such. The curious procedure which a reading of Checkmate
entails bears a certain resemblance to the progressive reductions of
Edmund Husserl’s phenomenology by which the entire world of
nature, history and empirical fact is eliminated from an
increasingly pure contemplation. If this sounds pompous one should
recognise something very similar in V. S. Pritchett
Poole . Harmondsworth : Penguin .
Dudley , Will ( 1999 ). Ed., Hegel and
New York : SUNY Press .
Evans , Robert and Pogge
von Strandmann ( 2000 ). The
Revolutions in Europe, 1848–1849.
Oxford : Oxford University
Hegel , G. W. F. ( 1977 ). Phenomenology of
Spirit , tr. A. V.
Miller . Oxford : Oxford University Press .
Hopkins , Gerard Manley ( 1970 ). The Poems of Gerard
Liberalism and liberalisation in the niche of nature, culture, and technology
triangulated, or even multilateral nature of exchange when cultures come in contact. When we
turn to cultural translation of specific works we are no longer engaged in literary
appreciation, which focuses on the ontology of the masterpiece, the way that the masterpiece
unfolds creatively and fits together as a whole or gestalt . Rather, we are looking at
the phenomenology of a work’s circulation, including the structure of the field of
transnational cultural exchanges, political or economic constraints that influence the
’s two quotations as its epigraphs. Her argument, essentially, is
that the increased cultural practice of aisthesis at the end of
eighteenth century reflects a larger shift in consciousness.
‘Udolpho was more than simply fashionable; it encapsulated
new structures of feeling, a new model of human relations, a new phenomenology
of self and other’ (Castle 1987 : 236-7). Castle is particularly struck with the ‘uncanny
‘extensive contemporary literature’ in the humanities that
focuses ‘objectively (but sometimes superficially) on “the
body”‘. 1 By this, Sobchack is referring to the way the body
is often thought about in an abstracted fashion, that which always
belongs to someone else other than me. Counter to this, Sobchack draws
on phenomenology to focus on the lived body, that is, on ‘what it
means to be “embodied
division of common property, to equal
pay, to federal financial assistance and to abortion.
In her essay ‘Dirt and Desire: Essay on
the Phenomenology of Female Pollution in Antiquity’, Anne
Carson argues that, since Aristotle and Hippocrates, the female
identity has been characterized as pliant, porous, mutable, lacking
possibility of an end to violence can only be stated
through discourse, that is through violence (just as respect for the
other – ethics – entails a phenomenology of otherness
which necessarily leads straight back to the heart of the problem
(p. 121)). To ‘overlook the irreducibility of this last
violence’, the irrevocable conflicts of the discursive
formation in which same and other
, which are still charged with Islamic and Christian homophobia, he cannot help signalling his characters’ lingering stumbling blocks with regard to forming viable same-sex relationships. Crucially, the relationship between Francesco and Mehmet is carefully kept under wraps, and only Marta knows about their erotic liaison because of her nocturnal visit to the Turkish bath. In the film, family life is visually organised around the dining table. In her study on queer phenomenology, Sara Ahmed ponders, ‘[t]he dining table is a table around which a “we” gathers. […] The
Exploring gender, anti-racism, and homonormativity in Shamim Sarif ’s
The World Unseen (2001) and I Can’t Think Straight
Alberto Fernández Carbajal
and experienced a novelist than a filmmaker at depicting her characters’ sensations and interactions, in ways that chime with Sara Ahmed’s consideration of queer phenomenology. Ahmed surmises:
We are turned towards things. […] We perceive them insofar as they are near to us, insofar as we share a residence with them. Perception hence involves orientation; what is perceived depends on where we are located, which gives us a certain take on things. (Ahmed, 2006 , p. 27)
is claimed to either be the only real source and substance of all drama or fundamental to none of it.
Thinking very particularly about the bread and wine of the Mass, Sofer considers differing theological positions on the phenomenology of the Mass that can offer ‘distinct models for understanding how objects become signs on stage without effacing their material being’: the Catholic doctrine of transubstantiation; the Lutheran doctrine of consubstantiation in which the host is both bread and flesh; and the