Philosophy: aesthetics Books

Book SynopsisThis book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation. The chapters explore a number of questions including: How do the particularities of form and style in contemporary serial television engage us cognitively, emotionally, and aesthetically? How do they foster cognitive and emotional effects such as feeling suspense, anticipation, surprise, satisfaction, and disappointment? Why and how do we value some serials while disliking others? What is it about the particularities of serial television form and style, in conjunction with our common cognitive, emotional, and aesthetic capacities, that accounts for serial television's cognitive, socio-political, and aesthetic value and its current ubiquity in popular culture?This book will appeal to postgraduates and scholars working in television studies as well as film studies, cognitive media theory, mTable of Contents1. Introduction: Cognition, Emotion, and Aesthetics in Contemporary Serial Television Part 1. The Nature of Contemporary Televisual Seriality 2. Television’s Temporality: Seriality and Temporal Prolongation 3. Multi-plot Structure in Television Serials 4. “Oh My God, They Didn’t Kill Kenny”: Seriality and Viewer Engagement in Contemporary Animated Television 5. Seriality and Expressiveness in Mad Men Part 2. Audiences 6. From Shots to Storyworlds: The Cognitive Processes Supporting the Comprehension of Serialized Television 7. Beliefs, Desires, and Emotions: A Theory of Emotions and Some Implications for the Understanding of Viewer Reactions to TV Serials Part 3. Poetics 8. Reaching through Time: On Seriality, Temporality, and Twofoldness 9. Five Theses on the Difficulty of Ending Quality TV Series 10. Pop Music in Television Serials: Priming, Authorial Commentary, and Musical Memory 11. Twin Peaks and the Performative Poetics of Complex Television 12. Parallelism and Complex Storytelling in Film and TV Part 4. Value: Aesthetic and Beyond 13. Audiovisual Atmospheres, Moods, and Metaphoric Spaces: Aesthetically Rich Spaces in Complex TV Series 14. Repetition, Familiarity, and Aesthetic Pleasure: Formulaic Generic Television Series 15. Ethics and Bad Protagonists in Serial Television Drama 16. A Sense of Moment: Appreciating Television Serials from Aesthetic and Cognitive Perspectives

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Mapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography. The problem of mapping, although indebted to the spatial turn of poststructuralist philosophy, is reconstructed as hermeneutics, while exposing the nexus between topology, space-time, and memory. The book posits that the emergence of mapping as a ubiquitous theme in contemporary art can be attributed to the power of the cartographic model to constitute multiple worldviews that can be seen as paradigmatic of the post-modern and contemporary condition. This book will be of particular interest to scholars in art history, art theory, aesthetics, and cartography.

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Book SynopsisLi Zehou is widely regarded as one of Chinaâs most influential contemporary thinkers. He has produced influential theories of the development of Chinese thought and the place of aesthetics in Chinese ethics and value theory. This book is the first English-language translation of Li Zehouâs work on classical Chinese thought. It includes chapters on the classical Chinese thinkers, including Confucius, Mozi, Laozi, Sunzi, Xunzi and Zhuangzi, and also on later eras and thinkers such as Dong Zhongshu in the Han Dynasty and the Song-Ming Neo-Confucians.The essays in this book not only discuss these historical figures and their ideas, but also consider their historical significance, and how key themes from these early schools reappeared in and shaped later periods and thinkers. Taken together, they highlight the breadth of Li Zehouâs scholarship and his syncretic approachâhis explanations of prominent thinkers and key periods in Chinese intellectual history blend ideas from bTrade Review"We now have a new, very well-crafted and well-translated general history of classical Chinese thought, which is truly exciting!" – Notre Dame Philosophical Reviews"Li Zehou is arguably China’s most important contemporary philosopher. In a generation in which we have experienced a precipitous rise of Chinese influence on the world order, we are from a contemporary philosophical vantage point offered this sustained reflection on the evolution of this antique Chinese philosophical tradition that brings its most prominent figures and themes into the present philosophical discourse. Li Zehou reinterprets and re-conceptualizes major ideas and concepts within the broad compass of this tradition, and replete with his own philosophical speculations, makes them available as a resource for a changing world cultural order." – Roger T. Ames, Peking University, China"Presented here in English for the first time, Li Zehou’s A History of Classical Chinese Thought stands as a major work in twentieth-century Chinese philosophy, one that remains highly relevant to contemporary East-West dialogue. Lambert’s studious translation captures both the delicacy and breadth of the author’s mind, affording readers a new appreciation of what it means to ‘do’ Chinese philosophy." – Jim Behuniak, Colby College, USA"Li Zehou is the most outstanding but controversial philosopher in contemporary China. He was the youngest protagonist of the ‘aesthetic debate’ in the new born socialist China in 1950s. He came back after the Cultural Revolution with his idiosyncratic elucidation on Marxism and Kantian philosophy to become the flag bearer leading the ‘aesthetic fever’ and the ‘cultural fever’ throughout the ‘New Enlightenment’ period of 1980s. A History of Classical Chinese Thought, a major work in 1980s, exhibits Li’s unique interpretation on Chinese traditional thoughts, in particular, Confucian philosophy, which ushered the Confucian turn in China today, eventually makes Chinese philosophy resonate with Western philosophy." – Tsuyoshi Ishii, University of Tokyo, JapanTable of ContentsForeword: Translator’s Introduction Chapter 1. Re-evaluating ConfuciusChapter 2. A Preliminary Exploration of the Mohists Chapter 3. Sunzi, Laozi and Han Fei Chapter 4. Key Features of the Xunzi, Yizhuan and the Doctrine of the Mean Chapter 5. Qin and Han Dynasty Thought Chapter 6. Zhuangzi and Chan Buddhism Chapter 7. Some Thoughts on Neo-Confucianism Chapter 8. Engagement in Practical Affairs and Statecraft Chapter 9. Some Thoughts on Chinese Wisdom Afterword

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Book SynopsisKierkegaard's Concepts is a comprehensive, multi-volume survey of the key concepts and categories that inform Kierkegaard's writings. Each article is a substantial, original piece of scholarship, which discusses the etymology and lexical meaning of the relevant Danish term, traces the development of the concept over the course of the authorship, and explains how it functions in the wider context of Kierkegaard's thought. Concepts have been selected on the basis of their importance for Kierkegaard's contributions to philosophy, theology, the social sciences, literature and aesthetics, thereby making this volume an ideal reference work for students and scholars in a wide range of disciplines.Table of ContentsContents: Preface; Individual, Lydia B. Amir; Inner/outer, Philipp Schwab; Intensity/extensity, Noreen Khawaja; Interesting, the, K. Brian Soderquist; Inwardness/inward deepening, Christian Fink Tolstrup; Irony, Nassim Bravo Jordán; Irrational, Sean Anthony Turchin; Joy, Benjamin Miguel Olivares Bøgeskov; Judaism, Tamar Aylat-Yaguri; Language, Steven Shakespeare; Law, David Coe; Leap, Gerhard Schreiber; Legends, Matthew Brake; Leveling, Leo Stan; Life-view, Lee C. Barrett; Logic, Gabriel Ferreira da Silva; Love, William McDonald; Lyric, Nassim Bravo Jordán; Marriage, Deidre Nicole Green; Martyrdom/persecution, Jack Mulder, Jr.; Mediation/sublation, Jamie Turnbull; Melancholy, Steven M. Emmanuel; Metaphor, Frances Maughan-Brown; Metaphysics, Corey Benjamin Tutewiler; Middle Ages, Diego Giordano; Miracles, Heiko Schulz; Mohammedanism, Diego Giordano; Moment, William McDonald; Monasticism, Curtis L. Thompson; Money, Gabriel Guedes Rossatti; Mood/emotion/feeling, Sara Carvalhais de Oliveira; Movement, motion, Shannon M. Nason; Music, William McDonald; Myth, Diego Giordano and William McDonald; Nature, Thomas Posch; Necessity, Gabriel Ferreira da Silva; Negation, Archie Graham; Novel, Gabriel Guedes Rossatti; Index of persons; Index of subjects.

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Book SynopsisEthical Musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from Antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical mus

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Book SynopsisThis book offers new ways of thinking about and assessing the impact of virtual reality on its users. It argues that we must go beyond traditional psychological concepts of VR presence to better understand the many varieties of virtual experiences.The author provides compelling evidence that VR simulations are capable of producing virtually real experiences in people. He also provides a framework for understanding when and how simulations induce virtually real experiences. From these insights, the book shows that virtually real experiences are responsible for several unaddressed ethical issues in VR research and design. Experimental philosophers, moral psychologists, and institutional review boards must become sensitive to the ethical issues involved between designing realistic virtual dilemmas, for good data collection, and avoiding virtually real trauma. Ethicists and game designers must do more to ensure that their simulations don't inculcate harmful character traits. VirtTable of Contents1. Exploring Strange New Worlds2. Imagination and the Limits of Empathy3. When Being There is Not Enough4. Virtual Experience, Real Harm5. Why It's Unethical to Use VR and AR as "Empathy" Machines6. Putting It All Together: A Code of Ethics for VR/AR7. AR and the Future of Selves

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Book SynopsisFood Ethics: The Basics is a concise yet comprehensive introduction to the ethical dimensions of the production and consumption of food. It offers an impartial exploration of the most prominent ethical questions relating to food and agriculture, including: Should we eat animals? Are locally produced foods ethically superior to globally sourced foods? Do people in affluent nations have a responsibility to help reduce global hunger? Should we embrace bioengineered foods? What should be the role of government in promoting food safety and public health? This second edition has been revised and updated throughout, not only to take in the latest empirical and policy information, but also to address the impact of major issues such as the COVID-19 pandemic, Russiaâs invasion of Ukraine, AI and machine learning, and the rapid growth of the gig economy.Using extensive data and real-world examples, as well as providing suggestions for further reading, Food Ethics: The Basics is an ideal introduction for anyone interested in the ethics of food.Trade ReviewPraise for the first edition:"The book provides a balanced perspective for each contemporary issue as well as arguments supporting and opposing debatable benefits and risks of food production and consumption issues. The philosophical perspectives are clearly written, the technical details are jargon free, and the science is accurate... A useful resource for public policy and agricultural libraries...Summing Up: Recommended." - B. R. Shmaefsky, CHOICE"Sandler makes a good job introducing the topic of food ethics to the reader, offering a broad range of information and describing key underlying ethical enquiries and particular views on each of the topics presented. (...) Reading this book was helpful in the sense that it provided insight into a topic that has not been widely studied or discussed. Thus, it can be a valuable introduction to food ethics, while encouraging the reader to explore more about this project." - Natalie Herdoiza Castro, Utrecht University, The NetherlandsTable of ContentsIntroduction 1. Food systems 2. Food security and the ethics of assistance 3. Should we eat animals? 4. Technology: Bioengineering and big data 5. Food and Health 6. Food and Culture. Bibliography Index

