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作者:Michael Josiah Mosely
来源:[J].Film-Philosophy, 2018, Vol.22 (3), pp.364-383EUP
摘要:Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heideg...
作者:David H. Fleming
来源:[J].Film-Philosophy, 2018, Vol.22 (3), pp.340-363EUP
摘要:Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arriva...
作者:Gordon Sullivan
来源:[J].Film-Philosophy, 2018, Vol.22 (3), pp.406-427EUP
摘要:This article argues that we can understand Jean Epstein's theory of photogénie as an instance of technics. Starting from a reading of Epstein's final fictional film Le Tempestaire (1947), we can see that Epstein collapses the distinction between human and technological. This...
作者:Martha McGill
来源:[J].Scottish Historical Review, 2018, Vol.97 (2), pp.153-186EUP
摘要:The protestant afterlife is generally presented in binary terms, with departed souls going directly to either heaven or hell. However, the possible existence of an intermediate state for the dead was discussed by protestant theologians from the reformation onwards. This article t...

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