Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Philosophy." Includes bibliographical references (p. 133-135).

No description available.

Thesis (doctoral)--Universität Wuppertal, 2005. / Description based on print version record. Includes bibliographical references (p. 235-242) and index.

Guided by the question of what does photography bring into being, 'Against Indexicality' is a proposition to rethink the foundation of the philosophy of photography - to rethink the supposed relation of truth between the photograph and the world. Taking Indexicality as a messy and convoluted conceptual field comprised of the notions of pointing, stillness, and fragmentation, this study works to untangle the three from each other, separately challenging each individual notion. In analysing each of the three through their conceptualisation by prominent thinkers, including Charles S. Peirce, Susan Sontag, Henri Bergson, Walter Benjamin, André Bazin, Rosalind Krauss, Jacques Derrida, and Roland Barthes, and examining them against and through examples of photographic images, this study points to the imprecisions, insufficiencies, and incompatibilities of Indexicality in relation to the photographic image and form. Undoing Indexicality as a field, this study resists Indexicality as a paradigm, proposing a new theoretical framework for photography: rather than looking at photographic images as truth bearers that can evidence the photographed, it proposes to look at photographic images as formations that form a thought out of the photographed. In that, this study works to remedy the Indexicality fever, or compulsion, which it identifies as the root cause of theoretical mess within the philosophy of photography. By evincing that Indexicality is a wrong, albeit necessary, solution to a problem that is to do with identifying the relation of the photograph to the world, it not only lifts photography out of a Procrustean bed in which it was never comfortable, but also allows for a new solution to develop. This solution is the theory of photo-poiesis: a move beyond the materiality and away from the referentiality of photography towards its being in the world and the thought that it forms and brings-forth - towards thinking.

Thesis (Ph. D.)--York University, 1998. Graduate Programme in Philosophy. / Typescript. Includes bibliographical references (leaves 299-306). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ39275.

Thesis (doctoral)--Universität Basel, 1938. / Vita. Bibliography: p. 125.

No description available.

This thesis explores the intersection of phenomenological, bio-political and ethical facets of spectatorship in relation to female suffering and gendered violence in contemporary film produced in Europe (mainly drawing on examples from France) and the United States. I argue that the visceral and affective cinematic embodiment of female pain plays a vital role in determining the political and ethical relationships of spectators to the images onscreen. Drawing on phenomenological theory, feminist ontology and ethics (primarily the work of Hélène Cixous), as well as the ethical philosophies of Gilles Deleuze and Jean-Luc Nancy, I establish the bio-political and ethical positions and responsibilities of spectators who encounter female suffering in film. In doing so, I highlight the ways in which adopting a phenomenological approach to theorizing and practicing spectatorial perception can open up new areas of ethical engagement with (and fields of vision within) controversial modes of filmmaking such as European New Extremism and body horror. I analyze how suffering female bodies embody contemporary corporeal, socio-political and ethical problematics in what I define as the “cinema of exposure.” I argue that through processes of psychosomatic disturbance, films within the cinema of exposure encourage spectators to employ a haptic, corporeally situated vision when watching women experience pain and trauma onscreen. I explore how encounters with these suffering female bodies impact spectators as political and ethical subjects, contributing a crucial bio-political dimension to existing work on spectatorial engagement with cinematic affect. The goal of this thesis is to highlight the continued importance of feminist critiques of gendered and sexualized violence in film by attending to the emotional, physical, political and ethical resonances of mediated female suffering. This thesis contributes productively to those areas of film and media studies, women's studies and feminist philosophy that explore the construction of female subjectivity within contemporary culture.

This thesis interweaves two strands of inquiry, one educational, the other philosophical. The educational inquiry is seeded by the need to understand both embodiment and learning within experiences of place in education. The second strand is prompted by Evernden’s insight that the environmental crisis is a ‘crisis of being’ (1985). Evernden argues that our perceived separation from the world is at the root of the environmental issues we face. Highlighting the role that ‘place’ might have in both these inquiries, I examine the educational and philosophical debates around place, drawing especially on place-based education (Gruenewald & Smith, 2008), and phenomenology (Merleau-Ponty, 1968). Arguments from within these literatures indicate that experiences of, and in, place hold the potential to reexamine what it means to be part of the world, here, now. Three key research questions emerge from my examination of the literature: 1 – what role do experiences of place have in education? 2 – what is the ontology of place? and 3 – how does place affect thinking and learning? This third question is the meeting point of the philosophical and educational threads of the inquiry, and also reflects back on the process of the inquiry itself. Given the focus of these questions on the lived experience of place, phenomenology is chosen as a suitable methodology. However, I argue that the full potential of phenomenological research can only be met through a more participative and experiential approach. Drawing on literature on participative research, grouped under the term ‘action research,’ (Reason & Bradbury, 2001), a series of collaborative phenomenological research workshops were run in 2009 and 2010 with two groups of practicing educators. Descriptions of experiences of place and place-based education, from within the workshops and the participants’ workplaces, were distilled into themes by the groups. These themes served two purposes: the first was to explore the possibilities of place-based education in various working contexts, an inquiry which was completed during the workshops. The second was to seed a phenomenological investigation into the ontology of place, exploring questions from the philosophical debate on place. This second part of the inquiry was completed by myself. Both groups felt place-based education revealed aspects of place taken for granted or un-explored. This was summed up by one participant in the phrase ‘bringing place to life.’ The participants’ understandings of the different aspects of placebased education including the pedagogy involved, and the possible outcomes, show how place-based education was understood and applied in different contexts. The phenomenological analysis which builds on the participants’ understandings, describes a contrast between un-examined place and the intimate and immersive experience that can occur when place is ‘brought to life.’ The final part of the thesis explores in further depth the role of the mind in ‘bringing place to life,’ putting forward the idea of mind as a phenomenon which can adopt different scales. When learning and thinking on the same scale as the body, the mind is brought to place, and the dualism between mind and body breaks down. ‘Thinking in place’ is put forward as a way of understanding both the experience of learning in context, and the phenomenological immersion of both body and mind in place. The conclusions explore the implications of this research for the various fields touched on in the study: educational approaches such as environmental education, philosophical approaches to place, and research methodologies.

In the history of sartorial reflection, the usual offerings for human motivations to dress are: protection (i.e. from the elements), modesty, decoration, and socio-political self-expression. The literature on clothing rarely attends, however, to the question of garments' impact on wearers' self-experience. There is some social science research, for example, suggesting that when we wear clothing we associate with individuals who have a high degree of mental focus and attention to detail, it causes us - probably, in most cases, pre-reflectively - to experience ourselves as such and therefore to perform better on tests that measure these qualities. Apart from this research, exploration into the matter, regardless of field, is scant, but it is especially thin in philosophy and theology. This thesis seeks to address the shortfall in these fields by providing at least one model of the human relationship to clothes that, unlike what is currently on offer, accounts for findings like the above. To do so, it draws on the sartorial reflection of the British artist and essayist Eric Gill, who understands clothes as architectural spaces of sorts, as encasements that house our being, and the German philosopher Martin Heidegger, whose philosophy of being and 'thinking about building' can do similar work less explicitly but more robustly. After outlining this new way of looking at humanity's relationship to clothes, the thesis will conclude by discussing some theological implications. In particular, it discusses how the overlap between Gill's sacramental perspective and Heidegger's similar understanding of an inherently meaning-infused 'world' can yield an account of clothes as facilitators (or hinderers) of the attunement or comportment of openness and/or proximity to God through their potential to bear theological resonances.