Philosophy: aesthetics Books

Book SynopsisChapter 1: Introduction: Three Genres.- Chapter 2: On Theory-Fiction.- Chapter 3: On Autofiction and Autotheory.- Chapter 4: On Art Writing.- Chapter 5: Conclusion: Four Propositions.- Chapter 6: Postscript On Machine Writing.

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Book SynopsisChapter 1: Literature: a laboratory for a rigorous and critical empathy.- Chapter 2: From resistance to empathy to sustained empathy.- Chapter 3: The practice of reading and the practice of empathy.- Chapter 4: Empathy in the context of fiction.- Chapter 5: Empathy against the novel.- Chapter 6: Empathy's greatest hits and misses.

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Book SynopsisChapter One: Introduction: Evil and the Writings of Iris Murdoch.- Chapter Two: Iris Murdoch and the Problem of Evil.- Chapter Three: Iris Murdoch and the Problem of Dualism.- Chapter Five: Responding to Evil: Banality, Testimony and Terrorism.- Chapter Five: Murdoch's Villains: Enchanters, Psychopaths and Saints.- Chapter Six: Female Figures of Evil: Gender and Power in Murdoch's Fiction.- Chapter Seven: Conclusion.

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Book Synopsis1. Iris Murdoch’s Wild Imagination: Ecocritical Approaches.- 2. Iris Murdoch, Poet: Ecological Themes And Lyrical Influences.- 3. The Emerging Animism In The Novels: The Flight From The Enchanter, An Unofficial Rose, The Unicorn And Nuns And Soldiers.- 4. The Sovereignty of The Sea In The Sea, The Sea.- 5. Maurice Merleau-Ponty, Embodied Mind And Vegetal Agency: The Good Apprentice.- 6. A Vision Of The World As Sacred: Further Thoughts On Murdoch’s Ecological Consciousness.

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Book SynopsisThe studies in this book set out to examine the labile resonances of phenomenology and art in Michel Henry, by examining the different figures of movement given to the concept of the aesthetic by the philosopher. They are preceded by one of Michel Henry’s own texts. Les études qui composent ce livre proposent d’interroger les résonances labiles de la phénoménologie et de l’art chez Michel Henry, en examinant les différentes figures du déplacement imprimé par le philosophe au concept d’esthétique. Le tout est précédé d’un texte de Michel Henry.Table of ContentsPREMIÈRE SECTION ART ET PHÉNOMÉNOLOGIE MATÉRIELLE : L’AFFECTIVITÉ EN QUESTIONS L’esthétique henryenne est-elle phénoménologique ? Carole TALON-HUGON Art, affect et sensibilité. L’esthétique de Michel Henry Gabrielle DUFOUR-KOWALSKA L’esthétique comme philosophie première Vincent GIRAUD « Existence esthétique » et phénoménologie matérielle Rolf KÜHN DEUXIÈME SECTION LE PARADIGME PICTURAL : PROBLÈMES ET ENJEUX PHÉNOMÉNOLOGIQUES Transcendance du visible et immanence du pathos : le statut de la couleur dans l’esthétique de Michel Henry Jean-François LAVIGNE Le temps d’un affect. Sur quelques contre-temps de l’esthétique matérielle Claudio MAJOLINO & Nathanaël MASSELOT Une phénoménologie du dessin : Michel Henry et l’art abstrait total d’August von Briesen Jean-Michel LONGNEAUX TROISIÈME SECTION DU PATHOS DE L’IMAGE À LA PRAXIS DU LANGAGE : L’AFFECT À L’ŒUVRE L’imagination chez Michel Henry : entre matérialité et abstraction Delia POPA Michel Henry et la question de l’image : entre extériorité et affectivité Jérôme DE GRAMONT Le fils du roi comme roman de l’imaginaire. Michel Henry lecteur de Pierre Janet. Simon BRUNFAUT Narration romanesque et écriture phénoménologique chez Michel Henry Jean-Pol MADOU QUATRIÈME SECTION VERS UNE PHÉNOMÉNOLOGIQUE MATÉRIELLE DE LA CRÉATION : PERSPECTIVES ÉTHIQUES ET ESTHÉTIQUES De l’éthique à l’esthétique : vie et création chez Michel Henry et Henri Bergson Frédéric SEYLER L’élan du monument vers le ciel. Le statut d’une esthétique architecturale chez Michel Henry Francesco Paolo DE SANCTIS La danse les yeux fermés ? Michel Henry et les régimes de l’auto-affection Frédéric POUILLAUDE Les conditions de possibilité originaires de la musique, comprises à partir des acquis fondamentaux de la phénoménologie de Michel Henry Michel RATTÉ

