A pioneer in queer theory and literary studies, Eve Kosofsky Sedgwick brings together for the first time inTouching Feelingher most powerful explorations of. Eve Kosofsky Sedgwick. Durham: Duke University Press, Pp. ix + The cover of Eve Sedgwick’s Touching Feeling: Affect, Pedagogy. Touching Feeling: Affect, Pedagogy, Performativity. Eve Kosofsky Sedgwick, Author, Eve Kosofskysedgwick, Author, Michele Ainabarale, Editor Duke University.
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I was not touchingg personally drawn to the periperformative essay or the Buddhism pedagogy essay because they seem to both reduce pretty easily into a chance to “carve out space for alternate modes of thinking,” which the very presence of the essay itself is demonstrating.
One of the most interesting ideas Sedgwick introduces is that of the “beside” 8. Common terms and phrases Affect Imagery Consciousness affect system affect theory analog Austin bodhisattva body Buddhist Carker Chapter cognitive concept critical culture D. This from one of the originator of queer theory.
On the most immediate visual level, the photo is used to represent the act of touching feeling, the effort to hold and explore and seek comfort from something wordless and precious. One of the difficulties of Sedgwick’s book is that she demands that readers begin thinking about “nondualistic thought and pedagogy” 1. Affect, Pedagogy, Performativityexcites, demands, perplexes. Literary scholars and professors of education, put your seatbelts on, for Sedgwick certainly takes you on an interesting ride.
Jul 24, xen rated it it was amazing. In prose sometimes somber, often high-spirited, and always accessible and moving, Touching Feeling interrogates—through virtuoso readings of works by Henry James, J. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits.
Austin, Judith Butler, the psychologist Silvan Tomkins and others-emotion in many forms. In essays that show how her groundbreaking work in queer theory has developed into a deep interest in affect, Sedgwick offers what she calls “tools and techniques for nondualistic thought,” in the process touching and transforming such theoretical discourses as psychoanalysis, speech-act theory, Western Buddhism, and the Foucauldian “hermeneutics of suspicion.
Maybe one day I’ll read it again and get more out of it.
Touching Feeling | Duke University Press
In fact, shame becomes “simply the first, and remains a permanent, structuring koosofsky of identity” for queer people and kosofskj be more useful in understanding camp and identity politics The full text of this book review is only available to subscribers of the London Review of Books.
Is paranoia the only realistic epistemology for modern intellectuals? Thrift No preview available – Sedgwick situates these periperformatives spatially, suggesting that they are near and around performatives.
Also very personal while still academically intense. Sedgwick sheds light on the wide range of sensations the vocation involves, including moments of frustration, disillusion, anger, and joy.
Locating the self in a space not anchored by binaries, she says creates a space for questioning that transcends self. Create a reading list or add to an existing list.
Touching Feeling ultimately offers a view of knowing that is not confined by binaries. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.
Any critic who so successfully challenges the fundamental terms of the discipline, and opens up new subjects for others to write and publish about, deserves fame and distinction. This is especially necessary when she points, through the lessons of her dying, to our mortalities. In this way, this concluding chapter can be read like a distant sibling to her first book, Epistemology of the Closet.
References to this book Non-representational Theory: Feb 01, simon rated it liked it. Her works sdgwick an interest in queer performativity, experimental critical writing, non-Lacanian psychoanalysis, Toucying and pedagogy, the affective theories of Silvan Tomkins and Melanie Klein, and material culture, especially textiles and texture.
A pioneer in queer theory and literary studies, Eve Kosofsky Sedgwick brings together for the first time in Touching Feeling her most powerful explorations of emotion and expression. She has undergone psychotherapy intimately described in her memoir, A Dialogue of Loveshe has travelled in Asia and immersed herself in Buddhism, and has turned away from writing to weaving and other forms of fibre art.
I was tempted to give this a lower rating because of the tendency toward academic jargon and deconstruction, but slogging through those for me less pleasant passages was worth it in the end. Dec 29, Becka rated it really liked it Shelves: She once again makes a significant contribution to not just one but many intersecting fields—literary criticism, education, queer theory, cultural studies, and autobiography.
Her erudition, brilliance, passion, and unusual combination of interests thrill. Her best, in my humblest opinion. Your Friends Email Address: Disability Requests Instructions for requesting an electronic text on behalf of a student with disabilities are available here.
What links the work of teaching to the experience of illness? Nov 24, Mike rated it really liked it. Open Preview See a Problem? With a generosity that is at once self-abnegatingly ascetic, and gorgeously, exhibitionistically bravura, she opens door after door onto undiscovered fields of inquiry.
Additionally, the other subtitles of the bookpedagogy and performativity are underrepresented in their theory and appear more as broad concepts that tie the essays together to form a book.
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Touching Feeling: Affect, Pedagogy, Performativity by Eve Kosofsky Sedgwick
Is sexuality more like an affect or a drive? Her erudition, brilliance, passion, and unusual combination of interests thrill.
Instead, Sedgwick offers a reparative strategy, which “surrender[s: Although the book’s structure is clear, the prose unsettles by its complexity, and pretty soon the reader gets lost—in a good way—inside the fesling phenomenological world of affect.
The reparative reader is therefore one open to surprise, attentive to the rich description of a moment, and willing to be affected at the physical level.
Moreover, Sedgwick’s courage in speaking openly about her illness and about aspects of her self that most academic women would keep private, including being fat, is very moving.
There is More Than This. This reduction of the body erases the motivational drives of affects such as shame and allows paranoia to be established in opposition to surprise. How can shame become an engine for queer politics, performance, and pleasure?