Suchergebnisse

Interrogating the relationship between reading, writing and 'conversion disorder', this creative-critical essay explores the eversion of the glove in the work of Woolf, Genet, Freud and Derrida. Gathering together reflections on gloves and glove anaesthesia, doubles and pairs, and flowers and the death knell (glas), it offers a series of literary, philosophical and psychoanalytic conversions in order to return to and rethink the question of 'disorder'.

Written in 29 tangos, this paper explores the poem's negotiation between proximity and distance, between touching and not-touching. It takes as its starting point Anne Carson's The Beauty of the Husband, tendering the intimate dis-tanz at the heart of the tango, and at the heart of Derrida's poetics.

This article re-examines how and why the Labour Party supported non-intervention in the Spanish Civil War from July 1936 until late 1937. It suggests that previous studies underestimated the role of domestic politics and the Labour Party leadership's hostility to a rapprochement
with the Communist Party of Great Britain (CPGB) in the formation of Labour Party's Spanish policy. It contrasts the Labour Party's non-intervention with the individual intervention of the British International Brigades under the collective leadership of the CPGB. The article conceptualizes
brigaders as dissidents of official Labour Party policy, though not of rank-and-file sentiment.

"Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-first century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celebrities from Paul Robeson to Kanye West. Jackson considers the following questions: 1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? 2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? 3) How have framing trends regarding these figures shifted from the mid-twentieth century to the twenty-first century? Through a series of case studies that also includes Eartha Kitt, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and military systems in the United States"--

In this paper I offer a comparative evaluation of two types of "fundamental hope", drawn from the writing of Rebecca Solnit and Rowan Williams respectively. Arguments can be found in both, I argue, for the foundations of a dispositional existential hope. Examining and comparing the differences between these accounts, I focus on the consequences implied for hope's freedom and stability. I focus specifically on how these two accounts differ in their claims about the relationship between hope and (two types of) necessity. I argue that both Solnit and Williams base their claims for warranted fundamental hope on a sense of how reality is structured, taking this structure to provide grounds for a basic existential orientation that absolute despair is never the final word. For Solnit this structure is one of unpredictability; for Williams it is one of excess. While this investigation finds both accounts of fundamental hope to be plausible and insightful, I argue that Williams's account is ultimately more satisfying on the grounds that it offers a realistic way of thinking about a hope necessitated by what it is responsive to, and more substantial in responding to what is necessary.

AbstractIn this paper I argue that there are gestalt principles underlying intersubjective interactions and that this means that intersubjective 'units', can be recognised as unified gestalt wholes. The nub of the claim is that interactions within a 'plural subject' can be perceived by others outside this plural subject. Framed from the first-person perspective: I am able to recognise intersubjective interactions between multiple others who are not me. I argue that the terminology of gestalt structures is helpful in framing and understanding the non-reducible make-up of these relational units. I consequently defend the legitimacy of the claim that we can attend to more than one other person at once, holding multiple others as a single focus of attention insofar as we can attend to multiple others as a gestalt whole. I argue that it is therefore legitimate to talk about attending to, perceiving and addressing multiple others at the same time, in the second-person plural. I argue that this can be identified in the phenomenology of such interactions and in an analysis of the core underlying structures of these interactions.

Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-first century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celebrities from Paul Robeson to Kanye West. Jackson considers the following questions: 1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? 2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? 3) How have framing trends regarding these figures shifted from the mid-twentieth century to the twenty-first century? Through a series of case studies that also includes Eartha Kitt, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and military systems in the United States.

"The House that Love Built is the quintessential journey of one woman questioning what it means to be an American--and a Christian--in light of a broken immigration system. Through tender stories of opening her heart and home to immigrants, Sarah Jackson shines a holy light on loving our neighbor"--