Search results for 'Scottish Cinema' (try it on Scholar)

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  1.  37
    John Marmysz (2011). Review of Scotland: Global Cinema: Genres, Modes and Identities. [REVIEW] Film-Philosophy 15 (2):159-165.
    A review of Scotland: Global Cinema, by David Martin-Jones.
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  2.  40
    Knud Haakonssen (1996). Natural Law and Moral Philosophy: From Grotius to the Scottish Enlightenment. Cambridge University Press.
    This major contribution to the history of philosophy provides the most comprehensive guide to modern natural law theory available, sets out the full background to liberal ideas of rights and contractarianism, and offers an extensive study of the Scottish Enlightenment. The time span covered is considerable: from the natural law theories of Grotius and Suarez in the early seventeenth century to the American Revolution and the beginnings of utilitarianism. After a detailed survey of modern natural law theory, the book (...)
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  3. Istvan Hont & Michael Ignatieff (eds.) (1983). Wealth and Virtue the Shaping of Political Economy in the Scottish Enlightenment. Monograph Collection (Matt - Pseudo).
    Wealth and Virtue reassesses the remarkable contribution of the Scottish Enlightenment to the formation of modern economics and to theories of capitalism. Its unique range indicates the scope of the Scottish intellectual achievement of the eighteenth century and explores the process by which the boundaries between economic thought, jurisprudence, moral philosophy and theoretical history came to be established. Dealing not only with major figures like Hume and Smith, there are also studies of lesser known thinkers like Andrew Fletcher, (...)
     
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  4.  31
    Gary Hatfield (1990). Scottish Common Sense in Germany, 1768-1800: A Contribution to the History of Critical Philosophy by Manfred Kuehn. [REVIEW] Isis: A Journal of the History of Science 81 (3):574-575.
    A review of: Manfred Kuehn. Scottish Common Sense in Germany, 1768-1800: A Contribution to the History of Critical Philosophy. (McGill-Queen's Studies in the History of Ideas.) xiv + 300 pp., app., bibl., index. Kingston, Ont./Montreal: McGill-Queen's University Press, 1987. $35.
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  5.  2
    Jaimie Arona Krems & R. I. M. Dunbar (2013). Clique Size and Network Characteristics in Hyperlink Cinema. Human Nature 24 (4):414-429.
    Hyperlink cinema is an emergent film genre that seeks to push the boundaries of the medium in order to mirror contemporary life in the globalized community. Films in the genre thus create an interacting network across space and time in such a way as to suggest that people’s lives can intersect on scales that would not have been possible without modern technologies of travel and communication. This allows us to test the hypothesis that new kinds of media might permit (...)
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  6.  3
    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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  7.  22
    Gerry Coulter (2010). Jean Baudrillard and Cinema: The Problems of Technology, Realism and History. Film-Philosophy 14 (2):6-20.
    Jean Baudrillard loved cinema and was fascinated by the collusions which occur between it and life. He also believed that technologies of virtualization and the pursuit of realism were deeply harmful to the quality of the cinematic image. Precisely at the time when cinema was subject to these forces he pointed out that it is coming to play a far more important role in the collective understanding of history than are the best scholarly histories. Because of the focus (...)
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  8.  3
    William Brown & David H. Fleming (2015). Voiding Cinema: Subjectivity Beside Itself, or Unbecoming Cinema in Enter the Void. Film-Philosophy 19:124-145.
    This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion (...)
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  9.  14
    Andrew Ryder (2013). Review Essay: Daniel Morgan, Late Godard and the Possibilities of Cinema. Journal of French and Francophone Philosophy 21 (2):158-162.
    A review of Daniel Morgan, Late Godard and the Possibilities of Cinema (Berkeley, CA: University of California Press, 2013).
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  10.  12
    Alexander Broadie (1990). The Tradition of Scottish Philosophy: A New Perspective on the Enlightenment. Barnes & Noble.
    Introduction The chief aim of this book is to give an account of two great periods in the history of Scottish culture. One is, inevitably, that of the ...
