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Profile: Emmanuel Alloa (University of St. Gallen, Universität Basel)
  1. 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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  2. 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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  3.  15
    Emmanuel Alloa (2015). Produktiver Schein. Phänomenotechnik zwischen Wissenschaft und Ästhetik. Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 60 (2):169-182.
    The notion of ‘phenomenotechnique’ which Gaston Bachelard introduced in the 1930’s has enjoyed popularity among historians of science who used it in order to insist upon the technical and social mediateness of scientific facts. In the wake of the current triumphal return to epistemological ‘realism,’ the idea of phenomenotechnique has been dismissed as an alleged relic of ‘constructivism.’ The article advocates for a different reading of ‘phenomenotechnique,’ which, rather than insisting on the fabrication of the scientific fact, highlights the intrinsic (...)
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  4.  15
    Emmanuel Alloa (2015). The Most Sublime of All Laws: The Strange Resurgence of a Kantian Motif in Contemporary Image Politics. Critical Inquiry 41 (2):367-389.
    In recent years, the claim of the unrepresentability of the Shoah has stirred vivid debates, especially following the strong positions taken by the French filmmaker Claude Lanzmann and author of Shoah (1986). This claim of unrepresentability, it can be shown, draws part of its attraction from the fact that it oscillates undecidedly between a claim of logical impossibility (“the Shoah can’t be represented”) and a normative demand (“the Shoah shouldn’t be represented”). This essay analyzes the argumentative structure of the advocates (...)
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  5. 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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  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.  25
    Emmanuel Alloa (2015). Could Perspective Ever Be a Symbolic Form? Revisiting Panofsky with Cassirer. Journal of Aesthetics and Phenomenology 2 (1):51-72.
    Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...)
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  8.  13
    Emmanuel Alloa (2015). Iconic Turn. A Plea for Three Turns of the Screw. Culture, Theory, and Critique 56 (3).
    In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...)
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  9.  13
    Emmanuel Alloa (2015). Du Témoignage Ou de L’Ininterprétable. Études Ricoeuriennes / Ricoeur Studies 6 (1):94-110.
    This article defends the thesis that the reflection which Ricœur conducts on the notion of testimony is not one research topic among others, but forms one of the keys to understanding the Ricœurian project as such. The notion of testimony enables one to get beyond the polarity of description and ascription, in order to return to the question of the real. Through an examination of the quadruple grammar of testimony that Ricœur proposes and its context in the dialogue with historiography (...)
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  10.  9
    Emmanuel Alloa (2015). Prégnances du devenir. Simondon et les images. Critique 816:356-371.
    Problématisation, individuation, (dés)adaptation L’inventivité du vivant : la « disparation » Mouvements à vide. La spontanéité selon Simondon La prégnance des images Ontogenèse, phylogenèse, eikogenèse. L’image comme médiation .
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  11.  8
    Emmanuel Alloa (2014). Phantasia. Aristoteles' Theorie der Sichtbarmachung. In Gottfried Boehm, Emmanuel Alloa, Orlando Budelacci & Gerald Wildgruber (eds.), Imagination. Suchen und Finden. W. Fink
  12.  19
    Emmanuel Alloa (2014). Writing, Embodiment, Deferral: Merleau-Ponty and Derrida on The Origin of Geometry. Philosophy Today 58 (2):219-239.
    A simplistic image of twentieth century French philosophy sees Merleau-Ponty’s death in 1961 as the line that divides two irreconcilable moments in its history: existentialism and phenomenology, on the one hand, and structuralism on the other. The structuralist generation claimed to recapture the dimension of objectivity and impersonality, which the previous generation was supposedly incapable of. As a matter of fact, in 1962, Derrida’s edition of Husserl’s The Origin of Geometry was taken to be a turning point that announced the (...)
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  13.  7
    Emmanuel Alloa (2014). The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty. In Laura Cull & Alice Lagaay (eds.), Encounters in Performance Philosophy. PalgraveMacmillan 147-170.
  14. Emmanuel Alloa (2015). Getting in Touch. Aristotelian Diagnostics. In Richard Kearney & Brian Treanor (eds.), Carnal Hermeneutics. Fordham 57-72.
