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"This volume brings together sixteen essays by Louise Antony that reflect her distinctive approach to issues at the intersections of feminist theory, epistemology, philosophy of mind and philosophy of language. Antony proceeds from the Quinean precept that we treat knowledge as a natural phenomenon. This approach, Antony argues, offers feminists and other progressive theorists vital tools with which to expose and dismantle ideological conceptions of knowledge, human nature, and objectivity. She argues that naturalism's focus on the actual (as opposed to hypothetical) circumstances under which human beings acquire knowledge illuminates and responds to feminist calls for a "situated" account of human knowledge. At the same time, Antony defends a number of views that have been the object of feminist criticism: psychological individualism, cognitive nativism, and the autonomy of semantics. These views, Antony argues, are in no way incompatible with feminist commitments, which is good, because they enjoy broad empirical support. Also in this volume, Antony addresses a number of practical issues of concern to feminists: Does pornography silence women? Are we ethically entitled to moral partiality? Is legitimate authority possible? Why are there so few women in philosophy? Finally, Antony presents and develops her own theory of gender. She argues that genders are socially constructed and multiply realized categories that bring into concordance sets of properties that have no natural or rational connection to each other. Genders must not be identified with the categories "female" and "male," but human sexual difference is the material, explanatory basis of gender systems: but for the existence of differences in reproductive role between females and males, gender regimes would not exist"--

Philosophy, American --- Philosophy --- anno 1900-1999 --- anno 2000-2099 --- United States of America

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De "Le Sang" (1989) à "Vitalina Varela" (2019), Pedro Costa a construit en seulement neuf longs métrages l'une des oeuvres cinématographiques contemporaines les plus singulières et cohérentes, À force d'opiniâtreté, il a su créer des conditions de production à sa mesure, humbles, celles qui lui ont permis de révéler la richesse esthétique, poétique et politique d'un lieu (le quartier de Fontainhas et ses déclinaisons) et de ses habitants (notamment Vanda, Ventura et Vitalina). Il opère ainsi dès "Ossos" (1997) un resserrement spatial qui se vérifie également lorsqu'il semble s'éloigner de son principal centre d'intérêt pour deux films consacrés à des processus de création artistique, que ce soit dans la salle de montage de Danièle Huillet et Jean- Marie Straub ("Où gît votre sourire enfoui ?", 2001) ou dans le studio d'enregistrement de Rodolphe Burger et Jeanne Balibar ("Ne change rien", 2009). Costa, selon ses propres dires, s'attache à une « réinterprétation » de la vie des personnes avec lesquelles il travaille, ainsi qu'à une « redéfinition » de la distance entre elles et lui. C'est ce parcours et ce geste que le présent essai tente de caractériser, ceux d'un cinéaste remettant au centre de l'attention celles et ceux qui sont habituellement cantonnés à la lisière du monde.

Costa, Pedro --- Critique et interprétation --- Motion picture producers and directors --- Réalisateurs de cinéma --- Criticism and intrepretation. --- Réalisateurs de cinéma

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A clear-sighted exploration of how antisemitism has been politicised, and the damaging consequences of its redefinition.

Antisemitism. --- Anti-Jewish attitudes --- Anti-Semitism --- Ethnic relations --- Prejudices --- Philosemitism

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