Results for 'horror'

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Bibliography: Horror Film in Aesthetics
  1. Defeating Horrors: The Reconciliation Account.Joshua Sijuwade - 2024 - Journal of Religion 104 (2):1-30.
    This article aims to provide an explication of a new conceptualisation of God's defeat of horrors (i.e., horror-defeat), and a successful solution to the Problem of Horrors—which we can term the ‘Reconciliation Account’. This specific conceptualisation will be formulated in light of the work of Marilyn McCord Adams, with an original extension of her work being made by utilising the work of Richard Swinburne and Robin Collins (amongst others), which, in combination, will provide us with a more robust solution (...)
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  2. Hardcore Horror: Challenging the Discourses of ‘Extremity’.Steve Jones - 2021 - In Eddie Falvey, Jonathan Wroot & Joe Hickinbottom (eds.), New Blood: Critical Approaches to Contemporary Horror. University of Wales Press. pp. 35-51.
    This chapter explores the relationship between ‘hardcore’ horror films, and the discursive context in which mainstream horror releases are being dubbed ‘extreme’. This chapter compares ‘mainstream’ and ‘hardcore’ horror with the aim of investigating what ‘extremity’ means. I will begin by outlining what ‘hardcore’ horror is, and how it differs from mainstream horror (both in terms of content and distribution). I will then dissect what ‘extremity’ means in this context, delineating problems with established critical discourses (...)
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  3.  14
    O Horror fílmico na ordem do corpo e da escrita do acontecimento.Alex Pereira De Araújo - 2015 - Colóquio Nacional e Internacional Do Grupo de Pesquisa o Corpo e a Imagem No Discurso 3:95-109.
    Este trabalho empreende uma discussão a respeito do corpo como materialidade visível no dizível em duas produções cinematográficas de horror (Frontières e À l’interieur), cuja ordem fílmica de horror lança mão das imagens referentes ao acontecimento do Outubro de 2005, o qual foi marcado pelas manifestações e confrontos violentos entre a polícia e os manifestantes nas principais cidades francesas. Esta forma de usar imagens referentes a acontecimentos políticos ou sociais é uma característica das produções cinematográficas americanas de (...) dos anos de 1960 a 1970, da qual O massacre da Serra elétrica reconstrói seu roteiro sob a memória do caso de Ed Gein que aconteceu no Estado americano de Wisconsin nos anos de 1950. Nesta discussão, apresentamos uma análise, laçando mão da noção de intericonicidade para tratar das imagens que remetem a outras imagens e, ao mesmo tempo, retomamos a reflexão barthesiana “Como pode um acontecimento ser escrito?”, enunciada, em 1968, para refletir acerca do acontecimento do Maio daquele ano. Quanto ao corpo, tratamos deste objeto pelo prisma da ordem dos empreendimentos foucaultianos em que o corpo aparece como “um protagonista incontornável e multiforme”. (shrink)
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  4. God, Horrors, and Our Deepest Good.Bruce Langtry - 2020 - Faith and Philosophy 37 (1):77-95.
    J.L. Schellenberg argues that since God, if God exists, possesses both full knowledge by acquaintance of horrific suffering and also infinite compassion, the occurrence of horrific suffering is metaphysically incompatible with the existence of God. In this paper I begin by raising doubts about Schellenberg’s assumptions about divine knowledge by acquaintance and infinite compassion. I then focus on Schellenberg’s claim that necessarily, if God exists and the deepest good of finite persons is unsurpassably great and can be achieved without horrific (...)
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  5.  69
    O discurso fílmico de horror francês e a questão do "quem somos nós hoje”: um lugar para memória do corpo.Alex Pereira De Araújo - 2012 - Anais Do Vii Seminário de Pesquisa Em Estudos Linguísticos (Issn: 2317-0549) 7 (1):259-268.
