An Uncanny Theatricality: the Representation of the Offstage

2007 ◽  
Vol 23 (2) ◽  
pp. 152-160 ◽  
Author(s):  
Beliz Güçbilmez
Keyword(s):  
Nineteenth Century ◽  
Working Group ◽  
Samuel Beckett ◽  
Assistant Professor ◽  
International Federation ◽  
The Unconscious ◽  
The Gaze ◽  
The Uncanny ◽  
Time Space ◽  
The Invisible

In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

Ironic Reprise in Galdós' Novels

PMLA ◽  
1961 ◽  
Vol 76 (3) ◽  
pp. 233-239 ◽  
Author(s):  
Monroe Z. Hafter
Keyword(s):  
Nineteenth Century ◽  
Recent Article ◽  
The Other ◽  
Separate Study ◽  
The Unconscious ◽  
Present Essay ◽  
Spanish Novel ◽  
Artistic Representation ◽  
The Rich

A recent article of Leon Livingstone rightly calls attention to the importance of Pérez Galdós' assimilation of Cervantine irony as a forerunner of the concern of modern Spanish novelists about the autonomy of their characters. The unreality of rationalism, which Livingstone holds to be the germ of El amigo Manso, the imagination's capacity to create reality at the heart of Misericordia, lead to the even bolder experiments in the artistic representation of reality undertaken by Unamuno, Azorín, Valle-Inclán, and Pérez de Ayala. Anomalous for his time yet so pervasive in his work is Galdós' employment of “interior duplication” that a separate study would contribute to our fuller understanding of his art as well as to our measure of the advances in the Spanish novel of the latter half of the nineteenth century. The present essay focuses on Galdós' developing skill with internal repetitions from La Fontana de Oro (publ. 1870), through the rich complexities of the novels written between 1886–89, to their almost stylized simplicity in El abuelo (1897). Always related to Cervantine irony, the variety of verbal echoes, the mirroring of one character in another, the unconscious illumination each may offer the other, underscore the increasingly intimate wedding of form and matter with which Galdós came to unfold his narratives.

Invisible Architectures

2000 ◽  
Vol 13 (1) ◽  
pp. 121-136 ◽  
Author(s):  
Hans-Jörg Rheinberger
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Historical Development ◽  
Basic Problem ◽  
Life Sciences ◽  
The Other ◽  
Modern Life ◽  
Historical Process ◽  
Strategy I ◽  
The Invisible

The ArgumentIn this essay I will sketch a few instances of how, and a few forms in which, the “invisible” became an epistemic category in the development of the life sciences from the seventeenth century through the end of the nineteenth century. In contrast to most of the other papers in this issue, I do not so much focus on the visualization of various little entities, and the tools and contexts in which a visual representation of these things was realized. I will be more concerned with the basic problem of introducing entities or structures that cannot be seen, as elements of an explanatory strategy. I will try to review the ways in which the invisibility of such entities moved from the unproblematic status of just being too small to be accessible to the naked or even the armed eye, to the problematic status of being invisible in principle and yet being indispensable within a given explanatory framework. The epistemological concern of the paper is thus to sketch the historical process of how the “unseen” became a problem in the modern life sciences. The coming into being of the invisible as a space full of paradoxes is itself the product of a historical development that still awaits proper reconstruction.

Sir Charles Dilke and the British Intervention In Egypt, 1882: decision making In a nineteenth-century cabinet

1976 ◽  
Vol 2 (3) ◽  
pp. 231-245 ◽  
Author(s):  
M. E. Chamberlain
Keyword(s):  
Nineteenth Century ◽  
Decision Making ◽  
British Imperialism ◽  
Exact Role ◽  
The Unconscious ◽  
William Gladstone ◽  
Two Generations ◽  
Liberal Government

“There's Dilke that has done it all”, remarked Wilfrid Scawen Blunt to Lord Blandford as they watched Dilke walk down Piccadilly one day in July 1882.1 The “it” was the British intervention in Egypt which entangled Britain in Egyptian affairs for two generations. More soberly, Louis Mallet, the Permanent Under-Secretary at the India Office, wrote to Evelyn Baring a year later that the Liberal government of William Gladstone had made themselves “the unconscious, and some of them (not all) the unwilling instruments of a policy from which Lord Beaconsfield and Lord Salisbury would have shrunk, and which is big with future disaster”. “Dilke and Chamberlain” he wrote, “I consider mainly responsible for the Egyptian war.” In The Trouble Makers, A. J. P. Taylor came to the conclusion, “The occupation of Egypt in 1882 marked Gladstone's decisive breach with Radicalism. Indeed it ruined Radicalism for more than a generation. It began modern British Imperialism…”. How ironic if the ruin of British radicalism was brought about by the two leading radicals of Gladstone's predominantly Whig administration. What do the Dilke and Chamberlain papers among others reveal about the exact role of the two men in the crisis ?

