Ebook Touching Feeling: Affect, Pedagogy, Performativity (Series Q)
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Touching Feeling: Affect, Pedagogy, Performativity (Series Q)
Ebook Touching Feeling: Affect, Pedagogy, Performativity (Series Q)
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From Publishers Weekly
These essays, "a palimpsest of previously published and unpublished material," find Sedgwick expanding her impressive critical powers to areas beyond literature and politics. Though she's best known for her work in queer theory (Epistemology of the Closet), Sedgwick has always been interested in "performativity"-how people embody linguistic and non-linguistic concepts. Sedgwick has hardly abandoned explorations of queerness-an essay on shame and Henry James's The Art of the Novel is about as queer as theory gets-but these five pieces find her attuned to the textures of things, and to things themselves. Her readings-of everything from Thackeray to "my friends who are thirty"-take on a sensual quality, exploring the connections between "phenomenology and affect" and "what motivates performativity and performance" and "what individual and collective effects are mobilized in their execution." Fearless, challenging and occasionally exhilarating, Sedgwick remains one of the most courageous critics around. Copyright 2003 Reed Business Information, Inc.
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Review
“Eve Kosofsky Sedgwick writes with intense precision, and yet her work directs us toward the domain where meaning is music, unquantifiable, enigmatic, nonlinguistic. If the performative speech act, with all its relation to norms and laws, is central to the reception of her work in queer theory, then the performativity of knowledge beyond speech—aesthetic, bodily, affective—is its real topic.”—Lauren Berlant, author of The Queen of America Goes to Washington City“Eve Kosofsky Sedgwick's gift is to electrify intellectual communities by reminding them that ’thought’ has a temperature, a texture, and an erotics. With a generosity that is at once self-abnegatingly ascetic, and gorgeously, exhibitionistically bravura, she opens door after door onto undiscovered fields of inquiry. There are too many high points in Touching Feeling for me to list them. Sedgwick's language, richly garlanded, syntactically showstopping, gives, everywhere, its characteristic, always surprising pleasure.”—Wayne Koestenbaum, author of Andy Warhol“[Sedgwick’s] ideas about the structures of desire between men in fiction have generated critical work for others, as her theories are put to work in rereadings of authors, texts, genres and periods. 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. 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.” (Elaine Showalter London Review of Books)“[Sedgwick’s] miraculous prose keeps ideas and attitudes in play that would collapse into contradiction or program in a lesser writer. . . . In the era of queer theory, Sedgwick’s miraculating writing keeps open a sense of sexuality as not binarized, neither only instrumental nor irreducibly conflictual, even when she is most passionately engaged in the work of advocacy. Today, writing through and after “queer” in a landscape of political impoverishment, Sedgwick’s thought and writing function, as she would say, as a kind of semaphore: There is More Than This. I think we need her writing more than ever.” (Christopher Nealon American Literature)“Fearless, challenging and occasionally exhilarating, Sedgwick remains one of the most courageous critics around.” (Publishers Weekly)"Fifteen years after publication, and nine years after the death of its author, Touching Feeling stands out. Eve Kosofsky Sedgwick’s book defined subjects, keywords, and literary-critical ambitions that dominated discussion in English departments thereafter. Whether she set the future on this path or was superbly in tune with the contemporary mood is unclear." (Mark Greif Chronicle of Higher Education 2018-10-31)
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Product details
Series: Series Q
Paperback: 208 pages
Publisher: Duke University Press Books (January 17, 2003)
Language: English
ISBN-10: 0822330156
ISBN-13: 978-0822330158
Product Dimensions:
6.2 x 0.8 x 9 inches
Shipping Weight: 12.8 ounces (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#151,607 in Books (See Top 100 in Books)
Enlisting readers' perceptive willingness, their receptivity, in the place of her own authority, a move that “requires a step to the side of antiessentialism, a relative lightening on the epistemological demand on essential truth,†Sedgwick makes her own tools and techniques for nondualistic thought, namely textural perception, the most useful for receiving her own thinking—for reading Touching Feeling (6).  In one stroke of pedagogical genius, Sedgwick admits, “[if] a sentence sounds as though it’s periperformative, then it’s probably periperformative (75). Of course, not all sentences are periperformative, and, even, I will venture to assume, not all sentences that sound periperformative are, but Sedgwick's offering makes me want to touch, to reach out and ask How did it get that way? What could I do with it?
This is one of the best works of "post-" theory that I've read, and the essay on paranoia is a much-needed light in the haze of contemporary grad school education. My copy is dog-eared and dirty and filled with underlined passages / scrawled notes to myself (mostly reading "YES!" or "come back to this"). Sedgwick's essays are brilliant, quirky, challenging, and deeply moving. I really can't find words sufficient for my experience -- this is certainly one of the most synaesthetic and vertigo-inducing books I've read in a long time. The final essay, in particular, continues to call me back.
Was it not the philosopher and critic Paul Ricoeur who coined the term "hermeneutic of suspicion" --- rather than Foucault?
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