Results for 'Simone Weil, Jean-Luc Godard, aesthetic, reception, comparative philosophy'

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  1.  14
    Une idée du miracle : Approche et définition chez Simone Weil, continuité et expression artistique chez Godard.Vincent Delcorte - 2024 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 25 (2):25-46.
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  2.  10
    La réception surréaliste de Simone Weil. Simone Weil et Georges Bataille.Jean-Marc Ghitti - 2024 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 25 (2):5-24.
    Despite her hostility to surrealism, Simone Weil received a paradoxical reception in the work and thought of Georges Bataille. From this point onwards she has attracted the interest of psychoanalysis up to the present day. After their meeting and exchanges at the beginning of the 1930s, Bataille wrote a novel in which he created a portrait of Simone Weil and asks, through her, questions which served to develop and enrich the next stages of his theoretical constructions. This pathway (...)
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  3.  8
    True Images: Metaphor, Metonymy and Montage in Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire(s) du cinéma.Miriam Heywood - 2010 - Paragraph 33 (1):37-51.
    This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman (...)
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  4.  57
    Multiple Arts: The Muses II.Jean-Luc Nancy - 2006 - Stanford, Calif.: Stanford University Press. Edited by Simon Sparks.
    This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and (...)
  5.  32
    The Sense of the World.Jean-Luc Nancy - 1997 - Univ of Minnesota Press.
    An essential exploration of sense and meaning. -/- Is there a “world” anymore, let alone any “sense” to it? Acknowledging the lack of meaning in our time, and the lack of a world at the center of meanings we try to impose, Jean-Luc Nancy presents a rigorous critique of the many discourses-from philosophy and political science to psychoanalysis and art history-that talk and write their way around these gaping absences in our lives. -/- In an original style befitting (...)
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  6.  11
    Leçons de philosophie de Simone Weil: Roanne 1933-1934.Simone Weil, Anne Reynaud-guérithault & Jean Guitton - 1989
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  7.  80
    The ground of the image.Jean-Luc Nancy - 2005 - New York: Fordham University Press.
    If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. In this collection of writings on images and visual art, the author explores this through an extraordinary range of references.
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  8.  29
    Cognitive Constraints on the Visual Arts: An Empirical Study of the Role of Perceived Intentions in Appreciation Judgements.Jean-Luc Jucker & Justin L. Barrett - 2011 - Journal of Cognition and Culture 11 (1-2):115-136.
    What influences people’s appreciation of works of art? In this paper, we provide a new cognitive approach to this big question, and the first empirical results in support of it. As a work of art typically does not activate intuitive cognition for functional artefacts, it is represented as an instance of non-verbal symbolic communication. By application of Sperber and Wilson’s Relevance Theory of communication, we hypothesize that understanding the artist’s intention plays a crucial role in intuitive art appreciation judgements. About (...)
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  9.  18
    The muses.Jean-Luc Nancy - 1996 - Stanford, Calif.: Stanford University Press.
    This collection, by one of the most challenging of contemporary thinkers, asks the question: why are there several arts and not just one? This question focuses on the point of maximal tension between the philosophical tradition and contemporary thinking about the arts: the relation between the plurality of the human senses and sense or meaning in general. Throughout the five essays, Nancy's argument hinges on the culminating formulation of this relation in Hegel's Aesthetics and The Phenomenology of Spirit - art (...)
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  10.  39
    D’une convergence remarquable entre phénoménologie et philosophie analytique: la lecture ricœurienne des thèses de Sartre et Ryle sur l’imagination.Jean-Luc Amalric - 2014 - Études Ricoeuriennes / Ricoeur Studies 5 (1):82-94.
    The aim of this article is to analyse the meaning and the implications of the comparative interpretation of Sartre’s and Ryle’s theses on imagination that Ricœur undertook in the still unpublished text of his Lectures on Imagination. These lectures were delivered at the University of Chicago in 1975. First, the article shows how Ricœur brings out a strong convergence , both in the method and in the presuppositions , of the Sartrean and Rylean conceptions of imagination : the choice (...)
