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Sustainability, subject and necessity in Yann Martel’s Life of Pi
Louise Squire

phenomenology and the speculative real. I then turn to considering Life of Pi’s emphasis on a human-centred stance, alongside its apparent recalibrating of the subject horizon as a sustainable world is engendered. Sustainability and the human project A number of sustainability’s tensions and paradoxes and their nuances have been teased out across the essays in this collection. This final essay considers sustainability from the perspective of opacity itself. That is, it addresses the issue that sustainability is premised upon projected notions that are variously indistinct or

in Literature and sustainability
Ghosts and the busy nothing in Footfalls
Stephen Thomson

reconstruction. To put it rather tersely, MerleauPonty’s phenomenology does not believe there is anything beyond Plato’s cave and its shadowplay. He does occasionally entertain concepts such as a ‘primordial silence’, but only so as to set up a notional final backdrop against which the apparent silence of ‘pure thought’ may be revealed as a thoroughly linguistic hubbub (‘bruissant de paroles’) of ready-made phrases that form the ‘fond obscur’ of language.46 Read with a certain bias of attention, then, phenomenology’s account of our relation to this factitious nothing, which

in Beckett and nothing
Sara Ahmed

). Ahmed, S. (2014c). ‘Practical phenomenology’, (4 June), https://​​2014/​06/​04/​practical-​phenomenology/​ (accessed 3 September 2018). Ahmed, S. (2014d). ‘Hard’, (10 June), https://​feministkilljoys. com/​2014/​06/​10/​hard/​ (accessed 3 September 2018). Ahmed, S. (2014e). ‘Fragility’, (14 June), https://​feministkilljoys. com/​2014/​06/​14/​fragility/​ (accessed 3 September 2018). Ahmed, S. (2017). Living a Feminist Life. Durham, NC: Duke University Press. Braidotti, R. (2006

in The power of vulnerability
Open Access (free)
Between Adorno and Heidegger
Joanna Hodge

descriptive imperatives and a retrieval of conceptuality could be sharpened. Heidegger is suspicious of a conceptuality which sets itself up in opposition to an already given order, and rather supposes that what there is must be conjured into revealing itself to an attentive composing thinking.41 The virtue of Husserl’s phenomenology as far as Heidegger is concerned is that it offers this possibility of revealing what is not already given, instead extracting what there is from its concealment in everyday taken-forgranted relations. Heidegger and Adorno thus share a suspicion

in The new aestheticism
Open Access (free)
Holly Dugan

perceptible objects. Edmund Husserl, for instance, in his landmark study of phenomenology, argued that objects are things that can be handled, displayed and most importantly seen.27 Yet sensation as a historical phenomenon included a more complex approach to materiality than Husserl allows. For example, a fifteenth-century English censer highlighted in the Victoria and Albert Museum’s ‘Making Sense of an Object’ series is, literally, defined by its olfactory use.28 Though it is implied by its name, its scent, frankincense, rarely accompanies its display; even if it did

in The senses in early modern England, 1558–1660
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island
Hannes Bergthaller Accessed 17 March 2017. Braidotti, Rosi 2013. The Posthuman. Cambridge: Polity. Christian, David 2014 [2004]. Maps of Time: An Introduction to Big History. Berkeley: University of California Press. Connolly, Kate 2013. ‘Wurst Policy Ever? German “Veggie Day” Plan Leaves Greens Trailing’, Guardian 13 September. Accessed 21 February 2017. De Mul, Jos 2014. ‘The Possibility of an Island: Michel Houellebecq’s Tragic Humanism’, Journal of Aesthetics and Phenomenology

in Literature and sustainability
Open Access (free)
Aesthetics, fragmentation and community
Simon Malpas

. Instead of disappearing or becoming nothing more than the heritage of a bygone age, art, in Hegel’s slightly strange formulation, ‘points beyond itself ’. Hegel’s description of the meaning of art’s ‘pointing beyond itself ’ that follows the occurrence of the phrase in the ‘Introduction’ to the Aesthetics repeats his argument in the Phenomenology which states that Spirit simply moves beyond art to dialectical reason and philosophy. Thus, Hegel states quite simply that, although one ‘may well hope that art will always rise higher and come to perfection . . . the form of

in The new aestheticism
Open Access (free)
Bill Prosser

to Beckett see also Thomson, Chapter 4 above. 10 Pierre Thevenaz, What Is Phenomenology?, trans. J. M. Edie, C. Courtney and P. Brockelman (Chicago: Quadrangle, 1962), p. 57. 11 H. G. Maule, ‘Industrial environment’, in A. H. Bowley et al. (eds), Psychology: The Study of Man’s Mind (London: Odhams Press, 1949), p. 259. Rose Adders, The Bored @ Work Doodle Book (London: Carlton, 2008). 12 E. H. Gombrich, ‘Pleasures of boredom’, in The Uses of Images (London: Phaidon, 1999), pp. 212–25. For another excellent example see David Maclagan, ‘Solitude and communication

in Beckett and nothing
Derval Tubridy

his ‘Darmstadt Lecture’ given in 1984, Feldman describes his work in terms of two aspects that he sees as characteristic of art in the twentieth century: ‘One is change, variation. I prefer the word change. The other is reiteration, repetition. I prefer the word reiteration’.35 Feldman’s destabilisation of the grid structure which provided the impetus for his composition can be understood in terms of Derrida’s notion of a difference that is necessarily contained within repetition. Writing on form and meaning in the context of Husserlian phenomenology, Derrida argues

in Beckett and nothing
Open Access (free)
Daniel C. Remein and Erica Weaver

ourselves’, and yet also insist that ‘reading Beowulf , even after all these years is not like talking to an old friend’. 16 And yet, even though the poem offers itself up to questions of old friends very naturally, intimacy is rarely articulated openly as a guiding critical framework. Many times when intimacy is invoked in places where we would expect to see it – in queer theory, affect studies, and theories of sensation or phenomenology – it functions metaphorically as a descriptor of a certain kind

in Dating Beowulf