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Robert Lanier Reid

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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Michael Kindellan

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
Steen Christiansen

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
Paul Wake

’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
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Dafydd W. Jones

universally 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

in The fictions of Arthur Cravan
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Sensing death in symbolist theatre
Adrian Curtin

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

in Death in modern theatre
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The ‘presence’ of trauma
Patrick Duggan

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 130 Being there: the ‘presence’ of trauma phenomenology are ‘complementary ways of seeing that disclose the object two ways at once

in Trauma-tragedy
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 41 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

in Directing scenes and senses
Sam Haddow

happen in this time and place but without recourse to other temporal 75 Two tales of my dying neighbours 75 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

in Precarious spectatorship
Constructing death constructing death in the 1790s–1820s
Andrew Smith

mourning 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

in Gothic death 1740–1914