The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)

Is history a category of reason, or is reason a category of history? These opposing questions have divided the structuralist from the materialist-but neither question is wrong. Analysis of the logic of oppositions challenges feminism, in particular, to find a logic-and a poetics-in which to render its values without historical or theoretical naiveté. I explore the question of the timing of feminism through Julia Kristeva and Luce Irigaray.

Why do some addicted people chronically fail in their goal to recover, while others succeed? On one established view, recovery depends, in part, on efforts of intentional planning agency. This seems right, however, firsthand accounts of addiction suggest that the agent’s self-narrative also has an influence. This paper presents arguments for the view that self-narratives have independent, self-fulfilling momentum that can support or undermine self-governance. The self-narrative structures of addicted persons can entrench addiction and alienate the agent from practically feasible (...) recovery plans. Strategic re-narration can redirect narrative momentum and therefore support recovery in ways that intentional planning alone cannot. (shrink)

This article is about time. It is about time, or more precisely, about the absence of time in law’s digital future. It is also about time travelling and the seemingly ever-popular BBC science fiction television series Doctor Who. Further, it is about law’s timefullness; about law’s pictorial past and the ‘visual baroque’ of its chronological fused future. Ultimately, it is about a time paradox of seeing time run to a time when time runs ‘No More!’ This ‘timey-wimey’ article is in (...) three parts. The first part looks to a hazy remembered past of the legal emblem tradition as presented in Peter Goodrich’s Legal Emblems and the Art of Law to learn visual literacy and also to glimpse the essential elements of modern legality with authority, decision and violence. The second part maps how these images and icons of modern legality are manifest in the Doctor Who fiftieth year anniversary special ‘The Day of the Doctor.’ The third stage looks beyond these first order meanings to understand the chronological chaos of ‘The Day of the Doctor.’ The technicity of the image as a portal through time and space that the narrative revolves around charts the implications for the digital end of time for law. (shrink)

Spaces of Geographical Thought examines key ideas like space and place - which inform the geographic imagination. The text: discusses the core conceptual vocabulary of human geography: agency: structure; state: society; culture: economy; space: place; black: white; man: woman; nature: culture; local: global; and time: space; explains the significance of these binaries in the constitution of geographic thought; and shows how many of these binaries have been interrogated and re-imagined in more recent geographical thinking. A consideration of these binaries will (...) define the concepts and situate students in the most current geographical arguments and debates. The text will be required reading for all modules on the philosophy of geography and on geographical theory. (shrink)

Contrasting the work of Genevieve Lloyd, Elizabeth Grosz, and Moira Gatens with the poststrueturalist philosophy of Judith Butler, this paper identifies a distinctive “Australian” feminism. It argues that while Butler remains trapped by the matter/representation binary, the Spinozist turn in Lloyd and Gatens, and Grosz's work on Bergson and Deleuze, are attempts to think corporeality.

: Contrasting the work of Genevieve Lloyd, Elizabeth Grosz, and Moira Gatens with the poststructuralist philosophy of Judith Butler, this paper identifies a distinctive "Australian" feminism. It argues that while Butler remains trapped by the matter/representation binary, the Spinozist turn in Lloyd and Gatens, and Grosz's work on Bergson and Deleuze, are attempts to think corporeality.

In this paper we defend the notion of narrative identity against Galen Strawson's recent critique. With reference to Elyn Saks's memoir of her schizophrenia, we question the coherence ofStrawsons conception of the Episodic self and show why the capacity for narrative integration is important for a flourishing life. We aho argue that Scú put pressure on narrative theories that specify unduly restncúve constraints on self-constituting narratives, and chrify the need to distinguish identity from autonomy.

This article draws upon the work of contemporary French feminist philosopher Luce Irigaray in developing a post‐structuralist analysis of travel within the autobiographies of the second wave feminist philosopher Simone de Beauvoir. Travel and the experience of wonder at the otherness of the world figure as important self shaping experiences within the four volumes of Beauvoir's life narrative. Travel has a metonymic relation to the passage of Beauvoir's life, in which the existential extremes of anguish and ecstasy are played out (...) in a quest for self knowledge. Through a close reading of Beauvoir's writing I analyse the different formations of desire that structure the experience of wonder in relation to the otherness of the world and death. I also draw upon debates within feminist philosophy about the nature of subjectivity and knowledge that were, in Beauvoir's time, ordered around an Hegelian opposition between immanence and transcendence. I take up Irigaray's notion of the sensible transcendental to explore another way of conceptualising the feminine subject's desire to know and value the world differently. (shrink)