre. This biography also contains good notes and excellent genealogical charts ofMarcel Proust's maternal ancestors, including relatives such as Karl Marx and Senator Adolphe Crémieux who, in 1870, signed the decree that made it possible for Algerian Jews to become French citizens. Alice Kaplan's skilled English translation retains all the nuances of the original text with faithfulness, sensitivity and remarkable accuracy. AU in all, this biography is a great treat for everyone to read and cherish. Claudine FisherPortland State University Bouraoui, Nina. Tomboy. Trans. Marjorie Attignol Salvodon and JeanneMarie Gavarini. Lincoln NE and London: University of Nebraska Press, 2007. Pp [i]-vi; 116. ISBN 978-0-8032-1363-0. $40.00 (Cloth). ISBN 978-08032 -6259-1. $19.95 (Paper). After an impressive début novel, La Voyeuse interdite (Prix Livre Inter) in 1991, Nina Bouraoui's fifth, Garçon manqué, published in 2000, marks the beginning of a series of autobiographical novels (she calls them auto-fiction), ending with Les mauvaises pensées (Prix Renaudot, 2005). Despite its male narrator, her tenth, Avant les hommes (2007), could be added to the list. Nina Bouraoui was bom in Rennes in 1967 of an Algerian father and a bretonne mother. She spent most of her first 14 years in Algiers, returning to France for summer vacations, much like the narrator of Tomboy, "Nina." Much of the novel is about dualities, borders, differences, and the search for identity and 1 80Women in French Studies self-definition. Yasmina is French and Algerian. She is a girl, but, in Algeria, longs to be a man: that's where power resides. She takes on another name, Ahmed. "I don't know who I am. One and multiple. Lying and truthful. Strong and weak. Girl and boy" (34). The first halfofthe novel takes place in Algiers, where she is most at home with another métis, Amine, playing soccer or diving into the sea. She remains a "foreigner." There are echos of Algerian independence, violence, and the traumatic experience of an attempted abduction. Finally, at age 14, her mother announces that she will no longer return to Algeria. The second half of the novel takes place largely in Rennes and St. Malo, where, again "foreign," she has to try to fit in despite her otherness. Beyond the family circle, she finds an "inability to truly love what is foreign, what is different" (56). She recounts the courtship and marriage of her parents, the everyday racism encountered, and looks forward to avenging such affronts through her writing. She will find her true home in language, in writing. The novel ends with two very short sections. One recounts a...

The situational antecedents of pride and happiness: Developmental and domain differences

This study examines whether young children can differentiate between the situational antecedents of happiness and pride and the effect of the type of situation on the attribution of pride. One hundred and fifty 7‐, 9‐ and 11‐year‐olds were asked to rate the extent to which two types of situations would elicit a protagonist's feelings of happiness and pride. Happy situations were expected to elicit happiness only, e.g. because the protagonist received a gift — a desirable result, but beyond his/her personal control. Achievement situations were expected to elicit both happiness and pride, e.g. because the protagonist won an award — a desirable and beneficial outcome for the agent which (s)he was responsible for bringing about. If the children could differentiate between the situational determinants of happiness and pride, they would be expected to give high ratings for pride in achievement situations only. To examine the effect of the type of situation on children's ratings for pride, discretionary moral situations were introduced in which the protagonist was performing a moral act for the benefit of a third person without personal cost (helping an old lady carry her shopping bags) or with cost (giving a sandwich to a hungry child). The results of the study revealed that only the 11‐year‐olds were able to fully differentiate between the two emotions. The type of situation affected children's ratings for pride. Children attributed less pride to the protagonist in moral situations, particularly in the cost condition, than to the protagonist in achievement situations.

Shame and guilt in children: Differential situational antecedents and experiential correlates

Situational antecedents and experiential correlates of shame and guilt in children were examined by having 6‐11‐year‐olds give ratings of the extent to which two types of situations would elicit a protagonist's feelings of shame and guilt. It was predicted that one type of situation should elicit both shame and guilt, because the protagonist caused harm to another person by behaving incoherently or incompetently. The other type of situation was predicted to elicit more shame than guilt, because the protagonist behaved incoherently or incompetently without causing harm to anyone. Two types of questions were used to elicit children's ratings: in term‐based questions the emotion terms ‘guilt’ and ‘shame’ were used, while in correlate‐based questions guilt and shame were alluded to by citing experiential correlates of these emotions. Children aged 9 and upward differentiated between both types of situations and between judgments of shame vs. guilt, both when giving term‐based and when giving correlate‐based ratings. There were no systematic differences in children's performance depending on whether they gave correlate‐based or term‐based judgments.