Search results for 'Image' (try it on Scholar)

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  1. David Ambuel (2011). The Coy Eristic: Defining the Image That Defines the Sophist. In Ales Havlicek & Filip Karfik (eds.), Plato's Sophist: Proceedings of the Seventh Symposium Platonicum Pragense. Oikoymenh 278-310.
    The eponymous dialogue presents the sophist as a figure who defies definition, and those difficulties are attributed to the conception of the image. Ultimately, the sophist is defined as a species of image maker. The image, however, which is important throughout the Platonic corpus as a metaphor, an analogy, and a metaphysical concept as well, receives in the Sophist little clarification or definition apart from whatever may be inferred from the division of image making arts. In (...)
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  2. Yu-Shan Chen (2010). The Drivers of Green Brand Equity: Green Brand Image, Green Satisfaction, and Green Trust. [REVIEW] Journal of Business Ethics 93 (2):307 - 319.
    This article proposed four novel constructs – green brand image, green satisfaction, green trust, and green brand equity, and explored the positive relationships between green brand equity and its three drivers – green brand image, green satisfaction, and green trust. The object of this research study was information and electronics products in Taiwan. This research employed an empirical study by use of the questionnaire survey method. The questionnaires were randomly mailed to consumers who had the experience of purchasing (...)
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  3.  37
    Enrique Bigné Alcañiz, Ruben Chumpitaz Cáceres & Rafael Currás Pérez (2010). Alliances Between Brands and Social Causes: The Influence of Company Credibility on Social Responsibility Image. [REVIEW] Journal of Business Ethics 96 (2):169-186.
    This research extends previous findings related to the positive influence of company credibility on a social Cause–Brand Alliance’s (CBA) persuasion mechanism. This study analyzes the mediating role of two dimensions of company credibility (trustworthiness and expertise) with regard to the influence of altruistic attributions and two types of brand–cause fit (functional and image fit) on corporate social responsibility image. A structural equation model tests the proposed framework with a sample of 299 consumers, and the results suggest that (1) (...)
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  4.  22
    Jean-Luc Nancy (2005). The Ground of the Image. Fordham University Press.
    If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces.What is this power that lies in the depths and recesses of an image—which is always (...)
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  5.  28
    Aku Visala (2014). Imago Dei, Dualism, and Evolution: A Philosophical Defense of the Structural Image of God. Zygon 49 (1):101-120.
    Most contemporary theologians have distanced themselves from views that identify the image of God with a capacity or a set of capacities that humans have. This article examines three arguments against the structural view and finds them wanting. The first argument is that the structural view entails mind/body dualism and dualism is no longer viable given neuroscience and contemporary philosophy. Against this, I argue that contemporary forms of dualism are able to circumvent such worries and are at least prima (...)
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  6.  6
    Joëlle Vanhamme, Adam Lindgreen, Jon Reast & Nathalie van Popering (2012). To Do Well by Doing Good: Improving Corporate Image Through Cause-Related Marketing. Journal of Business Ethics 109 (3):259-274.
    As part of their corporate social responsibility, many organizations practice cause-related marketing, in which organizations donate to a chosen cause with every consumer purchase. The extant literature has identified the importance of the fit between the organization and the nature of the cause in influencing corporate image, as well as the influence of a connection between the cause and consumer preferences on brand attitudes and brand choice. However, prior research has not addressed which cause composition most appeals to consumers (...)
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  7. 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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  8. Lidia Wiśniewska (2012). Cleopatra – a Queen, a Lover, a Mother: Transformations of the Image. Argument: Biannual Philosophical Journal 2 (1):151-169.
    Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to (...)
