Contributor
Maria Stuart
Maria Stuart is assistant professor, School of English, Drama and Film at University College Dublin, where her teaching and research are in American literature, crime fiction, and the medical humanities. She is co-editor (with Daniel Martin) of the Journal of Interdisciplinary Voice Studies: special issue on dysfluency 5:2 (2021), and Principal Investigator for the collaborative Wellcome-funded project ‘Metaphoric Stammers and Embodied Speakers: Connecting Clinical, Cultural and Creative Practice in Dysfluent Speech’. Recent work includes ‘Dysfluency Studies: Rewriting Cultural Narratives of Stammering’ in Case Reports of Stuttering and Cluttering, eds. K. Eggars and M. Leahy (Routledge/Taylor and Francis, forthcoming 2022), ‘Easy Listening: Altered Auditory Feedback and Dysfluent Speech’, Journal of Interdisciplinary Voice Studies, 4:1 (2019), and ‘The Poetics of Dysfluency: Emerson and Dickinson’ in Maintaining a Place: Conditions of Metaphor in Modern American Literature, eds. F. Dillane, M. Stuart and F. Sweeney (UCD Press, 2014).
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Maria’s files
- How the meaning/cultural currency of feelings/emotions change over time.
- Emotions as shaped by cultural/political forces
- Representation of emotions in literature/film as revealing of the power structures at work.
- ‘Affect’ is used in different ways in different fields (neuroscience, psychology and literary/cultural studies).
- Sara Ahmed, Lauren Berlant and Sianne Ngai – critics for whom affects are crucially connected to structures of power (social/cultural/political); also interested in how affective states stretch our capacity to name them but haven’t cut loose from language and cognition.
- Sianne Ngai (Ugly Feelings), she’s interested in those feelings that are seen as unproductive/marginalised.
- How the meaning/cultural currency of feelings/emotions change over time.
- Emotions as shaped by cultural/political forces
- Representation of emotions in literature/film as revealing of the power structures at work.
- ‘Affect’ is used in different ways in different fields (neuroscience, psychology and literary/cultural studies).
- Sara Ahmed, Lauren Berlant and Sianne Ngai – critics for whom affects are crucially connected to structures of power (social/cultural/political); also interested in how affective states stretch our capacity to name them but haven’t cut loose from language and cognition.
- Sianne Ngai (Ugly Feelings), she’s interested in those feelings that are seen as unproductive/marginalised.
No items found.
Interested Reading: reading with and for the stammer.
- 19th c American writing: Emily Dickinson.
- Popular Culture: Crime Fiction and Film/Television.
- ‘Criminal’ Voices.
- The ‘cultural work’ of the text (literary/cinematic) – much of that ‘cultural work’ through affect?
Interested Reading: reading with and for the stammer.
- 19th c American writing: Emily Dickinson.
- Popular Culture: Crime Fiction and Film/Television.
- ‘Criminal’ Voices.
- The ‘cultural work’ of the text (literary/cinematic) – much of that ‘cultural work’ through affect?
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They won't frown always — some sweet
Day When I forget to teaze —
They'll recollect how cold I looked
And how I just said "Please."
Then They will hasten to the Door
To call the little Girl
Who cannot thank Them for the Ice
That filled the lisping full.
— Dickinson (Fr 923, c.1865)
They won't frown always — some sweet
Day When I forget to teaze —
They'll recollect how cold I looked
And how I just said "Please."
Then They will hasten to the Door
To call the little Girl
Who cannot thank Them for the Ice
That filled the lisping full.
— Dickinson (Fr 923, c.1865)
No items found.
- What kinds of ‘narratives’/voices do we want?
- Resistance to narratives of recovery/overcoming.
- Narratives of the non-linear, the messy, the entangled?
- What kinds of ‘narratives’/voices do we want?
- Resistance to narratives of recovery/overcoming.
- Narratives of the non-linear, the messy, the entangled?
No items found.
- One of the hall-marks of affect is ‘In-between-ness’.
… the most fundamental insight of affect theory: that no embodied being is independent but rather is affected by and affects others bodies, profoundly and perpetually as a condition of being in the world.
— Ahern, A Feel for the Text. (2018)
<hr>
The challenge for researchers is that affect is not something, but rather is “in many ways synonymous with force or forces of encounter”; rather than housed in or controlled by the individual, it “arises in the midst of in-between-ness: in the capacities to act and be acted upon.
— Ahern, The Affect Reader. (2010)
<hr>
- ‘Affect’ as dynamic – emotions not static but in process – changing as they move between bodies.
