ORCID Profile
0000-0001-5142-0695
Current Organisation
Monash University
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In Research Link Australia (RLA), "Research Topics" refer to ANZSRC FOR and SEO codes. These topics are either sourced from ANZSRC FOR and SEO codes listed in researchers' related grants or generated by a large language model (LLM) based on their publications.
Philosophy | Phenomenology | Aesthetics | History Of Philosophy And History Of Ideas | Aesthetics | Phenomenology | Hermeneutic and Critical Theory
Social ethics | Religion and ethics not elsewhere | Communication Across Languages and Culture |
Publisher: Informa UK Limited
Date: 12-2013
Publisher: Cambridge University Press (CUP)
Date: 10-2000
Publisher: University of Technology, Sydney (UTS)
Date: 13-09-2013
Abstract: A review of Rosalyn Diprose's Corporeal Generosity: On Giving with Nietzsche, Merleau-Ponty, and Levinas (SUNY Press, Albany, New York. 2002).
Publisher: Informa UK Limited
Date: 16-11-2022
Publisher: Philosophy Documentation Center
Date: 2005
Publisher: Informa UK Limited
Date: 12-07-2010
Publisher: Brill
Date: 14-08-2015
DOI: 10.1163/18722636-12341303
Abstract: This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project . Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of “word” and “image” become exchangeable. The distinctive features of this exchange can be used to expound on Benjamin’s peculiar understanding of revolutionary experience and the significance of the break that it marks with his early way of opposing the word and the image. In particular, the exchange of features between word and image can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange also shows that although the framework of “graphic perception” entails an experience of motivating meaning that is epistemologically grounded, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient.
Publisher: Informa UK Limited
Date: 04-03-2018
Publisher: Philosophy Documentation Center
Date: 2001
Publisher: Informa UK Limited
Date: 20-11-190728635
Publisher: No publisher found
Date: 2017
Publisher: Informa UK Limited
Date: 02-10-2017
Publisher: Project MUSE
Date: 2009
DOI: 10.1353/SUB.0.0029
Publisher: Informa UK Limited
Date: 2017
Publisher: Informa UK Limited
Date: 20-06-2019
Publisher: Edinburgh University Press
Date: 02-2015
Publisher: Cambridge University Press (CUP)
Date: 2000
DOI: 10.1111/J.1527-2001.2000.TB00351.X
Abstract: Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David'Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.
Publisher: Informa UK Limited
Date: 08-05-2017
Publisher: Informa UK Limited
Date: 2001
Publisher: SAGE Publications
Date: 02-2011
Abstract: This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.
Publisher: Informa UK Limited
Date: 04-2009
Publisher: Acumen Publishing Limited
Date: 31-07-2009
Publisher: Duke University Press
Date: 2008
DOI: 10.1215/00382876-2007-052
Abstract: This introduction places the key themes of Giorgio Agamben's suite of works on biopolitics next to some of the concerns and problems that motivate the work of Michel Foucault and Jean-Luc Nancy. It considers the interrelation between Agamben's ontological mode of approach to political problems and his claim that a new vocabulary is needed for politics now that the categories of the citizen and the worker have lost their original meanings. It is argued that Agamben treats political topics with the tools of philological analysis and merely presumes the explanatory hold of extreme ex les on our general political situation. He thus lacks the historico-institutional perspective necessary to support his claims.
Publisher: Informa UK Limited
Date: 2013
Publisher: Wiley
Date: 19-02-2018
DOI: 10.1002/ERV.2579
Publisher: Cambridge University Press (CUP)
Date: 2000
Publisher: Duke University Press
Date: 2014
Publisher: Wiley
Date: 09-2012
DOI: 10.1111/CONS.12001
Publisher: Wiley
Date: 06-2013
DOI: 10.1111/CONS.12044
Publisher: Cambridge University Press (CUP)
Date: 2000
Publisher: Philosophy Documentation Center
Date: 2008
DOI: 10.5840/IPQ200848216
Publisher: Brill
Date: 2008
Abstract: For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder) second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking ex le of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it?
Publisher: Informa UK Limited
Date: 12-2004
Publisher: Routledge
Date: 10-10-2014
Publisher: Informa UK Limited
Date: 2006
Publisher: Edinburgh University Press
Date: 05-2008
DOI: 10.3366/E1754850008000092
Abstract: This article analyses some of the shifts in tone and argumentation in Derrida's work by comparing the treatment of the topics of theatre and theatrical representation in his early writing on literary and philosophical texts with the conception of a politically committed ‘ethics’ in his late work. The topic of theatrical representation is particularly useful for a critical assessment of Derrida's later ethics because it allows us to give careful consideration to his position on different types of, and contexts for, involvement. I argue that some of the important differences in tone and argumentation in Derrida's work arise not just because of the different exigencies that distinguish readings of literary hilosophical texts from analyses of political circumstances and events. There is also a shift in his work from attempting to account for the aporetic economy that supports positions held and defended to the terms of his advocacy for ethical commitment. In the case of his early writing the emphasis falls on accounting for meaning in terms of a typology of conversion effects positive values are aporetically joined with negative ones. In his later work aporias do not present occasions for examining conditions of meaning. Rather, they become compelling imperatives to act. Despite the differences between these perspectives they both articulate an important role for aesthetic experience in meaning. I conclude by considering the consequences that such a position on meaning imposes on Derrida's use of the vocabulary of injunctions and imperatives to ‘compel’ a response.
Start Date: 2009
End Date: 2011
Funder: Australian Research Council
View Funded ActivityStart Date: 2009
End Date: 12-2012
Amount: $174,000.00
Funder: Australian Research Council
View Funded ActivityStart Date: 06-2013
End Date: 12-2018
Amount: $665,688.00
Funder: Australian Research Council
View Funded Activity