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In search of what we’re thinking when we’re driving

not necessarily for things entirely new and/or unheard of, but rather the pleasure of experiencing in the flesh, and with the eyes, things known previously by description and in the imagination. As already observed, such mental preparation may be seen as being against the spirit of phenomenology which, in its earliest incarnations at least, insisted upon an ‘unprejudiced’ intuition of that which presents itself to consciousness.15 For other philosophers such as Ernst Bloch, however, all anticipatory consciousness should be embraced for its utopian potential (both

in Writing otherwise
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, and the proposal that such attention might best come through a phenomenological approach. For it seems clear that phenomenology quickly embeds itself within a visuality that supplants and supplements orality. In other words, the eye and the ear change places, but without ever being able to eliminate the residue of the one in the other, like a foreign body, continuing to work

in The sense of early modern writing
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Sustainability, subject and necessity in Yann Martel’s Life of Pi

phenomenology and the speculative real. I then turn to considering Life of Pi’s emphasis on a human-centred stance, alongside its apparent recalibrating of the subject horizon as a sustainable world is engendered. Sustainability and the human project A number of sustainability’s tensions and paradoxes and their nuances have been teased out across the essays in this collection. This final essay considers sustainability from the perspective of opacity itself. That is, it addresses the issue that sustainability is premised upon projected notions that are variously indistinct or

in Literature and sustainability
Olson on history, in dialogue

Goethe.’8 Less vehemently than Olson’s aversion to logic and classification – which in ‘Human Universe’ the poet considered tools bequeathed by the Greeks that, by the twentieth century, have become habits of thought ‘absolutely interfere[ing]’ with action – Curtius nonetheless criticizes the discipline of literary history and the ‘catalogue-like knowledge of facts’ by which it proceeds (CPr, 156).9 Instead of mining the literary past for facts and details, he proposes that literary scholars engage in a ‘phenomenology of literature’.10 By his account, the future of

in Contemporary Olson

the work might be staged. The theatre phenomenologist Stanton B. Garner provides an articulate defence for my position in Bodied Spaces: Phenomenology and Performance in Contemporary Drama : Unlike a specific performance event (or its description), the dramatic text deals with the actual in its possible manifestations […] In this sense, the dramatic text effects a version of the epoche or ‘reduction’, whereby phenomenology suspends awareness of the object’s actual existence in one place and one time in order to disclose this actuality in its own parameters

in The politics of Jean Genet’s late theatre

at a distance’, p. 3. 30 When Wani’s companion, Martine, disparages the Merchant-Ivory adaptation of A Room with a View, Nick replies that ‘everyone is in evening dress all the time these days aren’t they’. Hollinghurst, Line of Beauty, p. 187. 31 Jasbir K. Puar, Terrorist Assemblages (Durham: Duke University Press, 2007), p. 22. 32 Rebecca Walkowitz, Cosmopolitan Style (New York: Columbia University Press, 2006), p. 13. 33 Sara Ahmed, Queer Phenomenology (Durham: Duke University Press, 2006), p. 92. 34 I draw here on Walkowitz’s discussion of Kazuo

in End of empire and the English novel since 1945
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think and write about what makes us feel at ease may mean exploring psychic investments or somatic modes of perception that seem highly individualised but that often carry familiar patterns – as described over the years by various strands of psychoanalysis and phenomenology. The question is how we can put into an academic language some of the subtleties of how and why we might be drawn to some people and places, and not others. And how might this shift around as a new sense of subjectivity emerges in relation to our location? What new languages of interiority might we

in Writing otherwise

and witty playing with words.’ 25 Excerpting passages in this way does little service to the complexity of Hegel’s thought on art and poetry, of course, and it would be necessary to look more carefully at the whole of the Aesthetics and the discussions elsewhere in his work (for example in the Phenomenology of Spirit and the Encyclopedia ). 26 But, partial though these statements are in

in The sense of early modern writing
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phenomenology of text’ against the circumspect didacticism of carefully mechanised spacing and line breaks. Explaining the editorial methodology behind Volume Three, Butterick says ‘the important thing was a manuscript had to be retrievable; it had to be legible’. If a document considered for inclusion was handwritten, ‘it had to be able to be transcribed with certainty, not only as far as individual words were concerned, but also the poet’s intended order of lines and sections’.7 The poem shortly under inspection defies this certainty. Furthermore, the pedagogical aspect of

in Contemporary Olson

’s Being and Time, in the connection it posits between death and Being, offers a striking parallel to the connection between meaning and death made by critics of Heart of Darkness. Whilst Brooks, for example, doesn’t mention Heidegger by name, his interest in ‘the problem of temporality: man’s time-boundedness, his consciousness of existence within the limits of mortality’ describes elements of Being and Time closely.9 Heidegger’s phenomenology works through the implications of man’s (or in his more specific term Dasein’s) consciousness of his own existence, refigured as a

in Conrad’s Marlow