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Book SynopsisUsing five case studies of contemporary art, this book uses ideas of systems and dispersion to understand identity and experience in late capitalism.This book considers five artists who exemplify contemporary art practice: Seth Price; Liam Gillick; Martin Creed; Hito Steyerl; and Theaster Gates. Given the diversity of materials used in art today, once-traditional artistic mediums and practices have become obsolete in describing what artists do today. Francis Halsall argues that, in the face of this obsolescence, the ideas of system and dispersion become very useful in understanding contemporary art. That is, practitioners now can be seen to be using whatever systems of distribution and display are available to them as their creative mediums. The two central arguments are first that any understanding of what art is will always be underwritten by a related view of what a human being is; and second that these both have a particular character in late capitalism or, as is nTable of ContentsIntroduction: Systems Everywhere! The Age of Dispersion 1. The Aesthetics of Dispersion 2. Seth Price and the Stuff of Systems 3. Liam Gillick and the Aesthetics of Disappointment 4. Martin Creed, the Anti-Readymade and the Dispersed Art Object 5. Theaster Gates and Systems of Improvisation and Entrepreneurship 6. Hito Steyerl: In Defence of the Poor Manifest Image 7. Envoi: The End of Art, Again

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Book SynopsisThis volume builds on two recent developments in philosophy on the relationship between art and science: the notion of representation and the role of values in theory choice and the development of scientific theories. Its aim is to address questions regarding scientific creativity and imagination, the status of scientific performancessuch as thought experiments and visual aidsand the role of aesthetic considerations in the context of discovery and justification of scientific theories.Several contributions focus on the concept of beauty as employed by practising scientists, the aesthetic factors at play in science and their role in decision making. Other essays address the question of scientific creativity and how aesthetic judgment resolves the problem of theory choice by employing aesthetic criteria and incorporating insights from both objectivism and subjectivism. The volume also features original perspectives on the role of the sublime in science and sheds light on the empTrade Review"The papers are quite consistent and follow a nice structure. Even if you are working on more technical issues in the philosophy of science, it would nice to read some of these papers to have a new and enlightening look on how our understanding of the actual work of science might be extended." - Adam Tamsa Tuboly, Hungarian Academy of SciencesTable of Contents1. IntroductionMilena Ivanova and Steven French2. Epistemic Gatekeepers: The Role of Aesthetic Factors in ScienceCatherine Elgin3. Getting the Picture: Towards a New Account of Scientific UnderstandingLetitia Meynell4. Imagination, Aesthetic Feelings, and Scientific ReasoningCain Todd 5. Beauty, Truth and UnderstandingMilena Ivanova6. A Plea for the Sublime in ScienceMargherita Arcangeli and Jérome Dokic7. How Can Loveliness be a Guide to Truth? Inference to the Best Explanation and ExemplarsAlexander Bird8. The Aesthetic and Literary Qualities of Scientific Thought ExperimentsAlice Murphy 9. Epistemic Radicals and The Vice of Arrogance as a Counterfeit to the Virtue of Assured Epistemic Ambition Matthew Kieran10. Performance and Practice: Situating the Aesthetic Qualities of TheoriesSteven French

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Book SynopsisThe downsides of monogamy are felt by most people engaged in long-term relationships, including restrictions on self-discovery, limits on friendship, sexual boredom, and a circumscribed understanding of intimacy. Yet, a happily ever after monogamy is assumed to be the ideal form of romantic love in many modern societies: a relationship that is morally ideal and will bring the most happiness to its two partners. In Why It's OK to Not Be Monogamous, Justin L. Clardy deeply questions these assumptions. He rejects the claim that non-monogamy among honest, informed and consenting adults is morally impermissible. He shows instead how polyamorous relationships can actually be exemplars of moral virtue. The book discusses how social and political forces sustain and reward monogamous relationships. The book defines non-monogamy as a privative concept; a negation of monogamy. Looking at its prevalence in the United States, the book explains how common criticisms of non-Trade Review"This book leads the reader through the strongest arguments on both sides of the debate in a highly accessible and engaging way. It will make even the skeptical reader think deeply about these timely questions."Elizabeth Brake, Rice UniversityTable of ContentsForeword by Elizabeth Brake Introduction 1. What is Non-Monogamy? 2. Why It’s OK to NOT be Monogamous 3. Monogamous and Non-Monogamous Identity 4. Why It’s NOT OK for Liberal States to be Monogamous Conclusion

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Book SynopsisThis is a study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called âœmonismâ â the concept of a unity of matter and spirit â emerged and became increasingly popular among intellectuals, artists and scientists. Nina Athanassoglou-Kallmyer traces the evolution and impact of this monist thought and its various permutations as a transformative force on certain aspects of French art and culture â from Romanticism to Impressionism â and as a theoretical backdrop that paved the way to as yet unexplored aspects of a modernist aesthetic. Chapters concentrate on three major artists, ThÃodore GÃricault (1791â1824), EugÃne Delacroix (1798â1863) and Claude Monet (1840â1926), and their particular approach to and interpretation of this unitarian concept. The book will be of interest to scholars working in art history, philosophy and cultural history.Table of ContentsAcknowledgmentsIntroduction. The Return of Lucretius 1. The Auteuil Salon and Ideology 2. Théodore Géricault. Soul and Body 3. Self and Nature. Delacroix and the Aesthetics of Unity 4. A Cosmic Vision. Monet's Giverny Circle BibliographyIndex

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Book SynopsisThe Philosophy of Symbolic Forms is a milestone in twentieth century philosophy. Promoting a philosophical vision informed by Kant, it incorporates the philosophical advances achieved in the nineteenth century by German Idealism and Neo-Kantianism, whilst acknowledging the contributions made by his contemporary phenomenologists. It also encompasses empirical and historical research on culture and the most contemporary work on myth, linguistics and psychopathology. As such, it ranks in philosophical importance along with other major works of the twentieth century, such as Edmund Husserl's Logical Investigations, Martin Heidegger's Being and Time, and Ludwig Wittgenstein's Tractatus Logico-Philosophicus.In the first volume, Cassirer explores the symbolic form of language. Already recognized by thinkers in the tradition of German Idealism, such as Wilhelm von Humboldt, language is the primary medium by which we interact withTrade Review'The three volumes of The Philosophy of Symbolic Forms focus on language, myth, and science respectively, offering fascinating, if necessarily fragmentary and speculative, accounts of how each develops in the direction of increasing freedom and universality… the basic insight of The Philosophy of Symbolic Forms is one that continues to inform the humanities today. The categories we use to understand the world aren’t a passive reflection of the way things really are; rather, we actively create systems of meaning that evolve over time.' - Adam Kirsch, New York Review of BooksTable of ContentsForeword Peter E. Gordon Translator’s Preface Steve G. Lofts Translator’s Introduction: The Question Concerning the Human – Life, Form, and Freedom: On the Way to an Open Cosmopolitanism Steve G. Lofts Translator’s Acknowledgements Steve G. Lofts Preface Introduction and the Framing of the Problem Volume 1: Toward a Phenomenology of the Linguistic Form 1. The Problem of Language in the History of Philosophy 2. Language in the Phase of Sensible Expression 3. Language in the Phase of Intuitive Expression 4. Language as the Expression of Conceptual Thinking: The Form of Linguistic Concept and Class Formation 5. Language and the Expression of the Pure Forms of Relation: The Sphere of Judgment and the Concepts of Relation [Relation]. Glossary of German Terms Index

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Book SynopsisIn his Phenomenology of Cognition, Cassirer provides a comprehensive and systematic account of the dynamic process involved in the whole of human culture as it progresses from the world of myth and its feeling of social belonging to the highest abstractions of mathematics, logic and theoretical physics. Cassirer engages with the most sophisticated and cutting-edge work in fields ranging from ethnology to classics, egyptology and assyriology to ethology, brain science and psychology to logic, mathematics and theoretical physics. His command of philosophy, literature, and the arts is superb.Echoing his work on Kant, Cassirer begins The Philosophy of Symbolic Forms with the problem posed by the meaning of being for philosophy since Plato. But Cassirer also shows that this problem gains new significance with Kant and with the development of modern culture. Cassirer weaves his conception of the development of knowledge into a broadly Kantian and German ideaTrade Review'The three volumes of The Philosophy of Symbolic Forms focus on language, myth, and science respectively, offering fascinating, if necessarily fragmentary and speculative, accounts of how each develops in the direction of increasing freedom and universality… the basic insight of The Philosophy of Symbolic Forms is one that continues to inform the humanities today. The categories we use to understand the world aren’t a passive reflection of the way things really are; rather, we actively create systems of meaning that evolve over time.' - Adam Kirsch, New York Review of BooksTable of ContentsForeword Peter E. Gordon Translator’s Preface Steve G. Lofts Translator’s Introduction: A Phenomenology of Symbolic Creative Cognition: the Unfolding of the Symbolic Function and the Construction of a Pure Theory of the Symbolic Steve G. Lofts Translator’s Acknowledgements Steve G. Lofts. Preface Introduction Part 1: The Expressive Function and the World of Expression 1. Subjective and Objective Analysis 2. The Expressive Phenomenon as the Basic Element of Perceptual Consciousness 3. The Expressive Function and the Mind-Body-Problem [Leib-Seelen-Problem] Part 2: The Problem of Representation [Repräsentation] and the Construction of the Intuitive World 1. The Concept and the Problem of Representation [Repräsentation] 2. Thing and Property 3. Space 4. The Intuition of Time 5. Symbolic Pregnance 6. On the Pathology of Symbolic Consciousness Part 3: The Function of Signification and the Construction of Scientific Cognition 1. Toward a Theory of the Concept 2. Concept and Object 3. Language and Science: Thing Signs and Ordinal Signs 4. The Object of Mathematics 5. The Foundations of Natural-Scientific Cognition Appendix: "'Spirit' and 'Life' in Contemporary Philosophy" (1930). Glossary of German Terms Index

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Book SynopsisThis book explores the theological power of film and seeks to render a properly theological account of cinematic art. It considers: What theology and theological practice does cinematic art give rise to? What are the perceptual and affective potentials of film for theology, and what, if anything, is theological about the cinematic medium itself? The author argues that film is a fundamentally embodied art form, a haptic and somatic medium of perception-cum-expression. This, combined with the distinct temporal aesthetic of film, invests cinema with profound theological potentials. The chapters explore these potentials through theological-cinematic analysis, emphasising the themes of encounter, embodiment, time, and contemplation, as well as three intimately connected doctrines of Christian theology: creation, incarnation, and eschatology. Throughout the book, the films and writings of the Russian director Andrei Tarkovsky emerge as a singular illustration of the theological power of f

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Book SynopsisIncreasing levels of singledom, dating dysfunction, and sexual inactivity contribute to plummeting fertility rates. This book investigates the perhaps most foundational factor behind this uncoupling: our present eraâs ideology of love. Throughout human history, communities have shared fictional stories infused with various mating moralities that compel people to pair-bond and reproduce. After taking readers on a 6-million-year journey through hominin mating regimesâwith various extents of promiscuity, polygyny, and monogamyâStories of Love from Vikings to Tinder investigates the past millennium's radical evolution of Western mating beliefs. Nordic literary works illuminate the pivotal transitions between the Westâs First, Second, and Third Sexual Revolutions, which occurred around the years 1200, 1750, and 1968. The conclusion chapter points to the Fourth Sexual Revolution, symbolically placed in 2029. Artificial intelligence and other technologies seem likely to transform ou

