We investigated family members’ lived experience of Parkinson’s disease aiming to investigate opportunities for well-being. A lifeworld-led approach to healthcare was adopted. Interpretative phenomenological analysis was used to explore in-depth interviews with people living with PD and their partners. The analysis generated four themes: It’s more than just an illness revealed the existential challenge of diagnosis; Like a bird with a broken wing emphasizing the need to adapt to increasing immobility through embodied agency; Being together with PD exploring the kinship (...) within couples and belonging experienced through support groups; and Carpe diem! illuminated the significance of time and fractured future orientation created by diagnosis. Findings were interpreted using an existential-phenomenological theory of well-being. We highlighted how partners shared the impact of PD in their own ontological challenges. Further research with different types of families and in different situations is required to identify services required to facilitate the process of learning to live with PD. Care and support for the family unit needs to provide emotional support to manage threats to identity and agency alongside problem-solving for bodily changes. Adopting a lifeworld-led healthcare approach would increase opportunities for well-being within the PD illness journey. (shrink)

In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method is (...) one of tracing the mutually entangled implications of images. Furthermore, Didi-Huberman challenges Rancière to articulate what exactly “the sensible” means when he uses the phrase “distribution of the sensible.” While Rancière distrusts the reliance on pathos and emotions when it comes to analysing images, Didi-Huberman argues that “the sensible” will always involve the body with all its pathos, emotions and gestures. (shrink)

In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer and in Didi-Huberman’s (...) analysis of it, all the potencies credited to images as such are actually potencies of the words that accompany the images. Rancière comes to the conclusion that to “put images in motion,” as Didi-Huberman wants to do, or to regard them as being “active,” he has to put words, his own poetic and extensive writings, in motion. (shrink)

This edited collection explores the problem of violence from the vantage point of meaning. Taking up the ambiguity of the word ‘meaning’, the chapters analyse the manner in which violence affects and in some cases constitutes the meaningful structure of our lifeworld, on individual, social, religious and conceptual levels. The relationship between violence and meaning is multifaceted, and is thus investigated from a variety of different perspectives within the continental tradition of philosophy, including phenomenology, post-structuralism, critical theory and psychoanalysis. Divided (...) into four parts, the volume explores diverging meanings of the concept of violence, as well as transcendent or religious violence- a form of violence that takes place between humanity and the divine world. Going on to investigate instances of immanent and secular violence, which occur at the level of the group, community or society, the book concludes with an exploration of violence and meaning on the individual level: violence at the level of the self, or between particular persons. With its focus on the manifold of relations between violence and meaning, as well as its four part focus on conceptual, transcendent, immanent and individual violence, the book is both multi-directional and multi-layered. (shrink)

This paper presents a moral–emotional critique of environmental restoration, through discussion of narratives of redemption. The importance of ‘redemption’ vis-à-vis other environmental discourses rests with its capacity to unpack how, why and in what circumstances the idea of ‘putting something back’ for nature exerts a hold on the popular imagination. This paper thus examines the ethical and emotional experiences bound up in restoration discourses, to identify the motives deployed to confront shame and an associated guilt, and achieve restitution. In turn, (...) the paper also offers new insights into the value of restored nature. (shrink)

The considerable rise in the visibility and reach of the concept of wellbeing in relation to education merits a far more rigorously conceived body of research than we have at present. This is in pa...

ABSTRACTIn this article, we explore how ecological restoration reference models are produced and what work they do within an ecological restoration project. By tracing the genesis of two restoratio...

In this text, Jacques Rancière critically discusses the work of Georges Didi-Huberman on images. He disagrees with various claims seemingly made by Didi-Huberman about images, such as that they can “take position” or that they are “active.” Rancière argues that Didi-Huberman adds another form of dialectics to the simpler form of dialectics adopted by Bertolt Brecht and Harun Farocki in their works, namely one that also involves a layering of different temporalities. However, both in Brecht’s War Primer and in Didi-Huberman’s (...) analysis of it, all the potencies credited to images as such are actually potencies of the words that accompany the images. Rancière comes to the conclusion that to “put images in motion,” as Didi-Huberman wants to do, or to regard them as being “active,” he has to put words, his own poetic and extensive writings, in motion. (shrink)

This article examines the ways in which Georges Didi-Huberman conceptualizes the notion of the “aura” after Walter Benjamin’s famous and elusive rendering of the term. The central focus is on the way in which Didi-Huberman theorizes the aura to showcase its capacity for transformation – specifically in terms of its connection to “place” and in terms of what he calls a “memory trace.” After an introduction, the article is divided into five sections, followed by a conclusion. The first two sections (...) act as a foundation from which to investigate Didi-Huberman’s engagement with the aura. Therein, I explore the aesthetic debates surrounding what kind of knowledge artworks can produce and specifically how language can, most reductively, objectify the way in which artworks are critiqued, on the one hand, or produce elusive and romantic readings of artworks, on the other. Furthermore, I explore the way in which the notion of aura is engaged in Benjamin’s work upon which Didi-Huberman largely draws for his own understanding of the term. The subsequent two sections outline what I call Didi-Huberman’s two-part proposal of the aura re-imagined; this entails what he calls the “supposition” of the aura and the “secular” aura. Didi-Huberman takes Barnett Newman’s “zip” paintings as a point of entry to think how the aura can be hypothesized after Benjamin. In the final section, I look to the artworks of James Turrell as they are investigated by Didi-Huberman and to one of his short books, Being a Skull, to describe how artworks can function as vertiginous places, which implicate our conception of space in general. Didi-Huberman’s “dialectics of place” both complexifies Benjamin’s equating of place with the aura as uniqueness and smooths over some edges of his paradoxical thinking. (shrink)