![]() ![]() Following successful sign in, you will be returned to Oxford Academic.Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. ![]() If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Isabel Archer holds us in suspense in a similar way: we are aware before she and other characters in the novel are that her quest for freedom will end up entrapping her. It uncovers knowledge which has been hidden by societal concepts of respectability, order and purity. Hitchcock’s suspense works at an epistemological level. In a similar way, Hitchcock’s films make us see how behind what we take to be innocent dwells a more sinister world which we perceive when the speed of our perception slows down. Anticipating the neuroscientific exploration of mirror neurons, the 1908 preface to The Portrait of a Lady makes a strong case for the discovery action within perception. Here perception is no longer removed from the world of action as has traditionally been the case in standard oppositions between the contemplative and the active life of politics. James and Hitchcock in different yet related ways show how actions without the perceptive work of understanding can have deleterious consequences. Speed elevated doing: the sheer quantity of actions. Acceleration has been ever increasing since the industrial revolution. ![]() This culture places a premium on actions, on doing. Chapter discusses how James’s and Hitchcock’s respective questioning of acceleration is pertinent to a better understanding of our contemporary digital culture. ![]()
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