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  9.  25
    Gregor Schiemann (1998). The Loss of World in the Image. Origin and Development of the Concept of Image in the Thought of Hermann von Helmholtz and Heinrich Hertz. In D. Baird (ed.), Heinrich Hertz. Classical Physicist, Modern Philosopher. Boston Studies in the Philosophy of Science. Kluwer
    In searching for the origins of current conceptions of science in the history of physics, one encounters a remarkable phenomenon. A typical view today is that theoretical knowledge-claims have only relativized validity. Historically, however, this thesis was supported by proponents of a conception of nature that today is far from typical, a mechanistic conception within which natural phenomena were to be explained by the action of mechanically moved matter. Two of these proponents, Hermann von Helmholtz and his pupil Heinrich Hertz, (...)
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  10.  78
    Kevin Morrell (2004). Decision Making and Business Ethics: The Implications of Using Image Theory in Preference to Rational Choice. [REVIEW] Journal of Business Ethics 50 (3):239-252.
    The study of decision making has multiple implications for business ethics. This paper outlines some commonly used frameworks for understanding choice in business. It characterises the dominant model for business decision making as rational choice theory (RCT) and contrasts this with a more recent, naturalistic theory of decision-making, image theory. The implications of using RCT and image theory to model decision making are discussed with reference to three ethical systems. RCT is shown to be consistent with Utilitarian ethics, (...)
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  11.  32
    Susan Bredlau (2011). Monstrous Faces and a World Transformed: Merleau-Ponty, Dolezal, and the Enactive Approach on Vision Without Inversion of the Retinal Image. Phenomenology and the Cognitive Sciences 10 (4):481-498.
    The world perceived by a person undergoing vision without inversion of the retinal image has traditionally been described as inverted. Drawing on the philosophical work of Maurice Merleau-Ponty and the empirical research of Hubert Dolezal, I argue that this description is more reflective of a representationist conception of vision than of actual visual experience. The world initially perceived in vision without inversion of the retinal image is better described as lacking in lived significance rather than inverted; vision without (...)
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  12.  13
    Atene Mendelyte (2015). The Image of a Mind-Skull: Samuel Beckett's... But the Clouds... And Television-Philosophy. Film-Philosophy 19:325-343.
    The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating the failure (...)
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  13.  8
    Rodney K. Rogers, Jesse Dillard & Kristi Yuthas (2005). The Accounting Profession: Substantive Change and/or Image Management. [REVIEW] Journal of Business Ethics 58 (1-3):159 - 176.
    . The accounting profession’s image and reputation is built upon the members of the profession acting with the “highest sense of integrity” in “the public interest” (AICPA, 2003, www.aicpa.org/about). The Enron debacle initiated the latest crisis facing the profession regarding its image and reputation. The American Institute of Certified Public Accountants (AICPA) is the largest professional body representing the accounting profession and the one to which regulators have looked in establishing and upholding professional standards relating to the public (...)
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  14.  5
    Dong-Hong Zhu & Ya-Ping Chang (2013). Negative Publicity Effect of the Business Founder's Unethical Behavior on Corporate Image: Evidence From China. [REVIEW] Journal of Business Ethics 117 (1):111-121.
    The unethical behavior of a business founder often leads to negative publicity which substantially affects positive corporate image. The amount of negative publicity relating to business founders’ unethical behavior is on the rise in the age of online social media in China. Based on the stimulus–response theory and balance theory, this paper developed a theoretical model to examine how negative publicity about a business founder’s unethical behavior affects corporate image. The proposed model was tested by the partial least (...)
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  15.  19
    Victor Eugen Gelan (2013). Quelques considérations sur le problème de la constitution de l’image dans la phénoménologie husserlienne/ Some considerations concerning the problem of the image constitution in Husserl’s Phenomenology. STUDIA UBB. PHILOSOPHIA 58 (2):55-67.
    My aim in this paper is to analyze the way in which Edmund Husserl deals with the problem of the constitution of image in his writings. The difference between a common thing and a work of art lies in the fact that the ‘thing’ is submitted as an object to perception, while the work of art is the product of the human capacity called imagination or fantasy (Phantasie). Therefore, the difference between perception (which is an objectifying act) and imagination (...)
