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T w o Contagion and the Creativity of Affect A core contention in this book is that a political theory of affect needs to account for its elusive, ephemeral, and unpredictable effects. IR scholars have tapped various frameworks to understand how foreign policies, insti- tutional innovations, and legal norms travel in an interconnected world— for example, through learning, path dependency, and moral argument. As significant as these social mechanisms are, none captures the fluidity of emotional interaction in cases of concern in global politics, such as those

his view. While con- ducting their business, however, the political representatives appeared to wish to perform in a particular way. As if, by having been elected to their political Epilogue: On the Dignity and Importance of Politics A Eulogy of the Human Creativity unto Government1 124 e p i l o g u e office, they had experienced a transformation, they engaged in modes of be- havior that could undoubtedly be read as signs of a firm faith in the dignity and importance of politics. Their behavior seemed to imply that their meetings were a sort of stage, where, of

On the Political Beginnings of Human Existence
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C o n T e n T s Preface and Acknowledgments / vii Introduction / 1 o n e / Circulations of Affect in Global Politics / 15 T w o / Contagion and the Creativity of Affect / 39 T H r e e / The Affective Politics of Terror / 67 F o U r / emotions and ethnic Conflict / 93 F I V e / Justice beyond Hatred / 123 Conclusion / 151 Notes / 163 Bibliography / 191 Index / 209

, 30– 35, 118 “Child with the Mirror, The” (Z. section), 79 Cicero, Marcus Tullius, 103, 128 City of God (Augustine), 10 civilization, 11– 12, 18, 178– 79, 183, 252 climate theory, 60 communism, 3, 77, 127– 28, 156– 57, 246– 47 Comte, Auguste, 29, 97 conscience, 31, 229– 30, 237, 251 consciousness, 39– 40, 62, 70– 71 contemplation, 104; creativity and, xiv– xv, 104, 200– 201, 205– 28, 237– 38, 240– 41, 248– 49, 254n14; Greek philosophy and, 104– 5; philosophic way of life and, xii, 142 contingency, 124– 25. See also chance; necessity “Convalescent, The” (Z

in economic life. 9. Workers, owners, managers, stockholders and consumers are moral agents in economic life. By our choices, initiative, creativity and investment, we enhance or diminish economic opportunity, community life, and social justice. 10. The global economy has moral dimensions and human conse- quences. Decisions on investment, trade, aid, and development should pro- tect human life and promote human rights, especially for those most in need wherever they might live on this globe. A CATHOLIC FRAMEWORK FOR ECONOMIC LIFE 237

ACLU. See American Civil Liberties Union (ACLU) actor-network-theory, 55, 172n41 ADC. See American-Arab Anti- Discrimination Committee (ADC) Adler, Emanuel, 48, 53, 165n22 affect: vs. emotion, 20, 164n13. See also circulations of affect; emotions affective transfer. See contagion Afghanistan War, 70, 72, 75, 84 Agamben, Giorgio, 83, 177n53 agency: and agentic capacities, 54–55; and circulations of affect, 32; and com- munications technologies, 54–55; and creativity, 42, 49, 157; definition of, 52; and emotions, 51–56; in global politics, 51, 54–56, 162

man: perfect conformity. Nietzsche’s presentation of the last man is a presentation from the anticommunist point of view of what the communist realm of freedom would in fact be. The communist realm of freedom claims to be the stage where human creativity as the creativity of all and each begins, but, as Nietzsche suggests, the realm of freedom is utterly incompatible with any creativity. Yet while the movement in the direction of the last man is very powerful, its victory is not necessary. The death of God, which makes possible the greatest degradation of man

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shklovsky to duchamps and nabokov, the chessboard became a model for the zigzag of off-modern creativity. Historically, the chessboard displaces the battlefield allowing gaming to compete with warmongering. The cosmopolitan ornament of black and white squares moved between cultures and didn’t lose much in translation. My chessboards are never really black and white, but always a little off with a glare and texture of local materials. The surface of the chessboard plays with perspectives and grids, opening onto the fourth dimension of fiction.

assessment, “boring.” Jim thanks his wife, Jill, for her constant love and un- bending optimism about this project, and his children, louise and Henry, for their inquisitiveness, creativity, and humor, which keep him on his toes. All three provided welcome, and much needed, distractions from working on this book. Acknowledgments / 195