A Q&A on the making of Shakespeare Comics - exploring how graphic novels and manga adapt Shakespeare's plays and what they reveal about art, time, and culture.
By David Martin-Jones At the heart of “Film-Philosophy and a World of Cinemas” is discussion of a contentious and at times heated debate between Hamid Dabashi and Walter Mignolo on the one hand, and Slavoj Žižek on the other. The…
2015 was a great year for Edinburgh University Press Journals. We published over 750 articles across 39 journals, several of our journals, including the Journal of Scottish Philosophy and Modernist Cultures, increased in frequency and we were delighted to welcome…
By Gordon Graham Not so very long ago, it was quite widely accepted that Britain’s most significant contribution to the development of philosophy was ‘empiricism’ and that its great exponents were the Englishman John Locke, the Irishman George Berkeley, and…
By Giovanni Gellera Until recently, the question ‘What was philosophy like in Scotland before the Enlightenment?’ met a standard answer reminiscent of the famous Augustinian warning to those who dared to ask what was there before the beginning of time:…
To celebrate the new edition of Quentin Meillassoux: Philosophy in the Making, we bring you an exclusive author Q&A with Graham Harman. Questions by Jon Cogburn.
David Cameron has been avoiding the m-word. In his recent speech about extremism, the word ‘multicultural’ was noticeable by its omission for two reasons. First, Cameron said that Britain was a ‘successful multiracial and multi-faith democracy’ and a term like…
The problem of how philosophy is to approach the word politics is especially difficult, as it is itself a stake of political struggle and thus steeped in equivocity. The question of just who is and who is not considered political, and what objects are part or are not part of political consideration, is itself always intrinsic to politics. Philosophy thus encounters the word politics as inherently equivocal or, in Badiou’s terms, as a ‘split word’.
Badiou's interventions on cinema are scattered over a large time span, dispersed in myriad film reviews, short articles and conferences, and for the main part are devoted to discussing one or several individual films, as evidenced by his recently published collection, Cinema.
Gilles Deleuze (1925–95) is the contemporary philosopher to whom Badiou returns more than any other. His engagement with Deleuze is however neither homogeneous nor unequivocally critical, as it is often thought to be. In short, Deleuze figures in Badiou’s work as his preeminent philosophical disputant.