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  16.  52
    Trevor Perri (2013). Image and Ontology in Merleau-Ponty. Continental Philosophy Review 46 (1):75-97.
    Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and (...)
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  17.  29
    Debra Parrish & Bridget Noonan (2009). Image Manipulation as Research Misconduct. Science and Engineering Ethics 15 (2):161-167.
    A growing number of research misconduct cases handled by the Office of Research Integrity involve image manipulations. Manipulations may include simple image enhancements, misrepresenting an image as something different from what it is, and altering specific features of an image. Through a study of specific cases, the misconduct findings associated with image manipulation, detection methods and those likely to identify such manipulations, are discussed. This article explores sanctions imposed against guilty researchers and the factors that (...)
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  18.  60
    Dawn M. Phillips (2009). Fixing the Image: Re-Thinking the 'Mind-Independence' of Photographs. Postgraduate Journal of Aesthetics 6 (2):1-22.
    We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight (...)
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  19.  3
    Dionysis Christias (forthcoming). Can ‘Ready-to-Hand’ Normativity Be Reconciled with the Scientific Image? Philosophia:1-21.
    In this paper, first, I will focus on the divergent interpretations of two leading Sellars’ scholars, Willem deVries and James O’Shea, as regards Sellars’ view on the being of the normative. It will be suggested that this conflict between deVries’ and O’Shea’s viewpoints can be resolved by the provision of an account of what I shall call ‘ready-tohand’ normativity, which incorporates the insights of both deVries’ and O’Shea’s interpretive perspectives, while at the same time going beyond them. It shall be (...)
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  20.  38
    Andrew Benjamin (2011). On the Image of Painting. Research in Phenomenology 41 (2):181-205.
    Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of (...)
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  21.  16
    Vincent de Coorebyter (2012). De Husserl à Sartre. La structure intentionnelle de l'image dans L'Imagination et L'Imaginaire. Methodos 12.
    Les deux livres de Sartre sur l’image posent un problème d’interprétation rarement traité. Le premier, L’Imagination, s’achève sur un vibrant hommage à la théorie husserlienne de l’image. Le second, L’Imaginaire, qui faisait initialement partie d’un même volume, propose une théorie inédite de l’imagination qui ne cite pas une seule fois Husserl, et qui s’en démarque fortement. Sartre a-t-il changé de point de vue d’un livre à l'autre ? Ou faut-il comprendre que son hommage à Husserl était d’emblée un (...)
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  22.  10
    Andrea Pérez & Ignacio Rodríguez del Bosque (2013). Measuring CSR Image: Three Studies to Develop and to Validate a Reliable Measurement Tool. Journal of Business Ethics 118 (2):265-286.
    Although research on the corporate social responsibility (CSR) dimension of corporate image has notably increased in recent years, the definition and measurement of the concept for academic purposes still concern researchers. In this article, literature regarding the measurement of CSR image from a customer viewpoint is revised and areas of improvement are identified. A multistage method is implemented to develop and to validate a reliable scale based on stakeholder theory. Results demonstrate the reliability and validity of this new (...)
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  23.  20
    Joëlle Vanhamme, Adam Lindgreen, Jon Reast & Nathalie Popering (2012). To Do Well by Doing Good: Improving Corporate Image Through Cause-Related Marketing. Journal of Business Ethics 109 (3):259-274.
    As part of their corporate social responsibility, many organizations practice cause-related marketing, in which organizations donate to a chosen cause with every consumer purchase. The extant literature has identified the importance of the fit between the organization and the nature of the cause in influencing corporate image, as well as the influence of a connection between the cause and consumer preferences on brand attitudes and brand choice. However, prior research has not addressed which cause composition most appeals to consumers (...)
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  24.  9
    Isabelle Bochet (2009). Le statut de l'image dans la pensée augustinienne. Archives de Philosophie 2 (2):249-269.
