A review of Scotland: Global Cinema, by David Martin-Jones.

This issue ofScience in Contextis dedicated to the question of whether there was a “cinematographic turn” in the sciences around the beginning of the twentieth century. In 1895, the Lumière brothers presented their projection apparatus to the Parisian public for the first time. In 1897, the Scottish medical doctor John McIntyre filmed the movement of a frog's leg; in Vienna, in 1898, Ludwig Braun made film recordings of the contractions of a living dog's heart (cf. Cartwright 1992); in 1904, (...) Lucien Bull filmed in slow motion a bullet entering a soap bubble. In 1907 and 1908, respectively, Max Seddig and Victor Henri recorded Brownian motion with the help of a cinematograph (Curtis 2005). In 1909, the Swiss Julius Ries was one of the first to film fertilization and cell division in sea urchins (Ries 1909). In that same year in Paris, Louise Chevroton and Frédéric Vlès used a film camera to observe cell division in the same object (Chevroton and Vlès 1909). As early as 1898, the Parisian surgeon Eugène-Louis Doyen began filming several of his operations, among them the spectacular separation of the Siamese twins Doodica and Radica (Bonah and Laukötter 2009). And in England, the scientist and zoologist Francis Martin Duncan produced an array of popular-scientific films for Charles Urban: “The unseen world: A series of microscopic studies” was presented to the public in the Alhambra Theatre in London for the first time in 1903 (see Gaycken in this issue). (shrink)

In July 1993, the Scottish Highlands Centre for Human Caring sponsored a conference with the title Exploring the Spirituality in Caring. The papers given at the conference and included in this volume are offered as a contribution to the debate that must take place in nursing and in the wider context of health care provision. Ann Bradshaw's paper puts the debate in context arguing that nursing is fundamentally a loving response to the human being created in the image of (...) God. (shrink)

We aim to focus on the mimic gestures intentionally produced to be “monstrate” to others, thus attempting to propose a semiotic analysis on the actor’s face. We shall attempt to outline the extent to which, since the rise of cinema, the actor’s face has gained a foreground role as compared to the full-figured body, and the legacy of the nineteenth-century handbooks of scenic postures was crucial in this context, especially those of Antonio Morrocchesi and Alemanno Morelli. To deal with (...) the actor’s body as an instrument, means to make it a blank page to be used to re-design the character’s body, including the face. In this regard, it is worth mentioning the method of the pedagogue Jacques Lecoq—one of the greatest teachers of contemporary theatre—which consists in the use of a special mask during the training process: the so-called neutral mask. (shrink)

Paper presented at Philippe Garrel, le temps incorporé/Embodied Time Université Paris 8 Nanterre 29 & 30 novembre 2018 This paper proposes a loose typology of space and place in Garrel’s cinema. Its point of departure is the 1969 round table organised by Jacques Rivette which was a supplement to a series of film screenings chosen to illustrate the theme of space in cinema. Among the films chosen was Garrel’s Le lit de la vierge, which, for Rivette, is of (...) interest in the way it exemplifies the cinema of an ‘adventure of place’ rather than an ‘adventure occurring in a place’. The film for Rivette escapes from the “dénoté géographique, topographique”. Although the round table represents a particular juncture it offers a potential line of enquiry regarding the spatialities of Garrel’s subsequent work. Given the crucial role played by memory linked to place, temporality must also be considered. I propose to explore certain examples from Garrel’s body of work through the idea, borrowed from Michael Tawa in his book of this title, of agencies of the frame. Through the possibilities in this conception, a rethinking of the link between character and place/space emerges. Linking the idea of agencies of the frame – which Tawa himself adapts from Simondon – back to Rivette’s early insights, I propose a survey and typology featuring, inter alia, the generic spaces of urban encounter and circulation, specific places of significance to Garrel, types of urban space, screen spaces, abstraction and spatiality and Parisian topographies. (shrink)

In this article, I explore three films that comprise Swedish director Roy Andersson's “Living Trilogy” – Songs from the Second Floor ; You, the Living ; and A Pigeon Sat on a Branch Ref...

