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Laura McMahon
Villanova University
Laura McMahon
Eastern Michigan University
  1.  19
    Freedom as Expression: Natality and the Temporality of Action in Merleau‐Ponty and Arendt.Laura McMahon - 2019 - Southern Journal of Philosophy 57 (1):56-79.
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  2.  17
    Healthy Systems: Merleau-Ponty, Dewey, and the Dynamic Equilibrium Between Self and Environment.Laura McMahon - 2018 - Journal of Speculative Philosophy 32 (4):607.
    There are widespread tendencies to think of emotional and behavioral troubles—such as difficulties paying attention, difficulties regulating one's emotions, and difficulties with substance abuse and addiction—in two manners that stand in tension with one another.1 On the one hand, there is a view that holds individuals solely or predominately responsible for their emotions and behaviors, citing the power of rational, free choice in the regulating of one's behavior and the conducting of one's life.2 On the other hand, there is a (...)
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  3.  49
    Deconstructing Community and Christianity: 'A-Religion' in Nancy's Reading of Beau Travail.Laura McMahon - 2008 - Film-Philosophy 12 (1):63-78.
    This article will argue that ‘A-religion’ , Jean-Luc Nancy’s reading of Claire Denis’sBeau travail , can be understood in the context of concerns he explores elsewherein his philosophical work.1I will be focusing here on the ways in which his thinking ofquestions of community and Christianity and Dis-Enclosure respectively) can be seen to influence anddirect his reading of Denis’s film. Beau travail, this article will argue, comes to represent forNancy a point of intersection between two main issues: the demand of community (...)
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  4.  9
    Lovers in Touch: Inoperative Community in Nancy, Duras and India Song.Laura Mcmahon - 2008 - Paragraph 31 (2):189-205.
    This article takes as its point of departure Maurice Blanchot's pairing of Marguerite Duras and Jean-Luc Nancy in The Unavowable Community, and reads India Song, a film by Duras, through Nancy's work on community. Just as Nancy articulates a thinking of community in terms of touch, so Duras develops her own filmic vocabulary of touch to examine questions of being-with, exposure, love and sacrifice against the background of a negative model of community. The article argues that the figure of touch (...)
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  5.  14
    Belinda Smaill (2016) Regarding Life: Animals and the Documentary Moving Image.Laura McMahon - 2018 - Film-Philosophy 22 (3):506-509.
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  6.  16
    Don Beith. The Birth of Sense: Generative Passivity in Merleau-Ponty’s Philosophy.Laura McMahon - 2019 - Environmental Philosophy 16 (1):241-244.
  7.  12
    Home Invasions: Phenomenological and Psychoanalytic Reflections on Embodiment Relations, Vulnerability, and Breakdown.Laura McMahon - 2014 - Journal of Speculative Philosophy 28 (3):358-369.
  8.  10
    L'Intrus.Laura McMahon - 2005 - Oxford Literary Review 27 (1):187-191.
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  9.  1
    Religion, Multiculturalism, and Phenomenology as a Critical Practice: Lessons From the Algerian War of Independence.Laura McMahon - 2020 - Puncta 3 (1):1-26.
    In the Algerian War of Independence, women famously used both traditional and modern clothing as part of their revolutionary efforts against French colonialism. This paper uncovers some of the principal lessons of this historical episode through a phenomenological exploration of agency, religion, and political transformation. Part I draws primarily on the philosophical insights of Martin Heidegger and Maurice Merleau-Ponty alongside the memoirs of Zohra Drif, a young woman member of the Algerian Front de Libération Nationale, in order to explore the (...)
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  10.  10
    Susan Bredlau, the other in perception: a phenomenological account of our experiences of other persons: Albany: State University of New York Press, 2018, 126 pp, US $80.00 , ISBN: 9781438471716.Laura McMahon - 2019 - Continental Philosophy Review 52 (4):419-423.
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  11.  36
    The Phantom Organic: Merleau-Ponty and the “Psychoanalysis of Nature”.Laura McMahon - 2014 - Chiasmi International 16:275-290.
    In a working note to The Visible and the Invisible, Maurice Merleau-Ponty makes an enigmatic call for “a psychoanalysis of Nature.” This paper argues that there are two interrelated ways in which this call might be taken up. First, it might be taken as the demand to give voice to the deep sense of a nature, conceived in terms of unconscious desire rather than scientific rationality, that precedes and exceeds human life. Second, we might do a psychoanalysis of our relationship (...)
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  12.  31
    “The Separation That is Not a Separation But a Form of Union”: Merleau-Ponty and Feminist Object Relations Theory in Dialogue.Laura McMahon - 2020 - Human Studies 43 (1):37-60.
    We often think of normal childhood as a progressive development towards a fixed—and often tacitly individualistic and masculine—model of what it is to be an adult. By contrast, phenomenologists, psychoanalysts, sociology of childhood, and feminist thinkers have set out to offer richer accounts both of childhood development and of mature existence. This paper draws on accounts of childhood development from phenomenologist Maurice Merleau-Ponty and object relations theorist D. W. Winnicott in order to argue that childhood development takes place in “transitional (...)
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  13.  23
    Untimely Resnais: Muriel's Disarticulations of Justice.Laura McMahon - 2016 - Film-Philosophy 20 (2-3):219-234.
    Alain Resnais's 1963 film Muriel ou le temps d'un retour has been read in terms of a failure to engage with the historical and political issues surrounding the Algerian War – a failure viewed by Susan Sontag as a consequence of Resnais's favouring of aesthetics over politics. This essay reconsiders Muriel beyond the terms of this perceived privileging of aesthetic abstraction over political engagement, and looks at ways in which the spatio-temporal organization of the film is bound to forms of (...)
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  14.  11
    Unwinding the Anthropological Machine: Animality, Film and Arnaud des Pallières.Laura McMahon - 2012 - Paragraph 35 (3):373-388.
    This article explores what cinema can contribute to recent philosophical engagements with animality and what the work of contemporary French filmmaker Arnaud des Pallières in particular can bring to debates around the zoomorphic or ‘creaturely’ dimensions of film. Examining two works by des Pallières — the documentary Is Dead and the feature-length film Adieu — and drawing principally on the work of Jacques Derrida, the article attends to cinematic, historically-framed configurations of a shared vulnerability between the human and the animal. (...)
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