    Pour Augustin, l’image est-elle obstacle ou voie d’accès à Dieu ? Si les images peuvent aliéner l’homme, elles rendent aussi possible son accès à Dieu, lorsqu’il y reconnaît des signes du Créateur ; il est alors invité à revenir à lui-même pour se découvrir « imago Dei ». Cette image de Dieu en l’homme est lumineuse, lorsque l’esprit se saisit lui-même dans sa pureté et tend vers Dieu ; elle s’obscurcit et se déforme, quand l’âme se complaît dans (...)
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  25.  14
    Vincent de Coorebyter (2012). De Husserl à Sartre. La structure intentionnelle de l'image dans L'Imagination et L'Imaginaire. Methodos. Savoirs Et Textes (12).
    Les deux livres de Sartre sur l’image posent un problème d’interprétation rarement traité. Le premier, L’Imagination, s’achève sur un vibrant hommage à la théorie husserlienne de l’image. Le second, L’Imaginaire, qui faisait initialement partie d’un même volume, propose une théorie inédite de l’imagination qui ne cite pas une seule fois Husserl, et qui s’en démarque fortement. Sartre a-t-il changé de point de vue d’un livre à l'autre ? Ou faut-il comprendre que son hommage à Husserl était d’emblée un (...)
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  26.  4
    Olivier Boulnois (2009). L'image intelligible. Archives de Philosophie 2 (2):271-292.
    Tandis que la théologie de l’icône reposait sur une justification christologique, la doctrine augustinienne de l’image repose sur une image de l’essence divine, commune à la Trinité. Ainsi, l’image est une fiction, construite librement par l’esprit humain, à l’occasion de l’interprétation de l’Écriture. Cette doctrine ouvre la voie à la liberté de l’artiste médiéval.While the theology of icons was based on a christological justification, the augustinian doctrine of image is based on the image of the (...)
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  27.  8
    José Manuel Ureña Gómez-Moreno (2014). The Role of Image Schemas and Superior Psychic Faculties in Zoosemiosis. Biosemiotics 7 (3):405-427.
    Image schemas are mental constructs central to human cognitive psychology. The neurobiological grounding of these structures has been suggested by experimental research both in non-human primates and lower animals . However, their applicability as concrete cognitive products has not been explored yet in zoosemiotics. This study shows that image schemas are highly instrumental to making sense of the impersonations of two animals featured in biology research studies and wildlife documentary films: the mimic octopus and the Gibb’s sea spider (...)
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  28.  17
    Dale Benos & Sara Vollmer (2010). Generalizing on Best Practices in Image Processing: A Model for Promoting Research Integrity. Science and Engineering Ethics 16 (4):669-673.
    Modifying images for scientific publication is now quick and easy due to changes in technology. This has created a need for new image processing guidelines and attitudes, such as those offered to the research community by Doug Cromey (Cromey 2010). We suggest that related changes in technology have simplified the task of detecting misconduct for journal editors as well as researchers, and that this simplification has caused a shift in the responsibility for reporting misconduct. We also argue that the (...)
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  29.  12
    Marty Quinn (2012). “Walk on the Sun”: An Interactive Image Sonification Exhibit. [REVIEW] AI and Society 27 (2):303-305.
    “Walk on the Sun” is an interactive experience of image as music. As explorers move across images that are data projected onto the floor, their movements are visually tracked and used to select pixels in the images which they immediately hear as musical pitches played by various instruments. The sonification design maps color to one of 9 instruments, brightness to one of 50 pitches, and location in the image to panning position, creating 57,600 differentiable musical events. This high (...)
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  30.  5
    Ioan Hosu (2012). The Empire of Communication: Body, Image and Relation. Journal for the Study of Religions and Ideologies 11 (31):198-205.
    Review of Aurel Codoban, Imperiul comunicării: corp, imagine și relaționare (The Empire of Communication: Body, Image and Relation), (Cluj-Napoca: Idea Design &Print, 2011).
