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  1. The Hypocritical Imagination: Between Kant and Levinas.John Llewellyn - 1999 - Routledge.
    For philosophers such as Kant, the imagination is the starting point for all thought. For others, such as Wittgenstein, what is important is only how the word 'imagination' is used. In spite of the attention the imagination has received from major philosophers, remarkably little has been written about the radically different interpretations they have made of it. _The HypoCritical Imagination: Between Kant and Levinas_ is an outstanding contribution to this vaccuum. Focusing on Kant and Levinas, John Llewelyn takes us on (...)
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  2. Aesthetics.Colin Lyas - 1993 - Mcgill-Queen's University Press.
    The book includes engaging discussions of all of the areas central to aesthetics: aesthetic experience, representation, expression, the definition and ontology of art, evaluation, interpretation, truth, and morality. As well as providing a solid grounding in the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it presents the ideas of contemporary analytic thinkers, such as Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic views of continental theorists, such as Roland Barthes and Jacques Derrida. Concerned throughout with enhancing the reader's (...)
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  3. Apollo, Dionysus, Dialectical Reason and Critical Cinema.Adrian Konik - unknown
    The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an (...)
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  4. Introducing Aesthetics.Christopher Kul-Want - unknown
    My research and publishing has consistently been engaged with the relationship between art theory, aesthetics and philosophy - especially, Kantian and post-Kantian philosophy. The question of this relationship is central to my book ‘Introducing Aesthetics’ which introduces readers to the history of aesthetics and represents an original contribution to scholarship by arguing that aesthetics is not simply a branch of philosophy but the lynchpin of western thought in its transition from metaphysics to the radically atheistic idea of alterity. In this (...)
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  5. Architecture and Horror: Analogical Explorations in Architectural Design.S. Pickersgill - unknown
    This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges (...)
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  6. A Note on the Shadow Text (or Parerga).Neni Panourgia - unknown
    The author explains how the creation of a Web-based version of her book allowed her to make full use of parerga as a way to interrogate and dissent from the primary text, following in a philosophical tradition of the parergon that began in the 18th century with Nikolaos Mavrokordatos' Philotheou Parerga and has been further developed by Immanuel Kant, Arthur Schopenhauer, and Jacques Derrida, among others.
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  7. About the Jewish-Museum, Berlin.D. Libeskind, J. Derrida, J. Kipnis & C. Ingraham - 1992 - Research in Phenomenology 22 (1):95-102.
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  8. The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s.David Carrier - 1994 - Pennsylvania State University Press.
    In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In T_he Aesthete in the City_ David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, T. (...)
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  9. Jacques Derrida, The Truth in Painting Reviewed By.Irene E. Harvey - 1988 - Philosophy in Review 8 (12):475-477.
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  10. ‘Even the Ghost Was More Than One Person’: Hauntology and Authenticity in Todd Haynes' I'm Not There.Carolyn D'Cruz & Glenn D'Cruz - 2013 - Film-Philosophy 17 (1):315-330.
    If the opening sequence of a film is a microscopic 'event' that achieves far more than setting the tone and whetting the appetite for what we are about to see, then Todd Haynes' I'm Not There is exemplary. This paper works its way through the conceptually dense and intricately woven textual layers of the film's opening to stage a three-way dialogue between Haynes, Bob Dylan and Jacques Derrida: three mavericks who defy simple categorisation, by transgressing the boundaries of their respective (...)
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  11. Copy, Archive, Signature: A Conversation on Photography.Jacques Derrida - 2010 - Stanford University Press.
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  12. The Sovereignty of Art: Aesthetic Negativity in Adorno and Derrida.Christoph Menke - 1999 - MIT Press.
    Art is not only autonomous, following its own law, different from nonaesthetic reason, but sovereign: it subverts the rule of reason.In this book Christoph Menke attempts to explain art's sovereign power to subvert reason without falling ...
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  13. Memoirs of the Blind: The Self-Portrait and Other Ruins.Jacques Derrida - 1993 - University of Chicago Press.
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  14. Figuring Diachrony: Ethics Before the Voice.Brent Graeme Harris - unknown
    This PhD project engages the fields of contemporary art, performance studies and performance philosophy. It explores participation and the relation of ethics to politics, through performance art works in public places. The research developed through a series of performances by the researcher, the researcher’s participation in performances of others, and in the writing of this exegesis. The project engages a reference field occurring among selected texts of the ‘ethics as first philosophy’ of contemporary philosopher Emmanuel Levinas, selected texts of Jacques (...)
