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20578
Author: Kevin Corrigan
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This book tells a compelling story about love, friendship, and the Divine that took over a thousand years to unfold. It argues that mind and feeling are intrinsically connected in the thought of Plato, Aristotle, and Plotinus that Aristotle developed his theology and physics primarily from Platos Symposium (from the Greater and Lesser Mysteries of Diotima-Socrates speech) and that the Beautiful and the Good are not coincident classes, but irreducible Forms, and the loving ascent of the Symposium must be interpreted in the light of the Republic, as the later tradition up to Ficino saw. Against the view that Platonism is an escape from the ambiguities of ordinary experience or opposed to loving individuals for their own sakes, this book argues that Plato dramatizes the ambiguities of ordinary experience, confronts the possibility of failure, and bequeaths erotic models for the loving of individuals to later thought. Finally, it examines the Platonic-Aristotelian heritage on the Divine to discover whether God can love us back, and situates the dramatic development of this legacy in Plotinus, Iamblichus, Proclus, and Dionysius the Areopagite. Love, Friendship, Beauty, and the Good debunks the academic myth which has encased ancient philosophy and its later pagan and Christian permutations in a curio box, available for a sterile analytical examination, but devoid of relevance to the nitty-gritty psychology of our daily life. It takes a lifetime of experience and expertise to reexamine the relationship between being and thinking in the most Cartesian of ways. Corrigan does just this with reason and passion. --Svetla Slaveva-Griffin, Florida State University In this small volume, Corrigan shows convincingly that . . . Plato and his successors held that such experiences as love, pleasure, and desire are entirely compatible with divine transcendence, without which there can be no real immanence and no real love of individuals without the vertical dimension that makes this possible. --John D. Turner, University of Nebraska-Lincoln Kevin Corrigan, noted authority on both Plato himself and the later Platonist tradition, particularly Plotinus, has here produced a remarkable study of the role of love in both stages of that tradition. --John Dillon, Trinity College Dublin In this multifaceted gem of a book, Corrigan expertly guides us to understand more deeply and anew the perennial themes of love and friendship both in Platonism and in our own lives. . . . This is a valuable book and a model of concision. --Arthur Versluis, author ofPlatonic Mysticism [A]n arresting revisionist essay. . . . This book should be required reading for students of ancient philosophy and early Christian theology. --John Peter Kenney, Saint Michaels College Kevin Corrigan is Samuel Candler Dobbs Professor of Interdisciplinary Humanities, Department of Middle Eastern and South Asian Studies, Emory University, Atlanta. He is the author of Gregory and Evagrius Mind, Soul and Body in the 4th Century (2009) Reason, Faith and Otherness in Neoplatonic and Early Christian Thought (2017) Plotinus, Ennead VI 8 On the Voluntary and on the Free Will of the One (2017, with John D. Turner). **About the Author Kevin Corrigan is Samuel Candler Dobbs Professor of Interdisciplinary Humanities, Department of Middle Eastern and South Asian Studies, Emory University, Atlanta. He is the author of Gregory and Evagrius Mind, Soul and Body in the 4th Century (2009) Reason, Faith and Otherness in Neoplatonic and Early Christian Thought (2017) Plotinus, Ennead VI 8 On the Voluntary and on the Free Will of the One (2017, with John D. Turner).
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59778
Author: Gerda Cammaer
File Type: pdf
This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of critical distance in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies. **From the Back Cover This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of critical distance in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies. About the Author Gerda Cammaer is Associate Professor in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. She is a filmmaker, the co-author of Forbidden Love (2016), and the co-editor of Cinephemera Archives, Ephemeral Cinema, and New Screen Histories in Canada (2014). Blake Fitzpatrick is Professor and Chair in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. His research examines war and conflict representation in documentary works, and his visual work has been exhibited in Canada and internationally. Bruno Lessard is Associate Professor in the School of Image Arts at Ryerson University, Canada. He is a photographic artist and the author of The Art of Subtraction Digital Adaptation and the Object Image (2017).
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English