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  1. Horizons of Difference: Rethinking Space, Place and Identity with Irigaray.Ruthanne Crapo Kim, Yvette Russell & Brenda Sharp (eds.) - 2022 - Albany, NY, USA: The State University of New York Press.
    Horizons of Difference offers twelve original essays inspired by Luce Irigaray's complex, nuanced critique of Western philosophy, culture, and metaphysics, and her call to rethink our relationship to ourselves and the world through sexuate difference. Contributors engage urgent topics in a range of fields, including trans feminist theory, feminist legal theory, film studies, critical race theory, social-political theory, philosophy of religion, environmental ethics, philosophical aesthetics, and critical pedagogy. In so doing, they aim to push the scope of Irigaray's work beyond (...)
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  • She Speaks in Threes.Michael Lucas - 2022 - In Ruthanne Crapo Kim, Yvette Russell & Brenda Sharp (eds.), Horizons of Difference: Rethinking Space, Place and Identity with Irigaray. Albany, NY, USA: The State University of New York Press. pp. 265-294.
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  • Free will, moral responsibility and automatisms.Sára Špirková - 2023 - Ethics and Bioethics (in Central Europe) 13 (1-2):83-94.
    Some determinist approaches to free will opine that the human brain is subordinate to physical laws not fully under our control. This results in a weakening of the concept of the personal autonomy and moral responsibility of humans. Were we to acknowledge this assumption, we might consider automatic machines unable to influence the thoughts and intentions from which our actions take root. The key issue lies in the fact that an individual does not consciously engage in particular actions (automatisms), which (...)
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  • Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis.Paul W. Burch - 2022 - Film-Philosophy 26 (2):242-266.
    I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, (...)
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