Abstract only
Once more, with feeling
Simon Mussell

of capitalist social relations, critical theory refuses to privatize the notion of happiness and in so doing aligns itself with the (negative) truth-​content of unhappiness –​the bad that cannot be made good. Chapter  3 looks at how an affective politics underpins critical theory’s engagement with the world of objects. The chapter begins by outlining the recent upsurge in theoretical writing on objects/​things, especially within the much-​touted field of ‘object-​oriented ontology’ or ‘speculative realism’. After drawing attention to the major social and political

in Critical theory and feeling
Open Access (free)
Tuur Driesser

project, it takes a step back from that all-encompassing prison-house of language 226 (In)formalising to return some sense of ontological security to the territory. This is cartography as what Kurgan (2013: 34–36) calls a ‘para-empirical’ analysis: an ‘effort at once to reclaim a sense of reality, and not to imagine that this requires doing away with representations, narratives, and images’. Acknowledging the inherently abstracting qualities of representation, it re-evaluates the relationship of the map to the territory as one that is a representation, but a

in Time for mapping
Fabian Graham

and information exchanges between myself and tang-ki both in and out of trance possession states and, by extension, with their temples’ communities. In the process, the boundaries between being an observer and a participant in the participant observation paradigm became malleable, providing close proximity access to, and often experiential knowledge of, the rituals performed. Central to this was the incorporation of an underlying ontological approach to religious phenomena, an approach supported by the universality of spiritual traditions both historically and

in Voices from the Underworld
Gavin Edwards

which no doubt adds to the effect of strangeness pervading the essay. The essay’s power comes from the way that it communicates loneliness and ontological insecurity as a condition shared by all the houseless, including the temporarily houseless Dickens himself, as they are drawn to each other and shy away from each other in the course of the night. ‘When a church clock strikes, on houseless ears in the dead of night, it may at first be mistaken for company and hailed as such’ and, on one occasion, ‘a thing that in a moment more I should have trodden upon without

in The Case of the Initial Letter
Ben O’Loughlin

drones and helicopter gunships (Holert, this volume; Christensen, this volume). This sustains a relationship between ‘the image of world politics’ and actual visual images of world politics; between metaphorical, conceptual understandings of the ontology and mechanics of international relations and the horrific news and events witnessed every day. The critical task then is not simply to come up with new theoretical images and concepts, but to get these to take hold in the public sphere, on the ‘public screen’ (cf. DeLuca and Peeples 2002) of international politics. The

in Image operations
Alireza F. Farahani and Azadeh Hadizadeh Esfahani

underlying processes driving development and, more recently, the representations of certain countries as ‘underdeveloped’ ( Escobar, 1995 , 2008 ; Jakimow, 2008 ). Little-d development relies on different accounts developed from Marxist and/or poststructuralist philosophies and hence there is a spectrum of ontologies and epistemologies underpinning these views. With dystopian perspectives on the condition of development, progress is denied or postponed until after total social transformation and/or revolution ( Jakimow, 2008 ). One can’t say which of these

in The power of pragmatism
Abstract only
Felicity Chaplin

of time’ (67). Transformation is one of the key concepts or motifs associated with la Parisienne, and points to a deeper ontological mystery about her identity or essence. As Houssaye remarks: ‘Aujourd’hui, ce n’est plus la même femme; demain, nouvelle métamorphose. Elle surprend par l’imprévu’ (273) (Today, she is no longer the same woman; tomorrow, new metamorphosis. She surprises with the unexpected). In films featuring la Parisienne, costume is perhaps the main way of signifying transformation or change. In Frantic and 8 femmes this change takes place in

in La Parisienne in cinema
Evading theology in Macbeth
James R. Macdonald

never offers the audience a clear understanding of the Sisters, instead ‘staging the epistemological and ontological dilemmas that in the deeply contradictory ideological situation of his time haunted virtually all attempts to determine the status of witchcraft beliefs and practices’.4 I would suggest that the play presents two distinct but interlocking epistemological struggles, one that centers on classification (as Macbeth and Banquo attempt to determine what kind of beings the Sisters are) and subsequently one of definition (as the characters  143 Evading

in Forms of faith
Thompson as writer, reader and critic
Luke Spencer

analytical horse. Thompson’s insistence on literature as agency relies, of course, upon the ontological security of the author, an idea which it has been the business of much contemporary literary theory, from Barthes onwards, to discredit. His firm belief in authorial intention and the moral autonomy of imaginative writing puts Thompson squarely in the opposite camp to Barthes and Derrida; just as his defence of what he calls ‘the empirical idiom’ and of the value of personal experience in historical writing sets him against Althusser and Anderson. Yet it should be said

in E. P. Thompson and English radicalism
David Darby

by Austerlitz (or occasionally only by the narrator) and whose appearance – and often disappearance – is described in metaphors based explicitly on photographic processes and technologies. Just as Sebald is interested in ‘the non-static, ontological moments of photography’ (Patt 2007: 72), so too he focuses on the experience of moments at which memories both become and recede.2 Most prominent among the places where these momentary images are revealed are the book’s four major railway stations. It is in Sebald’s metaphoric darkrooms, dark zones of transition between

in A literature of restitution