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Transhistorical empathy and the Chaucerian face
Louise D’Arcens

empathic affiliation with him. It should not be surprising that the author’s face would be a locus of intersubjective affinity for those who claim to have a transhistorical empathic encounter with him. Many who work on the intersubjective experience of encountering the face cite Emmanuel Levinas’s quasi-theological account in Totality and Infinity of the ethical demand made by the face of the Other and its ineluctable alterity, which compels a response that transcends Chaucer as Catholic Transhistorical empathy childand Chaucer’s face 207 one’s own subjectivity.19 But

in Contemporary Chaucer across the centuries
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Emergencies and spectatorship
Sam Haddow

image and the ‘thing’ of theatre. Both trade on representation, certainly, and both open themselves up to reading, but amongst their manifold differences there is a key distinction in the ways in which they approach what Levinas referred to as the ‘face’. This is not necessarily the actual face of a person, but rather the point of communication through which the person is approached and apprehended. For Levinas, the face makes an ethical demand upon the self because it provokes fear, as the boundary to the other, but also reminds us of our responsibility to the other

in Precarious spectatorship
The Orchards of Syon (2002)
Jeffrey Wainwright

, unkillable sense of what is due, of the importance of making a proper account of the uncounted. Such pains of omission and commission, and the ethical demand, mean that this is never a dream: ce n’est pas drôle . But ‘the incorrigible nature of judgement’ can be experienced as consuming the self and the world with its implacability. In the sequence LVII, LVIII and LIX, Hill revolts against its implications: Reading Dante in a mood of angry dislike for my fellow sufferers and for myself that I dislike them

in Acceptable words
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‘A quoi bon la littérature?’
Jeannette Baxter, Valerie Henitiuk, and Ben Hutchinson

’s narratives at times display an oedipal complex, suggests Herren, it is ‘Oedipus Rex refracted through Kaf ka and Beckett’: by the end of The Emigrants, the narrator ‘effectively chooses to blind himself rather than face the full implications of his family crisis head on’. Yet the reader is meant to see beyond the narrator’s ‘averted gaze’, and thus to reach the very conclusions that the narrator seeks to avoid. The various intellectual and ethical demands that the Sebaldian text makes on the reader inform the closing essay in this volume, Russell J. A. Kilbourn

in A literature of restitution
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Diana Donald

that both nature and revealed religion instructed man to treat animals with a benevolence modelled on that of God himself; but, if so, should this not entail avoidance of any action that caused them suffering or death? The uncertainty of such ethical demands made kindness to animals an imperfect obligation, as Erskine had conceded, on a par with the wealthy classes’ voluntary charitable provision for the poor: but it also made cruelty an unfit subject for legislation. It would be another thirteen years before Windham’s view was gainsaid, in the very limited anti

in Women against cruelty (revised edition)
Sam Haddow

chamber. I am not for 122 122 Precarious spectatorship a second arguing an equivalence between the package-​holiday tourist and the torture victim; I am merely pointing out a quality of ‘timelessness’ upon which the locations designed to contain them both are built. It is the same quality that I have been arguing throughout this book as the epicentre of the emergency  –​a zone in which no exterior is permitted, and no story may be told. A further significant quality of Last Resort is, of course, the ethical demand placed upon the spectator by its subject material

in Precarious spectatorship
Open Access (free)
Pollution, contamination and the neglected dead in post-war Saigon
Christophe Robert

, photographed head-on, fills the oval medallion or rectangular frame: a biography condensed in the portrait and the image of a face. This type of portraiture and the effect of repetition from grave to grave helps identify (with) the dead by recognising them as ancestors – an endless indebtedness by means of which living descendants can recognise themselves as such and locate themselves in kinship and social terms in relation to the deceased. This recognition is an ethical demand (Hegel 1977: 270; Levinas 2000: 82, 105; Mbembe 2003: 14). Here the demand of the other, displayed

in Governing the dead
Ben Cohen and Eve Garrard

‘blackmail of perfection’, they perhaps incurred a hatred the more intense because of a recognition at some level by their tormentors of the desirability of the ethical demands embodied in the Jewish tradition. 39 The thesis is of a guilt turned outwards, of resentment focused on a people which had thought to make itself the bearer of hope for a better world. It recalls hints we have encountered in Mandel and Trotsky: the former’s allusion to bad conscience; the scene narrated by the latter of a freedom not liberating, but cruelly, willfully, destructive. Unprovable as

in The Norman Geras Reader
Space, limitation and the perception of female selfhood in Samuel Richardson’s Pamela
Barbara Puschmann-Nalenz

unable to resolve the struggles in her own consciousness and still fears that Mr B. will dishonour her causes his outbreak of anger that terminates the pastoral scene – harmony is still at a distance, although the peak of despair lies behind her. Since Pamela cannot be his wife for reasons of class and will not be his mistress she must suffer the pains of unrequited love and spatial separation from Mr B. While she tries to unify her inner self which resembles a battlefield of conflicting rules, ethical demands and inclinations, she once more moves spatially away by

in Writing and constructing the self in Great Britain in the long eighteenth century
The UK’s response to children during the refugee crisis
Ala Sirriyeh

identities of people seeking asylum. Drawing on theoretical insights from work on emotions, I explore how UK government responses to refugee children have been framed and contested based on children's status as moral referents, and through consideration of the ethical demands they place on the nation. This chapter focuses on the case study of the death of Aylan Kurdi in September 2015 and the response of the UK government to child refugees caught up in the Refugee Crisis at this time. While recognising that there is an established precedent of contesting UK government

in Displacement