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Book SynopsisWhat is art and what is its role in a China that is changing at a dizzying speed? These questions lie at the heart of Chinese contemporary art. Subversive Strategies paves the way for the rebirth of a Chinese aesthetics adequate to the art whose sheer energy and imaginative power is subverting the ideas through which western and Chinese critics think about art. The first collection of essays by American and Chinese philosophers and art historians, Subversive Strategies begins by showing how the art reflects current crises and is working them out through bodies gendered and political. The essays raise the question of Chinese identity in a global world and note a blurring of the boundary between art and everyday life.Table of ContentsPART ONE HERE AND NOW Crisis Subversive Strategies in Chinese Avant-garde Art Mary Bittner Wiseman Political Pop Art and the crisis of originality Yi Ying Contemporary Art in China: ‘Anxiety of Influence’ and the Creative Triumph of Cai Guo-Qiang Laurie Adams Working It Out Image-Fabrication and Contemporary Photography in China Wang Chunchen Chinese Contemporary Art: From De-Chineseness to Re-Chineseness Liu Yuedi Chinese without Chineseness: Chinese Contemporary Art from Cultural Symbol to International Style Peng Feng Calligraphic Expression and Contemporary Chinese Art: Xu Bing’s pioneer experiment Liu Yuedi Through the Body The Political Body in Chinese Art Curtis L. Carter Gendered Bodies in Contemporary Chinese Art Mary Bittner Wiseman The Second Sex and Contemporary Chinese Women’s Art: A Case Study on Chen Lingyang’s Work He Jinli Expression Extreme and History Trauma in Women Body Art in China: The Case of He Chengyao Eva Kit Wah Man PART TWO HISTORY AND GEOGRAPHY Classical Metaphysics in Chinese Art Abraham Kaplan Water and Stone: On the Role of Expression in Chinese Art Mary Bittner Wiseman Natural Beauty and Literati Strokes: Shi Tao, Merleau-Ponty and the Practice of Painting David A. Brubaker Paths to the Middle: A Tentative Theory for Chinese Contemporary Art Peng Feng Recent History Current State of Chinese Art Wang Chunchen Avant-garde in Chinese Art Curtis L. Carter Post-colonial and Contemporary Art Trends in Taiwan Pan Fan Experimental Painting and Painting Theories in Colonial Hong Kong (1940-1980): Reflections on Cultural Identity Eva Kit Wah Man East and West The Shape of Artistic Pasts: East and West Arthur C. Danto How to Misunderstand Chinese Art: Seven Examples David Carrier Art and Globalization: Then and Now Noel Carroll Concept, Body and Nature: After the End of Art and the Rebirth of Chinese Aesthetics Liu Yuedi

