What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light? Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.

How to Do Things with Affects develops affect as a highly productive concept for both cultural analysis and the reading of aesthetic forms. Shifting the focus from individual experiences and the human interiority of personal emotions and feelings toward the agency of cultural objects, social arrangements, and aesthetic matter, the book examines how affects operate and are triggered by aesthetic forms, media events, and cultural practices. Transgressing disciplinary boundaries and emphasizing close reading, the collected essays explore manifold affective transmissions and resonances enacted by modernist literary works, contemporary visual arts, horror and documentary films, museum displays, and animated pornography, with a special focus on how they impact on political events, media strategies, and social situations. Contributors: Ernst van Alphen, Mieke Bal, Maria Boletsi, Eugenie Brinkema, Pietro Conte, Anne Fleig, Bernd Herzogenrath, Tomáš Jirsa, Matthias Lüthjohann, Susanna Paasonen, Christina Riley, Jan Slaby, Eliza Steinbock, Christiane Voss.

In Religious Affects Donovan O. Schaefer challenges the notion that religion is inextricably linked to language and belief, proposing instead that it is primarily driven by affects. Drawing on affect theory, evolutionary biology, and poststructuralist theory, Schaefer builds on the recent materialist shift in religious studies to relocate religious practices in the affective realm—an insight that helps us better understand how religion is lived in conjunction with systems of power. To demonstrate religion's animality and how it works affectively, Schaefer turns to a series of case studies, including the documentary Jesus Camp and contemporary American Islamophobia. Placing affect theory in conversation with post-Darwinian evolutionary theory, Schaefer explores the extent to which nonhuman animals have the capacity to practice religion, linking human forms of religion and power through a new analysis of the chimpanzee waterfall dance as observed by Jane Goodall. In this compelling case for the use of affect theory in religious studies, Schaefer provides a new model for mapping relations between religion, politics, species, globalization, secularism, race, and ethics.

Ordinary Affects is a singular argument for attention to the affective dimensions of everyday life and the potential that animates the ordinary. Known for her focus on the poetics and politics of language and landscape, the anthropologist Kathleen Stewart ponders how ordinary impacts create the subject as a capacity to affect and be affected. In a series of brief vignettes combining storytelling, close ethnographic detail, and critical analysis, Stewart relates the intensities and banalities of common experiences and strange encounters, half-spied scenes and the lingering resonance of passing events. While most of the instances rendered are from Stewart’s own life, she writes in the third person in order to reflect on how intimate experiences of emotion, the body, other people, and time inextricably link us to the outside world. Stewart refrains from positing an overarching system—whether it’s called globalization or neoliberalism or capitalism—to describe the ways that economic, political, and social forces shape individual lives. Instead, she begins with the disparate, fragmented, and seemingly inconsequential experiences of everyday life to bring attention to the ordinary as an integral site of cultural politics. Ordinary affect, she insists, is registered in its particularities, yet it connects people and creates common experiences that shape public feeling. Through this anecdotal history—one that poetically ponders the extremes of the ordinary and portrays the dense network of social and personal connections that constitute a life—Stewart asserts the necessity of attending to the fleeting and changeable aspects of existence in order to recognize the complex personal and social dynamics of the political world.

Since the mid-1990s, affect has become central to the social sciences and humanities. Debates abound over how to conceptualise affect, and how to understand the interrelationships between affective life and a range of contemporary political transformations. In Encountering Affect, Ben Anderson explores why understanding affect matters and offers one account of affective life that hones in on the different ways in which affects are ordered. Intervening in debates around non-representational theories, he argues that affective life is always-already ‘mediated’ - the never finished product of apparatuses, encounters and conditions. Through a wide range of examples including dread-debility-dependency in torture, ordinary hopes, and precariousness, Anderson shows the significance of affect for understanding life today.

Some objects seem especially personal and important to us - be it a quickly packed suitcase, an inherited vase, or a photograph. In Sensitive Objects the authors discuss when, how, and why particular objects appear as 'sensitive'. They do so by analyzing the objects' affective charging in the context of historically embedded practices. Sensitive Objects is a contribution to the upcoming field of 'affect research' that has so far been dominated by psychology and cultural studies, and the authors examine the potential for epistemic gain by connecting the studies of affect with the studies of material culture. The contributors, predominantly ethnologists and anthropologists, use fieldwork to examine how people project affects onto material objects and explore how objects embody or trigger affects and produce affective atmospheres.

Affect is a high-stakes topic in psychoanalysis, but there has long been a misperception that Lacan neglected affect in his writings. We encounter affect at the beginning of any analysis in the form of subjective suffering that the patient hopes to alleviate. How can psychoanalysis alleviate such suffering when analytic practice itself gives rise to a wide range of affects in the patient’s relationship to the analyst? Lacanian Affects: The Function of Affect in Lacan’s Work, is the first book to explore Lacan’s theory of affect and its implications for contemporary psychoanalytic practice. In it, Colette Soler discusses affects as diverse as the pain of existence, hatred, ignorance, mourning, sadness, "joyful knowledge," boredom, moroseness, anger, shame, and enthusiasm. Soler’s discussion culminates in a highlighting of so-called enigmatic affects: anguish, love, and the satisfaction related to the end of an analysis. Lacanian Affects provides a unique and compelling account of affect that will prove to be an essential text for psychoanalysts, psychiatrists, psychotherapists, psychologists, and social workers.