    Este artigo busca adentrar pelas questões relacionadas à biopolítica do corpo, sobretudo, daquelas ligadas à estatização do biológico e do racismo do Estado, que aparecem nos trabalhos de Michel Foucault e que aqui evocamos para analisar o corpo enquanto objeto discursivo analisável dessa biopolítica em duas produções francesas de horror, - Frontière(s) e em À l’interieur – que exibem imagens dos tumultos de Outubro de 2005, acontecimento marcado pelos protestos contra a política de perseguição aos sans-papiers que vitimou três (...)
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  6.  64
    The Horror Versus L’Indagatore dell’Incubo. The Dionysian, Irrational, and Absurd in Dylan Dog’s Narrative.Marco Favaro - 2023 - In Subashish Bhattacharjee & Fernando Gabriel Pagnoni Berns (eds.), Horror and Philosophy. Essays on Their Intersection in Film, Television and Literature. Jefferson, North Carolina: McFarland & Company. pp. 237-249.
    Dylan Dog, l’Indagatore dell’Incubo (the nightmare investigator), lives and works at 7 Craven Road in London. The comic book character is English, but he was created in Italy by Tiziano Sclavi in 1986, and it is still published today monthly. Dylan had enormous success, not only in Italy but worldwide. His job is to investigate, together with his assistant, Groucho, the paranormal, the irrational, the nightmare that can assume different forms and aspects. Dylan fights against all types of monsters: vampires, (...)
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  7. Horror, Fear, and the Sartrean Account of Emotions.Andreas Elpidorou - 2016 - Southern Journal of Philosophy 54 (2):209-225.
    Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean-Paul Sartre's well-known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, I highlight a novel (...)
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  8. Horror and the idea of everyday life: On skeptical threats in psycho and the birds.Philip J. Nickel - 2010 - In Thomas Richard Fahy (ed.), The philosophy of horror. Lexington, Ky.: University Press of Kentucky. pp. 14--32.
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  9. Cosmic Horror and the Philosophical Origins of Science Fiction.Helen De Cruz - 2023 - Think 22 (63):23-30.
    This piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.
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  10. The Affective Nature of Horror.Filippo Contesi - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge. pp. 31-43.
    The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion (...)
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  11. The Thing: a Phenomenology of Horror.Dylan Trigg - 2014 - Zero Books.
    What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives (...)
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  12. Sex and Horror.Steve Jones - 2017 - In Feona Attwood, Brian McNair & Clarissa Smith (eds.), The Routledge Companion to Media, Sex and Sexuality. Routledge. pp. 290-299.
    The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers (...)
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  13. Utopias e heterotopias no interior e nas fronteiras do discurso-corpo no cinema francês de horror contemporâneo.Alex Pereira De Araújo - 2014 - Vitória da Conquista: Labedisco UESB. Edited by Nilton Milanez, Marisa Martins Gama-Khalil & Analyz Pessoa-Braz.
    Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.
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  14. The distinction between the Gothic as a genre and the Horror as a separate Literary genre.Subhasis Chattopadhyay - manuscript
    The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the (...)
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  15. Heterotopias e utopias na construção de corpos no cinema francês contemporâneo de horror: lugares de memória para uma arqueologia do medo.Alex Pereira De Araújo - 2014 - Rio de Janeiro: Dialogarts. Edited by Flávio Garcia, Marcello de Oliveira Pinto & Júlio França.
    Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem como (...)
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  16. "Monsters on the Brain: An Evolutionary Epistemology of Horror".Stephen Asma - 2014 - Social Research: An International Quarterly (N.4).
    The article discusses the evolutionary development of horror and fear in animals and humans, including in regard to cognition and physiological aspects of the brain. An overview of the social aspects of emotions, including the role that emotions play in interpersonal relations and the role that empathy plays in humans' ethics, is provided. An overview of the psychological aspects of monsters, including humans' simultaneous repulsion and interest in horror films that depict monsters, is also provided.
