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Profile: Alison F Ross (Monash University)
  1. Why is 'Speaking the Truth' Fearless? 'Danger' and 'Truth' in Foucault's Discussion of Parrhesia.Alison Ross - 2008 - Parrhesia: A Journal of Critical Philosophy 1 (4).
    This article is a critical examination of the approach to truth in Foucault’s late writing on the topic of ‘parrhesia’. I argue that his 1983 Berkeley seminar on ‘Discourse and Truth’ approaches the topic of truth as a positive value and that this approach presents, at least prima facie, a problem of continuity with his earlier critique of the presumption of an exclusionary relation between truth and power in works such as Discipline and Punish and The History of Sexuality: An (...)
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  2.  23
    The Aesthetic Paths of Philosophy: Presentation in Kant, Heidegger, Lacoue-Labarthe, and Nancy.Alison Ross - 2007 - Stanford University Press.
    This book examines the ways that Heidegger, Lacoue-Labarthe, and Nancy adopt and reconfigure the Kantian understanding of "aesthetic presentation." In Kant, "aesthetic presentation" is understood in a technical sense as a specific mode of experience within a typology of different spheres of experience. This study argues that Heidegger, Lacoue-Labarthe, and Nancy generalize the elements of this specific mode of experience so that the aesthetic attitude and the vocabulary used by Kant to describe it are brought to bear on things in (...)
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  3.  13
    Spinoza in Paris - The French Evaluation Machine.Alison Ross - unknown
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  4.  29
    Historical Undecidability: The Kantian Background to Derrida's Politics.Alison Ross - 2004 - International Journal of Philosophical Studies 12 (4):375 – 393.
    This paper deals with Derrida's analysis of Kant's Critique of Judgment in his essay 'Economimesis'. I argue that Derrida's analysis of Kant's aesthetics can be used to describe the aporia within Kantian politics between rebellion and progressive revolutionary acts. The focus of my argument falls on examining how the recent debate over Derrida's ethics can be usefully considered from the background of this treatment of Kant. In particular, the analysis Derrida gives of Kant's aesthetics commits him to a series of (...)
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  5.  14
    Errant Beauty.Alison Ross - 2001 - International Studies in Philosophy 33 (2):87-104.
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  6.  29
    The Aesthetic Fable: Cinema in Jacques Rancière's 'Aesthetic Politics'.Alison Ross - 2009 - Substance 38 (1):128-150.
    Jacques Rancière relies on references to theatre and literature to articulate the modes in which meanings are communicated. It is because they are displaceable from bodies and dis-incorporable from things that these patterns of meaning are available to being picked up. But this also means that meaning occurs as a pattern of communication that is not entirely rational. Meaning, we might say, moulds as it communicates. Such references to theatre and literature are more than allegorical. The general orientation of Rancière’s (...)
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  7.  24
    Moral Metaphorics, or Kant After Blumenberg: Towards an Analysis of the Aesthetic Settings of Morality.Alison Ross - 2011 - Thesis Eleven 104 (1):40-58.
    This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.
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  8.  48
    The Modern Concept of Aesthetic Experience: From Ascetic Pleasure to Social Criticism.Alison Ross - 2010 - Critical Horizons 11 (3):333-339.
    This paper examines the use of “pleasure” as the distinguishing mark of aesthetic experience in post-Kantian philosophy. It shows how the distinctive features of aesthetic experience, such as pleasure, qualify this experience as a platform for social criticism. The key argument is that the autonomy of the aesthetic experience is not “false”, rather it is paradoxical in the strong sense that the fact of its communicative efficacy, which follows from distinctive, “autonomous” aesthetic features, necessarily loads it with functions and expectations (...)
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  9.  9
    The Ambiguity of Ambiguity in Benjamin's 'Critique of Violence'.Alison Ross - unknown
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  10.  15
    Gabriel Rockhill 'Radical History and the Politics of Art'.Alison Ross - unknown
  11.  41
    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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  12.  18
    Moral Metaphorics: Kant After Blumenberg.Alison Ross - 2011 - Thesis Eleven 104 (1):40-58.