The present paper investigates the late ontology of Maurice Merleau-Ponty, which considers being as expressive movement. The paper takes as its point of departure Merleau-Ponty’s reflections on painting, sculpture and especially cinema. Two reasons justify this choice. On the one hand, Merleau-Ponty’s reflections on film as a work of art are now starting to be better known, after they have been overshadowed by his writings on painting, sculpture or literature for a long time. This entails a considerable enrichment of (...) our interpretation of Merleau-Ponty’s aesthetics and his ontology. On the other hand, if Merleau-Ponty’s general theory of aesthetics leads to questions concerning the sense and the ontological status of movement, it is certain that, within this theory, the analysis of the particular mode of expression of cinematic images gains an extraordinary relevance. (shrink)

I suggest that the representation of cities in Indian cinema — the effects and affects of modernities as well as of ambiguous, multiplicitous sexualities — mark significant change in engagement with modernity ever since independence in 1947. The city in the Indian imaginary has occupied an ambivalent, confrontational as well as contemplative space that signifies ‘modernity’ and its concurrent promise as well as ills. Non-normative sexualities have always occupied a liminal space in socio-political configurations, a site both of empowerment (...) through transgression and containment through regulation. The urban space — newly freed up and as yet un-proscribed — assumes the metonymic equivalence of available sexual freedom (particularly for women), its powers and its dangers. The cinema as a text is especially well-suited to play with the dynamics of this fraught space: often, a film’s contexts and narratives identify the film text itself as a signifier of the liminal spaces that it proposes to explore, enacting both their limitations and their possibilities. (shrink)

While it is possible, as Vivian Sobchack and others show, to illuminate film through Merleau-Ponty’s philosophy, it is more difficult to find within Merleau-Ponty’s work a coherent and systematic reflection on cinema. This absence is seldom interrogated. This article addresses what this absence might reveal by analyzing the reasons why Merleau-Ponty stopped short of an explicit discussion of film. The argument builds on these analyses to show how what Merleau-Ponty found problematic about cinema might turn out to be (...) one of cinema’s most resourceful features. For Merleau-Ponty, cinema is caught between a deadening exactitude and a disappointing partiality. It is because of these two apparently opposing extremes that Merleau-Ponty sidelines cinema. However, the pairing of exactness and partiality provides an interesting moment for reflection. Intuitively the two should not coexist, since they appear mutually exclusive. Yet their coexistence seems to renew rather than foreclose a thinking of film. Guided by these two terms, Jean-Luc Nancy produces his own thought on cinema. To show how film is apt at capturing the essential excess and ambiguity of the world, the article will turn to the Lebanese film Je Veux Voir, which offers a powerful instance of cinema’s simultaneous exactitude and partiality.Bien qu’il soit possible, comme Vivian Sobchack et d’autres l’ont démontré, d’illuminer le cinéma à partir de la philosophie de Merleau-Ponty, il est beaucoup plus difficile de trouver dans l’oeuvre de Merleau-Ponty une réflexion cohérente et systématique sur le cinéma. Cette absence est rarement interrogée pour elle-même. Cet article considère ce que cette absence peut révéler en analysant les raisons pour lesquelles Merleau-Ponty ne s’est pas engagé dans une réflexion explicite sur le cinéma. En nous appuyant sur ces analyses, nous montrons que ce que Merleau-Ponty trouvait de plus problématique dans le cinéma est peut-être sa ressource la plus précieuse. Pour Merleau-Ponty, le cinéma est pris entre une exactitude abrutissante et une partialité décevante, et c’est pour cette raison que Merleau-Ponty le met sur la touche. Cependant, le jumelage de l’exactitude et de la partialité devrait nous donner matière à réflexion. Intuitivement, les deux ne devraient coexister : ils apparaissent s’exclure l’une l’autre. Pourtant, leur coexistence est en mesure de renouveler plutôt que d’exclure une pensée du cinéma. C’est guidé par ces deux termes que Jean-Luc Nancy produit sa propre pensée du cinéma. Pour montrer comment le cinéma est à même de capturer l’excès et l’ambiguïté essentiels du monde, nous proposons une lecture du film libanais Je Veux Voir, et montrons comment il offre un exemple puissant de la simultanéité de l’exactitude et de la partialité dans le cinéma. Mentre è possibile, come Vivian Sobchack e altri hanno mostrato, comprendere il film attraverso la filosofia di Merleau-Ponty, risulta più difficile rintracciare all’interno del suo lavoro una riflessione coerente e sistematica sul cinema. Se quest’assenza è stata di rado oggetto di discussione, questo articolo propone invece di interrogarsi sul possibile significato di questa assenza analizzando le ragioni per cui Merleau-Ponty non ha sviluppato una riflessione esplicitamente dedicata al cinema. Sulla base di questa analisi, si intende mostrare che ciò che Merleau-Ponty trova problematico riguardo al cinema può invece rivelarsi una delle sue caratteristiche più preziose. Secondo Merleau-Ponty, il cinema si trova costretto tra una monotona esattezza e una deludente parzialità. È a causa di questi due estremi, apparentemente opposti, che Merleau-Ponty accantona il cinema. Tuttavia, la coppia esattezza-parzialità fornisce un interessante spunto di riflessione. Intuitivamente, i due termini non dovrebbero poter coesistere: sarebbero invece reciprocamente esclusivi. Eppure, la loro coesistenza sembra rinnovare piuttosto che precludere una riflessione sul cinema. È sulla scorta di questi due termini che Jean-Luc Nancy sviluppa il proprio pensiero su questo tema. Al fine di mostrare come il cinema sia in grado di catturare l’eccesso e l’ambiguità essenziali del mondo, l’articolo propone una lettura del film libanese Je Veux Voir, che offre un esempio efficace della simultanea esattezza e parzialità del cinema. (shrink)