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  17. H.P. Lovecraft’s Philosophy of Science Fiction Horror.Greg Littmann - 2018 - Science Fictions Popular Cultures Academics Conference Proceedings 1 (2):60-75.
    The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of (...)
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  18. The Speaking Abject in Kristeva's "Powers of Horror".Thea Harrington - 1998 - Hypatia 13 (1):138-157.
    This essay analyzes the implications of the performative aspects of Julia Kristeva 's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva 's notion of practice and as such are fundamental to her critique of Hegel and Freud.
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  19. Torture Born: Representing Pregnancy and Abortion in Contemporary Survival-Horror.Steve Jones - 2015 - Sexuality and Culture 19 (3):426-443.
    In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with (...)
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  20. Diseases of the Head: Essays on the Horrors of Speculative Philosophy.Matt Rosen (ed.) - 2020 - New York, NY, USA: Punctum Books.
    This is a collection of essays from contemporary philosophers, artists, and writers on the intersection of speculative philosophy and speculative horror fiction. The book contains fourteen essays and an introduction. I edited the book and wrote the introduction. Topics considered include human extinction; anonymity, otherness, and alienation; whether horror is a genre; and the relationship between speculation and Kant’s critical philosophy.
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  21. Para além de Vigiar e Punir: o controle social do corpo e a recodificação da memória popular em filmes de horror.Alex Pereira de Araújo & Nilton Milanez - 2015 - Unidad Sociológica 4 (2):56-64.
    Este estudio se ocupa del control social del cuerpo y de la reconfiguración de la memoria popular en películas de horror a través de la perspectiva genealógica de Foucault, presentada en su libro Vigilar y Castigar, publicado hace 40 años. Por lo tanto, tomaremos, À l’interieur e Frontière (s), dos producciones de horror cinematográfico hechas por directores franceses, ambos publicados en 2007. La hipótesis principal es que las películas de terror se muestran como una nueva forma de vigilancia (...)
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  22. Carroll on the Emotion of Horror.Filippo Contesi - 2020 - Projections: The Journal for Movies and Mind 14 (3):47-54.
    Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of (...)
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  23. The Pure Moment of Murder: The Symbolic Function of Bodily Interactions in Horror Film.Steve Jones - 2011 - Projections 6 (2):96-114.
    Both the slasher movie and its more recent counterpart the "torture porn" film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the "pure moment of murder": that is, the moment in which two characters’ bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from (...)
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  24. ‘Implied…or implode?’: The Simpsons' Carnivalesque Treehouse of Horror Specials.Steve Jones - 2010 - Animation 18.
    Since 1990, The Simpsons’ annual “Treehouse of Horror” episodes have constituted a production sub-context within the series, having their own conventions and historical trajectory. These specials incorporate horror plots and devices, as well as general references to science fiction, into the series’ base in situation comedy. The Halloween specials disrupt the series usual family-oriented sitcom structure, dissolving the ideological balances that stabilise that society. By depicting the Family and community in extreme circumstances, in seeing the horror of (...)
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  25. Memória: corpo e poder na arqueogenealogia do sujeito no discurso fílmico de horror.Alex Pereira De Araújo - 2016 - Dissertation, Universidade Estadual Do Sudoeste da Bahia
    Tout le film est toujours une microphysique du pouvoir, en potence, d’être étudier. Aujourd’hui l'augmentation des productions d'horreur et son public ont fait le film d'horreur une «contreculture» dominante, mais toujours sous l'effet négatif du pouvoir et du savoir qui disqualifient les discours, matérialisée dans ces films, ce qui les rend illégitime et exiler en soi espace filmique, transformée en un lieu adapté pour interdite et marquée par certaines pratiques discursives avec certains dispositifs d'exclusion. Paradoxalement, les types marginaux qui apparaissent (...)
