This article focuses on the relationship between emotions and passions, on the one hand, and values, needs and rights, on the other. This relationship is indeed central to the social dimension of international politics. In this perspective, the article examines how emotions and passions can be at the same time effects and causes of the extent to which actors feel that their needs and rights are fulfilled or not. In the process, the article also explores the negative and positive features (...) of emotions and passions, and their impact on the nature and dynamics of change in international affairs. Beyond this general approach to emotions and passions in connection with the social dimension of international politics and the questions of values, needs, and rights of actors and change, it concludes with the idea that there is also a contextual dimension to the generic argument developed in the article. This will have to be factored in for future research on case studies. (shrink)

The article focuses on how emotions and passions are addressed in the field of international relations. As such it makes three main points. First, the article argues that, although presupposed in mainstream international relations, because of the influence of positivism emotions and passions have tended to be overlooked. Second, it makes the point that in recent years scholars with constructivist leanings have been increasingly interested in taking emotions and passions seriously as an academic area of research. Third, and finally, the (...) article concludes that despite the progress made in the 2000s on the understanding of emotions and passions in international relations, more work remains to be done. As such it outlines future directions of research. (shrink)

This article analyzes the shift from emotion to affect in Caryl Churchill’s writing for the theatre, a process which becomes prominent in the later seventies and culminates in the production of A Mouthful of Birds, a project designed jointly with the choreographer David Lan. The effects of the transformation remain traceable in The Skriker, a complex play taking several years to complete. It is argued that there is a tangible and logical correlation between Churchill’s dismantling of the representational apparatus associated (...) with the tradition of institutional theatre—a process which involves, primarily, a dissolution of its artificially constructed, docile bodies into orificial ones—and her withdrawal from the use of emotional expression in favour of the affective. In the following examination, emotions are conceived as interpretative acts modelled on cognition and mediated through representations while the intensity of affect remains unstructured. Often revealed through violence, pain and suffering, affect enables the theatre to venture into the pre-cognitive and thus beyond the tradition of liberal subject formation. (shrink)