and theoretical concerns of his later work arose out of the concrete issues raised in this study. The Structural Transf ormation of the Public Sphere is a historical-sociological account of the emergence, transformation, and disintegration of the bourgeois public sphere. It combines materials and methods from sociology and economics, law and political science, and social and cultural history in an effort to grasp the preconditions, structures, functions, and inner tensions of this central domain of modern society. As a sphere between civil society and the state, in which critical public discussion of matters of general interest was institutionally guaranteed, the liberal public sphere took shape in the specific historical circumstances of a developing market economy. In its clash with the arcane and bureaucratic practices of the absolutist state, the emergen I bourgeoisie gradually replaced a public sphere in which the ruler's power was merely represented before the people with a sphere in which state authority was publicly monitored through informed and critical discourse by the people. Habermas traces the interdependent development of the literary and political self-consciousness of this new class, weaving together accounts of the rise of the novel and of literary

The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society

Appearances are one of the main concerns in eighteenth-century novels, but most studies relegate them to a subordinate role, in relation to other issues. Following Slavoj Žižek’s understanding of ideology, Alain Badiou’s concept of logics of appearances and Jacques Derrida’s deconstruction, this thesis offers a sustained analysis of a series of issues of appearances in the eighteenth-century novel, through an exploration of sixteen defining traits, based on Samuel Johnson’s definitions of ‘appearance’, ‘appear’ and ‘apparition’. The concept of appearances allows for an interrogation of ideas, beliefs and positions about most things, including appearances themselves, as they remain open, in their structure and logic, destabilising and deconstructing the ways of thinking that try to contain them. This thesis argues that eighteenth-century novels reproduce, resist and deconstruct the eighteenth-century ideology based on a desire to neutralise the effects of appearances. Through a wide range of eighteenth-century novels, from Robinson Crusoe to Evelina, it argues that novels destabilise the relationship between appearance and being, proposing the multiple appearances of beings and becomings. William Godwin’s Caleb Williams is taken as a paradigm, shown to contain most of the issues of appearances in the eighteenth-century novel, revealing that whatever there is, it must be supplemented by appearances in order to appear as reality. This thesis argues that novels came to grasp such a truth of appearances from the beginning of eighteenth-century, by locating appearances subjectively, making more evident the multiplicity and extent of fictions, allowing readers an increased degree of awareness of the fictionality of reality. Thus, this thesis makes a significant contribution to the study of issues of appearance and ideology within literature studies by establishing the genre of the novel as the event of appearances in the eighteenth century.

Deconstructing appearances in the eighteenth-century English novel

“Presence” is a major focus for researchers and artists of digital culture, computer networks and new medical, communication and entertainment technologies (Donati and Prado, 2001; Lombard and Ditton, 1997; Mitchell, 1999; Murphy, 2000; Ryan, 1999; Sheridan, 1992). Presence refers to the degree to which geographically dispersed agents experience a sense of physical and/or psychological proximity through the use of particular communication technologies. In areas as diverse as virtual reality, video conferencing, MUDs (multi-user domain), newsgroups, electronic discussion lists, telemedicine, web-based education, flight simulation software and computer gaming, a sense of presence is vital for the success of the particular application.

https://researchbank.swinburne.edu.au/file/4f1fbb9e-3e5c-4d82-9296-5fcdaa3a9b1c/1/PDF (Published version).pdf

Email and Epistolary technologies: Presence, Intimacy, Disembodiment

Secretary; suffragist; incisive critic and parodist of Henry James; witness to and recorder of his death bed dictations; writer of one of the best memoirs about James; tireless psychical researcher who channeled a marvelously verbose James after his death, Theodora Bosanquet was a novel waiting to happen. This article analyzes Bosanquet's recent appearances in Michiel Heyns's The Typewriter's Tale (2005), Cynthia Ozick's "Dictation" (2008) and David Lodge's Author, Author (2004) to consider the ways in which the boom in novelizing James might be seen as intimately bound up with the compelling figure of the turn-of-the-century secretary.

The Typist's Remains: Theodora Bosanquet in Recent Fiction

Murder by Numbers True crime is one of the popular genres of the pathologicalpublic sphere It posits stranger intimacy and vicarious violation as models of sociality This might be described as a social tie on the model of referred pain And, more exactly, in that true crime is crime fact that looks like crime fiction, it marks, or irritates, the distinction between real and fictional reality, holding steadily visible that uncertain region between truth and falsity where belief resides (what we can call, on the model of referred pain, referred belief) True crime is thus part of our contemporary wound culture: a culture—or, at the least, cult—of commiseration If we cannot gather together in the face of anything other than crime, violence, terror, trauma, and the wound, at least we can commiserate That is, as Chuck Palahniuk concisely expresses it in his recent novel Survivor, we can at least “all [be] miserable together” This is the model of nation as support group That bond of togetherness—whether valued as the basis of an identity politics or devalued as a debased victim culture—is, however, difficult exactly to locate The mass identifications, the specular transitivisms, that make up something like a social bond are at least as complex as the vicissitudes of identification at the level of the individual These identificatory relays, however, tend to be simplified beyond recognition—and not least in accounts of the reality constructions of the mass media and in accounts of the effects of kinds of fictional violence on kinds of factual violenceOnone

https://www.jstor.org/stable/10.1086/421162

The Crime System

https://muse.jhu.edu/journals/henry_james_review/v021/21.3seltzer.pdf

The Postal Unconscious

To pose the questions of \"the literary\" and \"the political\" together is also to open questions of difference and resistance, in part because of the virtuaUy automatic and still dominant conception of \"the Uterary\" as an oppositional or counter-discourse. Such a conception of \"the literary\" as subversive, liberating, and resistant works to guarantee an absolute antinomy between the literary and the political domain. To take a recent and significant instance, John Carlos Rowe, in Through the CustomHouse, appeals throughout to what he sees as the violently disruptive and subversive character of literary discourse. Rowe takes as his governing premise what he caUs \"the subversive impulse of literature in general\" and endorses the \"general conception of literary language as a violation of the normative.\" Not surprisingly, this model of the literary as fundamentaUy subversive goes hand in hand with a model of power as fundamentaUy repressive. Hence for Rowe what literature exposes are \"the various repressions at work in different cultural codes,\" and what the literary performs is a \"subversion of the normative that liberates the social signified.\

James, Pleasure, Power

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The Postal Unconscious

James, Pleasure, Power