1 G. Poulet, ‘Criticism and the experience of interiority’ in R. Macksey and E. Donato (eds),
The Language of Criticism and the Science of Man (Baltimore, MD: Johns Hopkins
University Press, 1970), pp. 56–88 (p. 57).
2 Poulet, ‘Criticism and the experience of interiority’, p. 57.
3 H. Putnam, Reason, Truth and History (Cambridge: Cambridge University Press, 1981),
4 A. Bowie, From Romanticism to Critical Theory: The Philosophy of German LiteraryTheory
(London: Routledge, 1997), p. 159.
6 J. M. Bernstein, The Fate of Art: Aesthetic
The Hermeneutical Import of the Critique of Judgement (Chicago: University of Chicago
Press, 1990); T. De Duve, Kant After Duchamp (Cambridge, MA: MIT Press, 1996). Works
that highlight the interest of aesthetics in contemporary terms that are based on accounts
other than Kant’s include A. Bowie, From Romanticism to Critical Theory: The Philosophy of
German LiteraryTheory (London: Routledge, 1997) and I. Armstrong, The Radical Aesthetic
(Oxford: Blackwell, 2000), the latter of which makes interesting use of the work of Gillian
2 The reflexive
, and ‘illusion’,
which clearly does have negative connotations.
8 T. W. Adorno, Ästhetische Theorie (Frankfurt: Suhrkamp, 1973), p. 429.
9 I shall not deal with the detail of Kant’s answer to this dilemma, which would take us too
far beyond the scope of this essay. The view suggested here has been best outlined by Hilary
Putnam. See also, A. Bowie, From Romanticism to Critical Theory: The Philosophy of German
LiteraryTheory (London: Routledge, 1997).
10 Kant thinks the categories, the a priori forms of judgement, are the exception to this situation. Without the
century with the expansion of piano-making as an activity (Ehrlich
1976) and the publication of sheetmusic (Peacock and Weir 1975).
A pragmatic definition of the great amateur
An amateur always participates in the production of the product he or she
likes, as does the reader. In literarytheory, or even earlier, the reader as
described by Proust in the Foreword to Sésame et les Lys, the French version
of Ruskin’s Sesame and the Lilies, is an actor of literature, made up of a set
of positions ‘not outside of the book, but inside it’. Taste appears in the end
as both a
Reading practices and participation in digital and medieval media
theory of authorship: scholastic literary attitudes in the later Middle
Ages. 2nd ed. (Philadelphia: University of Pennsylvania Press, 2010).
For related studies on the rise of the vernacular in late-medieval
England, see Jocelyn Wogan-Browne et al., Idea of the vernacular: an
anthology of Middle English literarytheory, 1280–1520 (Philadelphia:
University of Pennsylvania Press, 1999), as an accessible overview;
see also the essay collections edited by Fiona Somerset and Nicholas
Watson, The vulgar tongue: medieval and postmedieval vernacularity
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
Spaces: Phenomenology and Performance in
Contemporary Drama (Ithaca, NY and London: Cornell University
Press), 1994, pp. 186–7.
Elaine Aston, An Introduction to Feminism and Theatre (London and
New York: Routledge, 1995), pp. 51–2.
Lib Taylor, ‘Shape-shifting and Role-splitting: Theatre, Body and Identity’,
in Naomi Segal, Lib Taylor and Roger Cook (eds), Indeterminate Bodies
(London: Palgrave Macmillan, 2003), pp. 164–5.
Judith Butler, ‘Performative Acts and Gender Constitution’ in Julie Rivkin
and Michael Ryan (eds), LiteraryTheory: An Anthology, second edition
Literary appreciation, comparatism, and universalism in the Straits
), 18, and SCM , 5:19 (September 1901), 96. Song and Lim were educated at the elite Raffles Institution in Singapore and subsequently as Queen’s Scholars at Cambridge and Edinburgh Universities, where Song studied law and Lim studied medicine.
8 SCM , 1:1 (March 1897), 2, 20; Philip Holden, ‘Communities and Conceptual Limits: Exploring Malaysian Literature in English’, Asiatic , 3:2 (2009), 58.
9 For a general overview, see Bonny Tan, The Straits Chinese Magazine : A Malayan Voice’, BiblioAsia , 7:2 (2011), 30–5.
10 Terry Eagleton, LiteraryTheory: An
historical attempt to create
comradely socialist objects, instituted as a response to burgeoning Western
consumer culture that was being used as a tool of soft power in the cultural
Cold War.19 Methodologically, I combine the insights of new materialism
and recent design histories with the theoretical framework of Soviet productivism. In addition, I engage with an idea from Russian avant-garde’s
literarytheory, the ‘biography of the object’, which Serguei Oushakine
reads as one of the precursors to new materialist thinking.20 In his 1929
KARPOVA 9781526139870 PRINT
The structures of migration in Tales from Firozsha Baag
It is, in fact, possible to object to the violation involved in
these intrusive parental meditations, in having Kersi’s parents
disgorge chunks of semi-digested literarytheory. The two
figures reading these stories at home in Bombay appear to bear
little relation to the carefully drawn characters in ‘Of White
Hairs and Cricket’, for example. The voices in the last story do
not ‘feel’ as if they belong to the same people. A certain amount
of arbitrary grafting seems to have been involved to get the
discussion underway. However, the tone makes sense if one
Thomas of Erceldoune’s prophecy, Eleanor Hull’s Commentary on the penitential Psalms, and Thomas Norton’s Ordinal of alchemy
it nevertheless, as will be discussed here.
5 Published in Electronic literature collection, vol. 1 (2006), ed. N.
Katherine Hayles et al. http://collection.eliterature.org. For discussions of system time and reading time, see Markku Eskelinen,
Cybertext poetics: the critical landscape of new media literarytheory
(New York and London: Continuum, 2012), at 135–6.
6 Ibid., 136. Eskelinen’s work has shaped discourse on temporality in
new media for years, and still reflects the pervasive influence of secondwave digital media criticism, which sought to