According to Jean-Luc Nancy the essential condition for the existence of sense is the 'otherness' of our being-together. For John Cassavetes being-together makes sense only there where it escapes sense. It will be shown that in fact that both propositions derive from a qualitative distance at the heart of our being-together. This qualitative distance triggers the circulation of sense and leaves sense always open. It is in this way that being-together responds of sense absolutely (responding to its content – the (...) acquired meanings – and its structure – sense’s referentiality) by foreclosing any absolute sense, maintaining itself as it were as the moving horizon of sense. (shrink)

This argument explores the pivotal role of cinema in shaping and reflecting the sociopolitical landscape of communist regimes in Eastern Europe. Under Stalin, Soviet cinema evolved into a state-controlled instrument of socialist realism, influencing cultural production throughout the Eastern Bloc. While some countries with established cinematic traditions adapted to or resisted the Soviet model, others adopted it wholesale, leading to varying degrees of creative expression and control. Through interdisciplinary contribu­tions, the latest issue of HCE highlights the duality of (...) cinema as both a tool for ideological control and a medium for dissent and creative resistance, revealing the complex interplay between art and politics in communist societies. (shrink)

_Endless Night: Cinema and Psychoanalysis, Parallel Histories_ Edited by Janet Bergstrom Berkeley: University of California Press, 1999 ISBN 0-520-20747-5 (hbk); 0-520-20748-3 (pbk) 307 pp.

