1. For more on the Clinton-Lewinsky affair, see Berlant and Duggan. [Return to text]
2. News outlets, on both sides of the Atlantic, have also taken to referring to "the war on terror." To take just one example: as this introduction was being completed, CBS.com was featuring a special report entitled "War on Terror." [Return to text]
3. For more on national affect and public feeling, see Berlant's The Queen of America Goes to Washington City and "The Subject of True Feeling." Berlant's work in this area has been an inspiration for this project as a whole. And for another interesting approach to affect as a national category, see José Esteban Muñoz's developing work on Latino identity as an affective category in "Feeling Brown." [Return to text]
4. For an excellent overview of the separate spheres debate and a call to move beyond this model, see Cathy N. Davidson, No More Separate Spheres!. [Return to text]
5. The scholarship on feminism, sentimentality, and slavery is vast, but a representative survey of important contributions would include Ann Douglas's much critiqued dismissal of sentimentality and mass culture; Jane Tompkins's reevaluation of "sentimental power" in Uncle Tom's Cabin; Karen Sánchez-Eppler's discussion of the relation between abolition and feminism; Hortense Spillers's and Saidiya Hartman's writing on slave narrative; Shirley Samuels' edited collection on sentimental culture; Avery Gordon's discussion of ghosts and haunting in Beloved; Lora Romero's incisive observations about the impasse between subversion and containment in assessments of sentimentality; Linda Williams's history of race and melodrama in U.S. culture; Lauren Berlant's ambitious overview of sentimental culture (in "Poor Eliza"). [Return to text]
6. For rich discussions of the stake of designating an event as "genocide," see Nichanian, and Kazanjian and Nichanian. [Return to text]
7. Cathy Caruth and Felman and Laub have become virtually canonical in constituting a field of trauma studies. Other important texts in this area include Allan Young's historical overview and Ruth Leys's genealogical history, as well as Judith Herman's feminist approach. While this work is undeniably significant, it often remains tied to the Holocaust as event, and psychoanalysis as methodology. We would like to propose other sites of thinking about trauma that don't necessarily name it as such; especially important is work on race such as that by Spillers, Gordon, Hartman, Holland, and Eng and Kazanjian. For more on this issue, see Cvetkovich. [Return to text]
8. For provocative discussions - and critiques - of the project of collecting testimony in the South African context, see Mark Sanders and Yvette Christiansë in Eng and Kazanjian. [Return to text]
9. For more on this issue, see Cvetkovich. [Return to text]
10. See Cvetkovich's discussion of this in Greenberg. [Return to text]
11. Ann Pellegrini, "Staging Sexual Injury: How I Learned to Drive," in Reinelt and Roach. Much of this paragraph is directly quoted from that essay. [Return to text]
12. In an important essay on theatre and utopia, feminist theatre studies scholar Jill Dolan has suggested that theatre's affective power is central to what she calls a "utopian performative." Dolan writes: "I believe that theater and performance can articulate a common future, one that's more just and equitable, one in which we can participate more equally, with more chances to live fully and contribute to the making of culture. I'd like to argue that such desire to be part of the intense present of performance offers us, if not expressly political then usefully emotional, expressions of what utopia might feel like" (455-56). [Return to text]
13. For more on this point, see José Esteban Muñoz, Disidentifications. [Return to text]
14. On performative writing, see Phelan and Serematakis. [Return to text]
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