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

scholarly journals Introduction: What is a Thing

Konturen ◽  
2015 ◽  
Vol 8 ◽  
pp. 1
Author(s):  
Nicholas Reynolds ◽  
Jeffrey S Librett
Keyword(s):  
Nineteenth Century ◽  
American Poetry ◽  
Modern World ◽  
The Unconscious ◽  
Everyday Objects ◽  
Recent Developments ◽  
Anglo American ◽  
Poetic Realism ◽  
Current Special Issue ◽  
Lost Object

As the modern world has seemed an increasingly material one, and so increasingly thingly, the very reality of things has often--and from many different perspectives--seemed to elude us. Questions about what things are, and how they mean, questions about how things are to be circumscribed (for example) in epistemological, ethical, aesthetic, and political terms, have arguably become--across the course of modernity (and beyond)--both increasingly pressing and increasingly vexed. -- In this extremely broad context, the contributions to the current Special Issue examine specific approaches to things from the later nineteenth century to today within the literary, philosophical, and psychoanalytic discourses. The foci range from the descriptive representationalism of nineteenth century German poetic realism to the monumentalization of everyday objects in postcolonial fiction; from the poetics of the Dinggedicht in Rilkean modernism to the Anglo-American imagist doctrine of "no ideas but in things" and the disruptions of this doctrine in contemporary German and American poetry; from Husserl's call "to the things themselves" to the Derridian displacements of the Heideggerian "thing" and on to the most recent developments in "object-oriented metaphysics"; from the Freudian notion of the unconscious as comprising "representations-of-things" to the Lacanian rereading of the lost object as das Ding.

scholarly journals Dissociation and the Unconscious Mind: Nineteenth-Century Perspectives on Mediumship

2020 ◽  
Vol 34 (3) ◽  
pp. 537-596
Author(s):  
Carlos S. Alvarado
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
William James ◽  
General Interest ◽  
The Unconscious ◽  
History Of ◽  
Memory States ◽  
Hippolyte Taine ◽  
Unconscious Mind

There is a long history of discussions of mediumship as related to dissociation and the unconscious mind during the Nineteenth Century. After an overview of relevant ideas and observations from the mesmeric, hypnosis, and spiritualistic literatures, I focus on the writings of Jules Baillarger, Alfred Binet, Paul Blocq, Théodore Flournoy, Jules Héricourt, William James, Pierre Janet, Ambroise August Liébeault, Frederic W.H. Myers, Julian Ochorowicz, Charles Richet, Hippolyte Taine, Paul Tascher, and Edouard von Hartmann. While some of their ideas reduced mediumship solely to intra-psychic processes, others considered as well veridical phenomena. The speculations of these individuals, involving personation, and different memory states, were part of a general interest in the unconscious mind, and in automatisms, hysteria, and hypnosis during the period in question. Similar ideas continued into the Twentieth Century.

G. C. Lichtenberg: Dreams, Jokes, and the Unconscious in Eighteenth-Century Germany

1992 ◽  
Vol 40 (3) ◽  
pp. 761-799 ◽  
Author(s):  
Craig Tomlinson
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Clinical Practice ◽  
Cultural Background ◽  
Practical Application ◽  
Functional Link ◽  
The Unconscious ◽  
Dream Analysis ◽  
German Physicist

The German physicist and writer Lichtenberg (1742–1799) was well known during the nineteenth century as a humorist, thinker, and psychologist. He was also a favorite author of Freud, who read him beginning in his teens, quoted him frequently, and called him a “remarkable psychologist.” Despite this, he has been ignored by psychoanalysts and historians of psychiatry alike, and most of his writing is still unavailable in English. An introduction to Lichtenberg as a psychologist is provided, stressing material dealing with dream analysis, association theory, and drives. Relevant excerpts are translated into English. Lichtenberg is shown to have insisted upon the need for a systematic and rationalistic study of dreams, to have analyzed individual dreams (describing them as dramatized representations of thoughts, associations, and even conflicts from his own waking life), and to have emphasized the functional link between dreams and daydreams. His remarks on drives and commentary on eighteenth-century association theory represent a significant practical application, and thus refinement, of Enlightenment rationalistic psychology. These achievements are assessed in light of Freud's early fascination with him; it is argued that Lichtenberg is an example of the relevance of the historical and cultural background of psychoanalysis to clinical practice.

Sign in / Sign up

Export Citation Format

Share Document