Results for 'Diarmuid O'Murchu'

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  1.  13
    Diarmuid O'Murchu, La Vie Religieuse Revue Et Corrigée. Des Paradigmes En Mutation. Ottawa, Les Éditions Novalis, 2008, 239 P.Diarmuid O'Murchu, La Vie Religieuse Revue Et Corrigée. Des Paradigmes En Mutation. Ottawa, Les Éditions Novalis, 2008, 239 P. [REVIEW]Rick van Lier - 2010 - Laval Théologique et Philosophique 66 (3):629-631.
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  2.  3
    Spirituality: Daring New Horizons.Diarmuid O'Murchu - 2015 - Horizonte 13 (37).
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  3. Teilhard : A Mystical Survivor.Diarmuid O'Murchù - 2006 - In Celia Deane-Drummond (ed.), Pierre Teilhard De Chardin on People and Planet. Equinox.
     
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  4.  3
    Computation and Blending.Tony Veale & Diarmuid O'donoghue - 2001 - Cognitive Linguistics 11 (3-4).
  5.  53
    “Beyond Standard Legal Positivism and ‘Aggressive’ Natural Law: Some Thoughts on Judge’ O’Scannlain’s ‘Third Way’”.Michael Baur - 2011 - Fordham Law Review 79 (4):1529-1539.
    With his contribution on "The Natural Law in the American Tradition," Judge Diarmuid O'Scannlain has begun the indispensable task of laying the groundwork for sound jurisprudential reasoning in the natural law tradition. It is on the basis of this groundwork that we can begin to appreciate what natural law reasoning might mean, and what it does not mean, for contemporary American legal thinking. More specifically, it is on the basis of this groundwork that one can begin to articulate what (...)
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  6.  53
    Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice.Francis Halsall, Julia Jansen & Tony O'Connor (eds.) - 2008 - Stanford University Press.
    _Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it provides (...)
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  7.  32
    What's So New About the “New” Theory of Photography?Diarmuid Costello - 2017 - Journal of Aesthetics and Art Criticism 75 (4):439-452.
    This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...)
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  8. On Photography: A Philosophical Inquiry.Diarmuid Costello - 2017 - Routledge.
    What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...)
     
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  9. Automatism, Causality and Realism: Foundational Problems in the Philosophy of Photography.Diarmuid Costello & Dawn M. Phillips - 2009 - Philosophy Compass 4 (1):1-21.
    This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...)
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  10. Anglo-Saxon/Irish Relations Before the Vikings.James Graham-Campbell & Michael Ryan - 2009 - British Academy.
    Part I: History, Law, Language and Literature1.: Patrick P. O'Neill: The Irish role in the origins of the Old English alphabet: a re-assessment2.: Roy Flechner: An Insular tradition of ecclesiastical law: fifth to eighth century3.: Diarmuid Scully: Bede's Chronica Maiora: early Insular history in a universal context4.: Damian Bracken: Rome and the Isles: Ireland, England and the Rhetoric of Orthodoxy5.: Paul Russell: 'Ye shall know them by their names': names and identity among the Irish and the English6.: Juliet Mullins: (...)
     
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  11. On Late Style: Arthur Danto’s the Abuse of Beauty.Diarmuid Costello - 2004 - British Journal of Aesthetics 44 (4):424-439.
    cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...)
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  12.  18
    Danto and Kant, Together at Last?Diarmuid Costello - unknown
  13.  29
    On the Very Idea of a ‘Specific’ Medium: Michael Fried and Stanley Cavell on Painting and Photography as Arts.Diarmuid Costello - 2008 - Critical Inquiry 34 (2):274-312.
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  14.  48
    The Question Concerning Photography.Diarmuid Costello - 2012 - Journal of Aesthetics and Art Criticism 70 (1):101-113.
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  15.  7
    III“But I Am Killing Them!” Reply to Charles Palermo and Jan Baetens on Agency and Automatism.Diarmuid Costello - 2014 - Critical Inquiry 41 (1):178-210.
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  16. Greenberg's Kant and the Fate of Aesthetics in Contemporary Art Theory.Diarmuid Costello - 2007 - Journal of Aesthetics and Art Criticism 65 (2):217–228.
  17. Art: Key Contemporary Thinkers.Diarmuid Costello & Jonathan Vickery (eds.) - 2007 - Berg.
    The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been more popular, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of leading thinkers (including artists) who are having a major impact on making, criticizing and interpreting art. Each entry, written by a leading international expert, presents a concise, critical appraisal of a thinker and their contribution to thought about art and its place in the (...)
     
