_The Promise of Happiness_ is a provocative cultural critique of the imperative to be happy. It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is (...) deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way. Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including_ Mrs. Dalloway_, _The Well of Loneliness_, _Bend It Like Beckham_, and _Children of Men_, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy. (shrink)

This article examines ‘collective feelings’ by considering how ‘others’ create impressions on the surfaces of bodies. Rather than considering ‘collective feeling’ as ‘fellow feeling’ or in terms of feeling ‘for’ the collective, the article suggests that how we respond to others in intercorporeal encounters creates the impression of a collective body. In other words, how we feel about others is what aligns us with a collective, which paradoxically ‘takes shape’ only as an effect of such alignments. The article considers different (...) examples of racism in which a particular other is held in place by being aligned with other others. The ‘moment of contact’ is shaped by past histories of contact, which allows the proximity of a racial other to be perceived as threatening, at the same time as it re-shapes the bodies in the contact zone of the encounter. Feelings rehearse associations that are already in place, in the way in which they ‘read’ the proximity of others, at the same time as they establish the ‘truth’ of the reading. The article extends its analysis by showing that bodily proximity is not required to create the impressions of others, and offers an analysis of ‘collective feelings’ within virtual communities of global nomads. Proximity does not require physical co-presence: the collective can ‘surface’ through giving up on local attachments. The article concludes that collective feelings are not feelings that the collective ‘has’, as if the collective was a subject. Rather the collective is an effect of the impressions left by others on the surfaces of skins. (shrink)

The future is kid stuff -- Sinthom-osexuality -- Compassion's compulsion -- No future.

Progress -- Loss -- Return -- Amenability -- Citation tactics -- Affective subjects.

Ever since feminist theory introduced the distinction between sex and gender, the question of what it means to be a woman has preoccupied feminist thought. In ____Gender__ ____Trouble ____ Judith Butler questions whether it is possible to "be" a woman at all or, for that matter, any gender.

Introduction : low theory -- Animating revolt and revolting animation -- Dude, where's my phallus? forgetting, losing, looping -- The queer art of failure -- Shadow feminisms : queer negativity and radical passivity -- "The killer in me is the killer in you" : homosexuality and fascism -- Animating failure: ending, fleeing, surviving.

This article seeks to intervene in what I perceive to be a problematic opposition in feminist theory between ontological and epistemological accounts of existence and politics, by proposing an approach that weaves together Elspeth Probyn’s conceptualisation of ‘feminist reflexivity’ with a re-reading of feminist standpoint through affect. In so doing, I develop the concept of affective solidarity as necessary for sustainable feminist politics of transformation. This approach is proposed as a way of moving away from rooting feminist transformation in the (...) politics of identity and towards modes of engagement that start from the affective dissonance experience can produce. Moving beyond empathy as a privileged way of connecting with others, I argue that the difference between ‘womanhood’ and ‘feminism’ is critical for a universal yet non-essential understanding of what motivates gendered change. (shrink)

The idea that one can 'soak up' someone else's mood or sense the tension in a room is familiar - as in 'negative energy'. This ability to borrow or share states of mind is now pathologized, as the author shows in relation to affective transfer in psychiatric clinics.

One of the most talked-about scholarly works of the past fifty years, Judith Butler’s _Gender Trouble_ is as celebrated as it is controversial. Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated (...) social _performance _rather than the expression of a prior reality. Thrilling and provocative, few other academic works have roused passions to the same extent. (shrink)

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Proust. and. the. Spectacle. of. the. Closet. "Vous devez vous y entendre mieux que moi, M. de Charlus, a faire marcher des petits marins. . . . Tenez, voici unlivreque j'ai recu, jepensequ'il vous interessera. . . . Letitreest joli: Parmiles hommes.

Ruth Leys raises a number of important questions about the conceptual and empirical underpinnings of the affect theories that have emerged in the critical humanities, sciences, and social sciences in the last decade. There are a variety of frameworks for thinking about what constitutes the affective realm, and there are different preferences for how such frameworks could be deployed. We would like to engage with just one part of that debate: the contributions of Silvan Tomkins's affect theory. We take issue (...) with Leys's formulation that Tomkins's work along with that of Brian Massumi, William Connolly, and Paul Ekman form a group of like-minded theorists. We do not believe this represents an accurate account of the conceptual and empirical commitments of these various authors. By bundling their work together, Leys misses much of what is compellingly critical in each of these writers, and she overlooks what is most invigorating in the debates amongst them. In addition, the specificities of Tomkins's work have been badly served in Leys's essay. In four volumes stretching from 1962 to 1992 Tomkins laid out a complex and captivating theory of the human affect system, in which mechanisms of neurological feedback, social scripts, and facial behavior coassemble as affective events. Our response to Leys's essay is motivated by a wish to see more detailed engagements with this theory—the distinctiveness of which we believe has yet to be fully explored in this new affective turn. (shrink)

Introducing a new generation to the book that changed humanities scholarship.

DIVA cultural studies account of the changes produced in feminism as it became part of the academy and of the highly orchestrated attack on higher education by the right-wing./div.

Introduction: Depression, biology, aggression -- Underbelly -- The biological unconscious -- Bitter melancholy -- Chemical transference -- The bastard placebo -- The pharmakology of depression.