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Haptic ModernismTouch and the Tactile in Modernist Writing$
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Abbie Garrington

Print publication date: 2013

Print ISBN-13: 9780748641741

Published to Edinburgh Scholarship Online: September 2013

DOI: 10.3366/edinburgh/9780748641741.001.0001

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Dorothy Richardson and the Haptic Reader

Dorothy Richardson and the Haptic Reader

Chapter:
(p.142) Chapter 4 Dorothy Richardson and the Haptic Reader
Source:
Haptic Modernism
Author(s):

Abbie Garrington

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748641741.003.0005

This chapter attends to Dorothy Richardson’s early attempts at a phenomenology of film spectatorship, in her ‘Continuous Performance’ columns (1927-1933), and suggests that Richardson is prescient in her attempts to speak of touch and the tactile as an inherent part of the film viewing experience. Tracing the ways in which twentieth and twenty-first century film theory engages with the haptic, the chapter identifies Richardson as an important precursor. It also addresses haptic matters in Richardson’s Pilgrimage novel sequence (1915-1935), where her central protagonist Miriam Henderson uses her writing room as a kind of second skin, and where the overarching pilgrimage concept brings us back to touch concerns via any pilgrimage’s dependence upon the praesentia of the saints.

Keywords:   Phenomenology, Film spectator, Haptic film, Pilgrimage, Praesentia, Dorothy Richardson

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