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Counterfactual Romanticism

contested categories – of the divergent scenario envisaged). Her analysis of fictions relating to the American Civil War and the Second World War yield the insight that the counterfactual imagination has been used as a politicised, reparative tool in which history’s perceived injustices are remedied. She has elsewhere referred to such a move as an act of ‘undoing’ that offers ‘an enlarged sense of temporal possibility correlating with a newly activist, even interventionist, relation to our collective past’.13 Gallagher also offers a kind of phenomenology or psychology of

in Counterfactual Romanticism
Reading Peau noire, masques blancs in context

libération, Algiers: SNED Macey, D. (1999) ‘Fanon, phenomenology, race’, Radical Philosophy, 95, 8–14 —— (2000) Frantz Fanon: A Life, London: Granta Mackay, C. (1929/1957) Banjo: A Story Without a Plot, New York: Harcourt Brace Jovanovich MacMaster, N. (1997) Colonial Migrants and Racism: Algerians in France, 1900– 62, Basingstoke: Macmillan 72 Frantz Fanon’s Black Skin, White Masks —— (2001) Racism in Europe 1870–2000, Basingstoke: Palgrave Makward, C. P. (1999) Mayotte Capécia ou l’aliénation selon Fanon, Paris: Karthala Manville, M. (1992) Les Antilles sans fard

in Frantz Fanon’s 'Black Skin, White Masks
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Frantz Fanon and René Maran

appearance of both being and not-being Hamlet, but, in uncanny fashion, unfolds a series of ghostly effects between Un homme pareil aux autres and ‘The stages’, between a phenomenology of racism and a psychoanalysis of culture.19 More accurately, it is through Guyonnet’s ‘Du jeu au je’, with its associations of play, selfhood and being, and its constant italicisation of ‘that within’ (an emphasis absent both from Rosenberg’s original and Gide’s translation), that Fanon uncovers those phantasmal affects of interracial desire in Maran’s text: affects which show the black man

in Frantz Fanon’s 'Black Skin, White Masks
Questions of mimesis, authorship and representation

cited in Power, 2008: 194). Power rather offers a plurality of ‘presences’ and advocates theatre’s potential as the capacity to continually put them into play, understanding performance as the ground ‘on which presence is explored rather than evaded’ (119): One of the challenges left to us by theories of phenomenology and poststructuralism is that of appreciating theatre as a representational form that explores the intricacies of presence in particular ways, as we move away from merely privileging theatre as an essentially ‘present’ phenomenon. (198) Cormac Power

in Acts and apparitions
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-century phenomenology, which referred to experience as a secure foundation for knowledge, fully rejected the idea that knowledge would be centred on ‘man’, and so phenomenologists would not make any presuppositions with regard to who (or what) was doing the experiencing. 71 Deleuze, Empiricism and Subjectivity, p. 80. 72 Friedrich Nietzsche, Twilight of the Idols or How to Philosophize with a Hammer, trans. Duncan Large (Oxford: Oxford University Press, 1998), p. 18. 73 Nietzsche’s original reads, ‘[T]here is no “being” behind doing, effecting, becoming; “the doer” is merely a

in The fictions of Arthur Cravan
Leopold Jessner, the playwright’s radical servant

in his Phenomenology, points to a ‘display of what is one’s own in the element of universality, whereby it becomes, and should become, the affair of everyone’ (Hegel 1986a, 309). The gist of Jessner’s term Sachlichkeit similarly touches upon the Hegelian ‘revelation of the collective within individuality and its work’ (Jameson 2010, 67) – the collective universality he marked by the term Spirit. Jessner’s works are prime examples of how Regie as concretisation resonates powerfully with contemporary sensibilities and current contradictions without diminishing the

in Directing scenes and senses
On Regie, media and spectating

-absorbed, narcissistic selfreflexivity that knows no horizon beyond itself, and equally to the limitless self-confidence of deconstructive criticality which deconstructs everything – apart from its own position. Instead, it is this reflexive stance that echoes Žižek’s important rereading of the Hegelian passage from consciousness to self-consciousness, outlined in the Phenomenology of Spirit as a response to (and against) the Kantian transcendental approach: for Hegel, the very inability to put ourselves at a ‘safe distance’ from reality was no longer the limitation, but precisely the

in Directing scenes and senses

, or expanded by its encounter with a version of Africa in the twentieth century, for example; or Africa is mimicking, catching up to, or in some way contaminating some mythically pure white European West. Instead, as Susan Buck-Morss notes of Hegel’s intimate intellectual engagement with the history of the Haitian revolution at the time of his writing on phenomenology, the

in Foucault’s theatres
Allusion, anti-pastoral, and four centuries of pastoral invitations

appearance, allude back to the earlier work themselves. Thus a reader of Walton might only subsequently come to read the Marlowe–Raleigh poems as well as the classical poems from which they derive. The temporal phenomenology of allusion is complex and sometimes counter-intuitive. 39 Such dense and manifold intertextual echoing, seemingly beyond any conscious authorial control, comes close to the different kind of intertextuality described by Mikhael Bakhtin and Julia Kristeva, referring to the interwoven cultural and linguistic fields out of which texts are woven. See

in Literary and visual Ralegh
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Queering Islam and micropolitical disorientation

disorientation is highly instrumental to my study. In her work on queer phenomenology, Ahmed contends with the well-established but contentious notion of sexual orientation, which, she argues, constructs heterosexuality as the neutral sexual state and homosexuality as being a particular ‘deviant’ orientation. She suggests that the notion of sexual orientation is born at the same time as the figure of the homosexual, and hence homosexuals are the only subjects considered to have an orientation as such. However, instead of flatly rejecting the concept, she interrogates it and

in Queer Muslim diasporas in contemporary literature and film