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  15. Cinema-Graphia: Eisenstein, Derrida, and the Sign of Cinema.Laura Oswald - 1994 - In Peter Brunette & David Wills (eds.), Deconstruction and the Visual Arts: Art, Media, Architecture. Cambridge University Press. pp. 248--263.
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  16. The Sublime, Terror and Human Difference.Christine Battersby & Kimberly Hutchings - 2008 - Radical Philosophy 148:43.
    Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of The Sublime, Terror and Human Difference is its (...)
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  17. Laura Dern's Vomit, or, Kant and Derrida in Oz.Eugenie Brinkema - 2011 - Film-Philosophy 15 (2):51-69.
    This article explores the role of disgust in Kant’s aesthetic philosophy, Derrida’s deconstruction of Kant’s third Critique in his article 'Economimesis,' and the figure of vomit in two films by David Lynch in order to argue for the ethical possibilities of not giving ground relative to one’s disgust—what I term an ethics of the worse than the worst.
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  18. The Fate of Art. Aesthetic Alienation From Kant to Derrida and Adorno. [REVIEW]Kimberly Hutchings - 1994 - Philosophical Books 35 (1):68-70.
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  19. Eyes Through Oil.Andrew Reszitnyk - 2012 - Environmental Philosophy 9 (2):143-157.
    This paper evaluates Jacques Derrida’s startling claim that “the relations between humans and animals must change . . . both in the sense of an ‘ontological’ necessity and of an ‘ethical’ duty,” through an assessment of the ethical appeal emitted by nonhuman witnesses of catastrophe. Drawing upon contemporary theories of ethics, photography, and animality, it analyzes Charley Riedel’s iconic 2010 photograph of a bird covered in oil in the Gulf of Mexico, arguing that attending to visual testaments to disaster is (...)
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  20. The Traumatic Origins of Representation.Peter Poiana - 2013 - Continental Philosophy Review 46 (1):1-19.
    The debate regarding representation is haunted by the fact that it takes place within a context of general suspicion whereby everything, it is claimed, is always representation. Such is the hurdle that Foucault identifies and Derrida attempts to elucidate in his debate with Heidegger, in which he takes issue with Heidegger’s critique of the “age of representation.” Derrida’s deconstruction of Heidegger’s account of the history of representation leads to a reconstruction that privileges the motifs of dissemination, of envoi (sending or (...)
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  21. Contributing to the Development of Postmodern Critical Theory with Eastern Philosophy.Jae Seong Lee - 2008 - Proceedings of the Xxii World Congress of Philosophy 26:69-75.
    This paper concerns broadly with the works of such ethical postmodern theorists as Jacques Derrida, Emmanuel Levinas, Giles Deleuze, focusing on how we can contribute to the development of their ideas by discussing Laozi and Zhuanzi’s Taoism, Buddhism, and modern Korean Neo-Confucianism of Toe-gae Lee. I claim that for criticism and art, literature, film and culture as well as philosophy itself, we are now facing this new need of another notion of subjectivity that not only accepts difference but takes the (...)
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  22. Derridean Justice and the DJ: A Classroom Impossibility? Dale - 2012 - Philosophy of Music Education Review 20 (2):135-153.
  23. Dossier Chris Marker: The Suffering Image.Gavin Keeney - 2012 - Cambridge Scholars Press.
    This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...)
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  24. Aesthetics in Deconstruction: Derrida's Reception of Kant's Critique of Judgment.Jeffrey S. Librett - 2012 - Philosophical Forum 43 (3):327-344.
  25. Writing Which Writes Images.Peter Michalovič - 2000 - Theoria 15 (3):463-479.
    Traditionally, the picture has been the archetype of all signs, even the word. Contemporary philosophy is beginning to doubt the traditional understanding of the sign as present existence which represents absent existence. The sign ceases to be limited to reference and retreats in favour of inference -that which surrounds the sign; that is to say, other signs. This trend is most apparent in the deconstruction of Jacques Derrida and is also implicit in Gombrich's Art and Illusion. The aim of the (...)
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  26. Skin/Ned Politics: Species Discourse and the Limits of “The Human” in Nandipha Mntambo's Art.Ruth Lipschitz - 2012 - Hypatia 27 (3):546-566.