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Book SynopsisAesthetic Capitalism debates the social aesthetics of contemporary economic processes. The book connects modern cultural dynamics with the workings of contemporary capitalism. It explores art and the new spirit of capitalism; visual culture and the experience economy; aesthetics and organisations; the art of fiscal management; capitalism without myth; and architecture in the age of aesthetic capitalism. Contributors include: Peter Murphy, Eduardo de la Fuente, Antonio Strati, Ken Friedman, Dominique Bouchet, Anders Michelsen, David Roberts, Carlo TognatoTable of ContentsIntroduction de la Fuente and Murphy Chapter One: From the Cultural Contradictions of Capitalism to the Creative Economy: Reflections on the New Spirit of Art and Capitalism David Roberts Chapter Two: The Artefacts of Capitalism and the Objecthood of their Aesthetics Vrasidas Karalis Chapter Three: The Aesthetic Spirit of Modern Capitalism Peter Murphy Chapter Four: The Visual Experience Economy: What Kind of Economics?On the Topologies of Aesthetic Capitalism Anders Michelsen Chapter Five: Aesthetic Capital: Hermeneutic Speculation, Economic Themes, and the Dismal Science Ken Friedman Chapter Six: The Social Negotiation of Aesthetics and Organisational Democracy Antonio Strati Chapter Seven: Neo-Modernism: Architecture in the Age of Aesthetic Capitalism Eduardo de la Fuente Chapter Eight: The Aesthetics of Fiscal Consolidation Carlo Tognato Chapter Nine: The Innovative Role of Art in the Time of the Absence of Myth Dominique Bouchet

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Book SynopsisAesthetics is no longer the preserve of art historians and philosophers of art. Changes in society, culture, economy, urban dynamics and everyday life, push us towards considering the aesthetic components of traditionally non-aesthetic domains. Today it is not only legitimate but necessary to query the relationship between the social as a cohesive and encompassing form of community and human institutions and the aesthetic, that is the sensual, sensory, or, perhaps better, the sensible. Increasingly the social seems to emerge from the sensible and sentient meaning of objects. The volume SocioAesthetics: Ambience – Imaginary collects scholars from social science, aesthetics, arts, and cultural studies in case-driven debate, ranging from biometrics to luxury commodities, on how a new alignment of aesthetics and the social is possible and what the possible prospects of this may be.Table of ContentsCONTRIBUTORS LIST OF ILLUSTRATIONS INTRODUCTION Part I. Ambience – Imaginary 1. The Socioaesthetics of Being Surrounded. Ambient Sociality and Contemporary Movement-Space, Ulrik Schmidt 2. Distant Relations, Negotiating Experiences of Space in Modern Literature, Frederik Tygstrup 3. Mapped Bodies. Notes on the use of biometrics in geopolitical contexts, Max Liljefors and Lila Lee Morrison 4. Mnemosyne and Amnesia. Social memory and the paradoxes of monumental images, Andrea Pinotti 5. The Hidden Homeless - From Bio-politics to Popular Culture in Contemporary Japanese Society, Miya Yoshida 6. No Man’s Langue: Rethinking Language with Ghérasim Luca, Laura Erber Part II. Imaginary – Ambience 7. Here is a Picture of No Country: The Image Between Fiction and Politics in Eric Baudelaire’s Lost Letters to Max, Asbjørn Grønstad 8. Cute and Cool in Contemporary Japanese Visual Arts, Gunhild Borggreen 9. Socioaesthetics from the margin – On prosopopoiesis and new media, Anders Michelsen 10. The Coming of the Intrinsic Age, Gerhard Schulze 11. So Sharp You Could Bleed: Sharpies and Artistic Representation, A Moment in the Seventies History of Melbourne, Peter Beilharz & Sian Supski 12. Smuggling Lust. On the Cultural Re-Turn of Luxury, Isabel Capeloa Gil

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Book SynopsisExploring the relation between Paul Klee's philosophical thought and art, this book deals both with the impact of Klee's art on recent philosophy and with the relation between Klee's own theoretical writings and his art. Through various approaches the contributors show how Klee's ideas are realized in his art and how, conversely, his art serves to expand and develop his theoretical conceptions. Addressing temporality (Boehm); ascendancy and counterforce (Krell); artist as tree (Baracchi); visible space (Figal); nature sketches (Baumgartner); image of garden (Schmidt); prominence of rhythm (Barbarić); musical elements (Schuback); tragedy (Acosta); space of transformation (Vallega); Merleau-Ponty and Cézanne (Johnson)--these essays, taken comprehensively, mark a major contribution to the understanding of the philosophical depth of Klee's art and thought. This book is a reprint of Research in Phenomenology Volume 43, Issue 3.Table of ContentsIntroduction John Sallis Genesis: Paul Klee’s Temporalization of Form Gottfried Boehm The Way Back Down: Paul Klee’s Heights and Depths David Farrell Krell Paul Klee: Trees and the Art of Life Claudia Baracchi To the Margins. On the Spatiality of Klee’s Art Günter Figal Paul Klee. From Structural Analysis and Morphogenesis to Art Michael Baumgartner Klee’s Gartens Dennis J. Schmidt Rhythmic Movement Damir Barbarić In-between Painting and Music-or, Thinking with Paul Klee and Anton Webern Marcia Sá Cavalcante Schuback Tragic Representations: Paul Klee on Tragedy and Art, María del Rosario Acosta López Paul Klee’s Originary Painting Alejandro A. Vallega On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne Galen A. Johnson Appendix

