The case of Shoot the Messenger

. Importantly, these representations and perceptions of Blackness are always filtered through Joe’s disorientated paranoia; while listening to Miles Davis, even the jazz music is overlaid with the word ‘traitor’ and previous accusations of him being a ‘house nigger’ and ‘a Ku Klux Klan man with a white face’ reverberate in his mind. Joe is now conscious of himself only through how he thinks he is perceived. W. E. B. DuBois in The Souls of Black Folk describes this idea in terms of what he refers to as the ‘peculiar sensation’ of double consciousness: This sense of always

in Adjusting the contrast

expanded levels of support now being supplied by the state. There was thus little change in the self-presentation of ANFANOMA pre- and post-Boulin as the association continued to promote itself as a vital middleman between a bewildered rapatrié community and an incompetent, apathetic administration. Retrospectively, the association even claimed that without its efforts ‘there would certainly have been violent reactions against an overwhelmed and disorientated state ill-prepared to receive this avalanche of people’.27 Yet, behind such rhetoric, ANFANOMA did tacitly

in From empire to exile

humoral explanations. 35 It is as if the audience is also invited at certain moments to share the disorientation of certain of the dramatis personae . An opposite perspective on verbal power was expressed by Samuel Daniel, whose Cleopatra (1594) seems to have been a source for Shakespeare’s Antony and Cleopatra . Daniel noted how it was a poet’s higher duty to clear his works

in The Renaissance of emotion
Arakawa and Madeline Gins’s Mechanism of Meaning

later years Arakawa went on to produce an almost entirely dark, labyrinthine structure entitled Stuttering God, a series called Paintings for Closed Eyes and another series named Blind Intentions.28 The press release for the Paintings for Closed Eyes exhibition at the Ronald Feldman gallery, New York, places this disorientation as a continuation of painting rather than its negation, and again stresses the control with which these fields are articulated and manipulated beyond the retinal: ‘What comes next are paintings for closed eyes. No revolution in the visual could

in Mixed messages
Women and the work of conversion in early modern England

similarly capacious, embracing a ‘turning in position, direction, destination’. 6 Gunter’s ‘staggering’, then, can be read as the necessary stumbling that allows for a change of direction; in the terms of the queer phenomenology proposed by Sara Ahmed, ‘in order to become orientated . . . we must first experience disorientation’. 7 Gunter’s conversion or

in Conversions
Abstract only
The Armistice and depictions of victimhood in German women’s art, 1918–24

along the road. The women are all barefoot and their clothes appear simple and threadbare. Their faces are haggard and they all wear the same tired expression while their posture and body language mirror the burdensome nature of their lives and reflect the inertia and helplessness caused by poverty. This sense of dislocation and disorientation as women struggle to cope with changing circumstances reappears in many of the images. Depictions of hardship, unemployment and homelessness express a general uncertainty, anxiety and bitterness, and address the fate of

in The silent morning

experimental explorations of the limits of human reason through the use of drugs. The first section, entitled ‘Disorientations’, opens with the following: I want to lift the veil from the ‘normal’, the unrecognised, unsuspected, incredible, enormous normal. The abnormal first acquainted me with it, disclosing to me the prodigious number of operations which the most ordinary of men performs, casually, unconcerned, as routine work, interested only in the outcome and not in the mechanisms, however marvellous, far more wonderful than the ideas he sets such store by, which are

in Culture on drugs

, and to see it was to know it. Margaret Harkness’s A City Girl (1890 [1887]) is, however, a novel that resists the primacy of the eye as a means to know and write East London. Its relentless aural documentary does not ‘realize’ but, rather, externalises character through repeated phrases and leitmotifs, and it conjures up being in place through fragmented sounds of the city streets. The result is profound disorientation for readers schooled in a n ­ ineteenth-century realist tradition in which the novel delivers characters and subjectivity through temporal depth and

in Margaret Harkness

disorientation of the left in the wake of the Falklands to a deeper struggle to come to terms with the imperial past – an empire ‘profoundly constitutive of Englishness ... not another country, like the past or India, but ... part of ourselves’. 59 All of these trace elements can be found in MacKenzie’s Propaganda and Empire. From the outset he referred to the Falklands War as having

in Writing imperial histories

on a more material basis, the slightest deviation from the norm, from familiar expectations of that reality, could be shocking and disorientating. Now it is very hard to shock and disorientate.  Machine-Ghost.indb 129 6/12/2013 12:11:38 PM 130  Marina Warner with Dan Smith MW: Things need to be bounded. And something else that spec­ tacular CGI cinema misses out on is a sufficient grounding of fantasy in character. In Wells, it is not just the banality of landscape, or the familiarity of locations, interiors, and material details, it is also that his characters

in The machine and the ghost