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The archive has been described as concerned with addressing, processing or storing time in different ways, but precisely how the relationship between time, temporality and the archive is understood differs a great deal among those who think and write about archives at the turn of the twenty-first century. 1 What is the archive's relationship to history and memory, and how can one understand the temporality of the archive itself? Some see the archive as engaged in a future-oriented address
5 Reading temporally: Thomas of Erceldoune’s prophecy, Eleanor Hull’s Commentary on the penitential Psalms, and Thomas Norton’s Ordinal of alchemy Thomas Hoccleve’s Dialogue with a friend, previously discussed in the Introduction as exemplifying a moment of participatory reading, incorporates several specific reading practices into the interaction described between Hoccleve and his friend. One of these participatory reading practices, which Hoccleve also represents in the poem, is the practice of reading temporally. Temporal reading emerges prominently in the
participatory arts projects seek to recast migrant precarity resulting from state immigration and asylum policies as a question of temporality. Recent scholarship in migration studies has shown that engaging with the concept of time can help us to better understand refugees’ and asylum seekers’ experiences of displacement. For example, Catherine Brun and Nadia El-Shaarawi have examined the temporal narratives of displaced Iraqi refugees in Egypt and Georgia respectively (El-Shaarawi, 2012 ; Brun, 2015 ), while Melanie Griffiths has addressed the changed relationship to
8 Temporality, structure and environment Introduction In this final chapter, I will attempt to provide a synthetic overview of the evidence considered in detail in the previous three chapters. Throughout this book, I have worked on the assumption that we can best understand multi-stage collective burials by understanding the workings of the intermediary period. I have adopted Hertz’s (1960, 201–202) insight that the intermediary period connects the physical condition of the decomposing corpse with the changing social role of the deceased. The soul, for want of
2 The temporality of genre Just as much as critics need to pay attention to the pan-generic primal soup that provided the nourishing environment from which the novel would finally grow, they also need to acknowledge the cultural background from which generic change draws its inspiration. This background, needless to say, is far too extensive ever to be portrayed exhaustively, but an awareness – as New Historicism had initially promoted – of habits of reading, of censorship and rules about publication, of religious attitudes to art, and of critical debates about
2 Temporalities of austerity ‘You have to keep moving in spite of everything’1 It was an early morning in October 2011, and I was walking through the Central Market to Riga’s unemployment office. The market was bustling as always, despite the fact that Latvians were still coping with the aftermath of the economic crisis. The effects of the crisis were visible in the public space: there were fewer people and cars on the streets and more closed-down shops and restaurants. Instead, little cafes were popping up one after another in the centre of the city where
The previous chapter demonstrated that the key innovation of Prevent is in its temporal ambition to intervene into processes of becoming, and that it therefore seeks to make knowable and actionable the movement of an individual towards violence. Radicalisation establishes a temporal framework that allows for an understanding of the processes an individual might go through on the path towards violence. Yet, a mere outline of this temporal framework does not itself identify who is a threat and who is not. Central
Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.
heart of Prevent. That this is occluded within the analyses of the policy given in the previous two chapters is because the political debates and much of the literature fails to recognise the conceptual significance of the temporality at the heart of this problematic. Prevent deliberately and self-consciously seeks to intervene prior to an individual becoming a terrorist. It thus seeks to act on the potential for an individual to become violent. In so doing, it must produce an account of that which is risky and
1 Gothic temporalities: ‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott In 1762, Thomas Leland, a Church of Ireland clergyman, historian, and Professor of Oratory at Trinity College Dublin, published his only novel, Longsword, Earl of Salisbury . Praised by The Critical Review as ‘a new and agreeable species of writing, in which the beauties of poetry, and the advantages of history are happily united’, Longsword enjoyed both favourable reviews and popular acclaim. 1 It was reprinted in