selfhood

Whereas recent criticism (Greenblatt, Belsey, Dollimore) has "overemphasized the negative other as a kind of central principle of our social interaction and organization, as well as our critical methodology" (23), McAdam emphasizes Marlowe's heroic and affirmative struggle for selfhood: "we have recently vastly underestimated the role of individual ethical and moral choice, and individual responsibility, in the process of personal and social self-fashioning" (24).

In it Schrag sets out to correct, or at least to temper--sometimes seemingly to appease--what he regards as the excesses and distortions arising from contemporary assaults on the concepts of selfhood and subjectivity, arising particularly from recent French philosophy.

Her goal, rather, is to analyze textual qualities that contributed to the creation of ethnic selfhood and otherness as the US formulated its national selfhood at large through an urgent yet always threatened push for its whiteness, particularly in contradistinction to Europe and Asia.

The happy burden of history; from sovereign impunity to responsible selfhood.

In Golden's hands, the show should offer ample opportunity to reexamine politicized selfhood as imagined in gallery space.

But the nature of thought cannot be separated from the nature of the mind that thinks, and Hamlet's selfhood capitulates to the role.

Apart from leading to impoverished views of the self, contemporary models of explaining subjectivity suffer essentially from two drawbacks: They tend toward either solipsistic or dualistic accounts of selfhood, resulting in a solitary, extramundane ego responsible for the constitution of the entire world, including other subjects (as with Husserl) or in a self pitted against another self with whom no fundamental reconciliation seems to be possible (only submission, as with Levinas, for instance, or antagonism, as with Sartre whose theory of self-consciousness is, however, not being mentioned by O'Donohue).

Topics explored include Williams' representations of women, creativity and madness, images of escape and selfhood, the role of the "southern belle" in Williams' work, black and multiracial productions of A Streetcar Named Desire, Williams' treatment of homosexuality, the significance of the natural world within Williams' artistic vision, and the reader as spectator and voyeur.

Debora Shuger in The Renaissance Bible (1994) decries the "disciplinary segregation" that has kept apart studies of culture and religion in Renaissance England: "books on the English Reformation do not usually engage questions of gender, sexuality, class, power, and selfhood; conversely, studies of Tudor and Stuart culture rarely consider sermons, sacraments, bishops or prayer books" (2).