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A black rebel with a cause

racial prejudices’.13 However, during these four years the mask Introduction 5 dropped and the sailors behaved as ‘authentic racists’. As we will see in Chapter 1, Fanon’s theory of perception is not simply a reformulation of Sartrean existential phenomenology but stems from the lived experience of West Indians who were racially discriminated against. The encounter with racism was vexing for these West Indians whose ontology was challenged as they experienced their ‘first metaphysical experience’.14 Prior to 1939, and more specifically the arrival of Robert and his

in Frantz Fanon, postcolonialism and the ethics of difference
Renaissance emotion across body and soul

to project modern conceptions of experience onto our understanding of the past has been extremely productive in pushing scholars to read Renaissance texts in new lights, making new space for the deeply material engagements present in contemporary descriptions and representations of passionate experience. What this emphasis on a thoroughly holistic ‘historical phenomenology’ has

in The Renaissance of emotion
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Between Adorno and Heidegger

descriptive imperatives and a retrieval of conceptuality could be sharpened. Heidegger is suspicious of a conceptuality which sets itself up in opposition to an already given order, and rather supposes that what there is must be conjured into revealing itself to an attentive composing thinking.41 The virtue of Husserl’s phenomenology as far as Heidegger is concerned is that it offers this possibility of revealing what is not already given, instead extracting what there is from its concealment in everyday taken-forgranted relations. Heidegger and Adorno thus share a suspicion

in The new aestheticism
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Blake, Milton, and Lovecraft in Ridley Scott's Prometheus

theorists concerned with speculative realism, many of whom take up Houellebecq's challenge to reconceive our investigations of ‘concept horror’. 20 In ‘On the Horror of Phenomenology: Lovecraft and Husserl’, Harman uses Lovecraft to argue against a normative function of philosophy, suggesting instead that rather than being used ‘as a rubber stamp for common sense and archival sobriety … philosophy's sole mission is weird

in William Blake's Gothic imagination

the work might be staged. The theatre phenomenologist Stanton B. Garner provides an articulate defence for my position in Bodied Spaces: Phenomenology and Performance in Contemporary Drama : Unlike a specific performance event (or its description), the dramatic text deals with the actual in its possible manifestations […] In this sense, the dramatic text effects a version of the epoche or ‘reduction’, whereby phenomenology suspends awareness of the object’s actual existence in one place and one time in order to disclose this actuality in its own parameters

in The politics of Jean Genet’s late theatre
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gendered behaviour. As Sara Ahmed argues in Queer Phenomenology , that gender ‘is an effect of how bodies take up objects, which involves how they occupy space by being occupied in one way or another’. 35 In recent scholarship, conventual space has become a crucial locus for the study of the mutual influence of materiality, gender, and religious identity. Offering a compelling study of seventeenth

in Conversions
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Ahmed, Queer Phenomenology, p. 3.

in Visions and ruins
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of the Black, but also with the wider spread of western liberal thought which more covertly colludes in the perpetuation of a Manichaean binary opposition between the West and its others. Discourses of liberation such as psychoanalysis, the Hegelian dialectic and phenomenology are adopted as useful tools for prising open the nature and extent of white oppression but are also exposed as false universalisms when confronted by the specificities of ‘the lived experience of the black man’. Aware of the conscious and unconscious effects of the western gaze, Fanon’s text

in Frantz Fanon’s 'Black Skin, White Masks

at a distance’, p. 3. 30 When Wani’s companion, Martine, disparages the Merchant-Ivory adaptation of A Room with a View, Nick replies that ‘everyone is in evening dress all the time these days aren’t they’. Hollinghurst, Line of Beauty, p. 187. 31 Jasbir K. Puar, Terrorist Assemblages (Durham: Duke University Press, 2007), p. 22. 32 Rebecca Walkowitz, Cosmopolitan Style (New York: Columbia University Press, 2006), p. 13. 33 Sara Ahmed, Queer Phenomenology (Durham: Duke University Press, 2006), p. 92. 34 I draw here on Walkowitz’s discussion of Kazuo

in End of empire and the English novel since 1945
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think and write about what makes us feel at ease may mean exploring psychic investments or somatic modes of perception that seem highly individualised but that often carry familiar patterns – as described over the years by various strands of psychoanalysis and phenomenology. The question is how we can put into an academic language some of the subtleties of how and why we might be drawn to some people and places, and not others. And how might this shift around as a new sense of subjectivity emerges in relation to our location? What new languages of interiority might we

in Writing otherwise