“Greater than fear”: theorizing affective blockage in social movement rhetoric

Abstract

Created by street artist Shepard Fairey, the protest poster, “We the People are Greater than Fear,” emerged as a powerful visual response to the 2016 election of Donald Trump. Though celebrated as a progressive symbol of inclusion, we argue the poster, perhaps unwittingly, reinforces some of the very prejudices it seeks to confront by associating Muslimness with suspicion, foreignness, and fear. Using “Greater than Fear” as a case study, this essay contributes to scholarship combining critical affect theory with rhetorical studies by theorizing affective blockage as a means of understanding the ways affect contributes to the resilience of hegemonic narratives by preventing certain meanings from surfacing. We argue the poster reveals a cautionary lesson about how affect can obscure critique of cultural texts created with progressive intent, inadvertently bolstering softer, more subtle forms of racism embedded in liberal contexts. We also discuss the importance of interrogating rehearsed affective associations that, by virtue of their familiarity, seem normal and acceptable but ultimately reinforce exploitative conceptions related to identity categories such as race, religion, sexuality, class, and gender. We conclude with insights for rhetorical scholars about how affective associations can enable ostensibly liberal discourses while at the same time preventing their critique.