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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
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3) is undoubtedly marked by the specificities of gender. In the opening of chapter 2, Fanon – drawing on Sartrean existential phenomenology and Hegelian dialectics – elaborates his approach to the universality of ‘love’ and ‘gift of self’.57 Does this contradiction imply that Fanon’s text is inherently sexist and misogynist? Is his discussion of racial difference at odds with sexual difference? Does Fanon present interracial desires in homoracial terms? It is easy to dismiss Fanon’s narrative as sexist and misogynistic, ignore the broad historical and cultural

in Frantz Fanon, postcolonialism and the ethics of difference

and social disorder, Ondaatje’s poem also portrays it as a struggle between two styles of being and two modes of perception. This emphasis upon the phenomenology of perception leads Ondaatje to couple his representation of character with an examination of the way subjects come to conceive of their worlds. The literary exploration of consciousness, sensation and intuition provides the ground for many of Ondaatje’s most striking poetic effects; it is also the aspect of the poem that most stubbornly frustrates our conventional habits of reading

in Michael Ondaatje
Body hair, genius and modernity

progress. Although I am not interested in critiquing Holbrook’s references to phenomenology and psychology, I find it significant that the idea of the pseudo-male (defined as sad by Holbrook, qualified by a giggle in Conrad) is a source of embarrassment in both. It marks that boundary between masculinity and femininity, which The Woman in White produces through Marian’s unspeakably disturbing moustache. Holbrook’s misogynist assertion further draws attention to the presence of the double, which many critics have observed in Plath’s texts. Although Holbrook

in The last taboo
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