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An introduction
John J. Joughin and Simon Malpas

scientific or theological rationality (the higher faculties). The implication of his arguments, however, is that these two powers are inextricably imbricated, and it is this implication that is taken up by Kant and modernity. It is with Kant that aesthetics takes on its distinctly modern trappings. According to Hans-Georg Gadamer, aesthetics after the Critique of Judgement is no longer a mere critique of taste in the sense that taste is the object of critical judgement by an observer. It is a critique of critique; that is, it is concerned with the legitimacy of such a

in The new aestheticism
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Working memory
David Calder

-times in which people bump into or rub up against each other, literally or figuratively, pleasantly or otherwise. Our occasionally awkward co-presence fosters behavioural conditioning: codes of performance, rules (some stated, some not) of spectatorship. We can break these rules, bend them, adhere to and enforce them, test their limits, challenge their legitimacy, momentarily suspend them, or claim they don’t apply to us. Street theatre, however, need not transpire in a literal thoroughfare, or even outdoors. The street in question might be a derelict factory, an empty

in Street theatre and the production of postindustrial space
Beckett and the matter of language
Laura Salisbury

its silence – this would be like the boom and the crash’.78 The void protruding like a hernia through words so strained, or the pierced and penetrated cyst bursting so that the cavity is exposed and what seems like interiority seeps out to become one with the surface of the skin, suggests an illegitimate topology in which inside and outside leak into one another. And what emerges from language figured in these terms is a new work of the abscess. This work, though anxious about its legitimacy, begins to undo the attack on linking that marks the putative outside of

in Beckett and nothing
The lump-child and its parents in The King of Tars
Jane Gilbert

resolving that his bride must convert before he will consummate their marriage, the heathen Sultan attempts to impose a sexual prohibition MUP_McDonald_06_Ch5 107 11/20/03, 14:24 108 Jane Gilbert whose legitimacy is upheld by the text. However, he is deceived by her outward show of conversion and unwittingly breaks his own rule, thus aligning himself with what Lacan terms ‘nature abandoned to the law of mating’. The Sultan’s inability to impose the symbolic separation of the human from the natural domain is confirmed by the numerous comparisons of him and other

in Pulp fictions of medieval England
Alcuin Blamires

him as her husband or as someone else pretending to be her husband remains crucially uncertain. That ambiguity confers an option of legitimacy upon the ensuing sex-act, whereby beneath a chestnut tree ‘His will with hire he wrought’ (71–2). Yet the imposition of ‘will’ is redolent of rape, and that is the retrospect we contemplate when the figure brusquely gets up and stands before her announcing that he has fathered a wild progeny on her. At this the duchess, whose reaction during the episode has been unknown but perhaps implicitly compliant, blesses herself

in Pulp fictions of medieval England
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Sustainability, the arts and the watermill
Jayne Elisabeth Archer, Howard Thomas, and Richard Marggraf Turley

, representing the transformation by which Old Law is ‘ground’ into the New Law, and flour is transubstantiated into the body of Christ, the Host (Aston 1994; Delasanta 2002). In the English literary canon, concerns about sexuality are never far from issues of class and legitimacy (sexual and parental). In post-medieval drama, such as John Fletcher and William Rowley’s comedy The Maid The millers’ tales 19 in the Mill (licensed for performance in 1623 and first published in 1647) and the anonymous Fair Em, the Miller’s Daughter of Manchester (performed between 1589 and

in Literature and sustainability
Katariina Kyrölä

post-​traumatic stress disorder sufferers in mind –​ more so, the use of terms like ‘trigger’ and PTSD in these contexts appears to lend the warnings more legitimacy in the therapy cultural context. When warnings are seen first and foremost as a call for recognition of and care for the suffering that racist, sexist, heterosexist and cis-​sexist hegemonic structures produce for members of subordinated groups, then the argument against trigger warnings as ineffective treatment loses much of its meaning. The argument indeed recalls the critiques that feminist

in The power of vulnerability
Open Access (free)
Andrew Bowie

is not, as is too often claimed, that the attempt to arrive at a sensus communis is something actually achievable (even if Kant himself seemed to think it might be a way of at least symbolically revealing our shared ‘intelligible’ nature). The real point is that there can be no definitive way of concretely achieving such a consensus, even though it can remain a unifying point of orientation. The idea of consensus must instead, then, remain a ‘regulative idea’, not an achievable state of affairs.18 What comes after art? 77 We acknowledge the legitimacy of this

in The new aestheticism
Theorising the en-gendered nation
Elleke Boehmer

, Nations and Nationalism since 1780: Programme, Myth and Reality (Cambridge: Cambridge University Press, 1990), on the ways in which states draw on nationalist sentiment to establish legitimacy where other socio-political bonds are in decline. 36 Alexis de Tocqueville, Democracy in America, ed. J. P. Mayer, trans. George Lawrence (New York: Doubleday, 1969), p. 601. 37 ‘The African Charter on Human and People’s Rights’, Appendix 1, International Legal Materials, 21 (1982), 61. 38 See Ashis Nandy’s compelling thesis of the compensatory masculinity of anti

in Stories of women
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Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)
Stephen Regan

are ‘multiple and blatant’, and so the writing of an autobiography or memoir produces an unusually intense enquiry into the nature of identity, personal or national. The growth of consciousness in such writing is not likely to be registered as a smooth and uninterrupted process but one of profound unease and disturbance. This, Deane asserts, is ‘one of the obsessive marks of cultures that have been compelled to inquire into the legitimacy of their own existence by the presence of another culture that is forever foreign and forever intimate’.6 In the context of

in Irish literature since 1990