  15.  7
    Emmanuel Alloa (2010). Changer de sens. Quelques effets du tournant iconique. Critique 758 (8):647-658.
  16.  6
    Emmanuel Alloa (2014). Flected Bodies: On the Relationship Between Body and Language. Eidos: Revista de Filosofía de la Universidad Del Norte 21:200-220.
    Although in the modern age there were plenty of attempts to overcome the mind-body dualism, its philosophical theories of language reintroduced it in a subtle but not less effective way.In this article several theorems to think on the materiality of the sign are discussed, and, from Kierkegaard to the post-Saussurean structuralism, the prominent role of thinking the materialization as something necessary but arbitrary in its modality is shown. The body of language under this understanding is not only that which can (...)
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  17.  27
    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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  18.  2
    Emmanuel Alloa (2015). Vers Madrid. Le Cinéma de l'Approche de Sylvain George. Multitudes 61 (4):205.
    This article offers a reading of the last film by Sylvain Georges, Towards Madrid, dedicated to the movement of the Indignados. In its attempt to focus on the specificity of the documentary mode of filming, it explores three possible interpretations of the following proposition : “Sylvain Georges’s documentary films are to be understood as a cinema of the approach”, where the approach is successively described as a matter of apparatus, as a form of distancing and as a sensitive approximation.
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  19.  6
    Emmanuel Alloa (2010). Bildwissenschaft in Byzanz. Ein iconic turn avant la lettre? Studia Philosophica 69:11-36.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide over the life and death of thousands. As the present essay would like to argue, Byzantine thinking was not only attentive to conceptual, but also to iconic differences. The iconoclastic controversy 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’. While the (...)
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  20.  13
    Emmanuel Alloa (2010). La Phénoménologie Comme Science de l'Homme Sans L'Homme. Tijdschrift Voor Filosofie 72 (1):79.
    Husserlian phenomenology sets off as a fundamental rejection of those psychologisms and anthropologisms that deduce the structures of appearance from some preexisting essence of man. However, despite a clear rejection of all anthropological foundations of phenomenology, the examples of Husserl, Heidegger and Merleau-Ponty show that the question of man continues to haunt the phenomenological project and constitutes something like a ‘blind spot’. Relating these unspoken tensions to another historical ‘scene’ (the debate between the Sophists and Aristotle), the article argues why (...)
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  21.  11
    Emmanuel Alloa (2009). Abstract: Flesh as Embodied Diacritics. Chiasmi International 11:262-262.
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  22.  13
    Emmanuel Alloa (2013). The Diacritical Nature of Meaning. Merleau-Ponty with Saussure. Chiasmi International 15:167-181.
    “What we have learned from Saussure” affirms Merleau-Ponty “is that, taken singly, signs do not signify anything, and that each one of them does not so much express a meaning as mark a divergence of meaning between itself and other signs.” While it has often been stressed that Merleau-Ponty was arguably among the earliest philosophical readers of Saussure, the real impact of this reading on Merleau-Ponty’s thinking has rarely been assessed in detail. By focusing on the middle period – the (...)
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  23.  25
    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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  24. Emmanuel Alloa (2011). Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie. In David Espinet & Tobias Keiling (eds.), Heideggers 'Ursprung des Kunstwerks'. Klostermann 261-276.
  25.  2
    Emmanuel Alloa (2010). Phenomenology as a Science of Man Without Man. Tijdschrift Voor Filosofie 72 (1):79-100.
    Husserlian phenomenology sets off as a fundamental rejection of those psychologisms and anthropologisms that deduce the structures of appearance from some preexisting essence of man. However, despite a clear rejection of all anthropological foundations of phenomenology, the examples of Husserl, Heidegger and Merleau-Ponty show that the question of man continues to haunt the phenomenological project and constitutes something like a ‘blind spot’. Relating these unspoken tensions to another historical ‘scene’ (the debate between the Sophists and Aristotle), the article argues why (...)
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  26.  10
    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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  27.  10
    Joris van Gorkom, Emmanuel Alloa, Filip Buekens, Niels Jørgen CAPPELØRN & Steven Spileers (2010). Kant, Kafka, Josef K. Tijdschrift Voor Filosofie 72 (1):41.
