In a 1961 interview, Beckett warded off philosophical interpretations of his work: ‘I’m no intellectual. All I am is feeling’. Despite the emotional intensity of Beckett’s post-war writing, Beckett criticism has tended to ignore this claim, preferring the kinds of philosophical readings that Beckett here rejects. In particular, Beckett criticism underestimates the element of rage in his work. This paper argues that Beckett’s post-war breakthrough is enabled by a radical reconsideration of the nature of feeling and of rage in particular. (...) It involves the rejection of the idea of rage as pathological and the embrace of a positive conception of rage as drive or compulsion, a locus of energy and even pleasure.This paper reads the ‘Moran’ section of Molloy as a kind of ‘rage fable’, drawing on the ancient Greek concept of thymos, of anger as a virtue. It draws on Alfred Adler’s theory of the ‘masculine protest’, with which Beckett was familiar from his extensive note-taking on Adler in 1934-5, and Sianne Ngai’s discussion of the distinction between irritation and rage. According to this reading, Moran’s report charts a narrative of thymotic liberation from the irritations of servitude, prefiguring the Unnamable’s abandonment to impersonal affective intensities. It ends by suggesting that the prose of the Trilogy might be better understood, not as a ‘syntax of weakness’ but as a ‘syntax of rage’, a stylistic correlative of the imperious drive of thymos. We might then begin to understand the Trilogy as the epic of a heroic, impersonal, implacable and liberated rage. (shrink)

Abstract: Forgiveness of wrongdoing in response to public apology and amends making seems, on the face of it, to leave little room for the continued commemoration of wrongdoing. This rests on a misunderstanding of forgiveness, however, and we can explain why there need be no incompatibility between them. To do this, I emphasize the role of what I call nonangry negative moral emotions in constituting memories of wrongdoing. Memories so constituted can persist after forgiveness and have important moral functions, and (...) commemorations can elicit these emotions to preserve memories of this sort. Moreover, commemorations can be a restorative justice practice that promotes reconciliation, but only on condition that the memories they preserve are constituted by nonangry negative, not retributive, emotions. (shrink)

The intensifying speed-up of contemporary economic, social and political life troubles democratic theorists because they assume that democracy depends on patience. This article turns to Martin Luther King, Jr. to challenge democratic theory’s temporal bias. I argue that King demonstrates that impatience, too, is a democratic virtue. Building on impatient knowledge, democratic impatience aides in overcoming undemocratic legacies, fosters democratic subjectivity and agency, ensures political accountability, and creates a more inclusive practice of democratic belonging. I furthermore show that King reveals (...) the temporal sophistication of democratic impatience, thereby contradicting the prevailing interpretation of self-defeating instantaneousness. In particular, democratic impatience’s temporal origins of centuries of injustice, human mortality, and the context of social acceleration provide a mature impetus for democratic action. Moreover, democratic impatience persists over time. On the one hand, it does so because injustice persists. On the other hand, democratic impatience contains within itself a subordinate operational patience. In other words, democratic impatience is always already somewhat ‘patient.’ King’s democratic impatience therefore not only redresses democratic theory’s shortcomings, but it also generates a renewed sense of democratic possibility in our age, as democratic impatience is well suited to help us in redressing the crises and injustices deepened or generated by social acceleration. (shrink)

This paper considers contradictory features of emotional or affective experience and expression in schizophrenia in light of the “Kretschmerian paradox”—the fact that schizophrenia-spectrum patients can simultaneously experience both exaggerated and diminished levels of affective response. An attempt is made to explain the paradox and explore its implications. Recent research on emotion in schizophrenia is reviewed, including subjective reports, psychophysiological measures of arousal or activation, and behavioural measures, focusing on flat-affect and negative-symptom patients. After discussing relevant concepts and vocabulary of emotion (...) (“affect”, “emotion”, “mood”, “feelings”, the “passions”), the need for a phenomenological approach focusing on subjective experience is proposed. Four modes of nonparanoid experience in schizophrenia are discussed: Bodily Alienation, Disengagement, Unworlding, and Subjectivisation. Each mode involves withdrawal from functional contexts—temporal, practical, and interpersonal—normally associated with emotional reactivity and expression; each may be accompanied by forms of non-emotional affectivity no less intense than the emotions they replace. Possible relationships between psychophysiological measures, expressive behaviour, and subjective emotional or affective response are considered. (shrink)

