The Capaciousness of No: Affective Refusals as Literacy Practices

© 2020 The Authors. Reading Research Quarterly published by Wiley Periodicals, Inc. on behalf of International Literacy Association The authors considered the capacious feeling that emerges from saying no to literacy practices, and the affective potential of saying no as a literacy practice. The authors highlight the affective possibilities of saying no to normative understandings of literacy, thinking with a series of vignettes in which children, young people, and teachers refused literacy practices in different ways. The authors use the term capacious to signal possibilities that are as yet unthought: a sense of broadening and opening out through enacting no. The authors examined how attention to affect ruptures humanist logics that inform normative approaches to literacy. Through attention to nonconscious, noncognitive, and transindividual bodily forces and capacities, affect deprivileges the human as the sole agent in an interaction, thus disrupting measurements of who counts as a literate subject and what counts as a literacy event. No is an affective moment. It can signal a pushback, an absence, or a silence. As a theoretical and methodological way of thinking/feeling with literacy, affect proposes problems rather than solutions, countering solution-focused research in which the resistance is to be overcome, co-opted, or solved. Affect operates as a crack or a chink, a tiny ripple, a barely perceivable gesture, that can persist and, in doing so, hold open the possibility for alternative futures

‘Who do you want to kill?’ Affectual and relational understandings at a sorcery rock art site in the southwest Gulf of Carpentaria, northern Australia

This article explores the affectual and relational contexts in which rock art is embedded through an exploration of the encounters, reactions, and responses to a well‐known sorcery rock art site known as Kurrmurnnyini in northern Australia\u27s southwest Gulf country. These encounters with a culturally powerful place, and the emotions derived from people\u27s personal memories and experiences of Kurrmurnnyini and its sorcery‐infused rock art, are vital to establishing an understanding of contemporary perceptions of what is clearly more than an ‘archaeological site’. We contend that by turning our attention to the often‐overlooked affectual and relational dimensions of rock art and the contexts in which it is found, researchers place themselves in a better position to access and become aware of the agency and affect of graphic imagery as well as the significance these powerful images and places hold for people today