  28.  8
    Emmanuel Alloa (2014). Reflexiones del cuerpo: sobre la relación entre cuerpo y lenguaje. Eidos: Revista de Filosofía de la Universidad Del Norte 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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  29.  16
    Emmanuel Alloa (2009). Riassunto: La carne come diacritico incarnato. Chiasmi International 11:262-262.
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  30. Emmanuel Alloa & Natalie Depraz (2012). Der Leib, ein 'merkwürdig unvollkommen konstituiertes Ding'. In Emmanuel Alloa, Thomas Bedorf, Tobias Nikolaus Klass & Christian Grüny (eds.), Leiblichkeit. Geschichte und Aktualität eines Begriffs. Mohr-Siebeck / UTB
  31.  4
    Emmanuel Alloa (2012). Buchkritik: Das Unsichtbare Bild. [REVIEW] Deutsche Zeitschrift für Philosophie 60 (5):816-821.
    Christoph Asmuth: Bilder über Bilder – Bilder ohne Bilder. Eine neue Theorie der Bildlichkeit. Wissenschaftliche Buchgesellschaft, Darmstadt 2011, 194 S.
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  32.  2
    Emmanuel Alloa (2011). Seeing-as, Seeing-in, Seeing-With: Looking Through Images. In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter 179-190.
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  33.  7
    Emmanuel Alloa (2013). Kreativität der Diaspora. Über Neuere Phänomenologie in Frankreich. [REVIEW] Philosophische Rundschau 60 (1):52-60.
  34.  3
    Emmanuel Alloa (2009). Metaxu. Revue de Métaphysique et de Morale 62 (2):247.
    Depuis la renaissance des études aristotéliciennes avec Werner Jaeger, on a souvent observé la fréquence lexicographique des termes dénotant la médiété et la médiation dans le corpus aristotélicien. Cette récurrence a cependant généralement été traitée comme un effet homonymique, rien ne permettant de relier a priori la médiété éthique, le terme intermédiaire en logique ou encore le milieu perceptif. Et pourtant, le fait qu'Aristote s'interroge lui-même sur cette « plurivocité » du médium peut être lu comme une indication que, sous (...)
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  35. Emmanuel Alloa (2007). L'apparaître appareillé. In Marion Froger, Sylvestra Mariniello & Jean-Louis Déotte (eds.), Appareil Et Intermédialité. L’Harmattan
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  36. Emmanuel Alloa (2015). Afterimages: Belated Witnessing in the Photographs of the Armenian Catastrophe. Ournal of Literature and Trauma Studies 4 (1):43-65.
    The category of « postmemory » has been invoked by Marianne Hirsch to refer to a traumatic past which is not directly remembered in first person, but is handed down to later generations and is recalled through the mediation of narratives and images which become “prostheses” for a lack of direct memory. But how is it that these prosthetic recollections do not simply substitute for what lacks but seem to shape the very events they are meant to reproduce ? How (...)
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  37. Emmanuel Alloa (2008). Annette Hilt. Ousia -- Psyche -- Nous. Aristoteles' Philosophie der Lebendigkeit. [REVIEW] Allgemeine Zeitschrift für Philosophie 33 (1):85-88.
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  38. Emmanuel Alloa (2013). Creativity of the Diaspora New Phenomenology in France. Philosophische Rundschau 60 (1):52 - 60.
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  39.  5
    Emmanuel Alloa (2011). Das durchscheinende Bild. Konturen einer medialen Phänomenologie. Diaphanes.
  40.  1
    Emmanuel Alloa & Adnen Jdey (2012). Du sensible à l'oeuvre. Esthétiques de Merleau-Ponty. La Lettre Volée.
    Plusieurs générations de chercheurs internationaux interrogent l’esthétique de Merleau-Ponty suivant deux axes : d’une part, le dialogue constant et passionné avec des arts (peinture, littérature, cinéma) et ses protagonistes (Cézanne, Proust, Claude Simon) qui est à l’origine de l’esthétique de Merleau-Ponty, et dans d’autre part, l’impact de la pensée merleau-pontienne sur les arts, depuis le Minimal Art américain en passant par le Body Art et la danse contemporaine. Tandis que certaines contributions s’intéressent, en s’appuyant sur les inédits, au rapport jusqu’ici (...)