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Book SynopsisIn this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime (attributed to 'Longinus') and its reception in early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events.Trade Review'I cannot say enough how good I think this book is. It is the best discussion of the origins and establishing of the sublime and is wonderful in its scholarly deployment of such a wide range of authors and texts. Doran's treatment of Kant is of the greatest interest. Kant's mature theory is examined in the context of his broader moral philosophy as well as through its presentation in the Critique of Judgment.' Paul Crowther, National University of Ireland, Galway'Doran is one of the very few scholars to have succeeded in making a significant contribution to the understanding of both the Longinian version of the sublime and its modern offspring from Boileau to Kant. Combining sophisticated readings of particular texts with an impressive sweep of intellectual history, this book offers a fascinating analysis of one of the most important concepts in aesthetics.' Stephen Halliwell, Wardlaw Professor of Classics, University of St Andrews'Robert Doran's new book provides a much-needed systematic, detailed and comprehensive survey of the idea of the sublime, tracing it from its origin in the obscure third-century work attributed to Longinus, through its major expositors in the modern era, including Boileau, Dennis, Burke, and especially Kant, who gets the most detailed treatment. This work is a welcome addition to the limited literature on the sublime; any student of the subject will profit from Doran's intelligent and well-informed inquiry into the subject.' Whitley Kaufman, Philosophy in Review'… there is much of value in Doran's work. All students of Kant can benefit from his presentation of 'Longinus' and of figures often better known to literary scholars rather than philosophers, such as Boileau, Dennis, and even Burke. … all will benefit by working through his detailed interpretation of Kant on the sublime …' Paul Guyer, Notre Dame Philosophical Reviews'… With a remarkable combination of innovation and clarity, Doran has produced a work of scholarship that promises to be of lasting value for scholars of both philosophy and comparative literature.' Kelly Lehtonen, Comparative Literature Studies'The Theory of the Sublime from Longinus to Kant certainly breaks new ground by covering the origins of the sublime and showing how they can be traced through to the height of the discussions of the concept in the eighteenth century. I would single out this book for praise for its scholarly attention to neglected writers on the sublime, such as Longinus, Dennis, and Boileau, as well as for its new insight into Kant's thought. It deserves to be read widely and by anyone interested in both historical and contemporary debates on the sublime.' Emily Brady, Comparative LiteratureTable of ContentsIntroduction; Part I. Longinus' Theory of Sublimity: 1. Defining the Longinian sublime; 2. Longinus' five sources sublimity; 3. Longinus on sublimity in nature and culture; Part II. Sublimity and Modernity: 4. Boileau: the birth of a concept; 5. Dennis: terror and religion; 6. Burke: sublime individualism; Part III. The Sublimity of the Mind: Kant: 7. The Kantian sublime in 1764: 'Observations on the Feeling of the Beautiful and the Sublime'; 8. The sublime in the 'Critique of Practical Reason'; 9. The sublime in the 'Critique of the Power of Judgment'; 10. Judging nature as a magnitude: the Mathematically Sublime; 11. Judging nature as a power: the Dynamically Sublime; 12. Sublimity and culture in Kant.

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Book SynopsisThis book explores the forgotten philosophical and conceptual origins of aesthetics in eighteenth-century Germany. It offers fresh perspectives on Kantian aesthetics and will appeal to students and scholars who are interested in the history of aesthetics and the beginnings of the German aesthetic tradition.Trade Review'Readers will learn much about Wolff and his school from Buchenau's engaging narrative and impeccable scholarship.' Journal of the History of PhilosophyTable of ContentsIntroduction; 1. Wolff and the modern debate on a method of invention; 2. Wolff on the pleasure of invention; 3. Leibniz and Wolff on invention: hieroglyphs, images and poetry; 4. Poetry as revelation: Bodmer, Breitinger, Gottsched on the imitation of nature; 5. Invention, judgement, literary criticism; 6. The rhetorical shift: Baumgarten's founding of aesthetics in the Meditationes philosophicae; 7. Baumgarten's Aesthetica. Topics and the modern ars inveniendi; 8. Aesthetics and anthropology; 9. Aesthetics and ethics; 10. 'A general heuristic is impossible'. Kant and the Wolffian ars inveniendi; Conclusion.

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Book SynopsisThis book shows how certain crucial concepts in Kant's aesthetics and practical philosophy - the sublime, enthusiasm, freedom, empirical and intellectual interests, the idea of a republic - fit together and deepen our understanding of Kant's philosophy.Trade Review'This is a comprehensive and insightful treatment of the Kantian sublime. It convincingly links Kant's aesthetic discussions of the sublime to both his moral philosophy and his political perspective. Toward that end Clewis emphasizes the role of enthusiasm in the sublime and provides exceedingly nuanced analyses of the various senses of disinterestedness and interest that help to elucidate how the aesthetic can have moral import.' Rudolf A. Makkreel, Emory University, Atlanta'In this learned, acute, and lucid book, Robert R. Clewis supplements recent discussion of connections between Kant's aesthetics and his ethics with a demonstration of the tie between his aesthetics and his politics, convincingly establishing a relation between Kant's concepts of the sublime and of enthusiasm as a positive political force. Along the way, he also throws new light on Kant's views about freedom, interest and disinterestedness, respect, and republicanism, and illuminates Kant's attitude toward the French Revolution. This is a must read for all students of Kant's aesthetics, moral philosophy, and political philosophy.' Paul Guyer, University of Pennsylvania'… there has been only a handful of sustained scholarly works on the sublime in Kant. Clewis's book, which emphasizes the connection between the sublime and enthusiasm in Kant's writings, tracing Kant's thoughts on these topics back to his early work, is a very welcome addition to Kant scholarship. … provides a rich and detailed analysis of Kant's concepts of the sublime, of enthusiasm as well as the moral feeling of respect, showing their differences and interconnections. … I learned a lot from reading this book and benefited from thinking about the issues involved …' Melissa Zinkin, TPR Critique'Robert R. Clewis's book The Kantian Sublime and the Revelation of Freedom is a rich and thoughtful examination of Kant's concept of the sublime, of the interface between Kant's aesthetics and his practical philosophy, and of Kant's attitude toward moral enthusiasm, which he effectively argues …' Paul Guyer, TPR CritiqueTable of ContentsIntroduction; 1. The Observations and the Remarks; 2. The judgment of the sublime; 3. Moral feeling and the sublime; 4. Various senses of interest and disinterestedness; 5. Aesthetic enthusiasm; 6. Enthusiasm for the idea of a republic; 7. Conclusion; Appendix 1. On the Remarks; Appendix 2. Some features of the feelings discussed in this book; Appendix 3. Classification of what elicits sublimity; Bibliography; Index.

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Book SynopsisBergson was a pre-eminent European philosopher of the early twentieth century and his work covers all major branches of philosophy. This volume of essays is the first collection in twenty years in English to address the whole of Bergson''s philosophy, including his metaphysics, epistemology, philosophy of science, philosophy of life, aesthetics, ethics, social and political thought, and religion. The essays explore Bergson''s influence on a number of different fields, and also extend his thought to pressing issues of our time, including philosophy as a way of life, inclusion and exclusion in politics, ecology, the philosophy of race and discrimination, and religion and its enduring appeal. The volume will be valuable for all who are interested in this important thinker and his continuing relevance.Trade Review'This collection presents new and promising interpretations of Henri Bergson, revealing the reach of his thought into political science, sociology, aesthetics, and religious studies. Academic readers across the humanities and social sciences will find them accessible and provocative.' Michael Kelly, University of San Diego'In its choice of the most innovative topics in research on Bergson, this book presents an original and at the same time very rich spectrum of the last twenty years of research … Even though they draw on the most canonical texts, the various contributions present highly original interpretations of Bergson's oeuvre and highlight its enduring fertility.' Société des Amis de Bergson Newsletter'This collection is extremely thought-provoking and an excellent resource for scholars as well as students already familiar with his work.' Notre Dame Philosophical Reviews'Critical Essays is an extraordinary contribution to scholarship on Bergson and the history of philosophy and science.' John R. Bagby, MetascienceTable of ContentsIntroduction Alexandre Lefebvre and Nils F. Schott; 1. Bergson's theory of truth Arnaud François; 2. What was 'serious philosophy' for the young Bergson? Giuseppe Bianco; 3. Bergson and naturalism Stéphane Madelrieux; 4. Bergson on the true intellect Leonard Lawlor; 5. Bergson's philosophy of art Mark Sinclair; 6. Bergson, time, and philosophies of life Suzanne Guerlac; 7. Bergson and philosophy as a way of life Keith Ansell-Pearson; 8. Bergson and social theory Alexandre Lefebvre and Melanie White; 9. Bergson and political theory Richard Vernon; 10. Bergson, colonialism, and race Mark Westmoreland; 11. Bergson's philosophy of religion Nils F. Schott.

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Book SynopsisThe first edition of the Cambridge Companion to Plato (1992), edited by Richard Kraut, shaped scholarly research and guided new students for thirty years. This new edition introduces students to fresh approaches to Platonic dialogues while advancing the next generation of research. Of its seventeen chapters, nine are entirely new, written by a new generation of scholars. Six others have been thoroughly revised and updated by their original authors. The volume covers the full range of Plato''s interests, including ethics, political philosophy, epistemology, metaphysics, aesthetics, religion, mathematics, and psychology. Plato''s dialogues are approached as unified works and considered within their intellectual context, and the revised introduction suggests a way of reading the dialogues that attends to the differences between them while also tracing their interrelations. The result is a rich and wide-ranging volume which will be valuable for all students and scholars of Plato.Table of Contents1. Introduction to the study of Plato David Ebrey and Richard Kraut; 2. Plato in his context T. H. Irwin; 3. Stylometry and chronology Leonard Brandwood; 4. Plato's Socrates and his conception of philosophy Eric Brown; 5. Being good at being bad: Plato's Hippias Minor Agnes Callard; 6. Inquiry in the Meno Gail Fine; 7. Why eros? Suzanne Obdrzalek; 8. Plato on philosophy and the mysteries Gábor Betegh; 9. The unfolding account of the forms in the Phaedo David Ebrey; 10. The defense of justice in Plato's republic Richard Kraut; 11. Plato on poetic creativity: A revision Elizabeth Asmis; 12. Betwixt and between: Plato on mathematical objects Henry Mendell; 13. Another good-bye to the third man Constance C. Meinwald; 14. Plato's Sophist on false statements Michael Frede; 15. Cosmology and human nature in the Timaeus Emily Fletcher; 16. The fourfold classification and Socrates' craft analogy in the Philebus Verity Harte; 17. Law in Plato's late politics Rachana Kamtekar and Rachel Singpurwalla.