    This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.
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  13.  17
    The Art of the Sublime.Alison Ross - 2005 - Philosophy Today 49 (1):33-45.
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  14.  33
    The Moral Efficacy of Aesthetic Experience: Figures of Meaning in the Moral Field.Alison Ross - 2010 - Critical Horizons 11 (3):397-417.
    This paper proposes to analyse the process that makes paths of action meaningful. It argues that this process is one of ‘figuration’. The term ‘figuration’ intends to outline how the experience of moral meaning is one that already positively marks out a field and to identify and analyse the mechanisms used for such marking and selection. It is my contention that these mechanisms predate the persuasion to a moral path; they are the process through which this path is constructed as (...)
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  15.  41
    'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different (...)
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  16.  14
    What is the Force of Law in Kant's Practical Philosophy?Alison Ross - 2009 - Parallax 51 (1):27-41.
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  17.  16
    Equality in the Romantic Art Form: The Hegelian Background to Jaques Ranciére's 'Aesthetic Revolution'.Alison Ross - unknown
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  18.  14
    The Kantian Sublime and the Problem of the Political.Alison Ross - unknown
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  19.  7
    Image-Politics: Jean-Luc Nancy's Ontological Rehabilitation of the Image.Alison Ross - unknown
    Nancy's writing on the image may be understood as a critical engagement with the traditions of modern aesthetics and classical theories of art. However, the starting point for his approach to the image indicates that his writing on this topic has much wider ambitions than the treatment of a regional aesthetic topic. Nancy defines the image as a mode of access to sense. Nancy attempts an ontological rehabilitation of the image, which reiterates the precepts of his conception of being as (...)
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  20.  14
    Agamben's Political Paradigm of the Camp: Its Features and Reasons.Alison Ross - 2012 - Constellations 19 (3):421-434.
    This article gives a critical account of Agamben's contention that the camp is the paradigm of 'bio-politics' in the west. It analyses the deficiencies of this paradigm by means of comparison with other approaches to juridical topics and political theory (e.g., the treatments of the topics of force and state power in liberalism and Foucault). First, I ask about the features Agamben ascribes to the camp space and in what respects they support his contention that the camp has general significance. (...)
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  21.  30
    Introduction to Monique David-Ménard on Kant and Madness.Alison Ross - 2000 - Hypatia 15 (4):77-81.
    : Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David-Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.
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  22.  12
    Jim Jarmusch's Dead Man.Amir Ahmadi & Alison Ross - 2012 - Angelaki 17 (4):179 - 192.
    Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...)
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  23.  25
    The Aesthetic Anomaly: Criticism, Art and Politics in European Philosophy (From Adorno to Ranciere).Alison Ross - unknown
  24.  4
    Walter Benjamin's Critique of the Category of Aesthetic Form: 'The Work of Art in the Age of its Technological Reproducibility' From the Perspective of Benjamin's Early Writing.Alison Ross - unknown
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  25.  10
    The Work of the Art-Work: Art After Heidegger's Origin of the Work of Art.Alison Ross - 2006 - Journal of the British Society for Phenomenology 37:199-215.
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  26.  10
    After Hegel: Art and Ontology in Nancy's Critique of Romanticism.Alison Ross - unknown
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  27.  10
    The Problem of the Image: Sacred and Profane Spaces in Walter Benjamin's Early Writing.Alison Ross - unknown
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  28.  10
    Aesthetics (Continental).Alison Ross - unknown
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  29.  9
    Gaston Bachelard (1884 - 1962) and Georges Canguilhem (1904 - 1995): Epistemology in France.Alison Ross & Amir Ahmadi - unknown
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  30.  9
    Michelangelo Antonioni: Aestheticising Time and Experience in The Passenger.Alison Ross - unknown
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  31.  2
    The Art of the Sublime: Lyotard and the Politics of the Avant-Garde.Alison Ross - 2005 - Philosophy Today 49 (1):33-45.
