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Karen Robertson [4]Karen Barker & 38 Noelle Robertson [1]
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  1. Brief Report Selective Processing and Fear of Spiders: Use of the Stroop Task to Assess Interference for Spider-Related, Movement, and Disgust Information.Karen Barker & 38 Noelle Robertson - 1997 - Cognition and Emotion 11 (3):331-336.
  2.  33
    Owning Ourselves and Encountering Others: Authenticity, Indifference, and Desire.Karen Robertson - 2013 - PhaenEx 8 (1):152-184.
    There are resources in Heidegger’s work for identifying and mitigating pervasive modes of misrecognition that are characteristic of modern society, and, by identifying them, we become capable of attending to “supplementary” aspects of authenticity: terms of identity should apply to all in the same way, and, because these terms are a product of all, they are the responsibility of each individual. The first section analyses Being-guilty, Dasein-with, and Being-with to emphasise Dasein’s dependence on others, arguing that the dynamic of recognition (...)
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    The Bonds of Freedom: Heidegger and Hochschild on Affective Life and Affective Labour.Karen Robertson - 2016 - PhaenEx 11 (2):23-48.
    The purpose of this paper is three-fold: first, to argue that Martin Heidegger’s account of Dasein’s state-of-mind has implications for a Heideggarian understanding of social atmosphere or “mood,” itself understood as the domain in which we realize our meaningful attachment to the world; second, to link Heidegger’s account of Dasein to sociologist Arlie Hochschild’s analysis of affective labour in order to underscore Hochschild’s critique of affective labour by showing it to occur at the very site of our free and meaningful (...)
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    Heidegger and the Ambivalent Status of Human Interpretation in Advance.Karen Robertson - forthcoming - Epoché: A Journal for the History of Philosophy.
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    Heidegger and the Ambivalent Status of Human Interpretation.Karen Robertson - 2018 - Epoché: A Journal for the History of Philosophy 22 (2):487-504.
    Drawing on Heidegger’s essay “The Origin on the Work of Art,” I argue that works of art reveal human experience to be simultaneously finite and ecstatic and that art is part of the way our experience unfolds. Secondly, I argue that the dynamic of experience that art enables and in which it is implicated is precisely what historical experience is; this historical character of our experience is also always intersubjective and relational. Next, I turn to “Why Poets?” to analyse Heidegger’s (...)
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