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  11.  19
    M. A. Stewart (ed.) (1990). Studies in the Philosophy of the Scottish Enlightenment. Oxford University Press.
    This collection of new papers on Scottish philosophy in the age of Hutcheson and Hume pays close attention to the study of context and the use of original historical sources as a key to philosophical interpretation. The book includes revolutionary new research on Hume's early reading in science and religion and its impact of his thought.
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  12.  27
    Alexander Broadie, Scottish Philosophy in the 18th Century. Stanford Encyclopedia of Philosophy.
    Philosophy was at the core of the eighteenth century movement known as the Scottish Enlightenment. The movement included major figures, such as Francis Hutcheson, David Hume, Adam Smith, Thomas Reid and Adam Ferguson, and also many others who produced notable works, such as Gershom Carmichael, George Turnbull, George Campbell, James Beattie, Alexander Gerard, Henry Home (Lord Kames) and Dugald Stewart. I discuss some of the leading ideas of these thinkers, though paying less attention than I otherwise would to Hume, (...)
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  13.  11
    Hunter Vaughan (2010). The Paradox of Film: An Industry of Sex, a Form of Seduction (Notes on Jean Baudrillard's Seduction and the Cinema). Film-Philosophy 14 (2):41-61.
    Jean Baudrillard, the misfit. Jean Baudrillard, who told us that the Gulf Warnever happened, who drew our attention to the perils of a civilization thatchoses to lead a virtual existence in an arena of images and simulacra - this isthe Baudrillard we are mostly familiar with. But Jean Baudrillard, thechampion of appearances? Baudrillard, more-feminist-than-the-feminists?This Baudrillard remains buried in the stacks of a prolific career spanningover forty years and involving some of the most radical systematicdeconstructions of Western culture, society and politics. (...)
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  14.  23
    Anna Caterina Dalmasso (2010). Il Rilievo Della Visione Movimento, Profondità, Cinema Ne Le Monde Sensible et Le Monde De L'Expression (Italian). Chiasmi International 12:83-110.
    Le relief de la vision. Mouvement, profondeur et cinéma dansLe monde sensible et le monde de l’expressionEst-il possible d’établir une connexion entre Le monde sensible et le monde de l’expression et la pensée du dernier Merleau-Ponty? De quelle manière une formulation germinale de la réflexion ontologique serait-elle présente dans le cours de 1953? Et quels sont les éléments de contact et de convergence qui permettent de retracer un tel lien?J’ai l’intention de proposer cette hypothèse à partir d’une considération du thème (...)
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  15.  16
    Alexander Broadie (2000). Why Scottish Philosophy Matters. Saltire Society.
    CHAPTER Introduction I do not take lightly the title of this book. I believe that Scottish philosophy matters greatly and my principal aim is to say why it ...
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  16.  11
    David B. Clarke (2009). Dreams Rise in Darkness: The White Magic of Cinema. Film-Philosophy 14 (2):21-40.
    This paper considers Baudrillard’s thought in relation to cinema. It begins with a discussion of the way in which Baudrillard’s work typically invokes film and of the consequent paucity of Baudrillardian studies of cinema, making reference to the literature on Blade Runner and The Matrix . It proceeds to excavate a fuller account of Baudrillard’s conception of cinema, drawing, initially, on Baudrillard’s use of the 1926 German silent film, The Student of Prague , in his conclusion to (...)
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  17.  13
    Alberto Brodesco (2013). Corpo nudo, deforme, violato. Un montaggio nelle Histoire(s) du cinéma di Jean-Luc Godard. Scienza and Politica. Per Una Storia Delle Dottrine 24 (47).
    L’articolo ragiona intorno al film-saggio Histoire(s) du cinéma (1988-1998) di Jean-Luc Godard e si sofferma in particolare su un controverso montaggio in cui il regista francese accosta estratti da un film pornografico, Freaks di Tod Browning e riprese dai campi di concentramento. In questa sequenza Godard sottopone a una verifica estrema la sua teoria del montaggio, l’idea della riconciliazione, destinata a produrre scintille di pensiero, tra realtà contrapposte. Questa forzatura delle immagini richiama un’analoga forzatura del testimone mostrata in una scena (...)