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  41. Emmanuel Alloa (2008). »…ein Reden und ein Denken, das nicht wir haben«. Zur Figur der indirekten Rede bei Maurice Merleau-Ponty. In Alice Lagaay & Emmanuel Alloa (eds.), Nicht Sagen: Strategien der Sprachabwendung Im 20. Jahrhundert. Transcript Verlag 207-224.
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  42. Emmanuel Alloa (2013). Kunst. Werkästhetik als Ereignisästhetik. In Dieter Thomä (ed.), Heidegger-Handbuch: Leben - Werk – Wirkung. Metzler 315-319.
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  43. Emmanuel Alloa, Thomas Bedorf, Tobias Nikolaus Klass & Christian Grüny (eds.) (2012). Leiblichkeit. Geschichte und Aktualität eines Begriffs. Mohr-Siebeck / UTB.
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  44.  4
    Emmanuel Alloa & Muriel Pic (2012). Lisibilité / Lesbarkeit. MSH Paris - Trivium. Revue Franco-Allemande de Sciences Humaines Et Sociales.
    Seit über 30 Jahren gibt es in den deutschen wie französischen Kultur- und Geisteswissenschaften das Bestreben, den Begriff der »Lesbarkeit« von seiner engen Bindung an den geschriebenen Text zu emanzipieren. Die vorliegende Ausgabe von Trivium lässt einige der maßgeblichen Stimmen in dieser Debatte zu Wort kommen. Auf der gemeinsamen Schnittfläche von Mikrohistorie, Semiologie, Psychoanalyse, Kulturgeschichte, Physiognomie und Mantik zeichnet sich ein neues und zugleich altes Verständnis des Lesens ab. Wenn sich in der Moderne die Frage nach dem Lesen von Spuren (...)
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  45. Emmanuel Alloa & Renaud Barbaras (2014). La résistance du sensible. Merleau-Ponty critique de la transparence, avec une préface de Renaud Barbaras. Kimé.
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  46.  6
    Emmanuel Alloa & Miriam Fischer (eds.) (2013). Leib und Sprache. Zur Reflexivität verkörperter Ausdrucksformen. Velbrück.
    Die elf Beiträge dieses Bandes gehen aus verschiedenen Blickwinkeln dem Problem der Verkörperung von Sinn nach: phänomenologische, psychoanalytische und sprachwissenschaftliche Ansätze bilden dabei den Schwerpunkt; sie werden aber durch Studien aus der Literaturtheorie, der politischen Theorie und der Filmwissenschaft ergänzt. Was heißt es – das ist die zentrale Frage –, den Körper als leibliches Medium aufzufassen, welches Sinn nicht nur verkörpert, sondern überhaupt erst entstehen lässt? Gibt es bereits eine Sprache des Leibes diesseits der Ebene ausdrücklicher Rede?
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  47.  4
    Emmanuel Alloa & Miriam Fischer (eds.) (2013). Leib und Sprache. Zur Reflexivität verkörperter Ausdrucksformen. Velbrück.
    Die elf Beiträge dieses Bandes gehen aus verschiedenen Blickwinkeln dem Problem der Verkörperung von Sinn nach: phänomenologische, psychoanalytische und sprachwissenschaftliche Ansätze bilden dabei den Schwerpunkt; sie werden aber durch Studien aus der Literaturtheorie, der politischen Theorie und der Filmwissenschaft ergänzt. Was heißt es – das ist die zentrale Frage –, den Körper als leibliches Medium aufzufassen, welches Sinn nicht nur verkörpert, sondern überhaupt erst entstehen lässt? Gibt es bereits eine Sprache des Leibes diesseits der Ebene ausdrücklicher Rede?
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  48. Emmanuel Alloa (2011). Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie. In David Espinet & Tobias Keiling (eds.), eideggers 'Ursprung des Kunstwerks'. Klostermann 261-276.
  49. Emmanuel Alloa (2007). Suspension Et Gravité. L’Imaginaire Sartrien Face au Tintoret. Alter. Revue de Phénoménologie 15:123-141.
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  50. Emmanuel Alloa (2014). The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty. In Laura Cull & Alice Lagaay (eds.), Encounters in Performance Philosophy. PalgraveMacmillan 147-170.
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