‘Emotional regimes’ is a concept defined by William Reddy in 2001 and used in the history of emotions literature to refer to the modes of emotional expression and thought that are dominant in particular time periods and cultural contexts. Popular ballads provide a useful way of exploring emotions in their cultural contexts across different time periods because of their long life-span, and because of the way they are shaped and moulded by social beliefs during the processes of transmission. In this article we use the theoretical framework of emotional regimes to re-examine the popular English and Scottish ballad often known as ‘Scarborough Fair’ and three of its variants from three specific time periods: the Early Modern, the Victorian era and the twentieth century. We also report on a survey of 600 modern-day listeners who describe their response to the ballad. The discussion considers what the transformations to the song-text reveal about the changing viewpoints towards gender and love that were prevalent in the historical periods considered and in the twenty-first century.

中文翻译：

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流行民谣所反映的情感制度：“斯卡伯勒集市”中的性别，爱情和抗议观点

“情感政权”是威廉·雷迪（William Reddy）在2001年定义的概念，在情感文学史上用于指代在特定时期和文化背景下占主导地位的情感表达和思维方式。流行的民谣由于寿命长，并且在传播过程中受到社会信仰的塑造和塑造，因此提供了一种在不同时期探索其文化背景中的情感的有用方法。在本文中，我们将使用情感机制的理论框架来重新审视通常被称为“斯卡伯勒集市”的流行英语和苏格兰民谣及其三个特定时期的三个变体：早期现代，维多利亚时代和20世纪。我们还报告了对600位现代听众的调查，他们描述了他们对民谣的反应。讨论考虑了歌曲文本的变化揭示了在所考虑的历史时期和二十一世纪盛行的对性别和爱情的不断变化的观点。