    In this paper I focus on recent artworks by South African artist Nandipha Mntambo. I read these for the ways in which the discourse of species works within and against the humanist sacrificial economy of the subject that Jacques Derrida calls “carno-phallogocentric”. Drawing on Derrida's “metonymy of ‘eating well,'” Achille Mbembe's analysis of colonial violence, and Julia Kristeva's theory of abjection, I argue that these works inscribe and disturb a speciesist, sexual, and racial politics of animalization, and do so by (...)
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  27. Music, Phenomenology, Time Consciousness: Meditations After Husserl.David Clarke - 2011 - In David Clarke & Eric F. Clarke (eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford University Press. pp. 1-28.
    David Clarke examines the complex relationship between phenomenological and semiological understandings of music and consciousness through the window of time. He also explores the polar tension between Husserl's phenomenology and Derrida's critique of it, considering what the experience of music might have to offer in response to the crucial question of what is most primordial or essential to consciousness: the unceasing, differential movement of meaning, or some pure flow of subjectivity that underpins all our experience.
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  28. Postmodernism: Barthes and Derrida.David Novitz - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
  29. “For the Creation Waits with Eager Longing for the Revelation”.Leonard Lawlor - 2006 - Epoché: A Journal for the History of Philosophy 10 (2):359-377.
    Blindness has been a pervasive theme throughout Derrida’s career. But Derrida uses the word “blindness” only once in the title of one his works. This text is, ofcourse, Memoirs of the Blind, Mémoires d’aveugle, an essay he wrote for the catalogue for an exhibition he organized at the Louvre in 1990. I argue that Memoirs of the Blind is more than just a phase in Derrida’s deconstruction of the metaphysics of presence. Instead, it opens a larger, more ambitious project that (...)
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  30. Derrida for Architects.Richard Coyne - 2011 - Routledge.
    Prologue -- Thinking about architecture -- Language and architecture -- Intertextuality and metaphor -- Derrida on architecture -- Other spaces -- Derrida and radical practice.
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  31. The Art of Truth.Gregory Schufreider - 2010 - Research in Phenomenology 40 (3):331-362.
    In The Truth in Painting , Derrida insists that Heidegger's treatment of “a famous picture by Van Gogh” marks “a moment of pathetic collapse.” While we would agree, we would insist that this example does not render Heidegger's entire philosophy of art suspect. Instead, if his reading of Van Gogh's painting is “derisory and symptomatic,” it is nonetheless “significant,” if only insofar as it provides an indication of Heidegger's underestimation of the plastic arts in favor of the elevation of poetry—an (...)
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  32. The Construction of Architecture.Tim Gough - unknown
    This paper will proceed, via a brief discussion of Hans-Georg Gadamer’s anti-aesthetics of architecture, to outline why the architectural metaphor in philosophy is never simply a metaphor, using as a guide the critique of origins and sources contained in Jacques Derrida’s essay Qual Quelle. The question will be raised as to whether the tools and structures of philosophy, such as the difference between materiality and non-materiality, abstract thought and practice, are entirely adequate to architectural debate; and whether, in questioning these (...)
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  33. Athens, Still Remains: The Photographs of Jean-François Bonhomme.Jacques Derrida - 2010 - Fordham University Press.
    At once photographic analysis, philosophical essay, and autobiographical narrative, Athens, Still Remains presents an original theory of photography and throws a fascinating light on Derrida's life and work.The book begins with a sort of ...
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  34. Derrida, Deleuze and Haptic Aesthetics.Claire Colebrook - 2009 - Derrida Today 2 (1):22-43.
    In On Touching Derrida locates Jean-Luc Nancy (and, briefly, Gilles Deleuze) within a tradition of haptic ethics and aesthetics that runs from Aristotle to the present. In his early work on Husserl, Derrida had already claimed that phenomenology's commitment to the genesis of sense and the sensible is at one and the same time a commitment to pure and rigorous philosophy at the same time as it threatens to over-turn the primacy of conceptuality and cognition.Whereas Nancy (and those other figures (...)
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  35. Derrida's Writing-Theatre: From the Theatrical Allegory to Political Commitment.Alison Ross - 2008 - Derrida Today 1 (1):76-94.
    This article analyses some of the shifts in tone and argumentation in Derrida's work by comparing the treatment of the topics of theatre and theatrical representation in his early writing on literary and philosophical texts with the conception of a politically committed ‘ethics’ in his late work. The topic of theatrical representation is particularly useful for a critical assessment of Derrida's later ethics because it allows us to give careful consideration to his position on different types of, and contexts for, (...)