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  11.  32
    Comparing Boolean and Piecewise Affine Differential Models for Genetic Networks.Jean-Luc Gouzé - 2010 - Acta Biotheoretica 58 (2-3):217-232.
    Multi-level discrete models of genetic networks, or the more general piecewise affine differential models, provide qualitative information on the dynamics of the system, based on a small number of parameters (such as synthesis and degradation rates). Boolean models also provide qualitative information, but are based simply on the structure of interconnections. To explore the relationship between the two formalisms, a piecewise affine differential model and a Boolean model are compared, for the carbon starvation response network in E. coli . The (...)
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  12.  53
    The Coming Together of Times: Jean-Luc Godard’s Aesthetics of Contemporaneity and the Remembering of the Holocaust.Jacob Lund - 2015 - Nordic Journal of Aesthetics 24 (49).
    This article reads Jean-Luc Godard’s film essay Histoire du cinéma as a contemporary artistic endeavour to resist the synchronising, standardising time of global capital, the pervasive uniformity of the global super-present, brought about by today’s televisual and digital communications, which threatens to trivialise the different processes of memory and history, as well as art and culture in general. Taking its point of departure in Bernard Stiegler’s observation that the final stage of capitalism is the control and synchronisation of “available (...)
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  13.  24
    From Idolatry to Revelation.Jean-Luc Marion, M. E. Littlejohn & Stephanie Rumpza - 2020 - Journal for Continental Philosophy of Religion 2 (2):208-226.
    In this interview, Jean-Luc Marion recalls the intellectual world of Paris in 1970s, reflecting on how his engagement with the ubiquitous “death of God” question led to the sketches of God without Being first presented at this 1979 Colloquium, and discusses the criticism it provoked not only from Heideggerians but also from Thomists. He discusses the reception history of phenomenology in France the reasons for the particular power it gained among thinkers of his generation. Finally, he recounts how his (...)
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  14.  30
    France – Allemagne.Jean-Luc Evard - 2002 - Archives de Philosophie 2 (2):269-289.
    Dans le domaine de la philosophie et de la littérature, l’étude détaillée des processus de transfert culturel franco-allemand des quinze dernières années fait apparaître une tendance forte, sans équivalent en Europe. Devenus des traducteurs actifs, les philosophes, dans les deux langues, modifient l’économie traditionnelle de la réception de leurs textes dans l’autre langue. Emerge alors le matériau d’un penser de l’intraduisible qui devient lui-même l’objet d’une réflexion commune et simultanée dans les deux langues. Le champ philosophique franco-allemand apparaît ainsi comme (...)
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  15. Thomas of Sutton on Intellectual Habitus.Jean-Luc Solere - 2018 - In Nicolas Faucher & Magali Roques (eds.), The Ontology, Psychology and Axiology of Habits (Habitus) in Medieval Philosophy. Cham: Springer. pp. 205-227.
    According to the Dominican Thomas of Sutton (ca. 1250–1315), the reception of intelligible species in the potential intellect is in every point similar to the actualization of forms in matter, which means that the potential intellect remains completely passive through the whole process of concept acquisition. However, Sutton adds that when the intelligible species are stored in the memory and aggregate in logically organized clusters, thus becoming intellectual habitus, they have a way of being that is not found in material (...)
     
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  16.  5
    Thomas of Sutton on Intellectual habitus.Jean-Luc Solère - 2018 - In Nicolas Faucher & Magali Roques (eds.), The Ontology, Psychology and Axiology of Habits (Habitus) in Medieval Philosophy. Cham: Springer. pp. 205-227.
    According to the Dominican Thomas of Sutton, the reception of intelligible species in the potential intellect is in every point similar to the actualization of forms in matter, which means that the potential intellect remains completely passive through the whole process of concept acquisition. However, Sutton adds that when the intelligible species are stored in the memory and aggregate in logically organized clusters, thus becoming intellectual habitus, they have a way of being that is not found in material things, namely, (...)
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  17.  8
    Les jardins de l'écoute.Jean-Luc Hervé - 2018 - Paris: Éditions MF. Edited by Anne Cauquelin.
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  18.  14
    Jean-Luc Godard’s Political Filmmaking.Irmgard Emmelhainz - 2019 - Springer Verlag.
