... and The Emigrants through parataxis and paralipses leaves the colonial migrants in the grip of an unresolved past. Yet these same devices also operate on a wider textual register to shift readers' focalization from realism's gaze, which disjoins observing subject from observed object, suturing readers and colonial...

... of such a comparative approach: as Appanah’s references to the Mediterranean “migration crisis” foster transnational empathy, do they simultaneously reproduce the colonial gaze? After all, the polyphonic novel does not give a voice to the Comoran migrant herself. Is this a gesture of narrative violence, or a way...

... movements’ solidarity politics. Cross-revolutionary reading produced a distinct conception of literary commitment and a new aesthetic sensibility in Arabic literature, and provides a model of comparison that does not elide but circumscribes European and American literature within its visionary gaze. 22...

... the internal organs. On the threshold between the self and the world, the eye blinks, redirects and refocuses its gaze. Whereas the ear, that other liminal organ, filters sound that it cannot generate, the eye that sees is also the object of perception. In its fictional representa- tions, the eye figures...

... total—that is, one set of images (often mere unreadable shapes) would be visible to the straight-on gaze, while a sharply angled perspective would yield a coherent representation. It is this kind of anamorphic distortion that Shakespeare invokes in Richard II, comparing Queen Elizabeth’s sorrow...

... , 2003 . 1 – 14 . Print . Ratok Lili . “My Gaze Was All I Had: The Problem of Representation in the Works of Ronit Matalon.” Israel Social Science Research 12 . 1 ( 1997 ): 45 – 58 . Print . Said Edward W. “Traveling Theory Reconsidered.” Reflections on Exile and Other...

... (Wellbery 192-94). Likewise, if Rilke’s New Poems brim with classical relics, most notably a marble torso whose inner life makes itself felt as the uncanny ability to return the beholder’s gaze, his carousel, by contrast, is blind. An afterimage of Baroque spectacle as well as a proto- cinematic machine...

... in the early modern period in an effort to unpack the relationship urged upon us between mourning and the shift into the epic mode.8 In the epyllion’s grim revision of its lyric sources Hecuba replaces “Laura” at the center of the male gaze, and the female mourner, as the “stell’d” —stilled and engraven...

... must vanish under the Enlightenment’s ever more pen- etrating gaze into the laws of nature. Just as the machine of nature has obliter- ated both human life and the trace of the divine from Christ’s face, so the myth of divinity itself has been left in ruins in the movement of human progress...

... below, scrutinize the fluid movements of their bodies’ changing positions, so that the “Italian” relief is wiped away. There are as many perspectives as there are possible movements of a body. . . . Having fixed your gaze at the horizon, fall to the earth on your side (from right to left...

... determinate lack as universal and symbolic Lack and thereby justify its appetitive objectifi- cation of “the colony?” Didn’t colonialist desire find itself narcissistically in the very lack that was nothing but the object of the colonial gaze? In what way is the postcolonial, Third-World desire for loss...

... The brooder, whose startled gaze falls on the fragment in his hand, becomes an allegorist.  —​Benjamin, The Arcades Project 324 Perception in Crisis Walter Benjamin boldly entitles one fragment in a group...

... . ____. Hitler in Seiner Heimat . Berlin: Zeitgeschichte-Verlag, 1938 . ____. Hitler: wie ihn keiner kennt . Berlin: Zeitgeschichte-Verlag, 1935 . Huberman, Georges Didi. Images Malgré Tout . Paris: Les Éditions de minuit, 2003 . Hüppauf, Bernd. “Emptying the Gaze: Framing Violence through...

.... Both women link antiquity and modernity in their displacement; both are char- acterized by the melancholic gaze that always looks back. Andromaque, des bras d’un grand époux tombée, Vil bétail, sous la main du superbe Pyrrhus, Auprès d’un tombeau vide...

... a way of interrogating the space between the dandy’s skin and his clothes, the distance between self and other first noted by Fanon in the scene of interpellation from Black Skin, White Masks. The meaningful gazes of the dressed and nude characters of Julien’s filmLooking for Langs­ ton...

... a way of interrogating the space between the dandy’s skin and his clothes, the distance between self and other first noted by Fanon in the scene of interpellation from Black Skin, White Masks. The meaningful gazes of the dressed and nude characters of Julien’s filmLooking for Langs­ ton...

... a way of interrogating the space between the dandy’s skin and his clothes, the distance between self and other first noted by Fanon in the scene of interpellation from Black Skin, White Masks. The meaningful gazes of the dressed and nude characters of Julien’s filmLooking for Langs­ ton...

... of interrogating the space between the dandy’s skin and his clothes, the distance between self and other first noted by Fanon in the scene of interpellation from Black Skin, White Masks. The meaningful gazes of the dressed and nude characters of Julien’s filmLooking for Langs­ ton  and the direct stare...

... a way of interrogating the space between the dandy’s skin and his clothes, the distance between self and other first noted by Fanon in the scene of interpellation from Black Skin, White Masks. The meaningful gazes of the dressed and nude characters of Julien’s filmLooking for Langs­ ton...

... will change, as well as a paralyzed temporal state—“forever now.” The speaker can only “stand . . . like a shadow / Under the great balanced day,” gazing indefinitely at “yellow dust, that was lifting in the wind / And does not drift away,” the suspended circular motion of the dust enacting, perhaps...