W.T. MacCary, Friends and Lovers: The
Phenomenology of Desire in Shakespearean Comedy (Columbia
University Press, 1985).
D.L. Miller, The Poem’s Two Bodies
(Princeton University Press, 1988).
J. Nohrnberg, The Analogy of The Faerie
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
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
’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
shared commonsensical and self-evident ‘truths’. We recognise this
rejection in the critical position against phenomenology and the traditional metaphysics that feeds into Deleuze’s double assault against
the already constituted (and yet to be revealed) forms (that is, clichés),
and against the unformed (and yet to be made present; that is, chaos).
The consequent philosophy to emerge is then distinctly not a science of
discovery but, rather, philosophy as concept creation; concisely on this
point, ‘the purpose of concept creation lies in the fight against
on a host of factors, including interpersonal dynamics. Ben Anderson, meditating on the phenomenology
of Mikel Dufrenne and others, observes that ‘[atmospheres] are perpetually forming and deforming, appearing and disappearing, as bodies
enter into relation with one another. They are never finished, static, or at
rest’ (2009: 79). They are, additionally, ‘a kind of indeterminate affective
excess through which intensive space-times can be created’, like those
intensive space-times of theatrical performance, for instance (ibid.: 80).
Anderson describes atmospheres as
importance of the dæmon
bond is signified and highlighted through a number of different theatrical/dramaturgical layers; sound, lighting, set and, of
course, an embodied/acted layer, all interact to both semiotically
and phenomenologically iterate and reiterate this central element
of the story to the audience.
Through Bert O. States’ notion of ‘binocular vision’ (1985: 8),
Stanton B. Garner has convincingly argued that semiotics and
Being there: the ‘presence’ of trauma
phenomenology are ‘complementary ways of seeing that disclose
the object two ways at once
Hegel, theatrality and the magic of speculative thinking
Peter M. Boenisch
which we will return in greater depth below.8
The restless spirit of Regie
Žižek wondered whether Hegel’s system of thinking would have been at all capable
of absorbing the rational mathematisation of modern (natural) sciences, with their
reliance on measuring and empirical testing, which characterised the further course
of the nineteenth century. He described Hegel’s approach as ‘the last great attempt
to “sublate” empirical-formal science into speculative Reason’ (Žižek 2012, 458).
Similarly, in his seminal reading of the Phenomenology of Spirit, Jameson
happen in this time and place but without recourse to other temporal
Two tales of my dying neighbours
and spatial zones by which their conditions of possibility might be
rationalised, there is thus no possibility of ‘facing something other than
this other’. In such a situation the other, like the self, is expelled. It is now
necessary, in concluding this chapter, to try to draw its disparate threads
together in thinking about a potential phenomenology of emergencies.
Towards a phenomenology of emergencies
I want to begin this conclusion with a (perhaps long
Constructing death constructing death in the 1790s–1820s
Terry Castle accords
Radcliffe’s The Mysteries of Udolpho a special place in the
development of a post-Romantic model of the self that underpins
Freud’s idea of the subject. She claims that ‘ Udolpho
was more than simply fashionable; it encapsulated new structures of feeling, a new
model of human relations, a new phenomenology of self and other’
(p. 125). This was