Introduction: affecting words
2011; Taylor & Francis; Volume: 25; Issue: 2 Linguagem: Inglês
10.1080/0950236x.2011.552288
ISSN1470-1308
Autores Tópico(s)Poetry Analysis and Criticism
ResumoClick to increase image sizeClick to decrease image size Notes Allen Ginsberg, ‘Back to the Wall’, in Deliberate Prose: Selected Essays, 1952–95, ed. by Bill Morgan (New York: HarperCollins, 2000), p. 7. Allen Ginsberg, ‘Wichita Vortex Sutra’, in Collected Poems, 1947–1980 (1984; London: Penguin, 1987), p. 407. On Ginsberg's Vietnam War poetry more generally see my ‘ “Back! Back! Back! Central Mind Machine Pentagon…”: Allen Ginsberg and the Vietnam War’, in Cultural Politics 4:3 (Autumn 2008): pp. 351–74. Allen Ginsberg, ‘Poet's Voice’ (1966), in, Deliberate Prose, p. 258. Allen Ginsberg, ‘Improvised Poetics’, (1968), in Composed on the Tongue, ed. Donald Allen (Bolinas, CA: Grey Fox Press, 1980), p. 49. J. L. Austin, How To Do Things With Words (1962; Oxford: Oxford University Press, 1971), p. 6, hereafter cited as HTDTWW. Denise Riley, The Words of Selves: Identification, Solidarity, Irony (Stanford, CA: Stanford University Press, 2000), p. 3. Denise Riley, Impersonal Passion: Language as Affect (Durham, NC: Duke University Press, 2005), p. 4. Riley, The Words of Selves, p. 36. Ibid., p. 3 On this point see also Gilles Deleuze's and Félix Guattari's concept of the ‘order word’ (mot d'ordre) in A Thousand Plateaus, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987), chap. 4. See ibid. Judith Butler, Excitable Speech: A Politics of the Performative (London: Routledge, 1997), Introduction. See Riley, The Words of Selves, Introduction. See, for example, Kendall Walton, Mimesis as Make-Believe (Cambridge, MA: Harvard University Press, 1987); Derek Matravers, Art and Emotion (Oxford: Clarendon Press, 1998); Philip Fisher, The Vehement Passions (Princeton, NJ: Princeton University Press, 2002); Charles Altieri, The Particulars of Rapture: An Aesthetics of the Affects (Ithaca, NY: Cornell University Press, 2003); Jenefer Robinson, Deeper Than Reason: Emotion and Its Role in Literature, Music, and Art (Oxford: Clarendon Press, 2005); and Berys Gaut, Art, Emotion, and Ethics (Oxford: Oxford University Press, 2007). See, for example, Mary Louise Pratt, Toward a Speech Act Theory of Literary Discourse (Bloomington, IN: Indiana University Press, 1977); Shoshana Felman, The Literary Speech Act: Don Juan with J.L. Austin, or Seduction in Two Languages, trans. by Catherine Porter (1980; Ithaca, NY: Cornell University Press, 1983); Sandy Petrey, Speech Acts and Literary Theory (London: Routledge, 1990); and J. Hillis Miller, Speech Acts in Literature (Stanford, CA: Stanford University Press, 2001). For a discussion of work in other disciplines on relations between feeling and cognition, see Mark Johnson's The Meaning of the Body: Aesthetics of Human Understanding (Chicago: The University of Chicago Press, 2007). See, in particular, her Touching Feeling: Affect, Pedagogy, Performativity (Durham, NC: Duke University Press, 2003), Introduction and chap. 3. Silvan Tomkins, Affect Imagery Consciousness, Volume III (New York: Springer, 1991), p. 404. Silvan Tomkins, ‘What Are Affects?’, in Shame and Its Sisters: A Silvan Tomkins Reader, ed. Eve Kosofsky Sedgwick and Adam Frank (Durham, NC: Duke University Press, 1995), p. 54. Sedgwick, Touching Feeling, p. 19. Silvan Tomkins, ‘Script Theory and Nuclear Scripts’, in Sedgwick and Frank, Shame and Its Sisters, pp. 181, 182, Tomkins' emphases. Jacques Derrida, ‘Signature Event Context’, trans. by Samuel Weber and Jeffrey Mehlman, in Limited Inc (Evanston, IL: Northwestern University Press, 1988), p. 17, Derrida's emphasis. Ibid., p. 12. Butler, Excitable Speech, p. 150. Judith Butler, Gender Trouble (1990; London: Routledge, 2008), p. 185. On differences and relations between the two approaches to performativity, see Performativity and Performance, ed. Andrew Parker and Eve Kosofsky Sedgwick (London: Routledge, 1995). Ibid., p. 203, Butler's emphases. See Michel Foucault, ‘What is an Author?’, in Language, Counter-Memory, Practice, trans. by Donald F. Bouchard and Sherry Simon (1977; Ithaca, NY: Cornell University Press, 1988), pp. 113–38. Jacques Derrida, ‘This Strange Institution Called Literature’ [interview with Derek Attridge], in Acts of Literature (London: Routledge, 1991), p. 49. Ibid., pp. 44–5. See Kendall, Mimesis as Make-Believe; also Jerrold Levinson, ‘Emotion in Response to Art: A Survey of the Terrain’, in Emotion and the Arts, ed. by Mette Hjort and Sue Laver (Oxford: Oxford University Press, 1997). Robinson, Deeper Than Reason, p. 105. Gaut, Art, Emotion, and Ethics, p. 210. Robinson, Deeper Than Reason, pp. 196, 197. Matravers, Art and Emotion, p. 57. Pratt, Toward a Speech Act Theory of Literary Discourse, p. 91. Ibid., pp. 118, 120. Richard Ohmann, ‘Speech Acts and the Definition of Literature’, Philosophy and Rhetoric 4 (1971): 17. Felman, The Literary Speech Act, p. 33. Miller, Speech Acts in Literature, p. 160. See Sedgwick, Touching Feeling, chap. 1. Nathaniel Hawthorne, The Scarlet Letter (Oxford: Oxford University Press, 2007), p. 27. Hereafter cited as TSL. Fredric Jameson, Postmodernism, or the Cultural Logic of Late Capitalism (London: Verso, 1991), 15. On the treatment of affect in postmodern and poststructuralist theory more generally, see Rei Terada, Feeling in Theory: Emotion after the ‘Death of the Subject’ (Cambridge, MA: Harvard University press, 2001). For a fascinating discussion of how modern administered life provokes a range of negative affects, see Sianne Ngai's Ugly Feelings (Cambridge, MA: Harvard University Press, 2005). T. S. Eliot, ‘Tradition and the Individual Talent’ (1919), in Selected Prose, ed. by John Hayward (Harmondsworth: Penguin, 1953), p. 30. T. S. Eliot, ‘Hamlet’ (1919), in Selected Prose, pp. 107–8. Virginia Woolf, Between the Acts (London: Vintage, 1992), p. 8. Lyn Hejinian, ‘Background Notes for Happily’ (1998), in Hejinian Archive, Mandeville Special Collections Library, University of California, San Diego (MSS 74, Box 110, Folder 11), p. 2. Ibid., p. 3. Ibid., 1. Lyn Hejinian, Happily (Sausalito: Post Apollo Press, 2000), 28.
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