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Some considerations
Mícheál Ó hAodha

10 Insubordinate Irish 193-204 10 13/6/11 14:41 Page 193 The dichotomy of Self and Other: Some considerations This volume has traced the development of the Traveller image as ‘Other’ through mythical and binary discourses of alterity. Until the recent arrival of a more overtly multicultural society in Ireland Travellers have constituted the ‘Other’ for mainstream Irish society. As ‘Other’ they have often acted as objects on whom power is exercised. Their representation and the roles constructed for them have been determined primarily by the settled

in ‘Insubordinate Irish’

In David Foster Wallace’s fiction, long-standing philosophical debates – does language describe the world accurately? can I explain myself to others? what are the values and dangers of self-consciousness? how can I lead a meaningful life? – play a central role. In fact the need to explore these debates as representing urgent problems of contemporary human existence is what motivated Wallace’s ‘occupational switch’ from philosophy to literature.

This volume presents new essays by prominent and promising Wallace scholars that show that Wallace’s work originates in-between philosophy and literature. Its philosophical dimension is not a mere supplement or decoration, a finishing touch to perfect his literary writing; nor is it the other way around: a pre-established truth the literary serves to illustrate. Rather in Wallace the two discursive modes are always already intertwined in a never-ending process of cross-fertilization. This approach constitutes an investigative perspective that allows for a variety of theories and methods to shed light on the constitutive in-betweenness of Wallace’s oeuvre – instead of imposing a preconceived methodology or a theoretical context that univocally homogenizes each single reading. The essays included offer a plurality of interpretations of Wallace’s engagement with philosophy and literature.

Organized in three parts – ‘General perspectives’, ‘Consciousness, self, and others’, and ‘Embodiment, gender, and sexuality’ – this volume breaks new ground: it shows that Wallace’s texts, characters, story-worlds, linguistic and formal choices, plots and concepts are all to be read ‘between’ philosophy and literature, and thus provides a highly valuable contribution to the field of Wallace studies.

Postfeminist Vampirism in Margaret Atwood‘s The Robber Bride
Fiona Tolan

The article examines Margaret Atwood‘s The Robber Bride in terms of Gothic imagery and postfeminist politics. The novel depicts three characteristically second wave women whose lives are disrupted by Zenia, the embodiment of postfeminism. Zenia threatens the stability of the women and they respond to her with both loathing and desire, experiencing her as a vampire feeding on their lives. The Robber Bride connects the subversive power of Gothic to the multiple identities, transgressions and instabilities of postfeminism. Using a common second wave feminist psychoanalytic rereading of Gothic terror as fear of confinement, I suggest that Atwood‘s depiction of Zenia as a Gothic figure points to some concerns about second wave feminist politics. The location of Zenia as both Self and Other raises questions about postfeminisms situation as a reactionary backlash against feminism, and equally as a liberal politics that many late twentieth-century women were increasingly identifying with.

Gothic Studies
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Defining the Relationships between Gothic and the Postcolonial
William Hughes
Andrew Smith

The Gothic has historically maintained an intimacy with colonial issues, and in consequence with the potential for disruption and redefinition vested in the relationships between Self and Other, controlling and repressed, subaltern milieu and dominant outsider culture. Such things are the context of obvious, visible irruptions of the colonial Orientalist exotic into the genre, whether these be the absolutist power and pagan excesses of Beckford‘s Vathek (1786), the Moorish demonic temptations of Zofloya (1806) or the perverse, corrupting influence of a western invader upon a primitivised European in the ImmaleeIsadora episodes of Maturin‘s Melmoth the Wanderer (1820). These are, in a sense, horrors beyond, the exoticism of time and space distancing the problematic text from the comfortable, identifiable world of the contemporary and the homely a reassurance comforting even in a reading of the Irish episodes of Melmoth the Wanderer, where geographical marginality anticipates a borderland as distant from metropolitan sensibilities as effective as those of later writers such as Hope Hodgson, Machen or Rolt. The colonial is both kept at a distance and in a state of suggestive vagueness, of resemblance rather than obvious representation, its horrors accessible though thankfully not immanent.

Gothic Studies
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Sal Renshaw

recurring motif of the relationship between subjectivity, grace, and the instant, all of which I, and others, have suggested are central concepts in Cixous’ poetico-philosophical ethics of otherness. Life, love, self, and other continually converge on the instant in her textual explorations of and reflections upon feminine subjectivities. What I have endeavoured to contribute here to the rich engagements others have had with Cixous’ work, however, is the way in which this convergence is so often configured as a kind of phenomenology of divinity, rendered always in and

in The subject of love
Don Randall

1 Contexts and intertexts An examination of David Malouf’s overall writing career reveals a remarkably continuous concern with encounters between self and other. What most distinguishes his work is its strong tendency to find in otherness (or alterity) the stimulus and orientation for a creative unsettling of identity. The other, in Malouf, does not typically enable a consolidation of selfhood, nor does it unproductively impede or confuse identity formation. Encounter with the other provokes creative self-transformation, a self-overcoming, a becoming other than

in David Malouf
Constance Duncombe

–Other Representations of Self and Other are central to practices of foreign policy, although considerations of how states respond to representations of themselves is a puzzling absence in approaches to international relations. Here I examine the politics of representation and identity creation within the category of Self–Other. I firstly unpack the dominant perspective on identity at the personal level of interaction before exploring how metanarratives of Self and Other are employed at the macro level of state interaction. Doing so allows me to demonstrate that representations are

in Representation, recognition and respect in world politics
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Tony Kushner

even more so. Yet the histories revealed in Anglo-Jewry since 1066 show the richness of previously neglected Jewish communities from the medieval era onwards. They show that the ‘global is everywhere and already, in one way or another, implicated in the local’. 3 Moreover, this study has confirmed Gilman’s proposition that when ‘the center/periphery model is suspended, the frontier becomes the space where the complex interaction of the definitions of self and Other are able to be constructed’. Gilman continues, that Once we understand

in Anglo-Jewry since 1066
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Emma Wilson

veiled and screened from one another; contending with loss and mourning, he animates lost objects of desire, half-living, half-dead, cinematic hallucinations, haunting the stage of his sets. Disruptions in relations between self and other are the matter of his filmmaking (this quality inspiring the summoning of his name in discussion of later realist directors such as Agnès Jaoui). In his sensitivity to our failure to know the

in Alain Resnais
Elisabeth Bronfen

in respect to the difference of self and other, of the masculine and the feminine, of the living and the dead. Even as it is constructed to exteriorise anxiety outside the self or the community, the Other functions as the body at which the anxiety produced out of this tension between control and loss of power or distinction takes shape and continues to be preserved: the site of Unheimlichkeit

in Over her dead body