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  26. Music in narrative film. On motion and stasis : Photography, "moving pictures," music / David Neumeyer, Laura Neumeyer ; the topos of "evil medieval" in american horror film music / James deaville ; la leggenda Del pianista sull'oceano : Narration, music, and cinema / Rosa Stella cassotti ; music in Aki kaurismäki's film the match factory girl / Erkki pekkilä ; it's a little bit funny : Moulin rouge's sparkling postmodern critique.Susan Ingram - 2006 - In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, meaning and media. Helsinki: University of Helsinki.
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  27. Barbarous Spectacle and General Massacre: A Defence of Gory Fictions.Ian Stoner - 2020 - Journal of Applied Philosophy 37 (4):511-527.
    Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage (...)
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  28. Those Who Aren't Counted.Matt Rosen - 2020 - In Diseases of the Head: Essays on the Horrors of Speculative Philosophy. New York, NY, USA: Punctum Books. pp. 113-162.
    I propose a distinction between two concepts: affliction and atrocity. I argue that an ethical position with respect to history’s horrors can be understood as a practice of refusing to permit affliction to be seen as atrocity. This is a practice of resisting the urge to quantify or qualify affliction in subjecting it to a count of bodies, which would be taken to totalize all the suffering in a given situation. We should, I contend, resist thinking that affliction qualified as (...)
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  29. Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...)
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  30. A imagem como utopia em heterotopias e noção de intericonicidade frente à escrita do acontecimento.Alex Pereira De Araújo - 2023 - Revista Heterotópica 4 (2):4-32.
    Este trabalho apresenta uma discussão que tem como objetivo principal propor um novo risco ao contorno da noção de intericonicidade que aparece em Courtine, precisamente, em 2003. Aí encontramos uma abertura que nos permite traçar outras curvaturas em sua noção. É justamente por este interstício que vamos propor a inclusão de dois elementos que, a nosso ver, estão na ordem da constituição das imagens: as utopias e heterotopias, conforme discussões iniciadas anteriormente por Araújo (2014a, 2014b). Para tanto, tomamos como pano (...)
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  31.  38
    Entrevista a ‪Itxaso del Castillo Aira. Reflexiones sobre el cine de terror, las monstruas y el found footage.Jesús Miguel Delgado Del Aguila - 2024 - Savoirs En Prisme 18 (18):197-203.
    En esta entrevista, Itxaso del Castillo Aira relata sus experiencias al especializarse en el tópico del terror cinematográfico y televisivo; en rigor, se refiere a la técnica audiovisual del found footage. Películas como El proyecto de la bruja de Blair, Actividad paranormal y REC han desarrollado este recurso para emerger una impresión de realismo en la trama de estos largometrajes al momento de ser proyectados. Así como esta técnica, la investigadora propondrá otras categorías vigentes, tales como las de las monstruas (...)
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  32.  85
    The Abortive Superman: Übermensch as monster in the work of Panos Cosmatos.Michael Eden - 2023 - Film International 21 (1-2):76-101.
    The paper examines Cosmatos's work to date: the two feature films 'Beyond the Black Rainbow'(2010), and 'Mandy' (2018), and the episode ‘The Viewing’ (2022) from the Netflix series 'Guillermo del Toro's Cabinet of Curiosities'. I argue that Cosmatos's films act as a vernacular critique of popular culture iterations of Nietzsche's Übermensch, and as such addresses the political and psychological anxieties of a mass North American audience. I further argue that Cosmatos is a profoundly psychoanalytical film maker, staging as horror, (...)
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  33. Torture Pornopticon: (In)security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Linnie Blake & Xavier Aldana Reyes (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. I.B. Tauris. pp. 29-41.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...)
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  34. 'Time is Wasting': Con/sequence and S/pace in the Saw Series.Steve Jones - 2010 - Horror Studies 1 (2):225-239.
    Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. (...)
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  35.  82
    Maupassant’s Empty Mirror: From the Phenomenology of Anxiety to the Constitution of the Not-Man.Bolea Stefan - 2017 - Hermeneia 18:85-92.