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  31.  4
    Hanneke Schaap Jonker, Elisabeth H. M. Eurelings-Bontekoe, Hetty Zock & Evert R. Jonker (2007). The Personal and Normative Image of God: The Role of Religious Culture and Mental Health. Archive for the Psychology of Religion 29 (1):305-318.
    This article focuses on the difference between the personal God image and the God image that people perceive as normative, that is to say, the God image they believe they should have according to religious culture. A sample of 544 Dutch respondents, of which 244 received psychotherapy, completed the Dutch Questionnaire of God Images . In general, there appeared to be a discrepancy between the personal and the normative God image. Whether discrepancies were experienced as conflictive (...)
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  32.  3
    Sorin Sipos (2010). Imaginea celuilalt: un document francez privind spatiul românesc de la începutul secolului al XIX-lea/ The Image of the Other : A French Document about the Romanian Space in the beginning of the XIXth Century). Journal for the Study of Religions and Ideologies 4 (12):41-48.
    The article comments upon the report written by the French captain Aubert about the Romanian space during the XIXth century. It analyses the richness of documentation data contained by the report, through the lenses of the historical anthropological categories of “the other’s image”. The author concludes that the report was elaborated in a period when French interests for the Romanian space was rising.
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  33.  2
    Jana Dudková (2013). An Image of Recurrent Time: Notes on Cinematic Image and the Gaze in Béla Tarr’s Sátántangó. Human Affairs 23 (1):21-31.
    The article deals with Béla Tarr’s longest film Sátántangó and examines relations between image, time and ways of looking, comparing it to Lászlo Krasznahorkai’s 1985 eponymous novel on which the film was based. It reveals connections between episodes and shots in Sátántangó that lead to a conception of time that passes extremely slowly. It is recurrent—leading toward similar, repetitive situations—but at the same represents an inability to change. The image in this film is often conceived as it is (...)
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  34.  15
    Reid A. Ashbaucher (ed.) (2011). Made in the Image of God: Understanding the Nature of God and Mankind in a Changing World. Innovo Pub..
    Christian Metaphysics - Made in the Image of God is a book for those that seek a deeper understanding in knowing who God is, and how we as human beings relate to him physically, emotionally, and spiritually in a metaphysical way, both now and in the future.
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  35.  3
    Steven Bernas (2006). La Croyance Dans L'Image. L'harmattan.
    Quelles sont les formes modernes de la croyance en l'image et de quelle manière le cinéma, la photographie, l'art-vidéo, travaillent sur les frontières de l'expérimentation et des mutations théoriques de l'image ?
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  36.  29
    James Elkins & Maja Naef (eds.) (2011). What is an Image? Pennsylvania State University Press.
    Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
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  37. San Juan & Rose Marie (2011). Vertiginous Mirrors: The Animation of the Visual Image and Early Modern Travel. Distributed in the United States Exclusively by Palgrave Macmillan.
    Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.
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  38. Jacques Khalip & Robert Mitchell (eds.) (2011). Releasing the Image: From Literature to New Media. Stanford University Press.
    It has become a commonplace that "images" were central to the twentieth century and that their role will be even more powerful in the twenty-first. But what is an image and what can an image be? _Releasing the Image_ understands images as something beyond mere representations of things. Releasing images from that function, it shows them to be self-referential and self-generative, and in this way capable of producing forms of engagement beyond spectatorship and subjectivity. This understanding of images (...)
     
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  39. James A. Knapp (2011). Image Ethics in Shakespeare and Spenser. Palgrave Macmillan.
    Introduction: image ethics -- Harnessing the visual: from illustration to ekphrasis -- From visible to invisible: Spenser's Aprill and messianic ethics -- Looking for ethics in Spenser's Faerie queene -- "To look, but with another's eyes": translating vision in A midsummer night's dream -- The ethics of temporality in Measure for measure -- "Ocular proof" and the dangers of the perceptual faith -- "Disliken the truth of your own seeming": visual and ethical truth in The winter's tale.