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  18.  7
    Jiewon Baek (2014). The Ethics of Uncovering Something Else in Histoire du Cinema. Journal of French and Francophone Philosophy 22 (1):40-60.
    In lieu of an abstract, here is the essay's opening paragraph: Marguerite Duras prefaces the second edition of Le navire night , from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light into (...)
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  19.  6
    Susana Viegas (2014). Deleuze, Leitor de Espinosa: Automatismo Espiritual E Fascismo No Cinema. Kriterion: Revista de Filosofia 55 (129):363-378.
    Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo (...)
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  20.  4
    Andréa França (2010). Cinema Documentário e Espectador em Cena. Logos 17 (1):05-16.
    From the point of view of the spectator, what singularizes the documentary cinema? This essay argues that documentary’s audience defines itself in relation to its capacity to judge. Documentary movies usually demands the public to untie themselves from the immersive condition in order to be put in situ. To address this question, we discuss films that invite the spectator not only judge its scenes, but the daily images of the world.
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  21. Manfred Kuehn (1980). Scottish Common Sense in Germany, 1768--1800: A Contribution to the History of Critical Philosophy. Dissertation, Mcgill University (Canada)
    This work attempts to show that the Scottish common sense philosophers Thomas Reid, James Oswald and James Beattie, had a substantial influence upon the development of German thought during the period of the late enlightenment. Their works were thoroughly reviewed in German philosophical journals and translated into German soon after they had appeared in English. Whether it was Mendelssohn, a rationalist, Lossius, a materialist, Feder, a sensationalist, Tetens, a critical empiricist, or Hamann and Jacobi, irrationalist philosophers of faith, important (...)
     
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  22.  10
    Alastair Renton (2006). Seeing the Point of Politics: Exploring the Use of CSAV Techniques as Aids to Understanding the Content of Political Debates in the Scottish Parliament. [REVIEW] Artificial Intelligence and Law 14 (4):277-304.
    Governments now recognise the potential for ICTs to improve the way in which they can engage with the population, whether conducting online consultations to elicit the people’s views on proposed policy, or disseminating information via websites. However, much of the information remains in text format, leaving the task of extracting data the viewer’s responsibility. This can be a daunting prospect, especially in the case of reports of parliamentary proceedings. In the past, Argument Visualisation techniques were used in training law students (...)
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  23.  4
    Júlio Cézar Adam (2012). Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to think on Science Fiction cinema as the cult of lived religion). Horizonte 10 (26):552-565.
    Da ficção científica para a ficção religiosa: ideias para pensar o cinema de ficção científica como o culto da religião vivida (From Science Fiction to Religious Fiction: ideas to think on Science Fiction cinema as the cult of lived religion). DOI - 10.5752/P.2175-5841.2012v10n26p552 Este artigo tem como objetivo refletir sobre a chamada religião vivida como uma forma de repensar o papel da teologia e das ciências da religião na contemporaneidade. O estudo da religião vivida será investigado na relação (...)
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  24.  3
    Fernando Morais da Costa (2010). Pode o cinema contemporâneo representar o ambiente sonoro em que vivemos? Logos 17 (1):94-106.
    Este texto pretende discutir a possibilidade do cinema representar o ambiente sonoro no qual vive o homem contemporâneo urbano. Tal questionamento parte do entendimento de que o contato cotidiano com os ruídos que nos cercam é matéria-prima fundamental para a produção cinematográfica atual, passando esses sons a ter presenças e funções narrativas cada vez maiores.
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  25.  1
    Paisley Livingston (2013). Cinema and the Artificial Passions: A Conversation with the Abbé Du Bos. Revista Portuguesa de Filosofia 69 (3-4):419-430.
    Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...)
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  26.  2
    Lance Wahlert (2013). The Burden of Poofs: Criminal Pathology, Clinical Scrutiny, and Homosexual Etiology in Queer Cinema. [REVIEW] Journal of Medical Humanities 34 (2):149-175.
