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can be helpful, the full force of the problem of categorisation is better addressed by turning to the position given to aesthetics by phenomenology. This takes the problem of categorisation down to the level of how categories can be applied to experience when conventional, subject−object frameworks have been suspended. Drawing on phenomenology, I argue that our status as Daseins, beings whose nature is always, already constructed by the environment around us, makes prominent the role of the senses, indexicality and metaphor in the organisation of experience, and

in Extending ecocriticism
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was Beckett?’ The audience were then reacting to Film as a Keaton film, a short comic movie in black-and-white, which could perhaps be mistaken for a rare short made in his heyday, the 1920s. The audience at a Keaton revival had come with expectations which provided an intertextual frame for Film , and the opening of the film reinforced these expectations, though the subsequent unfolding of the film appeared to undercut them completely. Enoch Brater (1975: 173) succinctly remarks: ‘Enticed by farce and vaudeville, the audience gets a phenomenology of visual

in Beckett on screen

the position given to aesthetics by phenomenology. This takes categorisation down to the level of how categories can be applied to experience when conventional, subject–object frameworks have been suspended. Although this leaves the classification of eco-art open, it nevertheless shows that the openness is a result of the complexities of our aesthetic rootedness in the world, where ‘aesthetic’ is understood in sensory, causal and metaphorical terms. Wildlife art does not receive the critical attention that it deserves. In Chapter 10, William Welstead considers how

in Extending ecocriticism