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Robert Eaglestone

Readings Notes 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), p. 126. 4 A. Bowie, From Romanticism to Critical Theory: The Philosophy of German Literary Theory (London: Routledge, 1997), p. 159. 5 Ibid. 6 J. M. Bernstein, The Fate of Art: Aesthetic

in The new aestheticism
Gary Banham

In Kant: 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 Literary Theory (London: Routledge, 1997) and I. Armstrong, The Radical Aesthetic (Oxford: Blackwell, 2000), the latter of which makes interesting use of the work of Gillian Rose. 2 The reflexive

in The new aestheticism
Open Access (free)
Andrew Bowie

, 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 Literary Theory (London: Routledge, 1997). 10 Kant thinks the categories, the a priori forms of judgement, are the exception to this situation. Without the

in The new aestheticism
A sociology of the amateur
Geneviève Teil and Antoine Hennion

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 literary theory, 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

in Qualities of food
Open Access (free)
Reading practices and participation in digital and medieval media
Heather Blatt

Medieval 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 literary theory, 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 (University Park

in Participatory reading in late-medieval England
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
Mária Kurdi

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), Literary Theory: An Anthology, second edition

in Irish literature since 1990
Literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Porscha Fermanis

), 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, Literary Theory: An

in Worlding the south
Open Access (free)
Soviet things that talk
Yulia Karpova

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 literary theory, 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

in Comradely objects
The structures of migration in Tales from Firozsha Baag
Peter Morey

67 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 literary theory. 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 reads

in Rohinton Mistry
Open Access (free)
Thomas of Erceldoune’s prophecy, Eleanor Hull’s Commentary on the penitential Psalms, and Thomas Norton’s Ordinal of alchemy
Heather Blatt

to manipulate it nevertheless, as will be discussed here.  5 Published in Electronic literature collection, vol. 1 (2006), ed. N. Katherine Hayles et al. For discussions of system time and reading time, see Markku Eskelinen, Cybertext poetics: the critical landscape of new media literary theory (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

in Participatory reading in late-medieval England