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Love, abjection and discontent

This book destabilises the customary disciplinary and epistemological oppositions between medieval studies and modern medievalism. It argues that the twinned concepts of “the medieval” and post-medieval “medievalism” are mutually though unevenly constitutive, not just in the contemporary era, but from the medieval period on. Medieval and medievalist culture share similar concerns about the nature of temporality, and the means by which we approach or “touch” the past, whether through textual or material culture, or the conceptual frames through which we approach those artefacts. Those approaches are often affective ones, often structured around love, abjection and discontent. Medieval writers offer powerful models for the ways in which contemporary desire determines the constitution of the past. This desire can not only connect us with the past but can reconnect present readers with the lost history of what we call the medievalism of the medievals. In other words, to come to terms with the history of the medieval is to understand that it already offers us a model of how to relate to the past. The book ranges across literary and historical texts, but is equally attentive to material culture and its problematic witness to the reality of the historical past.

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Alpesh Kantilal Patel

Affect: belonging Drawing on everything from artworks and a cartoon to police documents and a personal anecdote, I consider three temporally discontinuous events in the past to engender an ethical future across racial, ethnic and national lines. At stake in this chapter is the question of how certain subjects are considered as ‘belonging’ and others as not; and the role of art and writing in the reconstitution of notions of ‘home’ (not to mention art histories). I examine the fatal misrecognition of South Asians as ‘terrorists’ shortly after 9/11 in the United

in Productive failure
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Rebecca Pates and Julia Leser

those who threaten. Fear is an effect of this process, rather than its origin.’ 11 Emotions, according to Ahmed, are psychological states but they are also practices that ‘circulate between bodies’. 12 Through the circulation of affects, Ahmed argued, social objects are constituted. No object is inherently worthy of someone’s compassion, and no object is innately conducive to fear. Rather, a social object has to be made that way. According to her, affects are not private properties of individuals but ‘play a crucial role in the “surfacing” of individual and

in The wolves are coming back
Jens Eder

63 Affective image operations Jens Eder1 Images enter the interactional networks of political conflict in various ways. Often, they motivate political action by evoking emotions and affects. This is evident, for instance, in visual propaganda, images of terror, donation campaigns or activist videos like Kony2012. Aiming to mobilise a movement against a brutal warlord, the documentary made calculated use of cinematic techniques to maximise viewers’ emotional responses. It went viral on social media platforms and was soon watched more than 100 million times. The

in Image operations
Ulrika Maude

1 Beckett's television plays confound the spectator, not least because of their representational ambiguity, their perplexing affective qualities and the singularity of their poetics. Of the five plays Beckett wrote specifically for television, Ghost Trio , his second teleplay, written in 1975, is considered by most critics to be his finest work for the medium. Filmed by the BBC in October 1976, and by Süddeutscher Rundfunk (SDR) the following year, it opens with V, the female voice, describing the set as ‘grey’ in its

in Beckett and media
Karen Fricker

4 Lepage’s affective economy In the previous chapter I explored the formal techniques that Lepage uses to construct his stage narratives, arguing that his montages innovate the formal languages of film, communicating to audiences on familiar terms made strange again via remediation. I established spatial montage as one of the key building blocks of his stage storytelling, and argued that while his techniques are based in metaphor, they frequently increase in complexity and come to involve metonymy. In this chapter I look more closely at the effects of these

in Robert Lepage’s original stage productions
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New York 1917
Dafydd W. Jones

222 The fictions of Arthur Cravan 7 j ‘Pure affect’: New York 1917 Deterritorialisation The present study is premised on a processing of philosophical positions into the descriptive recovery of Cravan, in an attempt to yield sense from what frequently appear to be nonsensical cultural positions that the idea of Cravan occupies. His perpetual escape from ‘an original territory’ through extensive movement renders for us the becoming of Arthur Cravan. The process of movement that is productive of change is described in Deleuze and Guattari’s last collaborative

in The fictions of Arthur Cravan
Clara Eroukhmanoff

Thus far, I have concentrated on the CT and counter-radicalisation practices in the US and on the representational aspect of the indirect securitisation of Islam – that is, the discursive dimension of this securitisation – in other words, on practices that can be analysed through language. This chapter adds body to this analysis by exploring the emotional experiences that accompany the indirect securitisation of Islam and the affective process of indirect securitisations more generally. Following the work of social psychologist Margaret

in The securitisation of Islam
Anna Bocking-Welch

Instrumentalising affect In the summer of 1964 Rotary's International Service Committee organised an international rally at Butlin's Holiday Camp in Clacton-on-Sea. More than 1500 Rotarians (including wives and families) attended the rally. Having travelled from clubs across Britain to the seaside resort, Rotarians entered what the organisers called the ‘Hall of Nations’. Here delegates were encouraged to ‘get to know’ representatives from more than twenty-two countries (including Chile, Iceland, the USSR, and Pakistan

in British civic society at the end of empire
Cora Fox

represents the ways positive affects can produce bodies and sociality through their performance on the Shakespearean stage. This shaping of bodily associations in Merry Wives is accomplished through the manipulation of a discursive network surrounding definitions of English community, and particularly the traffic in women that is both central to its functioning and most troublesome to its boundaries. 5 As Walter Cohen notes in his introduction to the play in The Norton Shakespeare , Merry Wives

in Positive emotions in early modern literature and culture