Hospitality: Shakespearean Drama between Historicism and Phenomenology’, Poetics Today 35.4 (2014), pp. 615–33.
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).
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),
32 Rebecca Walkowitz, Cosmopolitan Style (New York: Columbia University
Press, 2006), p. 13.
33 Sara Ahmed, Queer Phenomenology (Durham: Duke University Press, 2006),
34 I draw here on Walkowitz’s discussion of Kazuo
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
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
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
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
Crossing the border of emptiness: Jürgen Gosch
Such a speculative truth, which no longer affirms what is given, but brings forth
the inherent contradictions
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
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
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).
Maurice Merleau-Ponty, Phenomenology of Perception , trans. Donald A. Landes (London and New York: Routledge, 2012).
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