    Given the resurgence of scientific studies on the etiology of homosexuality in the wake of the AIDS epidemic, this article considers the effects these studies had on contemporaneous queer filmmakers. By using the subject of criminality as a way to talk about homosexual causality, queer films of the 1990s illustrate that contemporary scientific studies on homosexuality were historically and politically situated in relation to cultural anxieties about other forms of deviance. This article focuses on films that dissect the hetero-normative tendency (...)
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  27.  2
    Cristiane Gutfreind & Helena Stigger (2013). A resistência armada: Lamarca e Marighella no cinema nacional. Logos 20 (1).
    O presente artigo estuda a ditadura militar no cinema brasileiro, e em especial, analisa a representação de dois líderes da esquerda armada: Carlos Marighella e Carlos Lamarca. O assassinato de Marighella foi evidenciado em filmes como Batismo de sangue (Helvécio Ratton, 2007) e Marighella, retrato falado de um guerrilheiro (Silvio Tendler, 2001). Assim como o caráter humanista de Lamarca foi destacado no filme Lamarca – o capitão da guerrilha (Sérgio Rezende, 1994). Portanto, partindo dessa identificação, buscamos estudar a relação (...)
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  28.  12
    Alexander Broadie (ed.) (2003). The Cambridge Companion to the Scottish Enlightenment. Cambridge University Press.
    The Cambridge Companion to the Scottish Enlightenment offers a philosophical perspective on an eighteenth-century movement that has been profoundly influential on western culture. A distinguished team of contributors examines the writings of David Hume, Adam Smith, Thomas Reid, Adam Ferguson, Colin Maclaurin and other Scottish thinkers, in fields including philosophy, natural theology, economics, anthropology, natural science and law. In addition, the contributors relate the Scottish Enlightenment to its historical context and assess its impact and legacy in Europe, (...)
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  29.  10
    Roger L. Emerson (2008). Essays on David Hume, Medical Men, and the Scottish Enlightenment: Industry, Knowledge, and Humanity. Ashgate Pub. Ltd..
    The world in which the Scottish Enlightenment took shape -- Archibald Campbell, 3rd Duke of Argyll (1682-1761) : patronage and the creation of the Scottish Enlightenment -- How many Scots were enlightened? -- What did eighteenth-century Scottish students read? -- Our excellent and never to be forgotten friend : David Hume (26 April 1711- 25 August 1776) -- Hume's intellectual development : part II, 1711-1762 -- Hume's histories -- Hume's economics -- Numbering the medics -- Numbers and (...)
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  30.  11
    James Fieser & James Oswald (eds.) (2000). Scottish Common Sense Philosophy: Sources and Origins. Thoemmes Press.
    The Scottish Common Sense School of philosophy emerged during the Scottish Enlightenment of the second half of the eighteenth century. The School’s principal proponents were Thomas Reid, James Oswald, James Beattie and Dugald Stewart. They believed that we are all naturally implanted with an array of common sense intuitions and these intuitions are in fact the foundation of truth. Their approach dominated philosophical thought in Great Britain and the United States until the mid nineteenth century. In recent years (...)
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  31. Laécio Almeida Gomes (2011). A filosofia eo cinema catástrofe:“O Dia depois de Amanhã” na relação Homem x Natureza. Cadernos Do Pet Filosofia 1 (2):p - 50.
    É possível estabelecer uma relação didática entre filosofia e cinema para ilustrar, esclarecer ou levantar instigantes discussões em torno dos conceitos e das idéias filosóficas. Ainda que a linguagem cinematográfica seja diferente os gêneros do cinema podem apresentar distintas formas da realidade humana de modo crítico e conciso, como por exemplo no cinema catástrofe, onde são evidenciadas as relações entre homem e natureza como mostra o filme “The Day After Tomorrow” de Roland Emmerich exposto neste artigo com (...)
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  32.  2
    James McCosh (1966). The Scottish Philosophy, Biographical, Expository, Critical, From Hutcheson to Hamilton. Hildesheim, Georg Olms.
