1. Authored Books

Walter Benjamin’s Concept of the Image (Routledge: New York and London, 2014). Series: Routledge Studies in Twentieth Century Philosophy. 212 pp.

The Aesthetic Paths of Philosophy: Presentation In Kant, Heidegger, Lacoue-Labarthe and Nancy (Stanford University Press, Stanford, CA, 2007). Series: Cultural Memory in the Present. 236 pp.

2. Edited Collections

Jacques Rancière and the Contemporary Scene: The Philosophy of Radical Equality. Co-edited by Jean-Philippe Deranty and Alison Ross. (Continuum: UK, 2012). 295 pp.

Aesthetic Experience, Special Issue, Edited by Alison Ross. Critical Horizons, Vol.11, No.1 (Acumen Press, 2010). 157 pp.

The Agamben Effect, Special Issue, Edited by Alison Ross. South Atlantic Quarterly, Vol. 107, No.1 (Duke University Press, Durham, NC, 2008). 212 pp.

The Image, Special Issue, Co-edited by Andrew Benjamin and Alison Ross. Critical Horizons. Vol.14, No. 3, 2013. 163 pp.

3. Book Chapters

(with Jean-Philippe Deranty) Jacques Rancière and the Contemporary Scene: The Evidence of Equality and the Practice of Writing, Jacques Rancière and the Contemporary Scene: The Philosophy of Radical Equality. Edited by Jean-Philippe Deranty and Alison Ross. Continuum, UK, 2012. Pages 1-15.

Equality in the Romantic Art Form: The Hegelian Background to Jacques Rancière’s ‘Aesthetic Revolution’, Jacques Rancière and the Contemporary Scene: The Philosophy of Radical Equality. Edited by Jean-Philippe Deranty and Alison Ross. Continuum, UK, 2012. Pages 87-99.

Expressivity, literarity, mute speech. Jacques Rancière: Key Concepts, edited by Jean-Philippe Deranty, Acumen, UK, 2010. Pages 156-176.

Jean-Luc Nancy: Der Sinn des Bildes (Jean-Luc Nancy: The sense of the image). Translated into German by Simone Neuber. Das Bild als Denkfigur: Funktionen des Bildbegriffs in der Geschichte der Philosophie, edited by Simone Neuber and Roman Veressov. Wilhelm Fink, Germany, 2010. Pages 315-331.

Michelangelo Antonioni: aestheticising time and experience in ‘The Passenger’. Cinematic Thinking: Philosophical Approaches to the New Cinema, James Phillips (ed.) (Stanford University Press, Stanford, CA, 2008). Pages 40-52.

(with Amir Ahmadi) Gaston Bachelard and Georges Canguilhem: Epistemology in France. Modern European Criticism and Theory: A Critical Guide, Julian Wolfreys (ed.). (Edinburgh University Press, 2006). Pages 90-98. Reprint of 2002 Bachelard, Canguilhem and Epistemology in France. The Edinburgh Encyclopedia of Modern Criticism and Theory, Julian Wolfreys (ed.) Edinburgh University Press, 2002. Pages 92-100.

Le Doeuff’s Renaissance Amorology. Michèle Le Doeuff: Operative Philosophy and Imaginary Practice, Max Deutscher (ed.) Humanity Books /Prometheus Press, New York. 2000. Pages 249-279.

4. Refereed Journal Articles

The Distinction Between Mythic and Divine Violence: Walter Benjamin’s “Critique of Violence” from the Perspective of “Goethe’s Elective Affinities”, New German Critique, Vol.41, No1, 121, Winter, 2014, pages 93–120.

The Problem of the Image: Sacred and Profane Spaces in Walter Benjamin’s Early WritingCritical Horizons, Vol. 14, No. 3, pages 355–379.

(with Amir Ahmadi). Jim Jarmusch’s Dead Man: the cinematic telling of a modern myth. Angelaki: Journal of the Theoretical Humanities. Vol.17. No.4, 2012. Pages 179-192.

Agamben’s Political Paradigm of the Camp: its Features and Reasons. Constellations: An International Journal of Critical and Democratic Theory. Vol.19: Issue 3, 2012. Pages 421-434.

After Hegel: Art and Ontology in Nancy’s Critique of Romanticism. (Hegel’den Sonra: Nancy’nin Romantizmi Değerlendirmesinde Sanat ve Ontoloji). Dual publication in Turkish and English. Translated into Turkish by Volkan Çelebi. MonokL, 2011. Pages 149-163.

Moral Metaphorics: Kant after Blumenberg. Thesis Eleven. Vol. 104, No.1, 2011. Pages 40-58.

The Modern Concept of Aesthetic Experience: from Ascetic Pleasure to Social Criticism. Critical Horizons. Vol.11, No.3, 2010. Pages 349-356.

The Moral Efficacy of Aesthetic Experience: Figures of Meaning in the Moral Field. Critical Horizons. Vol.11, No.3, 2010. Pages 417-439.

What is the ‘force’ of moral law in Kant’s practical philosophy? Parallax 51, April-June, 2009. Pages 27-41.

The Aesthetic Fable: Cinema in Jacques Rancière’s “Aesthetic Politics”. SubStance: A Review of Theory and Literary Criticism, Issue 118, Vol. 38, No.1, 2009. Pages 128-151.

Why is speaking the truth fearless? Courage and danger in Foucault’s analysis of parrhesia. Parrhesia: A Journal of Critical Philosophy, Issue 4, 2008. Pages 62-75.

Derrida’s Theatre-Writing: From the Theatrical Allegory to Political Commitment. Derrida Today, Vol.1, No.1, 2008. Pages 76-95.

‘Art’ in Nancy’s ‘First Philosophy’: The Artwork and the Praxis of Sense Making, Research in Phenomenology, Vol. 38, No.1, 2008. Pages 18-40.

The Agamben Effect: Introduction. South Atlantic Quarterly, Vol. 107, No. 1 (Winter, 2007/2008). Pages 1-13.

The Aesthetic Anomaly: Art, Politics and Criticism in Recent European Philosophy (from Adorno to Rancière). Theory@buffalo, Vol. 11, 2007. Pages 97-121.

The Work of the Art-Work: Art after Heidegger’s ‘The Origin of the Work of Art’. Journal of the British Society for Phenomenology, Vol. 37, No.2, 2006. Pages 199-215.

The Art of the Sublime: Lyotard and the Politics of the Avant-Garde. Philosophy Today, Vol.49, No.1, 2005. Pages 34-47.

Historical Undecidability: The Kantian Background to Derrida’s Politics. International Journal of Philosophical Studies, Vol.12, No.4, 2004. Pages 375-393.

The Kantian Sublime and the Problem of the Political. Journal of the British Society for Phenomenology, Vol. 32, No. 2, 2001. Pages 174- 187.

Errant Beauty: Kant and Derrida on Aesthetic Presentation. International Studies in Philosophy, Vol. 33, No.2, 2001. Pages 87-104.

Monique David-Ménard on Kant and Madness. Hypatia,Vol. 15, No. 4, 2000. Ps. 77-81.