Introduction to special issue on Webster

John Webster’s Theater of (Dis)obedience and Damnation: A collection of essays exploring the forms and functions of violence, evil, and social realities in Webster's drama

Toward a Temporal Theory of Language

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/67931/2/10.1177_007542429702500404.pd

Il ritorno a casa secondo Primo Levi

Primo Levi recounts two journeys: a real one in La Tregua, and a fictitious one in Se non ora, quando? In both cases he has to deal with the romance’s structure and its stereotypes, which tend to negate realism. For this reason the writer adopts proceedings to defuse romance and happy ending

The scene of the crime: inventing the serial killer

This article examines the meanings of the crime scene in serial killings, and the tensions between the real and the imagined in the circulation of those meanings. Starting with the Whitechapel Murders of 1888 it argues that they, as well as forming an origin for the construction of the identity of 'the serial killer', initiate certain ideas about the relationship of subjects to spaces and the existence of the self in the modern urban landscape. It suggests that these ideas come to play an integral part in the contemporary discourse of serial killing, both in the popular imagination and in professional analysis. Examining the Whitechapel Murders, more recent cases and modern profiling techniques, it argues that popular and professional representations of crime scenes reveal more of social anxieties about the nature of the public and the private than they do about serial killers. It suggests that 'the serial killer' is not a coherent type, but an invention produced from the confusions of persons and places. Copyright 2006 SAGE Publications. All rights reserved. Not for commercial use or unauthorized distribution

The roots of romantic cognitivism:(post) Kantian intellectual intuition and the unity of creation and discovery

During the romantic period, various authors expressed the belief that through creativity, we can directly access truth. To modern ears, this claim sounds strange. In this paper, I attempt to render the position comprehensible, and to show how it came to seem plausible to the romantics. I begin by offering examples of this position as found in the work of the British romantics. Each thinks that the deepest knowledge can only be gained by an act of creativity. I suggest the belief should be seen in the context of the post-Kantian embrace of “intellectual intuition.” Unresolved tensions in Kant's philosophy had encouraged a belief that creation and discovery were not distinct categories. The post-Kantians held that in certain cases of knowledge (for Fichte, knowledge of self and world; for Schelling, knowledge of the Absolute) the distinction between discovering a truth and creating that truth dissolves. In this context, the cognitive role assigned to acts of creativity is not without its own appeal