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Book SynopsisKant announces that the Critique of the Power of Judgment will bring his entire critical enterprise to an end. But it is by no means agreed upon that it in fact does so and, if it does, how. In this book, Ido Geiger argues that a principal concern of the third Critique is completing the account of the transcendental conditions of empirical experience and knowledge. This includes both Kant''s analysis of natural beauty and his discussion of teleological judgments of organisms and of nature generally. Geiger''s original reading of the third Critique shows that it forms a unified whole - and that it does in fact deliver the final part of Kant''s transcendental undertaking. His book will be valuable to all who are interested in Kant''s theory of the aesthetic and conceptual purposiveness of nature.Table of ContentsIntroduction: The transcendental undertaking of the Critique of the Power of Judgment; 1. The charge of reflective judgment and the conceptual and aesthetic purposiveness of nature; 2. Organisms, teleological judgment, and the methodology of biology; 3. The antinomy of teleological judgment; 4. Discursivity and the conceptual purposiveness of nature; 5. The significance of form and the aesthetic purposiveness of nature; Conclusion: Kant's empiricism.

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Book SynopsisThe purpose of the Cambridge Edition of the Works of Schopenhauer is to offer translations of the best modern German editions of Schopenhauer''s work in a uniform format for Schopenhauer scholars, together with philosophical introductions and full editorial apparatus. The World as Will and Representation contains Schopenhauer''s entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion. This second volume was added to the work in 1844, and revised in 1859. Its chapters are officially ''supplements'' to the first volume, but are indispensable for a proper appreciation of Schopenhauer''s thought. Here we have his most mature reflections on many topics, including sex, death, conscious and unconscious desires, and the doctrines of salvation and liberation in Christian and Indian thought. Schopenhauer clarifies the nature of his metaphysics of the will, and synthesizes insights from a broad range of literary, scientific and scholarly sources. This new translation reflects the eloquence and power of Schopenhauer''s prose, and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names, bibliography, and succinct editorial notes.Trade Review'Most of Schopenhauer's works will be translated in this Cambridge series, and this reviewer suspects this will open the floodgates to further scholarship on Schopenhauer - especially in newer avenues that bring contemporary science to his idealism and address his unique synthesis of Kant's thought with both the Upanishads and Buddhist thought. Volume 2 is an essential and more mature elaboration of volume 1 (2010), and the two volumes are best approached as one unit. If the other volumes in the Cambridge series have the same rigor and synthetic introduction as this one, it may be another 50 years before the next translation is necessary. This two-volume set is a masterpiece.' ChoiceTable of ContentsVolume 2: Introduction; Supplements to the First Book; First half: the doctrine of intuitive representation; 1. On the fundamental view of idealism; 2. On the doctrine of intuitive cognition, or cognition based in the understanding; 3. Concerning the senses; 4. On cognition a priori; Second half: the doctrine of abstract representation, or thinking; 5. On the intellect in the absence of reason; 6. On the doctrine of abstract or rational cognition; 7. On the relation of intuitive to abstract cognition; 8. On the theory of the comical; 9. On logic in general; 10. On the study of syllogisms; 11. On rhetoric; 12. On the doctrine of science; 13. On the doctrine of method in mathematics; 14. On the association of ideas; 15. On the essential imperfections of the intellect; 16. On the practical use of reason and Stoicism; 17. On humanity's metaphysical need; Supplements to the Second Book; 18. On the possibility of cognizing the thing in itself; 19. On the primacy of the will in self-consciousness; 20. Objectivation of the will in the animal organism; 21. Review and more general considerations; 22. Objective view of the intellect; 23. On the objectivation of the will in nature devoid of cognition; 24. On matter; 25. Transcendent considerations concerning the will as thing in itself; 26. On teleology; 27. On instinct and creative drive; 28. Characterization of the will to life; Supplements to the Third Book; 29. On the cognition of the Ideas; 30. On the pure subject of cognition; 31. On genius; 32. On madness; 33. Isolated remarks concerning natural beauty; 34. On the inner essence of art; 35. On the aesthetics of architecture; 36. Isolated remarks on the aesthetics of the visual arts; 37. On the aesthetics of literature; 38. On history; 39. On the metaphysics of music; Supplements to the Fourth Book; 40. Preface; 41. On death and its relation to the indestructibility of our essence in itself; 42. Life of the species; 43. The heritability of traits; 44. Metaphysics of sexual love; 45. On the affirmation of the will to life; 46. On the nothingness and suffering of life; 47. On ethics; 48. On the doctrine of the negation of the will to life; 49. The way to salvation; 50. Epiphilosophy.

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Book SynopsisThe Possibility of Culture: Pleasure and Moral Development in Kant's Aesthetics presents an in-depth exploration and deconstruction of Kant's depiction of the ways in which aesthetic pursuits can promote personal moral development. Presents an in-depth exploration of the connection between Kant's aesthetics and his views on moral development Reveals the links between Kant's aesthetics and his anthropology and moral psychology Explores Kant's notion of genius and his views on the connections between the social aspects of taste and moral development Addresses aspects of Kant's ethical theory that will interest scholars working in ethics and moral psychology Table of ContentsAcknowledgements viii Note on Citations ix Introduction 1 1 Aesthetics and Culture in Context 13 2 Beauty and Love 31 3 Beauty and Disinterestedness 46 4 Art, Genius, and Abstraction 66 5 Sublimity and Esteem 84 6 Choosing Culture Over Happiness 105 7 Conclusion 122 Bibliography 138 Index 143

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Book SynopsisThis volume in the Blackwell Companions to Philosophy series focuses on the main themes and topics in the philosophy of literature. It is composed of all newly commissioned essays, written by the top scholars in the field. Note: I received a lot of advice on this project over several iterations.Table of ContentsNotes on Contributors viii Acknowledgments xiii Introduction 1 Garry L. Hagberg and Walter Jost Part I Relations between Philosophy and Literature 5 1 Philosophy as Literature and More than Literature 7 Richard Shusterman 2 Philosophy and Literature: Friends of the Earth? 22 Roger A. Shiner 3 Philosophy and Literature – and Rhetoric: Adventures in Polytopia 38 Walter Jost 4 Philosophy and/as/of Literature 52 Arthur C. Danto Part II Emotional Engagement and the Experience of Reading 69 5 Emotion and the Understanding of Narrative 71 Jenefer Robinson 6 Feeling Fictions 93 Roger Scruton 7 The Experience of Reading 106 Peter Kivy 8 Self-Defining Reading: Literature and the Constitution of Personhood 120 Garry L. Hagberg Part III Philosophy, Tragedy, and Literary Form 159 9 Tragedy and Philosophy 161 Anthony J. Cascardi 10 Iago’s Elenchus: Shakespeare, Othello, and the Platonic Inheritance 174 M. W. Rowe 11 Catharsis 193 Jonathan Lear 12 Passion, Counter-Passion, Catharsis: Flaubert (and Beckett) on Feeling Nothing 218 Joshua Landy Part IV Literature and the Moral Life 239 13 Perceptive Equilibrium: Literary Theory and Ethical Theory 241 Martha C. Nussbaum 14 Henry James, Moral Philosophers, Moralism 268 Cora Diamond 15 Literature and the Idea of Morality 285 Eileen John 16 Styles of Self-Absorption 300 Daniel Brudney Part V Narrative and the Question of Literary Truth 329 17 Narration, Imitation, and Point of View 331 Gregory Currie 18 How and What We Can Learn from Fiction 350 Mitchell Green 19 Literature and Truth 367 Peter Lamarque 20 Truth in Poetry: Particulars and Universals 385 Richard Eldridge Part VI Intention and Biography in Criticism 399 21 Authorial Intention and the Varieties of Intentionalism 401 Paisley Livingston 22 Art as Techne, or, The Intentional Fallacy and the Unfinished Project of Formalism 420 Henry Staten 23 Biography in Literary Criticism 436 Stein Haugom Olsen 24 Getting Inside Heisenberg’s Head 453 Ray Monk Part VII On Literary Language 465 25 Wittgenstein and Literary Language 467 Jon Cook and Rupert Read 26 Exemplification and Expression 491 Charles Altieri 27 At Play in the Fields of Metaphor 507 Ted Cohen 28 Macbeth Appalled 521 Stanley Cavell Index 541

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Book SynopsisFour Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century.Table of ContentsList of Illustrations xi Notes on Author and Contributors xii Preface xiii Wonderment to Puzzlement 1 How to Do Things with Theory 17 To Possess Other Eyes: The First Art 36 Thinking Through Photographs: The Second Art 48 A New Theory of Photography 65 Lyricism: The Third Art 87 The Knowing Eye 105 Abstraction: The Fourth Art 114 Crosscurrents and Boundary Conditions 125 Appendix: The Skeptic’s Argument 133 Comments Doing Justice to the Art in Photography 135Diarmuid Costello Four Thoughts about Four Arts of Photography 147Cynthia A. Freeland Notes 157 Index 174

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Book SynopsisIn this beautifully written book, David E. Cooper uses a gentle walk through a tropical garden â the view of the fields and hills beyond it, the sound of birds, voices and flutes, the reflection of light in water, the play of shadows among the trees and the presence of strange animals â as an opportunity to reflect on experiences of nature and the mystery of existence.Covering an extensive range of topics, from Daoism to dogs, from gardening to walking, from Zen to Debussy, Cooper succeeds in conveying some deep and difficult philosophical ideas about the meaning of life in an engaging manner, showing how those ideas bear upon the practical question of how we should relate to our world and live our lives.A thought-provoking and compelling book, Senses of Mystery is a triumph of both storytelling and philosophy.Trade Review"Cultivation of a sense of mystery has venerable precedent in ancient spiritual traditions, and runs through modern writings on animals, gardens, nature, art, and music. In this personal, humane book, David E. Cooper describes the rhythms and tones of a life shaped by mystery. Gathering the wisdom of sages, composers, gardeners, nature lovers, and others, this book reveals the ways that reflective appreciation of creatures, places, and practices can reveal the depth and mystery that underlies human life."Ian James Kidd, University of Nottingham, UK"This world is, indeed, one vast mystery, containing only, here and there, a few scattered islands of human knowledge. Past philosophers have not attended enough to this paradoxical situation, but Cooper now does so. We had better read him." Mary Midgley, Emeritus Professor, Newcastle University, UK."Senses of Mystery is a superb book – inspiring, beautifully written and packed with insights about a remarkably wide range of topics, from meditative walking to the mystery of existence. I recommend it to anyone who wishes to understand what it means to live in harmony with the natural world."Simon P. James, Durham University, UK"This book is a gentle and beautiful evocation of the well lived human life, and the role of familiar practices such as listening to music, walking and gardening in leading us into a transformed appreciation of the everyday world. In Cooper’s hands, philosophical reflection has become a spiritual practice."Mark Wynn, University of Leeds, UK"This is an elegant and clear little volume that while rooted in western philosophy and literature draws strongly on Daoist and Buddhist thought," in Resurgence and Ecologist, 2018."David E. Cooper, is one of the most outstanding philosophers of recent times. It’s hard to think of another figure who better combines erudition with rigor of thought and argument...Every philosopher should read this book, indeed every thoughtful person should, for it addresses and attempts to answer the question of what it is fundamentally like for us to be in the world and what we are to make of the strangeness of existence." - John Shand, ‘The Strange Business of Being in the World’, Los Angeles Review of Books, April 6 2018.Table of ContentsAcknowledgements1. In a Garden2. The Truth of MysteryIneffabilityThe Scientific ImageThe World as Fiction?The World as Gift3. Religion, Nature and MysteryReligion, Faith and Mystery‘Nothing Special’Senses of MysteryNature and Culture4. AnimalsAnimal WorldsThe Opacity of AnimalsAnimals, Mystery and WorldAnimals and ‘The Open’5. MusicMusic and ExperienceMusic and NatureMusic, Culture, EnvironmentMusic and the Mystery of Emergence6. WalkingMeditation on the MoveBody, Mind and InvolvementCommunion and HolismWalking and Senses of Mystery7. GardeningThe Way of the GardenGardens and Meaning‘In the Head’ and ‘In the Hands’Garden, ‘Gift’, Mystery8. Living with MysteryEthicsRemoving ObstaclesHumility and CompassionEmulation9. In a Garden AgainIndex

