By Sarah Ahmed
This can be a daring tackle the an important position of emotion in politics. feelings paintings to outline who we're in addition to form what we do and this is often not more powerfully at play than on the earth of politics. Ahmed considers how feelings continue us invested in relationships of strength, and likewise exhibits how this use of emotion may be the most important to feminist and queer political activities. Debates on overseas terrorism, asylum and migration, in addition to reconciliation and reparation are explored via topical case reviews. during this textbook the tough concerns are faced head on. New for this version: a considerable 15,000-word Afterword on 'Emotions and Their Objects' which supplies an unique contribution to the burgeoning box of have an effect on stories; a revised Bibliography; and up to date all through.
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Additional info for The Cultural Politics of Emotion (2nd Edition)
See Chapter 8 for a critique of the distinction between reaction and action. 11. Although Brown refuses to echo Nietzsche’s call to forget, her conclusion is to replace the language of being (‘I am’) with the language of desire (‘I want’). I suggest that we should also challenge Nietzsche’s presumption that the future is open, and that the past – and the present – is what holds or binds the subject. We need to think about how the past remains open in the present, such that the story of the ‘I am’, or ‘how did I come to be’, is a story that also opens up the future of the subject.
I cannot learn this history – which means unlearning the forgetting of this history – and remain the same. Knowing one’s implication in this history is about accepting the violence as a form of ‘un-housing’. The house in which I grew up, and to which I am attached through memory, is on indigenous land. To ‘feel’ differently about this land, as belonging to others, is not about generosity; it is not premised on giving up one’s home, but on recognising that where one lived was not one’s home to give or to give up in the first place (see Ahmed 2000: 190).
It is the ungraspability of her pain, in the face of the thereness of my own, that throws me into disbelief. But it is not her pain that I disbelieve. I believe in it, more and more. I am captured by the intensity of this belief. Rather it is my pain that becomes uncertain. I realise that my pain – it seems so there – is unliveable to others, thrown as they are into a different bodily world. The ungraspability of her pain calls me back to my body, even when it is not in pain, to feel it, to explore its surfaces, to inhabit it.
The Cultural Politics of Emotion (2nd Edition) by Sarah Ahmed