    Maupassant’s short horror story Horla (1887) contains a treatment of anxiety that can be analyzed in the context of Existentialist philosophy: Kierkegaard, Heidegger, Levinas or Cioran all observed the anticipatory trait of this affect. From a psychological point of view, anxiety leads to neurosis and/or psychosis, to the splitting of the principle of identity. This inner duality is famously expressed in the short story’s scene of the “empty mirror”, where the main character fails to see his own reflection. The (...)
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  36. Amelioration vs. Perversion.Teresa Marques - 2020 - In Teresa Marques & Åsa Wikforss (eds.), Shifting Concepts: The Philosophy and Psychology of Conceptual Variability. Oxford: Oxford University Press.
    Words change meaning, usually in unpredictable ways. But some words’ meanings are revised intentionally. Revisionary projects are normally put forward in the service of some purpose – some serve specific goals of inquiry, and others serve ethical, political or social aims. Revisionist projects can ameliorate meanings, but they can also pervert. In this paper, I want to draw attention to the dangers of meaning perversions, and argue that the self-declared goodness of a revisionist project doesn’t suffice to avoid meaning perversions. (...)
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  37. The new (liberal) eugenics.Nicolae Sfetcu - manuscript
    Despite the Nazi horrors, in 1953 the new eugenics was founded, when Watson and Crick postulated the double helix of DNA as the basis of chemical heredity. In 1961, scientists have deciphered the genetic code of DNA, laying the groundwork for code manipulation and the potential building of new life forms. After thirty years from the discovery of the DNA structure, the experimenters began to carry out the first clinical studies of human somatic cell therapy. The practice of prenatal genetic (...)
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  38. National Defence, Self Defence, and the Problem of Political Aggression.Seth Lazar - 2014 - In Cécile Fabre & Seth Lazar (eds.), The Morality of Defensive War. Oxford, GB: Oxford University Press. pp. 10-38.
    Wars are large-scale conflicts between organized groups of belligerents, which involve suffering, devastation, and brutality unlike almost anything else in human experience. Whatever one’s other beliefs about morality, all should agree that the horrors of war are all but unconscionable, and that warfare can be justified only if we have some compel- ling account of what is worth fighting for, which can justify contributing, as individu- als and as groups, to this calamitous endeavour. Although this question should obviously be central (...)
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  39. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In Neil Jackson, Shaun Kimber, Johnny Walker & Thomas Joseph Watson (eds.), Snuff: Real Death and Screen Media. Bloomsbury Academic.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...)
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  40. Eugenic Thinking.Robert A. Wilson - 2018 - Philosophy, Theory, and Practice in Biology 10.
    Projects of human improvement take both individual and intergenerational forms. The biosciences provide many technologies, including prenatal screening and the latest gene editing techniques, such as CRISPR, that have been viewed as providing the means to human improvement across generations. But who is fit to furnish the next generation? Historically, eugenics epitomizes the science-based attempt to improve human society through distinguishing kinds of people and then implementing social policies—from immigration restriction to sexual sterilization and euthanasia—that influence and even direct what (...)
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  41. Soldierly Virtue: An argument for the restructuring of Western military ethics to align with Aristotelian Virtue Ethics.John Baldari - 2018 - Dissertation, University of Leeds
    Because wars are fought by human beings and not merely machines, a strong virtue ethic is an essential prerequisite for those engaged in combat. From a philosophical perspective, war has historically been seen as separate and outside of the commonly accepted forms of morality. Yet there remains a general, though not well-thought out, sense that those human beings who fight wars should act ethically. Since warfighters are often called upon to contemplate and complete tasks during war that are not normally (...)
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  42. Atrocity, Banality, Self-Deception.Adam Morton - 2005 - Philosophy, Psychiatry, and Psychology 12 (3):257-259.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.3 (2005) 257-259 [Access article in PDF] Atrocity, Banality, Self-Deception Adam Morton Keywords evil, self-deception, banality, atrocity, motivation When talking about evil we must make a fundamental choice about how we are to use the term. We may use it as half of the contrast "good versus evil," in which case it covers everything that is not good. That includes moral incompetence, lack of imagination, (...)
