By Flatley, Jonathan; Du Bois, William Edward Burghardt; James, Henry; Platonov, Andreĭ Platonovich
The dazzling declare of this e-book is that residing on loss isn't really unavoidably miserable. as an alternative, Jonathan Flatley argues, embracing depression could be a highway again to touch with others and will lead humans to productively remap their courting to the realm round them. Flatley demonstrates probably disparate set of modernist writers and thinkers confirmed how aesthetic task can provide us the skill to understand and alter our relation to loss.
The texts on the heart of Flatley’s analysis―Henry James’s Turn of the Screw, W. E. B. Du Bois’s The Souls of Black Folk, and Andrei Platonov’s Chevengur―share with Freud an curiosity in figuring out the miserable results of adverse losses and with Walter Benjamin the wish that loss itself may develop into a method of connection and the foundation for social transformation. For Du Bois, Platonov, and James, the focal point on depression illuminates either the ancient origins of subjective emotional existence and a heretofore unarticulated neighborhood of melancholics. The affective maps they produce make attainable the conversion of a depressive melancholia right into a solution to have an interest within the world.
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Additional info for Affective mapping : melancholia and the politics of modernism
Heidegger writes that Aristotle’s orator “must understand the possibilities of moods in order to rouse them and guide them aright” (BT, 178). Similarly, any aesthetic practice, if it is to reach an audience, must be able to attune itself with that audience’s mood. All three of the writers I address in this book are fundamentally concerned with this question of mood, not only in the sense that they seek to transform a depressing melancholia into a mood that promotes interest and attachment but also to the extent that this shift in mood can be accomplished only if a text already resonates with an audience’s Stimmung.
We find such practices not only in the literature and arts, but in law or international relations (the League of Nations), economics (Keynes), language (Esperanto), technology (electrification, cinema), and so forth. This means that the situation of modernism is one in which modernization is felt to be incomplete, still in progress, and thus potentially redirected. It also means that the promises of modernity are still felt to be relevant, vital, and achievable. ) or even a particular representational problem, nor as the aesthetic response to a determining historical factor (such as industrialization, urbanization, the rise of mass culture, or the expansion of capital).
39 In each instance, certain objects in the world come into view in a particular way, certain persons (or social formations) appear as friends and others as enemies, and some kinds of actions present themselves that might otherwise not even come into view. But we may speak of and seek to analyze in each case the Stimmung that made some events possible and others not. Any kind of political project must have the “making and using” of mood as part and parcel of the project; for, no matter how clever or correct the critique or achievable the project, collective action is impossible if people are not, so to speak, in the mood.
Affective mapping : melancholia and the politics of modernism by Flatley, Jonathan; Du Bois, William Edward Burghardt; James, Henry; Platonov, Andreĭ Platonovich