• 6 What Can Love Say? Lyotard on Caritas and Eros
    In Antonio Calcagno & Diane Enns (eds.), Thinking about Love: Essays in Contemporary Continental Philosophy, Penn State University Press. pp. 98-113. 2015.
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    Sam Francis: Lesson of Darkness: “like the paintings of a blind man.” by lyotard, jean‐françois
    Journal of Aesthetics and Art Criticism 70 (2): 249-251. 2012.
    Neither art criticism nor a scholar’s monograph on an artist, Jean-François Lyotard’s Sam Francis: Lesson of Darkness: ‘like the paintings of a blind man’ is a reflection that engages both the painter and 43 of his works into a conversation alternating painting and aphoristic writing. Their order follows neither the chronology of the works nor a linear argument in the prose. And yet, the work generates the strongest feeling of there being a continuity in this peculiar dialogue of pictures and …Read more
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    10 Hardly Black and White
    In Dan Flory & Mary Bloodsworth-Lugo (eds.), Race, Philosophy, and Film, Routledge. pp. 50--166. 2013.
    The cinematographic successes of Craig Brewer’s Black Snake Moan and Lars Von Trier's Manderlay are contingent upon the palpability of tension and attraction created by their respective, many racial and sexual relations, thus both films aggressively bring them to the fore by excessively rehearsing old stereotypes and taboos, and inverting the expected agents therein, to reveal their persistent, still-relevant power. Both films similarly test our convictions and squeamishness, but do so from ent…Read more
  • Exploring Augustine's Confessions as far more than autobiography, more than an elaboration and admission of guilt, more so than a chronicle and more precisely as the very act of coming into the truth in his heart, in front of God, in his confession, and in his public writings. His Confessions charts his becoming a witness to his self-witnessing, as his matter of testimony. Confession becomes an onto-existential practice. But, what is the mode or nature of the type of confession at work when c…Read more
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    Rigorously studying the inexpressible expression provoked by the silenced testimony of the Holocaust survivor, in Jean-François Lyotard's The Differend, and the religious faithful, in Pseudo-Dionysius' The Divine Names, proves to dissolve the apparent heterogeneity of postmodernism and Neoplatonist Christian mysticism and open radical new lines of dialogue. Expressing the Inexpressible critically evaluates each thinker and tradition, rethinks witnessing, testimony, sublimity, and apophaticism, a…Read more