On Achebe’s endorsement of Ikem’s views, and on his revisionist liberalism, see
David Maughan-Brown, unpublished paper, ‘Anthills of the Savannah’s solution to
The Trouble with Nigeria’, ACLALS Triennial Conference, University of Kent,
Canterbury, 29 August 1989, pp. 4–5.
11 As Ikem discovers in his second encounter with Braimoh, the taxi-driver. The ceaseless circlings of such cognitions about ‘the people’ are of course a measure of
Achebe’s political pessimism. See Ascherson, ‘Betrayal’, p. 3.
12 Rutherford, ‘Interview’, p. 3.
13 On interpreting the past
The representation of violence in Northern Irish art
, ‘Emotion and Cognition: About Some Key-Figures in Films
by Alan Clarke’: www.artbrain.org/journal2/grunert.html (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),
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 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
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.
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