    1875. McCosh, Eleventh President of Princeton University, he was a supporter of the Scottish School of Philosophy, and the work of Thomas Reid and Dugald ...
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  33. Trevor Ponech (2013). Cinema: Display, Medium, Work. Revista Portuguesa de Filosofia 69 (3-4):543-564.
    Resumo Neste artigo, tentar-se-á reconstruir e defender a noção de “especificidade média” que se refere ao cinema. Começar-se-á por discutir a ontologia de um certo tipo de exibição visual, geralmente encontrada em conexão com uma vasta gama de obras cinematográficas. Argumentar-se-á que estas exibições têm uma natureza essencial ou real. Obras construídas em torno de tais exibições estão aptas a manifestar certas qualidades e poderes peculiares. Assim, o “meio de cinema” consiste em parte, num tipo particular de meio (...)
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  34. Susana Viegas (2013). “Pensar o Cinema pelo Cinema”: Deleuze, Filosofia e Cinema. Uma Introdução. Revista Portuguesa de Filosofia 69 (3-4):491-504.
    Resumo Neste ensaio procuro analisar o movimento reversível que há entre cinema e filosofia no pensamento de Gilles Deleuze. A filosofia do cinema é um dos temas deleuzianos por excelência e Cinema 1 e Cinema 2, dois dos seus livros mais estudados. Porém, que papel teve o cinema no seu pensamento filosófico? Com o objectivo de analisar os diferentes tipos de interferências que ocorrem entre o campo estritamente filosófico e o campo não-filosófico, pretendo demonstrar de (...)
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  35.  4
    Giovanni Gellera (2013). The Philosophy of Robert Forbes: A Scottish Scholastic Response to Cartesianism. Journal of Scottish Philosophy 11 (2):191-211.
    In the second half of the seventeenth century, philosophy teaching in the Scottish universities gradually moved from scholasticism to Cartesianism. Robert Forbes, regent at Marischal College and King's College, Aberdeen, was a strenuous opponent of Descartes. The analysis of the philosophy of Forbes and of his teacher Patrick Gordon sheds light on the relationship between Scottish Reformed scholasticism and the reception of Descartes in Scotland.
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  36.  48
    Michael B. Gill (2010). From Cambridge Platonism to Scottish Sentimentalism. Journal of Scottish Philosophy 8 (1):13-31.
    The Cambridge Platonists were a group of religious thinkers who attended and taught at Cambridge from the 1640s until the 1660s. The four most important of them were Benjamin Whichcote, John Smith, Ralph Cudworth, and Henry More. The most prominent sentimentalist moral philosophers of the Scottish Enlightenment – Hutcheson, Hume, and Adam Smith – knew of the works of the Cambridge Platonists. But the Scottish sentimentalists typically referred to the Cambridge Platonists only briefly and in passing. The surface (...)
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  37.  7
    Emre Çağlayan (2016). Song Hwee Lim Tsai Ming-Liang and a Cinema of Slowness, Honolulu: University of Hawai’I Press, 240pp., and Lutz Koepnick On Slowness: Toward an Aesthetic of the Contemporary, New York: Columbia University Press, 336pp. [REVIEW] Film-Philosophy 19.
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  38.  54
    Craig Smith (2009). The Scottish Enlightenment, Unintended Consequences and the Science of Man. Journal of Scottish Philosophy 7 (1):9-28.
    It is a commonplace that the writers of eighteenth century Scotland played a key role in shaping the early practice of social science. This paper examines how this ‘Scottish’ contribution to the Enlightenment generation of social science was shaped by the fascination with unintended consequences. From Adam Smith's invisible hand to Hume's analysis of convention, through Ferguson's sociology, and Millar's discussion of rank, by way of Robertson's View of Progress, the concept of unintended consequences pervades the writing of the (...)
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  39.  14
    Remy Debes (2012). Recasting Scottish Sentimentalism: The Peculiarity of Moral Approval. Journal of Scottish Philosophy 10 (1):91-115.
