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Counterfactual Romanticism
Damian Walford Davies

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
Jim House

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
David Marriott

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
Liz Tomlin

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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Dafydd W. Jones

-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
Peter M. Boenisch

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
Peter M. Boenisch

-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
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Azzedine Haddour

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
Lee Spinks

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
Daniela Caselli

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