To hear with eyes
in The sense of early modern writing
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

In William Shakespeare's works, the ear is treated with an ambivalence that cannot be simply idiomatic. The link between a form of self-awareness and the voice makes hearing an intimate sense. Jacques Derrida suggested that: 'Hearing oneself speak is not the inwardness of an inside that is closed in upon itself; it is the irreducible openness in the inside; it is the eye and the world within speech.' Derrida was attempting to account for the familiar association of speech with a sense of intimacy and interiority, and for the privilege of this sense over others within a philosophical tradition which culminates in phenomenology. Poetic invention is linked to notions of organic and sexual productivity but also to incision or penetration, marking a conventional notion of the paternal, disseminatory writer.

The sense of early modern writing

Rhetoric, poetics, aesthetics


All Time Past Year Past 30 Days
Abstract Views 61 30 0
Full Text Views 25 2 0
PDF Downloads 10 3 0