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This also results in confusions such as presuming that the hypothesized “autonomy of affect” is a concept foundational to all “affect theory” or to Spinoza’s philosophy. In fact, the “autonomy of affect” (Massumi 2002) is a concept built on an (unreplicated) empirical study that found a “gap” between the affect experienced in the body and the conscious “registering” of that affect. Scholars have attached themselves fervently to this “gap” and its apparently vast promise of affect’s “freedom”, giving hope in the bleak, post-post-modernist landscape where “agency” seems lost forever.

Narratives are always told at a particular moment in the narrator’s life. They are inevitably influenced by his/her experiences from the past (and former processes of narrative sense-making) as well as by expectations of the future. The stories are as such always historically situated. They not only echo the storyteller’s life history, but also the history of the school, and the wider socio-historical and policy environment. Simultaneously, the stories reflect meaningful interactions with other people (collective sense-making) and with cultural, structural and institutional environments at those moments in time.

The scholars engaging feminist politics of emotion courageously blazed trails into Western Enlightenment theory with radical new theorizations of emotions. These accounts understand emotions to be embedded in the materiality of lived experience. How do socially- and culturally-constructed rules of emotion define identities, determine communities, and which bodies are permitted the privilege to express which emotions? By taking into account the gendered and feminist histories that form the bedrock of emotion and affect’s ‘place’ within Western culture and discourses, work on affect might be able to deliver much-needed interventions into “binarized” scholarly discourses that still shun emotion and affect.

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A Hero In Need

by Joseph

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