    This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s (...)
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  19.  9
    Experimentation in the Sciences: Comparative and Long-Term Historical Research on Experimental Practice.Catherine Allamel-Raffin, Jean-Luc Gangloff & Yves Gingras (eds.) - 2024 - Springer Nature Switzerland.
    This book takes a novel approach by highlighting comparative and long-term historical perspectives on experimental practice. The juxtaposition of accounts of natural, social, and medical experimentation is very enlightening, especially because the authors put the emphasis on the different kinds of objects of experimentation (physical matter, chemical reagents, social groups, organizations, sick individuals, archeological remains) and demonstrate how much the kinds of objects matter for the practice of experimentation, its methods, tools, and methodologies. Taken together, the chapters raise several (...)
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  20.  5
    Multiple Arts: The Muses Ii.Simon Sparks (ed.) - 2006 - Stanford, Calif.: Stanford University Press.
    This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy's philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the _faire_, the "making" that characterizes the very process of production and (...)
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  21.  9
    Japan, France, and East-West Aesthetics: French Literature, 1867-2000 (review). [REVIEW]Carol S. Gould - 2006 - Philosophy East and West 56 (4):699-701.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and postmodernism. Despite the title, this (...)
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  22.  12
    Jean‐Luc Godard's Film Socialisme and the Pedagogy of the Image.Michael A. Peters - 2012 - Educational Philosophy and Theory 44 (7):681-685.
  23.  27
    Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking.Hunter Vaughan - 2013 - New York: Columbia University Press.
    Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to (...)
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  24.  20
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  25.  12
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  26.  10
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  27.  2
    Demo(s) : philosophy-pedagogy-politics.Hugo Letiche, Geoffrey Lightfoot & Jean-Luc Moriceau (eds.) - 2016
    This book is framed as a dialogue, between Hugo Letiche's iconoclastic appeals to demontrate (as in a demo) for pedagogy/philosophy/politics of (re-)territoralization (as in the demos), and Jacques Rancière's call for dissensus and a new sensibility (le partage du sensible) that may lead to critical democratization. Writing here are: Asmund Born, Damian O'Doherty, Joanna Latimer, Hugo letiche, Geoff Lightfoot, Simon Lilley, Alphonso Lingis, Stephen Linstead, Garance Maréchal, Jean-Luc Moriceau, Rolland Munro, Rukmini Bhaya Nair, Peter pelzer, Yvon Pesqueux, Burkard (...)
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  28.  5
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  29. Leçons de philosophie.Simone Weil, Anne Reynaud-guérithault & Jean Guitton - 1994 - Revue de Métaphysique et de Morale 99 (2):282-283.
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  30.  22
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  31.  41
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  32.  20
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  33.  30
    L’œil et L’esprit de Jean-Luc Godard (French).Stefan Kristensen - 2010 - Chiasmi International 12:129-143.
    Jean-Luc Godard’s Eye and MindIn his commentary concerning Jean-Luc Godard’s film, Deux ou trois choses que je sais d’elle, the film critic, Alain Bergala, writes that certain sequences of this film are “at the same time cinema and philosophy of cinema, a philosophy not very far from that of Merleau-Ponty in Eye and Mind, but a joyful and actually cinematic philosophy.” Here I propose a reading of Godard’s certain works found in different periods (Deux ou (...)
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  34.  6
    Unlimit: rethinking the boundaries between philosophy, aesthetics and arts.Greg Bird, Daniela Calabrò, Dario Giugliano & Jean-Luc Nancy (eds.) - 2017 - Milan: Mimesis International.
    Many voices today call for a profound rethinking of European identity. If we wish to answer their call, however, it is necessary to start with a reconsideration of the notion of boundaries, particularly as they are at work in the Mediterranean region. The knowledge and cultural values of the Mediterranean may be the driving force able to overcome the impasse from which Europe seems unable to free itself. This volume focuses on the opportunity to employ Mediterranean knowledge and cultural values (...)
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  35.  23
    On Jean-Luc Nancy: The Sense of Philosophy.Darren Sheppard, Simon Sparks & Colin Thomas (eds.) - 1997 - New York: Routledge.
