Consciousness, Theatre, Literature and the Arts 2011
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The essays collected in this volume were initially presented at the Fourth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, May 28–30, 2011. The conference was organised on the basis of the success of its predecessors in 2005, 2007 and 2009, and on the basis of the success of the Rodopi book series Consciousness, Literature and the Arts, which has to date seen thirty volumes in print, with another twelve in press or in the process of being written. The 2011 conference and the book series highlight the continuing growth of interest within the interdisciplinary field of consciousness studies, and in the distinct disciplines of theatre studies, literary studies, film studies, fine arts and music in the relationship between the object of these disciplines and human consciousness. Fifty-five delegates from twenty-eight countries across the world attended the May 2011 conference in Lincoln; their range of disciplines and approaches is reflected well in this book.
among them with a care only for their taste” (Morrison, Sula 1998, 103). The freedom and independence instilled in them culminates an unconventional image of womanhood and motherhood in Sula. Her interest is to achieve selfhood and negate her own race. To attain her selfhood, “She does what pleases her though she is discarded as pariah by the society. She comes to terms with herself and defies the male and white dominated societal norms.... She tries to live up to the standards that she wants to
Mi Yao (Secret principle of portraiture): first nose, second one stroke under the nose tip. Third nose tip and the forth is nose. The Shan Gen referred to the middle part from the bridge of nose to the zone between the eyes. Yin Tang referred to the part of forehead between the eyes and eyebrows. Yan Tang referred to the eye socket, Ren Zhong referred to the middle concave between the nose and upper lip. According to the different appearance of noses, Wang Yi summarized three procedures of
Sciences, Noë does not deny the brain’s main causal role in enabling perception, but nonetheless believes it alone is not the proper bearer of perceptual content. The brain alone is not sufficient to account for consciousness and, through our engagement with certain kinds of art, we are able to begin uncovering the true character of consciousness as an ‘embodied’ and ‘environmentally embedded’ phenomenon. Art’s contribution to science and philosophy While the basis of human consciousness, as
emotional experience they had just encountered and to relive this experience. Intuitively the artists would just relive the moments that most appeared to consciousness, so Phase 3 would see an almost sub-conscious filtering occur, a sort of method of selection which was not driven by conscious thought, but by responding to present centred feelings and instincts. Going Beyond into the Jars of Consciousness 147 We experimented with presenting the material discovered at Phase 3, by asking the
livers of children - still appear.2 Moving away from these narratives I will try and re-create the story of survivors; a study of the consciousness of young children aged 7 to 15 at 174 Chapter Sixteen that time, who lost their siblings and friends in the incident and have tried to make sense of their lives. Can these fragmented stories of forced sexualisation, of lost childhood, of questioning the sanctity of the institution of family and of the distrust of protectors constitute an evolving