{"title":"Hurt Feelings: Affect, World, and Time in As You Like It and Early Modern Studies","authors":"Christopher Pye","doi":"10.1353/elh.2023.a914012","DOIUrl":null,"url":null,"abstract":"Abstract:Engaging current affect theory through the work of Jean-Luc Nancy, Martin Heidegger, and Walter Benjamin, \"Hurt Feelings\" argues that affect should be understood neither as a form of embodiment nor of sympathetic correspondence but as a state of incommensurability between self and world that is at the same time the originative condition of those categories; rather than extending the self into the world, affect concerns the possibility of world as such. The essay brings such claims to bear on a scene of miraculous conversion in As You Like It that suggests both the grounds of theater's affective hold and affect's inextricable relation to our status as historical beings.","PeriodicalId":46490,"journal":{"name":"ELH","volume":" 13","pages":"955 - 977"},"PeriodicalIF":0.2000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ELH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/elh.2023.a914012","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
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Abstract
Abstract:Engaging current affect theory through the work of Jean-Luc Nancy, Martin Heidegger, and Walter Benjamin, "Hurt Feelings" argues that affect should be understood neither as a form of embodiment nor of sympathetic correspondence but as a state of incommensurability between self and world that is at the same time the originative condition of those categories; rather than extending the self into the world, affect concerns the possibility of world as such. The essay brings such claims to bear on a scene of miraculous conversion in As You Like It that suggests both the grounds of theater's affective hold and affect's inextricable relation to our status as historical beings.
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