ABSTRACT
In the past decade, comparative literature has undergone what some might call an “affective turn” – spurred in part by Rei Terada’s book Feeling in Theory: Emotion after the “Death of the Subject.” How might we understand the importance of that turn? More specifically, given Rei’s argument about the role of feeling after the death of the subject, how might we understand emotion beyond or without expression and what are its implications for reading imaginative literature from a planetary, comparative perspective?