This well-written, engaging volume by Stephen Teo is a welcome intervention in the field of film studies in that it confronts the hegemony of Western theoretical approaches to cinema and provides a counterbalancing model that applies what Teo calls “Eastern theory” to Western film classics. Although Teo’s use of terms such as “Eastern theory” and “Eastern essence” could be construed as perilously totalizing--painting “the East” with a monochromatic brush that beckons toward a regression into Orientalizing--his apologia for the study (...) and his execution of the analyses are sufficiently adept and focused to remediate the occasional sweeping generalization. Indeed, Teo spends much of his introduction and first chapter... (shrink)

As the dominant media institution in South Asia, Bombay cinema's cultural production of narratives, images and spectacle plays a crucial role in the effort to consolidate and project definitions of the nation. Moreover, such images are exported to the South Asian diaspora worldwide as part of the processes associated with the globalized cultural product referred to as Bollywood. This discussion examines the production and reception of the 2008 film Jodhaa Akbar both as process and product of complex historical, cultural (...) and political nation-building projects in which gender plays a central role. (shrink)

This study argues that the 18th century, so long regarded as the age of reason, should also be considered the age of passions. Eighteenth-century writers began to explore self-interest, sociability and love, and to manipulate them in ways that would have momentous consequences for the development of Western culture. When carefully cultivated: self-interest led to prudent behaviour and national improvement; sociability contributed to inter-group harmony and national identity; the powerful attraction between the sexes metamorphosed into politics and altruism.

Christian Metz can rightfully be considered the founder of the semiology of cinema. This essay traces the supporting structures, and the problems connected to them, of this theoretical effort, starting first of all from the context that nourished it. The difficulties associated with both the construction of a general semiology and the use of its categories in cinema and artistic languages emerge.

Sartre's recollection, in Les Mots , of his first visit to the cinema is a multi-layered and ambivalent text through which Sartre proposes a number of interlocking arguments: concerning the contrast between the 'sacred' space of the theatre and the non-ceremonial space of the cinema, between the theatre as associated with paternal authority, and the cinema as associated with a clandestine bond with the mother. But the text also sets up a quasi-sociological account of the public Sartre (...) encounters in the cinema itself as revealing to him the truth of the social bond, a truth he expresses with the term 'adherence', and which he says he only rediscovered in his experience of being a prisoner in the Stalag in 1940. Rather than the basis of a sociological account of the social bond, which would seem at odds with Sartre's social philosophy, I read this as the expression of a desire for physical proximity. The space of the cinema thus develops a fantasy, and this is in continuity with the role of the cinema in the evolution traced in Les Mots , in which it is described as instigating a withdrawal into imaginary life and an indulgence in daydreaming. Through reference to Christian Metz and to Roland Barthes, whose essay 'En sortant du cinéma' is proposed as a parallel and a response to Sartre, I suggest that the 'true bond' of adherence which Sartre encounters is an unconscious rather than an epistemological truth. (shrink)

The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual (...) history beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems. (shrink)

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Alyssa DeBlasio’s book The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema presents Merab Mamardashvili’s philosophy seen through the eyes of film directors who were directly or indirectly influenced by his lectures. With a detailed analysis of eight films, the book brings together a generation of filmmakers who translated Mamardashvili’s message into cinematic language, performing an experiment through which we might see an alternative mode of thought at work. By showing how Mamardashvili’s considerations of metaphysical, epistemological and moral nature (...) shine through in the films described, DeBlasio touches upon one of the pillars of Mamardashvili’s thought: art is, together with philosophy, a privileged language for recording each own’s experience of the field of consciousness. (shrink)

Cinema, like art more generally, is both an artistic genre and a politico-economic institution. On the one hand there is film, a medium which disseminates moving images via the projection of light through celluloid onto a screen. Individual films or "movies," in turn, are discrete aesthetic objects that are distinguished and analyzed vis-à-vis their form and content. On the other hand there is the film industry-the elaborate network of artistic, technical, and economic apparatuses which plan, produce, market, and display (...) films to audiences. Since its inception, both the aesthetic and political aspects of cinema have been subject to various forms of theoretical analysis which have been subject to critique in turn. In this paper I offer a brief survey of these analyses and critiques followed by a sketch of an alternative approach to film theory. Drawing upon the ideas of Foucault and Deleuze, this "anarchist" film theory seeks to present a viable critical methodology while at the same time elucidating the liberatory potential of film. (shrink)

