Special Issue Table of Contents and Abstracts
Special Issue ToC and Abstracts for Departures in Critical Qualitative Research
Guest Editor’s Introduction
~ Jonathan Wyatt and Alecia Youngblood Jackson
~ Jonathan Wyatt
A poetic emergence of the particular—a particular place, day, time, moment, event—and its (extra)ordinary affect.
~ Patricia Ticineto Clough and Talha İşsevenler
Taking up Kathleen Stewart’s “New England Red,” the authors dialogue about the post-phenomenological perspective offered in Stewart’s compositional writing, drawing on the turns in philosophy to the object, ontology, and twenty-first century media’s production of a “worldly sensibility.”
~ Alecia Youngblood Jackson
The author works Gilles Deleuze and Félix Guattari’s concept of the refrain to craft an affective, material assemblage of the lactating body.
~ Anne Harris
Genderlessness or postgendered orientations are not the same as genderqueer affect/s, yet Donna Haraway’s figure of the cyborg helps imagine what a genderqueer affect might be. Genderqueer experience (including affect) can help us move beyond the limitations of gendered as well as epistemological dualisms. Affect transcends the reductive notions of materiality that return us always to dualistic constructions, including gendered ones. Kathleen Stewart’s attention to affect—both experienced as well as embodied, a doing as well as a thing—provides a way into and out of the genderqueer body that is not dependent upon its materiality.
~ Jonathan Wyatt
This brief essay works and plays with “ordinary affect” as it flows amongst, through, and between two apparently different milieus—a university workplace and a comedy club.
~ Ken Gale
This essay describes instances in the rhythmic play with affect in the reading of and performances with Kathleen Stewart’s Ordinary Affects. It offers an engagement with the work that both troubles and is troubled. It celebrates this engagement and delights in the opportunity to read, read around, and read again and again words that flee from identification and representation and come to life in moments of tears, smiles, and writings living in the temptation and allure of the unknown. This was written with a visit to Edinburgh in mind and Robert Frank’s The Americans, alongside Stewart’s Ordinary Affects in my shoulder bag.
~ Lisa A. Mazzei
Kathleen Stewart describes Ordinary Affects as an experiment set in “a present that began some time ago.” In this essay, I consider voice similarly, as not bound by a temporal linearity, but as voice of duration, absent of origin and as an articulation of a present that began some time ago, always becoming. I conclude with an experimentation of voice in the form of what I name lines of articulation.
~ Stacy Holman Jones
This essay is an experiment in what happens when you read Kathleen’s Stewart’s ideas about affect and agency together with Sara Ahmed’s consideration of queer orientations and the willful subject as they are played out in stories of adoption, motherhood, choices, and desire.
~ Susanne Gannon
This essay is inspired by Kathleen Stewart’s call to pay attention to the affective, material, and relational qualities of everyday life, and by the posthuman imperative that we recognize how we are imbricated with all creatures, objects, and forces in our worlds. It assembles little scenes of weather in everyday life, aiming for an atmospheric attunement to the elemental and domestic, and exploring these through some of the work of critical geographers on affect and atmosphere. As I meander through moments and events of weather in the everyday, I keep close to home, literally, in these scenes of ordinary life.
~ Tami Spry
“Something,” writes Kathleen Stewart, “throws itself together in a moment as an event and a sensation; something both animated and inhabitable.” Ordinary Affects is socioculturally vibrational, imagining the personally political even further. The following essay offers a collection of affectively heuristic “moments.”
~ Kathleen Stewart
This is a performative condensation of the pieces in this special issue, underscoring certain lines of significance and some of the outlines of emergent theoretical and descriptive trajectories in them. It is written in the mode of a backup singer.