The Cultural Politics of Emotion

the-cultural-politics-of-emotion-cover“Ahmed emphasizes the necessity of ‘disorientation,’ a challenge to normative ways of seeing, thinking, being, and feeling in the world that destabilizes commonsensical assumptions and in so doing enables the world to be moved in a different direction.”

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Discussing the way reading black feminist and feminist of color scholarship in graduate school impressed upon her, she writes:

“I decided then: theoretical work that is in touch with a world is the kind of theoretical work I wanted to do. Even when I have written texts organized around the history of ideas, I have tried to write from my own experiences: the everyday as animation. In writing this book, I wanted to stay even closer to the everyday than I had before. This book is personal. The personal is theoretical. Theory itself is often assumed to be abstract: something is more theoretical the more abstract it is, the more it is abstracted from everyday life. To abstract is to drag away, detach, pull away, or divert. We might then have to drag theory back, to bring theory back to life.”

SOURCE:  McMahon, John. “Sara Ahmed and the Cultural Politics of Emotion.” Do the Lap.

Formalisms, Introduction

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“Perhaps the Formalists’ most famous general claim is that literary language consists of an act of defamiliarization, by which they mean that such literature presents objects or experiences from such an unusual perspective or in such unconventional and self-conscious language that our habitual, ordinary, rote perceptions of those things are disturbed.”

“While literature for the Formalists is characterized by invariant patterns, recurring devices, and law-like relations, it also changes over time and varies from one historical epoch to another. The Formalists account for such change in two ways. They claim that literary evolution is the result of the constant attempt to disrupt existing literary conventions and to generate new ones: for literature to be literature, it must constantly defamiliarize the familiar, constantly evolve new procedures for story-telling or poetry making.”

SOURCE: Rivkin, Julie & Michael Ryan. “Introduction: Formalisms.” Literary Theory: An Anthology.

Translator Sean Sell on Contemporary Indigenous Literature in Mexico

Excerpt from Paul Worley & Kelsey Woodburn’s interview with Sean Sell:

Not many people know that Maya literatures or even in general indigenous literatures exist. Why do you think that is? What is the role of the translation in the promotion of these literatures even within their countries of origin?

unnamed-1“Colonialism in the new world has not ended; rather, the colonizers took control away from European nations. Indigenous people throughout North and South America continue to fight to preserve their culture and have at least some control over their lives. Words like autonomy, sovereignty, and agency all relate to this struggle. While Western Civilization may see the world as a set of nations based on lines drawn hundreds of years ago by white politicians and map-makers, indigenous people (those who haven’t been displaced) have older connections to lands based on where and how their cultures developed. These writers use literature to speak for their connection to the land, a theme that comes up repeatedly.”

SOURCE:  Woodburn, Kelsey, and Paul Worley. “Translator Sean Sell on Contemporary Indigenous Literature in Mexico.” Asymptote.