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  1. Introduction: The ethics of (in-)attention in contemporary Anglophone narrative.Jean-Michel Ganteau & Susana Onega - 2025 - In Jean-Michel Ganteau & Susana Onega Jaén, The ethics of (in-)attention in contemporary Anglophone narrative. New York: Routledge Taylor & Francis Group.
     
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    The ethics of (in-)attention in contemporary Anglophone narrative.Jean-Michel Ganteau & Susana Onega (eds.) - 2025 - New York, NY: Routledge.
    This volume argues that contemporary narratives resist such influences and evince a great deal of resilience by promoting an ecology of attention based on poetic options that develop an ethics of the particularist type. The contributors draw on critical and theoretical literature hailing from various fields: including psychology and sociology, but more prominently phenomenology, political philosophy, analytical philosophy (essentially Ordinary Language Philosophy), alongside the Ethics of Care and Vulnerability. This volume is designed as an innovative contribution to the nascent field (...)
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  3. Frames and readers. "The thing was to make yourself invisible, she said": Jon McGregor's reframing of the norms of perception of working-class women in So many ways to begin.Susana Onega - 2025 - In Jean-Michel Ganteau & Susana Onega Jaén, The ethics of (in-)attention in contemporary Anglophone narrative. New York: Routledge Taylor & Francis Group.
     
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    The Making of London: London in Contemporary Literature.Susana Onega - 2014 - The European Legacy 19 (3):406-407.
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    The Social Importance of How Bodies Inhabit Spaces with Others: A Queer Reading of Sarah Waters’s The Paying Guests.Susana Onega - 2021 - The European Legacy 26 (3-4):341-357.
    ABSTRACT The article argues that, while the configuration of the lesbian body and of subjectivity in Sarah Waters’s first three novels—Tipping the Velvet, Affinity, and Fingersmith —is carried out in the discursive and performative terms of postmodernist feminism, her latest novels evince a move towards a queer phenomenological position characterised by a growing interest in the material and socioeconomic conditions of the body and subjectivity. Initiated in The Night Watch and The Little Stranger, and culminating in The Paying Guests, this (...)
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