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Book SynopsisSÃren Kierkegaard (1813-1855) remains one of the most enigmatic, captivating, and elusive thinkers in the history of European thought. The Kierkegaardian Mind provides a comprehensive survey of his work, not only placing it in its historical context but also exploring its contemporary significance. Comprising thirty-eight chapters by a team of international contributors, this handbook is divided into eight parts covering the following themes: Methodology Ethics Aesthetics Philosophy of Religion and Theology Philosophy of Mind Anthropology Epistemology Politics. Essential reading for students and researchers in philosophy, Kierkegaardâs work is central to the study of political philosophy, literature, existentialist thought, and theology.Table of ContentsIntroduction: Kierkegaard’s Life, Context, and Legacy Adam Buben, Eleanor Helms, and Patrick Stokes Part 1: Methodology 1. The Passion of Kierkegaard’s Existential Method Lee C. Barrett 2. Johannes Climacus and the Dialectical Method: From Dialectics Back to Existence Claudine Davidshofer 3. Kierkegaard’s Experimenting Psychology William McDonald 4. Methodology and the Kierkegaardian Mind Jamie Turnbull Part 2: Ethics 5. Ethical Reflection as Evasion Rob Compaijen and Pieter Vos 6. Kierkegaard and Moral Particularism and Exemplarism Karl Aho 7. Beyond Worry? On Learning Humility from the Lilies and the Birds John Lippitt 8. Did Napoleon Teleologically Suspend the Ethical? A Dilemma for some ‘Hegelian’ Readings of Fear and Trembling Ryan S. Kemp 9. An Ethics of Home and Hope: Kierkegaard’s Exile and Heidegger’s Emigrant Megan Altman 10. Love for Humans: Morality as the Heart of Kierkegaard’s Religious Philosophy Sharon Krishek Part 3: Aesthetics 11. The Ethical Life of Aesthetes Ulrika Carlsson 12. Kierkegaard on Nature and Natural Beauty Anthony Rudd 13. Kierkegaard's Transfigurations of the Sublime Samuel Cuff Snow 14. Kierkegaard on the Value of Art: An Indirect Method of Communication Antony Aumann 15. Deleuze on Kierkegaard Andrew Jampol-Petzinger Part 4: Philosophy of Religion and Theology 16. Kierkegaard’s Existential Mimesis Wojciech Kaftanski 17. Becoming a Subject: Kierkegaard’s Theological Art of Existence Peder Jothen 18. Engendering Atonement: Kierkegaard on the Cross Deidre Nicole Green 19. On Faith and Reason(s): Kierkegaard’s Logic of Conviction K. Brian Söderquist 20. Coming to an Understanding with the Paradox Mark A. Wrathall 21. Kierkegaard’s Defense of Nature and Theology against Natural Theology Will Williams Part 5: Philosophy of Mind 22. Consciousness, Self, and Reflection Patrick Stokes 23. Conscience, Self-Deception, and the Question of Authenticity in Kierkegaard Claudia Welz 24. Imagination and Belief Eleanor Helms 25. Agency, Identity, and Alienation in The Sickness unto Death Justin White Part 6: Anthropology 26. Kierkegaard’s Post-Kantian Approach to Anthropology and Selfhood Roe Fremstedal 27. Images of the Closed Self in The Sickness unto Death Anna Strelis Söderquist 28. The Kierkegaardian Self: Convergences and Divergences Jack Mulder, Jr. 29. Kierkegaard and the Desirability of Immortality Adam Buben Part 7: Epistemology 30. Christian Epistemology and the Anthropology of Sin: Kierkegaard on Natural Theology and the Concept of ‘Offense’ Karen L. Carr 31. Varieties of Existential Uncertainty Rick Anthony Furtak 32. Irony and the Conversion Experience Walter Wietzke 33. Logic, Language, and Existential Knowledge Mélissa Fox-Muraton 34. The Incognito of a Thief: Johannes Climacus and the Poetics of Self-incrimination Martijn Boven Part 8: Politics 35. Lukacs, Kierkegaard, Marx, and the Political Alison Assiter 36. Kierkegaard: The Dialectical Self and the Political Shoni Rancher 37. Kierkegaard, Hegel, and Augustine on Love Thomas J. Millay 38. The Covetous Canary: Kierkegaard on the Problem of Social Comparison and the Cultivation of Social Courage Paul Carron. Index

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Book SynopsisThe essays, collected by Berleant in this volume all express the impulse to reject the received wisdom of modern aesthetics: that art demands a mode of experience sharply different from others and unique to the aesthetic situation, and that the identity of the aesthetic lies in keeping it distinct from other kinds of human experience, such as the moral, the practical, and the social. Berleant shows, on the contrary, that the value, the insight, the force of art and the aesthetic are all enhanced and enlarged by recognizing their social and human role, and that this recognition contributes both to the significance of art and to its humanizing influence on what we like to call civilization.Trade Review'This collection is the culmination of Arnold Berleant's pioneering journey, spanning over four decades, in pursuit of an aesthetics consistently informed by our experience and firmly grounded in a phenomenological outlook. These essays issue a challenge to mainstream Western aesthetics dominated by the characterization of art as an object of disinterested attention. Our journey with these essays will reward us immeasurably by redirecting the course of aesthetic investigation and inviting us to explore heretofore uncharted domains of our aesthetic life.' Yuriko Saito, Professor of Philosophy at the Rhode Island School of Design, Providence, Rhode Island, USA 'Really worthwhile writing in aesthetics must draw upon a lively participation in the arts and appreciation of nature, together with a no less lively delight in philosophizing clearly about the aesthetic, exploring its place in human life as a whole. Arnold Berleant's love of that range of perspectives, from the highly particular to the highly abstract, comes through in his many studies in aesthetics: his readers can count on their own engagement with art-works and their own theorizing about aesthetic experience gaining in zest and assurance, both where they are persuaded by his arguments and where they resist them also also. Historically, too, Arnold Berleant's range is large. While seeing aesthetics as necessarily involved in the arts of one's own day, he reflects also on the historical emergence of the concepts through which we try---with more or less success---to grasp their distinctive nature and value.' Ronald W. Hepburn, Professor Emeritus, University of Edinburgh, UK ’This book is fine work by a truly significant and insightful philosopher. It is clearly and colorfully written, and I recommend it for anyone interested in aesthetics.’ Philosophy in ReviewTable of ContentsContents: Preface. Introduction: art and the future of aesthetics. The Focus of Aesthetics: Re-thinking aesthetics; The historicity of aesthetics; Beyond disinterestedness; Aesthetics and the contemporary arts. Iconoclastic Implications: The sensuous and the sensual in aesthetics; Aesthetic embodiment; Intuition in art, or Pygmalion rediscovered; Art without object; The art of the unseen. Re-Thinking The Arts: Death in image, word, and idea; Brancusi and the phenomenology of sculptural space; The verbal presence: an aesthetics of literary performance; The intuitive impulse in literary performance; A phenomenology of musical performance; Index.

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Book SynopsisWhy do we readily dispose of some things, whereas we keep and maintain others for years, despite their obvious wear and tear? Can a greater understanding of aesthetic value lead to a more strategic and sustainable approach to product design? Aesthetic Sustainability: Product Design and Sustainable Usage offers guidelines for ways to reduce, rethink, and reform consumption. Its focus on aesthetics adds a new dimension to the creation, as well as the consumption, of sustainable products. The chapters offer innovative ways of working with expressional durability in the design process.Aesthetic Sustainability: Product Design and Sustainable Usage is related to emotional durability in the sense that the focus is on the psychological and sensuous bond between subject and object. But the subjectobject connection is based on more than emotions: aesthetically sustainable objects continuously add nourishment to human life. This book explores the difference between Trade Review"Kristine Harper has written a great book on a relevant topic we all ought to contemplate on and react to. She is well-informed of the history of aesthetic ideas and has managed to transform her knowledge innovatively into an independent, well-written and inspiring research contribution that can also be read by a broader audience." — Professor Dorthe Jørgensen, Philosophy and History of Ideas, Aarhus University, Denmark"As the window for action against irreversible climate changes is narrowing, Harper offers timely and practical advice on how, as designers and consumers, we can take responsibility for creating a sustainable future. Though informed by a deep understanding of the complexities of aesthetics and design, her book is highly accessible." — Per Galle, Associate Professor, The Royal Danish Academy of Fine Arts, School of Design."With Aesthetic Sustainability Kristine Harper shines light on the role of aesthetics and how we as humans emotionally connect with the objects that surround us in everyday life, and through that, she manages to humanize the concept of sustainability." — Hanka van der Voet, Head of MA Fashion Strategy at the ArtEZ University of the Arts, The Netherlands"Most books on sustainable design focus on the effects of design on the environment mainly in terms of recycling, reuse and repair. Kristine Harper’s book "Aesthetic Sustainability – Product Design and Sustainable Usage" introduces the additional and undervalued importance of the aesthetic qualities of sustainable design. She argues that aesthetics are key to creating sustainability that is lasting, due to the added emotional values that both appeal to and nourish the user. A factor most sustainable designers have ignored. The book discusses the interaction and relationship between the three concepts, design, sustainability and aesthetics in depth, thereby giving the reader an (almost) how-to guide to producing aesthetic, sustainable and durable design. A book to be recommended for both professional practitioners as well as students of design." — Karen Blincoe, Director Chora Connection"The book addresses a highly relevant subject from an unexpected angle. This broadens our perspectives on sustainability to be about more than reusing and recycling but also about providing aesthetic experiences. In particular, the model for an aesthetic strategy provides a useful tool, as it brings forth relevant concepts for exploring and reflecting on choices of expression and how such choices might affect the perception of a design product." Per Liljenberg Halstrøm, PhD, Postdoc and lecturer at Copenhagen School of Design and Technology and The Royal Danish Academy of Fine Arts, School of DesignTable of ContentsIntroduction: Aesthetic Sustainability 1. The Pleasure of the Familiar 2. The Pleasure of the Unfamiliar 3. The Expression of Flexible Aesthetics 4. Designing the Temporal Object 5. The Magical Thing 6. The Value of Aesthetic Sustainability 7. Aesthetic Strategy

