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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

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

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

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

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

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

-Ponty to highlight the shortcomings of ontology and existential A poststructuralist reading of Fanon 65 phenomenology in dealing with the Erlebnis of the black and the consciousness of blackness in a white world. Second, drawing on Sartre, he refers explicitly to the theme of Negrophobia which he discusses in the light of Sartre’s Anti-Semite and Jew and Black Orpheus. As we saw in Chapter 1, Fanon rejects Sartre’s Marxist eschatology that conceives of negritude as a negative term in a dialectical schema which objectifies the Negro’s subjectivity. Furthermore

in Frantz Fanon, postcolonialism and the ethics of difference
The gothic potential of technology

image of the whole self, but precisely the kind of non-identical mismatch between subject and object which would facilitate social and political rupture. Gilbert Ryle had been Adorno’s supervisor at Oxford University in 1935, while he worked on a dissertation which attempted a critique of the ‘resigned, late bourgeois character of phenomenology’. 120 Adorno respected Husserl’s thought as ‘the final serious effort on the part of the bourgeois spirit to break out of its own world, the immanence of consciousness, the sphere of constitutive subjectivity’, but only a

in Mid-century gothic
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Marlow, realism, hermeneutics

: Harper & Row, 1971), p. 29. Introduction: Marlow, realism, hermeneutics 15 53 Ricoeur, The Symbolism of Evil, p. 352. 54 Dermot Moran, Introduction to Phenomenology (London: Routledge, 2000) pp. 276–7. 55 Heidegger, On The Way to Language, p. 29. 56 Richard E. Palmer, ‘The Liminality of Hermes and the Meaning of Hermeneutics’, MacMurray College Homepage <http://www.mac.edu/faculty/ richardpalmer/liminality.html> (2001) [Accessed 23 April 2006] 57 Barthes, S/Z, p. 15.

in Conrad’s Marlow
Transhistorical empathy and the Chaucerian face

’s account of the embodied and affective experience of encountering faces, which confirms but modifies Levinas’s account by combining phenomenology and enactive cognitivist approaches. Although Gallagher agrees with Levinas that ‘the transcendence at stake’ in face-to-face encounters ‘involves one’s capacity to perceive in the other … the potential to take one beyond oneself’,20 he grounds this intersubjective experience in cognitive perception and, importantly, in affective response which ‘involves complex interactive behavioral and response patterns arising out of … the

in Contemporary Chaucer across the centuries