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Book SynopsisThis volume discusses the role of embodiment in the reevaluation of aesthetics as a process of bodily mediated meaning-making. It focuses on the bodily basis of aesthetic appreciation from an evolutionary point of view, on the bodily physical structures such as the brain involved in perception, on aesthetic experience and appreciation, on the role of physiological responses in experiencing the objects of the environment aesthetically, on the role of one's own body in motion in the engagement with the environment, on somatic responses and the experience of meaning, on the pre-reflective experience of the body, on the role of the interplay of different types of physical and sensory activities in the process of education to art appreciation.Table of ContentsThe Contributors Introduction Alfonsina Scarinzi The evolutionary roots of aesthetics: an approach-avoidance look at curvature preference, Enric Munar Gerardo Gómez-Puerto, Antoni Gomila A neuro-evolutionary mechanism for aesthetic phenomenology, Joshua Fost Interaction of perception and imagination in pictorial space experience, Joanna Ganczarek Vezio Ruggieri, Daniele Nardi, Marta Olivetti Belardinelli Effortless Bodies and Beyond, Barbara Gail Montero The Dancing Body and the Revelation of Prepersonal Existence through Art, Xavier Escribano How to perceive oneself perceiving? Gardens, movement and the semiotics of embodiment, Katarzyna Kaczmarczyk From Film Studies to Interaction Design-An Emergent Aesthetics View, Xin Xia, Nimish Biloria, Bernhard Hommel Spinoza, the Philosopher Craftsman: Understanding the World through Painting and Process, Paul Uhlmann Index

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Book SynopsisHow does art influence us? In The Subject of Aesthetics, Tone Roald approaches aesthetics as a psychological discipline, showing how works of art challenge our habitual ways of perceiving the world. While aesthetics has traditionally been a philosophical discipline, Roald discusses how it is very much alive in the realm of psychology – a qualitative psychology of lived experience. But what actually constitutes an aesthetics of lived experience? The book answers that question by analyzing people’s own engagement with visual art. What emerges is that the object of aesthetics is indeed the subject.

