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Profile: Emmanuel Alloa (University of St. Gallen, Universität Basel)
  1. Emmanuel Alloa (forthcoming). Merleau-Ponty and Derrida in Advance. Philosophy Today.
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  2. Emmanuel Alloa (2014). Reflexiones del cuerpo: sobre la relación entre cuerpo y lenguaje. Eidos 21:200-220.
    Aunque fueron muchos los intentos en la modernidad de superar el dualismo cuerpo y mente, las teorías filosóficas del lenguaje en muchos casos lo reintrodujeron de manera sutil pero no menos eficaz. El artículo discute varios teoremas para pensar la materialidad del signo y muestra la preponderancia, desde Kierkegaard hasta el estructuralismo post-Saussuriano, de pensar la materialización como algo necesario, pero arbitrario en su modalidad. En esta concepción, el cuerpo del lenguaje no es solamente aquello que se puede sino aquello (...)
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  3. Emmanuel Alloa (2013). Creativity of the Diaspora New Phenomenology in France. Philosophische Rundschau 60 (1):52 - 60.
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  4. Emmanuel Alloa (2013). Kreativitat der Diaspora. Uber Neuere Phanomenologie in Frankreich. Philosophische Rundschau 60 (1):52-60.
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  5. Emmanuel Alloa (2013). The Diacritical Nature of Meaning. Chiasmi International 15:167-181.
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  6. Emmanuel Alloa (2013). Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre. Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a :fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
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  7. Emmanuel Alloa (2012). Buchkritik: Das Unsichtbare Bild. Deutsche Zeitschrift für Philosophie 60 (5):816-821.
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  8. Emmanuel Alloa (2012). Escritura, encarnação, temporização: Merleau-Ponty e Derrida acerca de A origem da Geometria. Doispontos 9 (1).
    A história intelectual do século XX tem sido escrita ao longo de um cenário que vê, na morte de Merleau-Ponty em 1961, a linha de divisória entre uma geração existencial e fenomenológica e o evento do estruturalismo imediatamente subsequente. A publicação das notas de leitura de Merleau-Ponty sobre o texto A origem da geometria, de Edmund Husserl, tem mostrado quão frágeis são os alicerces desta leitura simplificadora. Na verdade, enquanto a tradução e introdução de Derrida ao texto de Husserl, de (...)
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  9. Emmanuel Alloa (2012). The Inorganic Community. Hypotheses on Literary Communism in Novalis, Benjamin and Blanchot. Boundary2. An International Journal of Literature and Culture 39 (3):75-95.
    If literary avant-garde journals and their communities have been, in the twentieth century, a space for creating, if not sustaining, major political utopias, it should help explain why this “literary communism,” as Jean-Luc Nancy called it, is not a weakened or substitutional form of politics. No myth without narration, no implementation without an instrumentation, no organic unity without a political organ voicing its claim, in short: no organicity without an organon. But can there be a (literary) community that does not (...)
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  10. Emmanuel Alloa (2011). Das durchscheinende Bild. Konturen einer medialen Phänomenologie. diaphanes.
  11. Emmanuel Alloa (2011). Seeing-in, Seeing-as, Seeing-With: Looking Through Pictures. In Elisabeth Nemeth, Richard Heinrich, Wolfram Pichler & Wagner David (eds.), Image and Imaging in Philosophy, Science, and the Arts. Volume I. Proceedings of the 33rd International Wittgenstein Symposium. Ontos: 179-190.
    In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...)
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  12. Emmanuel Alloa (2010). La Phénoménologie Comme Science de l'Homme Sans L'Homme. Tijdschrift Voor Filosofie 72 (1):79.
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  13. Emmanuel Alloa (2010). Phenomenology as a Science of Man Without Man. Tijdschrift Voor Filosofie 72 (1):79-100.
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  14. Joris van Gorkom, Emmanuel Alloa, Filip Buekens, Niels Jørgen CAPPELØRN & Steven Spileers (2010). Kant, Kafka, Josef K. Tijdschrift Voor Filosofie 72 (1):41.
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  15. Emmanuel Alloa (2009). Riassunto: La carne come diacritico incarnato. Chiasmi International 11:262-262.
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  16. Emmanuel Alloa (2009). Abstract: Flesh as Embodied Diacritics. Chiasmi International 11:262-262.
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  17. Emmanuel Alloa (2009). La chair comme diacritique incarné. Chiasmi International 11:249-262.
    In 20th century thinking, few concepts have provoked as many misunderstandings as Merleau-Ponty’s notion of ‘Flesh’. Such misunderstandings (of which the article sketches the outline of an archaeology) rest on the initial assumption that the Flesh has to be derived from the body. The article suggests that the dominant readings of the Flesh can be organized along what could respectively be called the scenario of propriety and the scenario of expansion, beyond which a third way comes into view which does (...)
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  18. Emmanuel Alloa (2009). Metaxu. Revue de Métaphysique Et de Morale 2 (2):247-262.
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  19. Emmanuel Alloa (2007). L'apparaître appareillé. In Marion Froger, Sylvestra Mariniello & Jean-Louis Déotte (eds.), Appareil Et Intermédialité. L’Harmattan.
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  20. Emmanuel Alloa (2007). The Madness of Sight. In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59.
    Viewing Vermeer with Merleau-Ponty's eyes.
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  21. Emmanuel Alloa (2005). Bare Exteriority. Philosophy of the Image and the Image of Philosophy in Martin Heidegger and Maurice Blanchot. Colloquy (10):69-82.
    The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).
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