    This is the first book to consider the increasing importance of Jean-Luc Nancy's work, which has influenced key thinkers such as Jacques Derrida. All his major works have been translated into English, yet until now little has been made available on his place in contemporary philosophy. By showing how he situates his work in a contemporary context - the collapse of communism, the Gulf War, and the former Yugoslavia - this outstanding collection reveals how Nancy's engagement with Hegel, (...)
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  36.  11
    Thinking with Images: An Enactivist Aesthetics.John M. Carvalho - 2018 - New York: Routledge.
    Thinking with images -- Aesthetics without theory -- The Baroque and Bacon's popes -- Chance meeting with Duane Michals -- Étant donnés, Marcel Duchamp -- Le Mépris or Contempt, a film by Jean-Luc Godard.
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  37.  11
    Jean-Luc Nancy and the Future of Philosophy.Benjamin C. Hutchens - 2005 - Routledge.
    The work of the contemporary French philosopher Jean-Luc Nancy has impacted across a range of disciplines. His writings on psychoanalysis, theology, art, culture and, of course, philosophy are now widely translated and much discussed. His L'Experience de la Liberte is considered to be one of the landmarks of contemporary continental philosophy. Jean-Luc Nancy and the Future of Philosophy is the first genuine introduction to Nancy's ideas and a clear and succinct appraisal of a burgeoning reputation. (...)
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  38.  20
    Jean-Luc Nancy and the Future of Philosophy.Benjamin C. Hutchens - 2005 - Routledge.
    The work of the contemporary French philosopher Jean-Luc Nancy has impacted across a range of disciplines. His writings on psychoanalysis, theology, art, culture and, of course, philosophy are now widely translated and much discussed. His L'Experience de la Liberte is considered to be one of the landmarks of contemporary continental philosophy. Jean-Luc Nancy and the Future of Philosophy is the first genuine introduction to Nancy's ideas and a clear and succinct appraisal of a burgeoning reputation. (...)
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  39.  18
    Reimagining the Sacred: Richard Kearney Debates God with James Wood, Catherine Keller, Charles Taylor, Julia Kristeva, Gianni Vattimo, Simon Critchley, Jean-Luc Marion, John Caputo, David Tracey, Jens Zimmermann, and Merold Westphal.Richard Kearney & Jens Zimmermann (eds.) - 2015 - Cambridge University Press.
    Contemporary conversations about religion and culture are framed by two reductive definitions of secularity. In one, multiple faiths and nonfaiths coexist free from a dominant belief in God. In the other, we deny the sacred altogether and exclude religion from rational thought and behavior. But is there a third way for those who wish to rediscover the sacred in a skeptical society? What kind of faith, if any, can be proclaimed after the ravages of the Holocaust and the many religion-based (...)
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  40.  4
    Dividual Film Aesthetics.Michaela O. - 2023 - Philosophy International Journal 6 (2):1-6.
    The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much (...)
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  41.  7
    Simone Weil’s Lectures on Philosophy: A Comment.W. J. Morgan - 2019 - RUDN Journal of Philosophy 23 (4):420-429.
    The purpose of this article is to introduce the reader to some intellectual origins of Simone Weil’s philosophy through a summary of and comment on her Lectures on Philosophy given when she was a teacher at a girls’ school at Roanne in the Loire region of central France. The article provides a comment on Simone Weil’s Lectures on Philosophy. There is a brief Introduction followed by a summary of Weil’s life which indicates her various interest (...)
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  42.  92
    Revealing the Invisible: Henry and Marion on Aesthetic Experience.Christina M. Gschwandtner - 2014 - Journal of Speculative Philosophy 28 (3):305-314.
    Aesthetics is a central topic in the works of Jean-Luc Marion and Michel Henry. While Henry focuses on abstract art (especially Kandinsky), Marion’s writings range over the history of art, including analyses of Courbet, Rothko, and Klee. This article examines their strikingly similar aesthetic theories and shows how they are grounded in a phenomenological claim about the relation between invisible and visible, hence about phenomenality itself. The artist becomes a paradigm for phenomenological receptivity in both thinkers, and art is (...)
