In "Self and Other", Robert Rogers presents a powerful argument for the adoption of a theory of object relations, combining the best features of traditional psychoanalytic theory with contemporary views on attachment behavior and intersubjectivity. Rogers discusses theory in rel…
In "Self and Other", Robert Rogers presents a powerful argument for the adoption of a theory of object relations, combining the best features of traditional psychoanalytic theory with contemporary views on attachment behavior and intersubjectivity. Rogers discusses theory in rel…
"Hannah Arendt argued that the 'political' is best understood as a power relation between private and public realms, and that storytelling is a vital bridge between these realms - a site where individualised passions and shared views are contested and interwoven. In his new book…
"Hannah Arendt argued that the 'political' is best understood as a power relation between private and public realms, and that storytelling is a vital bridge between these realms - a site where individualised passions and shared views are contested and interwoven. In his new book…
"Hannah Arendt argued that the 'political' is best understood as a power relation between private and public realms, and that storytelling is a vital bridge between these realms - a site where individualised passions and shared views are contested and interwoven. In his new book…
"This book contains phenomenological analyses of each dimension of temporalizing consciousness, turning primarily to Husserl's later manuscripts on time. From these manuscripts, the author takes up certain important notions heretofore generally neglected by the secondary literat…
"This book contains phenomenological analyses of each dimension of temporalizing consciousness, turning primarily to Husserl's later manuscripts on time. From these manuscripts, the author takes up certain important notions heretofore generally neglected by the secondary literat…
'Shame and Desire' defines the contemporary cinematic experience in terms that go beyond the visual. Adopting an intersubjective perspective on film studies, the author maintains that the dialectical poles of subject and object, seeing and being seen no longer seem to be valid.