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Book SynopsisIn this first monograph on E. T. A. Hoffmann and opera, Francien Markx examines Hoffmann’s writings on opera and the challenges they pose to established narratives of aesthetic autonomy, the search for a national opera, and Hoffmann’s biography. Markx discusses Hoffmann’s lifelong fascination with opera against the backdrop of eighteenth-century theater reform, the creation of national identity, contemporary performance practices and musical and aesthetic discourses as voiced by C. M. von Weber, A. W. Schlegel, Heine, and Wagner, among others. The book reconsiders the traditional view that German opera followed a deterministic trajectory toward Wagner’s Gesamtkunstwerk and reveals a cosmopolitan spirit in Hoffmann’s operatic vision, most notably exemplified by his controversial advocacy for Spontini in Berlin.Table of ContentsAcknowledgments Prelude Prologue: German Musical Drama and the Emerging Public Sphere Hamburg – Leipzig – Weimar and Gotha – The National Theater Projects – Mannheim – Vienna – Berlin – E. T. A. Hoffmann’s Theatrical and Operatic Experiences – Evaluating Hoffmann’s Contribution(s) to Opera ACT I. NARRATING OPERA (CRITICISM) FOR THE ALLGEMEINE MUSIKALISCHE ZEITUNG (Berlin, Bamberg, Leipzig/Dresden, 1808-1814) Chapter One Ritter Gluck: On The Art of Judging Opera The Power of Anecdotes – Querelle des Gluckistes et des Piccinnistes. Christoph Willibald Gluck in the French Press – Gluck in the German Press – E. T. A. Hoffmann’s Views on Gluck – Ritter Gluck: A Response to Forkel – Narrating Gluck’s Public Image – Berlin: An Operatic Backwater – A Tale Illuminated by Music – Ritter Gluck: Towards a New Aesthetics of Opera Chapter Two Don Juan: Reflections on (Performing) Mozart’s Don Giovanni E. T. A. Hoffmann’s Don Juan and Lorenzo Da Ponte’s Don Giovanni – Contemporary Performance Practices – E. T. A. Hoffmann and Mozart’s Don Giovanni – Restaging Don Giovanni – Approaches to Mozart – Mozart’s Score and Donna Anna’s Secret – Reflections on Donna Anna’s Role - A Tale Inspired by Music Chapter Three Poet and Composer: Operatic Insights of an Insider Turbulent Times – The Dialogue Der Dichter und der Komponist – Theoretical Discourse: The Poet (A. W. Schlegel) and the Composer (E. T. A. Hoffmann) – How Not to Write a Libretto: Der Opern-Almanach des H[er]rn A. v[on] Kotzebue – Musical Practice – Der Dichter und der Komponist: A Program for Romantic Opera? – A Word to the Composer: Über einen Ausspruch Sachini’s – Der Dichter und der Komponist and the Future of German Opera – The Poet and the Composer: Hoffmann’s Own Creative Production ACT II. BACK IN BERLIN: BALANCING ACTS AS ARTIST AND CRITIC (1814-1822) Prelude: Brühl and the Berlin Theater Chapter Four ‘Patriotic Acts’: Undine on the Berlin Stage ossia Accomplishments of a Trio (Fouqué, Hoffmann, and Schinkel) Preparing the Stage – Fouqué’s Undine – The Staging of Hoffmann’s Undine – Voices of the Critics – Carl Maria von Weber’s Review of Undine for the AMZ – Weber and the German Ideal – Romantic Ideal versus Reality – Dénouement Chapter Five Berlin Reviews I: Dramaturgisches Wochenblatt and Vossische Zeitung Reviews of 1815 – Reviews of 1816 – Envisioning the Future: Visions of a Realist – Contributions for the Vossische Zeitung: Reviewing a Befriended Reviewer – Hoffmann’s Final DW Contribution: Die Kunstverwandten or the Joys and Sorrows of Producing an Opera – Art Beyond Boundaries: Towards a Universal Operatic Style Chapter Six Berlin Reviews II: Standing up for Spontini A Parisian in Berlin – Hoffmann’s Warm Welcome – Briefe über Tonkunst in Berlin. Erster Brief – Hoffmann’s Remaining Berlin Reviews – Zufällige Gedanken or Ritter Gluck Revisited – Spontini’s Opera Olimpie – Hoffmann’s Translation of Olimpie – Hoffmann’s Last Review: Nachträgliche Bemerkungen über Spontinis Oper Olympia – Further Observations on Hoffmann’s Last Review Chapter Seven Falling Silent: The Freischütz Controversy A Tumultuous Première – Contemporary Letters and Comments – ‘Made in Germany’ or An Opera’s Success Story – Reflections on Hoffmann’s Silence Postlude Bibliography Index