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  18.  18
    Catholic Social Teaching and Human Work: The 25th Anniversary of Laborem Exercens.Diarmuid Martin - 2009 - Journal of Catholic Social Thought 6 (1):5-17.
  19.  19
    Introduction : Photography After Conceptual Art.Diarmuid Costello & Margaret Iversen - unknown
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  20.  16
    Pictures, Again.Diarmuid Costello - unknown
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  21. Anglo-Saxon/Irish Relations Before the Vikings.Scully Diarmuid - 2009
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  22.  17
    Bede's Chronica Maiora: Early Insular History in a Universal Context.Diarmuid Scully - 2009 - In Anglo-Saxon/Irish Relations before the Vikings. pp. 47.
    This chapter examines the early insular history of Bede's Chronica Maiora in a universal context. It considers Bede's treatment of salvation history in the Chronica Maiora's account of the archipelago in the era of the Roman conquest and the barbarian invasions, viewed within the context of contemporary world history. The chapter explains that the Chronica Maiora is located in Bede's magisterial survey of divine and human time and traces the providential unfolding of universal history through the six ages of this (...)
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  23.  39
    Précis of O'Keefe & Nadel's The Hippocampus as a Cognitive Map.John O'Keefe & Lynn Nadel - 1979 - Behavioral and Brain Sciences 2 (4):487-494.
    Theories of spatial cognition are derived from many sources. Psychologists are concerned with determining the features of the mind which, in combination with external inputs, produce our spatialized experience. A review of philosophical and other approaches has convinced us that the brain must come equipped to impose a three-dimensional Euclidean framework on experience – our analysis suggests that object re-identification may require such a framework. We identify this absolute, nonegocentric, spatial framework with a specific neural system centered in the hippocampus.A (...)
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  24. Diarmuid Costello i Jonathan Vickery rh.Jm Bernstein & Tj Clark - 2007 - In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg. pp. 218.
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  25.  54
    Automat, Automatic, Automatism: Rosalind Krauss and Stanley Cavell on Photography and the Photographically Dependent Arts.Diarmuid Costello - 2012 - Critical Inquiry 38 (4):819-854.
    How might philosophers and art historians make the best use of one another's research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss's late appeal to Cavell's notion of automatism to argue (...)
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  26. Cosa mai è successo all'incorporazione? L'eclisse della materialità nell'ontologia dell'arte di Danto.Diarmuid Costello - 2007 - Rivista di Estetica 47 (35):113-128.
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  27.  53
    Introduction.Costello Diarmuid & Lopes Dominic Mciver - 2012 - Journal of Aesthetics and Art Criticism 70 (1):1-8.
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  28.  36
    Introduction: Photography Between Art History and Philosophy.Diarmuid Costello & Margaret Iversen - 2012 - Critical Inquiry 38 (4):679-693.
    The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject (...)
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  29. Kant After Lewitt: Towards an Aesthetics of Conceptual Art.Diarmuid Costello - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press. pp. 92.
  30.  17
    New Theory Reconsidered: Reply to Scott Walden and Dominic McIver Lopes.Diarmuid Costello - 2019 - Journal of Aesthetics and Art Criticism 77 (3):313-320.
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  31. On Photography.Diarmuid Costello - 2016 - Routledge.
     