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  36. The Rhythm of Laughter: Derrida's Contribution to a Syntactic Model of Interpretation.Julia Ponzio - 2009 - Derrida Today 2 (2):234-244.
    The focus of this paper is Derrida's idea of rhythm. I will analyse how the idea of rhythm can work in a contemporary semiotic, and in particular in a semiotic of interpretation, in order to eliminate the confusion between interpretation and semantics and to constitute a syntactic model of interpretation. In ‘The Double Session’ Derrida uses the Greek word rytmos in order to indicate the ‘law of spacing’. Rytmos is a form that is always about to change or to break (...)
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  37. Displacement, Space and Dwelling: Placing Gentrification Debate.Mark Davidson - 2009 - Ethics, Place and Environment 12 (2):219 – 234.
    This paper is concerned with the conceptualisations of space which underlie debate of gentrification-related displacement. Using Derrida's concept of the spatial metaphor, the paper illuminates the Cartesian understandings of space that act as architecture for displacement debate. The paper corrects this through arguing that the philosophy of Heidegger and Lefebvre better serves to understand displacement. Emphasising the topology of Heidegger's Dasein and, following Elden, relating this to Lefebvre's understanding of space, the paper 'constructs' displacement in a way that avoids the (...)
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  38. Derrida Reframed: A Guide for the Arts Student.Kevin Malcolm Richards - 2008 - I. B. Tauris.
    This guide explains Derrida’s key concepts through examples from across the whole spectrum of the arts, looking at the work of architects such as Bernard ...
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  39. Deconstructive Ethics : Derrida, Dreyer, Responsibility.Libby Saxton - 2010 - In Lisa Downing (ed.), Film and Ethics: Foreclosed Encounters. Routledge.
  40. Film and Ethics: Foreclosed Encounters.Lisa Downing - 2010 - Routledge.
    Film Ethics considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, ...
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  41. The Possibility of Puns: A Defense of Derrida.Gordon C. F. Bearn - 1995 - Philosophy and Literature 19 (2):330-335.
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  42. Deconstruction and the Visual Arts: Art, Media, Architecture.Peter Brunette & David Wills (eds.) - 1993 - Cambridge University Press.
    Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking (...)
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  43. Paraesthetics: Foucault, Lyotard, Derrida.David Carroll - 1987 - Methuen.
    Paraesthetics' is a neologism invented by David Carroll to unlock the extra-aesthetic relationship between art and literature in the work of Michel Foucault, ...
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  44. The Deaths of Roland Barthes.Jacques Derrida - 1988 - In Hugh J. Silverman (ed.), Philosophy and Non-Philosophy Since Merleau-Ponty. Routledge.
  45. The Truth in Painting.Jacques Derrida - 1987 - University of Chicago Press.
    "The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and (...)
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  46. Derrida and the Truth of Drawing: Another Copernican Revolution?Eliane Escoubas - 2006 - Research in Phenomenology 36 (1):201-214.
    I begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I note the high points (...)
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  47. The Genealogy of Aesthetics.Ekbert Faas - 2002 - Cambridge University Press.
    Is it body or spirit that makes us appreciate beauty and create art? The distinguished Canadian critic Ekbert Faas argues that, with occasional exceptions like Montaigne and Mandeville, the mainstream of western thinking about beauty from Plato onwards has overemphasised the spirit, or even execrated the body and sexuality as inimical to the aesthetic disposition. The Genealogy of Aesthetics redresses this imbalance via a radical re-reading of seminal thinkers like Plato, Augustine, Kant, Hegel, Marx, Heidegger and Derrida. Professor Faas attacks (...)
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  48. Iconoclasm in Aesthetics.Michael Kelly - 2003 - Cambridge University Press.
    Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.
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  49. Review: Crawford, Kant's Aesthetic Theory. [REVIEW]Catherine Lord - 1976 - Journal of the History of Philosophy 14 (4):483-486.
    This book provides an accessible account of Kant's aesthetic theory, classifying the epistemological status and scope of Kant's justification of the validity of aesthetic judgments. The latter, the book shows, led Kant to investigate the relationship between beautiful objects, subjects, and morality. The book pursues these and related issues, linking Kant's work to contemporary commentaries,including those by Crawford, Crowther, Derrida, Guyer, Makkreel, and Rogeson.
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  50. Derrida and the Scene of Drawing.Michael Newman - 1994 - Research in Phenomenology 24 (1):218-234.
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