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-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
Abstract only
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
Poetic tradition in The Parliament of Fowls and the Mutabilitie Cantos

Politics of Reading (Ithaca, NY: Cornell University Press, 1983 ), 162. 6 Quilligan, Milton’s Spenser , 161. Judith Ferster , ‘ Reading Nature: The Phenomenology of Reading in the Parliament of Fowls ’, Mediaevalia , 3 ( 1977 ), 189–213, makes a similar point about the Parliament of Fowls when she writes ‘the poem chooses to demonstrate the possible creativity of loving discourse with the world through the part of the chain of discourse it occupies: the discourse between

in Rereading Chaucer and Spenser
Hope, fear and time in Troilus and Cressida

and fear singular among the emotions, and it can be said that fear and hope are the Janus face that men and women wear when they turn to the future. Phenomenology has argued that human experience is enabled by emotional states underpinning the perception of the world. Not only does this emotional state precede all thoughts and considerations; it is the very condition of their possibility: human beings

in Love, history and emotion in Chaucer and Shakespeare
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island

.eurozine.com/the-sustainability-of-democracy/ Accessed 17 March 2017. Braidotti, Rosi 2013. The Posthuman. Cambridge: Polity. Christian, David 2014 [2004]. Maps of Time: An Introduction to Big History. Berkeley: University of California Press. Connolly, Kate 2013. ‘Wurst Policy Ever? German “Veggie Day” Plan Leaves Greens Trailing’, Guardian 13 September. www.theguardian.com/world/germanelections-blog-2013/2013/sep/13/german-election-wurst-policy-veggie-daygreens. Accessed 21 February 2017. De Mul, Jos 2014. ‘The Possibility of an Island: Michel Houellebecq’s Tragic Humanism’, Journal of Aesthetics and Phenomenology

in Literature and sustainability

from a language that he did not yet know how to read.18 He overrode social, national, and cultural difference with a claim of human presence: sheer Being authenticated his insight, fuelled by ‘my abhorrence of modern academicism’.19 It was phenomenology in reverse. Olson’s desires to reject (or to transcend) both the academic and the technocratic were intensified by this expedition. By disparaging those experts whom he assumed lacked feeling for place or situation, Olson resisted their expertise. By the primal authenticity of his antiacademicism, he sought a

in Contemporary Olson
The academy and the canon

historicism and partly from the imperative to show that Romantic-period writing provides models that are still relevant for the representation of personal experience. The theory will be a revival of existentialism. While it will take its point of departure from the content of Kierkegaard’s criticism of Hegel’s system, it will defer to the force of Adorno’s critique and the relevance of the deconstructionist critique of phenomenology to its own assumptions. This is no easy matter, since Adorno’s insistence on the unavoidable immanence of cultural mediation is hard to

in Counterfactual Romanticism
Open Access (free)
Aesthetics, fragmentation and community

. Instead of disappearing or becoming nothing more than the heritage of a bygone age, art, in Hegel’s slightly strange formulation, ‘points beyond itself ’. Hegel’s description of the meaning of art’s ‘pointing beyond itself ’ that follows the occurrence of the phrase in the ‘Introduction’ to the Aesthetics repeats his argument in the Phenomenology which states that Spirit simply moves beyond art to dialectical reason and philosophy. Thus, Hegel states quite simply that, although one ‘may well hope that art will always rise higher and come to perfection . . . the form of

in The new aestheticism