     
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  40.  19
    Regina-Nino Kurg (2014). Edmund Husserl's Theory of Image Consciousness, Aesthetic Consciousness, and Art. Dissertation, University of Fribourg
    The central theme of my dissertation is Husserl’s phenomenological analysis of how we experience images. The aim of my dissertation is twofold: 1) to offer a contribution to the understanding of Husserl’s theory of image consciousness, aesthetic consciousness and art, and 2) to find out whether Husserl’s theory of the experience of images is applicable to modern and contemporary art, particularly to strongly site-specific art, unaided ready-mades, and contemporary films and theatre plays in which actors play themselves. Husserl’s commentators (...)
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  41.  6
    John Lechte (2012). Genealogy and Ontology of the Western Image and its Digital Future. Routledge.
    Genealogy and ontology (paradigms) -- The image in photography and cinema and its digital future.
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  42.  25
    Yve Lomax (1981). Writing the Image: An Adventure with Art and Theory. I.B. Tauris.
    Brought together for the first time, these writings by visual artist and writer Yve Lomax are united by a common thread: they place writing itself--the written image--into the repertoire of visual art. The book both proposes and demonstrates this development. It also has a twofold purpose and function: it can be read and enjoyed as performance, often resembling poetry, thick with ideas, images and metaphors. It is also an original contribution to theoretical writing on the visual, particularly relating to (...)
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  43.  14
    Alison Ross (2014). Walter Benjamin’s Concept of the Image. Routledge.
    In this book, Alison Ross engages in a detailed study of Walter Benjamin’s concept of the image, exploring the significant shifts in Benjamin’s approach to the topic over the course of his career. Using Kant’s treatment of the topic of sensuous form in his aesthetics as a comparative reference, Ross argues that Benjamin’s thinking on the image undergoes a major shift between his 1924 essay on ‘Goethe’s Elective Affinities ,’ and his work on The Arcades Project from 1927 (...)
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  44.  12
    Anthony Uhlmann (2006). Samuel Beckett and the Philosophical Image. Cambridge University Press.
    Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This is the first study to carefully examine Beckett's thoughts on the image in his literary works and his extensive notes to the (...)
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  45.  77
    Robert Hopkins (1998). Picture, Image and Experience: A Philosophical Inquiry. Cambridge University Press.
    How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...)
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    Yu-Shan Chen (2008). The Driver of Green Innovation and Green Image – Green Core Competence. Journal of Business Ethics 81 (3):531 - 543.
    This study proposed a novel construct – green core competence – to explore its positive effects on green innovation and green images of firms. The results showed that green core competences of firms were positively correlated to their green innovation performance and green images. In addition, this research also verified two types of green innovation performance had partial mediation effects between green core competences and green images of firms. Therefore, investment in the development of green core competence was helpful to (...)
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    Robert J. Weber, Joe Kelley & Susan Little (1972). Is Visual Image Sequencing Under Verbal Control? Journal of Experimental Psychology 96 (2):354-362.
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  48. Jonathan Schaffer (2016). Grounding in the Image of Causation. Philosophical Studies 173 (1):49-100.
    Grounding is often glossed as metaphysical causation, yet no current theory of grounding looks remotely like a plausible treatment of causation. I propose to take the analogy between grounding and causation seriously, by providing an account of grounding in the image of causation, on the template of structural equation models for causation.
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    Hector Zenil, Jean‐Paul Delahaye & Cédric Gaucherel (2012). Image Characterization and Classification by Physical Complexity. Complexity 17 (3):26-42.
  50. Brian O'Shaughnessy (1998). Proprioception and the Body Image. In Jose Luis Bermudez, Anthony J. Marcel & Naomi M. Eilan (eds.), The Body and the Self. Cambridge: MIT Press 175--203.
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