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  43. Spierig Brothers' Jigsaw (2017) - Torture Porn Rebooted?Steve Jones - 2019 - In Simon Bacon (ed.), Horror: A Companion. Peter Lang. pp. 85-92.
    After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.
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  44. Utopia, Myth, and Narrative.Christopher C. Yorke - 2007 - Philosophical Studies (University of Tokyo) 25:285-298.
    One of the most historically recent and damaging blows to the reputation of utopianism came from its association with the totalitarian regimes of Hitler’s Third Reich and Mussolini’s Fascist party in World War II and the prewar era. Being an apologist for utopianism, it seemed to some, was tantamount to being an apologist for Nazism and all of its concomitant horrors. The fantasy principle of utopia was viewed as irretrievably bound up with the irrationalism of modern dictatorship. While these conclusions (...)
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  45. The Ontology and Aesthetics of Genre.Evan Malone - 2024 - Philosophy Compass 19 (1):e12958.
    Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (...)
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  46. Loving the Eternal Recurrence.Neil Sinhababu & Kuong Un Teng - 2019 - Journal of Nietzsche Studies 50 (1):106-124.
    We explore how one might respond emotionally to the eternal recurrence. Zarathustra himself serves as our central case study. First we clarify the idea of eternal recurrence and its role in Nietzsche’s philosophy, explaining why the eternal recurrence has the emotional consequences Nietzsche describes when he first introduces the idea in The Gay Science. Then we describe Zarathustra’s emotional journey from horror at the eternal recurrence to loving it, in the sections from “On Great Events” to “The Seven Seals, (...)
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  47. El vacío del populismo latinoamericano frente a la ontología política europea.Adrià Porta Caballé - 2021 - Res Pública. Revista de Historia de Las Ideas Políticas 24 (1):63-74.
    El presente artículo pretende mirar a Latinoamérica desde la perspectiva de la ontología. Y como hay algo que no acaba de encajar, busca en el inexplorado terreno de la meontología y el no-ser a partir de dos pensadores políticos latinoamericanos recientes, Dussel y Laclau. Por un lado, la Filosofía de la Liberación asocia el centro con la ontología y el ser, así como la periferia con lo Otro y el no-ser. De esto se desprende que, aun y asumiendo el heideggeriano (...)
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  48. Languages of “National Socialism”: From Reactionary Apocalypse to Social Media Clickbait.George Leaman - 2023 - In Tullia Catalan (ed.), Languages of National Socialism: Sources, Perspectives, Methods. EUT Edizioni Università di Trieste. pp. 11-26.
    In this article I examine language used to define, express, and exploit “National Socialism”. These different uses vary in time and purpose, and need to be understood in context. The Nazis did not create much of the language most closely associated with National Socialism, but their use of certain language, symbols, and images has been so firmly established that we immediately recognize them even when partially spoken or indirectly referenced. This easy recognition, combined with the emotional charge of anger and (...)
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  49. Exploring spiritual eco-humanism.Fernando Suárez Muller - 2023 - Logeion Filosofia da Informação 9 (2):6-31.
    This paper is a philosophical discussion about the link between utopianism and responsibility. It argues that our time demands a strong practice of political responsibility in both organizations and society based on what has been called ‘real utopianism’. It takes as a starting point Hans Jonas’ critique of utopianism. Keeping in mind the horrors of the Second World War this Jewish thinker disconnected the principle of responsibility from the idea of utopianism, and connected it to a ‘heuristics of fear’ – (...)
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  50. Faszination - Schrecken. Zur Handlungsrelevanz ästhetischer Erfahrung anhand Anselm Kiefers Deutschlandbilder.Martina Sauer - 2018 - Heidelberg, Germany: arthistoricum.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops (...)
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