    By founding morality on the particular sentiments of approbation and disapprobation, Shaftesbury, Hutcheson, Hume, and Smith implied that the nature of moral judgment was far more intuitive and accessible than their rationalist predecessors and contemporaries would, or at least easily could, allow. And yet, these ‘Sentimentalists’ faced the longstanding belief that the human affective psyche is a veritable labyrinth – an obstacle to practical morality if not something literally brutish in us. The Scottish Sentimentalists thus implicitly tasked themselves with (...)
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  40. Richard Olson (1975). Scottish Philosophy and British Physics, 1750-1880: A Study in the Foundations of the Victorian Scientific Style. Princeton University Press.
     
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  41.  10
    Toni Vogel Carey (2011). The 'Sub-Rational' in Scottish Moral Science. Journal of Scottish Philosophy 9 (2):225-238.
    Jacob Viner introduced the term ‘sub-rational’ to characterize the faculties – human instinct, sentiment and intuition – that fall between animal instinct and full-blown reason. The Scots considered sympathy both an affective and a physiological link between mind and body, and by natural history, they traced the most foundational societal institutions – language and law, money and property – to a sub-rational origin. Their ‘social evolutionism’ anticipated Darwin's ‘dangerous idea’ that humans differ from the lower animals only in degree, not (...)
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  42.  4
    William Brown (2016). Anna Backman Rogers American Independent Cinema: Rites of Passage and the Crisis Image, Edinburgh: Edinburgh University Press. Pp. 184. [REVIEW] Film-Philosophy 19.
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  43.  3
    Kevin L. Ferguson (2010). The Cinema of Control: On Diabetic Excess and Illness in Film. [REVIEW] Journal of Medical Humanities 31 (3):183-204.
    While not rare, films that represent diabetes must work around the disease’s banal invisibility, and images of diabetics in film are especially susceptible to metaphor and exaggeration. This essay is the first to outline a diabetic filmography, discussing medical and cinematic strategies for visualizing the disease as well as how the illness informs family plots and heroic characters in horror films. Doing so, it participates in a larger discussion of the manner in which film images of ill or disabled groups (...)
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  44.  21
    Nathaniel Wolloch (2006). The Status of Animals in Scottish Enlightenment Philosophy. Journal of Scottish Philosophy 4 (1):63-82.
    Abstract This article examines the consideration of animals by various eighteenth-century Scottish philosophers, with special attention given to the physician and philosopher John Gregory, who utilized the comparison of human beings with animals as a starting point for a discussion about human moral and social improvement. In so doing Gregory, like most of his contemporary fellow Scottish philosophers, exemplified the basic anthropocentrism of the common early modern consideration of animals.
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  45.  6
    Victoria Grace Walden (2015). Paul Cooke Contemporary German Cinema. Film-Philosophy 19.
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  46.  18
    Jon Baldwin (2010). Introduction - White Magic: Baudrillard and Cinema. Film-Philosophy 14 (2):1-5.
    An introduction to the special issue on Baudrillard with an overview of the articles included.
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  47.  24
    Jehanne-Marie Gavarini (2012). Cristina Johnston (2010) French Minority Cinema. Film-Philosophy 16 (1):287-291.
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  48.  12
    Michael J. Demoor (2006). The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics. Journal of Scottish Philosophy 4 (1):37-49.
    Abstract It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic (...)
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  49.  8
    Giovanni B. Grandi (2015). Providential Naturalism and Miracles: John Fearn's Critique of Scottish Philosophy. Journal of Scottish Philosophy 13 (1):75-94.
    According to Thomas Reid, the development of natural sciences following the model of Newton's Principia and Optics would provide further evidence for the belief in a provident God. This project was still supported by his student, Dugald Stewart, in the early nineteenth century. John Fearn , an early critic of the Scottish common sense school, thought that the rise of ‘infidelity’ in the wake of scientific progress had shown that the apologetic project of Reid and Stewart had failed. In (...)
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  50.  4
    Troy Michael Bordun (2015). Douglas Keesey Contemporary Erotic Cinema. Film-Philosophy 19.
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