Beginning with Sir William Hamilton's revitalisation of philosophy in Scotland in the 1830s, Gordon Graham takes up the theme of George Davie's The Democratic Intellect and explores a century of debates surrounding the identity and continuity of the Scottish philosophical tradition. Gordon Graham identifies a host of once-prominent but now neglected thinkers - such as Alexander Bain, J. F. Ferrier, Thomas Carlyle, Alexander Campbell Fraser, John Tulloch, Henry Jones, Henry Calderwood, David Ritchie and Andrew Seth Pringle-Pattison - whose reactions (...) to Hume and Reid stimulated new currents of ideas. Graham concludes by considering the relation between the Scottish philosophical tradition and the 20th-century philosopher John Macmurray. (shrink)

Scottish philosophy of the seventeenth century was an important part of a wider European philosophical discourse. After situating such thought in its political and religious contexts, the contributors to this volume investigate the writings of a variety of Scottish thinkers in the areas of logic, metaphysics, politics, ethics, law, and religion.

James McCosh, the Scottish philosopher, graduated from the University of Glasgow, spent some time as a minister in the Church of Scotland but then returned to philosophy and spent most of his career at Princeton University. The eighteenth-century Scottish Enlightenment had many influential philosophers at its core. In this book, first published in 1875, McCosh outlines the theories of eighteenth- and nineteenth-century philosophers and identifies Scottish philosophy as a distinct school of thought. He summarises both the merits (...) and the possible criticisms of each philosopher's work and also gives detailed biographical information. Among the philosophers discussed are the influential David Hume, Thomas Reid and Adam Smith. The final chapter focuses on Sir William Hamilton, a philosopher who greatly influenced McCosh. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, (...) by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

The Scottish Common Sense School of philosophy emerged during the Scottish Enlightenment of the second half of the eighteenth century. The School’s principal proponents were Thomas Reid, James Oswald, James Beattie and Dugald Stewart. They believed that we are all naturally implanted with an array of common sense intuitions and these intuitions are in fact the foundation of truth. Their approach dominated philosophical thought in Great Britain and the United States until the mid nineteenth century. In recent years (...) philosophers have renewed their appreciation of the notion of common sense. In particular, discussions of common sense intuitions are integral to contemporary epistemological foundationalism. Scottish Common Sense Philosophy: Sources and Origins is a 5-volume collection of writings by and about philosophers in the eighteenth-century Scottish Common Sense School. The writings by Thomas Reid and Dugald Stewart are readily available in recent editions and facsimile reprints so this series focuses on less accessible and less well-known items. Oswald’s Appeal appears here in print for the first time in any form since 1772. Volume 2 is the first reset printing of Beattie’s Essay in over 100 years, and is the only edition to contain annotations that trace the major changes that he made to the text. Almost all of the responses in volumes 3 and 4 appear here in print for the first time since their original publication. These include reviews, pamphlets and excerpts from books. Also included is previously unpublished discussion of Beattie’s Essay by Dugald Stewart. The final volume is a bibliography of around 80 Scottish philosophers from the early eighteenth century to the close of the nineteenth century. Unlike the 1932 bibliography of Scottish philosophers offered by T. E. Jessop, which selectively presents only the philosophical writings by the various Scottish philosophers, this volume attempts to catalogue all of the writings by these philosophers in all of their editions. (shrink)

The Scottish Enlightenment shaped a new conception of history as a gradual and universal progress from savagery to civil society. Whereas women emancipated themselves from the yoke of male-masters, men in turn acquired polite manners and became civilized. Such a conception, however, presents problematic questions: why were the Americans still savage? Why was it that the Europeans only had completed all the stages of the historic process? Could modern societies escape the destiny of earlier empires and avoid decadence? Was (...) there a limit beyond which women's influence might result in dehumanization? The Scottish Enlightenment's legacy for modernity emerges here as a two-faced Janus, an unresolved tension between universalism and hierarchy, progress and the limits of progress. (shrink)

