02565nam 2200589 450 991078740340332120200520144314.01-78238-576-210.1515/9781782385769(CKB)3710000000355268(EBL)1707815(OCoLC)903317533(SSID)ssj0001423469(PQKBManifestationID)12559949(PQKBTitleCode)TC0001423469(PQKBWorkID)11433626(PQKB)11489050(MiAaPQ)EBC1707815(Au-PeEL)EBL1707815(CaPaEBR)ebr11019573(CaONFJC)MIL726362(DE-B1597)636989(DE-B1597)9781782385769(EXLCZ)99371000000035526820150216h20152015 uy 0engur|n|---|||||txtccrBodies in pain emotion and the cinema of Darren Aronofsky /Tarja LaineNew York, New York ;Oxford, England :berghahn,2015.©20151 online resource (194 p.)Description based upon print version of record.1-322-95080-6 1-78238-575-4 Includes bibliographical references and index.""Contents ""; ""Figures ""; ""Acknowledgements ""; ""Introduction ""; ""Chapter One. Noise""; ""Chapter Two. Rhythm""; ""Chapter Three. Grief""; ""Chapter Four. Masochism""; ""Chapter Five. The Uncanny Sublime""; ""Conclusion ""; ""Appendix ""; ""Bibliography ""; ""Index "" The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator's lived body. Aronofsky's films, which include a rich range of production from Requiem for a Dream to Black Swan, are often considered ""cerebral"" because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audEmotions in motion picturesEmotions in motion pictures.791.4302/33092AP 51400rvkLaine Tarja847318MiAaPQMiAaPQMiAaPQBOOK9910787403403321Bodies in pain3760511UNINA03012nam 2200637Ia 450 991096197610332120200520144314.09780791481196079148119097814294128891429412887(CKB)1000000000466461(OCoLC)74908305(CaPaEBR)ebrary10579114(SSID)ssj0000116730(PQKBManifestationID)11139293(PQKBTitleCode)TC0000116730(PQKBWorkID)10036218(PQKB)10306378(OCoLC)868030833(MdBmJHUP)muse6455(Au-PeEL)EBL3407691(CaPaEBR)ebr10579114(DE-B1597)684405(DE-B1597)9780791481196(MiAaPQ)EBC3407691(Perlego)2673014(EXLCZ)99100000000046646120051104d2006 ub 0engurcn|||||||||txtccrThe cage must, should, and ought from is /David WeissmanAlbany State University of New York Pressc20061 online resource (310 p.) Bibliographic Level Mode of Issuance: Monograph9780791468791 0791468798 Includes bibliographical references (p. 269-286) and index.Front Matter -- Contents -- Introduction -- Categorial form -- Nature -- Practical Norms -- Moral Norms -- Aesthetic Norms -- Cultural Variation -- Freedom -- Conclusion -- Notes -- IndexHume argued that is does not entail ought; that we cannot infer necessity or obligation from any description of actual states of affairs. His philosophical heirs continue to argue that nothing outside ourselves constrains us. The Cage maintains, contrary to Humean tradition, that reality is a set of nested contexts, each distinguished by intrinsic norms. Author David Weissman offers an innovative exploration of these norms intrinsic to human life, including practical affairs, morals, aesthetics, and culture. In this critical examination of character formation and the conditions for freedom, Weissman suggests that eliminating context (because of regarding it as an impediment to freedom) impoverishes character and reduces freedom. He concludes that positive freedom—the freedom to choose and to act—has no leverage apart from the contexts where character forms and circumstances provide opportunities to express one's thoughts, tastes, or talents.Normativity (Ethics)Decision makingMoral and ethical aspectsNormativity (Ethics)Decision makingMoral and ethical aspects.117Weissman David1936-863071MiAaPQMiAaPQMiAaPQBOOK9910961976103321The cage4358903UNINA