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  32.  9
    The Image: Historical, Conceptual, Aesthetic, Moral.Alison Ross - unknown
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  33.  9
    Expressivity, Literarity, Mute Speech.Alison Ross - 2012 - In Jean-Philippe Deranty (ed.), Jacques Rancière: Key Concepts.
  34.  5
    Jacques Rancière and the Contemporary Scene : The Philosophy of Radical Equality.Jean-Philippe Deranty & Alison Ross - unknown
    The book forms the first critical study of Jacques Rancière’s impact and contribution to contemporary theoreticaland interdisciplinary studies. It showcases the work of leading scholars infields such as political theory, history and aesthetic theory; each of whom areuniquely situated to engage with the novelty of Rancière’s thinking withintheir respective fields. Each of the essays provides aninvestigation into the critical stance Rancière takes towards hiscontemporaries, concentrating on the versatile application of his thought todiverse fields of study. The aim ofthis collection is (...)
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  35.  8
    Jacques Ranciere and the Contemporary Scene: The Evidence of Equality and the Practice of Writing.Jean-Philippe Deranty & Alison Ross - unknown
  36.  5
    Lacan, Jacques (1901-81).Alison Ross - unknown
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  37.  4
    Historical Citation and Revolutionary Epistemology.Alison Ross - 2015 - Journal of the Philosophy of History 9 (2):258-283.
    _ Source: _Volume 9, Issue 2, pp 258 - 283 This article defends the thesis that there are multiple points of exchange between the categories of “word” and “image” in Walter Benjamin’s Arcades Project. Benjamin describes the truth of the articulate wish of the past as “graphically perceptible” and the image as “readable.” In this respect the vocabulary of “word” and “image” that Benjamin’s early work had opposed are not just deployed in concert, but specific features of the vocabulary of (...)
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  38.  12
    Desire.Alison Ross - unknown
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  39.  2
    The Problem of the Image.Alison Ross - 2013 - Critical Horizons 14 (3):355-379.
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  40.  10
    Plato (Anti-Platonism).Alison Ross - unknown
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  41.  2
    Introduction to Monique David-Menard on Kant and Madness.Alison Ross - 2000 - Hypatia 15 (4):77-81.
    Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David-Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.
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  42.  2
    Introduction to Monique David-Ménard on Kant and Madness.Alison Ross - 2000 - Hypatia 15 (4):77-81.
    Ross examines the relation between thought and madness within the practical and theoretical wings of Kant's critical philosophy. She argues that the notion of critique is formulated as a guard against the tendency of thought to madness. She locates the significance of David-Ménard's essay on Kant's pre-critical works in the idea that Kant's own tendency to madness functions in these early works as a motivational principle for the mature, critical system.
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  43.  1
    The Image.Alison Ross - 2013 - Critical Horizons 14 (3):265-270.
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  44. Errant Beauty: Derrida and Kant on “Aesthetic Presentation”.Alison Ross - 2001 - International Studies in Philosophy 33 (2):87-104.
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  45. Practices of Form: Art – Philosophy – Life – History.Alison Ross - 2017 - Critical Horizons 18 (4):289-294.
    ABSTRACTThis article canvases some of the issues involved in the idea of form as a practice in Kant, Blumenberg and Foucault, and it also outlines the different contexts and approaches the individual papers collected in this Special Issue use to explore this idea.
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  46. The Agamben Effect.Alison Ross - 2008 - Duke University Press.
    Italian philosopher Giorgio Agamben—whose work has influenced intellectuals in political theory, political philosophy, legal theory, literature, and art—stands among the foremost intellectual figures of the modern era. Engaging with a range of thinkers from Carl Schmitt and Martin Heidegger to Jacques Rancière and Alain Badiou, Agamben considers some of the most pressing issues in recent history and politics. His work explores the relationship between the sovereign state and the politically marginalized _Homo Sacer_—exiles, refugees, prisoners of war, and others whom the (...)
     
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  47.  18
    Walter Benjamin’s Concept of the Image.Alison Ross - 2014 - 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 up until (...)
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  48. Walter Benjamin’s Concept of the Image.Alison Ross - 2016 - 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 up until his (...)
     
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