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

Cinema no abrigo: encontros, gestos e acontecimento Resumo: Este texto é fruto de reflexões sobre nossa vivência com o Projeto de Extensão “Educação, Cinema, Outros Territórios” no Lar de Idosos ‘Abrigo Tiradentes’, em Minas Gerais. Um objetivo específico do Projeto é realizar sessões de cinema junto aos idosos em diferentes territórios. A metodologia e a avaliação das ações são compreendidas como um gesto de acompanhamento do Programa de Extensão, amparado na investigação cartográfica, prática metodológica pertinente para o (...) acompanhamento de processos em curso e a produção de subjetividades. As questões que nos colocamos para esta reflexão são: o que pode o cinema num Abrigo de Idosos? Quais conexões poderíamos arquitetar entre cinema, linguagem e acontecimento? O que essas pessoas experimentam com os filmes? O que poderíamos exercitar, a partir do conceito de acontecimento, no pensamento? Buscamos, por meio deste ensaio, um exercício de pensar “acontecimentos” no nosso encontro com os moradores e com os filmes durante as sessões de cinema no Lar de Idosos – Abrigo Tiradentes. Palavras-chave: Acontecimento; Cinema; Idoso. Cinema in the shelter: meetings, gestures and events Abstract: This text is the result of reflections on our experience with the “Education, Cinema, Other Territories” Extension Project at the Lar de Idosos Abrigo Tiradentes, in Minas Gerais. A specific objective of the Project is to hold cinema sessions with the elderly in different territories. The methodology and the evaluation of the actions are understood as a gesture of monitoring the Extension Program, supported by cartographic research, methodological practice relevant to the monitoring of ongoing processes and the production of subjectivities. The questions we ask ourselves for this reflection are: what can cinema do in a Shelter for the Elderly? What connections could we make between cinema, language and event? What do these people experience with films? What could we exercise, based on the concept of event, in thought? Through this essay, we seek an exercise in thinking about “events” in our meeting with the residents and with the films during the cinema sessions at Lar de Idosos – Abrigo Tiradentes. Key-words: Event; Cinema; Elderly. Cine en el retiro: encuentros, gestos y acontecimientos Resumen: Este texto es el resultado de reflexiones sobre nuestra experiencia con el Proyecto de Extensión “Educación, Cine, Otros Territorios” en el Lar de Idosos Abrigo Tiradentes, en Minas Gerais. Un objetivo específico del Proyecto es realizar sesiones de cine con personas mayores en diferentes territorios. La metodología y la evaluación de las acciones se entienden como un gesto de seguimiento del Programa de Extensión, con el apoyo de la investigación cartográfica, la práctica metodológica relevante para el seguimiento de los procesos en curso y la producción de subjetividades. Las preguntas que nos hacemos para esta reflexión son: ¿qué puede hacer el cine en un refugio para ancianos? ¿Qué conexiones podríamos hacer entre cine, idioma y evento? ¿Qué experimentan estas personas con las películas? ¿Qué podríamos ejercer, basado en el concepto de evento, en el pensamiento? A través de este ensayo, buscamos un ejercicio para pensar acerca de los "eventos" en nuestra reunión con los residentes y con las películas durante las sesiones de cine en Lar de Idosos – Abrigo Tiradentes. Palabras-claves: Acontecimentos; Cine; Ancianos. Data de registro: 19/03/2020 Data de aceite: 28/08/2020. (shrink)

This volume in the new history of Scottish philosophy covers the Scottish philosophical tradition as it developed over the nineteenth and twentieth centuries. Leading experts explore major figures from Thomas Brown to George Davie, while others address key developments in the period, including the spread of Scottish philosophy across the world.

Introduction The chief aim of this book is to give an account of two great periods in the history of Scottish culture. One is, inevitably, that of the ...

Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...) do princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)