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Book SynopsisOne of the most significant occurrences in the history of design was the creation of the English Landscape Garden. Accounts of its genesisthe surprising structural change from the formal to a seeming informal are numerous. But none has ever been quite convincing and none satisfactorily placed the contributions of Stephen Switzer. Unlike his contemporaries, Switzer - an 18th century author of books on gardening and agricultural improvement - grasped a quite new principle: that the fashionable pursuit of great gardens should be rural and extensive, rather than merely the ornamentation of a particular part of an estate. Switzer saw that a whole estate could be enjoyed as an aesthetic experience, and by the process of improving its value, could increase wealth. By encouraging improvers to see the garden in his enlarged sense, he opened up the adjoining countryside, the landscape, and made the whole a subject of unified design. Some few followed his advice immediately, such as BatTrade ReviewBrogden’s approach is chronological. Each chapter identifies stages in Switzer’s progress, with discussions of sites relevant to that period of his career. Thus the first sees him outlining Switzer’ debts to the classics and then, rather cursorily, a cluster of contemporary writers, before moving on to his apprenticeship with London and Wise at Brompton Park Nurseries.At this stage it is hard to see what exactly, if anything, Switzer designed. His writings that talk about key sites –Cassiobury, Castle Howard’ Ray Wood –tell us more about his early ideas on rural gardening than what he did himself to implement them. He worked at Blenheim (digging the foundations for Vanbrugh’ bridge), and formed the gravel pit at Kensington Palace into an amphitheatre.John Dixon Hunt, Historic Gardens Newsletter, January 2018, No. 47Dr William Brogden’s biography of Stephen Switzer fills a wide gap in the history of the English landscape garden during the first half of the eighteenth century. Switzer, uniquely, was celebrated as the author of practical and theoretical books on garden design, as well as a collaborator with Charles Bridgeman, Sir John Vanbrugh, and other pioneers.To make his case, Brogden considers the writings of other scholars, and brings together a range of published, manuscript, and pictorial sources to assess Switzer’s role in the design of the landscapes of Blenheim Palace, Castle Howard, Lumley |Castle and elsewhere. In so doing, Brogden makes a major contribution to our understanding of their evolution. All told, this is an important and original book.Peter WillisThe name Switzer reminds me of my writing up the domestic buildings for Pevsner's Lincolnshire in 1960. I was at Grimsthorpe having enjoyed Lord Ancaster's lunch, and we were standing on the terrace on the garden side of the house, when Ancaster asked, who would have designed the garden, an old formal one that had been landscaped late in the 18th century? My reply was that it could have been Stephen Switzer the author of a treatise called Ichnographica Rustica. Alas, then there was no Bill Brogden to observe in his new and exciting book that Switzer had invented a new landscape design called 'rural and extensive', gardening, intended that a whole estate could be opened up to the surrounding countryside. Rightly Brogden observes that this is a very modern concept, anticipating landscape design in our own day.John Harris, Curator of the Drawings Collection of the RIBASwitzer is the mystery man of landscape history no more, this new study reveals his innovative ideas which will inspire designers in all land management disciplinesJane Brown, author of Lancelot Capability Brown, The Omnipotent MagicianGeorge William Johnson remarks in his History of Gardening (1829) that neglect has pursued Switzer ‘beyond the grave, for his works are seldom mentioned and quoted as authorities of the age he lived in’. He was ‘the best author of his time’ and among the ‘Classic Authors of Gardening’. Modest and candid, he was a ‘sound, practical Horticulturist, a man well versed in Botanical Science of the day, in its most enlarged sense’. This glowing assessment still holds true today: Switzer is among the most original, eloquent, informed and influential garden writers and practitioners of eighteenth-century England, yet his written and practical work has been overshadowed by the achievements of his contemporaries. Brogden’s long-awaited book redresses this deficiency, supplying the first detailed account of this ingenious landscape improver and his rich and varied contribution to contemporary landscape theory and practice. Ichnographia Rustica: Stephen Switzer and the Designed Landscape will ensure that Switzer is finally admitted to the pantheon of British garden greats, and that his name should soon become as familiar as his fellow ‘landskip improvers’ William Kent, Charles Bridgeman and Humphry Repton. Todd Longstaffe-Gowan, Lecturer, Historical and Sustainable Architecture, NYU (London)Table of ContentsIntroduction , 1. A Fine Genius for Gardening, 2. Towards a Rural and Farm-like Way of Gardening, 3. Early Landscapes, 4. Country Practice, Nature to Advantage Dress'd, 5. A Public Figure, 6. Essays in the Landscape Style , 7. Furor Hortensis, 8. Legacy.

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Book SynopsisThis edited collection sets forth a new understanding of aesthetic-moral judgment organized around three key concepts: pleasure, reflection, and accountability. The overarching theme is that art is not merely a representation or expression like any other, but that it promotes shared moral understanding and helps us engage in meaning-making. This volume offers an alternative to brain-centric and realist approaches to aesthetics. It features original essays from a number of leading philosophers of art, aesthetics, ethics, and perception, including Elizabeth Burns Coleman, Garrett Cullity, Cynthia A. Freeland, Ivan Gaskell, Paul Guyer, Jane Kneller, Keith Lehrer, Mohan Matthen, Jennifer A. McMahon, Bence Nanay, Nancy Sherman, and Robert Sinnerbrink.Part I of the book analyses the elements of aesthetic experiencepleasure, preference, and imaginationwith the individual conceived as part of a particular cultural context and network of other minds. The&nbsTable of ContentsIntroduction: From Pleasures to Principles Jennifer A. McMahon Part I: Aesthetic Elements: Pleasure, Preference, and Imagination 1. New Prospects for Aesthetic Hedonism Mohan Matthen 2. From Colour to Meaning in Contemporary Art Cynthia A. Freeland 3. Against Aesthetic Judgments Bence Nanay 4. Imagination Jennifer A. McMahon Part II: Aesthetic Experience: Critique, Expression, and Reflection 5. Art, Exemplars and Consensus Keith Lehrer 6. Objectivity and Shared Experience: Art and Morality Garrett Cullity 7. Dancers and Soldiers Sharing the Dance Floor: Emotional Expression in Dance Nancy Sherman 8. Twofoldness, Threefoldness and Aesthetic Pluralism Paul Guyer Part III: Aesthetic Judgment: Dissonance, Difference, and Diversity 9. Aesthetic Judgment and the Transcultural Apprehension of Material Things Ivan Gaskell 10. Cross-Cultural Aesthetics and Etiquette Elizabeth Burns Coleman 11. Emotional Engagement and Moral Evaluation: Exploring Cinematic Ethics Robert Sinnerbrink 12. Aesthetics and Communication Jane Kneller

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Book SynopsisErnst Cassirer (1874â1945) occupies a unique place in 20th-century philosophy. His view that human beings are not rational but symbolic animals and his famous dispute with Martin Heidegger at Davos in 1929 are compelling alternatives to the deadlock between 'analytic' and 'continental' approaches to philosophy. An astonishing polymath, Cassirer's work pays equal attention to mathematics and natural science but also art, language, myth, religion, technology, and history. However, until now the importance of his work has largely been overlooked.In this outstanding introduction Samantha Matherne examines and assesses the full span of Cassirerâs work. Beginning with an overview of his life and works she covers the following important topics: Cassirerâs neo-Kantian background Philosophy of mathematics and natural science, including Cassirerâs first systematic work, Substance and Function, and subsequent works, like Einsteinâs Theory of Relativity The problem of culture and the ground-breaking The Philosophy of Symbolic Forms Cassirerâs ethical and political thought and his diagnosis of fascism in The Myth of the State Cassirerâs influence and legacy. Including chapter summaries, suggestions for further reading, and a glossary of terms, this is an ideal introduction to Cassirerâs thought for anyone coming to his work for the first time. It is essential reading for students in philosophy as well as related disciplines such as intellectual history, art history, politics, and literature.Trade Review"This is an excellent, well-organized, clearly written, and comprehensive book. It does a great job both with expounding the details of Cassirer’s work, at a level that will be appropriate for advanced undergraduate and graduate students, and showing the deep and lasting relevance of Cassirer’s thought today." - Paul Livingston, University of New Mexico, USA"Matherne has written a guide to Cassirer's philosophy that is both accurate and stimulating to read. She takes into account the whole scope of his work - from his early writings and his professorship during the Weimar Republic, to his years of exile in Sweden and the United States - and provides an important addition to our understanding of his lasting influence." - Jeffrey Andrew Barash, Université de Picardie, Amiens, FranceTable of ContentsChronology 1. Cassirer’s Life and Works 2. The Neo-Kantian Framework 3. Philosophy of Mathematics 4. Philosophy of Natural Science 5. Philosophy of Culture as the Philosophy of Symbolic Forms 6. The Individual Symbolic Forms, Part I: From Myth to Natural Science 7. The Individual Symbolic Forms, Part II: The Ethics and Politics of Culture 8. Cassirer’s Legacy. Glossary of Terms Index

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Book SynopsisWhy ought we concern ourselves with understanding a concept of evil? It is an elusive and politically charged concept which critics argue has no explanatory power and is a relic of a superstitious and primitive religious past. Yet its widespread use persists today: we find it invoked by politicians, judges, journalists, and many others to express the view that certain actions, persons, institutions, or ideologies are not just morally problematic but require a special signifier to mark them out from the ordinary and commonplace. Therefore, the question of what a concept of evil could mean and how it fits into our moral vocabulary remains an important and pressing concern.The Routledge Handbook of the Philosophy of Evil provides an outstanding overview and exploration of these issues and more, bringing together an international team of scholars working on the concept of evil. Its 27 chapters cover the crucial discussions and arguments, both historical and contempoTable of ContentsIntroduction Thomas Nys and Stephen de Wijze Part 1: Historical explorations of Evil 1. Plato on Evil Alina Scudieri 2. Augustine on Evil Philip Cary 3. Aquinas on Evil W. Matthews Grant 4. Machiavelli: The Drama of Politics and Its Inherent Evil Giovanni Giorgini 5. Hobbes on Evil Laurens van Apeldoorn 6. Leibniz On Evil: God’s Justice in the Best of All Possible Worlds Agustín Echavarría 7. Jean-Jacques Rousseau on the Origin and Nature of Evil Jason Neidleman 8. Kant: The Evil in All of Us Matthé Scholten 9. Sade: Mushroom Clouds and Silver Linings Thomas Nys 10. Nietzsche’s Critique of Morality and His Effort to Create an Evaluation ‘Beyond Good and Evil’ Paul van Tongeren 11. Hannah Arendt’s Double Account of Evil: Political Superfluousness and Moral Thoughtlessness Peg Birmingham 12. After the Fall: Camus on Evil Matthew Sharpe Part 2: Recent Secular Explorations of Evil 13. Deliver us from Evil: The Case for Scepticism Phillip Cole 14. Does the term ‘evil’ have any explanatory power? Eve Garrard 15. Defining the concept of evil: Insights from our pre-cognitive responses Stephen de Wijze 16. Evil and Wrongdoing Todd Calder 17. Evil Characters Peter Brian Barry 18. Defining evil actions: Different approaches Luke Russell 19. Different Substantive Conceptions of Evil Actions Paul Formosa Part 3: Evil and other Issues 20. Evil and Punishment Leo Zaibert 21. Evil and Forgiveness Kathryn J. Norlock 22. Evil and Freedom Lars Fr. H. Svendsen 23. Evil and Power Simona Forti 24. Evil and Childhood Gideon Calder 25. Evil’s Diachronic Characteristics Zachary J. Goldberg 26. Evil, Genocide, and Mass Atrocities Jonathan Leader Maynard 27. Evil: A Comparative Overview Michiel Leezenberg

