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Hospitality: Shakespearean Drama between Historicism and Phenomenology’, Poetics Today 35.4 (2014), pp. 615–33. 7 See also Philip Butterworth, Staging Conventions in Medieval English Theatre (Cambridge: Cambridge University Press, 2014); Janette Dillon, Language and Stage in Medieval and Renaissance England (Cambridge: Cambridge University Press, 2010).

in Enacting the Bible in medieval and early modern drama

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
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editors emphasise in their Introduction, several of the book’s contributors explore how ‘pre-Cartesian psychophysiology may have affected early modern self-experience’, and the ways in which ‘the very language of physiology … helps determine phenomenology’. 6 While Reading the Early Modern Passions includes work that explores methods and approaches beyond Galenic humoralism – for example, the

in The Renaissance of emotion
Directing the ‘sensible’

understandings of mise en scène, of the ‘rise of the director’ and of Regietheater throughout the nineteenth and twentieth centuries can be productively connected to a wider cultural shift. Regie emerged out of the very ‘time of birth and of transition to a new era’, which Hegel alluded to in the Preface to his Phenomenology of Spirit. He describes it as a new era in which ‘the Spirit broke with the previous order of existence and of imagination’, which, arriving with the sudden force of a ‘flash, in a single stroke erected the outline of the new world’ (Hegel 1986a, 18, 19

in Directing scenes and senses
On Regie, truth and ex-position

predicative logic towards dialectic, speculative thinking: a truth, which according to Hegel, necessarily includes our own position and perspective. His central argument against transcendental notions of truth, as they underpin notions of being ‘true to the work’, was precisely that our way towards the truth is always already a part of the truth itself, as he prominently suggested in the Preface to his Phenomenology. Crossing the border of emptiness: Jürgen Gosch Such a speculative truth, which no longer affirms what is given, but brings forth the inherent contradictions

in Directing scenes and senses

the Gothic’ because of their ability to exploit ‘the manipulation of real-time experience within a Gothicised space’ (McEvoy 215). If we expand upon this, then the immersive and experiential nature of site-specific performance, manipulating the phenomenology of time and space, can elicit, amongst its spectators, a sensual, primal, and thrilling biological response to the production, as Kathleen Irwin explains: where physical traces of a building’s past operate metaphorically to render absent present [ sic ] and

in Adapting Frankenstein

is shared by all four hymns, the way in which the initial error is revealed and the amendment is proposed differentiates the earthly hymns from the heavenly hymns. In HL and HB , the initial attempt to praise love and beauty in universal and cosmogonical terms is abandoned when the speaker turns to his own experience and examines it in terms of what might be called a Platonist phenomenology. The stanzas of HL in particular provide mesmerizing visions of how desire generates the imaginative and cognitive processes that in turn give a new object to desire

in Spenser and Donne

and witty playing with words.’ 25 Excerpting passages in this way does little service to the complexity of Hegel’s thought on art and poetry, of course, and it would be necessary to look more carefully at the whole of the Aesthetics and the discussions elsewhere in his work (for example in the Phenomenology of Spirit and the Encyclopedia ). 26 But, partial though these statements are in

in The sense of early modern writing
An enactive reading of the Middle English cycle plays

pertinent; see e.g. Cristina Maria Cervone, Poetics of the Incarnation: Middle English Writing and the Leap of Love (Philadelphia: University of Pennsylvania Press, 2012). 11 Maurice Merleau-Ponty, Phenomenology of Perception , trans. Donald A. Landes (London and New York: Routledge, 2012). 12 See Alva

in Enacting the Bible in medieval and early modern drama