20 found
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  1.  12
    Derrida's Writing and Difference: A Reader's Guide.Sarah Wood - 2009 - Continuum.
    Context -- Overview of themes -- Reading the text -- Reception and influence.
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  2.  35
    Surprise in Literature.Sarah Wood - 1996 - Angelaki 1 (1):58 – 68.
  3.  17
    All the Way to Writing.Sarah Wood - 2007 - Angelaki 12 (2):137-147.
  4.  14
    Autoarchive Now?Sarah Wood - 2003 - Angelaki 8 (1):149 – 161.
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  5.  6
    A New International, Or What You Will ….Sarah Wood - 2008 - Oxford Literary Review 30 (1):147-160.
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  6.  39
    Centre-piece.Sarah Wood - 2009 - Theory and Event 12 (1).
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  7.  30
    Call for Papers: Hotel Psychoanalysis.Sarah Wood - 2004 - Angelaki 9 (1):1 – 2.
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  8.  2
    Diane Elam, Feminism and Deconstruction: Ms. En Abyme , 154 Pp.Sarah Wood - 1996 - Oxford Literary Review 18 (1):229-232.
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  9.  4
    Editorial Introduction.Sarah Wood - 2015 - Oxford Literary Review 37 (2):175-179.
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  10.  21
    Editorial Introduction: Home And Family.Sarah Wood - 1997 - Angelaki 2 (1):5-6.
  11. Exorcizing the Past: The Slave Narrative as Historical Fantasy.Sarah Wood - 2007 - Feminist Review 85 (1):83-96.
    Octavia Butler's 1979 novel Kindred is a hybrid text: part historical novel, part science fiction/fantasy and part slave narrative. The story transports a contemporary black heroine into 19th–century Maryland in order to explore, recreate and connect with African American narratives of identity. Providing two narrative strands, one in 19th–century Maryland and the other in 20th–century California, the text is able to juxtapose the realities of slavery with its legacy. Conflating these time–periods, Kindred aims to interrogate the marginalization of African American (...)
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  12.  7
    Foreveries.Sarah Wood - 2009 - Oxford Literary Review 31 (1):65-78.
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  13.  13
    Let's Start Again.Sarah Wood - 1999 - Diacritics 29 (1):4-19.
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  14.  12
    Not One of My Moments.Sarah Wood - 2017 - Derrida Today 10 (2):160-179.
    This essay imagines Derrida by starting from the first page of Glas – read in terms of extinction and global warming. On that page we come across the imperative ‘stay and think’ and the rest of the piece addresses the condensations and displacements by which that staying and thinking are imagined and enacted. An unimaginable ecological crisis faces us today. Hearing, dreaming, and reading emerge from Glas as distinctively strange and necessary forms of agency that can sustain our efforts to (...)
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  15.  4
    Nicholas Royle, Quilt , 144 Pp.Sarah Wood - 2013 - Oxford Literary Review 35 (2):255-258.
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  16.  3
    Optic Nerve.Sarah Wood - 2004 - Oxford Literary Review 26 (1):139-153.
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  17.  7
    Small Experimental Action.Sarah Wood - 2017 - Paragraph 40 (3):383-398.
    ‘Small Experimental Action’ is a title derived from Freud's account of thinking. The piece draws attention to the psychoanalytic conception of thinking as an experimental action, and seeks to draw attention to writing as an experimental action, and because it is concerned with reading literary and psychoanalytic texts it draws attention to reading as an experimental action too. It explores agency and risk in ways directly inspired by Shoshana Felman's account of reading, and by the voyage of the coracle in (...)
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  18.  16
    Sharon Kivland, Freud on Holiday I: Freud Dreams of Rome , N. P.; Freud on Holiday II: A Disturbance of Memory , 181 Pp.; Freud on Holiday III: The Forgetting of a Proper Name , 45 Pp; Freud on Holiday: Appendix I Freud's Weather , 15 Pp; Freud on Holiday: Appendix II Freud's Dining , 14 Pp; Freud on Holiday: Appendix III Freud's Hotels , 23 Pp; Freud on Holiday: Appendix IV Freud's Shopping , 23 Pp. [REVIEW]Sarah Wood - 2013 - Oxford Literary Review 35 (2):258-261.
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  19.  10
    Some Thing, Some One, Some Ghost (About the Fires of Writing).Sarah Wood - 2012 - Derrida Today 5 (2):165-179.
    This essay addresses the relation between ghosts and the fires of writing. It allows itself to dream of purely burning, of consuming and leaving behind all objects, topics and occasions in an absolutely concrete, singular, sensational experience of reading. It is written to and for ghosts – the only ones who can survive in the blazing building that writing can become. The ghosts live in burning house scenes, in poems about dream rooms and erotic hauntings, and in the intellectual tension (...)
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  20. We Once Believed … Now We No Longer Believe.Sarah Wood - 2020 - Oxford Literary Review 42 (2):301-305.
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