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Book SynopsisThis book places sex and sexuality firmly at the heart of Beckett. From the earliest prose to the late plays, Paul Stewart uncovers a profound mistrust of procreation which nevertheless allows for a surprising variety of non-reproductive forms of sex which challenge established notions of sexual propriety and identity politics.Trade Review"Here, finally, is the first comprehensive study of sex in Beckett s work, and Stewart tackles this fascinating and complex topic with intellectual dexterity, scholarly rigor, and necessary wit. Whether dealing with erudite references, textual details, or larger philosophical concerns, this book shows fine critical judgment in examining the role sex and sexuality plays in Beckett s aesthetic thinking." - Mark Nixon, Director, Beckett International Foundation, University of Reading "Stewart's compelling book is the best study currently available of how the material of art comes from the mixed world of matter. He negotiates the familiar pathways and the less frequented back roads with admirable fluency, flexibility, and flair, and opens up a whole new field both for the Beckett beginner and for seasoned performers misguided enough to suppose they knew their Beckett well." - John Pilling, Emeritus Professor of English and European Literature, University of Reading "Stewart's book is a milestone in our understanding of sexuality in Beckett's work. Stewart brings a sane, informed, and judicious eye to assessing the varieties of sexual representation, from the early to the late writings, linking them to key themes of death, desire, deviancy, and the discontents of artistic creativity. A penetrating and refreshing analysis." - Rónán McDonald, Australian Ireland Fund Chair of Modern Irish Studies, University of New South WalesTable of ContentsA Rump Sexuality: The Recurrence of Defecating Horses in Beckett's Oeuvre The Horror of Sex The Horrors of Reproduction Alternating and Alternative Sexualities Sex and Aesthetics Aesthetic Reproduction across the Oeuvre

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Book SynopsisExploring the themes of the event, ephemerality and democracy that mark the encounter between performance and philosophy, this original study elaborates fresh perspectives on the experiences of undoing, fiasco and disaster that shadow both the both stage and everyday life.Trade Review'A book that asks the questions about performance that come before the commonly asked is a book that approaches a theatre philosophy. If such a thing were not a contradiction in terms Simon Bayly's A Pathognomy of Performance would provide us with the exemplary exception we have been waiting for.' - Alan Read, Professor of Theatre, King's College London, UK 'What this book offers on the study of the fleeting and transcendent is ultimately highly substantial, as well as provocative and wholly scholarly...' -Journal of Theatre Research InternationalTable of ContentsList of Illustrations Acknowledgements Introduction Strains of Thought Points of Suspension Instants of Affection Anomalous Appearances The Borrowed Masks of Being Logics of Expression Wrinkles, Furrows and Folds The Tonic of the Sonic Deleted Expletives Peals of Appeal Bibliography Index

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Book SynopsisScientists often try to understand the world by building simplified and idealised models of it. Adam Toon develops a new approach to scientific models by comparing them to the dolls and toy trucks of children''s imaginative games, and offers a unified framework to solve difficult metaphysical problems and help to make sense of scientific practice.Table of ContentsList of Figures Preface Acknowledgements Introduction Models and Representation What Models Are How Models Represent Carbon in Cardboard Playing with Molecules Conclusion Notes References Index

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Book Synopsis''Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us todayquestions like: - Is there something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them?Each chapter opens using a real world example such as Marcel Duchamp's signed urinal, The ExorcistTrade ReviewIntroducing Aesthetics and Philosophy of Art explores the classic questions in the philosophy of art through provocative artworks. Written in a clear and fresh style, this comprehensive textbook provides an accessible and engaging entry point for students to the central philosophical issues in the arts. An excellent resource for students and academics alike. -- Sondra Bacharach, Senior Lecturer of Philosophy, Victoria University of Wellington, New ZealandThis is one of the best introductions to Philosophy of Art around. Hudson Hick judges the current vibe among students exceptionally well. Recent and contemporary examples of art, literature, music and film, prompt the kind of questions that lead naturally to the key concepts and theories presented in this book. Drawing mostly from analytic aesthetics, as well as continental philosophy on interpretation, the book provides a genuine opportunity to develop understanding of art and its reception. And while the level at which the text is pitched is appropriate for beginners, the dialectic occasions the kind of critical debate that will also engage the more advanced student. A timely new feature of this edition is the chapter on diversity which flags the burgeoning material on perspectivism. The final chapter completes the promise of the title, raising questions pertinent to the aesthetics of nature. -- Jennifer A. McMahon, Professor of Philosophy, The University of Adelaide, AustraliaDarren Hudson Hick’s Introduction to Aesthetics and the Philosophy of Art offers a fresh, engaging take on both central and historically neglected topics in aesthetics. Hick presents complex debates in an accessible way and brings thinkers from different traditions and historical moments seamlessly into conversation. Examples from a wide variety of art forms keep the discussion lively while drawing out the implications of the theories on offer. * Sherri Irvin, Presidential Research Professor of Philosophy and Women’s and Gender Studies and Co-Director of the Center for Social Justice, University of Oklahoma, USA *Table of ContentsPreface Introduction: Aesthetics and the Philosophy of Art: an Extremely Brief History 1. Defining Art 2. The Ontology of Art 3. Interpretation and Intention 4. Aesthetic Properties and Evaluation 5. Emotions and the Arts 6. Art and Morality 7. Aesthetics Without Art Notes Bibliography Index

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Book SynopsisSince the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. This book surveys the resurgence of politicized art, tracing key currents of theory and practice, and mapping them against the dominant experience of the last decade: crisis.Drawing upon leading artists and theorists within this field including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech this book argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy.Trade ReviewSociopolitical Aesthetics is without doubt the best political analysis of art’s ‘social turn’, which it revisits through a reexamination of the contested meanings of collectivity and a re-reading of debates on aesthetics and politics within the context of neoliberalism, the globalisation of contemporary art and narratives of crisis. Charnley combines first rate art historical scholarship with razor sharp political analysis and an insider’s understanding of contemporary art to explain the rise of socially engaged art against the prevailing wisdom that art as an institution must neutralise dissent, through co-optation, absorption, incorporation, and recuperate and by turning politics into aesthetics. What if, Charnley asks, the art system has reached the limit of its ability to contain the critical practices that occupy it. * Dave Beech, Reader in Art and Marxism, University of the Arts London, UK *Table of ContentsIntroduction: In what sense ‘sociopolitical’ aesthetics? 1. Collective impurities 2. Art, economics, reproductive labour 3. Kaleidoscopic Institutions 4. Materialities of the Neoliberal State 5. Art, Ignorance and the Pedagogic Turn 6. Documentary, Post-Truth and Realism 7. Crisis, Criticism and Contemporary Art Conclusion: Autonomy, Heteronomy, Solidarity? Bibliography Index

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Book SynopsisGiving an overview of the history of color theory from ancient and classical cultures to contemporary contexts, this book explores important critical principles and provides practical guidance on the use of color in art and design. Going beyond a simple recitation of what has historically been said about color, artist and educator Aaron Fine provides an intellectual history, critiquing prevailing Western ideas on the subject and challenging assumptions. He analyses colonialist and gendered attitudes, materialist and romanticist perspectives, spiritualist approaches to color, color in the age of reproduction, and modernist and post-modernist color strategies. Highlighted throughout are examples of the ways in which attitudes towards color have been impacted by the legacy of colonialism and are tied up with race, gender, and class. Topics covered include color models, wheels and charts, color interaction and theories of perception, with over 150 images throughout. By placing under-eTrade ReviewAlmost everyone sees color – but this might be the only general statement it is possible to make on the subject. When we begin to ask how color is seen and what it is seen to mean, what value colour has and to whom: then any notion of a consensus quickly falls apart. Aaron Fine’s rich and wide-ranging study discusses numerous theories of color, some intersecting and overlapping, others divergent and conflicting. This book is an invaluable resource for anyone interested in how different cultures have interpreted the vibrant patterns of reflected light that almost all of us see. -- David Batchelor, artist and writer, UKColor Theory is a superb book. With impeccable scholarship it spans centuries, regions and disciplines to give the reader a panoptic account of the many guises of colour in society, art and philosophy. Fine’s prose is clear and thought-provoking. Readers new to the theory of colour will have no better guide to the subject, and those already familiar will discover many new and intriguing things. -- Mazviita Chirimuuta, Senior Lecturer in Philosophy, University of Edinburgh, UKIf you are curious about learning color theory, I suggest that you experiment with some watercolor. If you are serious about color theory, I suggest you read Aaron Fine's book. This is the intelligent and active approach to the subject. Placed on a spectrum between John Gage's heady and densely academic, historical color books and the excellent ‘semester-minded’ color texts of the like of Pentak and Zelanski, Fine's book provides toothsome material for the advanced student with opportunities for practical application and testing of theory. While many color texts have slapped a ‘global color’ chapter at the last of the book, Fine squares the world and its people into the beginning perspectives in chapter 1 and works out from there. This is, I hope, the beginning of a new generation of color writing that embraces a thoughtful, world perspective -- Scott Betz, Professor of Art, Winston-Salem State University, USATable of ContentsList of Images Acknowledgements Introduction 1. Natural Resources and Trade: Color Use in Traditional Cultures 2. Knowing at a Distance: Color Problems in Ancient Greek Thought 3. Stained Glass and Illuminations: European and Islamic Color Theory before Galileo 4. Prisms, Mirrors, and Lenses: The Newtonian Revolution 5. Romanticism and Chromophobia: The Creation of Color Theory in the 19th Century 6. The Science of the Invisible: Color Classification Systems and Spiritual Color 7. High Modern: Color Use at the Bauhaus and in Abstract Expressionism 8. Postmodern: Contemporary Directions in Color Use Glossary About the Author

