Abstract

Via an analysis of Valéry's metalepsis and Kleist's hybrid aesthetics, this essay offers an account of feelings as. Through doublings and couplings, Kleist's theater presents emotionality as in the double sense of the thing that feels (a human body, for example) and the thing that feeling is (a dagger, for example): as an open, complex, and dynamic assemblage of human and para-human actants that responds to its incongruence with itself.