11 found
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  1.  70
    Homo Sacer: Sovereign Power and Bare Life.Kalliopi Nikolopoulou, Giorgio Agamben & Daniel Heller-Roazen - 2000 - Substance 29 (3):124.
  2.  13
    Finitude's Score: Essays for the End of the Millennium.Kalliopi Nikolopoulou & Avital Ronell - 1997 - Substance 26 (2):145.
  3.  10
    Alterity and Transcendence (Review).Kalliopi Nikolopoulou - 2000 - Symploke 8 (1):230-231.
  4.  42
    Between Art and the Polis: Between Agamben and Plato.Kalliopi Nikolopoulou - 2011 - Epoché: A Journal for the History of Philosophy 16 (1):17-36.
    In The Man Without Content, Giorgio Agamben makes a few but poignant references to Plato’s understanding of art. Because art’s impact was powerful, Plato deemed art dangerous and subordinated it to politics. In contrast, Agamben argues, modern art enjoys the privilege of formal autonomy at the cost of losing political significance. This essay develops the Platonic dimension in Agamben’s thought: whereas Platonic censorship recognizes art’s power by way of prohibition, the modern culturalist tolerance of art is symptomatic of art’s reduction (...)
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  5. Book Review: Homo Sacer: Sovereign Power and Bare Life. [REVIEW]Kalliopi Nikolopoulou - 2000 - Substance 93 (1):124-31.
     
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  6.  8
    Deleuzism: A Metacommentary (Review).Kalliopi Nikolopoulou - 2001 - Symploke 9 (1):213-214.
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  7. Elements of Experience : Bataille's Drama.Kalliopi Nikolopoulou - 2009 - In Andrew J. Mitchell & Jason Kemp Winfree (eds.), The Obsessions of Georges Bataille: Community and Communication. State University of New York Press.
     
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  8.  38
    Of a Sense Beyond Words.Kalliopi Nikolopoulou - 2010 - Research in Phenomenology 40 (2):283-291.
  9.  31
    Plato and Hegel on an Old Quarrel.Kalliopi Nikolopoulou - 2009 - Epoché: A Journal for the History of Philosophy 13 (2):249-266.
    This paper addresses the relationship of ancients to moderns by focusing on the “quarrel” between art and philosophy that has led to two articulations of the endof art—one in antiquity, another in modernity: Plato, who expelled the poets from his city on account of art’s irrationality, and Hegel, for whom art was no more the necessary vehicle for truth. Following Giorgio Agamben’s cue in The Man Without Content, I opt for a symptomatic reading of Plato’s condemnation of art, by foregrounding (...)
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  10.  40
    Parrhesia as Tragic Structure in Euripides’ Bacchae.Kalliopi Nikolopoulou - 2011 - Epoché: A Journal for the History of Philosophy 15 (2):249-261.
    This paper considers Foucault’s remarks on Euripides and parrhesia in order to reflect on the deeper relation between tragic speech and truth-telling. It argues that: a) tragedy is a privileged mode of truth-telling, since the tragic fall always involves the hero’s passion for truth; and b) parrhesia is inherently tragic, insofar as it endangers its agent. By focusing on the Bacchae, which Foucault sidesteps, I maintain that this play exemplifies the tragic structure of parrhesiastic conduct, while staging the passage of (...)
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  11.  2
    Untitled Homo Sacer Review In.Kalliopi Nikolopoulou - 2000 - Substance 29 (3):124-131.