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Kieran Cashell [12]Kieran Anthony Cashell [1]
  1.  53
    Reality, Representation and the Aesthetic Fallacy.Kieran Cashell - 2009 - Journal of Critical Realism 8 (2):135-171.
    This essay develops a theory of representation that confirms realism – an objective dependent on establishing that reality is autonomous of representation. I argue that the autonomy of reality is not incompatible with epistemic access and that an adequate account of representation is capable of satisfying both criteria. Pursuit of this argument brings the work of C. S. Peirce and Roy Bhaskar together. Peirce’s doctrine of semiotics is essentially a realist theory of representation and is thus relevant to the project (...)
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  2.  19
    New Criteria for Pain: Ordinary Language, Other Minds, and the Grammar of Sensation.Kieran Cashell - 2011 - Abstracta 6 (2):178-215.
    What does ordinary language philosophy contribute to the solution of the problems it diagnoses as violations of linguistic use? One of its biggest challenges has been to account for the epistemic asymmetry of mental states experienced by the subject of those states and the application of psychological properties to others. The epistemology of other minds appears far from resolved with reference to how sensation words are used in everyday language. In this paper, I revisit the Wittgensteinian arguments and show how (...)
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  3.  15
    Relativism. By Maria Baghramian. [REVIEW]Kieran Cashell - 2007 - Journal of Critical Realism 6 (2):295-305.
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  4.  54
    Ex Post Facto: Peirce and the Living Signs of the Dead.Kieran Cashell - 2007 - Transactions of the Charles S. Peirce Society 43 (2):345-372.
    The hypothesis of this paper is that we maintain a relationship with the dead precisely in their death, and this relationship is best understood in terms of Peirce's semiotics and its influence on the work of Jacques Derrida. Roland Bardies' theory of photography illustrates this semiotics of death. The subsistent and continuous reality of the non-extant, absent and silent being of the dead individual is manifested—and continues to communicate—through indexical signs, i.e., any traces left behind by the dead individual (such (...)
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  5.  36
    Charm and Strangeness: The Aesthetic and Epistemic Dimensions of Derek Jarman's Wittgenstein.Kieran Anthony Cashell - 2012 - Film-Philosophy 16 (1):101-126.
    Wittgenstein (1993), Derek Jarman’s biopic of the Austrian-born Cambridge philosopher is a fascinating – if perplexing – film. In equal measure aesthetic and didactic, its status is ambiguous, and not only because didacticism in the philosophy of art is often assumed to diminish aesthetic value. Nothing, however, of the film’s aesthetic is depreciated by the intention to instruct. Even if the objective was to teach, the film is also highly aestheticised. Composed of a series of richly theatrical set-pieces, Jarman’s film (...)
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  6.  17
    Heidegger’s Philosophy of Art.Kieran Cashell - 2014 - Journal of Critical Realism 13 (1):84-97.
    This essay builds on a review of Iain Thomson’s recent monograph, Heidegger, Art, and Postmodernity, the theme of which is Heidegger’s post-Kehre thinking. Through a series of close textual exegeses, and attentive analyses of concepts, Thomson traces the philosopher’s concern to envisage a means of escaping the late-modern comprehension of being. The latter is characterized, in Thomson’s interpretation, by the ‘technological’ or Nietzschesque understanding of ontology in terms of the eternally recurring will-to-power, according to which objects are identified as intrinsically (...)
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  7.  19
    Imitation of Life: Structure, Agency and Discourse in Theatrical Performance.Kieran Cashell - 2012 - Journal of Critical Realism 11 (3):324-360.
    This essay reviews Theatre, Communication, Critical Realism (2010) by Tobin Nellhaus. It begins by outlining the objective of the book and proceeds to evaluate its central argument. The objective is to develop a theory of theatre founded on the premises of critical realism and thereby theoretically situate theatrical performance in its socio-cultural matrix. The argument is that critical realism is effective for developing a comprehensive account of theatrical performance because it has the capacity to reveal truths about the structure of (...)
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  8.  58
    Making Tacit Knowing Explicit: William H. Poteat’s Adaptation of Polanyi’s Post-Critical Method.Kieran Cashell - 2008 - Tradition and Discovery 35 (2):48-59.
    William H. Poteat’s critique of Cartesianism is an amplification of the philosophical work of Michael Polanyi. Poteat applies Polanyian methods to articulate an alternative to the metaphysical dualism that, he argues, still dominates Western reflective thought at a tacit level. His argument is that the novel logic of Polanyi’s Personal Knowledge puts the presuppositions of the modern philosophical tradition in question. In the elaboration of this focal argument, Poteat’s subsidiary acceptance of Polanyi’s anterior work is total.Nevertheless it remains important to (...)
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