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Chanita Goodblatt and Eva von Contzen

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
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Max Silverman

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
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Joshua Davies

Ahmed, Queer Phenomenology, p. 3.

in Visions and ruins
An enactive reading of the Middle English cycle plays
Eva von Contzen

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
Mark Robson

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
Yulia Ryzhik

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
Kelly Jones

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
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Richard Meek and Erin Sullivan

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
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Jackie Stacey and Janet Wolff

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
Directing the ‘sensible’
Peter M. Boenisch

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