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Although in comparison to other key Gramscian concepts, ideology has not been among the most studied, this is beginning to change. In particular, recent scholarship has demonstrated a diffuse and variegated usage of the term in the Prison Notebooks, as well as an innovative extension of the concept, which is articulated around a network of closely correlated terms and concepts. Nevertheless, debates remain over how to understand its meaning in Gramsci's carceral discourse, with some arguing that his distinctive conception of ideology has a "neutral", and arguably, also "positive" meaning, while others contend that it is neither "neutral", nor "positive", but a critical concept. This essay argues that Gramsci's conception of ideology is neither neutral nor positive, but rather, an eminently critical and differentiated analysis of the diverse ideological forms of consciousness through which the popular masses are enveloped within the web of a class's hegemony through the mediation of the philosophers' philosophies, the fruit of his attempt to rethink philosophy politically. In short, understanding Gramsci's conception of ideology in the full sense can only be ascertained by following the threads of his philosophical investigations in their shifts and re-elaborations. Keywords: Gramsci, Politics, Philosophy, Ideology

Contemporary scholarship on emotion and feeling tends to fold bodily sensations such as feeling cold into emotions, like fear. In contrast, this essay slows down to consider the contours of cold itself, showing how Maurice Merleau-Ponty's Phenomenology of Perception offers a method for thinking of the sensation of cold without reducing it to symbolic meaning or assuming it is autonomic. Although Merleau-Ponty's account of spatiality begins from the body, however, his work does not consider the sensation of temperature. Turning to Rashmika Pandya's phenomenological essay "The Borderlands of Culture and Identity," the author argues that the sensation of cold is dense with the politics of race, class, and gender, demonstrating how the sensation is entangled with a shrinking sense of spatiality. This helps to explain why Frantz Fanon and Sandra Bartky describe the feeling of being objectified through the sensation of cold. Ultimately, the essay contributes to feminist cultural theory by calling on the field to revise its understandings of embodiment, subjectivity, and identity: we are dependent not simply on human others but also on a more-than-human world, a world captured in the thermal energy of particles.