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Book SynopsisRussia is an enigmatic, mysterious country, situated between East and West not only spatially, but also mentally. Or so it is traditionally perceived in Western Europe and the Anglophone world at large. One of the distinctive features of Russian culture is its irrationalism, which revealed itself diversely in Russian life and thought, literature, music and visual arts, and has survived to the present day. Bridging the gap in existing scholarship, the current volume is an attempt at an integral and multifaceted approach to this phenomenon, and launches the study of Russian irrationalism in philosophy, theology, literature and the arts of the last two hundred years, together with its reflections in Russian reality. Contributors: Tatiana Chumakova, David Gillespie, Arkadii Goldenberg, Kira Gordovich, Rainer Grübel, Elizabeth Harrison, Jeremy Howard, Aleksandr Ivashkin, Elena Kabkova, Sergei Kibalnik, Oleg Kovalov, Alexander McCabe, Barbara Olaszek, Oliver Ready, Oliver Smith, Margarita Odesskaia, Ildikó Mária Rácz, Lyudmila Safronova, Marilyn Schwinn Smith, Henrieke Stahl, Olga Stukalova, Olga Tabachnikova, Christopher John Tooke, and Natalia Vinokurova.Table of ContentsIntroduction. Olga Tabachnikova, Rationalising Russian Irrationalism Part I: On the Place of Irrationalism in the Russian History of Ideas Chapter 1. Barbara Olaszek, The Traditions of Rationalism in Russian Culture of the Pre-Soviet Period Chapter 2. Tatiana Chumakova, Irrationalism in Ancient Russia Chapter 3. Oliver Smith, Ethos versus Pathos: The Ontologisation of Knowledge in Russian Philosophy Chapter 4. Christopher John Tooke, Irrationalism and anti-Semitism in Late-tsarist Literature Chapter 5. Natalia Vinokurova, Russian Semiotics of Behaviour, or can a Russian Person be Regarded as ‘Homo Economicus’? Chapter 6. Elizabeth Harrison, ‘Fides et ratio’: Catholicism, Rationalism and Mysticism in Russian Literary Culture of the Mid-Nineteenth Century Part II: Russian Classics and Their Influence in Space and Time Chapter 7. Arkadii Goldenberg, The Irrational Basis of Gogol’’s Mythopoetics Chapter 8. Sergei Kibal’nik, On the Philosophical Sources and Nature of Dostoevskii’s Anti-Rationalism Chapter 9. Alexander McCabe, Shifting French Perspectives on Dostoevskian Anti-Rationalism Chapter 10. Margarita Odesskaia, The Concept of Love and Beauty in the Works of Turgenev Chapter 11. Olga Tabachnikova, Patterns of European Irrationalism, from Source to Estuary: Johann Georg Hamann, Lev Shestov and Anton Chekhov – On Both Sides of Reason Chapter 12. Rainer Grübel, Lev Tolstoi and Vasilii Rozanov: Two Fundamental(ist) Types of Russian Irrationalism Part III: The Silver Age Chapter 13. Henrieke Stahl, From Neo-Kantian Theory of Cognition to Christian Intellectual Mysticism: Logical Voluntarism in Vladimir Solov’ev and Andrei Belyi Chapter 14. Marilyn Schwinn Smith, Aleksei Remizov’s Pliashushchii demon – tanets i slovo: Cultural Memory, Dreams and Demons Chapter 15. Ildikó Mária Rácz, Irrational Elements in Ivan Bunin’s Short Story “The Grammar of Love” Part IV: Russian Culture into the 20th Century and Beyond Chapter 16. Jeremy Howard, Viewing Askance: Irrationalist Aspects in Russian Art from Fedotov to Malevich and into the Beyond Chapter 17. Aleksandr Ivashkin, Symbols, Metaphors and Irrationalities in Twentieth-Century Music Chapter 18. Oleg Kovalov, The Irrational in Russian Cinema (A Short Course) Chapter 19. Olga Stukalova and Elena Kabkova, The Rational and Irrational Standard: Russian Architecture as a Facet of Culture Part V: Soviet and Post-Soviet Literature Chapter 20. Kira Gordovich, The Irrational in the Perception of Andrey Platonov’s Characters Chapter 21. Liudmila Safronova, The Metaphysics of Numbers in the Eurasian Artistic Mentality: Viktor Pelevin’s The Dialectics of the Transition Period (From Nowhere to No Place) Chapter 22. Oliver Ready, “Questions to which Reason has no Answer”: Iurii Mamleev’s Irrationalism in European Context Chapter 23. David Gillespie, Vladimir Sorokin and the Return of History

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