capitalist Tirana. In other words, I approach the image of ordinary tragedy that emerged from this research as a structure of feeling in Raymond Williams's sense of that term – that is, as ‘an intersection’ (of feelings about the past and expectations for the
An Ordinary Tragedy in Now-Capitalist Albania
Anthropocene as Science Fiction and Scholarship-in-the-Making
Heather Anne Swanson, Nils Bubandt, and Anna Tsing
How might one responsibly review a field just coming into being—such as that provoked by the term Anthropocene? In this article, we argue for two strategies. First, working from the premise that the Anthropocene field is best understood within its emergence, we review conferences rather than publications. In conference performances, we glimpse the themes and tensions of a field-to-come. Second, we interpret Anthropocene as a science-fiction concept, that is, one that pulls us out of familiar space and time to view our predicaments differently. This allows us to explore emergent figurations, genres, and practices for the transdisciplinary study of real and imagined worlds framed by human disturbance. In the interplay and variation across modes for constructing this field, Anthropocene scholarship finds its shape.
This article shows in what ways Matthew Ratcliffe’s phenomenological theory of existential feelings is relevant to film and media studies. Existential feelings are “feelings in the body, which are experienced as one‘s relationship with the world as a whole.” They are related to other concepts in film theory; however, their relation to films has never been systematically examined. The article discusses how audiovisual media are able to represent, express, and evoke existential feelings, and even work as “qualia machines” in making viewers partially share feelings of characters. Focusing on the paradigmatic case of depression and on exemplary films like Dominik Graf’s Deine besten Jahre, the article identifies different aesthetic strategies to express existential feelings. Building on that, the article argues that the power of films to evoke related feelings in the viewers is a crucial factor in spreading ideas about how others feel and conveying collective structures of feeling.
‘And how should I begin?’ Naturally, or post-naturally enough, at the end. We have been hearing for some time recently of the end of things and this paradoxically, is where we must start. Book titles have warned us of the End of the Nation and Nation State, the End of Print, the End of Architecture, The End of Work, the End of Man, the End of Economic Man, the End of Time, the End of the Future, the End of History and yes, the End of the World. It doesn’t take a salaried cultural critic to see here the symptom of an encroaching mood, the expression on the part of marooned journalists and intellectuals of what Raymond Williams termed a ‘structure of feeling’. It expresses not so much conviction – though these scenarios of the end could not in one way be more final – as the waning of common beliefs and values. Hence the appearance world-wide of millennial sects, outcrops of New Age mysticism, the thrill of out of body experiences and the paranormal; even if, thanks to postmodernism, these tend to be more normal than para, and to come at you via the X Files or the Virgin multiplex than anywhere more distant. New media combine oddly with the new mysticism, advanced technologies with advancing teleologies. This is the way then that we are seeing in the fin de siècle, the beckoning end of century when Bakhtinian carnival will at last take to the streets, fleeing its confinement in works of cultural theory, and we shall all go belly up and dance our heads off. Or when half the world will fall into poverty, disease, and starvation and the other half wear itself out in vainglorious in-fighting, leaving a sybaritic residue to enter upon a computer-aided decadence of virtual existence. Or when we shall go up in smoke in a bang and whimper all at once.
part of a widespread shift in the “structure of feeling” around nature, which encompasses both the dominant plant aesthetic in Santa Barbara and the prevailing logic residents bring to bear when confronting environmental issues. Finally, I conclude by
Class, Gender, and Ethics in Visual Research with Girls
Janet Fink and Helen Lomax
, Structures of Feeling, and Socio-cultural Landscapes The image considered in this article originates from a creative participatory research study, undertaken during 2010 and 2011 and located in a disadvantaged housing estate in the south of England. The study
Maria Bucur, Alexandra Ghit, Ayşe Durakbaşa, Ivana Pantelić, Rochelle Goldberg Ruthchild, Elizabeth A. Wood, Anna Müller, Galina Goncharova, Zorana Antonijević, Katarzyna Sierakowska, Andrea Feldman, Maria Kokkinou, Alexandra Zavos, Marija M. Bulatović, Siobhán Hearne, and Rayna Gavrilova
structures of feeling” (5) emerging from women's employment in several textile and garment factories now located in Bosnia-Herzegovina, Croatia, Macedonia, Serbia, and Slovenia. The book relies on sixty oral history interviews, archival and published sources
Reclaiming labor, conflict, and mutualism in Italy
transition from Fordism to neoliberalism. It continues by examining the protests against the factory closure, documenting a structure of feeling based on the value of dignity and the emergence of a political consciousness that led the workers to create the
So What Is the Anthropology of Buddhism About?
David N. Gellner
associated structures of feeling, that are legitimately comparable. It may turn out that they have more in common with each other than with similar non-Buddhist religious traditions. 4 Since this is an empirical question to be settled by research, some of
Response to Carl Plantinga's Screen Stories
again by generic narratives that embody similar structures of feeling. Thus the Western narrative of regeneration through violence affirms a certain notion of masculinity and problem solving by making it deeply satisfying and pleasurable. (164) Here