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Chapter Seven discusses the composition of the cover image in relation to temporal circularity, mirror images and the phenomenology of left/right apprehension.

in Transporting Chaucer

want to argue that such imaginary relations – relations of ‘fandom’, as it were – are a frequent if unacknowledged component of literary enjoyment, and I want to think further about whether the formation of such relations might have any defensible elements at all. That is, might one discover an intellectually coherent aspect of this debunked practice? I want to weigh two possible forms of identification with an author: one involving some extremely preliminary thoughts about the author-in-the text and the phenomenology of textual encounter, and the other involving the

in Contemporary Chaucer across the centuries
Transhistorical empathy and the Chaucerian face

’s account of the embodied and affective experience of encountering faces, which confirms but modifies Levinas’s account by combining phenomenology and enactive cognitivist approaches. Although Gallagher agrees with Levinas that ‘the transcendence at stake’ in face-to-face encounters ‘involves one’s capacity to perceive in the other … the potential to take one beyond oneself’,20 he grounds this intersubjective experience in cognitive perception and, importantly, in affective response which ‘involves complex interactive behavioral and response patterns arising out of … the

in Contemporary Chaucer across the centuries
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On Anglo-Saxon things

theorists such as Jane Bennett, whose concept of ‘thing-​power’ in Vibrant Matter (2010) seeks to ‘acknowledge that which refuses to dissolve completely into the milieu of human knowledge’ while aiming to ‘attend to the it as actant’.10 Even more recently, Ian Bogost’s Alien Phenomenology (2012) situates things at the centre of being and advocates the use of metaphor in philosophy as a means of glimpsing things as they exist outside of human consciousness.11 The work of Levi Bryant (2011) puts entities at all levels of scale on equal ontological footing and Timothy Morton

in Nonhuman voices in Anglo-Saxon literature and material culture
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ourselves’, and yet also insist that ‘reading Beowulf , even after all these years is not like talking to an old friend’. 16 And yet, even though the poem offers itself up to questions of old friends very naturally, intimacy is rarely articulated openly as a guiding critical framework. Many times when intimacy is invoked in places where we would expect to see it – in queer theory, affect studies, and theories of sensation or phenomenology – it functions metaphorically as a descriptor of a certain kind

in Dating Beowulf

Ingold, Being Alive, pp. 15–​32. 44 Ingold, Being Alive, pp.  30–​1. In this section, Ingold is critiquing Christopher Tilley’s The Materiality of Stone:  Explorations in Landscape Phenomenology (Oxford: Berghahn, 2004). 45 Orton and Wood with Lees, Fragments of History, p. 142. 46 ‘Swan’: Ferdinand Holthausen, ‘Anglosaxonica Minora’, Beiblatt zur Anglia, 36 (1925), 219–​20; ‘quill pen’:  F.  H. Whitman, Old English Riddles (Ottawa:  Canadian Federation for the Humanities, 1982), pp.  144–​8; ‘figurehead’:  see Williamson, Old English Riddles of the Exeter Book, pp

in Nonhuman voices in Anglo-Saxon literature and material culture
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hundreds of pairs ended up on the left half of the body mould, and the other on the right. Both sides of the bread body were then flipped over. The result was that the co-ordinates of left and right failed to signify in the way that we are accustomed to think that they do. They could not be seen as opposites; nor could they give an observer back their comfortable bearings. The ‘universal’ of perceiving left from right was confounded because Gormley made an enantiomorph. Because the sculpture disrupted the phenomenology of left/right apprehension, intuitions about how we

in Transporting Chaucer
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Migrations

Ahmed, Queer Phenomenology, p. 3.

in Visions and ruins
Hope, fear and time in Troilus and Cressida

and fear singular among the emotions, and it can be said that fear and hope are the Janus face that men and women wear when they turn to the future. Phenomenology has argued that human experience is enabled by emotional states underpinning the perception of the world. Not only does this emotional state precede all thoughts and considerations; it is the very condition of their possibility: human beings

in Love, history and emotion in Chaucer and Shakespeare
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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