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  43.  43
    With Being-With? Notes on Jean-Luc Nancy’s Rewriting of Being and Time.Simon Critchley - 1999 - Studies in Practical Philosophy 1 (1):53-67.
  44. Introduction to a True History of Cinema and Television.Jean-Luc Godard - 2018 - Caboose.
    In 1978, just before his return to the international stage, the world’s most renowned art-film director Jean-Luc Godard improvised a series of fourteen one-hour talks at Concordia University in Montreal. These talks, part of a projected video history of cinema, were published in French in 1980. In this definitive English-language volume, translator Timothy Barnard has worked from the original footage to carefully revise and correct the faulty French transcription. The result is the most extensive and revealing account of Godard’s (...)
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  45.  31
    Image and kenosis: assessing Jean-Luc Marion’s contribution to a postmetaphysical theological aesthetics.Brett David Potter - 2018 - International Journal of Philosophy and Theology 79 (1-2):60-79.
    An important influence on Jean-Luc Marion’s phenomenology is the work of Swiss Catholic theologian Hans Urs von Balthasar. Marion is particularly interested in Balthasar’s ‘phenomenological’ approach to the content of Christian revelation, centered on the metaphor of the work of art. Balthasar suggests in his Theo-Logic that the early Marion ‘concede[s] too much to the critique of Heidegger,’ moving too far away from the ‘transcendental’ metaphysics of Aquinas and the classical tradition. Yet Balthasar’s criticism is premature. Rather, Marion’s work, (...)
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  46.  5
    Simone Weil ou la vérité des fous.Yvanka Raynova - 2023 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 25 (1):5-12.
    Editorial of Yvanka B. Raynova to the Special issue "Simone Weil (1909-1943): Receptions and Actuality.".
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  47.  58
    Simon Weil : La pensée comme résistance – Rythme et cadence.Nadia Taïbi - forthcoming - Rhuthmos.
    Ce texte est tiré de la thèse de doctorat de Nadia Taïbi, présentée à l'Université Jean Moulin Lyon 3, le 29 octobre 2007, sous la direction de Jean-Jacques Wunenburger : L'expérience ouvrière de Simone Weil. La philosophie au travail, pp. 28-33. N'ayant pas pu joindre Nadia Taïbi pour lui demander son autorisation, nous espérons qu'elle ne nous en tiendra pas rigueur. 1.1.2. La pensée comme résistance L'expérience de la vie d'usine telle que Simone Weil la traduit (...)
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  48.  47
    Simone Weil’s Phenomenology of the Body.Lissa McCullough - 2012 - Comparative and Continental Philosophy 4 (2):195 - 218.
    Major thinkers of the twentieth-century explored the conditions for the possibility of perception, language, and thought, and Merleau-Ponty in particular addressed the physical body as a condition of existing and being situated in the world. Although French philosopher Simone Weil has not been recognized as belonging in this stream of philosophical history, this article seeks to demonstrate that Weil was a pioneering phenomenologist of the body; for remarkably like Merleau-Ponty—yet more than a decade before him in the early 1930s— (...) Weil’s thinking centered on the foundational role of the body in structuring thought and ordering the world. The body is the first and primary orderer of experience for Weil: it grasps relations intuitively, pre-linguistically, and mediates action and thought. Weil’s body-thinking reconfigures the basis of thinking itself, positing that bodily movement is the factor sine qua non that enables ordered spatial-temporal perception, a perception on which the most abstract reaches of language and thought depend. (shrink)
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  49.  35
    Belief in Cinema: revisiting themes from bazin.Lisa Trahair - 2012 - Angelaki 17 (4):193 - 207.
    This paper takes issue with the idea recently promulgated by film-philosophers that the relationship between philosophy and film is untroubled by the encounter between reason and art. To do this I consider how in Je vous salue, Marie Jean-Luc Godard uses allegory, cinematic automatism and montage not to provide rational arguments but to raise questions about the legacy of the Christian aesthetics for contemporary cinema.
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    Jean-Luc Nancy and La Peau des images: Truth is Skin-deep.Christina Howells - 2018 - Body and Society 24 (1-2):166-174.
    This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.
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