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  32.  15
    On the Very Idea of a “Political” Work of Art.Diarmuid Costello - forthcoming - Journal of Political Philosophy.
    Journal of Political Philosophy, EarlyView.
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  33.  36
    Retrieving Kant's Aesthetics for Art Theory After Greenberg.Diarmuid Costello - 2009 - In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice. Stanford University Press.
  34.  1
    Retrieving Kant’s Aesthetics for Art Theory After Greenberg.Diarmuid Costello - 2020 - In Stefano Marino & Pietro Terzi (eds.), Kant’s ›Critique of Aesthetic Judgment‹ in the 20th Century: A Companion to its Main Interpretations. De Gruyter. pp. 283-300.
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  35.  14
    See The Light: Photography, Perception, Cognition. Ed. Britt Salvesen. New York: Prestel, 2013. 233 Pp. [REVIEW]Diarmuid Costello - 2015 - Critical Inquiry 42 (1):215-218.
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  36.  35
    The Life and Death of Images: Ethics and Aesthetics.Diarmuid Costello & Dominic Willsdon (eds.) - 2008 - Cornell University Press.
    From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been given (...)
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  37. The Media of Photography.Diarmuid Costello - 2012 - Wiley-Blackwell.
     
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  38.  50
    Whatever Happened to "Embodiment"? The Eclipse of Materiality in Danto's Ontology of Art.Diarmuid Costello - 2007 - Angelaki 12 (2):83 – 94.
  39.  35
    What is Abstraction in Photography?Diarmuid Costello - 2018 - British Journal of Aesthetics 58 (4):385-400.
    There is confusion about what counts as abstraction in photography: art theorists class very different kinds of photographs as abstract, and common philosophical views of photography, if true, should cause us to doubt their very possibility. I address two questions here: ‘What is Abstraction?’ and ‘What is Abstraction in Photography?’ To the answer the second, I briefly consider a third: ‘What is Photography?’ so that the resulting account is not undermined by a poor theory of photography. In answer to my (...)
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  40.  22
    Missives From the Fortress of Uncertainty.Diarmuid Hester & Graham Harman - 2011 - Mute.
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  41. It's God They Should Crucify: Validity and Authority in Law.Diarmuid Rossa Phelan - 1999 - Four Courts.
     
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  42. Discussion of J. Kevin O’Regan’s “Why Red Doesn’T Sound Like a Bell: Understanding the Feel of Consciousness”.J. Kevin O’Regan & Ned Block - 2012 - Review of Philosophy and Psychology 3 (1):89-108.
    Discussion of J. Kevin O’Regan’s “Why Red Doesn’t Sound Like a Bell: Understanding the Feel of Consciousness” Content Type Journal Article Pages 1-20 DOI 10.1007/s13164-012-0090-7 Authors J. Kevin O’Regan, Laboratoire Psychologie de la Perception, CNRS - Université Paris Descartes, Centre Biomédical des Saints Pères, 45 rue des Sts Pères, 75270 Paris cedex 06, France Ned Block, Departments of Philosophy, Psychology and Center for Neural Science, New York University, 5 Washington Place, New York, NY 10003, USA Journal Review of Philosophy and (...)
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  43.  23
    O'Connor's Paradox and the Teaching of Educational Philosophy.David Stenhouse & D. J. O'Connor - 1968 - British Journal of Educational Studies 16 (3):243 - 257.
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  44.  16
    The Exact Sciences in Antiquity. By O. Neugebauer. Pp. Xiii + 191, with 14 Plates and 30 Text Figures. Copenhagen: Ejnar Munksgaard, 1951, D. Cr. 42. [REVIEW]A. P. Treweek & O. Neugebauer - 1953 - Journal of Hellenic Studies 73 (2):179-179.
  45.  21
    II–Onora O’Neill.Onora O’Neill - 1998 - Aristotelian Society Supplementary Volume 72 (1):211-228.
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  46.  5
    Power and Events: An Essay on Dynamics in Philosophy. By William O'Meara.William O'Meara - 1946 - Ethics 57 (4):305-306.
  47. Spontaneity and Materiality: What Photography Is in the Photography of James Welling.Dominic McIver Lopes & Diarmuid Costello - 2019 - Art History 42 (1):154-76.
    Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...)
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  48. O tempo de ontem na voz de hoje: Memória de idosas sergipanas.O. Tempo de Ontem Na Voz - 2010 - História 28:10.
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  49. Üvahy o logice normativnich vet.O. Weinberger - forthcoming - Filosoficky Casopis.
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  50.  37
    Kant on Duties Regarding Nonrational Nature: Onora O’Neill.Onora O'neill - 1998 - Supplement to the Proceedings of the Aristotelian Society 72 (1):211-228.
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