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Profile: James I. Porter (University of California, Irvine)
  1. James I. Porter (forthcoming). Past Times. Classical Review.
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  2. James I. Porter (forthcoming). Untimely Meditations: Nietzsche's Zeitatomistik in Context. Journal of Nietzsche Studies.
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  3. James I. Porter (forthcoming). What Is" Classical" About Classical Antiquity? Eight Propositions. Arion 13 (1).
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  4. James I. Porter (2012). Discipline and Punish: Some Corrections to Boyle. Foucault Studies 14:179-195.
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  5. James I. Porter (2012). Nietzsche's Genealogy as Performative Critique. In Ruth Sonderegger & Karin de Boer (eds.), Conceptions of Critique in Modern and Contemporary Philosophy. Palgrave Macmillan.
     
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  6. James I. Porter (2011). " Don't Quote Me on That!": Wilamowitz Contra Nietzsche in 1872 and 1873. Journal of Nietzsche Studies 42 (1):73-99.
  7. James I. Porter (2011). Nietzsche, die griechen und die philologie. Nietzsche-Studien 40 (1).
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  8. James I. Porter (2011). Review of Oleg V. Bychkov, Anne Sheppard (Eds., Trs.), Greek and Roman Aesthetics. [REVIEW] Notre Dame Philosophical Reviews 2011 (3).
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  9. James I. Porter (2010). Theater of the Absurd. American Catholic Philosophical Quarterly 84 (2):313-336.
    The paper seeks to demystify Nietzsche’s concept of genealogy. Genealogy tells the story of historical origins in the form of a myth that is betrayed fromwithin, while readers have naively assumed it tells a story that Nietzsche endorses—whether of history or naturalized origins. Looked at more closely, genealogy,I claim, tells the story of human consciousness and its extraordinary fallibility. It relates the conditions and limits of consciousness and how these are activelyavoided and forgotten, for the most part in vain. The (...)
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  10. James I. Porter (2010). (V.) Binder, (M.) Korenjak, (B.) Noack (edd., trans.) Epitaphien. Tod, Totenrede, Rhetorik. Auswahl, Übersetzung und Kommentar. (Subsidia Classica 10). Pp. x + 358. Rahden/Westf.: Verlag Marie Leidorf, 2007. Paper, €39.80. ISBN: 978-83-86757-182-. [REVIEW] The Classical Review 60 (01):306-.
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  11. James I. Porter (2009). Is Art Modern? Kristeller's ‘Modern System of the Arts’ Reconsidered. British Journal of Aesthetics 49 (1):1-24.
    The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither a system nor an agreed (...)
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  12. James I. Porter (2009). Reply to Shiner. British Journal of Aesthetics 49 (2):171-178.
    Larry Shiner has risen to an impassioned defence against my criticisms of an iconic figure, claiming that I have ‘misrepresent[ed] Kristeller's central aim’ and therefore missed ‘the real shortcomings of Kristeller's essay’ and ‘obscure[d] substantive issues behind simplistic dichotomies’. These, and a series of disagreements over countless small details, take up the first part of his reply. He then proceeds to summarize his own book's achievements in correcting Kristeller's shortcomings. Shiner acknowledges difficulties in Kristeller's formulations, but accepts their purport and (...)
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  13. Katharina Lorenz, Erwin Panofsky, Bill Nichols, Kent Puckett, James I. Porter, Wendy Hui Kyong Chun & Jacques Rancière (2008). 2.On the Relationship of Art History and Art Theory': Translators' IntroductionOn the Relationship of Art History and Art Theory': Translators' Introduction (Pp. 33-42). [REVIEW] Critical Inquiry 35 (1).
     
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  14. James I. Porter (2008). Erich Auerbach and the Judaizing of Philology. Critical Inquiry 35 (1):115-147.
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  15. James I. Porter (2007). Lucretius and the Sublime. In Stuart Gillespie & Philip R. Hardie (eds.), The Cambridge Companion to Lucretius. Cambridge University Press. 167--84.
     
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  16. James I. Porter (2007). Lasus of Hermione, Pindar and the Riddle of S. Classical Quarterly 57 (01):1-.
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  17. James I. Porter (2007). Struck (P. T.) Birth of the Symbol. Ancient Readers at the Limits of Their Texts. Pp. Xiv + 316. Princeton and Oxford: Princeton University Press, 2004. Cased, £26.95. ISBN: 978-0-691-11697-. [REVIEW] The Classical Review 57 (01):50-.
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  18. James I. Porter (2003). Past times G. cajani, D. Lanza (edd.): L'antico degli antichi . Pp. 181, ills. Rome: Palumbo, 2001. Paper, €15.49. Isbn: 88-8020-298-. [REVIEW] The Classical Review 53 (02):470-.
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  19. James I. Porter (2000). After Philology. New Nietzsche Studies 4 (1-2):33-76.
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  20. James I. Porter (2000). The Invention of Dionysus: An Essay on the Birth of Tragedy. Stanford University Press.
    Rather than representing a break with his earlier philosophical undertakings, The Birth of Tragedy can be seen as continuous with them and Nietzsche's later works. James Porter argues that Nietzsche's argumentative and writerly strategies resemble his earlier writings on philology in his 'staging' of meaning rather than in his advocacy of various positions. The derivation of the Dionysian from the Apollinian, and the interest in the atomistic challenges to Platonism, are anticipated in earlier works. Also the theory of the all-too-human (...)
     
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  21. James I. Porter (1998). Unconscious Agency in Nietzsche. Nietzsche-Studien 27 (1).
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  22. James I. Porter (1995). The Invention of Dionysus and the Platonic Midwife: Nietzsche's. Journal of the History of Philosophy 33 (3).
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  23. James I. Porter (1995). The Invention of Dionysus and the Platonic Midwife: Nietzsche's Birth of Tragedy. Journal of the History of Philosophy 33 (3):467-497.
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  24. James I. Porter (1994). Nietzsche's Rhetoric: Theory and Strategy. Philosophy and Rhetoric 27 (3):218 - 244.
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  25. James I. Porter (1993). The Seductions of Gorgias. Classical Antiquity 12 (2):267-299.
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