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, ‘Fantasizing Infanticide: Lady Macbeth and the Murdering Mother in Early Modern England’, College Literature , 32 (2005), pp. 72–91; and Joanna Levin, ‘Lady Macbeth and the Daemonologie of Hysteria’. ELH , 69 (2002), pp. 21–55. 21 Julia Reinhard Lupton, ‘ Macbeth 's Martlets: Shakespearean Phenomenologies of Hospitality’, Criticism , 54 (2012), pp. 365–76 (p. 372). 22 Alvin Kernan, Shakespeare, the King’s Playwright: Theater in the Stuart Court, 1603–1613 (New Haven: Yale University Press, 1995), p. 77

in The genres of Renaissance tragedy
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The Digby Mary Magdalen and Lewis Wager’s Life and Repentaunce of Marie Magdalene

to religious representation. In short, throughout history orthodox defences of images have coincided with questions about their validity. In its ‘frequent insistence on the power of “shewing” and corporeal apprehension of sacred truths’, the Digby Mary Magdalen seems to celebrate ‘the very phenomenology of theater, the embodying of narrative’.39 CONTZEN 9780719089701 PRINT (MAD0059) (G).indd 197 01/12/2014 15:34 198 Sanctity as literature But as Coletti has suggested, in places it seems to challenge this materially determined, on the one hand offering up a

in Sanctity as literature in late medieval Britain
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Contemporary Olson

politics of identity and second, of the sceptical reading of phenomenology that found expression in deconstruction.22 This argument relates back to Olson’s intellectual development in the immediate aftermath of the Second World War, the crimes of which made it necessary for philosophers, writers and policy-makers alike to develop a vocabulary of shared humanity; witness Hannah Arendt’s Human Condition, Olson’s own essay Human Universe, as well as the issuing in 1948 of the Universal Declaration of Human Rights. By the mid-1960s two shifts had occurred. First, as Nichols

in Contemporary Olson

institution of racist violence. ‘Nous l’avons dit, il existe des négrophobes’ (‘I have said that Negrophobes exist’) (Peau noire: 43; Black Skin: 53) is how Fanon introduces the concepts of Negrophobia and Children of violence 131 Negrophobogenesis which will run a psychoanalysis of phobia into a phenomenology of racism. This is part of Fanon’s struggle against the confabulation between fear and knowledge, and between anxiety and reason, at the heart of racist culture. ‘Maman, regarde le nègre, j’ai peur!’ (‘Mummy, look at the Negro! I’m frightened’) (Peau noire: 90; tr

in Frantz Fanon’s 'Black Skin, White Masks

attached to carefully described subjects, who were, in turn, often illustrated in the engravings that accompanied the volumes. However, in Harkness’s fiction the voice as an articulation of coherent narrative self or personal history is practically mute. Her subjects are hearing, sounding, but incapable of intro- or retrospection, and the narrator serves to amplify their words as noise, rather than to elucidate insight through narrative. Reflecting on the phenomenology of noise in this age of technological innovation, Connor unravels the concept of a hearing self in

in Margaret Harkness
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Making novel readers

attitudes towards particular works of fiction, it therefore is more promising to reconstruct readerly genre competence through the actual prose fictions and the paratextual material that accompanies them. As a consequence, the arguments presented in this study are based on the assumption that a crucial quality of genre is its force of textual encoding. As phenomenology, hermeneutics, reader-response theories, and poststructuralism have all shown, texts come into being through the act of reading. However, as genre criticism has been apt to point out, readers are anything

in Novel horizons
Trauma and actor process in the theatre of Samuel Beckett

accident that this follows an understanding of perception and phenomenology rooted in the thinking of René Descartes, whose dualism would permit such a separation between what the body is feeling and what that same body is thinking. There is a clear line from Diderot to Vsevolod Meyerhold (1874–1940), whose system of ‘biomechanics’ treats acting largely as an athletic task, in service of a non-naturalistic theatre. The turn towards the contemporary understanding of actors and emotions is relatively recent, and can be traced to Konstantin Stanislavski, probably the major

in Samuel Beckett and trauma
Trauma, face and figure in Samuel Beckett

subjectivity forbid the representation of god, or even any image making’ (2012: 176, n. 23). The idea of iconophilia, meanwhile, has been negatively applied to the insistence of thinkers such as Georges Didi-Huberman on the primacy of the tortured phenomenology of Holocaust images. For Didi-Huberman, images such as the clandestine photographs of Auschwitz gas chambers taken by members of the Sonderkommando in 1944 can only be apprehended in the plenitude of their covert, chaotic composition. The effort to make the images presentable, by contrast (as has been repeatedly

in Samuel Beckett and trauma

existence of things themselves; phenomenology and existentialism emerged to explore these issues in the field of philosophy, and the art and literature of modernism, especially surrealism, began to discover the marvel of common everyday objects. With this broad outline in mind, it is worthwhile asking whether concerns with trauma and everyday life cannot be linked fruitfully in a discussion of literature and culture. This essay is an attempt to explore one possible convergence between trauma studies and everyday life studies. It is often argued that a traumatised subject

in Samuel Beckett and trauma
Frankenstein meets H.P. Lovecraft’s ‘Herbert West – Reanimator’

, and the Material Self . Bloomington: Indiana University Press, 2010. Baldick, Chris and Robert Mighall. ‘Gothic Criticism.’ A Companion to the Gothic . Ed. David Punter. Oxford: Blackwell, 2000. 209–228. Bennett, Jane. Vibrant Matter: A Political Ecology of Things . Durham, NC: Duke University Press, 2010. Bogost, Ian. Alien Phenomenology, or What It’s Like to Be a Thing . Minneapolis: University of Minnesota Press, 2012. Botting, Fred. ‘In Gothic Darkly

in Adapting Frankenstein