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The representation of violence in Northern Irish art

, ‘Emotion and Cognition: About Some Key-Figures in Films by Alan Clarke’: (accessed on 12 June 2005). 28 Kirkland, ‘The Spectacle of Terrorism’, pp. 86–7. 29 See Shane Murphy, ‘Don’t Mention the War: The Trouble(s) in Northern Irish Poetry’, in Michel Hensen and Annette Pankratz (eds), The Aesthetics and Pragmatics of Violence (Passau: Verlag Karl Stutz, 2001), pp. 89–102. 30 Sarat Maharaj, ‘Rita Donagh: Towards a Map of Her Artwork’, 197419841994: Paintings and Drawings (Manchester: Cornerhouse, 1995), p. 15. 31 David E. Morrison

in Irish literature since 1990

ontological implications of ‘the maker’s knowledge tradition’ as discussed by Elizabeth Spiller. 87 This tradition rejects an Aristotelian divide between ‘ praxis or poesis ’ and scientific knowledge, enforcing the integral relationship between mechanical practice and cognition. 88 As a result, ‘being able to make something was an act of knowledge; knowing something

in Making and unmaking in early modern English drama
Open Access (free)
The adolescent girl and the nation

, in so doing, at once repeating and yet revising those difficulties. Schreiner and Stead, Emecheta and Shields, reveal that, when it comes to national family dramas, the symbolic dice are weighed against women’s selfrepresentation. Although, as Rajeswari Sunder Rajan and other feminist critics have argued, it is in ‘the process of the creation of selfhood that self-cognition occurs, and an identity is taken on’, identities within the nation are at the same time communally authorised.36 As is indicated by the ersatz, perfectly madeto-measure quality of Emecheta

in Stories of women
Sustaining literature

referred to as ‘phenomenalisation’, as a sign that offers – finally – true knowledge of the world as it is, and – in turn – explains the emergence of all other forms of inscription. (In this respect the geological scale of the Anthropocene would frame the emergence of life, cognition, humanity and its self-reflective triumph). Alternatively, and preferably, one might read the Anthropocene: there would be no direct passage from inscription to knowledge, nor to a humanity that would be the revealed ground or ‘we’ to whom the signs of the earth would be addressed. Notes 1

in Literature and sustainability
Open Access (free)
Theory and Spenserian practice

and allegory compelling, even though I disagree with him about the cognition involved in making sense of allegory. The human mind’s ability to make sense of allegory— to correctly identify, say, the real-world satirical target of a short poem that does not mention the person by name—depends, according to Mark Turner, on three “principles of mind,” story, projection, and parable, that allow us to make sense not only of literature but also of reality, with “story” organizing our thinking, “projection” describing how “one story helps us make sense of another,” and

in Spenserian satire

of the asymmetry between the infinite powers of cognition and the infinite being of things’.11 Similarly, Riddle 39 63 The ‘thingness’ of time 63 posits a wiht at once so present and so evasive that it troubles the subject–​object, self–​other, interior–​exterior binaries that ordinarily allow us to divide the world into the human that sees, touches, names and organises and the nonhuman that is seen, touched, named, organised. This is a resolutely disembodied riddle. On the one hand, the insistent negation tells us what we are not dealing with: having no eyes

in Nonhuman voices in Anglo-Saxon literature and material culture