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Scott Zeman
University of Colorado, Boulder
Scott Zeman
Vanderbilt University
  1.  7
    Introduction: Death and Other Penalties.Geoffrey Adelsberg, Lisa Guenther & Scott Zeman - 2015 - Fordham University Press. Edited by Lisa Guenther, Geoffrey Adelsberg & Scott Zeman.
    Motivated by a conviction that mass incarceration and state execution are among the most important ethical and political problems of our time, the contributors to this volume come together from a diverse range of backgrounds to analyze, critique, and envision alternatives to the injustices of the U.S. prison system, with recourse to deconstruction, phenomenology, critical race theory, feminism, queer theory, and disability studies. They engage with the hyper-incarceration of people of color, the incomplete abolition of slavery, the exploitation of prisoners (...)
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  2. Death and Other Penalties: Philosophy in a Time of Mass Incarceration.Lisa Guenther, Geoffrey Adelsberg & Scott Zeman (eds.) - 2015 - Fordham UP.
    Motivated by a conviction that mass incarceration and state execution are among the most important ethical and political problems of our time, the contributors to this volume come together from a diverse range of backgrounds to analyze, critique, and envision alternatives to the injustices of the U.S. prison system, with recourse to deconstruction, phenomenology, critical race theory, feminism, queer theory, and disability studies. They engage with the hyper-incarceration of people of color, the incomplete abolition of slavery, the exploitation of prisoners (...)
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  3.  66
    By Grace of Broken Skin.Scott Zeman - 2009 - Radical Philosophy Review 12 (1-2):289-313.
    I address the question of the origins and historical meaning of art. Analyzing suggestions from Marx, Derrida, Winnicott, and Todorov, I claim that art doesn’t simply represent conscious, historical events but is also the continuing presentation of the prehistorical break-up of our “original” human family. Indeed,perpetuating yet distancing this archaic scene of community and violence in tension, art performs this mediation not just in history but also as history, as a secretive historiography of splitting and meaning-making. To this end, I (...)
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