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Psychoanalysis Interpretation and Science

In J. Hopkins & A. Savile (eds.), Psychoanalysis Mind and Art. Blackwell (1992)

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  1. On the ambiguity of democracy in Plato's statesman.Federico Zuolo - 2011 - Archai: Revista de Estudos Sobre as Origens Do Pensamento Ocidental 7:25-36.
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  • On the ambiguity of democracy in Plato's statesman.Federico Zuolo - 2011 - Archai: Revista de Estudos Sobre as Origens Do Pensamento Ocidental 7:25-36.
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  • Being in others: Empathy from a psychoanalytical perspective.Sarah Richmond - 2004 - European Journal of Philosophy 12 (2):244–264.
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  • Psychoanalysis and the personal/sub‐personal distinction.Sebastian Gardner - 2000 - Philosophical Explorations 3 (1):96-119.
    This paper attempts in the first instance to clarify the application of the personal/sub-personal distinction to psychoanalysis and to indicate how this issue is related to that of psychoanalysis" epistemology. It is argued that psychoanalysis may be regarded either as a form of personal psychology, or as a form of jointly personal and sub-personal psychology, but not as a form of sub-personal psychology. It is further argued that psychoanalysis indicates a problem with the personal/sub-personal distinction itself as understood by Dennett (...)
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  • Eristic, Antilogy and the Equal Disposition of Men and Women (Plato, Resp. 5.453B–454C).D. El Murr - 2020 - Classical Quarterly 70 (1):85-100.
    Aristotle'sSophistical Refutations(=Soph. el.) seeks to uncover the workings of apparent deductive reasoning, and is thereby largely devoted to the caricature of dialectic that the ancients callederistic(ἐριστική), the art of quarrelling. Unlike antilogy (ἀντιλογία), which refers to a type of argumentation where two arguments are pitted against each other in a contradictory manner, eristic takes on in Aristotle an exclusively pejorative meaning, as is made clear, for example, by this passage fromSoph. el.: ‘For just as unfairness in a contest is a (...)
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  • Affect in Artistic Creativity: Painting to Feel. [REVIEW]Vanessa Brassey - 2023 - British Journal of Aesthetics 63 (1):129-132.
    Why do we paint pictures? We paint them to instruct, to delight or commemorate loved ones, to convey attitudes or emotions, or for money. Jussi A. Saarinen thin.
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