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Book SynopsisThe notion of aesthetic illusion relates to a number of art forms and media. Defined as a pleasurable mental state that emerges during the reception of texts and artefacts, it amounts to the reader's or viewer's sense of having entered the represented world while at the same time keeping a distance from it. Aesthetic Illusion in Literature and the Arts is an in-depth study of the main questions surrounding this experience of art as reality.Beginning with an introduction providing historical background to modern discussions of illusion, it deals with a wide range of theoretical issues. The collection explores the nature and function of the aesthetic illusion as well as the role of affect and emotion, the implications of aesthetic illusion for the theory of fiction, the variable forms of aesthetic illusion and its relationship to other components of aesthetic response. Aesthetic Illusion in Literature and the Arts brings together a team of scholars from philosophy, literatuTrade Review[A] valuable contribution to the developing philosophical literature on immersion. If you're interested in the topic, or in closely-related issues such as "fictional worlds," it should be on your reading list. * Notre Dame Philosophical Reviews *This comprehensive outlook on the familiar yet elusive phenomenon of being absorbed, perceptually stimulated, or even deceived by art will be appreciated by academics, art practitioners, and arts audiences alike. The essays are well-referenced and conceptually precise, and the authors' appetite for polemics is exemplary, making the collection as a whole a rich and enjoyable read. * Anežka Kuzmicová, Research Fellow, Stockholm University, Sweden *A fascinating array of reflections on the place of the concept of illusion in theorizing about the arts and aesthetic experience. Central to the sort of illusion of most concern here is an experience of an artwork that has a double character, being at once both absorbing and immersive, on the one hand, and distanced and detached, on the other. That there is illumination of this phenomenon to be had for readers of this volume is no illusion. * Jerrold Levinson, Distinguished University Professor, University of Maryland, USA *Table of Contents1. Introduction Tomáš Koblížek (Institute of Philosophy, The Czech Academy of Sciences) PART I: Illusion and Media 2. Aesthetic Illusion(s)? Werner Wolf (Centre for Intermediality Studies, University of Graz) 3. More Than Meets the Eye: Layers of Artistic Representation Thomas G. Pavel (Department of Comparative Literature, University of Chicago) 4. Mediating Immediacy Göran Rossholm (Department of Culture and Aesthetics, Stockholm University) 5. Neither Here nor There, but Now. Film Experience and the Aesthetic Illusion Enrico Terrone (Department of Philosophy, University of Torino) PART II: Illusion and the Mind 6. Reading for the Mind: Aesthetic Illusion, Fictional Characters, and the Role of Interpretation Marco Caracciolo (Comparative Literature, University of Freiburg) 7. A Puzzle of Fiction and Cognitive Impenetrability Fredrik Stjernberg (Department of Culture and Communication, Linköping University) 8. Illusion, Distance and Appropriation Martin Pokorný (Comparative Literature, Charles University, Prague) 9. Fact, Fiction and Projection: The Inescapability of Austerlitz’s Impulse Josep Corbí (Department of Metaphysics and Theory of Knowledge, University of Valencia) PART III: Illusive Worlds 10. La Comédie Humaine and the Illusion of Reality Lubomir Doležel (Comparative Literature, University of Toronto) 11. Fiction, Illusion, Reality and Radical Narration Petr Kotátko (Institute of Philosophy, The Czech Academy of Sciences) 12. A Moral Life of Things: Making and Breaking of Aesthetic Illusion in Lyric Poetry Karel Thein (Faculty of Arts, Charles University, Prague) 13. The Novel and the Aesthetic Illusion Jirí Koten (Faculty of Education, University of Usti nad Labem) PART IV: Questioning Illusion 14. How Should We Talk About Reading Experiences? Arguments and Empirical Evidence Emily Troscianko (Faculty of Medieval and Modern Languages, University of Oxford) 15. Aesthetic Illusion between the Prague School and Fictional Worlds Theory Bohumil Fort (Language Institute, The Czech Academy of Sciences) 16. Skeptical Reflections on the Concept of Aesthetic Illusion Anders Pettersson (Department of Culture and Media Studies, Umea University) List of Contributors Index of Names Index of Topics

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Book SynopsisIn this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon''s work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon''s style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the ''body without organs'' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon''s work to Cezanne''s notion of a ''logic'' of sensation and, investigating this logic, explores Bacon''s crucial relation to past painters such as Cezanne, Velasquez, and Soutine.Trade ReviewA lively and systematic study of Bacon's work. The book is clearly organised, helping to make complicated arguments easier to follow. * Modern Painters *A path-breaking work on the aesthetics of sensation, the philosophy of colour, on form, and on painting in general, Francis Bacon is one of the most important, if not the most crucial, of all of Deleuze's writings. * Tom Conley, Harvard University, USA *One of Deleuze’s most beautifully crafted studies, and an essential component of his aesthetic philosophy. * Southern Humanities Review *Art historians as well as scholars of 20th century intellectual history will find this a rich mine of original thought. * Library Journal *Long-awaited. This book is invaluable for an understanding of the trajectory of Deleuze’s own thought. Offers an entry point into Deleuze’s more explicitly theoretical work that simultaneously grounds and orients that theory in terms of a specific instance. * Journal of Aesthetics and Art Criticism *Table of ContentsTranslator's Preface, by Daniel W. Smith Preface to the French Edition, by Alain Badiou and Barbara Cassin Author's Foreword Author's Preface to the English Edition 1. The Round Area, the Ring The round area and its analogues - Distinction between the Figure and the figurative - The fact - The question of "matters of fact" - The three elements of painting: structure, Figure, and contour - Role of the fields 2. Note on Figuration in Past Painting Painting, religion, and photography - On two misconceptions 3. Athleticism First movement: from the structure to the Figure - Isolation - Athleticism - Second movement: from the Figure to the structure - The body escapes from itself: abjection - Contraction, dissipation: washbasins, umbrellas, and mirrors 4. Body, Meat, and Spirit, Becoming-Animal Man and animal - The zone of indiscernibility - Flesh and bone: the meat descends from the bone - Pity - Head, face, and meat 5. Recapitulative Note: Bacon's Periods and Aspects From the scream to the smile: dissipation - Bacon's three successive periods - The coexistence of all the movements - The functions of the contour 6. Painting and Sensation Cezanne and sensation — The levels of sensation — Figuration and violence - The movement of translation, the stroll - The phenomenological unity of the senses: sensation and rhythm 7. Hysteria The body without organs: Artaud - Worringer's Gothic line - What the "difference of level" in sensation means - Vibration - Hysteria and presence - Bacon's doubt — Hysteria, painting, and the eye 8. Painting Forces Rendering the invisible: the problem of painting - Deformation: neither transformation nor decomposition - The scream - Bacon's love of life - Enumeration of forces 9. Couples and Triptychs Coupled Figures — The battle and the coupling of sensation - Resonance - Rhythmic Figures - Amplitude and the three rhythms - Two types of "matters of fact" 10. Note: What Is a Triptych? The attendant - The active and the passive - The fall: the active reality of the difference in level - Light, union and separation 11. The Painting before Painting .. . Cezanne and the fight against the cliche - Bacon and photographs - Bacon and probabilities - Theory of chance: accidental marks - The visual and the manual - The status of the figurative 12. The Diagram The diagram in Bacon (traits and color-patches) - Its manual character - Painting and the experience of catastrophe - Abstract painting, code, and optical space - Action Painting, diagram, and manual space - What Bacon dislikes about both these ways 13. Analogy Cezanne: the motif as diagram - The analogical and the digital - Painting and analogy - The paradoxical status of abstract painting - The analogical language of Cezanne and of Bacon: plane, color, and mass - Modulation - Resemblance recovered 14. Every Painter Recapitulates the History of Painting in His or Her Own Way .. . Egypt and haptic presentation - Essence and accident - Organic representation and the tactileoptical world - Byzantine art: a pure optical world? - Gothic art and the manual - Light and color, the optic and the haptic 15. Bacon's Path The haptic world and its avatars - Colorism - A new modulation - From Van Gogh and Gauguin to Bacon - The two aspects of color: bright tone and broken tone, field and Figure, shores and flows .. . 16. Note on Color Color and the three elements of painting - Color-structure: the fields and their divisions - The role of black Color-force: Figures, flows, and broken tones Heads and shadows - Color-contour - Painting and taste: good and bad taste 17. The Eye and the Hand Digital, tactile, manual, and haptic - The practice of the diagram - On "completely different" relations - Michelangelo: the pictorial fact Index of Paintings Notes Index

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Book SynopsisDaniel Herwitz is Fredrick Huetwell Professor of Philosophy, History of Art and Comparative Literature at the University of Michigan, USA where for a decade he directed the Institute for the Humanities. His previously published books include Aesthetics, Arts and Politics in a Global World (2017), the award winning Star as Icon (2008), and M.F. Husain (1988). Herwitz frequently writes for galleries in New York City, London, Cape Town and other places.Trade Review“This book asks how one can reconcile the universalizing theories of post-Enlightenment aesthetics with the current realities of a globalized economy. Herwitz's answer, in short: cosmopolitanism, a dialectic of homogenization and diversity. [He] reconsiders the relationship of contemporary art to sociopolitical events and institutions by circling back to the 18th and 19th centuries of Kant and Hegel and then to Danto in the 20th century. These philosophical inquiries are interleaved with case studies of specific artists, many of whom hail from the Global South and thus provide welcome counterbalance to the still-dominant First World narrative. In Herwitz’s telling, 21st-century artistic cosmopolitanism also sheds new light on historical aesthetics, providing a means for reevaluating how the personal and the universal were reconciled in aesthetic theory. These are big, unwieldy topics and Herwitz's clear, conversational style makes the material accessible. That said, it is inevitable that a subject of such scope leaves much territory unexamined and a great deal of art unaccounted for … The book provides a useful introduction to issues of globalization as it pertains to art. Summing Up: Recommended. Lower- and upper-division undergraduates; graduate students. * CHOICE *This book far extends the usual scope of aesthetic enquiry. It is written with a challenge, to open up the political and social imaginary through the historical and contemporary media of the arts. Its flair and wit, its insight and extensive range raises the stakes in a world market whose design threatens to close down and restrict the promise of the cosmopolitan who refuses any longer to be a colonialist. * Lydia Goehr, Professor of Philosophy, Columbia University, USA *Daniel Herwitz, one of our great authorities on the discipline of Aesthetics, here turns his attention to the ways the question of cosmopolitanism, first put forward by Kant and then called into question by Hegel and others, can—indeed must-- be adapted today if we are to make sense of art practice and reception as these intersect with the global art market. Designed for the general reader as well as for art historians and critics, Cosmopolitan Aesthetics is that rare thing—a truly necessary book. * Marjorie Perloff, Sadie D. Patek Professor of Humanities Emerita, Stanford University, USA *The world according to Daniel Herwitz is endlessly rich, beautiful, and troubled. Cosmopolitan Aesthetics is perhaps his most important book to date, combining his unique philosophical command, political commitment, and aesthetic judgment with his signature electric wit. The result is a riveting and indispensable analysis of art, commerce, and taste in the post-global age. * Michael P. Steinberg Barnaby Conrad and Mary Critchfield Keeney Professor of History, Brown University, USA *Table of ContentsAcknowledgements List of Figures How to Use This Book 1. Introduction to Globalization 2. The Global Art World Today: Problems and Prospects 3. Aesthetic Cosmopolitanism 4. Cultural Property and Aesthetic Synergy 5. Meaning and Medium in Art 6. Taste in its 18th Century Context 7. Aesthetic Judgment from a Cosmopolitan Perspective Bibliography Index

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