Search results

You are looking at 61 - 70 of 119 items for :

  • phenomenology x
  • Literature and Theatre x
Clear All
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

similarity may not be coincidental (Lamont, 1993: 10). Thompson uses the term ‘ritualized phenomenology’ to describe the Tibetan Buddhist account of death, saying that the dissolution meditation provides ‘a script for enacting certain states of consciousness as one dies’ and is ‘more performative and prescriptive than descriptive’. He suggests that it ‘doesn’t so much present a phenomenological description of death as rehearse and enact a phenomenology of death as a ritual performance’ (2014: 291). Exit the King operates in a similar manner. Marguerite guides Berenger

in Death in modern theatre
Abstract only

. Paris-born, Jesuit-trained, Lacan (1901–81) – for a short time a young member of the royalist Action française – studied as a medic, taking a doctorate in psychiatry on ‘Paranoid Psychosis and Its Relation to Personality’ in 1932. He began psychoanalysis with Rudolph Loewenstein; in 1933, he began attending lectures on Hegel’s Phenomenology of Spirit (1807) given by Alexandre Kojève (1902–68), which

in Literature and psychoanalysis
Open Access (free)
On Anglo-Saxon things

theorists such as Jane Bennett, whose concept of ‘thing-​power’ in Vibrant Matter (2010) seeks to ‘acknowledge that which refuses to dissolve completely into the milieu of human knowledge’ while aiming to ‘attend to the it as actant’.10 Even more recently, Ian Bogost’s Alien Phenomenology (2012) situates things at the centre of being and advocates the use of metaphor in philosophy as a means of glimpsing things as they exist outside of human consciousness.11 The work of Levi Bryant (2011) puts entities at all levels of scale on equal ontological footing and Timothy Morton

in Nonhuman voices in Anglo-Saxon literature and material culture

antihumanism, it is useful to look at the play through what Stiegler defines as ‘spirit’. This, as mentioned before, is a combination of belief and desire, inherited partly from Hegel’s Phenomenology of Spirit, and which Stiegler elaborates in States of Shock: This phenomenology of spirit is a processuality, wherein it is a matter of abandoning the individual as point of departure (as Cartesian subject, the transcendental subjectivity of the I think.) […] For Hegel, in other words, it is a matter of overcoming the opposition between the psychic and the collective

in Precarious spectatorship
Open Access (free)

ourselves’, and yet also insist that ‘reading Beowulf , even after all these years is not like talking to an old friend’. 16 And yet, even though the poem offers itself up to questions of old friends very naturally, intimacy is rarely articulated openly as a guiding critical framework. Many times when intimacy is invoked in places where we would expect to see it – in queer theory, affect studies, and theories of sensation or phenomenology – it functions metaphorically as a descriptor of a certain kind

in Dating Beowulf
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr

Spaces: Phenomenology and Performance in Contemporary Drama (Ithaca, NY and London: Cornell University Press), 1994, pp. 186–7. Elaine Aston, An Introduction to Feminism and Theatre (London and New York: Routledge, 1995), pp. 51–2. Lib Taylor, ‘Shape-shifting and Role-splitting: Theatre, Body and Identity’, in Naomi Segal, Lib Taylor and Roger Cook (eds), Indeterminate Bodies (London: Palgrave Macmillan, 2003), pp. 164–5. Judith Butler, ‘Performative Acts and Gender Constitution’ in Julie Rivkin and Michael Ryan (eds), Literary Theory: An Anthology, second edition

in Irish literature since 1990
‘Transformational objects’ and the Gothic fiction of Richard Marsh

to this edition and are given in the text. 20 B. O. States, Great Reckonings in Little Rooms: On The Phenomenology of Theatre (Berkeley, Los Angeles and London: University of California Press, 1985), p. 35. 21 R. Marsh, The Joss: A Reversion (1901; Chicago: Valancourt, 2007), p. 26. All subsequent references are to this edition and are given in the text. 22 E. Jentsch, ‘On the psychology of the uncanny’ (1906), Angelaki: Journal of the Theoretical Humanities, 2:1 (1997), 7–16 (p. 13). 188 ‘Transformational objects’ and the Gothic fiction of Marsh 23 Pearce

in Richard Marsh, popular fiction and literary culture, 1890–1915