« Surf Life » is term that attempts to describe some of the characteristics and consequences of what I suggest is a new ecology of remembering and forgetting. The forms it takes, and the consciousness it seems to give rise to, cannot be separated from the ways in which we come to live in, and with, time and place as they are conditioned by the new digital technologies that suffuse everyday life. In relation to the everyday habits of contemporary western (...) life, in particular, this « surf life » might be thought of as a kind of « surfacing » – a disengagement from the consequences of living through an excess of present moments that are quickly rendered obsolete by the arrival of new fascinations. (shrink)

If militarism violates the ideals of liberty and justice in one way, and rapidly increasing social stratification violates them in another, then American democracy is in crisis. A culture of democratic accountability will survive only if citizens revive the concerns that animated the great reform movements of the past, from abolitionism to civil rights. It is crucial, when reasoning about practical matters, not only to admit how grave one's situation is, but also to resist despair. Therefore, the fate of democracy (...) depends, to some significant degree, on how we choose to describe the crisis. Saying that we have already entered the new dark ages or a post-democratic era may prove to be a self-fulfilling prophecy, because anyone who accepts this message is apt to give up on the hard work of organizing and contestation that is needed to hold political representatives accountable to the people. This paper asks how one might strike the right balance between accuracy and hope in describing the democracy's current troubles. After saying what I mean by democracy and what I think the current threats to it are, I respond to Romand Coles's criticisms of reservations I have expressed before about rhetorical excess in the works of Stanley Hauerwas, Alasdair MacIntyre, and Richard Rorty. This leads to a discussion of several points raised against me by Hauerwas. A digression offers some of my reasons for doubting that John Howard Yoder's biblical scholarship vindicates Hauerwas's version of pacifism. The paper concludes by arguing that Sheldon Wolin's work on the evisceration of democracy, though admirably accurate in its treatment of the dangers posed by empire and capital, abandons the project of democratic accountability too quickly in favor of the romance of the fugitive. (shrink)

This analysis holds that just as wisdom is good for its own sake, the effervescent perfuming of aesthetic pleasure in rasa, camatkāra, need not be useful for a goal or purpose. However, there is an intellectual virtue in the act of aestheticizing the affective response of wonder. The “here and now” of the aestheticized emotion of wonder, adbhutarasa, is a moment of focus and attention regained as a logically atemporal, even timeless moment. As the carvaṇā process unfolds, adbhutarasa invites an (...) epistemic agent to give time through focused attention, a contemplative tarrying, or an unhurried attentional prolongation. Looking across Platonic, Cartesian, and Kantian traditions to answer the question of epistemic value in rasa experiences, I argue that an agent is moved, and moves into an evaluative mode through the lenses of the sublime and taste. Renewed vigor to see, feel, and contemplate how things are, thickens epistemic emotions. The agentive freedom of the rasika to affectively resonate with ideas re-cognitively makes adbhuta a vehicle of inquiry like none other. (shrink)

Noël Carroll has suggested that scary films scare because our emotions are structured by the disgusting and dangerous properties of the films’ monsters. By contrast, this essay argues that some scary films scare through more direct means than can be explained by entertaining in thought, say, the impure properties of Count Dracula. It is the film itself that disgusts and frightens, by ‘taking over’ the spectator so that their consciousness of the film is ‘contaminated’ by the ‘spirit’ of horror. In (...) this essay, I discuss this state of ‘being done by disgust-horror through Roman Polanski’s Repulsion (1965). In my reading, Repulsion is about ultrasensitivity to the world and the subsequent, insane fear of intimacy that the film itself directly induces in its spectator. The spectator is threatened with possession in a fashion analogous to the way in which Carole’s apartment (her own mind) keeps her captive in her own disgust. This disgust that Carole feels is not merely disgust towards men, but disgust towards the world in general. The effect of this is the devastating, disgusting, schizophrenic terror of being unable to trust one’s own senses. (shrink)

In this contribution, I interrogate the historical-intellectual narrative that dominates the history of the Schachter–Singer two-factor theory of emotion. In the first part, I propose that a social influence model became generalized to a cognitive view. I argue that Schachter and Singer presented a cognitive theory of emotions in enacting inside the laboratory Schachter’s preceding “social influence” model of emotions and that Schachter’s adoption of a cognitive model of emotion was driven by and was necessary for his previous research on (...) social influence. In the second part, I argue that the Schachter–Singer theory is remarkable not because it introduced a cognitive turn in emotion, but because it presented sympathetic nervous system activation as an essential constitutive element of every emotion. (shrink)