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When we approach the corpse as spectacle , the active spectatorial position is not one of exchange between the viewer and the viewed object , and the power of the active gaze rests with the viewer . Slavenka Drakuliç provides an example ...
When we approach the corpse as spectacle , the active spectatorial position is not one of exchange between the viewer and the viewed object , and the power of the active gaze rests with the viewer . Slavenka Drakuliç provides an example ...
Seite 48
He neither gave an autobio- graphical account of his own experiences in potential isolation from other persons , as might the accused ; neither was he in the position to synthesize all of the evidence in a case in order to reach a ...
He neither gave an autobio- graphical account of his own experiences in potential isolation from other persons , as might the accused ; neither was he in the position to synthesize all of the evidence in a case in order to reach a ...
Seite 200
Hurston further bolsters Kossula's primary speaking position with the " de - automization " of the reader through " interlocutive and conversational markers " included in the text that " constantly put the reader on alert " ( Beverly ...
Hurston further bolsters Kossula's primary speaking position with the " de - automization " of the reader through " interlocutive and conversational markers " included in the text that " constantly put the reader on alert " ( Beverly ...
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Inhalt
The Future of Testimony | 4 |
Testimony Quantification and Need | 12 |
Lyotard and Psychoanalytic Testimony I | 17 |
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affect African American agency American archive argues articulated attempt become body bombing characters child claims comes context continue critical cultural death Derrida describes desire discourse discussion emerge essay ethical event experience face fact father feel fiction force Fragments Freud future give hand happened Holocaust human Hurston identity impossible incest individual John Johnnie knowledge Kossula's liberal live marks means memory Michigan murder narrative never origin pain past performative person political position possible practices precisely present prison produces question readers reading refer relation remain represent representation response seems sense sexual slave social speak story suffering suggest television tell testify testimony things tion trauma true crime truth turn understand University victims violence voice witness women wounding writing York