Titlebook: Affective Methodologies; Developing Cultural Britta Timm Knudsen,Carsten Stage Book 2015 The Editor(s) (if applicable) and The Author(s) 2

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https://doi.org/10.1007/978-3-658-10495-5d three times a week among Danish Pakistani Sufi brothers who follow the transnational . (path, order) called Naqshbandi Mujadiddi Saifi, named after the late shaykh Saif ur-Rahman, who passed away in 2010 and has his shrine at the outskirts of Lahore in Pakistan. At the . gatherings, young . (follo

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Corporate Social Capital and Liabilitynsations emerge in and traverse the dynamic hybrid of flesh and space. Dance floors are also notoriously difficult to write about (Gibbs, 2008; McCormack, 2008), not least if we have an ambition also to account for the embodied practices and experiences of a person’s dancing while intoxicated with a

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Mohammad Badrul Haider,Katsuhiko Kokubu have to do with the empirical? The question ‘What is the empirical?’ is one that I have already posed in a collection with this title that I coedited with Lisa Adkins (Adkins and Lury, 2009). One of the contributions — that by Patricia Clough — provides a helpful starting point for me in returning

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Diasporic Montage and Critical Autoethnography: Mediated Visions of Intergenerational Memory and theoughout this paper, I unpack this discussion and demonstrate how the existence and composition of this very chapter, in fact, embodies my autoethnographic act of creating a ‘diasporic montage’. One key question I ask is: Can such methodologies ‘see’ ghosts, the forgotten, and the unseen?