““In other words, I mean the formal aspect of a work that has made it possible for critics of all affiliations (Marxist, feminist, postcolonial, historicist) to describe a work or class of works as “paranoid” (Mary Ann Doane on the Hollywood “woman’s film” of the 1940s), “euphoric” (Fredric Jameson on postmodern art and architecture), or “melancholic” (Anne Cheng on Asian-American literature); and, much more importantly, the formal aspect that enables these affective values to become significant with regard to how each critic understands the work as a totality within an equally holistic matrix of social relations.””
