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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
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W.T. MacCary, Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy (Columbia University Press, 1985). 41 D.L. Miller, The Poem’s Two Bodies (Princeton University Press, 1988). 42 J. Nohrnberg, The Analogy of The Faerie

in Renaissance psychologies
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phenomenology of text’ against the circumspect didacticism of carefully mechanised spacing and line breaks. Explaining the editorial methodology behind Volume Three, Butterick says ‘the important thing was a manuscript had to be retrievable; it had to be legible’. If a document considered for inclusion was handwritten, ‘it had to be able to be transcribed with certainty, not only as far as individual words were concerned, but also the poet’s intended order of lines and sections’.7 The poem shortly under inspection defies this certainty. Furthermore, the pedagogical aspect of

in Contemporary Olson
Tom Waits’s Bone Machine

Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture , New York: Routledge. Ihde, D. (2007), Listening and Voice: Phenomenologies of Sound , 2nd edn, Albany: State University of New York Press. Jacobs, J. S. (2000), Wild

in Monstrous media/spectral subjects

’s Being and Time, in the connection it posits between death and Being, offers a striking parallel to the connection between meaning and death made by critics of Heart of Darkness. Whilst Brooks, for example, doesn’t mention Heidegger by name, his interest in ‘the problem of temporality: man’s time-boundedness, his consciousness of existence within the limits of mortality’ describes elements of Being and Time closely.9 Heidegger’s phenomenology works through the implications of man’s (or in his more specific term Dasein’s) consciousness of his own existence, refigured as a

in Conrad’s Marlow