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.For Terada, radical post- modern thought – as exemplified by de Man and Derrida – embraces emotion as‘non-subjective experience in the form of self-difference within cognition’ and thus as the foundation of a radical post- human ist critique: ‘Poststructuralist thought about emotion is hidden in plain sight; poststructuralist theory deploys implicit and explicit logics of emotion and, as its very critics point out, willingly dramatizes particular emotions.It has reason to stress emotive experience, for far from controverting the “death of the subject”, emotion entails this death’ (p.3).228T.E.Hulme and the Question of Modernism3 I recognize that several other theorists have recently devised competing definitions and rubrics for organizing the terms of affective experience; however, I believe that Massumi’s schema best allows me to pinpoint the significance of the moderns’ turn to affect and emotion.Given the space, I would have tried to align my approach with that developed by Charles Altieri in his excellent book The Particulars of Rapture.Altieri goes far towards defining the terms of affective experience as it occurs apart from the demands of either transcendental belief systems or unconscious desires and fantasies.Indeed, his work is most valuable insofar as it pinpoints the values of affective experience in itself, as they are realized in the immediate and dynamic cultivation of affective stances.He also shows precisely why and how these values became attractive to modernists who thus pushed their work into new realms of expression and engagement.That said, I ultimately think that Altieri’s commitment to the particulars of affective being tends to obscure other values that, while concomitant to affective experience, were equally important to the modernists.4 For a more extensive discussion of Hulme’s emphasis on touch, see Edward Comentale, Modernism, Cultural Production, and the British Avant-garde, pp.120ff.5 For Hulme on Scheler, see Hulme, Collected Writings, pp.422 and 443.For Scheler’s biography, see Manfred Frings, Max Scheler and Harold J.Bershady, ‘Introduction’, in Max Scheler, On Feeling, Knowing, and Valuing, pp.1-46.6 Quoted in Manfred Frings, Max Scheler, p.94.7 Adam Phillips is perhaps the best theorist of the modes and malfunctions of modernist psychology, and his work remains astutely aware of how this particular set of neurotic traits took shape as the theory of psychoanalysis.Not surprisingly, he recently turned his attention to Hulme’s biography and the question of modernist paranoia in a review titled ‘Hauteur’, in London Review of Books, (22 May 2003), pp.10-12.8 See Gilles Deleuze and Felix Guattari, Anti-Oedipus: Capitalism and Schizophrenia.9 For Hulme and others on Original Sin, see Wallace Martin, The New Age under Orage; Dominic Baker-Smith, ‘Original Sin’; Wyndham Lewis, Blasting and Bombardiering, pp.101ff.10 Such statements run counter to Raymond Williams’s critique of Hulme as a shameless absolutist opposed to human experience.See Raymond Williams, Culture and Society, pp.190-5.11 Freud, too, addresses the cultural persistence of the concept of Original Sin.In his work, though, its affective potential is recast in terms of paternal envy – Original Sin at once signals and manages a profound ambivalence towards the father ( Totem, pp.190ff.).Yet, later in this century, Freud’s German heirs will begin to look beyond the proscribed condition – the rigid relay of Oedipus – and recognize a certain sadness that is at once conscious, mobile, and transportive.Theodor Adorno and Walter Benjamin, in particular, explore melancholic loss as the foundation of a flexible critique.Adorno, in fact, explicitly defines the cultural critic as a complex bourgeois thinker perpetually caught within a state of Original Sin, at once removed from and embedded in the networks he hopes to analyze.See Walter Benjamin, ‘On Some Motifs in Baudelaire’ and ‘Theses on the Philosophy ofHistory’, in Illuminations: Essays and Reflections, pp.155-200, 253-64; Theodor Adorno,‘Cultural Criticism and Society’, in Prisms, pp.17-34.12 Here, again, our discussion of emotion finds itself both in and out of synch with psychological theory at large.The work of Melanie Klein, for example, charts a similar course from an early emphasis on anger and resentment towards a realization of the developmental necessity of sadness.Her theory is significant both for its depiction of paranoia and melancholy as related but competing attempts to protect the newly-emergent infantile ego and for its emphasis on the need to confront the former mode, particularly in its angry obsession with purity and degradation, with the latter’s caring incorporation andHulme’s Feelings 229potential recognition of others.Klein’s work, however, seems problematic precisely because of its insistence on the need for healthy introjections and projections; as in Freud’s analysis, all is dependent on the developmental transition from part to whole objects and thus locked into the logic of subjective identification.See ‘A Contribution to the Psychogenesis of Manic-Depressive States’ and ‘Mourning and its Relation to Manic-Depressive States’, in Love, Guilt and Reparation and Other Works, 1921-1945, pp.262-89, 344-69.This page intentionally left blankBibliographyAldington, Richard (1914), ‘Modern Poetry and the Imagists’, The Egoist (1 June), pp.201-3.Anderson, Perry (1984), ‘Modernity and Revolution’, New Left Review, Vol.144(March/April), pp.96-113.Antliff, Mark (1993), Inventing Bergson: Cultural Politics and the Parisian Avant-Garde, Princeton, Princeton University Press.Appadurai, Arjun (1996), Modernity at Large: Cultural Dimensions of Globalization, Minneapolis, University of Minnesota Press.Ardis, Ann L.(2002), Modernism and Cultural Conflict, 1880-1922, Cambridge, Cambridge University Press.Armstrong, Isobel (1982), Language as Living Form in Nineteenth-Century Poetry, Brighton, Harvester.Aylmer, G.E., ed.(1975), The Levellers in the English Revolution, London, Thames and Hudson.Badmington, Neil (2000), ‘Introduction: Approaching Posthumanism’, in Neil Badmington (ed.), Readers in Cultural Criticism: Posthumanism, London, Palgrave, pp.1-10.Baker, G.P.and Hacker, P.M.S.(1984), Language, Sense and Nonsense: A Critical Investigation into Modern Theories of Language, Oxford, Blackwell.Baker-Smith, Dominic (1990), ‘Original Sin: T.S.Eliot and T.E.Hulme’, in C.C.Barfoot and Theo D’Haen (eds
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