ABSTRACT
For feminist theory, the search for the material has often found its way via affect. As an immanent and seemingly pre-discursive and bodily experience, affects seem to offer a way out of the language and discourse trap. But should affect really be understood as solely a material matter? If every phenomenon is material-discursive, as Karen Barad suggests, cannot affect, as an immanent and lived bodily experience also be both material and discursive? In this article, I will approach these questions through a reading of a small selection of texts that tell the story of Anders Behring Breivik and the terrorist attack in Norway on 22 July 2011. In a troubling encounter with these stories, I found myself identifying with Breivik, an identification that led to an intense affective experience of anxiety and disgust, but also to an emotional self-reflexive elaboration on shame and guilt. This article presents an analysis of the prevalence of norms on white, adult masculinity in the stories about Breivik, as well as a theoretical elaboration on the relationship between affect and emotion, matter and language, and its relevance for the study of masculinity and violence.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes on contributor
Mia Eriksson holds a Ph.D. in Gender Studies and works as a lecturer in Gender Studies and Sociology at Linnaeus University in Växjö.
Notes
1. My material consisted of three books: Aage Borchgrevink’s A Norwegian Tragedy: Anders Behring Breivik and the Massacre on Utøya, Erika Fatland’s Året utan sommar [The year without summer], and Åsne Seierstad’s One of Us: The Story of Anders Breivik and the Massacre in Norway; a special issue of the Norwegian cultural magazine Samtiden; and newspaper articles from Dagens Nyheter, Aftonbladet, Svenska Dagbladet, and Sydsvenskan.
2. Breivik was wearing a homemade police uniform during the attack.
3. An approach that Probyn (Citation2005, p. 141) herself, in a discussion on Gilles Deleuze, opens up for: ‘he argues that the body is not a unified entity but is composed of many moving elements. Affects play a crucial role in how assemblages are composed and decomposed’.