- Robert Solomon recommended ‘thinking of emotions as acts’, as ‘something we do, not just have’.
- 'Affect’ captures maybe better than emotion that embodied aspect of experience (something felt before it’s understood).
- One of the hall-marks of affect is ‘In-between-ness’.
… the most fundamental insight of affect theory: that no embodied being is independent but rather is affected by and affects others bodies, profoundly and perpetually as a condition of being in the world.
— Ahern, A Feel for the Text. (2018)
<hr>
The challenge for researchers is that affect is not something, but rather is “in many ways synonymous with force or forces of encounter”; rather than housed in or controlled by the individual, it “arises in the midst of in-between-ness: in the capacities to act and be acted upon.
— Ahern, The Affect Reader. (2010)
<hr>
- ‘Affect’ as dynamic – emotions not static but in process – changing as they move between bodies.
- Robert Solomon recommended ‘thinking of emotions as acts’, as ‘something we do, not just have’.
- 'Affect’ captures maybe better than emotion that embodied aspect of experience (something felt before it’s understood).
No items found.
We do not, as scholars from different disciplines, bring together our objects and practices to one another through a kind of free-trade agreement; rather we re-enter a long history of binding, tangling and cutting [across disciplines/practice] within which the current moves towards integration are much more weighted than they might first seem.
– Fitzgerald and Callard (2016)
<hr>
A ‘dynamic of entanglement’ rather than a push towards integration.
<hr>
We have tried to conjure a different palette of affective dispositions through which we might […] live in interdisciplinary spaces. Those dispositions (eddying around ambivalence, awkwardness, frustration, failure and so on) depart from the most common affective registers (critique, adulation, disinterested rigour) through which [many] have tended to approach the terrain of the medical, clinical or biomedical. We want resolutely to claim the stance of interestedness. But we also see interest as a stance that can be (indeed usually is) taken up without someone quite knowing the place at which they stand, or the entwinements through which they are always-already bound with/in others […]. So it is, to be entangled.
– Fitzgerald and Callard (2016)
We do not, as scholars from different disciplines, bring together our objects and practices to one another through a kind of free-trade agreement; rather we re-enter a long history of binding, tangling and cutting [across disciplines/practice] within which the current moves towards integration are much more weighted than they might first seem.
– Fitzgerald and Callard (2016)
<hr>
A ‘dynamic of entanglement’ rather than a push towards integration.
<hr>
We have tried to conjure a different palette of affective dispositions through which we might […] live in interdisciplinary spaces. Those dispositions (eddying around ambivalence, awkwardness, frustration, failure and so on) depart from the most common affective registers (critique, adulation, disinterested rigour) through which [many] have tended to approach the terrain of the medical, clinical or biomedical. We want resolutely to claim the stance of interestedness. But we also see interest as a stance that can be (indeed usually is) taken up without someone quite knowing the place at which they stand, or the entwinements through which they are always-already bound with/in others […]. So it is, to be entangled.
– Fitzgerald and Callard (2016)
No items found.
Hercule Poirot: I pity you, Norton… how very sad to find that this great and beautiful world is so foul and disappointing. And your mother, I pity even more.
Stephen Norton: M-my m-m-mother? You pity my mother?
Hercule Poirot: To endure the agony of bringing you forth only to discover that she had nurtured in her loins such wickedness – is that not worthy of pity?
Stephen Norton: It is you who is n-not worthy! She m-m-meant the world to m-me!
Hercule Poirot: And you to her?
Stephen Norton: She l-loved me… l-loved me m-m-more than… m-more than…
Hercule Poirot: Did she ever hold you, Norton, as mothers do? Stroke your hair… kiss your cheek?
Stephen Norton: She… she… she…
Hercule Poirot: Scared you, did she not? She pushed you away!
— Christie (1975) ITV adaption (2013)
Hercule Poirot: I pity you, Norton… how very sad to find that this great and beautiful world is so foul and disappointing. And your mother, I pity even more.
Stephen Norton: M-my m-m-mother? You pity my mother?
Hercule Poirot: To endure the agony of bringing you forth only to discover that she had nurtured in her loins such wickedness – is that not worthy of pity?
Stephen Norton: It is you who is n-not worthy! She m-m-meant the world to m-me!
Hercule Poirot: And you to her?
Stephen Norton: She l-loved me… l-loved me m-m-more than… m-more than…
Hercule Poirot: Did she ever hold you, Norton, as mothers do? Stroke your hair… kiss your cheek?
Stephen Norton: She… she… she…
Hercule Poirot: Scared you, did she not? She pushed you away!
— Christie (1975) ITV adaption (2013)
No items found.