-
Expand entry
-
Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Publisher's Note: This book undermines privacy scepticism, proving a strong theoretical foundation for many of our everyday and legal privacy claims. Inness argues that intimacy is the core of privacy, including privacy appeals in tort and constitutional law. She explores the myriad of debates and puts forth an intimacy and control-based account of privacy which escapes these criticisms.Iqbal, Muhammad. The Reconstruction of Religious Thought in Islam1934, Oxford University Press, Oxford.-
Expand entry
-
Added by: Andrea Blomqvist, Contributed by: Ehsan Shahwahid
Publisher's Note: The Reconstruction of Religious Thought in Islam is Muhammad Iqbal's major philosophic work: a series of profound reflections on the perennial conflict among science, religion, and philosophy, culminating in new visions of the unity of human knowledge, of the human spirit, and of God. Iqbal's thought contributed significantly to the establishment of Pakistan, to the religious and political ideals of the Iranian Revolution, and to the survival of Muslim identity in parts of the former USSR. It now serves as new bridge between East and West and between Islam and the other Religions of the Book. With a new Introduction by Javed Majeed, this edition of The Reconstruction opens the teachings of Iqbal to the modern, Western reader. It will be essential reading for all those interested in Islamic intellectual history, the renewal of Islam in the modern world, and political theory of Islam's relationship to the WestComment: Philosophy on Islamic reform, progress and development.
Irigaray, Luce. Is the Subject of Science Sexed?1987, Hypatia, 2 (3): 65-87, trans. C. Bové-
Expand entry
-
Added by: Franci Mangraviti and Viviane FairbankAbstract:
The premise of this paper is that the language of science, like language in general, is neither asexual nor neutral. The essay demonstrates the various ways in which the non-neutrality of the subject of science is expressed and proposes that there is a need to analyze the laws that determine the acceptability of language and discourse in order to interpret their connection to a sexed logic.Comment:
available in this Blueprint
Irigaray, Luce. The “Mechanics” of Fluids1985, In This Sex Which Is Not One, trans. C. Porter and C. Burke-
Expand entry
-
Added by: Franci Mangraviti and Viviane FairbankAbstract:
The paper argues that science's focus on the ideal and stable hides, and thus contributes to the silencing of, the real and fluid, which corresponds to womanhood.Comment:
available in this Blueprint
Irigaray, Luce, Carlston, Erin G.. The Language of Man1989, Cultural Critique, 13: 191-202-
Expand entry
-
Added by: Franci Mangraviti and Viviane FairbankAbstract:
This paper enumerates Irigaray's main arguments and thoughts regarding the gendered nature of language and "the logos".Comment:
available in this Blueprint
Irvin, Sherri. Appropriation and authorship in contemporary art2005, British Journal of Aesthetics 45 (2):123-137.-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.Comment:
Irvin, Sherri. Scratching an itch2008, Journal of Aesthetics and Art Criticism 66 (1):25-35.-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: In recent years, momentum has been gathering in defense of the appropriateness of aesthetic discourse in relation to a number of domains other than art and nature. Philosophers have argued that food, sports, and sex can be viewed aesthetically. It has been claimed that the "lower senses" of smell, taste, and touch may play legitimate or even exclusive roles in some aesthetic judgments. And there has been sustained criticism of the view that aesthetic judgments must be disinterested or must transport us out of the concerns of everyday life. Can this extension of the realm of the aesthetic be taken even further, so as to accommodate the idea that even the most mundane incidents of everyday life have an aesthetic character, or that there can be aesthetic experiences of such incidents? With attention to two especially hard cases, itches and scratches, I will argue that it is appropriate and worthwhile to think of even the simplest moments of everyday life in aesthetic terms. It is appropriate, because on the most plausible accounts of aesthetic experience there can be legitimate aesthetic experiences of itching and scratching; and it is worthwhile, because aesthetic attention to this domain offers the prospect of unique and significant satisfaction.Comment:
Irvin, Sherri. The artist’s sanction in contemporary art2005, Journal of Aesthetics and Art Criticism 63 (4):315-326.-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Contemporary artworks raise a variety of ontological, epistemological, and interpretative questions that have not yet been adequately dealt with in aesthetics. Whereas traditional visual artworks have typically had a set of privi leged and (ideally) unchanging properties fixed at a particular moment early in their histories, a contemporary installation artwork may be installed differently each time it is taken out of storage, or even constituted out of different objects at each exhibition site. The resulting variation in its configuration and visual properties may simply be a function of the changing features of galleries or available materials, or it may be essential to the work's meaning. Or both: many contemporary works are site specific, essentially responsive to their environments in such a way that context is incorporated into the work's meaningComment:
Irvine, Elizabeth. Explaining What?2014, Topoi 36 (1):95-106.-
Expand entry
-
Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: The Hard Problem is surrounded by a vast literature, to which it is increasingly hard to contribute to in any meaningful way. Accordingly, the strategy here is not to offer any new metaphysical or 'in principle' arguments in favour of the success of materialism, but to assume a Type Q approach and look to contemporary consciousness science to see how the concept of consciousness fares there, and what kind of explanations we can hope to offer of it. It is suggested that while they will be materialist explanations, they will not be of the form that many scientists and philosophers would have us believe, but instead prompt a very different set of expectations and research projects.Comment:
Isabel, Laack. Aztec Pictorial Narratives: Visual Strategies to Activate Embodied Meaning and the Transformation of Identity in the Mapa de Cuauhtinchan No. 22020, In Narrative Cultures and the Aesthetics of Religion, Dirk Johannsen, Anja Kirsch andJens Kreinath (eds.). Brill-
Expand entry
-
Added by: M. Jimena Clavel Vázquez and Andrés Hernández VillarrealAbstract:
In this chapter, Laack analyzes a migration account visually depicted in the Mexican early colonial pictorial manuscript known as the Mapa de Cuauhtinchan No. 2. This pictographic map tells the story of a group of Aztecs leaving their primordial home, changing their social, cultural, and religious identity through migration and the passing of ordeals, and finally settling in the town of Cuauhtinchan. It is painted in the style of Aztec pictography, which used visual imagery to convey thoughts and meanings in contrast to alphabetical scripts using abstract signs for linguistic sounds. Drawing on the theories of embodied metaphors and embodied meaning by philosopher Mark L. Johnson and cognitive linguist George P. Lakoff, I argue that Aztec pictography offers efficient and effective means to communicate embodied metaphors on a visual level and evokes complex layers of embodied meaning. In doing so, I intend to change perspective on the narrative powers of religious stories by transcending textual patterns of analysis and theory building and opening up to non-linguistic modes of experience and their influence on narrative structures and strategies.
Comment (from this Blueprint): This paper analyses the embodied metaphors found in the pictorial manuscript Mapa de Cuauhtinchan no. 2 (the map of Cuauhtinchan number 2) based on the theory of embodied cognition proposed by Lakoff and Johnson. According to the latter, our concepts are grounded on embodied metaphors. Laack’s proposal is that Aztec pictographic manuscript exploits these kinds of concepts to enable the communication of non-propositional meaning. It is useful to read it accompanied by Newman, Sarah E.. Sensorial experiences in Mesoamerica
Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
-
-
-
This site is registered on Toolset.com as a development site. -
-
-
-
-
-
Inness, Julie C.. Privacy, Intimacy, and Isolation
1996, OUP USA.
Comment: