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Love
Steven Earnshaw

as a description of the character Hannah and of the way the novel itself unfolds –​jumping between memory and plans, usually painful, and always returning to the here-​and-​now in its joyous and gory Technicolor. Coming away from the circus visit she tells us that she hadn’t seen the ‘True Circus’, a way of also telling us that she hasn’t seen her true self. Yet the novel in its entirety, since it has exactly all those elements which Hannah identifies as constituting the ‘True Circus’, is that self-​same ‘True Circus’, Hannah’s self constituted by pain. At this

in The Existential drinker
Open Access (free)
Philip Nanton

. Revisionist history One location of the modern frontier is in the mythic notion of the frontier hero. I use the notion of a ‘frontier hero myth’ here as a form of inverted colonial moral landscape in which wilderness/civilisation and black/white racial borders are among the most basic (Slotkin, 1973 ). The central point here is that in the constructed collective memory of

in Frontiers of the Caribbean
Catherine Baker

White Innocence , which builds on Said's reference to imperial fiction and poetry as a cultural archive via Ann Stoler's sense of the archive as a ‘repository of memory’ (Stoler 2009 : 49 in Wekker 2016 : 19) for everyday legacies of imperial rule in postcolonial metropoles. It is located in many things, in the way we think, do things, and look at the world, in what we find (sexually) attractive, in how our affective and rational economies are organized and intertwined. Most important, it is

in Race and the Yugoslav region
Abstract only
Allyn Fives

’ (Shklar 1998 [1981] , p. 311). However, if one knows, as d’Alembert did, what the uses of history are, then one can choose information that is worth remembering and periodically eliminate the worthless from the scholarly memory. (Shklar 1998 [1981] , p. 312) Notwithstanding her evident scepticism concerning such grand historical claims, she is willing to entertain the notion that d’Alembert was able to show why the

in Judith Shklar and the liberalism of fear
Thomas Osborne

did not belittle the importance of the aesthetic principle for all that – indeed, he emphasised its importance all the more, precisely because of the likelihood of its redundancy. The death of art, which, after all, has been with us for a long time, does not mean that the principle of art – as an ultimately ethical ideal entwined with the pursuit of autonomy – is dead: not least in so far as reflection on art (perhaps of the sort embodied by the kinds of modern cultural theory we have been considering here) itself serves to reactivate the memory and possibility of

in The structure of modern cultural theory
Open Access (free)
Antinomies and enticements
Saurabh Dube

, Unsettling Memories: Narratives of India’s “Emergency” (New Delhi : Permanent Black , 2003 ); C. J. Fuller and Véronique Bénéï (eds.), The Everyday State and Society in Modern India ( New Delhi : Social Science Press , 2000 ); Thomas Blom Hansen , Wages of Violence: Naming

in Subjects of modernity
Open Access (free)
Entanglements and ambiguities
Saurabh Dube

tries to recover what might have been. The anthropologist searches for the elders with the richest memories of days gone by, assiduously records their ethnographic texts, and then puts together between the covers of their monographs a picture of the natives of Anthropologyland. The peoples of Anthropologyland, like all God’s Children got shoes, got

in Subjects of modernity
Sal Renshaw

: now. Thus to write the present of loving the other, Promethea’s right now, her mystery, before memory, with its embalming, forgetting and storytelling get there (1991a: 91), requires something different on the part of the author; it requires the detachment of a feminine relation to subjectivity that allows her to write from within, rather than about, the divine. Cixous’ use of two narrative voices simultaneously stages and displaces the dilemma for self/other relations that flow from a unified subject. Yet potentially they herald the introduction of yet another

in The subject of love
Critical theory and the affective turn
Simon Mussell

heteronomous. Since ‘emotion’, for Tomkins, is understood as affect plus the cognitive content of memories associated with that affect’s previous amplifications, and since all experience is seen to be suffused with affect, it is clear that the proverbial archive of affective life ought to bear witness to an absolute unrepeatability, an irreducible plurality of individual histories. Indeed, for Sedgwick, that is precisely what theory should do. It should attend to these unique, surprising, autonomous (non-​intentional) attachments, 24 Critical theory and feeling as well as

in Critical theory and feeling
Abstract only
What is it, and why should we study it?
Stephen Hobden

, States and World Orders’ has almost legendary status in International Relations theory, with one quote – ‘theory is always for someone and for some purpose’ (Cox, 1981 : 128, emphasis in original) – being ingrained in the memories of generations of students of Critical International Relations. The article contains a very succinct summary of what Cox considered to be Critical Theory. Rather than comparing Critical Theory to traditional theory as Horkheimer had done, Cox distinguished it from what he called ‘problem-solving theory’. While there are considerable

in Critical theory and international relations