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is identified with her body, which is presented passively to be looked at and used in a certain way (‘I am here as warm flesh / which could scream and bleed’), her motive for doing what she does is love (‘did it begin with love?’ she asks), and it constitutes the essence of her life (‘this is my life and this is all’). Secondly, the fact that the stage performance is presented as an enactment of a lifelong partnership, beginning at a period 4 From Judith Butler’s essay ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory’, in

in Reading poetry

most important components of Goth subculture. Goth music expresses the melancholic not-belonging, the nostalgic glance and the evasive subjectivity that characterises the subcultural capital. While Goth lyrics speak of loneliness and faraway realms, the music accompanying them offers subtle glimpses of other times and places. Music’s ephemeral phenomenology, however, ensures that these fantasy realms

in Globalgothic
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Defining the ecoGothic

with the trees’, being subsumed into a different life which is only barely comprehensible to the fellow humans whom he has left behind. In the course of the discussion, Punter examines the relations between nature and spirit in relation to similar concerns found in Hegel, principally in The Phenomenology of Mind (1807) and Lectures on the Philosophy of Religion (1821–31). Punter draws

in Ecogothic
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Nature and spirit

), Thinking with Animals , pp. 121–36; and Anthony L. Podberscek, Elizabeth S. Paul and James A. Serpell, Companion Animals and Us: Exploring the Relationships between People and Pets (Cambridge: Cambridge University Press, 2005). 33 See Georg Wilhelm Hegel, for example, The Phenomenology of Mind (1807), trans. J. B

in Ecogothic
The development of the negative in Victorian gothic

Crary identifies between the geometrical understanding of optics in circulation throughout the eighteenth century and the physiological theories that dominated nineteenth-century research on the topic. As a technology of visualisation, the photograph embodies this new way of understanding the phenomenology of vision. The camera obscura had literally removed the body from the field of vision so that it could

in Monstrous media/spectral subjects

phenomenology to give shape to brand new spectres. As he realises that he has merely bought an illusory promise, Basil’s frustration after his marriage is revealingly couched in gothic terminology: instead of possessing Margaret, he is ‘possessed by a gloom and horror’ he cannot apprehend, his lips ‘quivering’, the nerves in his body ‘strung up to the extremest point of tension

in Monstrous media/spectral subjects
Foucault’s genealogical theatre of truth

In an interview published in 1984, Foucault gives a surprising account of what helped him escape the intellectual horizon of the 1950s – a horizon which was so under the influence of Marxism, phenomenology, and existentialism that, Foucault says, it left him feeling suffocated. ‘I was like every philosophy student at the time and, for me, the rupture

in Foucault’s theatres
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to Beckett see also Thomson, Chapter 4 above. 10 Pierre Thevenaz, What Is Phenomenology?, trans. J. M. Edie, C. Courtney and P. Brockelman (Chicago: Quadrangle, 1962), p. 57. 11 H. G. Maule, ‘Industrial environment’, in A. H. Bowley et al. (eds), Psychology: The Study of Man’s Mind (London: Odhams Press, 1949), p. 259. Rose Adders, The Bored @ Work Doodle Book (London: Carlton, 2008). 12 E. H. Gombrich, ‘Pleasures of boredom’, in The Uses of Images (London: Phaidon, 1999), pp. 212–25. For another excellent example see David Maclagan, ‘Solitude and communication

in Beckett and nothing

his ‘Darmstadt Lecture’ given in 1984, Feldman describes his work in terms of two aspects that he sees as characteristic of art in the twentieth century: ‘One is change, variation. I prefer the word change. The other is reiteration, repetition. I prefer the word reiteration’.35 Feldman’s destabilisation of the grid structure which provided the impetus for his composition can be understood in terms of Derrida’s notion of a difference that is necessarily contained within repetition. Writing on form and meaning in the context of Husserlian phenomenology, Derrida argues

in Beckett and nothing
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Aldhelm’s leech riddle – Peter Buchanan

the human eaten: ‘If the eaten is to become food, it must be digestible to the out-side it enters. Likewise, if the eater is to be nourished, it must accommodate itself to the internalised out-side. In the eating encounter, all bodies are shown to be but temporary congealments of a materiality that is a process of becoming, is hustle and flow punctuated by sedimentation and substance’. 34 In being eaten, humans discover themselves as something to be digested. In Bennett’s materialism, all bodies are equally ‘congealments of … materiality’, but the phenomenology of

in Riddles at work in the early medieval tradition